Star Blue and The Sea Shells at The Last Record Store
Saturday February 15, 2020 2-4pm
FREE SHOW YAY !
NEW RELEASES out February 8, 2020 (now):
Meghan Trainor: Treat Myself
is the third major-label studio album by singer-songwriter Meghan Trainor. Treat Myself was preceded by the release of three singles, “No Excuses”, “Wave”, and “Evil Twin”, as well as the promotional single, “Workin’ On It”
Ke$Ha: High Road
is the 2020 album from the modern pop icon Kesha, and the follow up to her 2017 Grammy-nominated album Rainbow. High Road finds Kesha on a joyful musical journey of self-discovery. The album is filled with emotional and stylistic range, and is a blend of heavenly highs and emotional depths. Kesha’s swagger is front and center, with frisky, rap-based tracks that show-off her skills as a lyrical spitfire, and also a folkier side that emerges. With a dream-pop ode to a best friendship, a reflective ballad about growing up without a father, and plenty of lust and laughter, High Road traverses the emotional spectrum. For High Road, Kesha enlisted an eclectic roster of collaborators/songwriters/producers including John Hill, Dan Reynolds, Stuart Crichton, Jeff Bhasker, Drew Pearson, Brian Wilson, Sturgill Simpson, Nate Ruess, Justin Tranter, Stint, Wrabel, and Pebe Sebert, among others.
Lil’ Wayne: Funeral
Destroyer: Have We Met
Dan Bejar initially conceived of Have We Met as a Y2K album. He was already active during the era but not heard overhead in a cafe or salon, which is perhaps what the idea of the Y2K sound evokes nearly two decades later. Bejar assigned frequent producer and bandmate John Collins the role of layering synth and rhythm sections over demos with the period-specific Björk, Air, and Massive Attack in mind, but he soon realized the sonic template was too removed from Destroyer’s own, and the idea of a concept was silly anyway. So, he abandoned it and gave Collins the most timeless instruction of all: “Make it sound cool.” Atmosphere and loose approximations of a place or feeling are what we’ve come to expect from any new Destroyer record-certainly not an easily defined and stridently adhered to theme or concept. Have We Met manages to meet somewhere between those disparate Y2K reference points and Destroyer’s own area of expertise, gliding deftly into territory that marries the old strident Destroyer with the new, aged crooning one of late.
Drive-By Truckers: The Unraveling
Drive-By Truckers is kicking off the new election year with The Unraveling, their first new album in 3 1/2 years (the longest space between DBT albums ever). Those years were among the most tumultuous our country has ever seen and the duality between the generally positive state of affairs within the band and the turbulent world outside (or as Patterson Hood puts it: watching so many things we care about be decimated and destroyed) informed the writing of this album to the core.
Green Day: Father of All Motherfuckers
the thirteenth album from the five-time Grammy Award-winning rock trio. The album’s title is Father of All Motherfuckers. Keepin’ it classy! Formed in 1986 in Berkeley, CA, Green Day is one of the world’s best-selling bands of all time, with more than 70 million records sold worldwide and 10 billion cumulative audio/visual streams.
Stone Temple Pilots: Perdida
New album from the hard rock/grunge band. Perdida is the eighth studio album by Stone Temple Pilots. It is the band’s second album with lead vocalist Jeff Gutt. Perdida is a deeply personal album that weaves introspective lyrics and unexpected instruments together across 10 songs for an emotional and musical journey.
The Lone Bellow: Half Moon Light
The Lone Bellow’s album Half Moon Light is replete with the trio’s signature powerhouse harmonies, passionate performances, and honest songwriting. The 15-track album touches on personal topics like family, loss, overcoming struggle, and letting things go. The band expertly traverses several moods throughout the record, going from gentle, soothing lows to enormous, sweeping highs, and their musicianship shines through in each and every track.
Khruangbin + Leon Bridges: Texas Sun
Driving anywhere in Texas can cost you half a day, easy. For example, it’ll take you over four hours just to get from R&B singer Leon Bridges’ hometown of Fort Worth down to Houston, where the psychedelic wanderers in Khruangbin hail from. The state is vast, crisscrossed with rugged expanses of road flanked by limestone cliffs and granite mountains, forests of pine and mesquite, miles of desert or acres of sprawling grassland, all depending on what part you’re in. And it’s all baking under the Texas Sun that lends it’s name to Bridges and Khruangbin’s new collaborative EP. “Big sky country, that’s what they call Texas,” Khruangbin bassist Laura Lee says. “The horizon line goes all the way from one side to another without interruption. There’s something really comforting about that.” On Texas Sun, these two members of the state’s musical vanguard meet up somewhere in the middle of that scene, in the mythical nexus of Texas’ past, present, and future-a dreamy badlands where genres blur as seamlessly as the terrain. It calls equally to the cowboys boot-scooting at Billy Bob’s in Fort Worth, the chopped-and-screwed hip-hop fans rattling slabs on the southside of Houston, the art-school kids dropping acid in Austin, the cross-cultural progeny who grew up on listening to both mariachi and post-hardcore out on the Mexican borders of El Paso. All of these things, overlapping in a multicolored melange, purple hues as vivid and unpredictable as one of the state’s rightfully celebrated sunsets. A journey through homesick reminiscences, backseat romances, and late-night contemplations, the kind of record made for listening with the windows down and the road humming softly beneath you. Like the highways that inspired it, Texas Sun is guaranteed to get you where you’re going-especially if you’re in no particular hurry to get there.
John Moreland: LP5
Critically acclaimed and revered songwriter John Moreland is set to release his fifth solo album, LP5, on February 7th via Old Omens/Thirty Tigers. Produced by Matt Pence (Jason Isbell, The Breeders, Sarah Jaffe) at The Echo Lab, LP5 marks the first time that Moreland has worked with an outside producer. The elevated and brilliant production on LP5, provides a stunning backdrop for Moreland’s masterful and poetic lyrics, creating his most powerful work to date.
“In my dream, I’m in a large auditorium, surrounded by people.
They’re all looking at me-and that’s when I realize I’m completely naked”
thank you The New Yorker !