After the breakout success of 2014′s Singles, synth rockers Future Islands has announced a new album called The Far Field due out out April 7 via 4AD. Although another theatrical (is that Marlon Brando?) Letterman performance would be fitting, the band seems to now have a solid footing with or without late night television. Find the tracklisting and cover art below, along with the first single from the album, “Ran.” The Far Field features Blondie’s Debbie Harry , who makes a guest appearance on “Shadows.”

The Baltimore based trio began writing the album last January, and later in the year, performed the songs at a series of secret shows under fake names. They recorded the album with producer John Congleton (Sleater-Kinney, David Byrne, St. Vincent, Cloud Nothings) in Los Angeles at Sunset Sound.

The Far Field:

01 Aladdin
02 Time on Her Side
03 Ran
04 Beauty of the Road
05 Cave
06 Through the Roses
07 North Star
08 Ancient Water
09 Candles
10 Day Glow Fire
11 Shadows
12 Black Rose

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Going on 18 Years, Lotus has evolved with more proficiency than most bands within the instrumental improvisational scene. Most importantly, the band has gradually built its fan base strong,  where today its live shows continue to be an anything goes must hear affair that now draws to Red Rocks and most prestigious of venues  No doubting the fact but these days Lotus is on fire.

Eat the Light (released 7/15/06) was a first for Lotus, an album with vocals on every song. Guest singers appear throughout ranging from soulful to indie, male and female, electronic and rock. The tracks bubble with contagious dance energy and blast into orbit with sing-along choruses. Tightly produced yet raw grooves recall sounds of The Talking Heads, Jamiroquai, and LCD Soundsystem, yet seems to hit a chord with both new and older fans alike.

With Lotus just kicking off its winter tour last week in Washington, D.C., we had a chance to speak with Jesse Miller (bass, sampler) about the past year for the band and its most recent success. Lotus will also be performing this Friday (2/3) at the Fonda Theatre in Los Angeles for what is guaranteed to be yet another memorable night of jams, beats and hooks. Tickets are still available!

Lotus just kicked off its winter tour in DC, what does the opening night of a Lotus tour feel like and does it sometimes take a few shows for you to feel at peak form?

Playing two sold out shows at the legendary 9:30 Club was a great way to kick off the tour. It’s a great sound system and the crowd is very close and involved in the show. So, it really feels like we have a lot of control and dynamics. We received numerous comments from long time fans that those were some of the best Lotus shows they’ve ever seen.

Looking at the schedule you are on the road for the next two plus months – how does a tour evolve creatively for you – are there certain cities or venues that bring out something different to the setlist now that you’ve played most parts of the country?

We are often playing over 100 different songs over the course of a tour this size, so each night is going a slightly different direction. We try to cover a wide breadth of our catalog and are playing for between 2-3 hours of music each show, so every night will have a lot of variety. I think it is the crowd, more than anything else, that can change the show. If we are super exhausted from the traveling and late hours an energetic crowd can breathe new life into the show.

The band is playing some of the more prestigious venues and festivals these days so obviously you’ve come a long way, not only from the listener’s perspective but also from the promoter/industry side. How would you explain how the band has been received and are you satisfied with the place it is now?

We are very thankful for the success we’ve had and the people who have helped get us there. But, I wouldn’t say satisfied. I still want to write better songs, reach new ears, be more creative. I don’t want to rest on our laurels.

Lotus has had a longevity that surpasses almost any band within its genre and scene, how do you explain your ability to not only still be active but always be poignant and stay musically relevant as improvisational music has changed so much around you?

We’ve always stayed open to trying out new musical ideas. I like to be aware of current developments, but I don’t want to chase pop music trends. We purposely play less shows than a lot of bands in our scene. And we use that time off the road to continuously write, record and experiment. I think that allows us to challenge ourselves musically to try new things.

How do you feel you fans have changed as the band has progressed? Do you see a lot more younger fans or a lot of fans who have been with you since the beginning?

We definitely have some hardcore fans who have been seeing Lotus for 10 plus years. When I hear people say they’ve been to 25, 50, 100 shows that always amazes me. I haven’t seen drastic changes in the audience. I’d say there are a lot of fans at the shows in their 20s and 30s. Part of that is the nature of the time these shows happen. There are plenty of people who can’t make it work to get out to a mid-week show that runs from 10pm-1am.

What has your fans’ response been to your new music vs your older music as you’ve progressed from a more organic approach to one that involves vocals more and more indie progressive with shades of pop? 

Whenever we do something that is obviously different from our previous albums you get some pushback. But, that seems to happen with every album we put out. A few years later those same songs could be considered part of the classic Lotus sound by the same people. Our latest album, Eat the Light, is the first that has vocals on every song, but there have been hints of this sound in Lotus songs for many, many years. “Tip of the Tongue,” “The Surf,” “Age of Inexperience,” “Turquoise,” etc. We’ve been writing songs with vocals for a long time, this is just the first time we have done a full album with vocals on every song.

Do you still feel the full length album is valuable art form for artists like Lotus that are renowned for telling a musical story during their live shows?

I still believe in the album format. That is how I prefer to listen to music. There is something powerful to me about a collection of music designed to work together in a specific sequence. We use a lot of the same ideas for sequencing an album as designing a set list for a show. Using slower, ballads to set up more rocking or dance-oriented songs and balancing songs that are more abrasive or dark with sweeter and diatonic based music.

What albums by current artists inspire you to record and try and take your music to that next level?

Neon Indian – Vega Intl. Night School, Car Seat Headrest – Teens of Denial, Tame Impala – Currents, Spoon – They Want My Soul, Parquet Courts – Human Performance

You have an upcoming show in LA we’re helping to spread the word out on. What are your memories of LA and what can we expect Lotus to bring out in Southern California?

I really like LA. I like to visit friends there, enjoy the sunshine, eat great food, drink great coffee. I have a lot of memories from LA. Playing a Beard-o-Bees set at Low End Theory and Flying Lotus showed on stage next to me. Seeing Underworld at Hollywood Bowl. Seeing Phillip Glass at Hollywood Bowl. Looking out over the city from Griffith Observatory. Eating at Tasting Kitchen in Abbot Kinney. Drinking on patios in Los Feliz with friends. Crashing a random house party in Venice Beach. Drinking amazing coffee in Silver Lake.

The post Lotus Kicks Off Winter Tour With Aplomb (INTERVIEW) appeared first on Glide Magazine.

Pilgrimage Music & Cultural Festival and Canadian indie folk band The Strumbellas  are premiering a LIVE version of their #1 hit track “Spirits” and video on Glide (below) as part of the festival’s 2016 Pilgrimage Sessions. The video was recorded live at the second annual Pilgrimage Music & Cultural Festival in Franklin, TN, which featured the band performing in a cozy, decked out airstream presented by Sixthman.

The Strumbellas, Simon Ward (vocals, acoustic guitar), David Ritter (piano, percussion, vocals), Jeremy Drury (drums, percussion), Isabel Ritchie (violin, vocals), Jon Hembrey (electric guitar) and Darryl James (bass) rose to fame when they released their latest album, Hope in April 2016. “Spirits,” the first single off Hope, rapidly reached #1 on both the Alternative Radio and the Billboard Alternative Songs charts.

Pilgrimage Music & Cultural Festival, is a two-day event transforming The Park At Harlinsdale Farm into an oasis of music, food, and culture set against the natural amphitheaters and vistas of this former walking horse farm located in Franklin, TN. The incredibly curated lineup from the past two years have included heavy hitters such as Willie Nelson, Steven Tyler, Beck, Daryl Hall and John Oates, Jason Isbel, and Kacey Musgraves and up and coming indie favorites such as The Strumbellas, Kaleo, Shakey Graves and more.

Not only does the festival drive tourism dollars to Williamson County but a portion of each ticket sale benefits the City of Franklin and Franklin Parks and MusiCares®, a nonprofit organization that was established by The Recording Academy^®.

Click here for more information on Pilgrimage 

The post VIDEO PREMIERE: #1 Hit “Spirits” From Pilgrimage Sessions feat The Strumbellas appeared first on Glide Magazine.

Trombone Shorty has signed with Blue Note Records and will make his debut for the iconic jazz label this April ahead of his appearance at the 2017 New Orleans Jazz & Heritage Festival, where he has inherited the festival’s prestigious closing set in the legacy of great New Orleans artists like the Neville Brothers and Professor Longhair. Trombone Shorty & Orleans Avenue are currently out on an extensive tour opening for Red Hot Chili Peppers, including three sold-out shows at both Madison Square Garden in New York City (February 15, 17, 18) and Staples Center in Los Angeles (March 7, 8, 10). For a full list of tour dates visit tromboneshorty.com/tour. Check out Glide’s most recent interview with Shorty;s guitarist Pete Murano.

The post Trombone Shorty Signs With Blue Note, New LP Due In April appeared first on Glide Magazine.

Blondie will release their 11th studio album entitled Pollinator on May 5th via BMG – a remarkable album that stands alongside any in their celebrated and trailblazing career. Listen to “Fun,” a euphoric track that plays like the best party ever thrown amidst a symphony of synths, driving percussion and Debbie Harry’s icy cool vocals sounding better than ever. The song, which premiered via Pitchfork, is available to download everywhere now

PRESS HERE to pre-order Pollinator, featuring album artwork designed by world-renowned artist Shepard Fairey. The album is available in CD, digital, heavy weight vinyl, and a limited edition 7″ box set. Fans can also pre-order a limited red heavy weight vinyl album from Blondie’s store and an exclusive white heavy weight vinyl from independent retailers.

It was GRAMMY® Award-winning producer John Congleton (Franz Ferdinand, St. Vincent, Sigur Ros) who brought the late ’70s Parallel Lines attitude out of Blondie again on Pollinator, with arrangements that are fast and fun, lyrics that are are romantic and teasing, and synth-stoked hooks that evoke the new wave era. For their most collaborative album to date, recorded at NYC’s famed studio The Magic Shop, Blondie enlisted an eclectic group of songwriters who have offered their own interpretation of Blondie’s legacy back to the very band that helped to shape their own musical DNA. TV On The Radio’s Dave Sitek returns Blondie to a 21st Century Studio 54 on “Fun.” Blood Orange frontman Dev Hynes penned “Long Time,” a song about “racing down the Bowery” and wondering if life turned out the way you wanted it to. The Sia-penned track “Best Day Ever,” a collaboration with The Strokes’ Nick Valensi, ponders the push-pull of bittersweet memories. The Charli XCX tune “Gravity” bonds Charli and Debbie in their mutual pop-punk cheekiness. “My Monster” comes courtesy of The Smiths’ Johnny Marr. “Fragments,” the contribution from Adam Johnston aka an Unkindess, was first heard as a sample on the Canadian indie artist’s YouTube movie reviews.

Blondie’s classic songwriting duo of Debbie Harry and Chris Stein are at the heart of Pollinator’s creation, and founding drummer Clem Burke provides the unmistakably thrilling propulsion throughout. Harry and Stein’s instantly addictive “Doom Or Destiny” boasts vocals from the invincible Joan Jett while their carnival-esque “Love Level” features vocals from cross dressing comedian/singer and Bob’s Burgers regular John Roberts. The Gregory Brothers (founders of Songify the News) appear on “When I Gave Up On You.” Renowned creative pioneer Laurie Anderson appears on “Tonight,” a hidden track penned by Charli XCX song found only on the CD version of the album.

Blondie have already announced April 2017 Australia and New Zealand dates, which are soon to be followed by the concert dates in the US and Canada, the UK and Europe.

Pollinator Tracklisting:
1. Doom or Destiny
2. Long Time
3. Already Naked
4. Fun
5. My Monster
6. Best Day Ever
7. Gravity
8. When I Gave Up On You
9. Love Level
10. Too Much
11. Fragments

For the last four decades, Blondie – Debbie Harry, Chris Stein, Clem Burke and long-standing band members Matt Katz-Bohen, Leigh Foxx and Tommy Kessler – has become and still remains a true national treasure; one whose influence both shaped and continues to inform the worlds of music, fashion and art. From an irreverent Lower East Side punk outfit to bona fide international ambassadors of New York cool, Blondie will forever be synonymous with that punk spirit that lives somewhere in all of us. Their chart-topping success, fearless spirit and rare longevity led to an induction into the Rock ‘N’ Roll Hall of Fame in 2006, a NME Godlike Genius Award in 2014, a Q Award for Outstanding Contribution to Music in 2016, and more than 40 million albums sold worldwide to date.

The post Blondie Collaborate with Joan Jett, Johnny Marr, And More On New LP ‘Fun’ appeared first on Glide Magazine.

SXSW Releases First Round of Films to Play at Festival

SXSW Film has made the first round of announcements regarding this year’s lineup, with several heavy hitters earning spots in the festival. Edgar Wright’s Baby Driver and Terrence Malick’s Song to Song were both among the headlining films for this year’s festival. Other highlights include the Giancarlo Esposito directed film, This is Your Death, which takes a dark look at reality TV and the Frank Oz directed documentary Muppet Guys Talking. Over 125 films will be screened this year in Austin, Texas, and this is only the first round of announcements. More films, including the Midnighters, will be announced on February 7. SXSW 2017 takes place March 10-19 in Austin.

(SXSW)

Ben Affleck Steps Down as ‘The Batman’ Director

Ben Affleck has officially stepped down as director of his upcoming Batman solo flick, tentatively titled The Batman. Affleck had been expected to write, direct, and star in the film, though now the Oscar winner says that his energies will be best spent on the performance. As of now, he’s still on board as screenwriter, so his vision will largely still be intact, at least from a narrative stand point. Now, the only question is who will direct the latest incarnation of The Dark Knight? The loss of Affleck as a director comes on the heels of a slew of problems DC/WB are having in building their DCEU cinematic universe, including a complete reset on their The Flash movie. With two major releases set for later this year, Wonder Woman and Justice League, their long terms plans need to be finalized soon if any traction is going to be gained.

(Deadline)

‘Aquaman’ Casts Black Manta

Elsewhere in the DCEU, Aquaman has found its villain in actor Yahya Abdul-Mateen II (The Get Down), who will face off against Jason Momoa’s (Game of Thrones) titular hero as Black Manta. So far, Aquaman had had considerably less problems in its production than the rest of the shared universe, and things are looking well as the film prepares to enter production. James Wan (Saw) is directing the film. Little is yet known about the plot for Aquaman, though the character briefly appeared in last year’s Batman v Superman and is set to appear again this year in Justice League.

(THR)

‘Arrival’ Director Tapped for ‘Dune’ Remake

The long running rumors about a remake of Dune were finally solidified last night when Brian Herbert, son of Dune author Frank Herbert, and co-author of several Dune prequels, sequels, and spinoffs, announced that Arrival director Denis Villeneuve has officially signed on as director of the planned series. That’s a giant move for the director, whose acclaim has been rising ever since 2015’s Sicario. Dune has had a long history with adaptations, with David Lynch helming a cult-favorite adaptation in the 80s and a well-received SyFy miniseries in the early 00s. Other directors have tried to get an adaptation of Dune off the ground over the years, most famously with writer Alejandro Jodorowsky’s failed attempt in the 70s, later chronicled in the documentary Jodorowsky’s Dune. It’s a difficult series to crack, to be sure, but Villeneuve has proven himself to be a master at the kind of understated-but-epic storytelling required by Dune.

It’s official — Legendary Pictures has signed the very talented Denis Villeneuve to direct the exciting new DUNE series film project.

— Brian Herbert (@DuneAuthor) February 1, 2017

(Twitter)

HBO Developing Behind-the-Scenes ‘The Godfather’ Film

HBO Films has entered development of a new movie about the making of The Godfather. Based on the 2015 blacklist script by Andrew Farotte, Francis and the Godfather will follow the tumultuous experience of director Francis Ford Coppola as adapted Mario Puzo’s classic novel. From studio interference, on set turmoil, and dealings with real life Mafioso, the tale behind one of the greatest movies of all time is one worthy of film itself. No word yet on who will direct or star in the film, but given HBO’s track record with their original films, this could be another homerun.

(Variety)

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GRAMMY nominated Hot 8 Brass Band is set to release their fifth album, On The Spot out March 31 on Tru Thoughts, and embark on an extensive world tour including select markets in the U.S., U.K., Europe, and Australasia.

Stirring up excitement ahead of the album and tour, lead single “Working Together”/“Keepin’ It Funky” released on Dec. 16, 2016, has been gaining support from Jamie Cullum (BBC R2), Garth Trinidad (KCRW) and Craig Charles (BBC R2/6Music). The latter tastemaker also stars in the “Keepin’ It Funky” video, which sees him leading the crowd of revellers in a raucous Hot 8 parade performance on London’s Clapham Common. Wherever they are, Hot 8 bring the unique, undiluted energy of the New Orleans Second Line parades.

The new record has its roots firmly in live performance, and in true Hot 8 style it pairs hard-hitting, heart-on-sleeve sentiment with party-fuelling beats, hooks and grooves. On The Spot refers to the saying, on the spot, the glorious, rare moment in a New Orleans parade when the band stops to take a break but keeps playing for the crowd. Vibing and keeping the energy up, when they’re completely in the moment they sync up and the magic happens – a new tune is created, on the spot. Buzzing with the live, spontaneous synchronicity which has fuelled their development from the streets of New Orleans to the forefront of the global scene over the last two decades, the new LP sees Hot 8 committing this spirit to record – and in the live arena the tunes are set to blow up.

“We are privileged to tour and to tell the stories of life in our city, to keep alive the memories of our band members who have passed, as well as all the musicians who have gone before”, says band leader and tuba player Bennie Pete. “We can’t wait to share this new music and party with our fans, who help us to keep pushing ourselves on”.

The last year Hot 8 Brass Band celebrated their 20^th Anniversary with the ‘Vicennial: 20 Years Of The Hot 8 Brass Band’ album released in late 2015, and they have toured almost constantly since. Delighting crowds with their rambunctious mix of hip hop, funk and inimitable Big Easy jazz, they have performed along side headliners at sold out festivals including BST Hyde Park (supporting Mumford & Sons), North Sea Jazz, Secret Garden Party and WOMAD. They wrapped up the summer at Madness’ House Of Common event with their jubilant New Orleans-style parade, before being welcomed with open arms by fans and media during their fall France tour.

Mixing an old school street brass approach with funkier currents and hip hop vocals, Hot 8’s magnificent originals are juxtaposed with fresh versions of Snoop Dogg, Stevie Wonder, The Specials and Basement Jaxx. And of course their anthemic take on Marvin Gaye’s “Sexual Healing”, which recently re-launched with a new video that is nudging 1 million YouTube hits. This year’s On The Spot Tour is set to bring these essential cuts to an even wider audience, while cementing the next generation of Hot 8 classic tunes in the hearts and minds of fans.

Always in demand, so far Hot 8 has performed extensively in the UK including the tastemaker outlets of BBC 6Music Morning Show, BBC Radio 4’s Loose Ends, Jazz FM, BBC Radio Scotland and BBC R3; add these to in-depth interviews with Mary Anne Hobbs (6Music) and BBC World Service’s Outlook programme, touching on tragic stories from Hot 8’s history which chimed especially intensely with listeners in the midst of the Black Lives Matter movement. A recent mini-documentary, Hot 8 Brass Band: 20 Years In The Making, has also helped to tell the story of this indefatigable musical and cultural force at a pivotal point in their evolution. Hot 8’s incredible tale, which comes across in their life-affirming and powerful music, has also previously featured in Spike Lee’s two New Orleans documentaries, When The Levees Broke and The Creek Don’t Rise, and David Simon’s HBO series Treme (in which the band played themselves), to add to extensive features across the world’s media.

One of the great New Orleans acts, Hot 8 has pushed on through a barely imaginable series of trials. The devastation of Hurricane Katrina, the separate deaths of five band members, and the horror of trumpeter Terrell “Burger” Batiste losing his legs, have tested these men almost to breaking point. They honour their lost friends and work towards the future of their community by putting their energies into positive projects at home as well as touring as much as possible. They march together and they play their music, not merely as a livelihood, but because their lives depend on it.

Transcending genres and trends, Hot 8 have performed and collaborated with artists from Lauryn Hill to Mos Def to the Blind Boys of Alabama, and were nominated for a GRAMMY in 2013 for their second album ‘The Life and Times Of…’. 2015’s acclaimed ‘Vicennial: 20 Years Of The Hot 8 Brass Band’ exemplified their ability to honour their city’s musical traditions while forging their own powerful legacy – a story that continues apace via the ‘On The Spot’ album and tour.

The post Hot 8 Brass Band Announce New LP ‘On The Spot’ appeared first on Glide Magazine.

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At a Hiss Golden Messenger show last year, front man MC Taylor said of Tift Merritt (who stood by his side providing backing vocals), “This woman has the kind of voice I want to write songs for.” And though her voice wasn’t alone on stage that night, longtime fans of Merritt’s understood. Her lived-in, honeyed singing is wholly hers – she sounds like no one else. Her new record, Stitch of the World, is a stunning display of Merritt’s natural ability, and her ability to tap into the raw, often challenging parts of being a human being.

Merritt created Stitch of the World while pregnant, and whether intentionally or not, there’s that unmistakable cusp of change, a mix of fear and hopefulness, threaded through each song. She writes about openness, inclusion, doing the right thing, staying true to herself, and putting love first, all messages that hold a particular importance in this strange time of unrest. The title track is an enchanting, haunting song with traditional folk roots about finding your place in the bigger picture and going with the flow. It’s one of the darkest, most compelling tunes on the album.

“My Boat” is a song about friendship and support, as is “Love Soldiers On”, and both are gauzy and warm. “Icarus” is as light as air, practically taking flight as its mythological subject suggests. But the most beautiful track finds Merritt collaborating with folk artist Sam Beam and is one of three songs she sings with him (Beam also produces). “Wait for Me” has one of those choruses that will stick with you no matter what. It’s intimate and fragile, a love song that feels fresh and new. Merritt’s vocals are breathy and light, but there’s an underlying sense that she could really belt it out if she wanted. The beauty lies in how well she controls it, offering little bursts with a hint of rasp, and then quickly retreating back to a much softer sound. It is positively hypnotic.

The post Tift Merritt’s “Stitch of the World’ Keeps On Enchanting (ALBUM REVIEW) appeared first on Glide Magazine.

Within certain circles, Natalie Cressman is already a household name for the role she plays as regular member of the Trey Anastasio Band. Beyond that, the eclectic musician has only continued to diversify and expand her musical universe. These days the trombonist/composer/vocalist has been channeling much of her musical energy into her new EP The Traces, which comes out on March 3rd. The album finds Cressman exploring a range of electronic elements with a live band, resulting in a refreshingly danceable and indie-modern vibe. It’s also marks a bit of a departure from the jazzier music Cressman is known for.

Glide Magazine is excited to share a special preview of the song “Love Me Blind” off Natalie Cressman’s new EP. The song brings to mind the beats of early Common with smooth R&B vocals of Mary J Blige, but in a way that shows us the distinctive direction this young artist is taking her sound.

Speaking on the recording of the song, Natalie Cressman has this to say:

“The melody for ‘Love Me Blind’ originally started out as a trombone loop that I tracked in Ableton, which you hear in the intro. I then built a beat around it, and when I was adding some background ‘ooh’s’ the idea occurred to me that it would be cool to put words to the trombone melody. The song evolved really organically from there and was one of the few songs on this album that I virtually wrote in one sitting. The lyrics are an uplifting series of questions to a lover, asking if they would love them against all odds, and it’s a really nice interlude between the two heavier and more melancholy songs on the EP. I then brought my Ableton project to producer Ivan Jackson of Brasstracks, and after tweaking my demo and adding his own elements to the track we replaced a lot of the layers with live instruments – drums, bass, guitar, keys, and strings, bringing the song to it’s full potential.”

LISTEN:

Natalie Cressman releases The Traces on March 3rd. For more music and info visit nataliecressman.com.

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It’s no small mark of distinction when you’re able to enlist superstars like The Mavericks to participate in an early outing. Yet it’s far more impressive when the sound you produce yourself sounds so assured and confident, even the initial time out. That was the case with Canada’s Whitney Rose, whose previous album, somewhat tellingly titled  , sounded like a collection of seasoned standards as ageless as something that might have once been wrought by Hank Williams, Kitty Wells or any number of other classic country crooners in their prime. The fact that practically all the songs were written by Rose herself added further credence, but it’s the strength of this follow-up EP South Texas Suite that truly affirms her talent and tenacity.

Described as a love letter to Texas, her recently adopted home, South Texas Suite finds her saluting the south of the border sounds with an appropriate twang and sway. The support crew affirms the music’s aim for authenticity, with the legendary Earl Poole Ball and Redd Volkaert being among those lending support. The Tex Mex-styled album opener, “Three Minute Love Affair,” the smooth sashay of the cleverly-titled “Lookin’ Back on Luckenbach” and the gentle glide of pedal steel on “My Boots” all make it clear this Canadian expat has made herself feel right at home in her new digs. That stands to reason; with her cool country croon, Rose finds a natural fit, and indeed, when she lets loose on “Bluebonnets for my Baby, she sounds like Patsy Cline incarnate, with Loretta Lynn offering an approving nod.

A still blossoming talent with an ageless soul, Whitney Rose is ready to take her place alongside country music’s most accomplished auteurs. And considering the competition, that’s saying quite a bit indeed.

The post Whitney Rose Salutes South of Border Sounds On ‘South Texas Suite’ EP (ALBUM REVIEW) appeared first on Glide Magazine.

The post Tales From The Golden Road: Jamie McLean Band Explore Steel, Studios And Collaboration appeared first on Glide Magazine.

Pimps of Joytime puts the needle in the groove with its fresh collection of 10 funk anthems ready to put a smile on faces across the globe. An intersection of Brooklyn’s indie music scene, New Orleans funk and San Francisco soul, the Pimps’ new studio release Third Wall Chronicles (Sugar Road Records: March 24, 2017) unites us around a common bond of Peace, Love and Music. The apex of positivity and a solace from the daily grind shines bright as the Pimps of Joytime throw the dance party of the year on Third Wall Chronicles and everyone is invited!

Akin to icons such as Prince and Stevie Wonder – who were at the helm of studio production while laying down instrument and vocal tracks for their lauded recordings — Pimps’ lead man Brian Jay is the mastermind behind the sonic veil on Third Wall Chronicles. A Williamsburg, Brooklyn resident since debuting Pimps at Nickodemus‘ infamous “Turntables on the Hudson” party (The Frying Pan, NYC) in the mid-2000′s, he pulls equal inspiration from simply one man singing with an acoustic guitar to infusing a Brooklyn DJ attitude with NOLA funk and the vocal stylings of the great soul singers of the ’50s and ’60s.

Brian Jay is no stranger to working with A-List talent in the studio as he’s produced albums for a “who’s who” of New Orleans heavyweights, including such stars as Cyril Neville (The Neville Brothers), James Andrews, Bernard “Pretty” Purdie (The World’s Most Recorded Drummer), and Corey Henry (Galactic). He’s shared the stage with Art Neville, George Porter and Zigaboo Modeliste (The Meters), Eddie Bo, and he’s currently working on an album with GRAMMY Award-nominated blues artist Cedric Burnside (grandson of legendary blues musician R.L. Burnside). Brian Jay co-produces Third Wall Chronicles with Los Lobos’ Steve Berlin. Co-writers on the album also include Anthony Cole (JJ Grey & Mofro), Nappy G (Turntables on the Hudson), DJ Black Pearl, and Chancey Yearwood.

“Brian Jay is a bit of a genius,” say Steve Berlin. “It was a blast just coming in and making a few things larger and more colorful. He has the remarkable ability to get an idea, get a sound and make it real at a speed that I’ve never seen before.”

Third Wall Chronicles is as much a personal quest as a statement about breaking down walls to unleash love, creativity, and bringing people together. The album opens up with Anthony Cole’s penned “This Funk,” which Brian Jay unleashed from the mound of Cole’s ’90s demos. Related to Nat King Cole, Anthony is a Detroit-raised “dark lord of the funk” (as Brian Jay would refer to him). Cole lends harmony vocals to half the songs featured on Third Wall Chronicles. “Play” appeared in a dream; upon awakening, Brian Jay had the pre-chorus and medley already in his head. He credits having seen UK-based band Jungle at NYC’s SummerStage as the spark for the layered unison falsetto vocals on the track.

“On Tap” and “Little Bit Of Something” puts the spotlight on Brian Jay’s untethered vocals. Two songs emulating the intoxication of love and the desires of holding onto a lover even when it might be time to let go. “She knows how to set me off, fire like a molotov, it’s alchemy, better than cocaine, whisky, weed,” sings Brian Jay on “On Tap.”

“Jack Stackin” showcases Brian Jay’s production style of pulling samples from his vast catalogue of recordings for base elements while layering atop, in this case, vocals through a super lo-fi mic purchased for $40 at a thrift shop. The song’s groove was conceived while flying 30,000 miles high, and once back in the studio, samples of horns and the second line beat with its heavy emphasis on the 4, shape the track. The song was co-written with longtime collaborator and former Pimps band member Chancey Yearwood.

“There’s a soulful G spot that I am forever trying to please with vintage tones or even a single note on the guitar,” says Brian Jay. “I’m always trying to get off in a musical sense. I love a fat groove that has some stank on it, but centered around the best song I can possibly compose.”

Co-written with Nappy G, “Reverend Soul” celebrates the life of a dear friend Solange a.k.a. Reverend Soul who was tragically killed in a bicycling accident in 2009. With enough time passing, Brian Jay produces this tribute track centered around a chant of her name that initiated from jam sessions following her passing.

“Mud” features a standout collaboration with keyboardist/vocalist Ivan Neville that delivers a reactive narrative to the shocking results of the recent Presidential election. Brian Jay sings, “I’m doing alright despite the dark energies that I see and feel. Don’t need a doctor, maybe a shaman to see beyond the veil. Doing alright despite the static and degradation. The mind trip, amnesia, sometime before the dawn and I’m traveling through the Muddy Water.”

Afrobeat and a heavy dose of Tame Impala in rotation on his latest playlists influence “Everywhere I Go,” which brings forth the EDM side of the Pimps of Joytime. “Neara To Your Fire” is a pop-inflected song with all the right elements to be the feel-good jam of the spring. The finale is a collaboration with NOLA’s DJ Black Pearl, “Joytime Radio,” a track that summons the influence of Shuggie Otis on Brian Jay’s vocal and electric guitar work.

Third Wall Chronicles is the Pimps Of Joytime’s fourth full-length studio album and features standout performances by fellow Pimps band members Mayteana Morales (vocals), Kimberly Dawson (vocals), David Bailis (drums) andJohn Staten (guitar). Pimps of Joytime will headline venerable West Coast venues in February and March 2017 with MarchFourth before heading to the East Coast for their national album release event at The Bowery Ballroom onMarch 25, 2017. For a comprehensive list of all forthcoming Pimps of Joytime shows, please see below and visit pimpsofjoytime.com.

PIMPS OF JOYTIME — SPRING 2017 TOUR DATES

2/23 — Aggie Theatre — Fort Collins, CO*
2/24 — Fox Theatre — Boulder, CO*
2/25 — Ogden Theatre — Denver, CO
2/28 — Pink Garter Theatre — Jackson Hole, WY*
3/1 — The Top Hat — Missoula, MT*
3/2 — The Showbox — Seattle, WA*
3/3 — Crystal Ballroom — Portland, OR*
3/4 – Volcanic Theatre Pub — Bend, OR
3/7 — HiFi Music Hall — Eugene, OR*
3/8 — Arcata Theatre — Arcata, CA*
3/9 — The Miners Foundry — Nevada City, CA*
3/10 — Crystal Bay Club Casino — Crystal Bay, NV*
3/11 — The Fillmore — San Francisco, CA*
3/22 — Gypsy Sally’s — Washington, DC
3/23 — Ardmore Music Hall — Ardmore, PA
3/24 — The Wonder Bar — Asbury Park, NJ
3/25 — The Bowery Ballroom — New York, NY
4/1 — The Sinclair — Cambridge, MA
5/20 — VA Beach Funk Out — Virginia Beach, VA
5/26 — Rooster Walk — Martinsville, VA
8/4 — Salmonfest Music Festival — Ninilchik, AK

* w/ MarchFourth

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The wait is over, Return To The 37th Chamber is El Michels Affair’s highly anticipated follow up to 2009′s underground cult classic Enter the 37th Chamber. Churning out classic records since then for the likes of Lee Fields, The Arcs, The Shacks, and tons more, it is clear that EMA’s signature sound is stronger & sharper than ever. El Michels Affair will release Return To The 37^th Chamber on April 14 via Big Crown Records. Watch the album trailer video HERE and pre-order the album HERE.

This time, in addition to re-interpreting the Wu compositions for a live band, EMA pays homage to the production and sonic fog that makes a RZA beat so recognizable. Producer and bandleader Leon Michels recorded the album completely analog, sometimes hitting six generations of tape before it was ready for mixing, giving the Return to The 37th Chamber it’s own hazy sound. Adding to the unique fidelity, the record is laced with psychedelic flourishes, “John Carpenter” synths, heavy metal guitars, triumphant horns, and traditional Chinese instruments that make up for the lack of the Wu’s superlative vocals. From start to finish it’s a dark trip that walks the line between RZA’s timeless hip-hop aesthetic and the cinematic soul EMA has become known for.

El Michels Affair tackles some classics like “4th Chamber” and “Wu Tang Aint Nuthin to Fuck Wit”, as well as some deeper cuts like Ol Dirty Bastard’s “Snakes”, Raekwon’s “Verbal Intercourse”, and “Shaolin Brew”, Wu-Tang’s contribution to the St. Ide’s Hip Hop endorsement campaign from 1994.

This time El Michels brings some of the Big Crown family along for the ride. Lee Fields handles vocal duties on “Snakes” and is joined by Shannon Wise of The Shacks for their version of “Tearz”, which pays as much homage to the Wendy Rene sample as it does to the Wu-Tang Clan. Brooklyn Vegan premiered “Tearz feat. Lee Fields & The Shacks” this morning and announced the album details. The track is available now via all digital retailers and Lee Fields and The Shacks both head out on the road this month; you can find Lee Fields tour dates HERE and The Shacks dates HERE. “Tearz” b/w “Verbal Intercourse” 7-inch is out March 3 and available for pre-order HERE.

Lady Wray also makes an appearance on the cover of Method Man’s hit, “All I Need”, lending her vocal prowess to what gave the Wu one of their biggest hits of all time. Interspersed throughout the record are some original interludes that are like the “rug that ties the room together,” giving Return To The 37th Chamber a cinematic narrative that makes it a proper El Michels Affair record and not just a collection of covers.The vinyl version of Return To The 37th Chamberis presented with four different hand painted covers.

The originals were painted on two sewn together flour sacks in Accra, Ghana by Heavy J and Stoger, two artists who are legends in the Ghanaian Mobile Cinema scene and regular contributors to the Deadly Prey Gallery’s collection in Chicago.

From the music to the presentation, this album is a perfect example of what can only be achieved through diversity. The end result is as much a kaleidoscope of influences and multiculturalism as the city it was recorded in. El Michels Affair is once again, “sounding out the city” that raised them, pulling elements of art and culture from across the country and around the globe to create an album truly unique in it’s own right.

The post El Michels Affair Announce ‘Return To The 37th Chamber’, Listen to Lee Fields On “Tearz” appeared first on Glide Magazine.

Jackie Greene has today announced his full spring 2017 touring plans with the Sweetwater Spring Tour, beginning with a special six-night residency at the Sweetwater Music Hall on Friday, March 24. For the first time in his career, the first sets of each residency show will be dedicated to performing one of his albums in its entirety, starting with his first album and playing songs that have not been performed in 10+ years.

Greene’s special series of shows will precede a full spring tour as he returns to California to kick-start the slate of dates with the Jackie Greene Band: Nathan Dale (Guitars, Vocals), Jason Crosby (Keys, Fiddle) Fitz Harris (Drums, Vocals), Jon Cornell (Bass), and Jackie Greene (Vocals, Acoustic/Electric Guitars, Hammond B3, Piano, Harmonica). Greene’s tour ends with a performance at the Sweetwater 420 Festival in Atlanta, GA. Please see full itinerary below.

Watch Jackie Greene Band (with special guest Bob Weir) perform “Gone Wanderin’” from his recent show at The Warfield in San Francisco:

Before his residency in Mill Valley, CA, Greene performs at New York City’s Beacon Theatre as a part of “Love Rocks NYC! A Change Is Gonna Come: Celebrating Songs of Peace, Love and Hope,” a benefit hosted by John Varvatos and Greg Williamson. Greene performs alongside the likes of Joe Walsh, Mavis Staples, Jackson Browne, Gary Clark Jr., Michael McDonald, and more. More info available at: loverocksnyc.com

Bay Area Americana wanderer David Luning supports Greene on all Sweetwater Spring Tour dates. Luning’s newest LP ‘Restless’ (Blue Rose Music) is a meditation on the road from an ever-present touring force, with stories about the people and places Luning has experienced throughout the album. Praised by Relix, Paste, Bluegrass Situation, and more, Luning and his three-piece accompanying band bring an effervescent energy to each stage they play with double bass, mandolin, harmonica, and all.

Growing up as a self-taught pianist and guitarist, Greene wrote and performed songs for many years while honing his songwriting craft inspired by vintage rock, country, blues and R&B. With each new release, Greene’s reputation grew and led him to open for the likes of B.B. King, Buddy Guy, Susan Tedeschi, Huey Lewis, Mark Knopfler, and Taj Mahal, with Bob Weir anointing Greene the “cowboy poet” of Americana. In 2013, Greene joined the reunited Black Crowes as lead guitarist, and in 2014, Greene joined Joan Osborne and Crowes’ drummer Steve Gorman to form the supergroup Trigger Hippy, which released its self-titled debut that year. Greene has been a frequent member of Phil Lesh & Friends, contributing lead guitar and vocals. Greene has also toured with Bob Weir and Black Crowes frontman Chris Robinson as the acoustic trio WRG, and he joined the late Levon Helm in his famous Midnight Ramble shows.

Jackie Greene – Sweetwater Spring Tour Itinerary 2017

March 24 – Mill Valley, CA – Sweetwater Music Hall (Gone Wanderin’)

March 25 – Mill Valley, CA – Sweetwater Music Hall (Sweet Somewhere Bound)

March 26 – Mill Valley, CA – Sweetwater Music Hall (American Myth)

March 30 – Mill Valley, CA – Sweetwater Music Hall (Giving Up The Ghost)

March 31 – Mill Valley, CA – Sweetwater Music Hall (Till The Light Comes)

April 1– Mill Valley, CA – Sweetwater Music Hall (Back to Birth)

April 5 – Aspen, CO – Belly Up Aspen

April 6 – Denver, CO – Globe Hall

April 7 – Denver, CO – Globe Hall

April 8 – Fort Collins, CO – Aggie Theatre

April 10 – Kansas City, MO – Knucklehead’s

April 12 – Saint Paul, MN – Turf Club

April 13 – Chicago, IL – Lincoln Hall

April 14 – Madison, WI – Majestic Theatre

April 15 – Columbia, MO – The Blue Note

April 17 – Ann Arbor, MI – The Ark (More Acoustic Than Tuesday)

April 18 – Ann Arbor, MI – The Ark (More Electric Than Monday)

April 19 – Indianapolis, IN – HiFi

April 22 – Atlanta, GA – Sweetwater 420 Festival

The post Jackie Greene To Hit The Road For “Sweetwater Spring Tour” appeared first on Glide Magazine.

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Cape Cod’s Chandler Travis has had a long and checkered career in the world of show biz, beginning in the seventies when he and Steve Shook joined up as Travis Shook and the Club Wow and then in the 80’s with the Incredible Casuals. Along the way Travis has appeared on stage with everyone from Bonnie Raitt and Bruce Springsteen to good pals NRBQ, George Carlin (with whom he toured for many years), and Elvis Costello. His current projects are the Chandler Travis Three-o, the Catbirds and large ensemble, and the Chandler Travis Philharmonic.

On February 10th the Chandler Travis Philharmonic will release Waving Kissyhead, Vol. 2 & 1 on Travis’s Sonic Trout label. It’s an album full of Travis’s trademark homespun quirky pop work that places him squarely in the company of folks like mid-period Kinks, XTC and Smiley Smile-era Brian Wilson. The album is bursting with brassy sounds and delivers a much-needed jolt of euphoric energy. The album features 17 examples of what some folks call “alternative Dixieland,” “omnipop,” or “gospel music for atheists.” It also happens to arrive during the grand silver twentieth anniversary of the Philharmonic’s existence.

Today Glide Magazine is excited to offer up an exclusive premiere of the new album. Chandler Travis shares his own colorful explanation for the album:

“It’s the Philharmonic’s first album in 6 years, and it’s pretty much a party album – 17 tracks, one ballad (though it’s a doozy: ‘When the Moon Shines’, a song we like to think might’ve made Stephen Foster proud!) Veering between practically the straight ahead r ‘n b of the opener ‘You’ve Got Me Started’ and the gonzo Charles Ives meets Peter Duchin experimentalism of ‘Untitled’, ‘Waving Kissyhead, Vol. 2 & 1′ is not so much thought-provoking as thought extinguishing…”

LISTEN:

Chandler Travis Philharmonic will release Waving Kissyhead, Vol. 2 & 1 on February 10th. For more info visit chandlertravis.com. You can also pre-order HERE.

The post ALBUM PREMIERE: Chandler Travis Philharmonic Burst With Quirky Pop On ‘Waving Kissyhead, Vol. 2 & 1′ appeared first on Glide Magazine.

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I don’t know what it is about Asa Butterfield’s character, Gardner, in The Space Between Us, a kid who’s born on Mars, that makes it so impossible to care about him. Playing off themes of adolescent alienation, something almost everyone can identify with, but forced into contrived situations of ham-handed drama, Gardner’s character utterly fails to really make a connection with the audience, thus never giving us the motivation to valiantly cheer on his increasingly implausible adventures.

After a brief and wholly unnecessary opening scene of a flight crew headed to Mars for an extended mission, it’s revealed that one of the astronauts aboard is pregnant. It then keeps jumping forward in time to manufacture some controversy as to how a pregnancy slipped past an interplanetary aptitude test, before showing Gardner’s birth, and a gratuitous attempt to exploit his mother’s death.

Flash-forward yet again to the film’s present day. Gardner is a moody, isolated teenager who lives among the rest of the astronauts on Mars. Due to the aforementioned manufactured controversy, his entire existence has been hidden from the public, so it’s like no one knows he exists, man!

Aside from Gardner’s equally charmless robot friend, and Kendra (Carla Gugino), the only person he can really open up to is Tulsa (Britt Robertson), who he regularly video chats with. Gardner has to hide the fact that he’s on Mars, but nonetheless promises how the two of them will meet in person one day.

Anyway, Gardner ends up coming to Earth, which we’re told his too dangerous an environment for him to stay in long-term, given he’s used to less oppressive gravity of the red planet. Still, he’s plucky and determined, so he escapes from his holding facility and heads off to meet Tulsa, who’s mad at him for not chatting with him online during the weeks he spent traveling to Earth in secret.

Oh, and Tulsa has a terrible life with an alcoholic father, too, because this movie can’t help from being one predictable cliché after another. Once Gardner convinces her he’s sorry (which takes all of, like, 11 seconds), the two of them take off on their cross-country road-trip to find out the truth about Gardner’s father, presumably because it was the next chapter in the beginner’s guide to schmaltzy filmmaking.

It seems like The Space Between Us wants to evoke the same kind of Spielberg-era swashbuckling adventure, the kind that’s safe for the 10-and-up set; a grounded rehashing of movies like D.A.R.Y.L. or Flight Of The Navigator. A place powered by nostalgia, where accessible, kid-friendly fantasies set the stage for a warm-hearted morality tale that lets us know we’re all different, and that’s okay. Or that we’re all the same, and that’s okay. Either way, everyone can be themselves, because we’re all okay.

The non-stop, eye-rolling clichés aside, Butterfield fails to connect with either his character or the audience. It’s almost as if he’s too good at portraying alienation, which could also explain the void between him and Robertson where the chemistry would normally go.

Ultimately, The Space Between Us is simply an unremarkable, 80s-tinged paint-by-numbers lark, one that fails to evoke any emotional reaction while it’s happening, or leave any worthwhile impression when it ends.

However, in all fairness, it does have a scene where a biplane crashes into a barn, causing it to go up in a comically oversized fireball, so at least it’s not all bad.

The Space Between Us is now playing in theaters everywhere.

The post ‘The Space Between Us’ And The Mire Of Forced Sentiment (FILM REVIEW) appeared first on Glide Magazine.

Plenty of people go to see bands when they come through their town, but most people don’t think about everything that it takes to get those bands to their favorite club. Being on tour for a musician is both enlightening and daunting, as physically and mentally draining as it is stimulating. And no matter what, there are always stories to tell. In Tales From The Golden Road we let musicians tell their own stories of life on the road to get a behind-the-scenes, up-close look at what really goes down between each show. 

The Band of Heathens are on tour now supporting their new album Duende. We’ll be publishing dispatches from their tour as it progresses. For a full list of dates and music visit bandofheathens.com. You can read Part 1 of this series HERE. 

As the second week of our Duende tour begins, we find ourselves in New York City in the middle of a Nor’Easter. The city has an almost mythic quality, when under these conditions. As we crossed the Lincoln Tunnel into Manhattan an $81 toll, our van was pounded by 50 MPH gusts of wind, and sheets of rain came rolling across the windshield as we sloshed south on 9th Avenue.

We took the Lincoln Tunnel into the city because everyone knows that you can’t drive a commercial vehicle and trailer into the Holland Tunnel; well almost everyone, (we learned that on our way out of the city, but more about that later)…

Tonight’s show at the City Winery was great fun and we had a tour ending jam with The National Reserve, what a group of great guys and a cool band, make sure you go check them out.

We also learned earlier in the day that our record had gone to #1 on the Americana Charts. I’ll be honest and say that we truly don’t make music to win awards and be recognized, we do it because we love to make music, it’s a passion and a way of life for all of us. I can also say that we feel grateful that this music is resonating with people and it’s being heard. It’s really a great gift to have people embrace your work.

Moving along…

At around 2am we were ready to head out of the city and park our ride in New Jersey (can’t park trailers in NYC on the street), but we were stopped by a police officer for trying to enter the Holland Tunnel. For all you bands out there with trailers, NO HOLLAND TUNNEL.

We had a great day of press and radio work on Tuesday, with visits to Relix, SiriusXM and Paste Magazine.

We did a mini-desk style concert for Relix and I was given a tour of the archives of Relix’s files on The Grateful Dead and Jerry Garcia. I consider myself to be a pretty strong Deadhead, so this was quite a treat.

PS: If for some off chance you’re reading this, don’t come up and quiz me on shows and dates to see if I’m a “true Deadhead.” Do however, ask Trevor our keyboard player that question because he will know the answer.

Trevor

Next up was a full studio performance for Outlaw Country on (Sirius XM). It’s always great to see our friend Jeremy Tepper and hang out in the music library that is Sirius Studios. We performed 4 or 5 originals from Duende along with a cover of “Alabama” by Neil Young and an acoustic version of “Ruby” by the Dave Rawlings Machine. We got to pretend like we had our own radio show for about 30 minutes and we had a blast.

After slamming down a falafel and 2 slices from NY Pizza Supreme on 8th Avenue – there is such a wealth of delicious food in this city and so little time to eat it – we headed over to Paste Studios for a live streaming performance from their tape archive room. Brad, the head engineer showed us all sorts of masters that they have been transferring to digital in an effort to preserve the performances. They had bootlegs, studio music, interviews and outtakes from literally every artist you could imagine, it was truly a library of tape.

We finished the evening off with some good hot Thai curry at MamaK on 2nd Ave. in the east village. As we drove out of the Holland Tunnel and crossed back into Jersey to pick up our trailer, the rain turned to sleet and then to snow…

Moving through the week proved to be relatively easy. We stayed at a good friend’s lakefront house in New Paltz, NY and had some time to relax before we hit Darryl’s House Club on Wednesday night in Pawling, NY. We didn’t get to meet the man himself, but I got to take a candid picture with his carved likeness.

Had a cool visit to a bunch of great radio stations this week. Support your NPR stations and your community radio stations, they’re providing really good quality programming and are a living organism in your community!

We have to say thanks to Jimmy at Radio Woodstock in Woodstock, NY, Albert and Jay at WUMB in Boston, MA Rob at WVOF in Fairfield, CT, and Bruce at WPKN in Bridgeport, CT.

Coolest moment was finding out that the building that housed Radio Woodstock was built by Albert Grossman (a titan in the Artist Management field). We also learned that this was his final resting place.

We were going to try to go by Big Pink and check it out, but we were running short on time. We did learn that Big Pink is available as an Air BnB. Just a travel tip from us to you, you’re welcome.

We wrapped up the week with some great shows in Massachusetts, Connecticut, and New Jersey. We had Reid Foehl open up a few shows for us and got him up to sing “Brown Eyed Women” a couple of times. It was great getting to know him and hear his songs. Make sure you go and find his music.

Well it’s 1:51am on Sunday Night, (it’s technically “Monday Morning”, but I never call it that) and I’m in Budd Lake, NJ at a Holiday Inn finishing up this tour diary.

As we all scatter and head home to spend time with our loved-ones, we are weary, but feel a sense of pride and accomplishment at releasing our album and playing these new songs live. The response thus far has been fantastic, our fans have been showing up, in larger numbers and more vocal than ever.

We’ll take a week, decompress and recharge and see you back out on the road in Kansas City on February 8th.

Duende!

The post Tales From The Golden Road: Band of Heathens Find Good Vibes and Good Tunes In The Northeast appeared first on Glide Magazine.

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In some strange way Moon Duo’s new album gets all that’s currently winter and cold. It’s the first part of a two part set inspired by a number of mythical and philosophical sources, by yin and yang, by dark and light. Guitarist Ripley Johnson talks about some of the thought behind the album, saying “There’s something really powerful about the changing of the seasons in the Northwest, the physical and psychic impact it has on you, especially after we spent so many years in the seasonal void of California. I became interested in gnostic and hermetic literature around that time, especially the relationship between music and occult qualities.”

This volume of Occult Architecture focuses on the darkness. It embraces the cold and the early onset of night. Revels in it even. Finds something mystifying in the shadows. They’ve got these eerie song titles like “Will of the Devil” or “Cult of Moloch,” Moloch being an ancient god that required child sacrifice. This shit is creepy. But somehow it’s still so good. It’s like watching a horror movie. There’s something about it that draws you in because of the darkness.

There are tracks like “Creepin” with their dark psychedelic synths and quick pulsating beats make you want to get into a black 70’s Mustang and gun it down a highway as night sets in. They make you want to do something crazy and get away with it, because there is a recklessness in the distortion of the guitar yet this undeniable constant of control due to the steady rhythm at the heart of all their songs. There are a lot of strong tracks on this album and god, they remind one of Suicide (RIP Alan Vega). But it’s not all sadness, because such great bands have large influences, and that’s how we get stuff like this — interpretations, fusions, glimmers of those inspirational sounds belonging now to the past.

The music is hypnotic. Its trance inducing. Moon Duo have always had that minimalistic drone style, but this time around there’s just something more sinister. The vocals are deeper, the chords are darker. And their songs have this driving energy. A hurtling fatalistic feeling. The kind that’s intoxicating — where you feel most alive because you’re so close to the opposite.

The post Moon Duo Go Deeper & Darker On ‘Occult Architecture Vol 1′ (ALBUM REVIEW) appeared first on Glide Magazine.

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Little Fictions, the new album by elbow, is a slight reinvention for a band that is now seven albums and 20 years into its career. The music is less gloomy and a little more varied than previous releases. It leaves a bit more room for fun among the brooding introspection from which the band is known.

From the album opening “Magnificent (She Says),” it is clear that frontman Guy Garvey is a happier man than on previous albums. Credit his marriage last year for the sense of newfound love that permeates Little Fictions. Swirling strings from the Hallé Orchestra and Garvey’s distinct vocal phrasing give the album-opener a sense of familiarity, but an energetic back beat, Mark Potter’s guitar riffs, and an overall sense of optimism take the song into new territory. “Gentle Storm,” with its propulsive beat and contrasting moody piano, mirrors love’s contrasting emotions of excitement, nervousness, and peace. “I found peace in your arms,” Garvey sings. “Gentle storm, rage my way.”

Whereas the guitar on previous elbow albums were almost entirely acoustic, Little Fictions features significantly more electric guitar, with Potter laying down more licks and spending less time strumming. “Firebrand & Angel,” with Craig Potter’s catchy, bouncing piano line and a skittering beat, is one of the album’s high points. “When you’re in her mirror you don’t even feel the tears that fall,” Garvey sings.

Little Fictions’ bleakest track is the Brexit-lamenting “K2.” “I’m from a land with an island status; makes us think that everyone hates us. Maybe, darling, they do,” Garvey sings, his voice echoing to add to the overall sense of emptiness. “But they haven’t met you. They only know the villains at the tiller and they gambled the farm on a headline.” Even at the darkest moments, though, Garvey finds a shred of optimism, admitting, “I’m given to believing in love; I’ve written the word in my blood.”

The penultimate title track shows elbow at their best, thriving on dynamic shifts and the discordance between its dark, hip-hop-influenced rhythm and Potter’s muted guitar riffs that sync with Garvey’s vocals. Garvey tells the story of the struggles of a dysfunctional family, from the “muffled battle cry across the kitchen table” to all of the other “little tremors that are ripping through our rituals.” But again, Garvey offers a sense of hope, closing the song by hinting at what can overcome these obstacles. “Love is the original miracle,” he croons.

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