Posts Tagged ‘New West Records’

The Nude Party are a six-piece from North Carolina . The fine folks at New West Records will be releasing their debut LP on June 8th. While you wait, check out how they came up with such a unique moniker.

The members of The Nude Party first came together in the freshman dormitories of Boone, North Carolina’s Appalachian State University in 2012. Patton Magee, and later Austin Brose, linked up with childhood friends Connor Mikita & Alec Castillo and stepbrothers Shaun Couture & Don Merrill. The following summer, the young men moved into a lake house outside of town to begin learning their respective instruments and jamming on rudimentary riffs. Friends came by the lake house to swim and party and soon there developed a group obsession with performing in the nude.

They quickly gained a following as the house band at a notorious Boone party palace referred to as the 505 House, and the bare honesty of their performances was so contagious that their audience also started partying au naturel. While these traditions may appear risqué to the casual observer, the band explains, “These weren’t orgies, they weren’t sexual even. It was just kind of a wild exhibitionism that we felt gave us freedom.” Best known around campus as “the naked party band,” this informal aggregation of musicians became a defined unit and chose to call their group simply “The Nude Party.”

THE NUDE PARTY: 
Patton Magee – Guitar, Vocals
Shaun Couture – Guitar, Vocals
Alec Castillo – Bass Guitar, Vocals
Don Merrill – Organ, Piano, Vocals
Austin Brose – Percussion, Vocals
Connor Mikita – Drums, Cowbell

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The E Street Band. The Revolution. The Band. The list of legendary backing groups could go on and on, and while Naked Giants aren’t on that list yet, they do currently have the gig backing up one of music’s most exciting rising songwriters, Car Seat Headrest. But, like many backing bands, Naked Giants are also their own band, and they have been making music in their native Seattle since 2015. On March 30th, they’ll offer up their debut full-length, SLUFF, via New West Records, as they prepare for a tour with Naked Giants where they’ll serve as both openers and as part of the headlining act.

To announce the record, Naked Giants offer up the Sean Downey-directed video for “TV,” full of retro swagger and guitar-swinging irreverence that taps into the still-beating heart of the genre. In the band’s bio, drummer Henry LaVallee notes, “I just want to make as much noise and have as much fun and get as sweaty as I can, and if that resonates with people, that’s who I want in my life.” And that philosophy is on full display in the clip, as the song swells to a full-on psychedelic freakout before its close.

Check out the video above, and look for Naked Giants debut record SLUFF on March 30th.

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I sometimes hesitate to use the word “virtuoso” or “prodigy” with music, but Sammy Brue really deserves this description. Something about him reminds me a little of Elvis Costello. He’s got this sort of punk Americana ethos that I really enjoy . His whole style is endearing while also shouting “devil may care” in its own way. The syntax and style of his writing doesn’t sound like anyone else, which is really superb. His lyrics are often punctuated and direct, reflective of the dynamic emotions of late teen and early 20s with love.

It’s an album that makes me feel plenty of different emotions. There are some vintage sounds on this that will make you think you parents would like it, but it has a modern sheen to it that feels positively perfect for this generation. The best snapshot of his sound is “I Know,” but if you want something a bit more soulful, go with “I Never Said.” Personally, I can’t get enough of the song “Once a Lover,” a poetic lament that connects with me in the recesses of my soul.

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The video for “Really Nice Guys” it’s technically a song about people in bands who are fine but are way better at not being a musician. “Really Nice Guys” is the latest single from Ron Gallo’s upcoming EP of the same name. The whole EP is a sarcastic, literal response to people telling Gallo to write what he knows, but also pokes fun at Gallo himself. It follows Gallo’s most recent release, Heavy Meta, which was released earlier this year on New West Records.

When asked to provide a little background about the video for this, Gallo said: “The song is about bands that are better at being humans than making music. So the video, modeled after an early 2000’s skateboarding video part, is me, to the best of my ability, being bad or at very best underwhelming at skating synced to the song.” Meta, man! Like Father John Misty with a skateboard.

Really Nice Guys is out January 19th, 2018 via New West Records.

From the new EP ‘Really Nice Guys,’ available January 19th.

From his third album, JD McPherson leans harder on the first syllable of “rockabilly.” The retro-sounding tracks, most of which feature prominent walking-bass lines courtesy of Jimmy Sutton, are among the highlights. Single “Lucky Penny” (which doesn’t hide its Dan Auerbach influence) , McPherson is an Oklahoma guy who recently moved his family to Nashville, the mid-South’s neon capitol, where he’s made some great new work buddies, from Dan Auerbach to Eric Church to Aaron Lee Tasjan. But it was in the California desert that he relocated his rock ‘n’ roll bliss, jamming with Josh Homme of the Queens Of The Stone Age – a definite influence on “Lucky Penny,” the first track released from Undivided Heart & Soul. The interval-jumping guitar part that frames this story.

Check out the rest of the album from the jittery “Bloodhound Rock” and “Under the Spell of the City Lights” (featuring another notable co-writer, Aaron Lee Tasjan) all harken back to retro rocking songs in both McPherson’s own catalogue and American music as a whole. While Undivided Heart & Soul explores both the past and the future of roots music, McPherson shines brightest when he blends both influences to stay rooted in the present.

From the new album Undivided Heart & Soul came out October. 6th via New West

The Deslondes.

The Deslondes‘ take on country relies on a gritty, grimy mix of early rock ‘n’ roll and lo-fi , so it’s appropriate that the New Orleans band’s new single would go full-on swamp music.“Muddy Water,” which debuts today with a new video directed by Joshua Shoemaker, is the first glimpse of their sophomore record, “Hurry Home”.

Written and sung by Riley Downing, “Muddy Water” doesn’t actually fit the band’s newly rock-leaning form. The opening track of the 13-song album, it’s a languid, simmering acoustic ballad colored by nostalgia and the stifling humidity of a Louisiana summer.‘Muddy Water’ is just a few memories written from kids’ perspectives about growing up outside of a small town on an old farm, running around with my brothers, cousins and friends,” says Downing.

The video, shot along the Mississippi River, has a surreal Stand By Me vibe, centering around a group of young boys who play dead ringers for the members of the Deslondes. They ride their bikes and carouse around a campfire as the shots jump back and forth to the grown-up band sitting around a kitchen table.

Hurry Home, produced by Adrija Tokic (Alabama Shakes), is the follow-up to their 2014 self-titled debut and is out June 23rd on New West Records. The Deslondes head out on tour June 6th

From the new album ‘Hurry Home’ available June 23rd

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On “Dirty Rain,” the first single from Canyons of My Mind, Andrew Combs pondered our fading grasp on consequence – and how, in an time now where we are all preoccupied with instant gratification and polish in the name of progress, we could be fast approaching a dark, joyless future. Self-awareness and a sensitivity for the world around him is a theme rich across the Nashville-based songwriter’s forthcoming third album.

From the album Canyons Of My Mind, available April 7th, 2017.

Thrilled to release this record into the world. “Canyons of My Mind” is out now via New West Records and Loose Music. A Big Thanks to my two buds Skylar Wilson and Jordan Lehning for producing and playing. Lots of love to Jeremy Ferguson for engineering and mixing. And to the wonderful band for bringing these songs to life: Dominic Billett, Michael Rinne, Ethan Ballinger.  thanks to Melissa Madison Fuller for the ace photos and Fetzer Design for the design. Andrew.

“I wrote ‘Blood Hunters’ in this post-tour haze, where you don’t know what to do with yourself,”

Combs says. “It’s about mental illness and this unknown force that is making you question everything. It takes 48 hours to acclimate at the end of tour, and it’s a weird time when you are in limbo. You get restless.”

Directed by Ry Cox, the video for “Blood Hunters” takes that fear of the unknown and puts it into a force tangible enough to look at – and nods at how some things are easier to confront when one returns to a more peaceful, natural state as Combs does, ankle-deep in the Piney River. With backup from Lera Lynn – whose recent album Shape Shifter shares a sense of sonic fearlessness with Canyons – the song opens with Combs‘ soothingly gorgeous vocals on haunting echo and spare electric guitar that crescendos into a fierce, Seattle-riffed fury. The musical gambit removes it even further away from the constraints of traditional country to forge a more experimental, rock-forward take on folk in the vein of Kevin Morby, Angel Olsen, Cass McCombs or even their forefather, Leonard Cohen.

“Canyons of My Mind” was produced by Skylar Wilson (Justin Townes Earle) and Jordan Lehning (Rodney Crowell) at Battle Tapes Studio in East Nashville, and features appearances from Caitlin Rose, who also co-wrote a song, as well as Erin Rae McKaskle and Lynn.

Sisters, Laura and Lydia Rogers, have signed to New West for their third album. After almost succumbing to the nasty music industry, they were thrown a lifeline by Brandi Carlisle, who wound up producing their new LP.

The end product finds the sisters taking their music to new places, with soulful, gospel grooves and stirring vocal performances that never seek perfection over power. It’s a document of hardship and redemption, of pushing forward when it would be so much easier to drown in grief. And it’s a story about how passion and pure artistry can be the strongest sort of salvation. “The only way we could have completely healed was to have written an entire record,” says Laura. “I think we were just in the wrong parts of the machine,” says her sister. “We feel like we have learned where not to be, and where to go.

All Reissues on Vinyl (Shipping as it's released)

Throughout 2017, New West Records is proud to be reissuing Vic Chesnutt’s albums from the Texas Hotel years, along with his New West Records albums, all on exclusive heavyweight 180g colored vinyl. Each of these albums is painstakingly remastered from original source material, and come in colored editions not available anywhere else!

James Victor “Vic” Chesnutt (November 12, 1964 – December 25, 2009) Singer songwriter from Athens Georgia. His first album, Little, was released in 1990, but his breakthrough to commercial success didn’t come until 1996 with the release of Sweet Relief II , which was a charity record of alternative artists covering his songs.

Chesnutt released 17 albums during his career, including two produced by Micheal Stipe Of R.E.M and a 1996 release on “About To Choke” . His musical style has been described as a “skewed, refracted version of Americana that is haunting, funny, poignant, and occasionally mystical, usually all at once”.Injuries from a 1983 car accident left him partially paralyzed; he used a wheelchair and had limited use of his hands. Kristen Hersh wrote a book entitled, Don’t Suck, Don’t Die: Giving Up Vic Chesnutt, which was released on October 1st, 2015

Little, produced by Michael Stipe (January 2017)
Drunk (February 2017)
Is The Actor Happy? (March 2017)
MYSTERY RELEASE (April 2017)
Silver Lake (May 2017)
Ghetto Bells (June 2017)
MYSTERY RELEASE (Late 2017)

We’re so excited to finally put these phenomenal Vic Chesnutt vinyl releases out into the world. Thank you for being a part of it.

'Keep It Together'

‘Keep It Together’, is the third album in just over three years by Indianapolis-based sisters Lily & Madeleine, is released via esteemed New West Records.

This spellbinding ten-song statement is the dynamic product of two distinct musical personalities, bound by kinship, melding seamlessly into one ephemeral and dreamy collection.  The sisters have come a long way since they began making YouTube videos in 2012, releasing two critically acclaimed albums on Sufjan Stevens’ Asthmatic Kitty Records and selling out myriad shows both in the US and overseas.

Having already delivered two fine collections of pop-tinged folk in quick succession, the Jurkiewicz sisters’ third arrives in similar haste. Built on two wonderfully direct and effortlessly emotive voices, Lily & Madeleine were a striking force when they emerged in 2013. ‘Keep It Together’ is curiously unmoving. There’s no doubting that their sound has evolved, with a more electronic tinge applied as part of consistently heftier production. However, nothing seems to lodge in the memory and everything feels a bit too mid-paced to warrant return visits.

The majority of ‘Keep It Together’ is a pleasant enough listen but the choruses often feel under-cooked and the scale of the production seems to have suppressed some of the majesty in the duo’s performances. almost lumbering, percussion sets the tone for too many of these songs and despite multiple listens it’s hard to find much to enthuse about. Their voices remain a delight .

It simultaneously confirms that the duo’s sound can yet develop in a fascinating direction and hints at what the album could have been. When it’s good, it’s very, very good, but for most of the time it’s really quite bland.