In The Groove
GRAMMY-nominated singer/songwriter and multi-instrumentalist, Alexander 23’s debut album AFTERSHOCK will release on July 15, 2022, via Interscope Records. Produced by Alexander 23 and GRAMMY-winning producer, Dan Nigro (Olivia Rodrigo), the album will feature 11 tracks, including “Hate Me If It Helps” which was co-written with Olivia Rodrigo plus the standouts “Crash,” “The Hardest Part” and more!
Even real places become imaginary when they are so far out of reach. Named for an idyllic island near Ibiza off the coast of Spain, Formentera is a place that, for Metric, only existed on a page in a “dream destinations” travel book that lay open on a desk in the new recording studio that guitarist Jimmy Shaw built in 2020, in a rural hamlet north of Toronto. This is the setting where the band’s eighth album took shape. Shaw brought on Synthetica collaborator Liam O’Neil as well as longtime friend Gus van Go (The Stills) to co-engineer and co-produce with him. When the border opened, Metric bassist Joshua Winstead and drummer Joules Scott Key came in from the U.S to record, adding live energy and sonic depth to complete the Metric sound.
The result is a conceptual arc that progresses from tension and turmoil to dance-floor abandon, beginning with the edgy ten-minute album opener “Doomscroller,” and progressing through a color wheel of emotions, from determined perseverance on “What Feels Like Eternity” to self-emancipation in full orchestral bloom on the title track as Haines poses the question, “Why not just let go?” There’s a sense of resolution in the very matter-of-fact, deceptively catchy “False Dichotomy,” and the album ends on a melancholy high with “Paths in the Sky,” a love song to lifelong friendship, a thematic companion track to “All Comes Crashing,” an end-of-days banger and the first single.
“This is what we’re all thinking about,” Haines says. “So let’s address it, let’s have this whole expansive emotional experience that can feel collective instead of all going through it alone.”
If fate didn't quite ordain the circumstances for Interpol's seventh album, it was at least fortunate that the band had happily concluded their Marauder cycle on stage in front of 30 thousand-odd Peruvian fans. Rather than be sent scrambling like so many other musicians on tour or promoting new music, when lockdown clamped in March 2020, Interpol quickly got into a productive mood.
Coming from a group whose early work was characterised by Polish knife-wielders and incarcerated serial killers, you might expect Interpol's pandemic record to be an emotional tar pit - doubly so, given the presence of towering producer-engineer duo Flood and Moulder on the boards. But Banks felt the call to push in a "counterbalancing" direction, with paeans to mental resilience and the quiet power of going easy. "The nobility of the human spirit is to recover and rebound," he says. "Yeah, I could focus on how fucked everything is, but I feel now is the time when being hopeful is necessary, and a still-believable emotion within what makes Interpol Interpol.
INTERPOL / OTHER SIDE OF MAKE-BELIEVE
On Monday May 9th we kick off our next black midi campaign for the band's sophomore album Hellfire, with the single & Gustaf Holtenäs ("Slow") directed video "Welcome To Hell". Hellfire will be out on July 15th. The album was written in London 2021 and produced by Marta Salogni and black midi, with additional production from Max Goulding. Artwork was created by David Rudnick (who's done the artwork for all previous black midi albums as well), using AI technology into which he fed lyrics from the album to generate imagery which was then printed, cut up and reconfigured into a detailed and complex collage.
No band can quite build their own universe like black midi. Hellfire, their third album and second in two years sees the London three piece at their most direct. "Welcome To Hell" tells the story of a debauched soldier's excess and military discharge, soundtracked by funky guitar sections, driving horns and a progressively snarling vocal. Premiered by Steve Lamacq on 6 Music. 2022 live dates incl Coachella, Glastonbury, Somerset House, more to be announced.
In 2019, Arlo McKinley played a show at the High Watt in Nashville. While he had years of such gigs on the DIY singer-songwriter circuit behind him, this night was different. In the audience was one of his musical heroes, John Prine. When they met briefly beforehand, Prine, who never gave praise lightly, told Arlo he was a fan.
McKinley recalls, “Just that moment, if that's where it ended, it would've been one of the coolest things that ever happened to me, something I remembered forever.”
But it didn't end there. Shortly after, he was signed to Oh Boy Records, Prine's indie label. Arlo came into 2020 with the momentum of a new album on deck - his first with a producer and a street team - and an international tour booked. Then things took a strange turn for the world..
As McKinley visualizes the year ahead, he's optimistic that touring will be easier , and that he'll get to play Europe for the first time this summer. When asked what he hopes listeners will get from This Mess We're In, he says, “I hope they can identify with things they're too ashamed to talk about or feel. There's such a stigma that goes along with things like addiction and mental health. I just want them to know that I go through all of that stuff too. I would just like to make them feel a little less alone. At least for the 47 minutes of the album, you can remove yourself from the world and just let everything disappear for a bit.”
Superorganism return with their second album World Wide Pop, their first new music since 2018"s self-titled debut.Blasting back with thirteen tracks that explore the infinite versus the intimate, taking in friendship, time, connectedness, and the universe; World Wide Pop contemplates the contradiction of being hopeful and curious when faced with relentless consumerism and overwhelming noise. However choosing optimism, Superorganism believe in the power of pop music and all the things it can do. World Wide Pop bridges the personal and existential whilst delivering a bag full of tunes laced with deadpan humour.World Wide Pop also brings in an international set of collaborators including Stephen Malkmus, CHAI, Pi Ja Ma, Dylan Cartlidge & legendary musician and actor Gen Hoshino.
Something's happening in country music. Newer artists and younger audiences areembracing instrumentation, vocal stylings and song structures long thought drowned in the oceanof slick, snap-track productions. Not easily dismissed as merely regional or a novelty throwback,the trend could be on its way to full-blown movement. If so, Kimberly Kelly's Show DogNashville debut album may prove to be the clarion call. Either way ... she's not asking.I'll Tell You What's Gonna Happen is more than her (abbreviated) album title, more thana reference to her connection with a Country Music Hall of Famer, and much more than ahistorical footnote. Rather, it's a statement of musical confidence earned the only way thathappens: talent, work ethic, experience, vulnerability, and courage. For Kelly, it's all of a piece."I like to think of it as a sub-genre of country music called 'country music,'" she says with awink.
Many artists are defined by place, but only a handful of artists come to define the places they’re from. The Local Honeys are Kentucky and Kentucky runs through their veins like an unbridled racehorse. When a master songsmith like Tom T. Hall calls an artist “a great credit to a wonderful Kentucky tradition” it’s time to pull up a chair and pay attention. As it pertains to The Local Honeys he was right on the money. For almost a decade the duo (Linda Jean Stokley and Montana Hobbs) have been an integral part of the Kentucky musicscape. They’ve paid their dues, garnering countless accolades and accomplishments (tours with Tyler Childers, Colter Wall, praise from the New York Times) and have become the defining sound of real deal, honest-to-God Kentucky music.
With their self-titled debut on La Honda Records (home of some of today’s most gifted songwriters, including Colter Wall, Riddy Arman, Vincent Neil Emerson), the duo have set forth on a journey to create something true to themselves while pushing the envelope within the traditions they hold dear. Carefully crafted vignettes of rural Kentucky soar above layers of deep grooves and rich tones masterfully curated by longtime mentor Jesse Wells, Grammy nominated producer and musician (Assistant Director at the Kentucky Center for Traditional Music at Morehead State). “Jesse grew up with sisters. He was cut from the same cloth as us and we knew he would understand what we wanted to do.” What they ended up with is the most nuanced, moody, deep-holler sound they have captured to date. “This is the first time we’ve actively gotten to express who we are and where we’re from,” says Linda Jean. “The songs on the album speak for us,” adds Montana, “they’re about what we know, reflections of us as people. We realized we have the power to add our own narrative into Kentucky music.” Through that realization the two were able to uncover and dissect themes unique to Central Appalachia and in turn their own lives, capturing small moments in time that deliver thunderous results.
Throughout ‘The Local Honeys’, the duo demand to be interpreted as creators and storytellers, not just purveyors of tradition. Similarly, the sounds captured within the project cement their place as innovators and rule breakers. Rollicking banjo meets overdriven guitar hooks and blue collar rural grit is met with lush melodies and nimble harmonies; it’s a project filled with juxtaposition and it isn’t by accident. It’s reflective of who they are and who they run with. Wells along with the rest of Tyler Childers’ band The Food Stamps - Rod Elkins (percussion) Craig Burletic (bass) - and Josh Nolan (guitar) from Clay City, KY all lent their expertise and signature groove as collaborators during the session, creating a fluidity, warmth and cohesion that can only be shaped through friendship. "We didn't want to record any other way then with the people we love and cherish as much as the songs. It was integral to our process,” says Linda. The project was engineered in Louisville at Lalaland by Grammy winner Anne Gauthier.
The songs on ‘The Local Honeys’ speak to a new generation, a new Appalachia, the people who understand the beauty, the struggle and the complexity of contemporary Appalachian life. They come from a long line of storytellers, a lineage of strong Kentucky women who aren’t afraid to tell it like it is and their self-titled La Honda debut is proof it’s in their bones. The duo have mastered the art of telling a good story. The narratives and landscapes they weave into song, the deep understanding and love they share for old time traditions, their undeniable charisma and charm, and their blatant disregard to follow the rules make it clear the duo is poised to become not only the defining voices of their home state of Kentucky but the defining voices of a new Appalachia.
She & Him’s seventh studio album is a loving, LP-length tribute to one of the greatest living American songwriters and singers, Brian Wilson. Melt Away - A Tribute to Brian Wilson finds Zooey Deschanel and M. Ward diving deep into the legendary artist’s extensive songbook, offering fascinating and delectable new spins on time-honored classics and overlooked gems alike. These fourteen covers are infused with the familiar magic that She & Him fans know and love, offering a new window into Wilson’s iconic catalog.
Entering Heaven Alive is the fifth studio album from Jack White, founding member of The White Stripes, The Raconteurs, and The Dead Weather. True to his DIY roots, this record was recorded at White's Third Man Studio throughout 2021, mastered by Third Man Mastering, and released by Third Man Records.
Record-breaking BRIT and GRAMMY Award-nominated, Billboard Award-winning global sensations, Glass Animals, announce the special anniversary collection of their critically acclaimed third album, Dreamland. Dreamland is the album that brought us the global hit, “Heat Waves,” leading to a 5 billion+ global streaming band. This special "Bonus Levels" Deluxe CD features collaborations with Arlo Parks, Denzel Curry, Albert Hammond Jr, Bree Runway,
Tribute to Country music legend, John Anderson, produced by Dan Auerbach & David Ferguson with performances by Eric Church "Mississippi Moon," Brent Cobb "Wild And Blue," Luke Combs "Seminole Wind," Sierra Ferrell "Years," Ashley McBryde "Straight Tequila Night," Brothers Osborne "You Can't Judge A Book (By The Cover)," John Prine "1959," Nathaniel Rateliff "Low Dog Blues," Sturgill Simpson "When It Comes To You," Gillian Welch & David Rawlings "I Just Came Home To Count The Memories" & more!
ODESZA return after four years with their new album "The Last Goodbye" available on crystal clear LP, indie exclusive version crystal clear LP with limited edition print, standard CD, deluxe CD with a patch and stickers, and transparent green cassette. Symphonic, vast, and emotionally stirring, 'The Last Goodbye' is set to be the GRAMMY-nominated duo's most ambitious album to date. A project rife with brightness and emotion, nostalgic yet rooted in the present, it serves as a sweeping sonic experience that speaks to themes of connection, reminiscence and the impact we impart on one another. It's a vivid celebration of the people and moments that have left fingerprints on our existence, echoing throughout the record. "The Last Goodbye" features collaborations with Låpsley, Ólafur Arnalds, Julianna Barwick, The Knocks, Bettye LaVette, Izzy Bizu, MARO, and Charlie Houston. With over 5 billion total streams, ODESZA have masterfully reemerged to remind the world what has made the duo of Harrison Mills and Clayton Knight cornerstones of the modern electronic landscape. Their last album 'A Moment Apart' was not only a commercial success (going gold and debuting at no. 3 on the Billboard 200), but it also earned critical acclaim including two GRAMMY nominations and praise from the likes of NPR, Rolling Stone, Billboard, Complex, Consequence and more. The duo has cultivated a diehard fanbase of massive proportions: known for their groundbreaking, awe-inspiring and immersive live performance, that reached 2.85m+ fans over the course of their 'A Moment Apart' tour. They also have had headline performances at the likes of Coachella, Lollapalooza, Bumbershoot & more, as well as performed on Jimmy Kimmel Live! and Conan, and launched their own music festival SUNDARA in Riviera Maya, Mexico in 2019.
John Moreland doesn’t have the answers, and he’s not sure anyone does. But he’s still curious, basking in the comfort of a question, and along the way, those of us listening feel moved to ask our own. “I don’t ever want to sound like I have answers, because I don’t,” he says. “These songs are all questions. Everything I write is just trying to figure stuff out.”
Moreland is discussing his new album Birds in the Ceiling, a nine-song collection that offers the most comprehensive insight into the thoughts and sounds swimming around in his head to date. A compelling blend of acoustic folk and avant-garde pop playfulness, Birds in the Ceiling lives confidently in a space of its own, enriched by tradition but never encumbered by it. The songwriting that has stunned fans and critics alike since 2015’s High on Tulsa Heat remains potent, while the sonic evolution that unfolds on the record feels like a natural expansion of 2020’s acclaimed LP5.
The New Yorker, Pitchfork, Fresh Air, Paste, GQ, and others have embraced Moreland’s meditative songs, while performances on The Late Show with Stephen Colbert, CBS This Morning, NPR Tiny Desk Concert, and more have introduced Moreland to millions. And yet, while the Tulsa-based Moreland is grateful for the respect and musical conversation he’s now having with people around the world, he is also more focused on the idea of just talking to one person––or even himself. “Through the years, I’ve felt like I’m increasingly talking to myself in my songs, more and more,” he says. “Maybe in the past, I wasn’t aware of it, but now, I am. I think doing that has helped me be less hard on myself, which makes you more generous and compassionate in general.”
That helps explain why even if Moreland is reaching out to someone else, there is no judgment. “I’m in the same boat with whoever I’m talking to,” Moreland says.
Moreland’s songs do feel intimate––like overheard conversations or solitary meditations. “I want to talk one-on-one to someone in a song,” he says. “I don’t want to address a group, really, because I think that’s when it’s easy to start pontificating––and it gets less honest.”
On Birds in the Ceiling, Moreland’s singing contributes to the feelings of hushed intimacy. Wielding a warm, sandpaper soul voice, Moreland got used to singing loudly as he began playing in bars, fighting to be heard over chattering crowds. “When I first started singing, I was very self-conscious about it,” he says. “I think I tried to affect my voice more. Singing loud could be a security blanket sometimes. On the new album, on a lot of the songs I was definitely making a conscious effort to sing quieter––almost whisper.”
Produced by Matt Pence and Moreland, Birds in the Ceiling is dynamic: a folk record that refuses to stay in its lane. It’s the second album for Pence with Moreland, who sees the former––a Denton, Texas-based engineer, producer, and drummer––as an ideal musical partner. “We have a lot of the same influences, and I have been really influenced by his bands,” Moreland says. “It feels really effortless.”
Letting things just be what they are is a powerful guiding force for Moreland, determining not just how he interacts with others, but how he treats himself. “When you remove boundaries and instead of holding back parts of yourself––when you say, ‘Okay, I’m going to put all of me into this,’” Moreland says, "You end up making music that nobody else could make.”
Birds in the Ceiling is available at local record stores on CD, Vinyl, and an Indie-Exclusive Blue Vinyl on July 22.
After three studio albums and over a decade deep into the music game, THE INTERRUPTERS deliver their new album, In The Wild. This 14-track opus is the real deal; it’s a story of survival, a story of resilience, by a band being bold and rejecting the easy impulses of simply repeating what’s worked before. Together during lockdown, Aimee Interrupter, partner and guitarist Kevin Bivona, and his younger twin brothers, Jesse (drums) and Justin (bass), decided to put idle hands to work. After building a home studio in their garage together, Kevin stepped up and took charge of production duties to become “the accountable one” this time around. The record took shape in an unforced and organic fashion, and the recording process was evidently a fun one, which is reflected in the sound of the album, gliding across a spectrum of breathless punk rock, doo-wop, gospel, dancehall, and the band’s customary nods to the lineage of two-tone. It’s further evidenced in the uplifting spirit and the glittering rollcall of guests (Tim Armstrong, Rhoda Dakar, Hepcat, The Skints) involved too. Thanks to the cocoon of the intimate environment they’d built and relaxed working practices, the results made for the most personal Interrupters album to date, as well as being the one all four feel most connected to.
The follow-up to their 2018 breakthrough album, Fight The Good Fight, which spawned multiple singles including “She’s Kerosene”, with over 50 Million streams to date. This smash-hit sent the band to the top of the radio charts and across the globe, playing live with everyone from Dropkick Murphys to Green Day. It was Spring 2020 as they were headed out on an 8-week Hella Mega stadium tour in support of Green Day, Weezer, and Fall Out Boy, when like the rest of the world, the band’s plans went kaput. The forced time at home gave them a period of much-needed rest, followed by an injection of creative energy that led the band to write over 80 songs, curate a live album and documentary film about their lives and their first trip to Japan. THE INTERRUPTERS will be back on the road starting this Spring, co- heading with Flogging Molly and touring through the remainder of 2022 and beyond.
A 7-song unreleased album from Neil Young and Crazy Horse, recorded at Toast studio in San Francisco in late 2000 and early 2001. It was shelved at the time and Are You Passionate was the next album Neil released. Different versions of 4 songs appeared on Are You Passionate, but the other 3 songs are completely unreleased (“Timberline”, “Gateway of Love” and “Standing In The Light). This is one of the legendary “lost” albums in Neil’s catalog.
Multi-Platinum chart-topping singer, songwriter, producer, and multi-instrumentalist Lauv asserts himself first as a storyteller. 11 billion streams after 2015 viral sensation, “The Other”, Lauv’s next chapter continues to attract audiences by transforming magic around him into generational anthems. Sonically the most challenging & exciting yet, Lauvwill release highly-anticipated second full-length album, All 4 Nothing in August. Featuring “26” and lead single “All 4 Nothing (I’m So In Love).”
Now, after spending 21 days isolated at the 2,300-acre Sonic Ranch studio deep in the heart of their native Texas, just miles from the U.S./Mexico border, the Gold-certified renegades have doubled down on what they do best: sharing honest truths with no-holds-barred instrumentation, letting the self-produced music speak for itself. Yet with Tornillo, named for the border town that is home to the pecan orchard-filled recording complex and set for release on July 29 via their own Wiggy Thump Records with distribution by Thirty Tigers, the six-piece band has taken their solid decade-plus foundation and pushed themself to further explore new sonic landscapes.
“It’s going to have a little bit different sound,” lead singer Cody Cannon shared recently with Outsider. “It’s still Whiskey Myers at its core, but it’s kind of fresh… We did a lot of bass and horns on this one, which is something we’ve always wanted to do. Just being fans of all that old music and Motown stuff, and a lot of the stuff coming out of Muscle Shoals, old rock and roll.
“We’re going to bend [genre] even more, I think, with this new record,” he continued. “It’s all over the place. But that’s fun, right? I hate the whole ‘Put it in a box. You gotta be this.’ … That’s not art to me. I love the idea of just doing, really, whatever you feel. It comes out a certain way because that’s just how it comes out. Whiskey Myers never really tried to be a certain way. It’s just how we are. So I think that’s really the whole thing about music, or the beauty about music; it’s just that freedom to create.”
Tornillo as a whole does exactly that, drawing as much inspiration from Nirvana as from Waylon Jennings – even adding the legendary McCrary Sisters’ gospel influence to the project on background vocals. With Cannon leading the way on songwriting, the album also features writes from lead guitarist John Jeffers and fellow bandmembers Jamey Gleaves and Tony Kent, as well as rising singer/songwriter Aaron Raitiere (Anderson East, Oak Ridge Boys, A Star is Born).
Fans will have the chance to hear the new music live on the 40-date Tornillo Tour, launching April 29 in Worcester, Mass. and running through August. Tickets to all headlining dates are on sale to the general public Thursday, Feb, 23 at 10 a.m. local time via WhiskeyMyers.com.