Bombadil is a long-running folk-pop band from Durham, NC. The band has made fans at NPR, Rolling Stone and the New York Times, who called them "astonishing." Time Out New York said their music is âbursting with irresistible melodies, unexpected lyrical gems, and moments of profound honesty, all anchored by expert songwriting skills."
The Milk Carton Kids with Special Guest Twain - Presented by Opus One & 91.3 WYEP
Waltzing into disaster and its aftermath, The Milk Carton Kids' "All the Things That I Did and All the Things That I Didn't Do" arrived from ANTI- Records on June 29.
The new project marks the first time that acoustic duo Joey Ryan and Kenneth Pattengale have brought a band into the studio with them. "We wanted to do something new," Pattengale says. "We had been going around the country yet another time to do the duo show, going to the places we'd been before. There arose some sort of need for change."
"Musically we knew we were going to make the record with a bigger sonic palette," says Ryan. "It was liberating to know we wouldnât have to be able to carry every song with just our two guitars."
Since their last studio album, "Monterey" (ANTI- 2015), life has changed dramatically for The Milk Carton Kids. Pattengale has moved to, and is now producing records in Nashville. Ryan is now the father of two children and works as a producer on "Live from Here with Chris Thile," the reboot of "A Prairie Home Companion." A break from years of non-stop touring, Ryan says, has yielded "space outside of the band that gives us perspective on what the band is."
But it's not just the addition of the band here that creates something new. National politics left Ryan feeling disoriented and mournful. Pattengaleâs relationship of seven years ended, and he found himself unexpectedly needing surgery for cancer. (He is cancer-free now, and accidentally broke his cigarette habit in the process.)
Though they didn't approach the new album conceptually, a theme of shattered realities began to emerge out of the songs that sparked to life. Recent events provided a bruising background for the record, yet the project is somehow bigger than any personal grief. Two-part harmonies ride acoustic guitars high above the haunting landscape created by the presence of the band, as if Americana went searching for a lost America.
Produced by Joe Henry and engineered by Ryan Freeland, "All the Things That I Did and All The Things That I Didn't Do" was recorded in October 2017 in the Sun Room at House of Blues Studio in Nashville. Musicians who joined them there included Brittany Haas on violin and mandolin, Paul Kowert and Dennis Crouch on bass, Jay Bellerose on drums, Levon Henry on clarinet and saxophone, Nat Smith on cello, Pat Sansone on piano, mellotron, and Hammond organ, Russ Pahl on pedal steel and other guitars and Lindsay Lou and Logan Ledger as additional singers. Mixed by Pattengale, the album was mastered by Kim Rosen.
If previous Milk Carton Kids productions recall plaintive missives from a faraway hometown, these songs sound more intimate, like a tragic midnight knock at your front door.
The album ricochets between familiar styles and experimental songs. "Just Look at Us Now" rejects easy sentiment, suggesting that hindsight only reveals how badly things have turned out. "It's a terrifying place to be," says Ryan, "when everything seemed to be going fine." The stunned "Mourning in America" holds up an atmospheric Polaroid from the Midwestâas Ryan explains it, "what it feels like to live in a country you thought you knew."
In one of their biggest departures, "Nothing Is Real," neither of The Milk Carton Kids plays guitar. Describing the recording session for it, Pattengale says, "That was one of the days we had maybe ten people in studio. The way that I connected to the song was by playing it on the piano. When we were in studio and having trouble figuring out the angle, I thought, 'Why don't we use the piano, and assign each person a part of what I'm playing?' That song used my piano part almost as if we were writing an arrangement."
Inside the theme of shattered realities that wires the album together, even elliptical songs somehow become direct. The lyrics for "Blindness," when set to music, acquired an unnerving undertone. A subdued rhythm section and extended guitar solo turns "One More for the Road" from a wistful late-night last call into an astounding ten-and-a half-minute elegy.
Western influences on "Younger Years" gallop over a snaking clarinet and under vocals looking for something to salvage from sorrow ("Love inside our hearts / is the only kind of savior we've been sent"). "You Break My Heart" features Pattengale's solo vocals. Harmony turns "I've Been Loving You" into visceral grief. "For much of my life I've avoided that kind of intimacy and immediacy in my own writing," says Pattengale, "but you have to leave your blood on the page. It's wonderful, but it can also be a terrifying thing."
"Big Time" brings the energy of their live performances into the studio. "The goal was actually to record this one with a string band," Ryan says. "So everybody was in the room together. Lyrically, this one deals in the most hopeful way with some of the themes of the record."
The atmosphere on much of the album is both lush and spare, like waking up at night to find yourself on an ice floe that has drifted far from shore. "A Sea of Roses" traces its narrator's burial wishes, while "Unwinnable War" went through a metamorphosis as it developed. "If these are the sides we're staking out, no one side or the other can win," says Ryan. "We lose sight of the damage the battle does."
The title track, "All the Thingsâ¦" presents a ledger of the countless tiny moments in a relationship from the vantage point of its passage into memory. ("The story of how the end came to be. How you became you. How I became me.")
Listening to the Milk Carton Kids talk about their creative process, it's easy to imagine them running in opposite directions even while yoked together. "Joey and I famously have an adversarial relationship, and that did not abate when it came to choosing songs," Pattengale says.
They dig at each other in interviews and on stage, where Ryan plays his own straight man, while Pattengale tunes his guitar. The songs emerge somewhere in the silences and the struggle between their sensibilities.
They have been known to argue over song choices. They have been known to argue about everything from wardrobe to geography to grammar. But their singing is the place where they make room for each other and the shared identity that rises out of their combined voices.
Pattengale recalls hearing a story from Del Byrant, the son of Felice and Boudleaux Bryant, who wrote so many of the Everly Brothers' biggest hits. The tale goes that when it came time to teach them a new song, the couple would separate the brothers, with each one going into a different room to learn his part. In the process, they would tell each brother that he was singing the melody, while his brother was singing harmony.
Defying the conventions of melody and harmony is a strategy the Milk Carton Kids have consciously embraced. "Sometimes, we'll switch parts for a beat or a bar or a note," Ryan says. "And that starts to obfuscate what is the melody and what is the supporting part. Because we think of both of them being strong enough to stand alone."
"There are only so many things you can do alone in life that allow you to transcend your sense of self for even a short period," Pattengale says. "I'm the lucky recipient of a life in which for hundreds of times, day after day, I get to spend an hour that is like speaking a language only two people know and doing it in a space with others who want to hear it.
By extending that language to a band and reimagining the boundaries around what acoustic-centered two-part harmony can sound like, "All The Things That I Did and All The Things That I Didn't Do" carries listeners down a river and out into the open sea.
As a teenager, Scott picked up the bass guitar on a whim. Natural talent and the lure of a challenge drove him to be the best musician he could and discover his love for singing, songwriting and the upright bass. With the encouragement of his teacher, he went on to study music in college.
Scott moved to Nashville after school, and he would meet American music icon Ricky Skaggs and join his Grammy winning band, Kentucky Thunder. He toured with Ricky for five years, and in that time, first started writing songs on his upright bass.
He has shared the stage with some of the greatest artists of modern music, such as: Alison Krauss, Barry Gibb of the BeeGees, Bruce Hornsby, Brad Paisley, Peter Frampton, Steven Curtis Chapman, Emmylou Harris, Dave Barnes, Ben Rector, and many more.
Scottâs songs have received honors or been featured in NPRâS Tiny Desk Contest, the International Songwriting Competition, John Lennon Songwriting Contest, and American Songwriter Magazineâs 30th Anniversary Contest, and he has had numerous cuts on other artistsâ albums.
Heâs currently touring in support of his September release, Top Of The Stairs(EP), which was produced by himself, Charlie Peacock (The Civil Wars, The Lone Bellow) Gary Paczosa (Alison Krauss, Sarah Jarosz), and Shani Ghandi (Sarah Jarosz).
Dylan LeBlanc - The Renegade Tour with Special Guest Erin Rae - Presented by Opus One & 91.3 WYEP
Dylan LeBlanc knows second chances donât come around often. But, neither do voices like his.
Overwhelmed by the speed his gift would take him, from Applebeeâs server to âthe new Neil Youngâ in a matter of months, he walked away from an unlikely major label deal after releasing two critically acclaimed albums. He slipped into a blur of booze and self-doubt. Exhausted and damaged at just 23-years-old, Dylan came home to Muscle Shoals, Alabama to write a new life for himself.
In between the moments of clarity and a few familiar falls, he also wrote a new album, Cautionary Tale: a collection of shimmering, arresting songs with the same haunting vocals that caught the attention of Lucinda Williams and Bruce Springsteen, now with a sharpened edge honed by hastened maturity.
âThis record is about me getting honest with myself,â says Dylan. âI had to let the guilt about the past go and find a new truth within myself. This time, I felt like I really had something to say.â
To help him say it, he sought out long-time friend Ben Tanner, the same guy who had secretly helped Dylan record his first songs after hours while working at fabled FAME Studios. (He also introduced a 16-year-old Dylan to Wilco, George Harrison, and Ryan Adams by way of an external hard drive). In between touring with Alabama Shakes, Ben was beginning to engineer records again at the label he started with another friend of Dylanâs, Grammy Award-winning musician John Paul White, formerly of the Civil Wars. The two both produced and played on Cautionary Tale.
âThey prevented me from burying my words,â says Dylan. âDoubt can often be my first instinct, and Iâll try to cover things up with more elements to hide my voice, but I made up my mind to trust them. I heard Merle Haggard say once that the singer is secondary to the song, and they both helped me build a strong foundation for the emotions I was feeling.â
The stripped down aesthetic that John Paul and Ben have made their labelâs calling card sets Dylanâs voice in a light bright enough to see the patina the last few years has left behind.
âI spent a lot of time writing about programming and conditioning and the idea of ego,â says Dylan. âI donât want to rely on my circumstances or the past to say why I am the way I am anymore. A lot of my songs like âCautionary Taleâ and âLook How Far Weâve Comeâ are about trying to break out of a vicious cycle. I was wondering if I could find my solutions from withinâif I could believe in something beyond the present.â
If Dylan was wandering through a cemetery with his first album Paupers Field (âSongs are like headstones to me,â he told The Guardian), Cautionary Tale is an abandoned desert town. He reflects on what once was, and if anything could be again. At times, he wonders if the signs of life he sees on the horizon are real or just a mirage. Phantasmic, warbling voices in the background rise to meet his own and fade into the ether; ghostly guitar riffs echo in the emptiness around him.
Finding the right arrangement and words was a more deliberate effort for Dylan this time. After feeling lost in the âmaniaâ of recording his first two albums, he relied on Ben and John Paul to help him collect the pieces of his vision.
âIâve definitely become more disciplined. I donât count on things like inspiration anymore,â says Dylan. âI learned so much from putting songs together with John Paul. Anything he does, itâs always going to be well-thought-out and well-placed. Iâm naturally an improv guy, but now I see how that can be more limiting than planning your next move.â
That new-found discipline shows. Never one to write out parts, Dylan methodically scored the stunning string sections with violinist Kimi Samson and cellist Caleb Elliot. To form the polished rhythm section he wanted to drive songs like âThe Easy Way Outâ and âBeyond the Veil,â he paired drummer Jeremy Gibson with Alabama Shakes bassist Zac Cockrell (âI wanted it to feel like a Bill Withers record or Al Greenâsoulful, but tight.â)
While Dylan will be the first to admit he wasnât ready to stand on the stages he played early in his career, thereâs no doubting he is now. With a recalibrated compass, heâs back on the road opening sold-out shows for British singer-songwriter George Ezra, another artist praised for a wizened voice beyond his years.
Dylan will continue to support George through September 2015, including a show at Nashvilleâs legendary Ryman Auditorium. Next, heâll embark on his solo tour with dates throughout the South, Midwest, and New England.
âAfter everything Iâve gone through, I still love putting records out and singing for people, no matter how big or small the crowd,â says Dylan. âItâs the only thing I want to do, and now I get to keep doing it as a more well-rounded person. I guess Iâm blessed or whatever the hell you want to call it.â
(Late Show) The Summercamp with The Labra Brothers and The Moat Rats
Robyn Hitchcock is one of Englandâs most enduring contemporary singer/songwriters and live performers. A surrealist poet, talented guitarist, cult artist and musicianâs musician, Hitchcock is among alternative rockâs father figures and is the closest thing the genre has to a Bob Dylan (not coincidentally his biggest musical inspiration).
Since founding the art-rock band The Soft Boys in 1976, Robyn has recorded more than 20 albums as well as starred in âStorefront Hitchcockâ an in concert film recorded in New York and directed by Jonathan Demme.
Blending folk and psychedelia with a wry British nihilism, Robyn describes his songs as âpaintings you can listen toâ. His most recent album is self-titled and marks his 21st release as a solo artist. Out on April 21 2017, the album is produced by Brendan Benson (The Raconteurs). Hitchcock describes it as a âecstatic work of negativity with nary a dreary groove.â
It has received rave reviews from UNCUT, Rolling Stone, Paste, Tidal and more.
âA gifted melodist, Hitchcock nests engaging lyrics in some of the most bracing, rainbow-hued pop this side of Revolver. He wrests inspiration not from ordinary life but from extraordinary imaginingsâ¦â â Rolling Stone
âThese 10 gems slither, rock, roll, glide and shapeshift, coalescing around Hitchcockâs typically anxious, strained but striking and immediately identifiable vocals.â â American Songwriter
âBeloved of everyone from Led Zeppelin to REM, Hitchcock has only enhanced his status with this wonderful outing.â â Hot Press
âWitty, moving and seriously catchy, Robyn Hitchcock is a glorious return for a man who wasnât really gone in the first place.â â Paste Magazine
(Early Show) Faye Webster with Special Guest Jenny O.
Faye Webster isn't afraid to tell you how she feels. Rooted in a familial lineage of folk, 21-year-old songwriter Webster's forthright, exposed lyricism pays homage to the great Americana traditions of songwriting while drawing from Webster's own experiences immersed in Atlanta's hip-hop scene. Her carefully-cultivated sound organically mingles that inherited country and folk with her time immersed in rap collective Awful Records, injecting the traditional with a clandestine jolt.
A decorated photographer as well as a musician, Webster's artistic mediums don't intertwine, instead running parallel to one another. The through-line is her exceptional knack for direction, an assured confidence in her own point of view.
"Kingston," the first new song since her 2017's sophomore self-titled LP, is quintessential Faye Webster. Awash in the haze of a humid Georgia summer, all lovestruck and dewy, "Kingston" glimmers with a hushed glitz: a mellowed punctuation of brass, the twang of pedal-steel, feather-light vocals unfurling like a sigh, and slinking hues of R&B.
In the accompanying self-directed video for "Kingston," we move through a blushing tangle of flamingos and lush palm trees, the sheen of red silk, a glimmering ice-rink. At the center of it all stands Faye Webster, in focus, gazing directly into the camera with a wide-eyed, unflinching gaze: the sharp, confident conductor in control of a dreamy haze.
(Late Show) Smokin' Betties Burlesque Presents: Some Like It Hot with Special Guests Cherri Baum, Amoxie Villaian, Thea Bliss & Hosted by Lilith DeVille
Singer-songwriter Will Varley has come a long way since his early days haunting the open mics of South London and busking around on The Underground. After releasing his 5th studio album in 2018, his largely sold out UK tour drew to a close with a triumphant show at London's legendary Shepherd's Bush Empire.
There is a depth to Will's songwriting that sets him apart, and has propelled his music far and wide. From songs like 'The Man Who Fell To Earth' which tells the heart-wrenching story of an Angolan immigrant attempting to enter the UK, to the hyper-engaging 'Weddings and Wars' in which he attempts a history of the world in under four minutes, Varley's songs seem to transcend themselves, marrying vivid imagery, politics, emotion and surrealism to capture his musings in a way that is quite remarkable.
Over the past few years Will has toured relentlessly across Europe and America as support act for Billy Bragg, Frank Turner, Valerie June and The Proclaimers and he's sold out his own headline shows in cities as far a field as Berlin, Zurich, Amsterdam and Vienna. High praise from the likes of Tim Minchin and Simon Nicol of Fairport Convention have helped fan the flames, as his audience continues to grow both on the road and online. His self made music videos have clocked up millions of views on YouTube and the song 'Seize The Night' is fast approaching four million streams on Spotify.
Will's music has been played extensively on 6Music, Radio X and Radio 1. He was named one of NPR's 'Austin 100' at SXSW festival in Texas, and his latest album reached number two in the iTunes Singer Songwriter charts in the UK, number three in Germany and made the top 30 in the US. It all seems a long way from the tiny open mics at which the young troubadour cut his teeth little more than a decade ago. But as new music looms and tours are planned for 2019, the momentum behind him shows no signs of slowing. As time goes by more and more people are discovering Will Varley, joining the ranks, and finding a true artist, a poet and a source of truth in a world gone mad.
Cast on the heels of April 2018âs acclaimed âJuliana Hatfield Sings Olivia Newton-Johnâ comes Juliana Hatfieldâs new self-produced all-originals album âWeirdâ. Freda Love Smith (Blake Babies, Sunshine Boys) and Todd Philips (Lemonheads, The Juliana Hatfield Three) each played drums on multiple songs while Hatfield played all of the other instruments (and some additional drums).
âWeirdâ is an album about disconnection and discomfort. âI often feel cut-off from other people, from my feelings, from technology, from popular culture,â says Hatfield. âI feel weird, I feel like Iâm dreaming my life and that I am going to wake up some day.â
While Hatfieldâs songsâmelodies and lyrics and structuresâ are meticulously crafted, her guitar parts are loose and sometimes a little unhinged, first-take expressions of this temperamental uneasiness.
âPersonally, I feel like a malfunctioning machine. Thereâs a screw or two loose. I want my guitar playing to reflect that.â
Spencer Krug (of Moonface/Wolf Parade) with Special Guest Light Conductor
After fifteen years of writing and performing with projects like Wolf Parade,Sunset Rubdown, Moonface, Swan Lake, and Frog eyes, this prolific artist has finallydecided to release and tour the music he makes under his own name - Spencer Krug.First gaining attention in the mid 2000s as co-leader of Montreal's rockânâroll WolfParade, then soon after as the voice and mind behind the chaotic Sunset Rubdown,Krug eventually used the now defunct Moonface as an outlet for his more experimentaland sporadic solo material. And while he still writes and sings for the recentlyreactivated Wolf Parade, there remains in him a need to express something lessrock-oriented, something more quiet and strange and introverted. So, returning to hisfirst and favorite instrument, the piano, Krug has ventured back into his own fantasticworld of pseudo-classical balladeering; poetic lyricism laced with twisted pop sensibilityand jazz mimicry. Using this template, he now releases his solo work, and tours avariety of new songs as well as those from older projects, as Spencer Krug.
Catfish and the Bottlemen with Special Guest The Worn Flints - Presented by 105.9 The X, Opus One & PromoWest North Shore
In the ever-changing landscape of modern pop, Nathan Angelo shines as a refreshing alternative, embracing the classic elements of popular music and celebrating the backbeat of American tradition. As the revival of music in the 60âs and 70âs brought together the heritage of the Great American songbook, the flair of jazz and heartache of the Delta blues, Angelo integrates these forms into his own music with great ease and delight. For the past decade, Angelo has captivated audiences across the country with his high-spirited live show and captured the imagination of a loyal following through prolific songwriting, independently selling over 40,000 albums along the way.
Angeloâs latest full-length album A Matter of Time (Aug 2017) reflects his journey through the life-altering experiences of becoming a father and facing his daughterâs rare, life-threatening metabolic disease. His daughter received a liver transplant in Fall 2016, and Angeloâs latest release wrestles with the aches of adversity and ultimately celebrates the beauty of life and the hope he has for his daughter. A Matter of Time embraces the soul, classic r&b and piano-pop of some of Angeloâs more prominent influences -- Stevie Wonder, Marvin Gaye and Elton John -- while fearlessly venturing into new sonic territory to compete with pop contemporaries like Bruno Mars and Justin Timberlake. Alongside his finest songwriting to date, Angeloâs voice resounds as an irrefutable force as he carries listeners to new places unfamiliar to the likes of modern pop music.
A Matter of Time debuted at #12 on the iTunes singer-songwriter charts and has already garnered more than 2 Million streams on Spotify.
On their self-titled third album, CHON find themselves at the confluence of a great push and pull.
Since forming in 2008 in San Diego, the trio â guitarists Mario Camarena and Erick Hansel and drummer Nathan Camarena â have become one of the most buzzed-about acts in the new era of progressive rock, on the back of more than 40 million Spotify streams and tours with the likes of Coheed and Cambria, Animals As Leaders and Circa Survive.
Their debut full-length, 2015âs Grow, established their mathy, forward-thinking take on the genre, while 2017âs Homey furthered that sound while incorporating brand-new influences like effect-pedal-heavy elements of electronic music and trip-hop and debuted at No. 66 on the Billboard 200. Now, with CHON, set for release on June XX through Sumerian Records, the trio once again have kicked down their musical guardrails â but in a way that balances their more eccentric impulses with a steadying dose of clarity and restraint.
âWe really wanted to make songs with more simplistic structures, but also the craziest parts weâve ever had musically,â Mario Camarena explains. âI think our music is already so weird that when the structure is also crazy, it can be hard to follow. I really wanted this album to appeal to people who maybe donât listen to this style of music.â
Itâs true that CHON streamlines some of the bandâs grandiose, free-flowing musicality in favor of more traditional sonic structures. But, most importantly, simplifying their sound doesnât mean resorting to being boring. If anything, CHON is brimming with some of the most forward-thinking, intricate musings the band have ever attempted, from the deep progressive propulsion of first single âPeaceâ to âSpike,â which spins the bandâs youthful tech and metal influences together into a flashy riff-athon.
All at once, CHON respects the trioâs current listeners while inviting a broader swath of new ones in â the rare progressive rock album adroit enough to straddle that line. For the band, it will be especially rewarding to bring this new musical mindset to crowds at festivals like Coachella, Shaky Knees and Electric Forest. There will be, of course, CHON diehards in the audience, but large-scale settings like these offer the band the opportunity to cultivate an even wider fanbase around their captivating sound.
Of course, theyâre coming prepared: While writing and recording the self-produced album in San Diego, the band put a lot of thought into calibrating their new music to fit the expansive crowds they knew theyâd soon be playing in front of. The result is a collection of songs that plays just as well to the front row as the very last.
âWe knew we were going to play these songs at big festivals, and it was in the back of our minds,â Mario says, pointing to the tribal-inspired rhythms on âGift.â âWe were just thinking of Electric Forest when we wrote that song: Itâs kind of psychedelic and hippy. Itâs going to be really fun to see how big crowds react to these songs.â XX
After four years of silence, instrumental metal standard bearers Pelican have come thundering back, with Forever Becoming, an eight-song album destined to be considered one of the most punishingly rewarding albums of the year.
Before their hiatus, the group had laid a sizeable chunk of the groundwork for the instrumental metal scene thatâs come into its own in the 13 years since they started playing together. After 2009 the band found itself slightly adrift, and found the day to day struggle of being full-time underground musicians colliding with new families and non-musical careers. Wisely, they didnât make any rash decisions, and as suits a band known for making dense, meditative sounds they simply patiently figured out how to move past their obstacles.
This reborn Pelican is purer, more focused, and far more assured. Recorded at Electrical Audio in Chicago with engineer Chris Common, and featuring The Swan King guitarist Dallas Thomas (replacing the amicably departed Laurent Schroeder-Lebec) Forever Becoming is an immense, speaker-rattling meditation on the infinite cycle of death and life. It takes a lot of experience and a lot of confidence to attempt a head-on ascent of the biggest, most monolithic theme in art, but Forever Becoming is proof that Pelican has plenty of both, and knows how to wield them.
Young The Giant/Fitz and The Tantrums with Special Guest COIN - Presented by Opus One & PromoWest North Shore
When Sidelong, Sarah Shook & the Disarmersâ debut album, was released in early 2017, it quickly earned kudos for its blast of fresh, fierce honesty and sly wit. It was a welcome new voice in a genre too often mired in the staid and conventional. And while that record may have come to many as a surprise, Years solidifies the point: Sarah Shook & the Disarmers have moved from getting peopleâs attention to commanding it. The albumâwith its sharpened songwriting, unique perspective, deepened sound and roll-up-your-sleeves attitudeâwill grab you by the collar and put a defiant finger to your chest. It is resolute, blunt, and unflinching.
Inspired by artists such as the Sex Pistols, Elliott Smith and Hank Williams, Sarah sings with confidence, control, and, at times, a hint of menace. The Disarmers match her on every track, coloring the tales of resilience and empathy with as much urgency as ever as well as a broader sonic sweep. Itâs easy to hear Sarah as a close cousin to artists like Hurray for the Riff Raff and Margo Price on the title track, or in the country-â60s mod vibe on âLesson.â âGood as Gold,â sporting a kiss-off line for the ages, âYouâre as good as gold/ Iâm as good as gone,â is both vulnerable and defiant, soaring with pop-inflected harmonies. And with an expansiveness evoking the wide-open West, âWhat it Takesâ speaks to the truth of the record, to her life, and to the universe.
At its pounding heart, Years crackles with a pointedly contemporary and relevant take on the outlaw spirit. Built around the buoyant pedal steel of Phil Sullivan, and the post-punk rattle and Live at San Quentin hum of Eric Petersonâs guitar, there are echoes of Nikki Lane and Merle Haggard as much as Ty Segall. Its home is the ragged-but-real honky tonk, not the bro-country âhonky tonk.â The barroom singalong âNew Ways to Failâ is classic, smile-through-the-pain country. âDamned If I Doâ could be the âDrivinâ Nails in My Coffinâ of the 21st century, if we let it; a perfect song for rolling in the wry and sneaking in a quick two-step. The sinister âThe Bottle Never Lets Me Downâ will get anyone whoâs ever been wronged righteously flipping the bird as they knock back the next shot. Therapy in the face of personal devastation takes many forms, after all.
As Sarah herself tells it...
This record is about finding a way. A way through exhaustion, depression, betrayal, hangover after hangover, upper after downer after upper, fight after never-ending fight. Itâs about picking yourself up and dusting yourself off after years of being trampled and beaten down, jutting your chin out, head high, after theyâve done their worst, and saying, âStill here.â
This record is shouting âfk you, I do want I wantâ from the rooftops to the mother**g cosmos.
Jungle of Thieves is Pittsburgh's newest Alt Rock band hailing from Estella Avenue in Mount Washington. The 5 band members have been working tirelessly over the past 2 years to develop songs that we're proud to show the public and our EP will drop on most social media platforms in the near future. If you dig fun, catchy music, take a listen. We guarantee you'll come back for more.
Hearken 'Help Me, I'm Alive' Album Release with Pet Clinic, Calyx, Derider, DJ Sikes
Jon Worthy began in March 2015 after Jon had a bunch of songs that hadnât been learned by his other musical project, but that he felt needed to come to life through a full band. Without having played a show, Jon put together a band and recorded his 6 song EP, âUnconventionalâ at The Bomb Shelter in east Nashville with bassist Nick Dibiasio and drummer Grant Bramlett. Eventually, Jon was able to put a band together and start playing some shows around Nashville with bassist Austin Mcfall and drummer Aj Wilder.
The Band played around Nashville for 6 months or so and then started recording their first full length album, âMay You Live Happily Ever Afterâ. On their second album, the band was able to capture a lot of the loud to soft moments that they love so much in rock music, especially on the tracks âLike the Windâ and âI do Abideâ. The Band released the album in October 2016 with an album release show at The East Room in Nashville. The album has received positive reviews including one from Andrew Westberry of the music blog âNo More Divisionâ who had this to say on the album; âOverall, May You Live Happily Ever After is a masterful album, and the stylistic and artistic choices Jon Worthy continuously makes throughout his music is evidence of his natural talent and honed skills that have converged into his spectacular projectâ.
The group has settled on the lineup of Jon Worthy (Vocals/Guitar), Austin Mcfall (Bassist), Mike Sanborn (Drums), and Luis Echeverria (Keys/Guitar). 2018 saw the release of Jonâs second full-length album Only A Dream. Recorded with Lincoln Parish of Cage the Elephant at his studio in Nashville, TN the album has some unique and wide ranging songs from Jon Worthy. Current political issues as well as finding your own balance in life are the main themes on this album. Skope Magazine had the following to say about the album, âLyrics have a mellowed poetic quality to them, for his voice delves into a reassuring comforting tenor. Best of all is how these many elements come together: the infectious rhythms, the memorable memories, and the sing-along lyricsâ. The Bends have released a few singles as well as music videos within the last few months. They are currently gearing up for winter and spring tour dates as well as preparing to record a brand new album in January of 2019 at Studio 4115 with Handmade Productions!
The album will be more acoustic based and quite a change up from anything Jon Worthy & the Bends have done in the past. If you like the music, do us a favor and share it with your friends and family and come out and watch us play live! We hope you find a connection to the music, and love the emotions certain songs bring out in you, as much as we do. Catch the band on the road this winter and spring at one of their many dates coming up.