Music Releases 05-31-19
Guns N’ Roses bassist and New York Times bestselling author Duff McKagan’s new solo album, Tenderness, is a reflection on his experiences traveling the globe over two and a half years on GNR’s Not In This Lifetime tour. Encountering heartbreak, anger, fear, confusion and divide on his travels during this tumultuous time in our world history, McKagan channeled a collective hurt into songs of monolithic power. The album was produced by recent Grammy winner Shooter Jennings and features Jennings’ band along with appearances by The Waters and The Suicide Horn Section, amongst others. Pressed on 180-gram audiophile black vinyl and housed in a single-pocket gatefold jacket, the vinyl edition features 10 tracks and a unique sequence carefully selected by Duff and Shooter.
The Traveler, an album of experience and profound resonance by the Kenny Wayne Shepherd Band. Recorded in Los Angeles, while the band was on a break from their uncompromising tour schedule that left them road-tested and ready to rock, The Traveler showcases some world-class musicians: vocalist Noah Hunt, drummer Chris “Whipper” Layton (formerly of Stevie Ray Vaughan’s Double Trouble), bassist Kevin McCormick, and keyboardists Jimmy McGorman and Joe Krown. The album features ten songs including eight new originals co-written by KWS and some of Nashville’s most in-demand songwriters, plus incendiary covers of Buffalo Springfield’s “Mr. Soul” and Joe Walsh’s “Turn to Stone.”
Limited green colored vinyl LP pressing including digital download. 2019 release. Sacred Paws have a natural inclination not to take things too seriously. You can hear it all the way through a conversation with it's two members, guitarist Rachel Aggs and drummer Eilidh Rodgers, punctuated by rolls of giggles and thoughtful pauses, and you can hear it in the light touch they bring to their music, a jangly blend of indie pop full of fizzing world rhythms and bright horns. Run Around the Sun brims with upbeat reflections on growing up and looking back. Shimmering guitar riffs dance between snappy beats and swooning melodies that will have crowds committing to far more than a simple head-bob.
Mercury Prize nominated Irish singer-songwriter Lisa Hannigan is reminiscent of introspective folk artists such as Nick Drake, while delving into the eccentric impulses of musicians like Kate Bush. For Live in Dublin, recorded on her tour of the British Isles, she is joined on stage by Stargaze's Andre De Ridder. The 14 song set list features songs from Hannigan's three albums - Sea Sew, Passenger and At Swim - alongside two 'unreleased' tracks, ''Bookmark'' and ''Swan''.
The Peyote Dance, by Soundwalk Collective with Patti Smith, is the first in a triptych of albums, collectively titled The Perfect Vision, to be released over the next year. Each take their inspiration from the writings of three emblematic French poets: Antonin Artaud, Arthur Rimbaud and René Daumal, and their necessity to travel to different lands to acquire a new vision and perspective on themselves and their artwork. Recorded in the Sierra Tarahumara of Mexico, The Peyote Dance, retraces Artaud's footsteps. The album's opening, recited by Gael Garcia Bernal, evokes the summer he traveled by train towards the Chihuahua region, and by horse to the Tarahumara mountains with the help of a mestizo guide. One of Artaud's goal was to find a peyote shaman who could help him recover from an opioid addiction. During his stay he encountered the Rarámuri Indians and peyote shamans of Tarahumara. His transcendental experience resulted in the book The Peyote Dance. Back in New York, Patti Smith channeled Artaud's spirit by listening, reading and improvising to the music.The penultimate track on the album is a poem she wrote in homage to Artaud's last hours in a mental asylum in France.
Omoiyari is Kishi Bashi's fourth album, following the acclaimed 151a (2012), Lighght (2014), and Sonderlust (2016). Channeling the hard-learned lessons of history, Omoiyari reflects the turbulent socio-political atmosphere of present day America. "I was shocked when I saw white supremacy really starting to show it's teeth again in America," Kishi Bashi says. "My parents are immigrants, they came to the United States from Japan post-World War II. As a minority I felt very insecure for the first time in my adult life in this country. I think that was the real trigger for this project." Kishi Bashi recognized parallels between the current U.S. adminis- tration's constant talk of walls and bans, and the xenophobic anxieties that led to the forced internment of Japanese-Americans in the months following the attack on Pearl Harbor. So he immersed himself in that period, visiting former prison sites and listening to the stories of survivors, while developing musical concepts along the way. The unique creative process behind Omoiyari has been documented in a film scheduled for release in early 2020. "I didn't want this project to be about history, but rather the importance of history, and the lessons we can learn," Kishi Bashi reflects. "I gravitated toward themes of empathy, compassion, and understanding as a way to overcome fear and intolerance. But I had trouble finding an English title for the piece. Omoiyari is a Japanese word. It doesn't necessarily translate as empathy, but it refers to the idea of creating compassion towards other people by thinking about them. I think the idea of omoiyari is the single biggest thing that can help us overcome aggression and conflict." The strong conceptual elements of Omoiyari are driven by Kishi Bashi's captivating musical score. Stepping away from his past loop-based production model, he embraced a more collaborative approach when recording, and for the first time included contributions from other musicians, such as Mike Savino (aka Tall Tall Trees) on banjo and bass, and Nick Ogawa (aka Takenobu) on cello. Kishi Bashi's spectacular trademark violin soundscapes are still an essential component of his sound, but the focus of Omoiyari is centered squarely on it's songs. While the theme of Omoiyari is rooted in 1940s America, the album's message is timeless. In exploring the emotional lives of the innocent Japanese-Americans who were unjustly incarcerated, Kishi Bashi hopes to nurture a sense of empathy, or omoiyari, in all who hear the album.
After years of struggling with drug and alcohol abuse, the then 62 year old homeless Nashville street musician Doug Seegers’ life changed overnight. A hit song catapulted him to superstar status in Sweden and since then he's played hundreds of sold out shows. And in the spring of 2018, Doug Seegers recorded his first international album in Los Angeles with master producer Joe Henry - the result is the much anticipated emotional eleven-songs album "A Story I Got to Tell” which is to be released on May 31st 2019.
Growing up intensely shy, 22-year-old Pip Blom was uncharacteristically plunged into the limelight during her teens when she answered an advertisement for a songwriting competition and reached the semifinals. Failing to win was anything but a deterrent and neither was struggling to find band members post-competition. Pip simply plowed on, programing drums on a computer and writing and recording both bass and guitar parts. She decided to start self-releasing songs on the internet and it didn't take long for people to start taking notice. Today, that same plucky, head-on attitude characterizes everything she does, whether that's witnessing her band's powerfully impressive live show or listening to her honest, heart-on-sleeve approach to writing songs on record. Boat is an an open book of Pip Blom, delivered via her undeniable knack for writing a hook-laden, 3-4 minute song and planting it in your head on a loop for days.
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In a career that spans over four decades, garage rock superheroes The Fleshtones truly have done it all. Theyre one of the final remaining original CBGB bands, theyve played on Andy Warhols short-lived MTV show while Sir Ian McKellen read Shakespeare over their jamming, and were the last band to publicly perform at the World Trade Centers Windows on the World. However, whats most incredible about The Fleshtones is that theyre putting out some of their best music yet forty years into their career, as evidenced by their brand new limited edition 45 single Layin Pipe b/w Lady Nightshade. Layin Pipe is a cover of the great Canadian blues rocker David Wilcox, but the track gets a garage rock facelift from The Fleshtones, complete with howls from Keith Streng and a leading vocal performance by The Count Peter Zaremba. Lady Nightshade is a rollicking original by The Fleshtones, featuring some haunting guitars licks and various spellbinding chants throughout the chorus.
For Frank Iero, making music has always been a coping mechanism. But it's also much more than just a way of dealing with the hardships of life it's a means of stepping back to take in the hurricane that is life, both in all its glory and devastation and acknowledging the things you could, and maybe should, have done differently. 'People like to say 'I live my life without any regrets,' and I think that's bulls**t,' he says. 'I think that if you don't have any regrets then maybe you didn't really live. Life is about mistakes and life is about scars and those are the things that help us remember that we re alive. You shouldn't get everything right you should know what it feels like to feel sorry.' Regret flows through Barriers, Iero's third solo record, more than anything he's ever made before. Made with his new band, The Future Violents, and recorded and mixed by Steve Albini, it's an album that directly and deliberately challenges the doubts that plague us, whether on a trivial, everyday basis or a more meaningful level. To that extent, its fourteen songs are much more than a deeply existential journey into his heart and mind. They also reinvent who he is as a musician and tackle head-on the fundamental question of what it means to actually be alive, to be human.
Juno Award winning artist, Justin Rutledge returns with his new album, Passages. Justins band on Passages includes guitarist Rob Baker from the Tragically Hip, and the album was co-produced by Justin and Chris Stringer (Timbre Timbre, Elliot Brood, The Wooden Sky). The NOW Magazine Toronto Songwriter of the Year, CMFA Album of The Year winner and multi Polaris nominee recorded Passages in-between getting married to HGTV Canada star Sarah Keenleyside and his acclaimed performance in the Montreal run of the Tony Award winning musical, Once.Justin Rutledge has fans in Gordon Lightfoot and Man Booker Prize winner Michael Ondaatje (who co-wrote Boats on Passages) and has been hailed by The Line of Best Fit as as strong as Neil Young in his prime along with The Toronto Star proclaiming Rutledge can spin a yarn just as well as Bruce Springsteen. Similar artists include Jason Isabell, Ryan Adams, Wilco, Lord Huron.This is a priority release for Outside Music that will be supported by a full marketing campaign, with English Canadian press handled by Stephanie Hardman, Canvas Media for radio, Six Media for French Canada, Silver PR for the UK and Starkult for Germany. Touring in support of Passages will begin with a duo tour with Rob Baker throughout Ontario in March 2019, and will continue with extensive headline touring across Canada and in international markets.
Operators’ sophomore album Radiant Dawn will be released in May, 2019 on Last Gang Records worldwide. Formed in 2013, the band features Boeckner (Wolf Parade, Handsome Furs, Divine Fits) on vocals, guitar, and synths and is joined by drummer Sam Brown (New Bomb Turks, Divine Fits) and electro-wiz, Devojka. Produced by Operators, Arlen Thompson (Wolf Parade) and Napster Vertigo.
Give me a minute or three to extol the virtues of The Gotobeds, the modern rock and roll sensation that has always sounded like they love to play. Never maligned by having the world’s weight on their backs, The Gotobeds - Cary, TFP, Eli and Gavin - return to the fray with their third full lengther, Debt Begins at 30. The esprit de corps and anxiety-free joy that permeates their other LPs and EPs remains intact. The octane is high-test, the engine still has knocks and pings and the battery is overcharged. The Gotobeds - as Pittsburgh as it gets, the folk music of the Steel City - have more tar for us to swallow. Debt Begins at 30 is an old-fashioned blast furnace and the liquid iron flows. Debt Begins at 30 is not "pub sop" in any way or shape. Though I never considered The Gotobeds a band that needed assistance from their peers, Debt Begins at 30 features outside contributors on every track. The album's first single, "Calquer The Hound," includes local buddy Evan Richards, and Rob Henry of Kim Phuc. "Calquer The Hound" has euphony, a sly bridge, plenty of trademark bash, and a spacey outro. It's a sanguine album opener, more Al Oliver than Starling Marte. On "Twin Cities," the lads tap Tracy Wilson, formerly of Dahlia Seed and currently of Positive NO!, to share the vox, and the result is an exuberant pop song proving The Gotobeds benefit from women ruling the scene. "Twin Cities" is more Dakota Staton than Don Caballero. "Debt Begins at 30," the title trackular, includes the wizardry of Mike Seamans and legend Bob Weston. It's a brooding romp with tribal beats and slash-and-burn guitar, more Rocky Bleier than Le'Veon Bell. Unsurprisingly, The Gotobeds called partners-in-rock-crime Protomartyr a coupla times, with Joe Casey bolstering "Slang Words" and hook-fiend Greg Ahee shredding on "On Loan." "Slang Words" is a savory wrecking ball with a crunching bite, more of a soft shell crab sandwich from Wholey's Market than a 4am slop feast at Primanti Brothers. "On Loan" is an anthemic jangle-fest with high-arcing fret work, more Karl Hendricks (rest his soul) than "Weird Paul" Petroskey. Silkworm guitarist Tim Midyett is tapped on "Parallel," a grand song that enters a world of whimsy, melodic and uncomplicated, more Jaromir Jagr than Sidney Crosby. The likes of 12XU label boss Gerard Cosloy, Tre Orsi's Matt Barnhart, the wonderful Victoria Ruiz of Downtown Boys, Pittsburgh wordsmiths Jason Baldinger and Scott MacIntyre, and yours truly strut stuff on other tracks. In my case, I just scream “dross” on "Dross" several times. Good judgment on the part of The Gotobeds to know that's the best I can do, more Max Moroff than Andrew McCutchen. Anyways, The Gotobeds have quickly reached the veteran stage, but, based upon Debt Begins at 30, their best days are ahead of them. It's a pleasure to be associated with such an excellent band. --Bob Nastanovich, 1/13/2019, Des Moines
Metal with WWI lyrics is a traditional affair – especially in the extreme metal sector where bands such as Endstille, God Dethroned or Hail of Bullets set the bar high. But none of them took the matter as seriously (visually too!) as 1914! The Ukrainian act mixes blackened, massive death metal with audio drama soundscapes and disquieting melodies, and tunes like ‘A7V Mephisto‘ bring in the majestic doom factor. The Blind Leading The Blind towers over the listener with dense atmosphere and technical supremacy and even has a surprise up its sleeve in shape of the blackened punk cover version of The Exploited`s ‘Beat the bastards‘. A future genre classic!
Mighty warriors of the galaxy, the time has come: Gloryhammer have forged their third longplayer! The next thrilling chapter of the heroes around mastermind Christopher Bowes (Alestorm) awaits! The spies of Emperor Zargothrax are everywhere, which is why Legends from Beyond the Galactic Terrorvortex has been secretly recorded in an undisclosed location in the highlands of Scotland with producer Lasse Lammert (Alestorm). Mighty fanfares guide the listener into his journey through the Terrorvortex – and only the bravest warriors will make it out of this maelstrom, clad in triumphant power metal and epic orchestral backgrounds. Could there be a more hypnotizing and beautiful place than the gloriously symphonic ‚Land of Unicorns‘? We doubt it. FOR THE ETERNAL GLORY OF DUNDEE!
Polish extreme metal veterans VADER are pleased to announce that they will release a new EP titled "Thy Messenger" on May 31st this year. The effort will contain four of the five songs that were recorded over a week-long period in January and February at Hertz Studio in Białystok, Poland under the supervision of the Wiesławski Brothers. The cover art was painted by Wes Benscoter, who previously worked with VADER on the "De Profundis" LP and has collaborated with such bands as SLAYER, KREATOR and SINISTER. A new full VADER album will be recorded later this year for a tentative autumn release.
Combining the brazenness of Riot Grrrl with the angst dirge of grunge, Team Dresch didnt just raise the stakes of queercore: They created two near-perfect albums about longing, freedom, and belonging over guitar riffs as epic and intense as Jody Bleyle and Kaia Wilsons poetic couplets. On their 1995 debut, Personal Best, they rage against the Christian right and small towns, then kiss their girlfriends on the mouth. Donna Dresch, Bleyle, and Wilson play ferocious, intricate riffs fast while Marcéo Martinez hits the drums hard. To paraphrase their own song, they are amazing; their words save us.
Captain My Captain shows Team Dresch finding and creating community, elevating and becoming dykons. Drummer Melissa York joins the fold, adding a level of NYC showmanship to the quintessentially Northwestern, T-shirted live act. Already they commanded a level of assurance and confidence, staying true to the undergrounds autonomous spirit; Remember who you are, Make up who you are, they roar over the noise of busted closets. The fierce and biting lyrics are aided by raging, skilled punk rock sounds, creating one of the most intense and meaningful punk revival albums to date. Team Dresch is able to accomplish more in this 35 minutes than many bands can in their entire career. Punk rock will never be the same.
New 7" Vinyl: $9.98 Buy
Team Dresch combined the likes of punk and metal with the then-radical ideologies of sexuality and female empowerment to earn their respected place among the queercore and riot grrrl movements. Nearly three decades after forming, the works of Team Dresch have never resonated louder as the relevance of such social concerns and opinions continues to enter modern day discussion. Remastered fresh pressing of long out-of-print debut 7'' from 1994, on clear vinyl.
We all evolve and learn. We all come to understand our faith and life with deeper meaning and appreciation. With a rich history of chart-topping albums and singles, TV placements and theme songs, The Afters have risen to new heights with Fear No More. The track Well Done has already garnered an amazing response at radio and streaming. This project is brimming with irresistible pop hooks and meaningful heart songs that infuse us with hope for the future filled with faith and expectancy.
An album that hearkens back to the golden era of Jazz on Manhattan's 52nd street where smoke filled rooms played host to after-hours jam sessions where musicians got together with their peers to play the music that touched their souls. Casey Abrams is the centerpiece of a tremendous ensemble that includes Jimmy Greene (Sax) Mark Whitfield (Guitar) Anne Drummond (Flute) and Giveton Gelin (Trumpet). Jazz is the culmination of decades of combined mastery and skill of the participating players presented through the lens of a dozen songs from the annals of the greatest American art form... Jazz. From "Why Don't You Do Right" to "Autumn Leaves" or "The Girl from Ipanema" you'll hear one of the most unique voices and personalities to enter Jazz in decades present this material to you as if it were the first time. The album was recorded in stunning high definition fashion using our new recording methodology which pairs a stereo ribbon microphone capturing crystal clear vocal performance with two spaced omni-directional microphones encompassing the other players and the immaculate acoustics of the church in which the album was recorded. This new recording style will leave you feeling like the band is right in front of you while still creating a timeless presence that will have you coming back for years to come.
Ascending from the depths, the almighty DEATH ANGEL return to offer their latest, energy fueled masterpiece: “Humanicide.” A return to the wolves alongside a survivalist pack mentality are what fuel the powerful themes erupting from these fresh metal anthems. In a modern capitalist society where selfishness reigns and communal help and survival are things of the past, Death Angel produces sounds and symbols that point out the truths of attempting to exist safely in the present day. The title itself describes a plain in which humans, after generations of violence, regression, and hate, have finally extinguished themselves into dust. The wasteland they left behind is populated only by those creatures that passionately depend on their pack for survival: The Wolves. Gnashing their teeth and struggling to survive in an abandoned world, the wolves are back and galloping fiercely across the cover of the album. Adorned in the war skins of their enemies and the creatures they’ve killed together in order to survive, the powerful messages of the songs can be seen in Brent Elliott White’s fantastic piece of art.
ROYAL REPUBLIC don’t believe in ‘guilty pleasures’ – only pleasures, free of compromise. Since meeting at the Malmö Academy Of Music in 2007, they’ve become Sweden’s most addictive rock’n’roll export; mixing riffy guitars, king-sized tunes and jet-packed beats with their own eclectic tastes and inimitable joie de vivre. Plus the kind of snazzy suits most of their contemporaries wish they had the balls to pull off. They’ll rock the s**t out of you and make you dance like you’ve just won the lottery. Now, with the arrival of fourth album “Club Majesty”, ‘disco rock’ has been added to the mix.
The Stax Soul Explosion 2-LP reissue celebrates the 50th anniversary of the Memphis label’s defining hits collection. Features powerful soul tracks like “Private Number” by Judy Clay & William Bell, “Who’s Making Love” by Johnnie Taylor and “I’ve Never Found A Girl (To Love Me Like You Do)” by Eddie Floyd. The set features 28 tracks, including chart-toppers and deeper cuts.
In 1968 Stax was working overtime to reinvent itself in the wake of Otis Redding's untimely December '67 passing and the dissolution of a deal with Atlantic Records that gave the label perpetual rights to Stax's back catalog. When the deal ended, Stax also lost one of their leading artists, Sam & Dave, who were signed to Atlantic, but released their music on Stax. Though Stax lost nearly all of the songs they had recorded from 1957 through 1968, they still had the talented musicians, songwriters and producers who had made them. Al Bell, who had just been promoted to Vice President of the label, quickly realized that Stax needed more than hits if they were going to survive. They needed to rebuild their back catalog. In 1969, Bell steered Stax into a prolific period of recording that united Stax’s creative forces in the common goal of getting the label back on its feet. This rebuilding phase was labeled the Soul Explosion. During this remarkable rebuilding phase, 30 singles and 27 albums were recorded in eight months.
The pleasure of finding something new in what we already know. The strange face of someone close. The outsider we all carry inside. The unex-plored path in our usual location. A secret, a hiding place, a surprise. This is what Juan Pablo brings us. He's the persona that Juan Wauters embodies to tell another side of his story. Not long ago, Wauters released La Onda de Juan Pablo, an album that allowed him to reinvent himself and start writing a separate chapter in his exciting career. Now, as a companion and as a prequel, he releases Introducing Juan Pablo. La Onda de Juan Pablo was a travelogue of sorts, with it's anthropologi-cal efforts, it's parade of Latin American musicians and it's choice to only feature Wauters native tongue. Introducing Juan Pablo, on the other hand, goes back and forth between Spanish and English. It is, in short, more faith-ful to the interculturalism that Wauters experiences daily. "In my house, among my family, we speak in Spanish. But outside in the neighborhood, we speak in English with my friends. Several of them speak in Spanish with their parents, but not all. It doesn't cause me any trouble to go from one language to another. I can express myself in the same way: everything is music." In a nod to both his home country and his adopted home, he in-cludes an English version of "El Hombre de la Calle" ("The Man on the Street") by Jaime Roos, one of the most popular Uruguayan songwriters. The references to the land where he was born are here on the surface. Between the first track ("Super Talking") and the last ("Greetings"), songs run in both languages, culminating with "Lora", which opens like a pop ka-leidoscope and ends in a kind of cosmic brotherhood between Eduardo Mateo and Syd Barrett. His immigrant's side. His sense of belonging. His social life and his use of language. His need to work. And the even stronger need that his work doesn't become monotonous. His dream of another possible world: a world where all worlds fit. Juan Wauters went through all this to introduce us to Juan Pablo. They are the same person: one among the whole crowd.
Requiring less than two weeks of studio time to complete, it's accurate to say that Apex Manor's Heartbreak City was captured more than it was recorded due to the "everybody in the same room" live sessions featuring songwriter Ross Flournoy on guitar and vocals, Dan Allaire (The Brian Jonestown Massacre) on drums, and Rob Barbato on bass and production duties. The raucous result is a sonic spectacle that cleverly balances aggressive Dinosaur Jr.-esque guitars with dreamy synth work that's reminiscent of The Cure, all mixed together with spirited instrumental performances, nuanced melodicism, and lyrics that swing wildly between being cryptic and being profound. In short, it's everything there is to love about early '90s pre-commercialized alternative rock but with a refreshingly modern absence of pretense or nostalgia.
The infamous Gaahl (ex-GORGOROTH, WARDRUNA) is a grim and imposing personification of black metal's iconoclasm. Now he returns with his new band Gaahls WYRD and their massive debut album 'GastiR – Ghosts Invited'.
Borne out of a project honoring the legacy of his first band TRELLDOM , Gaahls WYRD continues on the left hand path that has defined his music for 25 years. As "From the Spear", "Ghosts Invited", and the epic "Carving the Voices" illustrate, his ghastly vocals are the cutting edge of a full-strength assault of pure Norwegian black metal. Gaahls WYRD are one of the best new metal bands to arise in the last decade, and 'GastiR – Ghosts Invited' is a towering monument of black metal malevolence and majesty.
The mighty upsetter returns with 9 brand new tracks recorded with longtime friend and collaborator Adrian Sherwood at the controls!This new set is the culmination of over two years work and recording sessions that span Jamaica, Brazil and the UK. Determined to craft a work of lasting power, Sherwood likens to the album to the work that Rick Rubin did with Johnny Cash on the American Recordings series, a deeply personal work (the album title refers to Lees birth name) and arguably the strongest batch of original material that Perry has released for many years. From the atmospheric field recording and wah-wah guitar of album opener Cricket On The Moon, to the gothic cello embellishment on Let It Rain, the chopped-and-compressed horn section of Makumba Rock, to the layered, carefully arranged backing vocals like a heavenly chorus throughout the record, this is an album with true love, care and attention poured into its every groove. It culminates in the truly extraordinary Autobiography Of The Upsetter, in which Scratch narrates the story of his life from growing up on a plantation in 1930s colonial Jamaica to becoming a worldwide musical superstar. It's the most intimate album Lee has ever made, but at the same time the musical ideas are very fresh. I'm extremely proud of what we've come up as a piece of work.
Backyard barbeques, barroom brawls, tent revivals, and big rock festivals alike are suitable environments for the Red Dirt Metal of TEXAS HIPPIE COALITION, a band with a sound so devilishly electrifying that they had to come up with a new genre to describe it. High in the Saddle is a record full of unashamed, full-throttle ass kicking. It’s the band’s second pairing with producer Bob Marlette (Black Stone Cherry, Rob Zombie) and sixth album over all, on the heels of the No. 2 Billboard Heatseekers slab, Dark Side of Black.
Sinkane is unique in that he is one of few artists that has a real, tangible stake in our current cultural and political climate, and it shows in the music. For the new album Dépaysé (a French word meaning to be removed from ones habitual surroundings.) Ahmed Gallab didnt just write a few protest songs in the style of the familiar Sinkane sound. Rather, you can FEEL the difference, the change that has taken place in the art. The falsetto of the earlier records is almost entirely gone in favor of an aggressive, clearly stated tenor. There is almost nothing in the lyrics that is ambiguous or even difficult to understand, and even the musics poppier moments are confrontational and bombastic. And while the new album is reflective of what the band has become musically, a wild raging force to be reckoned with live, it is at its heart about what real frustration feels like and what real change could require. It is by far the most personal, direct, unfiltered and raw Sinkane album.
David Hillyard & The Rocksteady 7 have become one of the most prominent rocksteady groups based in the United States over the last several decades. Band leader David Hillyard (The Slackers, Hepcat) has assembled a rotating team of expert players for both studio sessions and live shows, featuring such recurring members as Larry McDonald (Carlos Malcolm, Lee Scratch Perry, Toots & the Maytals) and Eddie Ocampo. Playtime is group's first official record, originally released in 1999 by Hellcat Records. This lively mix of American jazz, world music, and roots is coming to vinyl for the first time in 2019.