Music Releases 04-09-21
"Fearless was an album full of magic and curiosity, the bliss and devastation of youth. It was the diary of the adventures and explorations of a teenage girl who was learning tiny lessons with every new crack in the facade of the fairytale ending she'd been shown in the movies. I'm thrilled to tell you that my new version of Fearless is done and will be with you soon. It's called Fearless (Taylor's Version) and it includes 26 songs." - Taylor Swift. Includes 6 unreleased tracks.
The fifth album from Oklahoma-bred singer/songwriter Parker Millsap, Be Here Instead emerged from a wild alchemy of instinct, ingenuity, and joyfully determined rule-breaking. In a departure from the guitar-and-notebook-based approach to songwriting that shaped his earlier work, the Nashville-based artist followed his curiosity to countless other modes of expression, experimenting with everything from piano to effects pedals to old-school drum machines (a fascination partly inspired by the early-’70s innovations of Sly Stone and J.J. Cale). As those explorations deepened and broadened his musical vision, Millsap soon arrived at a body of work touched with both unbridled imagination and lucid insight into the search for presence in a chaotic world.
Rhiannon Giddens’ new album They’re Calling Me Home, recorded with Italian multi-instrumentalist Francesco Turrisi, will be released April 9 on Nonesuch Records. Giddens and Turrisi, who both live in Ireland when they aren’t on tour, have been there since March 2020 due to the pandemic. The two expats found themselves drawn to the music of their native and adoptive countries of America, Italy, and Ireland during lockdown. Exploring the emotions brought up by the moment, Giddens and Turrisi decamped to Hellfire, a small studio on a working farm outside of Dublin, to record these songs over six days. The result is They’re Calling Me Home, a twelve-track album that speaks of the longing for the comfort of home as well as the metaphorical “call home” of death, which has been a tragic reality for so many during the COVID-19 crisis.
With over 5,000 performances spanning four decades, 20 million records sold worldwide, and inducted into the Rock and Roll Hall of Fame, CHEAP TRICK is undoubtedly one of the most influential classic rock groups of the past 50 years. The band was formed in 1974 and while it has evolved throughout the years, CHEAP TRICK has continued to reach mainstream and critical success. Hits such as “I Want You To Want Me,” “Dream Police,” and “Surrender” have cemented the group as one of America’s top rock ‘n’ roll bands of all time.
In the midst of the thick New Orleans summer of 2017, Chris Lyons of garage punks Bottomfeeders found himself sitting on a small batch of songs that didn’t quite fit the fuzzed-out pileups of that band. The new songs were more chiming, driving but relaxed, full of little corners begging to be filled with classic pop harmonies and wayward country licks. He called in his trusted confidants: Bottomfeeders drummer and longtime musical partner Lucas Bogner—the two started playing music together at the tender age of 15—plus bassist Pete Campanelli, and Kunal Prakash (Jeff the Brotherhood) dug the songs and signed on, and the quartet started playing in earnest, hunkering down in the practice space.
By the time the band played its first gig in late 2018 at the opening of Nola’s ManRay Records, the songs had multiplied and the members of the newly christened Silver Synthetic had become genuine rock & roll craftsmen. In a world that doesn’t seem capable of swaying, Silver Synthetic’s self-titled debut shakes and boogies.
It makes sense that the band’s first gig was in a record shop ‘cause folks, this is record nerd-core in a major way, evocative of the LP's first golden era, as the late sixties oozed into the strange 1970s, with the requisite T-Rex stomps, Britfolk twists and turns, and dueling Verlaine/Lloyd guitars. It’s about warmth, and you can practically smell the gently glowing amp tubes on “In the Beginning,” which wafts along on a gust borrowed from Lou Reed’s beatific Coney Island Baby breeziness. With “Chasm Killer,” the boys lean into jammy heartland rock, almost approaching Silver Bullet Band territory at one point! Even when the band kicks into charging lean rock-n-roller, like on the Kinksy “Around the Bend,” there’s a laid-backness that allows more room for the spirit.
You could call Silver Synthetic rock & roll formalists, but the truth is they're more like minimalists, stripping away tired clutter and unnecessary bloat and just zooming in on the essential.
After releasing their outstanding 17th album 'Abolition of The Royal Familia' earlier this year, The Orb are back with further guest appearances on their remix album 'Abolition Of The Royal Familia - Guillotine Mixes' (April 2021). Including mixes from David Harrow, Moody Boyz, Youth, Violeta Vicci, Andy Falconer and more.
On April 9th, SPIRIT OF THE BEEHIVE will release their fourth album and Saddle Creek debut, ENTERTAINMENT, DEATH. The album signals new chapters for the band on multiple fronts, being the first to feature their new three-piece lineup, as well as the first to be entirely self-recorded and produced. Guitarist/vocalist Zack Schwartz and bassist/vocalist Rivka Ravede are now joined by new member Corey Wichlin, a multi-instrumentalist who relocated from Chicago to the band’s home territory of Philadelphia last year. Ever since their self-titled debut in 2014, they've developed a reputation for being your favorite band’s favorite band. Theirs is the music of immersion, of confrontation, the kind that makes a listener stop and wonder, “How are they even doing that?”
Recorded between the summer of 2019 and early 2020 in LA with acclaimed producer John Congleton, Sunflower is “definitely a milestone,” Maroney admits. “I’d be lying to say I didn’t feel a little bit of that. And why not let yourself enjoy it?” It’s also a gut-punch of fuzzy power chords (“Sinkin”) and genteel acoustics (“Cinnamon”); deftly-composed pop songs (“Freeway”) and hard-charging rockers (“Rollercoaster”). “I put all of myself into it,” Maroney adds of the 10-track LP. In retrospect, he adds, “I definitely have this sense of calmness now. I did what I was capable of doing and I’m just glad I was around my friends and my people to help me get to this point.”
The Pink Stones deliver a full serving of Peach State picked country-rock from Athens, Georgia with the release of their debut album, Introducing… The Pink Stones, via the New West Records imprint Normaltown Records. Mixing elements of classic cosmic country, raucous rock’n’roll and fresh humor and heartaches, The Pink Stones are authoring a new chapter in the annals of Cosmic American Music.
Luke Bryan will be releasing the Deluxe Edition of his #1 album- Born Here Live Here Die Here on April 9th. It will include 6 NEW tracks in addition to the 10 tracks from the standard version of the album. The includes 3- #1 Country Songs- “Knockin’ Boots”, “What She Wants Tonight”, “One Margarita”, and the current Top 5 Smash- “Down To One”. Luke will begin his fourth year as a judge on ABC-TV - American Idol with the new season premiering on Sunday, February 14th.
The Reverend Peyton's Big Damn Band are the greatest front-porch blues band in the world. They are led by Reverend Peyton, who most consider to be the premier finger picker playing today. He has earned a reputation as both a singularly compelling performer and a persuasive evangelist for the rootsy, country blues styles that captured his imagination early in life and inspired him and his band to make pilgrimages to Clarksdale, Mississippi to study under such blues masters as T-Model Ford, Robert Belfour and David “Honeyboy” Edwards. The band has built through their legendary live shows. Playing as many as 300 shows each year, the band has one of the most dedicated followings out there. This following is sure to eat up the band's latest offering, Dance Songs For Hard Times, a country blues record that was made the right way — two feet on the ground and both hands getting dirty.
ROADRUNNER: NEW LIGHT, NEW MACHINE is the new album from Brockhampton. The album features guest appearances by Danny Brown, A$AP Rocky, A$AP Ferg, Charlie Wilson, and JPEGMAFIA next to newcomers like Baird and fellow Corpus Christi rapper SoGone SoFlexy.
Following the commercial success of 2019's GINGER album, Brockhampton's lives were knocked off the tracks as the world shut down during the Covid pandemic. Over the following year, the members of the group found themselves further removed from each other than they had been since moving to Los Angeles together in 2016, each grappling with the weight of isolation, identity and unexpected personal loss. As fate would have it, the headwinds of 2020 served as a potent reminder of the strength of friendship. The new album's tone reflects the highs and lows of the period from which it was born -- both tragic and celebratory, built around the recurring theme of finding "the light" in your life. As such, ROADRUNNER: NEW LIGHT, NEW MACHINE is equal parts braggadocio and empathy -- the once young, wide-eyed boyband returns more self-aware and self-assured than ever before.
The creative process for ROADRUNNER also found the group opening its doors to a wider group of collaborators for the first time. The first track on the album, "BUZZCUT," features a show-stopping Danny Brown verse as well as vocals from in-house producer Jabari Manwa, who is stepping out as a vocalist and performer in 2021. The Brockhampton that emerges on ROADRUNNER: NEW LIGHT, NEW MACHINE is one working at the height of their powers and marks an important inflection point in the band's career.
Their self-titled debut album sounds less like a casual experiment than a band that has been playing together for years. With The Blips sharing lead vocals, guitar, and bass duties, this surprisingly cohesive and high energy album ranges from straight-forward garage rock to hit-and-run rockers to pop ballads with massive lead parts and gang vocals. They’ve even got a song called Wild Thing II. The Blips are Taylor Hollingsworth, Wes McDonald, Eric Wallace, and Chris McCauley.
What would it be like to be quarantined in Heaven? Jam City answers this question on his long awaited third album, inviting you to the beguiling world of Pillowland. Lounging spreadeagle between the bitcrushed psychedelia of Dream A Garden, and the bass-heavy, slow motion productions of the beloved Earthly mixtapes, come 10 scorched, carnivalesque hallucinations of Pop-Rock Fantasy that offer his strongest, wrongest work to date.
A loving tribute to Wilco from the November 2019 issue of Uncut magazine, this collection comprises 19 Wilco covers recorded by notable artists such as Courtney Barnett, Kurt Vile, Sharon Van Etten, Low, Cate Le Bon and Parquet Courts, including one previously released version of “Jesus, Etc.” by Norah Jones’ band Puss N Boots and one recently unearthed (but never released) cover of “Casino Queen” by Billy F Gibbons of ZZ Top fame. There is not a weak moment on this album and many outstanding ones. Sure to appeal to the rabid Wilco fan base, the CD which accompanied the magazine sold out quickly and is no longer available. The album also sold out on Record Store Day in September and is now being reissued in red vinyl.
Ohio alt-pop singer/songwriter Jetty Bones (Kelc Galluzzo) has released two new singles, “Taking Up Space” and “That’s All” in anticipation of her upcoming album ‘Push Back’. With a handful of independently released EPs and singles to her name, Jetty Bones has already racked up over 5 million streams across platforms and has toured with the likes of New Found Glory, The Wonder Years, Mayday Parade, The Maine, The Early November, Laura Stevenson, Mat Kerekes, and more. Galluzzo was most recently on a North American tour with Tiny Moving Parts in March when the COVID-19 pandemic hit, putting a temporary pause on plans for 2020.
TV Baby, the debut LP from Toronto power-pop act PONY, feels like it’s programmed from a different era. Driven by vocalist/guitarist Sam Bielanski’s sharp vocal tones and flashy, driving rhythm, the band combines cheeky 1980s style with 1990s self-reliance and modern production sheen for an experience caught between worlds. It’s hooky and vibrant, but don’t mistake exuberance for extroversion. TV Baby is an album dedicated to the indoor cats, the introverts, and those who value their independence above anything else. Bielanski, along with close friends Matty Morand (Pretty Matty) and Lucas Horne, have taken a piecemeal approach to worldbuilding here. They’ll take you to the band computer, where Sam’s frantically typing symptoms into a search bar into “WebMD,” where body horror meets sugar-rushed guitars. Next comes a thorny survey of the “Furniture,” fuzzy and scuff-marked, before letting you crash on the “Couch,” a pop-punk ode to discovering new parts of yourself while the world rolls past. When others are present in this internal monologue, like those hurt and driven to “Cry,” they’re greeted with the same maximalist pop-rock. In PONY’s gig economy, riffs beat out the rearview mirror. Saddle up alongside them and your joyride is guaranteed.
"Waiting For Good Luck" is the fifth full-length album from British hard rockers The Treatment. Showcasing an intense sonic power only hinted at thus far, The Treatment is truly firing on all cylinders now. A first listen will instantly reveal hulking riffs and memorable choruses and further listens reveal more and more as the listener delves into this love letter to hard rock. "Waiting for Good Luck" truly is a classic album in the making.
Produced by UK rock maestro Laurie Mansworth (Airrace) and mixed by Kevin Shirley (Iron Maiden, Led Zeppelin, Black Country Communion, etc.), "Waiting for Good Luck" is The Treatment's second album featuring Tom Rampton on vocals and the first one with the new bass player Andy Milburn. Rampton's raspy, whisky-soaked vocal style suits the band's driving, hard rock style perfectly and the results of him having toured with and gelled further with the band can really be heard distinctly here.
A magnificent slice of groove-laden, fist-pumping, unapologetic rock 'n roll anthems, which showcase a band hungry for more and showing no signs of slowing down, "Waiting For Good Luck" is the most realized offering yet from The Treatment.
"We honestly all believe this album is a huge step forward for The Treatment and we can't wait for you to hear it. We will be touring as soon as circumstances will allow us and we look forward to seeing all you Treatment troops at our shows next year," says the band.
The Treatment formed in 2008 in Cambridge, England. Their debut album, "This Might Hurt" was released in 2011 and followed by "Running With The Dogs" (2014), "Generation Me" (2016), and "Power Crazy" (2019). The band has toured with KISS, MĂ¶tley CrĂĽe, Steel Panther, Thin Lizzy, and Alice Cooper, just to name a few, as well as appearing at massive rock festivals like Download and Sonisphere.
Tom Rampton - Vocals
Dhani Mansworth - Drums
Tagore Grey - Guitars
Tao Grey - Guitar and Bass Guitar
New 3 track EP from Show Me The Body. The band recently recorded these songs in their rehearsal space in Long Island City, NY, with two bold and genre bending collaborators, Patrick Berger and Arthur Rizk. These are some of the most potent songs the band has written, and they've really identified their sound with the strength of these recordings. The guys are classic hard core with modern vision. Limited Edition. 10" black vinyl EP.
Second album from Sweet Oblivion, the project centered around former Queensr˙che vocalist Geoff Tate. Aldo Lonobile (Secret Sphere, Archon Angel, Timo Tolkki's Avalon) oversees production and is joined by a stellar cast of Italian musicians. Sonically, as with the debut, this album sees Geoff singing songs reminiscent of the classic Queensr˙che era.
The End Machine are back with their second album, "Phase2," which follows on the heels of their well-received and successful self-titled debut album released in 2018. Features former classic lineup Dokken members George Lynch and Jeff Pilson with the awesome singer Robert Mason (Warrant, Lynch Mob) on lead vocals. Classic Dokken drummer Mick Brown handled drums on the first album, but is now retired, so in his place behind the drum kit is none other than his brother Steve Brown.
Ricky Byrd, Rock and Roll Hall Of Fame Inductee (2015 with Joan Jett and the Blackhearts), originally released Sobering Times (Kayos Records) in September 2020. Initially available as a limited release on RickyByrd.com, Sobering Times will now be distributed worldwide to retail outlets and digital platforms via a new partnership with BFD / The Orchard. The lead-off single “Together” was dubbed The Coolest Song In The World in Little Steven’s Underground Garage in December 2020.
A slice of Rock ‘n’ Roll with a message of recovery, Sobering Times connected with listeners in unprecedented ways. With the COVID-19 lockdown proving to be an unexpected hurdle for those struggling with addiction; many fans reached out to Byrd, stating the album inspired them to stay clean and sober while weathering the pandemic, through his honest reflections of the depths of addiction and triumphs of recovery.
Byrd delivers this message through straight-ahead three-chord Rock ‘N’ Roll. On Sobering Times, he enlisted the help of several of his fellow rock brethren: Willie Nile, Liberty DeVitto, Steve Holley, Thommy Price, co-producer Bob Stander, Rich Pagano, Jeff Kazee, and Christine Ohlman.
ManDancing is well aware of the space they’ve taken up. Debut album Everyone Else and brisk follow-up Hands on 3 remained hyperfocused on their Jersey hometown landmarks—ditched house shows, a recycling bin overflowing with crushed cans, the hypnotic pull of the Atlantic. Yesterday’s version of the band stood largely tethered to vocalist and rhythm guitarist Stephen G Kelly’s transformative anguish. Songs wrapped around his rapturous vocals, combusting and climbing in sync with his shouts. The Good Sweat, the band’s sophomore LP, showcases the fruits of collaborative effort, catharsis, and closure for some of the most affecting, well-rounded moments in a catalog of layered character work. When given space to grow, the quintet multiplies their most engrossing elements. While maintaining much of the nylon-string nuance that gained them comparisons to Bright Eyes and Manchester Orchestra, The Good Sweat is propulsive and noisy by design. Drummer Tom DeVinko is frenetic and anxious in moments like “Coffer,” where percussion and acoustic noodlings tangle together in anthemic knots. “Hey Friends,” a measured ninety seconds spent gasping for air, uses DeVinko’s drums to signal shifts in Kelly’s desperate narration. Even when drums aren’t the focal point of these expanded arrangements, there’s enough varied geography here to match the album’s two-year songwriting period. Sometimes it’s literal, like “RJW,” where Kelly’s imagined rivers, jungles, and waterfalls create a humid backdrop for angled guitars and speared vocal takes. Sometimes this terrain is implied, like the spiraling ambience of instrumental “Poplar Mobus” or the maze of outsized confusion circling through “Glovesweat.” Either way, the journey is harrowing, heart-rending, but deeply gratifying. .