CIMS In The Groove
U.F.O.F., F standing for ‘Friend’, is the name of the highly anticipated third record by Big Thief, set to be released by 4AD on May 3rd. The New York-based band, featuring Adrianne Lenker (guitar, vocals), Buck Meek (guitar), Max Oleartchik (bass), and James Krivchenia (drums), has spent the last 4 years on an incessant world tour, winning the devotion of an enthusiastic and rapidly expanding audience. Their songs represent an emotional bravery and realness that weaves intimate relationships with the listener, a phenomenon that has made them one of the most widely-respected bands of the current era. Their first two back-to-back releases, Masterpiece (2016) and Capacity (2017), have been analysed, wept to, danced to, critically applauded, imitated, hummed idly, and shouted out loud. They have soundtracked crowded restaurants, difficult conversations, cowboy bars, yoga classes, night drives, and lonely bedrooms. U.F.O.F. was recorded in rural western Washington at Bear Creek Studios. In a large cabin-like room, the band set up their gear to track live with engineer Dom Monks and producer Andrew Sarlo, who was also behind their previous albums. Having already lived these songs on tour, they were relaxed and ready to experiment. The raw material came quickly. Some songs were written only hours before recording and stretched out instantly, first take, vocals and all. Others were explored in search of perfected moments of dynamic feedback and spiritual, rhythmic togetherness. A careful New Age sprinkle of mystical textures and stabs was added and kept in the mix only when all agreed that each element had become absolutely crucial to the tune. The completed palette feels classic, upfront and honest, with an occasional, welcome glimpse into the magic box.
If you distilled California into soundwaves and vibrations, it might resemble the sonic and spiritual interplay of the Los Angeles quintet Local Natives. VIOLET STREET revels in its stylistic eclecticism ranging from kinetic and propulsive pop (“When Am I Gonna Lose You”) to sun-drenched grooves (“Cafe Amarillo”) and stark emotive ballads (“Tap Dancer”). Produced by Shawn Everett (Kacey Musgraves, War On Drugs, Alabama Shakes), their 4th full length album proves to be their most diverse and mature set of tunes, from production through song writing.
4-panel gatefold wallet w/ lyrics booklet
The Mountain Goats are John Darnielle, Peter Hughes, Jon Wurster, and Matt Douglas. They have been making music together as a quartet for several years. Three of them live in North Carolina and one has moved back to Rochester. Their songs often seek out dark lairs within which terrible monsters dwell, but their mission is to retrieve the treasure from the dark lair & persuade the terrible monsters inside to seek out the path of redemption. As Axl Rose once memorably asked, in the song “Terrible Monster”: “what’s so terrible about monsters, anyway?” This is the question The Mountain Goats have been doggedly pursuing since 1991. They will never leave off this quest until every option has been exhausted. Thank you.
Steve Earle was nineteen and had just hitchhiked from San Antonio to Nashville in 1974. Back then if you wanted to be where the best songwriters were you had to be in there. Guy Clark had moved to Nashville and if you were from Texas, Guy Clark was king.
Flash forward more than forty years. In the fall of 2018, Steve and The Dukes went into House Of Blues studio in Nashville and recorded GUY in six days. 'I wanted it to sound live...When you've got a catalog like Guy's and you're only doing sixteen tracks, you know each one is going to be strong.'
Earle and his current, perhaps best-ever Dukes lineup, take on these songs with a spirit of reverent glee and invention. But in the end GUY leads the listener back to its beginning, namely Guy Clark, which is what any good 'tribute' should do. GUY is a saga of friendship, its ups and downs, what endures. We are lucky that Earle remembers and honors these things, because like old friends, GUY is a diamond.
Honk is the brand-new Best Of compilation album featuring the biggest hits and classic cuts from every Rolling Stones studio album from 1971 to 2016’s Blue & Lonesome. The Deluxe 3CD collects 36 essential Stones’ tracks on the first two discs – including eight Top 10 singles, “Brown Sugar,” “Tumbling Dice,” “Angie,” and much more. The third disc includes 10 live tracks recorded during the band’s more recent sold-out tours and feature guests like Florence Welch, Dave Grohl, Brad Paisley and more.
Josh Ritter is returning this year with a new full-length, his tenth studio LP and follow-up to 2017’s Gathering. The Americana songwriter’s latest album, Fever Breaks, spans 10 tracks recorded at Nashville’s RCA Studio A over the second half of the past year. Jason Isbell produced the effort, which features his band The 400 Unit playing backup. It’s an exciting confluence of talents, and the promised chemistry bears out on the album’s gritty lead single “Old Black Magic”.
2019 release, the debut album from award-winning guitar virtuoso Molly Tuttle. An insightful, gifted songwriter who was crowned "Instrumentalist of the Year" at the 2018 Americana Music Awards on the strength of her EP Rise, Tuttle has broken boundaries and garnered the respect of her peers, winning fans for her incredible flatpicking guitar technique and confessional songwriting. Graced with a clear, true voice and a keen melodic sense, the 25-year-old seems poised for a long and exciting career. When You're Ready, produced by Ryan Hewitt (The Avett Brothers, The Lumineers), showcases her astonishing range and versatility and shows that she is more than simply an Americana artist.
With a career spanning two decades and 11 releases, L.A. hip hop duo People Under the Stairs bid farewell with their final LP. Their unique style is on full display; lyrically dense spliced with vintage boom bap. Self produced, self recorded and NO features but with multiple instrumentalists to supplement their trademark dusty breaks. Gatefold CD in case with artwork by @drewtoonz
Audiences from Manchester to Melbourne, London to Los Angeles, Newcastle to New York, and everywhere in between have been engulfed by the swell of eager sentiment propelled from a vociferous fanbase. Catfish and the Bottlemen possess a magnetic and dynamic focal point in McCann, renowned for posing everyday, easilyidentifiable observations through his lyrics.
Bells Atlas is a psychedelic R&B band from Oakland, California. Their thoughtful, textured sound has consistently answered the call for something new and refreshing. Bells Atlas has shared the stage with Hiatus, Kaiyote, Badbadnotgood, Meshell Ndegeocello, Bermuda Triangle, and tours with NPR’s Snap Judgement. Band members Sandra Lawson-Ndu, Douglas Stuart, Geneva Harrison, Derek Barber, and Steven Blum carve through musical genres to create their own stylings-- and the result is a buoyant, soulful sound that is unique yet accessible. The band’s latest offering the mystic digs further into their soulful aesthetic to explore both sound and storytelling. It began with the musicians stumbling upon a new process for songwriting, of which included sampling grainy phone recordings of the bands drummer. The spontaneity and even humour that came from that process elevates Bells Atlas’ already distinct approach to music, resulting in the mystic’s raw, cosmic sound that is mirrored in its lyrics. The record is on one hand, a sci-fi fantasy of two first-generation Nigerian American women coming to terms with a mental health diagnosis; on the other hand, a very universal exploration of how we make sense of reality. “It’s about a truth seeker and a skeptic trying to make sense of what’s mystical and what’s clinical,” frontwoman Sandra Lawson-Ndu says. The listener is made to consider the possibility of magic. Is it possible, for instance, that someone who navigates the world differently may have a deeper understanding of the universe? Is it possible that we all have some kind of obstructed view on our environment? With deep emotionality and levity, the music of Bells Atlas is a tool to explore the full dimension of our reality.
Father of the Bride is the highly anticipated new album from Vampire Weekend, and is the band’s fourth full length release. It is the follow up to 2013’s Modern Vampires of the City, which won the Grammy for Best Alternative Music Album in 2014.
Father of the Bride is produced by founding band member Ezra Koenig, and Ariel Rechtshaid (Adele, Madonna, Charli XCX, Usher, HAIM, Solange, and others). The album features 18 songs, with an array of collaborations yet to be revealed. 6 of the songs from Father of the Bride will be released ahead of the full album.
Inspired by the boundary-pushing production, rhythm, and pastiche of hip-hop, classic beat-infused rock like Talking Heads, Blondie, and The Police, and danceable indie music like Gorillaz and St. Vincent, House on Fire is the debut album from Kansas City's Hembree. One of NPR's Spotlight Artists to Watch and Rolling Stone's 'Best Artists We Saw at SXSW.'
Bad Religion began in the sprawling suburbs surrounding Los Angeles, with the teenage punks offering an impassioned counterpoint to a culture of consumerism and anti-intellectualism. Founding members Greg Graffin, Brett Gurewitz, and Jay Bentley were eventually joined by guitarists Brian Baker of Minor Threat, Mike Dimkich of The Cult, and drummer Jamie Miller of …And You Will Know Us by the Trail of Dead. Bad Religion have been highly influential force in modern punk, producing beloved international hits like “Infected,” “21st Century (Digital Boy),” and “Sorrow,” and building a devoted worldwide following.
Bad Religion are set to release their new album Age of Unreason, which can be described as "a musical manifesto on the current political landscape.” In a world still brimming with rampant anti-intellectualism, inequality and oppression, the band’s signature brand of sonically charged humanist dissent seems as relevant as ever.
This Wild Willing is Glen Hansard’s fourth solo album. Written and created in Paris, France with a band of brothers; new friends and old, more than 24 musicians collaborating on the album. From his partners in The Frames (Joe Doyle) and Swell Season (Marketa Irglova & Joe Doyle), to his touring family of players , to three Iranian brothers he met in Paris (the Kroshravesh brothers) , Glen brought together a group of global talents who each left an indelible mark on this recording. “It became quickly apparent in the studio we were onto something interesting. I was finding new ways into the existing songs and we were improvising new ideas every day. When you surround yourself with great musicians and do your best to keep up, stay loose, give little direction, and allow everyone to bring what they bring, something transformative may happen. This collection of songs is mainly made up of those that came through while improvising and following the melodic lines and threads. Sometimes when you take a small musical fragment and you care for it, follow it, and build it up slowly, it can become a thing of wonder. In this sense, some of these songs weren’t written in the traditional form; they were ideas followed to a conclusion. I want to thank all these great musicians for coming and giving these songs their best. All a song wants is to be heard. I hope something in this music can be of use to you. I know it’s been of great use to me to make it. Beauty is in the ear of the behearer.”
Joy Williams is a singer-songwriter from Santa Cruz, CA who now lovingly calls Nashville, TN home.
Formerly of four-time Grammy Award-winning Folk, Country and Americana duo The Civil Wars, Joy recently recorded her forthcoming solo album, Front Porch, produced by Kenneth Pattengale of The Milk Carton Kids.
Following the recent birth of her second child, Joy is steadily performing new music from Front Porch live in advance of the album’s release on May 3rd.
Judah & the Lion return with their third album, Pep Talks, following their widely successful Folk Hop n’ Roll and their breakout hit, “Take It All Back.” The album is a mature step for the band, and blends uplifting, powerful anthems with more contemplative and emotional tracks. The album includes “Over my head” and “Quarter-Life Crisis” and features Kacey Musgraves and Jon Bellion.
Brian Fennell is a student of simplicity. As SYML (pronounced "simmel"), which translates to "simple" in Welsh, Fennell writes emotive songs that capture the ethos of his musical persona. Ultimately his songs are a kind and truthful depiction of emotion grounded by his gut-wrenching vocal delivery. This is SYML’s debut album.
Like many important bands, Seattle quartet Versing got their start in college radio—Tacoma's KUPS. The group's main songwriter/guitarist/vocalist Daniel Salas served as alternative music director there, where he met guitarist Graham Baker, drummer Max Keyes, and bassist Kirby Lochner. Now Versing are poised to spread their coolly combustible brand of rock on those said airwaves...and beyond if the world knows what's good for it. Baker, Keyes, Lochner, and Salas have risen through Seattle's competitive rock ecosphere with nonchalant élan. They cheekily titled a previous album Nirvana, but never mind the bleach: Versing isn't emulating Sub Pop's most famous artist. Rather, these four twentysomething aesthetes are forging an exciting sound that finds a golden mean between lustrous noise and ebullient melody. With Versing, songwriting is obviously crucial, but much of the pleasure in 10000 comes from its guitar textures. They're swarming, yet also spiky and agile. Gently chiding the Seattle music scene's self-seriousness while acknowledging Versing's playfulness and irony, Salas says, “There's a 'let's just fuck around and see what comes out,' aspect of what we do, which I think is uncommon for Seattle bands.” Versing's freewheeling attitude has paradoxically resulted in 10000, an engrossing album that's impossible to feel ambivalent about.
Live At The Observatory was recorded on 9/8/18 at the sold out kick-off show for the band’s Hypochondriac album tour. The San Diego based band will be supporting the live album with performances at the Coachella Music & Arts Festival (Indio, CA) in April, and additional tour dates to follow. The live record features tracks from the band’s entire catalog including five tracks from their 2018 album Hypochondriac. A must have any fan of The Frights!
Rodrigo y Gabriela are ready to embark on the next chapter of their remarkable story, with the release of their first studio album in 5 years. The new album, Mettavolution, will be released April 26 via ATO Records.
Three years in the making, Mettavolution brings together Rod and Gab's passionate interest in Buddhism, the history of human evolution and the liberation of the potential we have as a species; all expressed through the medium of two acoustic guitars. Conceived and composed in their studio in Ixtapa on the Mexican Pacific Coast, then road-tested in South America and the USA in 2017, a long list of new material has been distilled down to six new Rodrigo y Gabriela compositions and one audacious, jaw-dropping cover song.
Recorded in Los Angeles, producer Dave Sardy, -- best-known for his work with Oasis, LCD Soundsystem, A Perfect Circle and Band of Horses -- has helped Rod and Gab to a new recording career pinnacle.
Through her folkloric mystique, otherworldly psychedelia, and a dash of enigmatic punk, Ahomale by Combo Chimbita catapults the sacred knowledge of our forebears into the future. Their second studio album and Anti- Records debut sees the visionary quartet drawing from ancestral mythologies and musical enlightenment to unearth the awareness of Ahomale, the album’s cosmic muse. Comprised of Carolina Oliveros’ mesmeric contralto, illuminating storytelling and fierce guacaracha rhythms, Prince of Queens’ hypnotic synth stabs and grooving bass lines, Niño Lento’s imaginative guitar licks, and Dilemastronauta’s powerful drumming, the lure and lore of Combo Chimbita comes into existence. Rooted in Colombia and based in New York, Combo Chimbita lives in the future. After playing together for years, these first-generation New Yorkers began experimenting with different traditional musical styles during their late night residencies at Barbès in Brooklyn. Exploring the connections between visual identity and improvisational long-form trips, Combo Chimbita came together as a four-piece band after they started encouraging more vocals by Carolina Oliveros, who tightens the rhythm with her guacharaca.
There are two phases of The Dream Syndicate. There was the band with revolving lineups that existed from 1982 to 1988 and made four albums including The Days of Wine and Roses and have influenced bands and delighted fans in the years since. And then there’s the band that reunited in 2012 and is closing in on its seventh year with nary a lineup change. This 21st Century version of the Dream Syndicate released How Did I Find Myself Here in 2017 to universal acclaim, no small feat for a band reuniting after almost three decades. With that reintroduction and a full year of touring behind them, the Dream Syndicate had the freedom to take it all somewhere new, to dig a little deeper, get outside of themselves a little bit. Their new album ‘These Times’ feels like a late-night radio show that you might have heard as a kid, drifting off into dreams and wondering the next morning if any of it was real. So, what does it sound like? If How Did I Find Myself Here was a 10 pm record, all swagger and cathartic explosion, then These Times is the 2 am sibling, moodier and more mercurial, the band acting as DJs of their own overnight radio station, riffing on an idea of what a Dream Syndicate album could be at this moment in time. It is Radio DS19. So, what’s it all about? Founder and singer/guitarist/songwriter Steve Wynn says, “These Times. That’s it. It’s all we’re talking about, all we’re thinking about. There’s no avoiding the existential panic of a world that’s hurtling somewhere quickly and evolving and shifting course by the hour. It seems like a lie to not address or reflect the things that we can’t stop thinking about—the whole world’s watching indeed.”
I Am Easy To Find is The National’s eighth studio album and the follow-up to 2017’s GRAMMY®-award winning release Sleep Well Beast. A companion short film with the same name will also be released with music by The National and inspired by the album. The film was directed by Academy Award-nominated director Mike Mills (20th Century Women, Beginners), and starring Academy Award Winner Alicia Vikander. Mills, along with the band, is credited as co-producer of the album, which was recorded at Long Pond, Hudson Valley, NY with vocal contributions from Sharon Van Etten, Brooklyn Youth Chorus, Lisa Hannigan, Mina Tindle and more. On September 3, 2017, director Mike Mills emailed Matt Berninger to introduce himself and in very short order, the most ambitious project of the National’s nearly 20-year career was born and plans for a hard-earned vacation died. The Los Angeles-based filmmaker was coming off his third feature, 20th Century Women, and was interested in working with the band on...something. A video maybe. Berninger, already a fan of Mills’ films, not only agreed to collaborate, he essentially handed over the keys to the band’s creative process. The result is I Am Easy to Find, a 24-minute film by Mills starring Alicia Vikander, and I Am Easy to Find, a 68-minute album by the National. The former is not the video for the latter; the latter is not the soundtrack to the former. The two projects are, as Mills calls them, “Playfully hostile siblings that love to steal from each other”—they share music and words and DNA and impulses and a vision about what it means to be human in 2019, but don’t necessarily need one another. The movie was composed like a piece of music; the music was assembled like a film, by a film director. The frontman and natural focal point was deliberately and dramatically side staged in favor of a variety of female voices, nearly all of whom have long been in the group’s orbit. It is unlike anything either artist has ever attempted and also totally in line with how they’ve created for much of their careers.
Lewis Capaldi will release his debut album — Divinely Uninspired to a Hellish Extent – on May 17th via Capitol Records, featuring the top 10 UK single “Someone You Loved” which Idolator predicted “Is Going To Be Big…It goes without saying that he’s One To Watch.” TIME said, “Lewis Capaldi has the kind of deep, textured voice that you could listen to for hours. He finds expressive rough edges, then smooths them out into the sweetest of notes.”
Capaldi was hailed as a 2018 Vevo DSCVR Artist To Watch, longlisted for the BBC Sound Of 2018 Poll, and won Breakthrough Artist of the Year honors at the Scottish Music Awards. He has toured with Rag’n’Bone Man, Niall Horan, and Sam Smith, and performed at such festivals as Lollapalooza, Bonnaroo, Firefly, Mountain Jam, Splendour in the Grass, Fuji, and Osheaga. Capaldi was recently nominated for the BRIT Awards 2019 Critics’ Choice award and named an MTV UK PUSH Ones To Watch artist.
Love is everyday magic. Thats the impression you get listening to Water, the new album by Chicago trio Dehd. Veterans of Chicagos increasingly fruitful DIY scene Jason Balla ( Ne-Hi and Earring) Emily Kempf (Vail and formerly with Lala Lala) and drummer Eric McGrady share a strange and inexplicable chemistry. Love rises up into the atmosphere like steam off a summer sidewalk and makes you wild. Love breaks your heart and you consider yourself lucky for it. Like water itself, it surrounds us, it supports us; its what were made of. It takes the shape of its container. The music is hazy and reverb-drenched, a scuzzy and hyped-up take on surf rock that could only come from the Third Coast. Its all animated by the red-lining feel-good spirit of the Velvet Undergrounds Loaded and the breezy melodicism of C86-era indie rock, with a dash of the Cramps spooky-hop bop courtesy of McGradys locomotive drumming.Its a clear-eyed look at the wild nature of everyday life thats been spun up in sugary sweet melodies and scratched-crystal sounds. More than anything, its the embodiment of Dehds m.o. from the start: As Kempf puts it, Work with what you have and make it magical.
The sentiments of triumph and tragedy on LAUNCH FLY LAND, are universal and DREAMERS are happy to have come out on the other side with these songs serving as an affirmation of the experience. "We can't wait to get out on the road and share these songs with people," Wold summarizes. "In the end, that's what this is all about."
With a true brotherhood that comes from growing up together, indie rock band Ona merge all their musical history for their second album, Full Moon, Heavy Light. The band shares its name with a small town just outside of their home base of Huntington, West Virginia. All five band members of Ona were raised in the area, with a couple of guys knowing each other since grade school. The band agreed on their name after Jenkins happened to wear an Ona Little League ball cap to rehearsal. Ona unique has their sound stands apart from the country and bluegrass heritage that the West Viriginian state is known for. Explained in part by Nolte I grew up in the woods, but my dad only listened to glam rock, so sometimes it s hard for me to identify with the quintessential West Virginia image, The new record was produced by Drew Vandenburg (Of Montreal, Futurebirds, Deerhunter) and is the first signing on Tyler Childers' Hickman Holler Records.
On Age Hasn't Spoiled You, the Toronto post-punks, Greys, eschew their trademark frenzy for a more cerebral and cinematic affair. What results is a richly textured experience that draws influence from krautrock, industrial, hip hop, dub, jazz, ambient, drone and more, sometimes within the same song. That their blend of disparate sounds never obscures the album’s sharp focus is a testament to the group’s mastery of both songwriting and production. This is evident on lead single "These Things Happen," which jumps from big beat psychedelia to CSNY harmonies and back again while Jiwani considers privilege, apathy, drug use, and content fatigue in one verse. With Age Hasn’t Spoiled You, Greys strive to exist in a similar echelon of bands that seek to shatter the boundaries that contain them.
Hear ye, hear ye! Roll up, roll up! Welcome to Wheeltappers and Shunters! After an unprecedented seven year break, Clinic, Liverpool’s cherished post-punk pop experimentalists return with album number eight. The unusual name is taken from the long-forgotten 1970s ITV variety show The Wheeltappers and Shunters Social Club, compered by Bernard Manning, which recreated the smoky, boozy atmosphere of Northern working men's clubs for a sofa-bound audience. This album is neither a celebration nor a denigration of the culture of the era in which Blackburn and his collaborator-in-chief, Hartley, grew up. “It’s a satirical take on British culture - high and low,” explains Blackburn. “It fascinates me that people look back on the 1970s as the glory days. It’s emerged that there was a darker, more perverse side to that time. When you look back on it now it was quite clearly there in mainstream culture.” The album was recorded last year in founding band member Hartley's Liverpool studio, before they brought in Dilip Harris (King Krule, Sons Of Kemet, Mount Kimbie) to mix it. “We thought it felt right to make a fun, dancefloor album in these dark and conservative times,” Blackburn continues. Fun, sure, but this is Clinic – their brand of fun oozes with menace. The Great Britain that Clinic are evoking is not that ancient, bucolic past of village green cricket, half a mild and hanky-waving Morris Dancers that many seem so determined that the country should return to, but a rather more sleazy past. Clinic’s reverie is for a time when Blackpool was the pleasure capital of the kingdom and the public was kept entertained by travelling circuses and the dirty glamour of the funfair; tacky end of the pier merriment and enforced fun at Butlins; when bell-ringing town criers bellowed their nonsensical broadsides into the ether. For most bands about to enter their third decade as an entity the well would be running dry, but eight albums in and Clinic still retain the ability to surprise. Clocking in at just over 28 minutes, Wheeltappers and Shunters is an absolute blast, rich in detail and sonic intrigue, those precious minutes stuffed with ideas.