In The Groove
Medicine at Midnight is the new album from Foo Fighters, and packs nine new songs into a tight-ass 37 minutes. This collection includes the smoldering new single, “Shame Shame.” Medicine at Midnight is produced by Greg Kurstin and Foo Fighters, and is the band’s 10th album.
Foo Fighters are Dave Grohl, Taylor Hawkins, Nate Mendel, Chris Shiflett, Pat Smear, and Rami Jaffee.
"It is music to uplift, heal, and inspire listeners dealing with racial injustices as well as other social injustices. It's affirmation. It's recognition. It's elevation. It's music to go with a movement. Because the truth is, there is still so much work to do. Regardless of the outcome of the election, we need to make sure things do not return to the status quo. The intention of A Beautiful Revolution Pt. I is to channel all of our pain and outrage into something productive, inspirational, and good. It’s to help lead a movement into our next phase of the work to be done.” – Common
Like the great river that flows through Memphis, the music of Lucero keeps rolling on, twisting and turning through the years, the same dark and brooding steadiness always at work. Since forming in late the ‘90s, this group of Memphis road-dogs has mixed heartfelt lyrics with the sounds of early rock and roll, classic punk, country-folk, and deep-fried Southern soul. It’s a sound that stands on the pillars of American music, born more of feeling than technique, delivered night after night to legions of fans in dive bars and theaters, and on stages as august as Red Rocks Amphitheater and the Ryman. In short, it’s music that is built to last, impervious to trends. For their tenth studio album, When You Found Me, the band continues its natural evolution, this time tapping into a more atmospheric, widescreen vision (one that wouldn’t seem out of place on a Reagan-era FM dial) while still staying tethered to its roots. “I wanted a very classic rock sound for this album,” says songwriter and frontman Ben Nichols. “I wanted it to sound like stuff I heard on the radio growing up. I didn’t want to make a retro record at all, but I did want to reference some of those sounds and tones and moods. I think we struck a nice balance between nostalgia and something that still sounds like contemporary Lucero.”
Every now and then an artist comes along who makes you remember why you started listening to albums in the first place: Aaron Lee Tasjan is that artist. With his off-center charm and restless creative dazzle, he makes music with conviction that has its roots in rock’s murky past, armed with an arsenal of songs that spill over with humor, intelligence, irony, and at times prophecy.He updates the idea of androgyny but dispels the emotional and social ambiguity with lyrics that reflect his own geographic and artistic wanderings.
Tasjan! Tasjan! Tasjan! is 11 songs. The man who began the album, is not the same man who completed it, transformed both by the experiences that inspired the songs and crafting them. This is not anxious music for anxious times, but rather music as an antidote for anxious times. It is the sound of the future arriving.
Kiwi Jr. is a phenomenal “rock” and/or “punk” and/or “indie-rock” (whichever you like more) band from Canada, made up of Jeremy Gaudet (mic, guitar), Brohan Moore (drums), Mike Walker (bass), and Brian Murphy (guitar). Cooler Returns is their second album, and their first for Sub Pop. Despite being a snapshot of the pandemic-infused beginnings of this decade, Cooler Returns is truly a whole lot of fun. RIYL indie-pop from down under, things that are smart/exuberant/catchy all at once. Buildings burning in every direction; macabre unknowns in your friendly neighbor’s basement; undecided voters sharpening their pencils: under pressure we could call Kiwi Jr.’s Cooler Returns “timely.” But what year is it, again? On Cooler Returns, Kiwi Jr. cycle through the recent zigs & looming zags of the new decade, squinting anew at New Year’s parties forgotten and under-investigated small town diner fires, piecing together low-stakes conspiracy theories on what’s coming down the pike in 2021. Put together like a thousand-piece puzzle, assembled in flow state through the first dull stretch of quarantine, sanitized singer shuffling to sanitized studio by streetcar, masked like it's the kind of work where getting recognized means getting killed, Cooler Returns materializes as a sprawling survey from the first few bites of the terrible twenties, an investigative exposé of recent history buried under the headlines & ancient kings buried under parking lots. Not so long since their debut Football Money in archaeological time, unending gray eons later in the dog years of quaran-time, spiritually antipodean Canadians Kiwi Jr return to disseminate this year's annual report to the shareholders, burying the incriminating numbers in the endless appendices of a longform narrative record, a 3,000 word tract for stakeholders to pore over. These stories - memories of Augusts past, unrepressed & transcribed fast - go down easier thanks to meaningful changes enacted in 2019’s KiwiCares Pledge: delivering on a promise to transition from Crunchy to Smooth by 2021, the caveman chug of Football Money has been steamed & pressed with the purifying air of a saloon piano - operated with bow-tie untied - and a spring green side-salad of tentatively up-tempo organ taps & freshly fluted harmonica. A chronically detuned spin of the dial through swivel-chair distractions & WFH daydreams, an immersive ctrl-tab deluge cycling through popular listicle distractions like the unentombing of Richard III, or the deja vu destruction of the Glasgow School of Art, Kiwi Jr. sing this song to an indoor audience, crisscrossing canceled, every other prestige distraction source wrung dry, only songwriting remaining to deliver engrossing tales to the populace, just how I imagine it worked in the old days. Fixing loose ingredients into a sturdy whip, Kiwi Jr. beam in live from the 9-5, striding into 2021 with a mastered brainwave that comes equally from the back room of the record store as the penalty box. And how do we, left holding this box of deliberate entanglements, sign off to those as yet uninitiated, undecided, uncertain, unseen, absent return coordinates - Best Wishes, Warm Regards, Good Luck? Cooler Returns, Cooler Returns, C o o l e r R e t u r n s ! Cooler Returns was produced by Kiwi Jr., mixed and engineered by Graham Walsh (METZ, Bully) in Toronto, and mastered by Phillip Shaw Bova at Bova Labs in Ottawa, Ontario.
It’s tempting to think that you have all the answers, screaming your gospel every day with certainty and anger. Life isn’t quite like that though, and the debut album from London four-piece TV Priest instead embraces the beautiful and terrifying unknowns that exist personally, politically, and culturally. Posing as many questions as it answers, Uppers is a thunderous opening statement that continues the UK’s recent resurgence of grubby, furious post-punk music. It says something very different though – something completely its own. Four childhood friends who made music together as teenagers before drifting apart and then, somewhat inevitably, back together late in 2019, TV Priest was borne out of a need to create together once again, and brings with it a wealth of experience and exhaustion picked up in the band’s years of pursuing ‘real life’ and ‘real jobs’, something those teenagers never had. Last November, the band – vocalist Charlie Drinkwater, guitarist Alex Sprogis, bass and keys player Nic Smith and drummer Ed Kelland – played their first show, to a smattering of friends in what they describe as an “industrial freezer” in the warehouse district of Hackney Wick. “It was like the pub in Peep Show with a washing machine just in the middle…” Charlie laughs, remembering how they dodged Star Wars memorabilia and deep fat fryers while making their first statement as a band. Unsurprisingly, there isn’t a precedent for launching a band during a global pandemic, but among the general sense of anxiety and unease pervading everything at the moment, TV Priest’s entrance in April with the release of debut single “House Of York” - a searing examination of the Monarchy set over wiry post-punk and fronted by a Mark E. Smith-like mouthpiece - served as a breath of fresh air among the chaos, its anger and confusion making some kind of twisted sense to the nation’s fried brains. It’s the same continued global sense of anxiety that will greet the release of Uppers, and it’s an album that has a lot to say right now. Taking musical cues from post-punk stalwarts The Fall and Protomartyr as well as the mechanical, pulsating grooves of krautrock, it’s a record that moves with an untamed energy. Over the top of this rumbling musical machine is vocalist Charlie, a cuttingly funny, angry, confused, real frontman. Uppers sees TV Priest explicitly and outwardly trying to avoid narrowmindedness. Uppers sees TV Priest taking musical and personal risks, reaching outside of themselves and trying to make sense of this increasingly messy world. It's a band and a record that couldn’t arrive at a more perfect time.
Out on dBpm Records, Love Is The King, a “beautifully honest ode to love and hope,” is the follow-up to 2018’s WARM and 2019’s WARMER, and comes on the heels of Tweedy’s second book, How To Write One Song, out October 13th via Penguin Random House's Dutton. “At the beginning of the lockdown I started writing country songs to console myself. Folk and country type forms being the shapes that come most easily to me in a comforting way. 'Guess Again' is a good example of the success I was having at pushing the world away, counting my blessings — taking stock in my good fortune to have love in my life,” comments Tweedy. “A few weeks later things began to sound like 'Love Is The King' — a little more frayed around the edges with a lot more fear creeping in. Still hopeful but definitely discovering the limits of my own ability to self soothe." –Jeff Tweedy
A lifelong bluegrass and country music fan, legendary singer, songwriter and producer Barry Gibb has long dreamed of a project that would bring him together with some of the artists he admires the most. With the help of Grammy Award-winning producer Dave Cobb, that dream has become a reality with GREENFIELDS: The Gibb Brothers Songbook, Vol. 1—out January 8th via Capitol Records. Featured artists roster includes Alison Krauss, Brandi Carlile, Dolly Parton, Keith Urban, Sheryl Crow and more.
Gold-certified bluegrass band The Dead South announce Served Live, their first double live album, available for pre-order now. Recorded during the Served Cold World Tour, which traveled the USA, UK and Ireland before the live music industry was shut down by the pandemic, Served Live is a full concert set list taped at iconic and beloved venues, from London’s Brixton Academy and Denver’s Mission Ballroom to The Belasco Theatre in LA. Featuring new material from the JUNO Award winning album Sugar & Joy, alongside the band’s top charting, global viral hits from previous records, Served Live puts you in the front row in your own home, where we hope you’ll stay safe.
"We've often thought of ourselves primarily as live, performing artists as opposed to recording artists. Our studio albums exist as a reflection of and advertisement for what we really do, which is put on high-energy shows. While a "live recording" is a bit of a paradox, we're very excited to give our fans a glimpse of what we do best. If you've seen us before, we hope this record will in some small way bring you back to the sweaty, loud live experience we've all been missing. If you have yet to see us, we hope this record excites you to come see us in the (hopefully) near future.”
Served Live will be released January 29, 2021 via Six Shooter Records.
Danny Kroha’s Detroit Blues could be considered part two of his solo debut LP - Angels Watching Over Me. In his own words, “it was me in a room playing acoustic instruments and doing my own arrangements of some old songs”.
Not so fast man!, when you hear this record and dig a little deeper into the facts, you’ll have a heightened awareness of the sonic beauty found in the simplicity. On many of these traditional songs, Danny dropped, added or rearranged verses from various sources, mixing up music from one song and words from another and unintentionally created his own amalgamation of early blues and ‘60s folk.
Keep your ears peeled for familiar and wild homemade sounds. There’s a DIY one string washtub bass made out of some kinda bug spray can. There’s a lot of jug bass, blowing the bass notes over the jug opening, frequently heard in early rural American music but also with the 13th Floor Elevators who ran their jug thru an amplifier. The one string guitar, aka The Diddley Bow, on “Come Out Of The Wilderness” is extremely rare, aside from Danny, one of the last times we heard one was on One String Sam's “I Need A Hundred Dollars”. You have your traditional assortment of spoons, jawbones and other percussion instruments, but during one session, Danny and the album supervisor tried out several pairs of Danny's work boots to find the best tone for the foot stomps. We’ll report back soon on what brand was chosen.
Instead of following all the rules rooted the early blues and ‘60s folk, Danny Kroha mixed up all the rural and urban traditions and kicked out a new surreal sound that could really only happen in Detroit - “I listen to both genres, for sure. I just wasn’t TRYING to make a record that sounds like that. It just came out that way”.
Glowing in the Dark, the fourth studio album by critically acclaimed Django Django, is about escapism & hope. Throughout their career, Django Django has consistently headed left where others have gone right. Produced by Dave MacLean, the 13 track LP represents the band's kaleidoscopic, genre-defying sound with a rejuvenated spirit, boldness & confidence. Glowing in the Dark is out February 12, 2021 via Because Music on CD. Digipak with 6 page booklet.
Groundbreaking musician/songwriter/producer Steven Wilson will release his new studio album THE FUTURE BITES on June 12, 2020. Co-produced by Wilson with David Kosten (Bat For Lashes, Everything Everything), THE FUTURE BITES sees Wilson exploring contemporary addiction and the lasting effect of technology on our daily lives. The album marks his most inventive and far-reaching musical construction to date, spanning soaring acoustics, lush electronica, relentless bass-driven grooves, murky funk, and so much more, all linked through powerfully focused songcraft.
Following an intensive period in the studio, Kvitravn musically continues where the Runaljod trilogy left off, yet it marks a distinct evolution in Wardruna's unique sound. In a rich musical tapestry, Wardruna use a broad selection of both traditional and historical instruments such as Kravik-lyre, Trossingen-lyre, Taglharpa, Sootharp, Langeleik, Crwth, Goat- horn, Lur, Bronze-lur, flute, Moraharpa, and the record also features guest appearances by a small group of prominent traditional singers, spearheaded by Kirsten Bråten Berg, one of the most important custodians of Norwegian traditional song. Throughout eleven songs, Kvitravn discusses Northern sorcery, spirit-animals, shadows, nature and animism, the wisdom and meanings of certain myths, various Norse spiritual concepts, and the relation between sage and songs. The first preview of audio from the album will arrive on 21st Feb!
About the new album, Wardruna founder Einar Selvik reveals, "To recite and copy the past is not very difficult, but to understand and integrate ancient thoughts, tools and methods with real purpose into a creation that is relevant to the modern era is truly challenging and remains our prime goal in our work"; He continues, "although the album carries a variant of my own totemic artist name, it has, in this context, little to do with me but rather refers to the symbolism and legends of sacred white animals found in Nordic and other cultures all over the world. These highly regarded ghostly creatures, whether a raven, snake, bear, moose, reindeer, elephant or lion - are in animist traditions seen as prophetic, divine messengers, and guardians representing renewal, purity and a bridge between worlds”
Wardruna have carved a rich, polyphonic and dramatic musical landscape that honours the ancient past without gimmick, whilst simultaneously illuminating meaningful expressions of Norse tradition through intrinsically detailed contemporary composition. Beyond genre, theirs is a sound that must be truly experienced.