Posts Tagged ‘Tennessee’

Julien Baker has announced her third full length album titled “Little Oblivions”, which is set for a February 26th 2021. Released via Matador Records. In addition to the album announcement, Baker also shared the first single off the new record, titled “Faith Healer” coupled with a music video directed by Daniel Henry.

In Baker’s own words: Put most simply, I think that “Faith Healer” is a song about vices, both the obvious and the more insidious ways that they show up in the human experience. I started writing this song two years ago and it began as a very literal examination of addiction. For awhile, I only had the first verse, which is just a really candid confrontation of the cognitive dissonance a person who struggles with substance abuse can feel — the overwhelming evidence that this substance is harming you, and the counterintuitive but very real craving for the relief it provides. When I revisited the song I started thinking about the parallels between the escapism of substance abuse and the other various means of escapism that had occupied a similar, if less easily identifiable, space in my psyche.

There are so many channels and behaviours that we use to placate discomfort unhealthily which exist outside the formal definition of addiction. I (and so many other people) are willing to believe whomever — a political pundit, a preacher, a drug dealer, an energy healer — when they promise healing, and how that willingness, however genuine, might actually impede healing. ‘Little Oblivions’ is the third studio album by Julien Baker. Recorded in Memphis, TN, the record weaves together unflinching autobiography with assimilated experience and hard-won observations from the past few years, taking Baker’s capacity for storytelling to new heights. It also marks a sonic shift, with the songwriter’s intimate piano and guitar arrangements newly enriched by bass, drums, keyboards, banjo, and mandolin with nearly all of the instruments performed by Baker.”

Releases February 26th, 2021

Liz Brasher a singer songwriter based in Memphis, Tennessee, Brasher’s upbringing is central to her music and specifically to her album “Painted Image“. Raised in a religious Dominican family, they were active Baptist church singers in Charlotte, North Carolina. Brasher herself studied theology at Moody Bible Institute in Chicago but was soon drawn to secular music. This pursuit created familial tension resulting in excommunication. However, her exposure to religion, biblical texts, and sacred music directly informed her music. Brasher’s disconnect from strict dogmas also showed her the value in creating music that defined her as an individual.


Liz Brasher came in and knocked out a new song ‘Sad Girl Status’ in less than a few hours. She was an absolute joy to work with and has one hell of a voice. We had some time left over, so I blocked off a stairwell in the building and had (studio manager) Blair Davis and (assistant engineer) Spenser Frazier help set up a PA speaker to use the space as a chamber. It sounded so, so great. There isn’t a single digital reverb on that song.”

Released January 13th, 2019.

As the follow up to Jeremy Ivey’s 2019’s debut, the much acclaimed “The Dream and the Dreamer”, his new album Waiting Out the Storm takes a topical turn with songs that allude to the malaise that’s seeping the nation in the wake of our current political maelstrom, a concurrence of natural disasters, the Covid pandemic, and the growing resolve of the Black Lives Matter movement and the racism found in its stead.

It’s not a preachy record by any means, but it does stir some sentiments and speak to those issues and concerns that have forced Americans to wake up and take notice, no matter which side of the divide they happen to be on. “Yeah, it was actually written before my first album was released, but these kind of things have been making headlines for a while,” Ivey suggests when asked about the origins of his stirring new songs. “Racism, violence and greed have been the backbone of civilization for some time.” Ivey adds that he’s injected his own insights into this material, suggesting that he’s been more than a mere outside observer. “Yes, I’ve lived inside each one of these stories,” he affirms somewhat obliquely. “I’ve seen Walt Disney, Al Capone and Oprah hanging out with Warhol.

I’ve seen the queen of doom wringing her hands and holy meat walking down the street. I’ve seen the shattered windows of clinics and prostitutes in steel-toed boots too. It’s all truth.” Given that Ivey seems resigned to a more pessimistic perspective, suffice it to say he views things from a decidedly bleak point of view. “Our country has lost every bit of morals and dignity, but maybe our country never had that in the first place,” he insists. “We need to wake up and start treating each other the way that we want to be treated, because if that doesn’t happen, you think this pandemic is bad? There will be a great judgment on this world and everyone in it if we don’t take this kind of thing seriously. When one person kills another person, and it’s known publicly, and no one is tried or punished for it, the end is near. Things could get much worse.”


I can’t say enough great things about this album and this man. These songs are a very realistic view of our world. The pictures Jeremy paints are both sad and hopeful. He truly is a word smith for our times… I can’t wait for all the great things yet to come his way. Recorded with his group The Extraterrestrials, and produced by his wife Margo Price and with  contributions from members of her backing band, the album is, he says, was the result of the pair’s ability to work well together and remain, as he describes it, “relaxed and focused.

The Band: Jeremy Ivey – guitar, vocals, harmonica, piano, synth The Extraterrestrials are: Evan Donohue – guitar, vocals Coley Hinson – bass, vocals Alex Munoz – guitar, lap steel Josh Minyard – drums, percussion Special guests: Margo Price – vocals, percussion Dillion Napier – drums, percussion Micah Hulscher – organ, piano, synth, electric piano Dexter Green – vocals and additional arrangement on Movies.

Released October 16th Production – Margo Price Co-production – Jeremy Ivey and The Extraterrestrials

Cristina Vane is a songstress and slide guitarist based in Nashville and specializing in blues, country blues, folk, and rock. Her background in Europe allowed for a unique formation of flavours in her musical inspirations, and this eclectic nature carries through into her work. “Old Played New” is a tribute to the delta blues artists that have shaped my sound, including Son House, Skip James, Charley Patton and others. With 5 cover songs from various artists and one original on the track list, it is also my first solo guitar record. I am so happy with how Brook Sutton captured these live takes at The Studio here in Nashville, and so happy to share it with you.
I have gleaned so much as an artist and a person from the music that these talented folks made. Blues music is rooted in the African American experience and now more than ever, it is important to highlight once again how much black culture has contributed to our society, especially in the field of music. I hope to honor the memory of these artists and pay tribute to the cultural debt I owe them at large, coming in from a different background and partaking in this music.


Slide guitarist and singer-songwriter Cristina Vane has known the lighter and darker sides of Venice. SoCal’s sunshine noir ripples through her music- a blend of folk and blues, angst and elation. [..] Since becoming enchanted by the blues, she’s developed an almost encyclopedic knowledge of the musical genre, expertly rattling off idols like Skip James, Mississippi John Hurt, and Blind Willie Johnson.

With her bold and bracing new album, “Bad Vacation”, Liza Anne hasn’t just shaped her liberation, she’s completely reinvented it. The record is defiant and thoughtful, showcasing a remarkable confidence as it tackles destructive habits and finds Liza at her most self aware yet. “I was writing what I needed to hear,” Liza explains. “I was writing what I needed to feel. I was quite literally writing a stronger, more empowered version of myself into existence.”

The songs here represent an audacious sonic leap forward for Liza and her band, mixing accomplished full-throttled art rock anthems with playful new wave jams and power pop earworms. Produced by Micah Tawlks Kyle Ryan and co-produced by Liza and Justin Meldal-Johnsen, arrangements are poised and fierce to match, fuelled by muscular guitar hooks, retro synthesizers, and wry, incisive and insightful lyrics.


Bad Vacation marks a remarkable development in her sound and vocal performance – a collection that calls to mind everything from St. Vincent and Sleater-Kinney to Kate Bush and Talking Heads.

Released July 24th, 2020

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Expanding beyond the homespun rootsiness of her critically acclaimed debut to incorporate a grittier, more experimental palette, Becca Mancari’s captivating new collection, ‘The Greatest Part,’ lives in a liminal space between grief and joy, pain and forgiveness, sorrow and liberation. The record, produced by Paramore drummer Zac Farro, marks a significant sonic and emotional evolution, balancing unflinching self-examination with intoxicating grooves and infectious instrumental hooks fueled by explosive percussion and fuzzed out guitars. The lyrics are raw and gutsy to match, peeling back old scars to explore the emotional and psychological turmoil Mancari weathered growing up gay in a fundamentalist Christian home, while at the same time examining the ties that continue to bind her to the family she loves. Though personal reflection is nothing new for the Nashville-based songwriter, ‘The Greatest Part’ finds Mancari digging deeper than ever before, excavating new layers of her psyche in an effort to make sense of where she’s been, where she’s headed, and most importantly, who she’s become.

“This record was the hardest thing I’ve ever had to write,” she explains. “At the same time, it was also the most freeing.”

Born on Staten Island to an Italian/Puerto Rican family with strict religious beliefs, Mancari spent much of her childhood wrestling with issues of identity and belonging. After college, she set out on her own, following the wind from Appalachia to Arizona, from south Florida to India, drifting in search of purpose and community. Mancari eventually found both in East Nashville, where she garnered widespread acclaim for her strikingly honest song writing and emotionally riveting performances. ‘Good Woman,’ her 2017 debut, was a critical smash, praised by NPR for its “exquisite self-awareness” and hailed as one of the year’s best by Rolling Stone, who lauded its “confident vocals [and] spacious, hazy production.”


Songs from the record racked up millions of streams on Spotify and helped land Mancari dates with the likes of Margo Price, Hurray For The Riff Raff, Shovels & Rope, Natalie Prass, and Julien Baker among others. On top of her solo work, Mancari also teamed up with Alabama Shakes frontwoman Brittany Howard and fellow songwriter Jesse Lafser to form the supergroup Bermuda Triangle, which earned similarly glowing reviews as they performed sold-out headline shows across the country and landed festival slots from Newport Folk to XPoNential.

Released June 26th, 2020

Matt Sweeney, produced this Country Westerns album. Singer-guitarist Joey Plunkett left NYC for Nashville after making a name for himself in legends The Weight & hustling bass in Gentleman Jesse. In 2019, Sabrina Rush joined on bass. Nashville drummer Brian Kotzur was a member of Silver Jews and David Berman encouraged them to record with me and Fat Possum Records gave them a record deal.


Country Westerns is a three-piece rock band from Nashville that sounds nothing like its name. Drummer Brian Kotzur (Trash Humpers, Silver Jews) and singer-songwriter-guitarist Joseph Plunket (The Weight, Gentleman Jesse) began working on songs together in 2016, after bonding over the shared desire to be in a band in a town full of solo artists and guns-for-hire. Following a couple of years writing and playing shows with varying lineups, Sabrina Rush (State Champion) joined the band as bassist. The now complete Country Westerns recorded their debut album in New York and Nashville, encouraged by friend and producer Matt Sweeney. Plunket’s raspy bravado and subtle twang, his insistent 12-string guitar riffs, Kotzur’s dynamic and metronomic drumming, and Rush’s harmonic bass playing create hyper catchy rock songs, with lyrics that bend towards poetry and punk rock sneer in equal measure. Their self-titled debut is slated for release in 2020 on Fat Possum Record. This is guitar-driven garagey americana that doesn’t sound like anything else out there right now.
Released June 26th, 2020

Country Westerns played a private set at Grimey’s Music in Nashville to celebrate the release of their self titled debut album on Fat Possum Records. Love everything about this. It’s got the primo vocal gravel with an infectious rhythm and upbeat tone. Great mix of punky twang polished and mixed like a modern Manhattan in the calloused hands of an urban cowboy gone rogue.
Slow Nights 00:14 It’s Not Easy 3:32 TV Light 6:47 Gentle Soul 10:17 I’m Not Ready 13:19 Close To Me 17:35 Guest Checks 20:16 Times To Tunnels 23:48 At Anytime 26:51 Margaritas At The Mall (Purple Mountains) 30:15

A very old saying goes that no one saves us but ourselves. Recognizing and breaking free from the patterns impeding our forward progress can be transformative — just ask Bully’s Alicia Bognanno. Indeed, the third Bully album, SUGAREGG, may not ever have come to fruition had Bognanno not navigated every kind of upheaval imaginable and completely overhauled her working process along the way.

“There was change that needed to happen and it happened on this record,” she says. “Derailing my ego and insecurities allowed me to give these songs the attention they deserved.”

SUGAREGG roars from the speakers and jumpstarts both heart and mind. Like My Bloody Valentine after three double espressos, opener “Add It On” zooms heavenward within seconds, epitomizing Bognanno’s newfound clarity of purpose, while the bass-driven melodies and propulsive beats of “Where to Start” and “Let You” are the musical equivalents of the sun piercing through a perpetually cloudy sky.

On songs like the strident “Every Tradition” and “Not Ashamed,” Bognanno doesn’t shy away from addressing “how I feel as a human holds up against what society expects or assumes of me as a woman, and what it feels like to naturally challenge those expectations.”

But amongst the more dense topics, there’s also a lightheartedness that was lacking on Bully’s last album, 2017’s Losing. Pointing to “Where to Start,” “You” and “Let You,” Bognanno says “there are more songs about erratic, dysfunctional love in an upbeat way, like, ‘I’m going down and that’s the only way I want to go because the momentary joy is worth it.’”

The artist admits that finding the proper treatment for bipolar 2 disorder radically altered her mindset, freeing her from a cycle of paranoia and insecurity about her work. “Being able to finally navigate that opened the door for me to write about it,” she says, pointing to the sweet, swirly “Like Fire” and slower, more contemplative songs such as “Prism” and “Come Down” as having been born of this new headspace. Even small changes like listening to music instead of the news first thing in the morning “made me want to write and bring that pleasure to other people.”

An unexpected foray into the film world also helped set the table for Sugaregg when Bognanno was asked to write songs for the 2019 movie Her Smell, starring Elisabeth Moss as the frontwoman of the fictional rock band Something She. “It got me motivated to play music again after the last album,” she says. “I loved reading the script and trying to think, what music would the character write? People asked if I’d play those songs with Bully but the whole point was for them to not be Bully songs. It was nice to get my head out of my own ass for a second and work on a project for someone else,” she says with a laugh.

A highly accomplished engineer who ran the boards herself on the first two Bully albums, Bognanno was ready to be free “from the weight of feeling like I had to prove to the world I was capable of engineering a record, and wanted to be content knowing for myself what I can do without needing the approval of others to validate that.”

So for SUGAREGG, she yielded recording and mixing responsibilities to outside collaborators for the first time and trekked to the remote Pachyderm Studios in Cannon Falls, Minn., an unexpected return to her home state. Behind the console was John Congleton, a Grammy-winner who has worked with everyone from St. Vincent and Sleater-Kinney to The War on Drugs and Modest Mouse. “Naturally, I still had reservations, but John was sensitive to where I was coming from,” Bognanno says. “He was very respectful that I’d never worked with a producer before.”

The studio’s rich history (classics such as Nirvana’s In Utero, PJ Harvey’s Rid of Me and Superchunk’s Foolish were recorded there) and woodsy setting quickly put Bognanno’s mind at ease. Being able to bring her dog Mezzi along for the trip didn’t hurt either. “I had never tracked a record in the summer, so waking up and going outside with her before we started each day was a great way to refresh,” she says.

SUGAREGG features additional contributions from longtime touring drummer Wesley Mitchell and bassist Zach Dawes, renowned for his work on recent albums by Sharon Van Etten and Lana Del Rey. Dawes and Bognanno met at Pachyderm to work on parts just two days before tracking, “but it ended up being so much less stressful than I had expected and I loved it,” she see says. “Zach wanted to be there to help and make my vision happen.”

With 14 songs on tape, Bognanno and friends left Pachyderm thinking SUGAREGG was done. But once back home in Nashville, she realized there was more to be written, and spent the next five months doing exactly that. Moving to Palace Studios in Toronto with Graham Walsh (Alvvays, METZ, !!!), Bognanno and Mitchell recorded “Where to Start” and “Let You,” which proved to be two of the new album’s key tracks.

Ultimately, SUGAREGG is a testament that profound change can yield profound results — in this case, the most expressive and powerful music of Bognanno’s career. “This is me longing to see the bigger picture, motivated and eager for contentment in the best way,” she says. “I hope the happy go lucky / fuck-it-all attitude shines through some of these songs because I really did feel like I was rentering a place I hadn’t been to in a while and was excited to be back there.”

releases August 21st, 2020

2020 Sub Pop Records


The new album, produced by Sturgill Simpson, commits her sky-high and scorching rock-and-roll show to record for the very first time. Whether she’s singing of motherhood or the mythologies of stardom, Nashville gentrification or the national healthcare crisis, relationships or growing pains, she’s crafted a collection of music that invites people to listen closer than ever before.

Margo Price’s take on classic sounds is at once familiar and daring, an infectious blend of Nashville country, Memphis soul, and Texas twang.
On May 8th, Margo Price will release “That’s How Rumours Get Started”, an album of ten new, original songs that commit her sky-high and scorching rock-and-roll show to record for the very first time. Produced by longtime friend Sturgill Simpson (co-produced by Margo and David Ferguson), the LP marks Price’s debut for Loma Vista Recordings, and whether she’s singing of motherhood or the mythologies of stardom, Nashville gentrification or the national healthcare crisis, relationships or growing pains, she’s crafted a collection of music that invites people to listen closer than ever before.

Margo primarily cut That’s How Rumors Get Started at Los Angeles’ EastWest Studios (Pet Sounds, “9 to 5”). Tracking occurred over several days while she was pregnant with daughter Ramona. “They’re both a creation process,” she says. “And I was being really good to my body and my mind during that time. I had a lot of clarity from sobriety.”

While Margo Price continued to collaborate on most of the song writing with her husband Jeremy Ivey, she recorded with an historic band assembled by Sturgill, and including guitarist Matt Sweeney (Adele, Iggy Pop), bassist Pino Palladino (D’Angelo, John Mayer), drummer James Gadson (Aretha Franklin, Marvin Gaye), and keyboardist Benmont Tench (Tom Petty & The Heartbreakers). Background vocals were added by Simpson on “Letting Me Down,” and the Nashville Friends Gospel Choir, who raise the arrangements of “Hey Child” and “What Happened To Our Love?” to some of the album’s most soaring heights.


Margo Price and her steady touring band – Kevin Black (bass), Jamie Davis (guitar), Micah Hulsher (keys), and Dillon Napier (drums) – will perform songs from That’s How Rumors Get Started at dozens of shows with Chris Stapleton and The Head & The Heart this spring and summer, in addition to festival appearances and more to be announced soon. Find all dates here and below.

That’s How Rumors Get Started follows Margo’s 2017 album All American Made, which was named the #1 Country/Americana album of the year by Rolling Stone, and one of the top albums of the decade by Esquire, Pitchfork and Billboard, among others. In its wake, Margo sold out three nights at The Ryman Auditorium, earned her first Grammy nomination for Best New Artist, and much more.

Releases July 10th, 2020


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Soccer Mommy launches the Soccer Mommy & Friends Singles Series, with contributions from Jay Som, MGMT’s Andrew VanWyngarden, Beabadoobee and Sasami.

All net profits from Bandcamp sales of the Soccer Mommy & Friends Singles Series will be donated to Oxfam’s COVID-19 relief fund. Oxfam is working with partners to reach more than 14 million people in nearly 50 countries and the US to prevent the spread of the COVID-19 in vulnerable communities and support people’s basic food needs and livelihoods. Women and girls usually bear a disproportionate burden of care in a crisis like this one, and Oxfam has a proven record of helping women cope during and recover after these crises in ways that allow them to be safer and stronger than ever.

From June 11th onwards, net profits from Bandcamp sales of the Soccer Mommy & Friends Singles Series will be split 50/50 between Oxfam’s COVID-19 relief fund, and National Bail Out. National Bail Out is a Black-led and Black-centered collective of abolitionist organizers, lawyers and activists building a community-based movement to end systems of pretrial detention and ultimately mass incarceration.


Oxfam has an anonymous donor who will match every dollar raised by this series for their cause up to $5000, which will double the impact of your purchase.

soccer mommy & friends singles series vol. 3 is out now. we’ve got gentle dom (Andrew Van Wyngarden of MGMT) remixing “Circle the Drain” along with my cover of MGMT’s “indie rokkers”. pre-order the full series now to get vol. 1 with Jay Som, vol. 2 with Beabadoobee, and vol. 3 with Gentle Dom instantly and the final volume with SASAMI when it’s released on july 2nd. all Bandcamp net profits split between Oxfam and National Bail Out: ⁣

The Bandcamp net profits from the​ Soccer Mommy & Friends Singles Series ​were initially going entirely to ​Oxfam’s COVID relief fund​, but moving forward will be split between Oxfam and ​National Bail Out​ to help the important fight against police brutality and systematic racism. Oxfam has an anonymous donor who will match every dollar raised for them by this series, up to $5000, which will double the impact of your purchase.

Soccer Mommy & Friends Singles Series, Vol.3 – on Bandcamp now:

Vol. 3 – Gentle Dom (Andrew VanWyngarden of MGMT)  01. Jay Som – lucy 02. Soccer Mommy – I Think You’re Alright 03. Beabadoobee – If You Want To (demo) 04. Soccer Mommy – night swimming (demo) 05. Soccer Mommy – circle the drain (Gentle Dom – Andrew VanWyngarden of MGMT Remix) 06. Soccer Mommy – Indie Rokkers