Music Releases 07-13-18
‘Lamp Lit Prose’ arrives just over a year after 2017’s self-titled ‘Dirty Projectors.’ Here David Longstreth’s band returns with a new album that is the yang to the yin of the 2017 effort. The songs signal a page turned for Longstreth: hope instead of heartbreak, a restorative balance. Guitars have returned to the Dirty Projectors’ world, intricate and gorgeous vocal harmony too. The album begins with “Right Now,” David singing, “there was silence in my heart, but now I’m striking up the band.” In addition to the core musicians and guests, LA string group the Calder Quartet, and The Brass Players of Los Angeles both appear on several songs. ‘Lamp Lit Prose’ is a recommitment to the sounds and ideals of Dirty Projectors, embracing the band’s trademarks while pushing forward the sonic envelope. Lamp Lit Prose will be the ninth release for Dirty Projectors and comes with collaborations from HAIM, Syd, Robin Pecknold, Rostam Batmanglij, Amber Mark, Empress Of and Dear Nora. Lamp Lit Prose was recorded at Ivo Shandor in Los Angeles.
Deafheaven was formed in 2010 by vocalist George Clarke and guitarist Kerry McCoy. They released their debut studio album Roads To Judah in 2011 . They added drummer Daniel Tracy to the group and released their breakthrough album Sunbather in 2013. After rounding out their line up with guitarist Shiv Mehra and bassist Stephen Clark—each subsequent live set felt like a religious experience for the bigger (and bigger) shows that followed. Their third album, and first for ANTI-, 2015’s New Bermuda, was heavier, sturdier, and more grounded in the dirt than Sunbather. They toured extensively to support New Bermuda playing tours and festivals with Lamb Of God, Anthrax, Danzig, and Gojira. Deafheaven’s new album, Ordinary Corrupt Human Love, finds them working with old friends again. The Jack Shirley-produced and Nick Steinhardt-art directed (of Touché Amoré) collection gets its title from Graham Greene’s novel The End of the Affair, referencing a moment when someone is looking for love, in all of its imper¬fection and simple beauty. This sentiment is carried throughout the hazy, yearning romanticism of the record with song titles and words as sumptuous as the sounds around them. Clarke describes the composition of Ordinary Corrupt Human Love beginning with “small seeds of healing, repair, and rebirth,” and like each subsequent Deafheaven album, this record is, in fact, a revelation. Defeat has inspired some of our best art. If you survive something terrible, you surface on the other side, walk toward the light, and come back to life. If you’re an artist, this kind of new self-knowledge can lead to creating something universal and remembered, something that can live longer than you do. While Deafheaven have managed to cross over this road in the past, they’ve nailed the feeling wholly with Ordinary Corrupt Human Love, a feeling that comes with experience and wisdom. Yes, everybody deals with hurt, everybody’s been the cause of their own implosions, and everybody has the capacity to overcome and love again. Deafheaven have found a way to externalize all of this, and in making their most complete record to date, they turn it into a balm and a cathartic exorcism.
Between the Buried and Me - Automata II - New CD Album This is PART TWO of BETWEEN THE BURIED AND ME’s two-part eighth album and introductory offering for Sumerian Records, Automata. The North Carolina quintet—Tommy Giles Rogers, Jr. [lead vocals, keyboards], Paul Waggoner [lead and rhythm guitar, backing and lead vocals], Dustie Waring [rhythm and lead guitar], Blake Richardson [drums], and Dan Briggs [bass, keyboards]—explore these themes by personally smashing boundaries once again. Automata marks the band’s first proper double LP-spanning concept. They continue to expand their ever-evolving style, upholding a tradition of progression in the process. Track Listing: 1. The Proverbial Bellow 2. Glide 3. Voice Of Trespass 4. The Grid
Back Roads And Abandoned Motels consists of the Jayhawks' versions of songs originally written by front man Gary Louris with and for other artists, including "Come Cryin' to Me" (originally released on Natalie Maines' Mother in 2013); "Everybody Knows" and "Bitter End" (released on Dixie Chicks' Taking The Long Way in 2006); "Gonna Be a Darkness" (written and performed by Louris and Jakob Dylan for True Blood: Music From The HBO Original Series - Volume 3 in 2011); "Need You Tonight" (originally released on Scott Thomas' Matson Tweed in 2015); "El Dorado" (originally released on Carrie Rodriguez' She Ain't Me in 2008); "Bird Never Flies" (originally released on Ari Hest's The Break-In in 2007); "Backwards Women" (written with Wild Feathers but never recorded) and "Long Time Ago" (written with Emerson Hart of Tonic but never recorded). In addition the album premieres two brand-new songs.
Includes 1968 mix, 1971 mix and 7 live tracks from Winterland 10/22/67:
Co-produced by Dave Izumi in Izumi's own Echo Zoo studio in Eastbourne, work began on Outsiders in early 2017. The album, though instantly recognisable as a Magic Numbers record in it's melodies, begins with a more raucous punch sonically. The confidence is more evident than ever before, noticeable immediately in the more bluesy, gnarly guitar sound. Songs like 'The Keeper', even having a distinct T. Rex feel. I've been revisiting lots of early rock'n'roll and blues records, Bo Diddley, Howlin' Wolf", Stodart explains. "I've fallen madly in love with the electric guitar again for sure. I love T. Rex, and Bowie. The silver lining of the sadness of losing ?David Bowie?? was that you go back and become obsessed again. Even the way he left us was a work of art.' There's also been a subtle but significant shift in Stodart's lyrical themes. 'It wasn't a conscious decision to refrain from looking inward but I did feel a shift creatively with the things I wanted to say and share this time around. It's allowed me the opportunity to play with characters like Michele & I have done on 'Ride Against The Wind" which we based upon a fictitious motorcycle girl gang who've grown tired of conforming and towing the line in their everyday lives." This sense of fun is also reflected in the occasional references Romeo throws in of other people's songs, such as namechecking Kate Bush's "Hounds Of Love", and "Everybody's Talkin'" by ?Fred Neil??. "I enjoy throwing in those things in a way to see if people notice, it makes songwriting more playful." The lead single is the epic Neil Young meets Fleetwood Mac" Sweet Divide". "The couplet "Maybe there's no grand design/What if this is all we find?" hints at a humanist, even atheist interpretation. "No-one knows what's to come," says Romeo. "We're all just fumbling in the dark, searching, sometimes it can be comforting to acknowledge that. The expansive, extraordinary "Runaways" is one of the album's standout moments. "It's a love song for the misfits in society" Romeo explains, 'It's saying we're 'scorned lovers' 'damaged goods' but let's stick together and embrace it, I think there's a beauty in that'
With their new album, All That Reckoning, The Cowboy Junkies once again gently shake the listener to wake up. Whether commenting on the fragile state of the world or on personal relationships, this new collection may be the most powerful album the Cowboy Junkies have yet recorded. Its a deeper and a more complete record than weve ever done before, says songwriter / guitarist Michael Timmins. These songs are about reckoning on a personal level and reckoning on a political level.
Rayland Baxter’s new album is a dream realized. Since he first started writing music, this roving rock ‘n’ roll philosopher dreamed of a space where he could devote every waking hour to creating. The hard-touring musician finally found it in the form of an abandoned rubber band factory in Franklin, KY, where he covered the windows, threw a mattress on the floor, and with guitar and piano in tow, spent three straight months writing. At night he would sit and listen to the sounds around him: coyotes, the howling wind, the faint prattle of the nightly TV news. The result of this isolation quest is ‘Wide Awake’ (July 13/ATO Records), a ten-song collection that celebrates the best aspects of humanity and grasps at understanding the worst.
Leading with his heart as much as with his head, AHI is an emotional yet discerning lyricist who would rather demonstrate love than use the word itself. He allows his light to shine inward but only to a degree, admitting to some autobiography on In Our Time but as glimpsed through an imaginative lens. While his music possesses a quality of timelessness, the sounds here reveal a broad spectrum of influence and also toe the line between retro and revelatory. None of that is by accident: the album, like its 2016 predecessor, We Made It Through the Wreckage, was recorded in Nashville -- a place AHI finds attractive for its sound and skilled studio hands rather than its glitzy polish -- and this time on analog-to-tape with flourishes of digital technology.
Body/Head is the duo of Kim Gordon and Bill Nace. Creative alchemy doesn’t just happen in the studio or in the practice space; so much of it is the product of solo time with one’s instrument, learning how body and wood and electronics fuse, and of subconscious processes as one lives one’s daily life—picking up the ambient noise of the world outside, listening to others’ work, talking through ideas with friends. For Kim and Bill, time together these days is limited to live performances and recording, so they’ve got to bring all their magic to every encounter. Lucky for us, these are two experimental sorcerers of significant renown. Their debut album together as Body/Head, Coming Apart, from 2013, was more of a rock record—heavy, emotional, cathartic, spellwork in shades of black and grey. The Switch is their second studio full-length, and it finds the duo working with a more subtle palette, refining their ideas and identity. Some of it was sketched out live (if you’ve not had the fortune of seeing them in that natural environment yet, see 2016’s improvisational document No Waves), but much of it happened purely in the moment. Working in the same studio and with the same producer as Coming Apart, here Body/Head stretch out, making spacious pieces that build shivering drones, dissonant interplay, Gordon’s manipulated vocals, and scraping, haunting textures into something that feels both delicate and dangerous. Less discrete songs than one composition broken up into thematic movements, a slow-moving narrative that requires as much attention and care from the listener as it did from everyone involved in its creation, it is a record that sticks around after it’s done playing. This is Nace’s favorite of Gordon’s guitar work; she’s truly come into her own as a guitarist, having built up her confidence through solo shows. The way the duo work together, you’d never know they spend so much time apart; on The Switch, their vision and focus feel truly unified. If Coming Apart was dark magic, The Switch works with light, though it never forgets that these approaches are two sides of the same coin, and that binaries—black/white, near/far, emotion/analysis, body/head—are made to be broken open, and that the truth of things is in the energy between. “Tenuously and perfectly balanced between experimental challenge and punk efficiency.” - Pitchfork “All sorts of wild, enthralling noises with little more than a pair of guitars and some amplifiers.” - The New York Times “Their minimalist drones evoking the tumultuous inner spaces of the heart and the mind”. - SPIN
Ten years after Mamma Mia! The Movie grossed more than $600 million around the world, fans are invited to return to the magical Greek island of Kalokairi in an all-new original musical based on the songs of ABBA. With the film’s original cast returning and new additions including Lilly James and Academy Award® winner Cher, the musical comedy will open on July 20, 2018. Original ABBA member Benny Andersson produced and arranged the upcoming soundtrack.
Still Run is the new album from Brooklyn, NY based alternative band Wet, and is the follow up to the band’s critically acclaimed debut album Don’t You from 2016.
Still Run shows Wet with a more upbeat and pop driven sound than their debut. The band’s new sound and new outlook, is informed by lead singer and songwriter Kelly Zutrau taking more creative control of the project. Much of Wet's shift stems from Zutrau's more forceful vocals, which allow her direct, yet poetic lyrics to resonate more deeply, and which leap out of the sunnier production. Producers like Rostam (Haim, Solange), Andrew Sarlo (Big Thief), and John Hill (Santigold, M.I.A.) assisted primary producer and Wet band member Joe Valle, who brings a new comfort level to his production style, presenting dark lyrics in a brighter way that highlights their innate intensity and lets Zutrau's songwriting shine. "There are a million ways to make a good song sound good," she says. "But what matters to me most in the end are the vocal, and the songwriting, and whatever serves those best."
Wet is recognized for their deeply-hued emotional pop, well documented by the New York Times, Spin, and NPR among many others. Rolling Stone noted that Wet “set themselves apart with music that combines the elegant ache of Nineties R&B with the raw honesty of indie pop…”. Still Run is a testament to taking that control and pursuing one's artistic vision—and it also shows how any hiccups that might crop up along the way can make the vision's eventual realization more satisfying.
Birds In Row are a melodic/abrasive band from Laval, France. Blurring the lines between hardcore, punk, and related sub-genres, Birds In Row offer something of substantial weight to their listeners. Collectively carrying somber hearts and poignant souls, they navigate through melancholic seas to shape beautifully hook-laden songs unlike anything else out there today. “We Already Lost the World” is their latest, a stunning nine song album that blends post punk and angular rock influences into something emotional and electric. Recorded and mixed by Amaury Sauve at The Apiary, and mastered by Thibault Chaumont at Deviant Lab.
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The Rolling Stones’ No Security tour ran from January to June 1999 through North America and Europe. It followed on from the colossal Bridges To Babylon tour and took its name from the “No Security” live album recorded on that 1997/98 tour. In reaction to the huge stadiums played on Bridges To Babylon the conscious decision was made to book smaller venues for the initial North American leg of the No Security tour. This latest addition to the acclaimed From The Vaults series was filmed at the San Jose Arena in front of an audience of a little over 30,000 (intimate by Rolling Stones standards!) at the end of the North American dates. Previously unreleased, it captures the band in top form playing a set that spans from mid-sixties hit singles up to the then current Bridges To Babylon album.
Mick Jagger (vocals, guitar, harmonica); Keith Richards (guitar, vocals); Charlie Watts (drums); Ronnie Wood (guitar)
With: Darryl Jones (bass, backing vocals); Chuck Leavell (keyboards, backing vocals); Bobby Keys (saxophone); Tim Ries (saxophone, keyboards); Michael Davis (trombone); Kent Smith (trumpet); Lisa Fischer (backing vocals); Bernard Fowler (backing vocals, percussion); Blondie Chaplin (backing vocals, percussion, acoustic guitar)
The debut album from accomplished guitarist and songwriter Jason Isbell, formerly of Drive By Truckers (DBT), is reissued with 4 unreleased tracks from the original recording sessions. The addition of those 4 extra songs finds Sirens Of The Ditch clocking in at 15 total tracks. Sirens Of The Ditch's mystical quality can be partially attributed to the FAME recording studio (Aretha Franklin, Duane Allman, Otis Redding) in Isbell’s hometown of Muscle Shoals, AL where the album was recorded. Co-produced by Isbell and Patterson Hood (DBT), Sirens Of The Ditch features Isbell singing lead vocals and playing guitar throughout, joined by Shonna Tucker (Formerly of DBT) on Bass and Brad Morgan (DBT) on drums. Several musicians pop in for cameos including Spooner Oldham and David Hood (Patterson s father) on "Down In A Hole", John Neff (Formerly of DBT) on "Dress Blues" and Patterson himself guests on "Shotgun Wedding". "a strong debut, full of the kind of confident, charismatic songwriting that just can't be taught." - Pitckfork “Isbell could be roots rock’s Flannery O’Connor.” - Spin
By reaching that sphere of serenity and confidence, we can achieve our full potential. Real Friends make a major leap towards this space on their appropriately titled third full-length album, Composure [Fearless Records]. The Tinley Park, IL quintet perfect their patented one-two punch of punk and pop, while penning their most personal tunes to date. In the end, Real Friends have certainly come full circle, found their composure, and remain ready for their brightest chapter yet.
Combining equal parts of deep funk, high-energy punk, and frantic ska, the Los Angeles-based Fishbone was one of the most distinctive and eclectic alternative rock bands of the late '80s. With their hyperactive, self-conscious diversity, goofy sense of humor, and sharp social commentary, the group gained a sizable cult following during the late '80s, yet they were never able to earn a mainstream audience. Led by vocalist/saxophonist Angelo Moore, the band formed in 1979 while the members were still in junior high; the original lineup comprised Moore, Chris Dowd, Kendall Jones, Walter Kibby II, and John Norwood Fisher. After performing in local clubs during the early '80s, the group signed with Columbia Records in the mid-'80s, releasing a self-titled EP in 1985. The following year, Fishbone released their first full-length album, In Your Face. While it was marred by a somewhat slick production, the sheer energy of their performances burned through the slightly polished surface. In 1987, the band released the Christmas EP It's a Wonderful Life (Gonna Have a Good Time). Truth and Soul (1988), Fishbone's second album, captured the band at their most ambitious, as they slammed back and forth between heavy metal and funk, throwing in an acoustic number and a cover of Curtis Mayfield's "Freddie's Dead" for balance. The album expanded their audience and charted at number 153. However, the band didn't record a new album for another three years. In the meantime, they made two EPs -- Ma and Pa (1989) and Bonin' in the Boneyard (1990) -- which basically comprised several B-sides. Before 1991's The Reality of My Surroundings Fishbone added second guitarist John Bigham. The Reality of My Surroundings didn't depart from the band's reckless eclecticism; it refined it. The album was a hit, peaking at number 49 and receiving positive reviews. However, the record didn't establish the band as a mainstream success, nor did 1993's Give a Monkey a Brain and He'll Swear He's the Center of the Universe, despite their appearance at the third Lollapalooza. Even when the third wave ska revival began to rise to popularity in 1996, Fishbone was left behind, as their 1996 record Chim Chim's Bad Ass Revenge -- their first album for Arista -- was ignored, as was the double-disc compilation Fishbone 101: Nuttasaurusmeg Fossil Fuelin. Despite their poor sales, the group remained a popular concert attraction, issuing the all-star Psychotic Friends Nuttwerx in the spring of 2000. Unfortunately, Hollywood Records had little support for the album and it disappeared after a few disappointing months. They were dropped from the label the following summer, with side projects and various other things keeping them busy during this rough period. An EP featuring a 20-minute jam with Primus, entitled Friendliest Psychosis of All, was released on their own label in the spring of 2002, followed by a live album full of new songs, Live at the Temple Bar and More, in the summer. In 2006 their album Still Stuck in Your Throat appeared in Europe. It arrived in the U.S. in April the next year.
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The debut album that started it all is now available with a brand new Reverse Color LP package and very Limited Edition super special color in celebration of the album being certified Platinum by the RIAA. Released on ATO in 2012, Boys & Girls peaked at #6 in the US and earned 3 Grammy nominations for Alabama Shakes including Best New Artist and Best Rock Performance (for "Hold On"). These are special pressings that are destined to become collectors items - get ‘em while they are HOT.
ELVIN BISHOP’S BIG FUN TRIO -- Something Smells Funky ‘Round Here Deceptively loose but always tight…the raspy chuckle in Bishop’s singing and the sharp sting of his guitar are forceful and fresh, enduring and fun. –Fresh Air, NPR Raw and simple and utterly endearing. --RELIX Elvin Bishop has always been big fun and is the ringmaster in his own blues circus. With Willy Jordan and Bob Welsh, Bishop whomps out tough, muscular and rollicking boogie-infused blues. --No Depression Ever since Rock & Roll and Blues Hall Of Famer Elvin Bishop first hit the scene with the Paul Butterfield Blues Band back in 1965, he’s blazed his own musical trail. Whether he was playing blistering, eye-popping blues, or penning the evergreen radio hit Fooled Around And Fell In Love, or touring the world for decades delivering his original, good-time countrified blues, Bishop has always inspired his fans with his blistering guitar playing and witty, slice-of-life songs. Rolling Stone calls Bishop “a legendary guitarist” whose playing is “impeccable and spirited…a distinguished American player.” Late in 2015, Elvin Bishop formed The Big Fun Trio, with Bishop on guitar and vocals, and his friends Bob Welsh on piano and guitar and Willy Jordan on cajón (a hand-played Peruvian drumbox) and vocals. After playing just a handful of live dates, the group’s instantly crowd-pleasing music and undeniable chemistry took the blues world by storm. With the release of their self-titled CD in 2017, media and fan response was immediate and overwhelming. DownBeat celebrated Bishop’s “verbal hijinks, outstanding guitar work and country boy friendliness.” OffBeat said The Big Fun Trio was “intricate, funky and uplifting,” declaring them, “consistently great.” With its top-shelf musicianship and front-porch vibe, the album earned a Grammy Award nomination. The Big Fun Trio quickly discovered the more they played live, the more fun they had making music together. So a follow-up recording was an easy decision. The new album, Something Smells Funky ‘Round Here, finds the group fearlessly laying it all on the line. According to Elvin, “With a trio there’s no place to hide—you’ve got to be pourin’ everything you got right out front. You need to be totally into it all the time. It’s really cool to see how people react to the goin’-for-it feel of the music.” The album mixes rousing, new originals, reinventions of three Bishop classics and some unexpected, soul-shaking covers. Something Smells Funky ‘Round Here was produced by Bishop and Steve Savage and recorded at Bishop’s Hog Heaven Studio in Lagunitas, California. Bishop wrote or co-wrote five songs (including two by the entire trio). The potent title track – a tongue-in-cheek State Of The Union address as only Elvin can deliver -- kicks the album off with Bishop aiming his lyrical truths at those in power. The humorous but piercingly direct lyrics take aim at the current political scene while Bishop’s deep blues guitar playing drives the point home. Lookin’ Good finds Bishop autobiographically gazing in the rearview mirror with sharp, wry lyrics accompanied by Welsh’s perfect blues piano. Willy Jordan sings lead on four songs, including blistering reinventions of Jackie Wilson’s Higher And Higher and Ann Peebles’ I Can’t Stand The Rain. Bob Welsh, whose guitar or piano playing highlight every song, pounds the ivories on his own Bob’s Boogie. “This album fell together easily,” says Bishop. “Everything I visualized about the songs – from Bob’s playing to Willy’s singing, came true. Bob and Willy are great musicians.” According to San Francisco Bay native Jordan, who has decades of experience playing drums with artists including John Lee Hooker, Joe Louis Walker and Angela Strehli, playing in the Big Fun Trio is “crazy different. It’s rootsy but also new. We all stayed simple to stay strong.” Wels...
2018 album from the former Thompson Twins frontman. Inspired by his return to the live stage in 2014, of Science Fiction, Tom Bailey comments, "I so much enjoyed playing concerts around the world over the last couple of years, that I began working behind the scenes on writing, recording and mixing the songs in this collection. I have concentrated on other areas of music for the past couple of decades - but I find it incredibly rewarding to be making pop music again. There's something so special about the way this kind of music works and, for me, it's like finding a long-lost friend."
The popularity of this 1989 action film has remained consistent for almost 30 years! The music was a centerpiece of Road House with the house band, The Jeff Healey Band, performing new material produced by Jimmy Iovine. All four of those Healey songs are on this soundtrack along with cuts from Otis Redding, Little Feat and Bob Seger, plus two tracks from lead actor, Patrick Swayze. Most songs are exclusive to the soundtrack.
KIDZ BOP 38 features the talented KIDZ BOP Kids, who are the face and voice of the best-selling brand. Billboard Magazine has named The KIDZ BOP Kids the #1 Kids Artist for seven consecutive years. In addition to singing on KIDZ BOP releases, these young performers star in national KIDZ BOP TV commercials and music videos, and perform live on KIDZ BOP's annual national tour.
KIDZ BOP's new album, KIDZ BOP 38, compiles today's biggest pop hits. KIDZ BOP 38 is sure to be an instant favorite among families everywhere.
Sundays is the debut full length from Oakland-based Tanukichan, aka multi-instrumentalist Hannah van Loon. At surface level, the album sounds just how the title describes: hazy, dreamy, reflective, just like a lazy Sunday afternoon. Upon second and third listens, the dreamy music unveils a deeper world: an ever present sense of longing, an endless state of summer and a period of instability that plagues us all at one point or another in our lives. What started with a few unfocused demos, with van Loon playing all the instruments herself in her house, became a studio experience and viable collection of music after her friend Anthony Ferraro of Astronauts, Etc. introduced her to Company Records founder Chaz Bear (Toro Y Moi, Les Sins). After collaborating on her 2016 EP Radiolove, van Loon and Bear set out to make a much more sonically cohesive release, with both the producer and artist playing all the instruments on the record. The result is a slice of dream pop that could only come from the combination of the laid back atmosphere of California and the nostalgic and often difficult memories that are generally associated with coming of age.
• First worldwide release of classic 1999 live album. • Contains performances of favorites from all four Elektra releases. • Packaging featuring updated artwork and new liner notes from the band’s Murray Attaway “This is what we sounded like, for real. Turn it up.” —Murray Attaway Guadalcanal Diary exploded on the scene in 1985 when the previous year’s Walking In The Shadow Of The Big Man was issued via Elektra Records and spawned the hit “Watusi Rodeo.” Over the next four years, Murray Attaway (vocals, guitar), Jeff Walls (guitar, vocals), Rhett Crowe (bass, vocals), and John Poe (drums, vocals) released three more critically acclaimed albums before calling it a day. The band reconvened for live shows in the late ’90s, and tape was rolling during their two-night stand at Smith’s Olde Bar in Atlanta, GA, January 1998. The following year, At Your Birthday Party was self-released as a thank you to “Guadal fans everywhere.” This 16-track performance finally sees worldwide distribution nearly two decades later, with updated artwork and new liner notes from Attaway. It encompasses everything their fans love about the band—favorites from all 4 Elektra releases, as well as one song which only appears on this collection, plus the hooks and passion that filled venues. At Your Birthday Party shows that the band never lost its drive, and that the songs still resonate to this day. As the originalsliner notes stated, “Your table is ready.” Take a seat. But, you’ll be standing up and dancing soon enough...
A joyride that pulls from folk rock, 70s and 80s pop experimentation, and muscly funk, Delivery manages to be both daring and comfortable, full of not just risks, but hooks. This debut album from indie rock harpist, Mikaela Davis delivers messages of resilience and the idea of embracing what makes you unique. Produced by Grammy winner John Congleton (St. Vincent, Angel Olsen, David Byrne, Clap Your Hands Say Yeah) and with guest appearances by The Staves, Delivery features 10 original songs, that pulse, swell, dance, and bewitch.