CIMS In The Groove
With Last Man Standing, Willie Nelson has added 11 essential new songs to his classic catalog. Comprised entirely of songs newly-penned by Willie along with longtime collaborator and producer Buddy Cannon, it is one of his most personal and introspective albums to-date. An album that acknowledges the transience of time while marveling at the joy, beauty and surprise the world has to offer, Last Man Standing finds Willie Nelson rolling at a creative peak, writing and singing and playing with the seasoned wit and wisdom that comes from the road.
Luke Winslow-King's' latest album is an example of craftsmanship at the highest level, radiating a warmth and timeless elegance. Adept at mixing country, blues, R&B, rock 'n' roll, and folk influences intuitively and masterfully, Luke shapes a mood from many sources and shepherds it to a unifying place of acceptance and hope. 'Blue Mesa' is both stately and approachable, manifestly proficient but deeply personal.
On Fables, the forthcoming release from Ashland, Oregon favorites Slow Corpse, languid soul and gauzy dream rock float effortlessly over a bed of nuanced post-rock melodic complexity. Taut, arrestingly propulsive R&B-tinged melodic hooks ebb and flow against an ever-present undercurrent of woozy psychedelica. Born out of the creative union of artists from very different musical ecosystems, Fables manages to blend seemingly disparate elements together in a record that is both intellectually compelling, absolutely of-the-moment, and just plain catchy as hell. Lyrically, the record runs the emotional gamut and is a broad-stroke snapshot of the reality of a post-millennial twenty-something. "People don't need a message from the record" says lead singer Mitchell Winters. "I just want people to come to our shows and dance with me." Crack the cover on Fables, lose yourself in the spellbinding melodic narratives, and you'll find that's a near certainty.
Spawned in Glastonbury, the British center of music festivals, Reef were born to deliver. The band found together in 1994, the height of brit-pop. Nevertheless, their sound was less like the Beatles and more accredited to The Rolling Stones and The Black Crows. It was a formula that payed, and which resulted in four incredibly well-received studio albums Replenish (UK #9, silver), Glow (UK #1, silver in first week, 38 weeks in charts), Rides (UK #3) and Getaway (UK #15). Their success and steadfast fan base can not only be credited to their great musical talent and signature style, but also to years and years of touring which earned them opening slots for The Rolling Stones or Soundgarden. Reef split ways in 2000 only to reunite again in 2010. Their return was well-overdue and the band nowhere near faded. In 2016, the band released the single 'How I Get Over' which made it to the Top 20 most played songs on BBC Radio 2 that year - all without being signed to a label.
If you attach credence to the name of Reef s albums allegorizing a specific phase of the band s history, Revelation is a special one. The band without a doubt have evolved musically well beyond their initial charm. 'Revelation' gives insight into this advancement, without giving any doubt that it is a true Reef album. Interestingly, the album also featured a duet with no other than Sheryl Crow. With songs like 'Revelation' or 'Like A Ship (Without A Sail)', the band doesn t simply try to copy their past sound but cleverly fuse their past musical experiences into what Reef is today a musically evolved and successful band which has accumulated a very devoted fan base and is full of new ideas. Revelation is available on CD, 180Gram Vinyl and Digital
MATT and KIM’s sixth studio album ALMOST EVERYDAY includes guest vocals from the band’s friends including Mark Hoppus, Clairo, King Tuff, Flosstradamus, Santigold and more. Known for their infectious, beat-driven anthems and explosive live shows, this new album breaks the silence after a year-long break from touring and 2016’s WE WERE THE WEIRDOS – a surprise 4-track EP produced during the week between the band’s two performances at Coachella. Out now on FADER Label.
Wide Awake! is New York’s Parquet Courts’ fifth record since their formation eight years ago. It’s also their most groundbreaking. It’s an album about independence and individuality but also about collectivity and communitarianism. Love is at its center. There’s also a freshness here, a breaking of new territory that’s testament to the group’s restless spirit. In part, this may be attributed to the fact that it’s produced by Brian Burton, better known as Danger Mouse, but it’s also simply a triumph of their songwriter’s art. The songs, written by Austin Brown and Andrew Savage, are filled with their traditional punk rock passion, as well as a lyrical tenderness, but are elevated to even greater heights by the dynamic rhythmic propulsion of Max Savage (drums) and Sean Yeaton (bass). Ultimately then the message contained in Wide Awake! is complex. “In such a hateful era of culture, we stand in opposition to that — and to the nihilism used to cope with that — with ideas of passion and love,” Brown says. For Savage, it comes back to the deceptively complex goal of making people want to dance, powering the body for resistance through a combination of groove, joy, and indignation, “expressing anger constructively but without trying to accommodate anyone.” “The most exhilarating exercise from New York’s reigning indie-rockers laureate since their legend-making “Stoned and Starving” – as if you didn’t already have reason enough to be on high alert for Wide Awake!” – Stereogum “An urgent, fantastic return that sees the band at the very top of their game, and more together than ever” – DIY Mag
Santa Rosa Fangs is critically acclaimed California-based singer/songwriter Matt Costa’s new full-length, his first in five years. The album was produced by Peter Matthew Bauer (The Walkmen) and Nick Stumpf (French Kicks). The tale of Santa Rosa Fangs centers around a young woman named Sharon, her two brothers Ritchie and Tony, and their story of love, loss, and coming of age in a timeless yet contemporary California. It is replete with long distance love affairs and nostalgic romances woven through the loom of tragedy and time.
Eight-time GRAMMY award winning musician and reggae icon Ziggy Marley will release his seventh full-length solo studio album, Rebellion Rises on May 18th through Tuff Gong Worldwide. Fully written, recorded and produced by Marley, this passionate and indelible new collection of music encourages people to stand together in activism through love. "The rebellion begins in the mind, the melody, and the music," assures Ziggy. "We are a conduit of that. The rebellion is consciousness. Now the consciousness starts spreading, we become aware and we rise." No track embodies this message better than the album's title track and official first single "Rebellion Rises." A manifesto with a chant-like chorus, the song emboldens it's listeners to use the power we all have as instruments of positive change around the world. "The better side of humanity, cannot let the side of humanity that push negativity and hatred be more willing," Marley explained in a recent interview. "It cannot happen. It's a battle of wills. We've got to have more will." Rebellion Rises marks Ziggy's first studio release in two years, following 2016's critically acclaimed self-titled project which took home the 2016 GRAMMY® award for Best Reggae Album and marked his fourth consecutive debut at #1 on the Billboard Top Reggae Album Chart.
Lake Street Dive will release Free Yourself Up, its second album with Nonesuch Records, on May 4. The four-member band—drummer Michael Calabrese, bassist Bridget Kearney, singer Rachael Price, and guitarist/trumpeter Michael "McDuck" Olson—self-produced the album at Goosehead Palace Studios in Nashville with engineer Dan Knobler.
To Lake Street Dive, the title, Free Yourself Up, is both an exhortation to listeners and a statement of purpose for the band. In many ways, this is the band's most intimate and collaborative record, with the band working as a tightly knit unit to craft its ten songs. For this album, the quartet drafted touring keyboardist Akie Bermiss to join them in the studio as well as on stage. Adding another player to the process freed up the the band members to explore a wider range of instrumental textures, construct more full-bodied arrangements, and build on their well-known background harmonies.
Los Angeles has often been described as a “dream factory”--both a mecca where dreamers converge to pursue long-held aspirations, and a topography of hallucinogenic contradictions: enchanting tangerine sunsets diffused by smog, crystal-clutching spiritualists mingling with deep-pocketed narcissists, rows of scenic palms competing with garish billboards for commuters’ attention. It was against this backdrop that the four members of La Luz--singer/guitarist Shana Cleveland, drummer Marian Li Pino, keyboardist Alice Sandahl, and bassist Lena Simon--conceived of Floating Features, the band’s third studio album. For this, their most ambitious release yet, La Luz consulted landscapes both physical and psychological. References to dreams abound on Floating Features. “Loose Teeth” catalyzes nightmare fuel into a propulsive, intentionally-disorienting collision of honeyed harmonies and Takeshi Terauchi-esque jetstreams of distorted surf guitar. “Mean Dream” unsurprisingly mines dreamstate imagery, and the lyrics and melody for “Walking Into the Sun” actually came to Cleveland during a particularly-vivid night of deep sleep. Looming over the album’s coterie of surreal figures (gargantuan cicadas, a monstrous “Creature,” The Sun King, aliens, the titular “Lonely Dozer”) is the magnificent “Greed Machine,” a skulking, insatiable engine of consumption--Nathanael West’s “business of dreams” fearsomely manifested. To bring these visions to stereophonic life, La Luz pivoted from the DIY trailer-park brio of It’s Alive and the gritted-up urgency of Weirdo Shrine toward lush, hi-fidelity production value. Li Pino’s drums have never sounded more thunderously muscular, Simon’s basslines more robust-yet-agile, Sandahl’s organ melodies more complementary, Cleveland’s layers of guitar more versatile, or the group’s trademark harmonies more bewitching and rapturous. For every one of Floating Features’ seismic crescendos, there are just as many small, evocative details coloring its somnambulist soundscape. Only La Luz could conjure up Floating Features’ Leone-on-LSD vibes, and the album finds the L.A. band at the height of their powers--golden rebels in a golden dream.
For nearly half a decade, The National Reserve has spent its' Friday nights lighting it up at a Brooklyn bar, winning over barflies with epic sets and remarkable breadth of songcraft and showmanship. Now, with their stunning new Ramseur Records debut, Motel La Grange, the band has captured every bit of that energy, emotion, and entertainment for all to hear.
Marian Hill’s sophomore album ‘Unusual’ evolves the sonic and soulful adventure Samantha Gongol and Jeremy Lloyd began on their debut album ‘Act One’ & breakthrough platinum single ‘Down,’ which reached Top 10 on Top 40 radio and Top 25 on the Billboard Hot 100 charts. The duo is already confirmed for highly coveted performances at the Coachella and Firefly Music Festivals & a spring headline tour, which launches in April!