NEW RELEASES Out October 18 (now):
Big Thief: Two Hands
a completely new, fully-realized, 10-song album by Big Thief, will arrive just five months after their breakthrough U.F.O.F., one of the most acclaimed albums of 2019. In sharp contrast to the wet environment of the U.F.O.F. session, Two Hands had to be completely different- an album about the earth and the bones beneath it. The songs were recorded live with almost no overdubs. All but two songs feature entirely live vocal takes, leaving Adrianne’s voice suspended above the mix in dry air, raw and vulnerable as ever. Where U.F.O.F. layered mysterious sounds and effects for levitation, Two Hands grounds itself on dried-out, cracked desert dirt. Anybody who has borne witness to Big Thief in the wild will find songs they recognize here. Much of the album’s tracks (“The Toy”, “Those Girls”, “Shoulders”, “Not”, “Cut My Hair”) have been live staples for years. Two Hands has the songs that I’m the most proud of; I can imagine myself singing them when I’m old,” says singer/songwriter Adrianne Lenker. With raw power, intimacy, and honor, Two Hands folds itself gracefully into Big Thief’s impressive discography. This body of work grows deeper and more inspiring with each new album.
Kim Gordon: No Home Record
With a career spanning nearly four decades, Kim Gordon is one of the most prolific and visionary artists working today. A co-founder of the legendary Sonic Youth, Gordon has performed all over the world, collaborating with many of music’s most exciting figures including Tony Conrad, Ikue Mori, Julie Cafritz and Stephen Malkmus. Most recently, Gordon has been hitting the road with Body/Head, her spellbinding partnership with artist and musician Bill Nace. Despite the exhaustive nature of her résumé, the most reliable aspect of Gordon’s music may be it’s resistance to formula. Songs discover themselves as they unspool, each one performing a test of the medium’s possibilities and limits. Her command is astonishing, but Gordon’s artistic curiosity remains the guiding force behind her music. It makes sense that this “American idea” (as Gordon says on the agitated rock track “Air BnB”) of purchasing utopia permeates the record, as no place is this phenomenon more apparent than Los Angeles, where Gordon was born and recently returned to after several lifetimes on the east coast. It was a move precipitated by a number of seismic shifts in her personal life and undoubtedly plays a role in No Home Record’s fascination with transience. The album opens with the restless “Sketch Artist,” where Gordon sings about “dreaming in a tent” as the music shutters and skips like scenery through a car window. “Even Earthquake,” perhaps the record’s most straightforward track embodies this mood; Gordon’s voice wavering like watercolor: “If I could cry and shake for you / I’d lay awake for you / I got sand in my heart for you,” guitar strokes blending into one another as they bleed out across an unstable page. Front to back, No Home Record is an expert operation in the uncanny. You don’t simply listen to Gordon’s music; you experience it.
David Grisman’s Dawg Trio
Mandolin legend David Grisman reinvents himself yet again with an exciting new band – Dawg Trio featuring his talented son Sam on bass and Texas born banjo virtuoso, Danny Barnes, recipient of the 2015 Steve Martin Prize for Banjo.
Municipal Waste: The Last Rager
Virginia Metalheads Municipal Waste return with a fresh EP for fall 2019. It’s been few years and several hundred live shows since the Waste oozed out the much celebrated Slime and Punishment album. Back with 4 ripper tracks that embrace all the bands punk and street metal roots without clutching the past. That honest formula has led the Waste to innovate the festival scene with the opening track and party of the summer “Wave of Death”. Charged by the exotic and biting wit of vocalist Tony Foresta. Turbo charged by the dual guitar aggression of Ryan Waste and Nick Poulos. Locked in and ready for takeoff by rhythm section LandPhil Hall on bass and Dave Witte on Drums. Partiers, you’ve been taught the “Art” and now it is time for an advanced lesson. Thrashers on alert! Municipal Waste is delivering, The Last Rager.
Kendell Marvel: Solid Gold Sounds
Over the past two decades, Kendell Marvel has become one of the great legendary songwriters in Nashville. For years, he’s quietly written massive hits for Country royalty – from George Strait to Jake Owen, Gary Allan to Chris Stapleton – but now has stepped from behind the pen and paper into the studio and spotlight. The result is Solid Gold Sounds – a stellar album that weaves a rich tapestry of deep southern songwriting with the unique gravity and talent Marvel brings as a one-of-a-kind performer. On Dan Auerbach’s Easy Eye Sounds Record Label.
Jimmy Eat World: Surviving
the 10th album from the Mesa, Arizona-based rockers. Jimmy Eat World have already released nine studio albums, the last eight featuring the current lineup. Surviving is the follow-up to 2016’s Integrity Blues.
Mark Lanegan: Somebody’s Knocking
From the opening bars of “Disbelief Suspension” onwards, it’s clear that Somebody’s Knocking is an album made by someone deeply obsessed with how music – with all it’s primal, spiritual healing power – truly penetrates the soul. As a result, there’s joy in the music, as if created from a perfect set of inspirations smashed and grabbed from God’s own record shop. Some of the influences are oblique, others direct and fully respectful. From the Raw Power-esque garage metal grind of that opener to “Letter Never Sent’s” rocket-powered take on Love-era kaleidoscope-psych, through the pensive subterranean murk of “Dark Disco Jag” and on to “Playing Nero’s” sun-bleached riff on Joy Division’s “Atmosphere,” there’s the glee of infatuation running deep in the tracks.
Cody Jinks has 2 new albums !
After The Fire. Was released October 11. The Wanting was released on October 18th.
Jim James: The Order of Nature
The Order Of Nature presents a hypnotic meeting of the classical and folk-rock worlds with both classic and brand-new material by Jim James (lead singer of critically/commercially successful My Morning Jacket) and fused with Teddy Abrams’ inspired orchestrations with the Louisville Orchestra.
“Me Next !”
NEW RELEASES Out October 4 (now):
Wilco: Ode to Joy
the 11th studio album from pioneering Chicago-based alt-rock/Americana band Wilco. The album features 11 songs written and produced by Jeff Tweedy and recorded by Wilco at the bands’ own Chicago studio dubbed The Loft. The album is the follow-up to their 2016 album Schmilco and their self-imposed short hiatus. The album’s title comes from Jeff’s absolute determination to demand joy from life, no matter how dire the daily news is; his band and his songwriting are in peak form as you hear on this release.
Angel Olsen: All Mirrors
The descent into darkness is a trope we find time again across history, literature and film. But there’s also an abyss above. There’s a winding white staircase that goes ever upward into the great unknown – each step, each turn, requiring a greater boldness and confidence than the one before. This is the journey on which we find Angel Olsen. Olsen’s artistic beginnings as a collaborator shifted seamlessly to her magnificent, cryptic-to-cosmic solo work, and then she formed bands to play her songs, and her stages and audiences grew exponentially. But all along, Olsen was more concerned with a different kind of path, and on her vulnerable, Big Mood new album, All Mirrors, we can see her taking an introspective deep dive towards internal destinations and revelations. In the process of making this album, she found a new sound and voice, a blast of fury mixed with hard won self-acceptance. “In every way -from the making of it, to the words, to how I feel moving forward- this record is about owning up to your darkest side,” Olsen said. “Finding the capacity for new love and trusting change, even when you feel like a stranger. This is a record about facing yourself and learning to forgive what you see. It is about losing empathy, trust, love for destructive people. It is about walking away from the noise and realizing that you can have solitude and peace in your own thoughts, that your thoughts alone can be just as valid, if not more.”
Occupying the corners between fuzzed-out shoegaze bliss, troubadour poetry, and metallic catharsis, DIIV – Zachary Cole Smith [lead vocals, guitar], Colin Caulfield [vocals, bass], Andrew Bailey [guitar], and Ben Newman [drums] – personally inhabit the recesses of their third full-length album, Deceiver. A whirlwind brought DIIV here. On the heels of 2012’s Oshin, the group delivered the critical and fan favorite Is the Is Are in 2016. Praise came from The Guardian, Spin, Rolling Stone and more. Pitchfork’s audience voted Is the Is Are one of the Top 50 Albums of 2016, as the outlet dubbed it “gorgeous.” Simultaneously, frontman Zachary Cole Smith faced down seemingly dormant demons, and the momentum stalled. Two years after embarking on a program of recovery, Smith has emerged with a clear head and renewed focus. For the first time, DIIV lived with songs on the road. During a 2018 tour with Deafheaven, they performed eight new compositions as the bulk of the set. The tunes progressed as the players did. By the time DIIV entered 64 Sound to record with producer Sonny Diperri, the band felt a certain confidence. It’s evident on first single “Skin Game,” which gallops forth on a clean guitar riff before unfolding into a hypnotic hook offset by an off-kilter rhythm and hummable solo. “Being a recovering addict myself,” he says, “there are a lot of questions like, ‘Who are we? What is this disease?’ ‘Skin Game’ looks at where the pain comes from – the personal, physical, emotional, and broader political experiences feeding into the cycle of addiction for millions of us.” A trudging groove and wailing guitar punctuate a lulling apology on the magnetically melancholic “Taker.” For Smith, it’s “about taking responsibility for your lies, their consequences, and the entire experience.” Meanwhile, the ominous bass line and crawling beat of “Blankenship” devolve into schizophrenic string bends with the vitriolic lyrics. The seven-minute “Acheron” offers a dynamic denouement, flowing through a hulking beat guided under gusts of lyrical fretwork and a distorted heavy apotheosis. “We’re proud of this, because we earned it as a band,” Cole says. “I’m really happy and grateful just to do it in the first place. I can see the change. It’s not a record full of solutions, but I’m living my life. I’ve examined the consequences of my lies; I’ve got something to say now.”
The Avett Brothers: Closer Than Together
New release from The Avett Brothers, their tenth studio album overall and the fifth produced by Rick Rubin on his American Recordings label. Says Seth Avett: “We didn’t make a record that was meant to comment on the sociopolitical landscape that we live in. We did, however, make an album that is obviously informed by what is happening now on a grander scale all around us… because we are a part of it and it is a part of us. Closer Than Together is a record of obvious American origin – a creation that fittingly could only come about through hard work, measured freedom, awe-inspiring landscapes, and perfectly flawed individualism.”
Blood Orange: Angel’s Pulse
“My new record is called Angel’s Pulse & I performed, produced and mixed the entire thing myself. I’m calling it a mixtape. I have a habit through the years of making records that I just give to friends, or on tape to people on the street, or no one. Usually this material is made directly after the album I’ve just put out. Somewhat of an epilogue to the thing I’ve made before. This time… I decided to release it. I put as much work and care into it as I do with the albums I’ve released, but for some reason trained myself into not releasing things the rate at which I make them. I’m older now though, and life is unpredictable and terrifying… so here you go mates. Hope you enjoy. Catch you soon.”
Rob Ickes and Trey Hensley: World Full of Blues
Powerhouse acoustic duo Rob Ickes (Dobro) and Trey Hensley (guitar) move beyond the acoustic-centric sound of their previous two releases on WORLD FULL OF BLUES. Working with GRAMMY-winning producer Brent Maher, the topical album juices up their sound with Hammond B3 and a horn section, with plenty of grit and a nod to the rootsy side of Americana. The album was recorded live with minimal overdubs; guests include blues great Taj Mahal, who provides his unmistakable mojo to the title track, and country music legend Vince Gill, who joins the GRAMMY-nominated duo on an inspired rendition of The Grateful Dead’s moonshiner song, “Brown-Eyed Women.”
Old Crow Medicine Show : LIVE at The Ryman
Grammy Award-winning modern American roots band Old Crow Medicine Show present Live From The Ryman. Honoring the history and traditions of the legendary venue, Live From The Ryman captures the raucous energy of Old Crow Medicine Show’s performances, recorded throughout their many headlining shows on the hallowed ground of Nashville’s Mother Church. Featuring guest appearances by Lee Oskar, Margo Price, Charlie Worsham and Molly Tuttle, the 11-track collection incorporates a mix of covers and originals including traditionals like “CC Rider,” “Will The Circle Be Unbroken” and “Louisiana Woman, Mississippi Man,” to go along with OCMS classics like “Take ‘Em Away,” “Sweet Amarillo” and “Wagon Wheel.”
North Mississippi Allstars: Up and Rolling
A forgotten roll of film was found. Shot before the turn of the century, the photographs resonate with music. The images inspired an accompanying soundtrack. The music is full of stories. The songs and stories originate in two neighboring rural counties. The cast of characters includes four families of Mississippi musicians, three generations deep, and a photographer from Texas.’ – Luther Dickinson In 2017, Wyatt McSpadden found an old roll of film and tracked down members of North Mississippi Allstars to share his forgotten photographs. The images were so profound and so beautiful that they would come to inspire the latest recording, Up And Rolling. The images inspired the band to ask, ‘What did the music sound like that night in 96? What does Mississippi music sound like now? What would ideally be on the push button AM/FM radio as we drove thru the hills?’ The North Mississippi Allstars would return to the famous Zebra Ranch to record Up And Rolling, inspired by Wyatt’s images. They gathered together, trimmed back the wisteria, and swept out the converted barn recording studio. The fired up the tube amps and old computers and began conjuring up modern Mississippi music, ancient and futuristic all at once. Telling it how it was and how they think it should be. Up And Rolling is modern Mississippi. Transcending time and space, the music reaches out into the dark of night like the wisteria vine, looking for free hearted souls to latch onto and wedge into the foundation of hate, slowly tearing down walls a generation at a time.
Charli XCX: Charli
Pop futurist Charli XCX has returned with her highly anticipated third studio album Charli. The album is a collection of 15 songs and features the hit singles “1999” (featuring Troye Sivan) and “Blame It On Your Love” (featuring Lizzo). The album also features collaborations with Christine and the Queens, Haim, Sky Ferreria, Big Freida, Clairo and more.
Rachael & Vilray
Rachael & Vilray is the debut album by Lake Street Dive singer-songwriter Rachael Price and composer, singer, and guitarist Vilray. The twelve-song set features 10 originals by Vilray, along with two covers from the era that inspired him: Cuban composer Pedro Junco Jr.’s 1943 “Nosotros” and Milton Drake/Louis Atler’s “I Love the Way You’re Breaking My Heart,” first popularized by Peggy Lee. Price and Vilray, who began performing together in 2015, recorded the album with Lake Street Dive pianist Akie Bermiss, a rhythm section, and a small complement of horns, plus a guest performance from pianist Jon Batiste on “Go On Shining.” Dan Knobler, who had worked with Lake Street Dive on the Free Yourself Up album, produced.
Joshua Redman and Brooklyn Rider: Sun on Sand
The album comprises eight compositions from a suite by composer Patrick Zimmerli. Each piece in the suite, which premiered at London’s Wigmore Hall in 2014, represents a different expression of light. Bassist Scott Colley and drummer Satoshi Takeishi perform as well. Redman previously worked with Zimmerli when the latter created orchestral arrangements of Redman’s compositions for the 2013 Nonesuch album Walking Shadows.
Gabby Moreno & Van Dyke Parks: ¡Spangled!
Gabby Moreno ¡Spangled! Is a collaboration between Guatemalan-born singer-songwriter Gaby Moreno and American musician, songwriter, arranger, and producer Van Dyke Parks. The 10-song set celebrates the migration of song across the Americas and spans more than a century, including a bolero from Panama, a bossa nova from Brazil, and an elegiac ballad from the Southwest United States-Ry Cooder, John Hiatt, and Jim Dickinson’s “Across the Borderline,” performed with Cooder and Jackson Browne. The album also includes one of Moreno’s own songs as well as the previously released track “The Immigrants” by Trinidadian songwriter David Rudder
Chick Corea: Trilogy 2
Two CD set. 2019 live release. Chick Corea’s boxed set Trilogy was released in 2014, garnering international acclaim and two Grammy Awards (Best Jazz Instrumental Album and Best Improvised Jazz Solo). The stunning collaboration between Chick Corea, Christian McBride and Brian Blade left many critics, musicians and fans awestruck. Fortunately for us, these three virtuosos reunited for another tour in 2016, resulting in Trilogy 2 – twelve formidable tracks that raise the bar even higher.Two CD set. 2019 live release. Chick Corea’s boxed set Trilogy was released in 2014, garnering international acclaim and two Grammy Awards (Best Jazz Instrumental Album and Best Improvised Jazz Solo). The stunning collaboration between Chick Corea, Christian McBride and Brian Blade left many critics, musicians and fans awestruck. Fortunately for us, these three virtuosos reunited for another tour in 2016, resulting in Trilogy 2 – twelve formidable tracks that raise the bar even higher.