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VIDEO PREMIERE: One-Man Band The Suitcase Junket Rattles The Cage In “The Next Act”

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Pursuing your musical career as a one-man band takes a high level of charisma and stamina if you want to keep your audience entertained. Luckily, Matt Lorenz possesses both of those things and he puts them to use as the Suitcase Junket. The New England musician is also talented as a craftsman and as a lyricist. His “one-man band” is made up partly of found objects, including the namesake suitcase and his guitar, pulled from dumpsters, as well as a fork and bones. Using his makeshift instruments, Lorenz creates electric music that walks the line between rock and roll and Americana. His melodic but distorted sound is differs from fellow one-man banders like Scott H. Biram and Lincoln Durham in the way he incorporates his learned skill of Indian throat-singing, allowing him to sing two notes at once. All of this has made Lorenz’s music and his unique stage presence a draw, and he has opened for the likes of Lake Street Dive, The Record Company, Jackie Greene, the Suffers, and Los Lobos.

On April 21 the Suitcase Junket will release a full-length debut album called Pile Driver on Signature Sounds. The album finds Lorenz taking his incendiary stage act to the studio and bottling the energy. Today Glide Magazine is premiering the official music video for one of the standout songs on the record, “The Next Act”. The black and white video finds Lorenz showing off his dynamic vocal talent as he sings lyrics that speak to our turbulent times.:

“Can you hear us rattling the cages? This kind of movement is contagious.
We want better people making changes. As it is right now is outrageous.”

Reflecting on the meaning behind the song, Lorenz says, “For me this song is a shout in a storm, a rallying cry, a hopeful look at people coming together for the greater good. A tune for overcoming adversity and galvanizing ourselves in strength and empowerment. It’s also about waving a flag. I love waving a flag.”

LISTEN:

The Suitcase Junket release Pile Driver April 21 on Signature Sounds. For more music and info visit thesuitcasejunket.com.

Cover photo: Bill Foster

The post VIDEO PREMIERE: One-Man Band The Suitcase Junket Rattles The Cage In “The Next Act” appeared first on Glide Magazine.


Once and Future Band Cheerfully Embrace Mid 70′s Prog-Rock Sound (INTERVIEW)

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The members of Oakland quartet Once and Future Band proudly wear their influences on their sleeves, which can be summed up as a unabashed love of the prog-rock sounds of groups like Genesis and ELO. It’s refreshing to see a group waving the flag for a kind of music that is not exactly considered “cool” by today’s standards and, even better, nailing the sound of that music. On their self-titled debut LP, out now on psych rockers Thee Oh Sees’ Castle Face Records, the members of the Once and Future Band channel obvious influences of Genesis and ELO, but you can hear other mid 70′s sounds reminiscent of groups like Pink Floyd, Steely Dan, and Yes. All told, the album is a varied collection of songs that show this band has been paying close attention to their elders and they have the technical prowess to pull off the complex musicianship that is a cornerstone of prog rock. We can only hope they decide to embark on a major tour soon, as there are undoubtedly legions of music lovers who are starved for bands making music like this. Recently the members of of the Once and Future Band took the time to collectively answer some questions about their new album, their devotion to prog and mid 70′s rock, and a whole lot more.

It seems like the band has really kicked up production and complexity on the new album compared to the Brain EP. Was there a grand vision going into the new album?

We approached the record as a continuation of what we had done with the EP. We wanted to have a more live and spacious feel to this album, with the core of the band playing in a room together, augmented by arrangement ideas we could only achieve in our studio. There were several factors that contributed to the expanded scope of the album: Better equipment, valuable lessons we learned while recording the EP, having our own rehearsal/recording space and most importantly: TIME! We spent over 2 years working on the album and there was a ton of experimentation with different layers and combinations of sounds. Many songs, mixes and overdubs were left behind in order to distill down to what we felt was the essence of this record. We wanted this record to represent what we could do ourselves, “in house”, to not only achieve our group’s vision of what this band could be, but to also prove to ourselves we could finish a project of this scale.

It’s not exactly cool to make music inspired by the proggy stuff. Can you talk about what pushed you to pursue a sound so true to this?

To us, this is the coolest thing we could possibly be doing. We don’t particularly favor prog over the other genres that influence us, but that element of our sound really seems to resonate with people. There is a glowing sphere of sounds that we as a band love deeply- a venn diagram that informs what we do. I don’t think we could properly articulate all that it contains, but it makes perfect sense to us without needing to be spoken aloud.

Groups like Genesis and ELO are obvious influences here. What kind of roles have those groups played in your lives and what made you want to do a modern/psych take on that kind of music?

Everyone in our band has a different relationship with those groups. But what’s more important to us than those groups specifically is what they represent: The roller-coaster gut feeling of that perfect unexpected chord that Jeff Lynne inherited from the Liverpool gang. The intimate confessions of Peter Gabriel wrapped in the rhythmic and melodic gymnastics of Collins and Co. These elements are ingrained into our subconscious. We never set out to make anything like those bands but we understand the need for people to use them as reference points to describe some of our songs.

The songs on the album feel layered and composed yet still loose. What was the recording process like?

All the songs were tracked live initially, with drums and bass being kept and everything else re-recorded or overdubbed later. Many, many hours of chasing ideas and recording all of them. Then a process of paring away and getting down to what the song is really about. Some of our song-writing for this record was actually done after the initial tracks were recorded. A couple of songs were completely re-done by the end of the process because it took our journey of experimentation to truly find the vibe, sonics and feel of the song. We enjoy this part of the process as much as anything, even though it can be time consuming and even tedious at times. We ended up learning a great deal about our own work flow by the end.

As with most prog bands, there is a lot of composition and technical musicianship at play on the album. Can you explain what role each band member played in actually crafting the final piece?

We like to keep the specifics a bit vague when it comes to who played or wrote what. But behind the scenes there is a lot of collaboration and a fair amount of switching roles and instrumentation. Some songs are brought in fully formed, sometimes just a scrap of an idea is coaxed into an epic and some come spontaneously through improvising. Our roles become more designated once the actual music has taken shape in our rehearsal space and recording begins. While we do have some guest musicians on the record, including our current guitarist Raze Regal, Joel and Eli end up playing most of the instruments you hear on the record besides the drums. Raj did a majority of the engineering and production / sound sculpting and we all took part in the final arrangements.

Previous projects of the band seemed to dwell in a different area of 70′s rock. What made you want to pursue the sound on this album?

That “glowing sphere” we mentioned earlier? That was formed during the 15 plus years that we played together in different bands, in various combinations of our lineup, and the friendship that grew over that time. The sound was waiting for us for a long time, but we were busy doing other things. When we finally made it happen, it was so natural that it seems ridiculous that it took so long. But sometimes it takes awhile to realize the obvious.

Is there a central theme or idea that links all the songs on this album?

No central theme, but some re-occuring ones are dysfunctional relationships, psychological manipulation and floating unconscious in the inner void.

Lots of other styles of music have made comebacks with younger musicians. Do you think people will soon start doing the prog thing more or is it too hard to learn the instrumental parts?

The people that love it will find a way to do it. There’s an audacious arrogance to reaching beyond what you can accomplish that can make things very exciting.

What are you top five favorite prog bands? 

There are just too many! Impossible to narrow it down to just rock/prog, but some of the ones we love are McDonald and Giles, Patto, Goblin, Magma, Earth Wind & Fire, Mahavishnu Orchestra, Terry Reid, ZZ Top, Thin Lizzy, Harry Nilsson, Fleetwood Mac, John Entwistle, George Duke, Tony Williams Lifetime, Tangerine Dream, Return to Forever, Gentle Giant, EGG, Le Orme, John Martyn, Chicago, Kate Bush, Matching Mole, Peter Gabriel, Pink Floyd, Stark Reality, Paul McCartney, George Harrison, Rotary Connection, Stevie Wonder… the list goes on!!!

The post Once and Future Band Cheerfully Embrace Mid 70′s Prog-Rock Sound (INTERVIEW) appeared first on Glide Magazine.

Animal Collective Announce ‘The Painters’ EP, Share New Track “Kinda Bonkers”

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Animal Collective has announced The Painters EP, a new companion release to last year’s album Painting With. The EP will be available digitally this Friday, February 17 via Domino, almost a year to the date of their 10th studio album’s release. The 12” vinyl and CD version of the EP, with artwork by Brian DeGraw, is now available for pre-order.

The EP contains three new and original tracks recorded during the Painting With era, and also includes a studio recording of “Jimmy Mack” (made famous by Martha & The Vandellas), a cover performed on their recent tours. Watch a lyric video for the opening track “Kinda Bonkers” below…

Pre-order the CD and 12” exclusively from Animal Collective’s store HERE. The EP features artwork by Brian DeGraw, who supplied the original portraits and artwork for Painting With. All pre-orders receive an instant download of “Kinda Bonkers” and a download of the EP this Friday, February 17.

The band returns to the US & Canada in May 2017 for headlining live dates including a show at the new venue Brooklyn Steel in Brooklyn, NY. This follows on a recent winter tour of Florida and an Animal Collective-curated three day camping festival in Big Sur, CA this past autumn. Find all the dates below.

The Painters EP tracklisting:
1. Kinda Bonkers
2. Peacemaker
3. Goalkeeper
4. Jimmy Mack

Animal Collective Tour Dates
05-17 Charleston, SC – Music Farm *
05-18 Knoxville, TN – The Mill & Mine *
05-20 Charlottesville, VA – Jefferson Theatre *
05-22 Washington DC - 9:30 Club *
05-23 Brooklyn, NY – Brooklyn Steel *
05-24 Northampton, MA – Calvin Theatre *
05-26 New Haven, CT – College Street Music Hall *
05-27 Montreal, QC – Corona Theatre *
05-28 Toronto, ON – Danforth Music Hall *

* with Circuit des Yeux

The post Animal Collective Announce ‘The Painters’ EP, Share New Track “Kinda Bonkers” appeared first on Glide Magazine.

SONG PREMIERE: Radiator King Hides Nothing On “The Guns You Pawned”

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Radiator King’s A Hollow Triumph After All is at once celebratory & somber, deftly channeling the mood of a Crescent City second line, that holy brass-anchored yin-yang jazz-funeral tradition of New Orleans. A sacred and profound attempt to transcend pain, loss and suffering by celebrating a life well-lived, while at once acknowledging the darkly tragicomic Catch 22 of existence—that we’re born to die.

“We’re all down here together,” muses Adam Silvestri, the singer, songwriter and creative force behind Radiator King. “What connects us is the strife we share in struggle. It unites us, it makes us do wonderful things. There’s this proverb in Eastern philosophy—within crisis is opportunity. I very much believe that. I think that what people connect with in music often has to do with pain. So building this record around the idea of a New Orleans funeral procession—it’s about finding a way to overcome the pitfalls in life, to face them straight on and find the beauty in doing that. That’s what character is in my opinion. That’s what integrity is. Those moments of crisis are where we learn what we’re built of.”

radiator king

A Hollow Triumph After All was recorded at NYC’s Vibromonk Studios by producer/engineer Jesse Cannon, and features an all-star cast of session players including drummer Brian Viglione (Dresden Dolls, NIN, Violent Femmes) and accordion player/keyboardist Franz Nicolay (The Hold Steady, World/Inferno Friendship Society). The bulk of the recordings were cut live to tape.

“When I was working on the demos for this album, I left a lot of room for interpretation,” Silvestri says. “I wanted people who would understand intuitively what I was going for, which is a tough thing, but Jesse helped me find the right people. Vibromonk is essentially a warehouse—just this big open space. I wanted to deal with raw emotion. For musicians to follow their instincts and impulses. The beautiful moments in recording are unplanned—when you lose yourself, and you’re just playing and having a dialogue with the people around you.”

Glide Magazine is proud to premiere “The Guns You Pawned” (below) off A Hollow Triumph After All, a murderous bluesy number that prevails with Silvestri’s toughened vocals. Radiator King sounds years beyond its age, a shady place where Tom Waits took us on his early LPs, where forthright and sharp lead the lyrical highway and there’s no sign of musical sugar coating.

“I got the imagery for this song from a job I recently had driving a woman around to pawn shops across the country- it was an odd job that paid well,” says Silvestri. “I spent a lot of time at pawn shops in low income neighborhoods from New York to California, and I found the whole concept fascinating. People handing over their possessions because there was something else of greater value to them at that specific time. In pawn shops, once a certain amount of time passes and you haven’t paid the fee on the item, it’s no longer yours. You’ve essentially given it up.  From what I’ve seen, a lot of people do this in their lives. They give up on an innate spirit they held and then they go to great lengths to reconcile that abandonment. “

“There’s anger in this song.  It’s so damn tough to follow your intuition. Pressure and fear from all around cause us to second guess our inner voice, our gut, whatever you want to call it, and what we are left with is self-doubt,” adds Silvestri. “This song is about confrontingself-doubt. But most of all it’s about recognizing the importance of keeping on down that unknown road and to not be swayed by those who gave up on the battle and threw in the towel on a rainy day long ago.”

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The post SONG PREMIERE: Radiator King Hides Nothing On “The Guns You Pawned” appeared first on Glide Magazine.

Jason Isbell and 400 Unit Plan Extensive U.S. Tour, New Album Almost Finished

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Jason Isbell and the 400 Unit have announced the first leg of an extensive US summer tour starting on June 17 in Asheville, NC. Isbell and company will headline major venues, some for the first time including the Merriweather Post Pavilion in Columbia, MD and the PNC Pavilion in Cincinnati, OH. Following two triumphant sold-out nights at New York’s Beacon Theatre in 2016, the group will return to the famed venue for a three-night stand June 22-24, along with a three-night stand at Austin’s ACL Live at the Moody Theatre July 14-16. See full list of US and European tour dates below.

Isbell is putting the final touches on his highly anticipated follow-up to 2015’s two-time Grammy Award-winning album Something More Than Free. Isbell recorded the album at the legendary RCA Studio A in Nashville with Grammy Award-winner Dave Cobb returning as producer. Cobb produced Something More Than Free and Isbell’s acclaimed breakthrough album Southeastern (2013). The new, yet-to-be-titled collection will officially be the first Jason Isbell and the 400 Unit album since 2011’s critically acclaimed Here We Rest. The mighty 400 Unit is: Derry deBorja (keyboards), Chad Gamble (drums), Jimbo Hart (bass) and Sadler Vaden (guitar). Look for the announcement of the spring/summer release soon. Isbell recently posted this teaser clip below.

For Record Store Day on April 22, Jason Isbell and the 400 Unit will release the special vinyl only Live from Welcome To 1979. The album features six songs, with five covers, performed live at Welcome To 1979 studio in Nashville and recorded directly onto lacquer. The tracks include The Rolling Stones’ “Can’t You Hear Me Knocking” and ‘Sway”, John Prine’s “Storm Windows”, Candi Staton’s “Heart On A String”, Bruce Springsteen’s “Atlantic City” and Isbell’s own “Never Gonna Change”.

 

 Jason Isbell and the 400 Unit ~ 2017 US Summer Dates

June 17 – Asheville, NC – Thomas Wolfe Auditorium #

June 18 – Raleigh, NC – North Carolina Museum of Art #

June 19 – Philadelphia, PA – The Fillmore Philadelphia #

June 22 – New York, NY – Beacon Theatre #

June 23 – New York, NY – Beacon Theatre +


June 24 – New York, NY – Beacon Theatre +

June 26 – New Haven, CT – College Street Music Hall +

June 27 – Boston, MA – Blue Hills Bank Pavilion +

June 29 – Canandaigua, NY – Marvin Sands Performing Arts Center >

June 30 – Columbia, MD – Merriweather Post Pavilion +

July 1 – Cincinnati, OH – PNC Pavilion at Riverbend Music +

July 2 – Huber Heights, OH – Rose Music Center at the Heights +

July 5 – Omaha, NE – Sumtur Amphitheatre +

July 7 – St. Paul, MN – The Palace Theatre +

July 11 – Sioux Falls, SD – The Washington Pavilion +

July 12 – St. Louis, MO – Peabody Opera House +

July 14 – Austin, TX – ACL Live at the Moody Theater +

July 15 – Austin, TX – ACL Live at the Moody Theater #

July 16 – Austin, TX – ACL Live at the Moody Theater #

July 18 – Houston, TX – Revention Music Center #

July 19 – Jackson, MS – Thalia Mara Hall #

July 21 – Miami Beach, FL – The Fillmore *

July 22 – St. Augustine, FL – St. Augustine Amphitheatre *

July 23 – North Charleston, SC – North Charleston Coliseum *

September 7 – Morrison, CO – Red Rocks Amphitheatre

Support: # Amanda Shires / + Mountain Goats / > Iron & Wine / * Strand of Oaks

2017 European Dates

October 25 – Manchester, UK – Albert Hall

October 26 – Glasgow, UK – O2 ABC

October 27 – Dublin, Ireland – Olympia Theatre

October 29 – Brighton, UK – Brighton Dome

October 30 – London, UK – Roundhouse

October 31 – Birmingham, UK – Symphony Hall

November 2 – Paris, France – Le Café de la Danse

November 3 – Brussels, Belgium – Ancienne Belgique

November 6 – Amsterdam, Netherlands – Paradiso

November 7 – Hamburg, Germany – Uebel & Gefährlich

November 8 – Berlin, Germany – Columbia Theater

November 10 – Oslo, Norway – Sentrum Scene

November 12 – Stockholm, Sweden – Münchenbryggeriet

November 14 – Copenhagen, Denmark – DR Concert Hall

The post Jason Isbell and 400 Unit Plan Extensive U.S. Tour, New Album Almost Finished appeared first on Glide Magazine.

Film Bits: ‘Kimmy Schmidt’ Announces Premiere Date; ‘The Batman’ Taps New Director

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‘The Unbreakable Kimmy Schmidt’ Premieres Season 3 Teaser, Announces Premiere Date

rsz_kimmy2

The Unbreakable Kimmy Schmidt kicked off its season three run up with a new teaser today, which gives Queen Bey the respect that not even the Grammy Awards could muster. The brief teaser shows Titus Andromedon (Tituss Burgess) relishing in the glory of last year’s Lemonade, so much so that he can’t even be bothered to open up a door. Classic Titus. The teaser offers little by way of plot hints, but does promise a return of the kind of absurd humor the show has been known for since its premiere in 2015. New episodes of the Netflix show drop on the streaming service on May 19.

(Netflix)

‘Ghost in the Shell’ Reveals Another New Trailer

ghost-in-the-shell

How many more trailers are they gonna drop for Ghost in the Shell? We get it. You’ve got a movie coming out. It looks as awesome as it does pointless. We’ll probably see it. Calm down. Ghost in the Shell opens March 31.

(Paramount)

Warner Brothers Finds the Director They Need

Batman Ben Affleck

The news that Ben Affleck was stepping down as director for the forthcoming The Batman sent tingles of worry down the spines of nerds everywhere, even with the assurances that Affleck was doing it for the right reasons. Perhaps the announcement that Matt Reeves (Let the Right One In) is taking over will assuage those fears a tad. The news broke Friday afternoon that WB made Reeves the offer and now the new Batman movie seems to back on track. Good thing. Somehow, Affleck’s Batman has been the best part of the DCEU franchise, and may just become the saving grace of the entire ordeal when this is all said and done. Now, if only Warner Brothers would quit worrying and meddling so much, maybe they’ll finally be able to make a decent movie. Anything’s possible, right?

(Deadline)

‘The Lego Batman Movie’ Pieces Together Box Office Victory

the lego batman movie

M. Night Shyamalan’s impressive box office reign with Split has ended as an impressive trio of films pushed the former front runner down to fourth place. The Lego Batman Movie took the top spot this weekend with $55.6 million, followed somewhat closely by Fifty Shades Darker with $46.7 million. John Wick Chapter 2 entered third place with $30 million. Split, meanwhile, earned just $9.3 million, bringing its total box office take to $112 million in just 4 weeks. Rounding out the top five was the best picture nominated Hidden Figures with $8 million, bringing its 8 week total to $131 million.

(Box Office Mojo

The post Film Bits: ‘Kimmy Schmidt’ Announces Premiere Date; ‘The Batman’ Taps New Director appeared first on Glide Magazine.

The Sadies Plot U.S. Tour With Justin Townes Earle

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In support of their critically acclaimed, just-released 10th studio album, Northern Passages, Canadian four-piece The Sadies are set to embark on a 24-city U.S. tour with Justin Townes Earle. Beginning April 29, in Phoenix, AZ, the tour will include stops in Dallas, Austin, Cambridge, Baltimore, Ann Arbor, Chicago, Minneapolis, Denver, Seattle, and San Francisco, among others. A full list of tour dates is below.

The essence of The Sadies’ story can be summed up with the powerful image of the aurora borealis adorning the cover of their latest album, Northern Passages. Ever since the quartet, comprised of singer/guitarists Dallas and Travis Good, bassist Sean Dean and drummer Mike Belitsky, first arrived on the North American scene 20 years ago, their music has never been less than awe-inspiring, with no embellishment necessary.

THE SADIES TOUR DATES

Feb 2 – Toronto, ON – Massey Hall*

Feb 8 – Montreal, QC – Place des Arts*

Feb 9 – Kingston, ON – Rogers K-Rock Centre*

Feb 10 – Barrie, ON – Barrie Molson Centre*

Feb 11 – Oshawa, ON – GM Centre*

Feb 14 - London, ON – Budweiser Gardens*

Feb 16 - Hamilton, ON – Hamilton Place*

Feb 17 - Hamilton, ON – Hamilton Place*

Feb 18 - Ottawa, ON – National Arts Centre (Southam Hall)*

Feb 19 - Ottawa, ON – National Arts Centre (Southam Hall)*

February 20 – Quebec City, QC – L’Anti

Feb 21 - Woodstock, NB – AYR Motor Centre*

Feb 22 – St. John’s NL – Mile One Stadium*

Feb 24 – Woodstock, NB – AYR Motor Centre*

Feb 25 - Halifax, NS – Scotiabank Centre*

Feb 26 - Moncton, NB – The Molson CDN Centre at Casino NB*

Feb 28 - Kitchener, ON – Centre In The Square*

Mar 4 – Cleveland, OH – Beachland Ballroom

Mar 23 – Barcelona, Spain – Marula Café Barcelona

Mar 24 – Santander, Spain – Escenario Santander

Mar 26 – Madrid, Spain – El Sol Madrid

Mar 28 – Valencia, Spain – 16 Toneladas

Mar 30 – Zaragoza, Spain – Las Armas

Mar 31 – A Coruna, Spain – Playa Club Coruna

April 29 – Crescent Ballroom –Phoenix, AZ^

April 30 – Indio, CA – Stagecoach Festival

May 3 – Granada Theatre – Dallas, TX^

May 4 – Austin City Limits Live at the Moody Theatre – Austin, TX^

May 5 – The Heights Theater – Houston, TX^

May 6 – Acadiana Centre for the Arts – Lafayette, LA^

May 8 – Franklin Theater – Franklin, TN^

May 9 – Grey Eagle – Asheville, NC^

May 11 – Webster Hall – New York, NY^

May 12 – Narrows Centre for the Arts – Fall River, MA^

May 13 – The Sinclair – Cambridge, MA^

May 15 – Baltimore Soundstage – Baltimore, MD^

May 16 – The Kent Stage – Kent, OH^

May 17 – The Ark – Ann Arbor, MI^

May 18 – The Castle Theatre – Bloomington, IL^

May 19 – Headliners – Louisville, KY^

May 20 – Thalia Hall – Chicago, IL^

May 22 – Turner Hall – Milwaukee, WI^

May 23 – First Avenue – Minneapolis, MN^

May 24 – Englert Theatre – Iowa City, IA^

May 26 – The Bluebird Theater – Denver, CO^

May 27 – Mishawaka Amphitheatre – Bellevue, CO^

May 28 – The State Room – Salt Lake City, UT^

May 30 – Neptune Theatre – Seattle, WA^

June 2 – Slim’s – San Francisco, CA^

*supporting Blue Rodeo

^supporting Justin Townes Earle

The post The Sadies Plot U.S. Tour With Justin Townes Earle appeared first on Glide Magazine.

‘The Walking Dead’ Tries, Fails To Get Itself Back On Track (TV REVIEW)

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 “Rock in the Road”

Maybe it was the show’s mid-December to mid-February break that finally did it in. Granted, it takes that break annually, and has since the show’s second season, but this year, with it managing to be both too grim and too cartoonish, The Walking Dead’s attempt to get back on track seemed to amble on even more incoherently and illogically than before.

Structurally, it’s as paint-by-numbers as ever, with Father Gabriel (Seth Gilliam) abruptly leaving his post, clearing out the pantry, and sneaking off in a car — one that sure seemed like it had another passenger in it. So, right off the bat we can check off the semi-intriguing cold open that won’t pertain to the rest of the episode.

The rest of the episode is Rick (Andrew Lincoln) trying to rally enough people to join with him to do battle with The Saviors. That’s it. That’s the extent of his plan. It’s obviously a tough sell for Gregory (Xander Berkeley), who is the actual worst, but somehow Enid has rounded up a handful of members for the Hilltop who agree to side-step their leader. Here enters the running theme of the week, which is “it won’t be enough.”

Conveniently, Jesus (Tom Payne) happens to know everyone at The Kingdom, and leads Rick and company to meet Ezekiel, the community theater king who’s out of place enough as it its, but also has a fucking tiger. (Seriously, this fucking tiger).

The only thing more conspicuously awkward during this exchange, aside from the failed attempt at humor when Rick reacts to this fucking tiger, is him launching into some folksy story his mom told him about a rock in the road. It’s clumsy, heavy-handed, and completely unnecessary, not to mention the most detail Rick has about this plan of his, which is more or less ‘get people, fight Negan.’

Ezekiel is hesitant, prompting such stirring dialogue as Daryl (Norman Reedus), who then calls his… kingship into question, but is offered sanctuary nonetheless.

So, with The Kingdom stuck in the “maybe” pile for now, we get the moment of zombie terror right around the 40-minute mark, which involves the group disarming a series of explosives using cooperation, then taking the steel cable and turning it into a large, messy, and wholly unnecessary (outside of the show’s weekly kill quotient) clotheslining of an incoming zombie herd.

After both Rick and Michonne (Danai Gurira) race their respective cars down the freeway, severing several zombies at the mid-section, they find themselves — wait for it — in the middle of a zombie herd. But never fear, no one can push their way out of a zombie herd like Richonne — The Walking Dead’s resident power couple now that both Glenn and Abraham are dead.

Side note: the exchange between Sasha (Sonequa Martin) and Rosita (Christian Serratos), specifically the line “we both had sex with the same dead guy, doesn’t make us friends” is post-apocalyptic pettiness at its goddamn finest.

Anyway, after the group has to return to Alexandria to prove to the Saviors that they’re not hiding Daryl, they go back out on another scavenging mission, only to find themselves surrounded by a massive group of well-armed survivors. Rick smiles because his master plan of ‘Fight Negan’ looks like it might have a real chance, assuming that all these well-armed survivors pointing their weapons at Rick and company agree to A) forming an alliance and B) go to war alongside someone they just formed an alliance with.

Meanwhile, I was smiling, too. Mostly because it meant the show was over, and I got to savor the longest possible stretch of time before the next episode of The Walking Dead.

The post ‘The Walking Dead’ Tries, Fails To Get Itself Back On Track (TV REVIEW) appeared first on Glide Magazine.


Listen/Stream: Ryan Adams’ New LP ‘Prisoner’

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Ryan Adams’ new album Prisoner will be out February 17th on Pax Am/Blue Note – his first new studio LP since his 2015 take on Taylor Swift’s 1989. The twelve tracks that make up Prisoner came to Adams over a prolific period stretching back as far as the week his 2014 self-titled album entered the U.S. album chart at a career high of #4.

Now, with Prisoner, Adams’ songs tackle another milestone: his 2016 divorce from actress and singer Mandy Moore. And, though it sometimes returns to the calmer feel of his other recent studio albums, Prisoner in many ways feels like a retreat: to self-reflection, to primal emotions, and to a tense, rootsy rock sound that recalls the mid- to late-’80s work of Bruce Springsteen.

Courtesy of NPR First Listen, check out Prisoner below and let us know in the comments below what you think? Also check out Adams’ very recent in-depth and revealing chat with Mark Maron on the WTF Podcast.

The post Listen/Stream: Ryan Adams’ New LP ‘Prisoner’ appeared first on Glide Magazine.

SONG PREMIERE: The Captain’s Son Bask In California Surf Pop On “For Free”

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Southern California trio The Captain’s Son are quickly making a name for themselves with their catchy blend of warm guitar melodies, laid back harmonizing vocals and upbeat drum rhythms. The group’s sound is reminiscent of early California surf pop with a garage rock vibe. Hailing from Springfield, Missouri, the band formed after Paige Byrd and Jarred Hayden started playing together as teens. William Hopkins later joined the band and after realizing they shared the same passion for music, it encouraged them to continue their journey together as The Captain’s Son.

On March 10th the band will release a self-titled EP, which is sure to catch the ears of those looking for a little sunshine in their rock and roll. The band finds themselves influenced by the culture, weather, and scenery around them, and all of that happens to be Southern California. Naturally, the album sounds laid back and care-free. Today Glide Magazine is premiering “For Free”, a fuzzed out psych rock tune laced with soul pop harmonies. It’s the kind of song that makes you want hit the beach, tune in, and drop out. 

Guitarist Paige Byrd offers his own take on “For Free”, calling it “a lyrically light-hearted song about not getting caught up in senseless worries or peoples judgement. Feeling good about speaking your mind and taking time to be free, not materialistic or thinking only money can get you meaningful things in life.”

LISTEN:

The Captain’s Son self titled EP is set for release March 10th.

https://twitter.com/captainsson

The post SONG PREMIERE: The Captain’s Son Bask In California Surf Pop On “For Free” appeared first on Glide Magazine.

Electronica Pioneers Unite! Jean-Michel Jarre Leads Hollywood Discussion With Hans Zimmer, Moby, Gary Numan & More (SHOW Review)

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There was a multitude of high profile musical gatherings taking place across Hollywood this weekend of the Grammys. Meanwhile, a fascinating musical discussion happened in front of a small, lucky crowd of fans and journalists on Thursday evening, February 9 at the Record Parlour in Hollywood. Amidst the antique jukeboxes and retro pinball machines in the stores Americana Lounge, the truly legendary Jean-Michel Jarre lead a discussion and interview discussing electronic music.

The occasion was prompted by the announcement that Jarre’s album Electronica 1: The Time Machines was nominated for a Grammy in the “Best Dance/Electronic Album” category. The French pioneer of electronic music also announced that he was planning his first concert tour of the United Staes ever. Jarre’s  amazing live shows are usually unique events, with huge visual displays that have attracted the largest crowds ever for the live music events. His original presentation on Bastille day in 1979 in the Place de la Concorde, France tower drew over a million people. It was the first entry in the Guinness Book of Records for largest outdoor concert crowd. He topped that phenomenal feat several times, but in 1997 he attracted 3.7 million to a huge concert in Moscow. Jarre is planning his next massive presentation in April in front of the ancient city of Masada in Israel.

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The discussion in Hollywood lead by radio personality Nic Harcourt centered around the new double album release of the Electronica album with the second record, Electronica II: The Heart of Noise, featuring a whole new array of collaborators. The discussion featured some of the participants in the new project, including Hans Zimmer, Gary Numan, Moby, Little Boots and Julia Holter. The panel of prominent musical proponents of the electronica genre spanned multiple generations of successful music making. The discussion may have been one of the most insightful ever undertaken in revealing the creative musical process for these brilliant musicians. Besides Jarre and Zimmer, who came from European musical backgrounds, most of the other participants began the musical quest in mediocre punk rock bands before discovering theirs in the world of electronic music.

Jarre, looking more like a fit 40-year-old than the 68-year-old master musician that he is must have found the fountain of youth in his chosen occupation. The incredibly astute discussion revealed his creative process, his musical inspirations and his motivation that lead to this extensive collaboration which has become his most rewarding musical project. All the participants had a fascinating story to tell. Jarre reminded the panel that Moby had been dubbed “the Woody Allen of electronica.” Moby relayed his stumble into the electronic world from his awful punk rock guitar playing in a self-effacing way that endeared him to the audience. He essentially said that he ended up making electronic music because it was too hard to get his band compatriots into one place at any given time. His electronic genius has made him one of the most sought-after collaborators in the modern EDM world.

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Singer and multi-instrumentalist Julia Holter has followed in the giant footsteps of experimental artists Like Kate Bush and Laurie Anderson. The Los Angeles singer had a unique enough sound on her self-created recording that she captured the attention of Jarre. In contrast, the 59-year-old German music composer Hans Zimmer claims no inherent musical prowess. “My only musical training was two weeks of piano lessons,” the witty producer revealed. The composer of over 150 major motion picture scores revealed that “instead of trying to get electronic synthesizers to sound like an orchestra he attempts to get a real orchestra to sound like the sounds he develops on the synthesizers.”

English singer Victoria Christina Hesketh, better known by her stage name Little Boots had a much more traditional musical background beginning her piano lessons at age five and canting her musical education into college. Little Boots moved from a moderate successful electronic rock band, Dead Disco, into a successful solo career as a singer-songwriter and DJ. She relayed a story of how she tried to build her first synthesizer from scratch and somehow made it work at a Coachella gig until it fell apart.

Another English musician on the panel, the enchanting genius, who helped introduce early electronic dance music to the world, Gary Numan revealed his introduction to the genre. The musician who has mentored and inspired some of the most intense music of the genre including that of Trent Reznor in Nine Inch Nails also began as a punk rock guitarist. Looking for something to set his musical style apart from the masses he revealed “He stumbled upon a Moog synthesizer and just began twisting knobs. I had no idea what I was doing but luckily whoever used the instrument before me left it on the right settings and I got the sounds out of it that inspired me to make my music.”

 

The post Electronica Pioneers Unite! Jean-Michel Jarre Leads Hollywood Discussion With Hans Zimmer, Moby, Gary Numan & More (SHOW Review) appeared first on Glide Magazine.

Drive By Truckers Bring No Gimmicks, No Tricks, Just World Class Songwriting To Westbury (SHOW REVIEW)

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“‘Nine Bullets’!” yelled a man in a flannel shirt near the end of Drive-By Truckers’ set at The Space at Westbury Theater Friday night.

He was referring to the second track on the Truckers’ 1999 album Pizza Deliverance, a yowling, howling fantasy about gunning down your condescending peer group and immediate family.

Co-leader Patterson Hood, the author of the tune, shook his head lovingly. “Man, I can’t be singing songs about killing my family,” he retorted. “I’ve got kids and shit.”

As far as homicide glorification, the uproarious “Nine Bullets” might lean moreso toward The Beatles’ “Maxwell’s Silver Hammer” than Eminem’s “Stan.” However, this moment was telling. Drive-By Truckers may have introduced themselves to the world in 1998 with rowdy, puerile and deceptively smart songs about no-counts and ne’er-do-wells, but their recent shows display a twenty-year-old rock & roll institution with a growing conscience.

28-year-old Portland, OR, songwriter Kyle Craft, a fresh Sub Pop Records signee opened the show and his songs are sharp and well-written dispatches from the Trump era. At times, Craft would overreach, losing the crowd during the oversung piano ballad “California Kind of Blue.” But his overall vibe was of a winningly ambitious kid with a kickin’ band, buzzed on the sounds of Bowie, T. Rex, and Beatle John in equal measure.

 

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The Truckers were next, setlist-free and wasting no time. “Good evening, wherever the hell we are,” quipped co-leader Mike Cooley before launching into “Filthy And Fried,” one of his contributions to 2016’s great American Band. What followed was a 22-song Rock Show (capital letters, as their cult deems their concerts) that spanned the Truckers’ formidable songbook. Highlights were everywhere: the longest, doomiest “Puttin’ People On The Moon” I’d ever seen! A surprise appearance of the Pizza Deliverance deep cut “Love Like This”! But the classics remain resilient, especially Cooley’s magical, personal “Zip City.” As far as the newer material, it more than holds up live: Hood’s stormy new song “Baggage” deals with his recent overcoming of chronic depression with remarkable candor and heart.

 

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We may have been only twenty miles from Manhattan, but a typically New York crowd this was not. Instead; it was one of the politest audiences I’d ever joined — mostly older men and women, flannel-clad and singing along to the tunes old and new. If you were checking out the Truckers for the first time, you might suspect this demographic would also be into Toby Keith. But from the proud Black Lives Matter banner on Jay Gonzales’ organ to the righteous, progressive subject matter, this is a different ballgame than your uncle’s “southern rock.” Even if you’re not gonna get “Nine Bullets,” the poetic “Guns of Umpqua” (written about a tragic school shooting in Oregon) is more than a maturation from the past — it’s a cold-water-jet.

But all things considered, this is still a Truckers show, and the point is powerful, whip-crack rock & roll from America’s best. No gimmicks, no tricks, just world-class songwriting.

For those DBT-curious and willing to make it out to a Rock Show: expect to feel included, welcomed and lucky to hear one of rock ‘n roll’s finest crews at the height of its powers.

The post Drive By Truckers Bring No Gimmicks, No Tricks, Just World Class Songwriting To Westbury (SHOW REVIEW) appeared first on Glide Magazine.

Chance The Rapper Announces ‘Thank You’ Tour

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Following his successful Grammy outing where he took home Best Rap Performance (“No Problem”), Best Rap Album (Coloring Book), and Best New Artist, Chance the Rapper has announced a tour. “thank YOU GUYS for everything,” he wrote. Chance will kick things off in April  which includes his stops at Governors Ball and Eaux Claires. See the full routing below!

Chance the Rapper Tour Dates

04-24 San Diego, CA – Valley View
04-26 Oakland, CA – Oracle Arena
04-27 Sacramento, CA – Golden 1 Center
04-29 Salt Lake City, UT – Maverik
04-30 Boise, ID – Idaho Center
05-02 Denver, CO – Red Rocks
05-05 Dallas, TX – JMBLYA
05-06 Austin, TX –  JMBLYA
05-07 Houston, TX – Cynthia Woods Mitchell Pavillion
05-09 Tulsa, OK – Bok Center
05-10 Omaha, NE – CenturyLink Center Omaha
05-12 St. Paul, MN – Xcel Energy Center
05-13 Kansas City, KS – Providence Medical Center Amphitheater
05-14 St. Louis, MO – Scottrade Center
05-16 Columbus, OH – Nationwide Arena
05-18 Detroit, MI –  The Palace in Auburn Hills
05-19 Cleveland, OH – Blossom Music Center
05-20 Pittsburgh, PA – PPG Paints Arena
05-21 Gulf Shores, AL – Hangout Festival
05-24 Toronto, Ontario – Budweiser Stage
05-25 Montreal, Quebec – Bell Centre
05-26 Boston, MA – Boston Calling
05-28 Seattle, WA –  Sasquatch
05-31 Buffalo, NY – Darien Lake Performing Arts Center
06-02 New York, NY – Governor’s Ball
06-03 Virginia Beach, VA – Veterans United Home Loans Amphitheater
06-04 Washington, DC – Jiffy Lube Live
06-06 Baltimore, MD – Royal Farms Arena
06-07 Greensboro, NC – Greensboro Coliseum Complex
06-08 Charlotte, NC – PNC Music Pavillion
06-10 Manchester, TN – Bonnaroo
06-11 Atlanta, GA – Lakewood Amphitheater
06-13 Miami, FL – American Airlines Arena
06-14 Tampa, FL –  Amalie Arena
06-16 Eau Claire, WI – Eaux Claires Festival
06-17 Dover, DE – Firefly Music Festival
08-08-12 Tøyenparken, Norway – OYA Festival
08-10-12 Gothenburg, Sweden – Out West Festival
10-03 Los Angeles, CA –  Hollywood Bowl

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FULL ALBUM PREMIERE: Scarves Go Soaring & Experimental on ‘Mall Goths’

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Mall Goths by Scarves (due out 2/17) is an album comprised of ten vignettes depicting characters along the I-5 corridor between Bellingham, Washington and Portland, Oregon. Struggling against their reality, desperate for rebellion, yet inextricably stuck, they fall in love in one city and break up in the next, all over meticulously unhinged instrumentals.

Scarves was formed in mid-2013 by Niko Stathakopoulos of Silicon Girls, Marshall Verdoes of Mt. St. Helens Vietnam Band, and David Price of Natalie Portman’s Shaved Head. All three found themselves in bands in the midst of implosion, and wanted a creative outlet that existed simply for the sake of making art and blowing off steam. The project took on real significance for Stathakopoulos when they began work on their debut release, TV EP (2013), with Sam Anderson of Hey Marseilles. “Lyrics suddenly became super important to me,” relates Stathakopoulos. “Suddenly our slacker rock sensibility wasn’t enough. I wanted our songs to mean something, to tell a story.”

After touring behind TV EP for a few months, they headed back to Soundhouse in Seattle to record their first full length, Empty Houses, with Dylan Wall (So Pitted, Craft Spells). Scarves toured lightly in support of the release, and once again, discord crept into the project: “I am the only original left,” says Stathakopoulos. “During that time, we went through 11 members.” In late 2015, drummer Cael Watts and bassist Hector Rodriguez III joined Stathakopoulos, and the band got back to work. Newly invigorated, the band booked time at Chris Walla’s legendary Hall of Justice studio for their next record,

Written while Stathakopoulos was travelling continuously through the Northwest, the record crackles with the bleary-eyed intensity of too many hours spent flying down the highway. “My girlfriend at the time was living in Portland, so I would drive eight hours from Bellingham to see her,” says Stathakopoulos, “or I would drive two hours to practice with my band who all lived in Seattle. We would practice and get the instrumentals done together, then record them on an iPhone, and I would drive around listening to the little blown out audio files and just sort of diary over them.”

 Glide is debuting the full album premiere for Scarves’ Mall Goths (below), a tantalizing mix of songs that combines the guitar mysteries of Built to Spill and the alternative wisdom of the Flaming Lips and Sunny Day Real Estate. The ten songs on Mall Goths, while experimental and avoiding familiar song structures, reveal a tenacity for the listener to expect the unexpected while still offering digestible harmonies and tasteful musicianship. Scarves are onto something here and Mall Goths certainly might be rewriting the manual on indie experimental hijacks.

 

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Belle & Sebastian Plans Summer Shows With Spoon, Andrew Bird, Julien Baker

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Belle & Sebastian will return to North America this summer for a run of East Coast tour dates, in addition to a West Coast visit. Kicking off July 27 in Toronto, the tour takes place in legendary venues like Merriweather Post Pavilion as well as the historic Hollywood Bowl in Los Angeles. The band has been recording new material in their native Glasgow, due to be revealed later in 2017 on Matador Records.  In addition to selections from 2015’s Girls In Peacetime Want To Dance and the rest of the their iconic catalog, Belle & Sebastian fans can expect a taste of new music on this run of dates.  The full itinerary is below and all tickets (except the Raleigh and LA shows) will go on sale this Friday, February 17th. Guess on this run include dates with Spoon, Andrew Bird, Ex-Hex, Julien Baker, Porches and Benjamin Clementine.

 

Tour Dates

7/27 – Toronto, ON – Sony Centre *

7/29 – New York, NY – Panorama Music and Arts Festival

7/30 – Columbia, MD – Merriweather Post Pavilion ^

7/31 – Raleigh, NC – North Carolina Museum of Art %

8/2 – Boston, MA – Blue Hills Bank Pavilion $

8/3 – Philadelphia, PA – Mann Center for Performing Arts $

8/6 – Los Angeles, CA – Hollywood Bowl &

* denotes w/ Julien Baker

^ denotes w/ Spoon, Andrew Bird, Ex Hex

% denotes w/ Andrew Bird

$ denotes w/ Andrew Bird, Porches

& denotes w/ Spoon, Benjamin Clementine

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String Cheese Incident Announce New LP ‘Believe’ – Shares New Track “My One And Only”

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The String Cheese Incident & SCI Fidelity Records have announced the release of Believe, the 7th studio album from SCI, due out April 14, 2017. The album is the first to come out of their just-opened Sound Lab Studio and the follow-up to 2014’s A Song in My Head, their first new album in close to a decade. Like that release, Believe was produced by Talking Heads’ keyboardist Jerry Harrison, and includes nine, brand-new, original tunes, most of which were the product of a fruitful week-long songwriting retreat in Sedona, AZ back in 2015.

In anticipation of Believe, SCI has teamed up with PledgeMusic to offer fans access to exclusive bonus content and a behind-the-scenes look at the making of the record, as well as limited edition items and VIP experiences available only to “pledgers” who pre-order the record. Visit PLEDGEMUSIC.COM/SCI for more info.

Reversing their usual process, SCI created and recorded the songs before introducing them in concert. The band’s eclectic palette of styles has never been more apparent – from the funky wah-wah guitar laced with tribal percussion of the title track and the “catchy little number” that is the sing-along single, “Sweet Spot,” to the country/hip-hop hybrid of “Get Tight,” the Eagles homage of “Down a River,” with its Appalachian a cappella chanting, the Beatles/Pink Floyd psychedelia of “Flying” and the Afro-Caribbean reggae riddims of “Beautiful.”

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Each of the individual members’ musical influences come shining through – Bill Nershi’s love of roots Americana, southern rock and British music; Michael Kang’s affinity for primal soul; Keith Moseley’s country, classic rock and bluegrass; Kyle Hollingsworth’s funk and singer/songwriter folk, and Jason Hann and Michael Travis’ African beats and electronic collaborations (as in their band EOTO).

My One And Only”, penned by keyboardist Kyle Hollingsworth, features Bonnie Paine of Elephant Revival on vocals and was intended to be a road song. “It seemed similar to her style and we fell into the concept of it being a long distance letter to a loved one,” explains Kyle. “With images from staring out the window of a bus to thoughts of coming home, the song found its place.” Here the track below….

 

 

The band begins the Winter Carnival 2017 – Roots Revival Tour in March (which is already sold out) before the AprilSpring Cheese 2017 shows and festivals through the summer.  A full list of tour dates can be found below.

SCI Tour Dates
Mar 03 – Boulder, CO – Fox Theatre **Sold Out**
Mar 04 – Boulder, CO – Fox Theatre **Sold Out**
Mar 07 – Aspen, CO – Belly Up **Sold Out**
Mar 08 – Aspen, CO – Belly Up **Sold Out**
Mar 10 – Crested Butte, CO – The Eldo **Sold Out**
Mar 11 – Telluride, CO – Club Red @ Telluride Conference Center **Sold Out**
Mar 12 – Telluride, CO – Club Red @ Telluride Conference Center **Sold Out**
Mar 14 – Park City, UT – Park City Live **Sold Out**
Mar 15 – Park City, UT – Park City Live **Sold Out**
Mar 17 – Crystal Bay, NV – Crystal Bay Club Casino **Sold Out**
Mar 18 – Crystal Bay, NV – Crystal Bay Club Casino **Sold Out**
Mar 19 – Crystal Bay, NV – Crystal Bay Club Casino **Sold Out**
Apr 05 – St. Paul, MN – Palace Theatre
Apr 06 – St. Paul, MN – Palace Theatre
Apr 07 – Madison, WI – Orpheum Theatre **Sold Out**
Apr 08 – Madison, WI – Orpheum Theatre **Sold Out**
Apr 13 – Austin, TX – Stubb’s
Apr 14 – Austin, TX – Stubb’s
Apr 15 – Austin, TX – Stubb’s
Jun 16 – Hunter, NY – Mountain Jam
Jun 17 – Hunter, NY – Mountain Jam
Jun 18 – Hunter, NY – Mountain Jam
Jun 22 – Rothbury, MI – Electric Forest Festival
Jun 23 – Rothbury, MI – Electric Forest Festival
Jun 24 – Rothbury, MI – Electric Forest Festival
Jun 25 – Rothbury, MI – Electric Forest Festival
Jun 29 – Rothbury, MI – Electric Forest Festival
Jun 30 – Rothbury, MI – Electric Forest Festival
Jun 31 – Rothbury, MI – Electric Forest Festival
Jul 01 – Rothbury, MI – Electric Forest Festival
Jul 02 – Rothbury, MI – Electric Forest Festival
Aug 24 – Arrington, VA – Lockn’ Festival
Aug 25 – Arrington, VA – Lockn’ Festival
Aug 26 – Arrington, VA – Lockn’ Festival
Aug 27 – Arrington, VA – Lockn’ Festival

The post String Cheese Incident Announce New LP ‘Believe’ – Shares New Track “My One And Only” appeared first on Glide Magazine.

Dawes Release Streaming Only Live Album ‘We’re All Gonna Live”

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As a surprise gift to fans, Dawes has released their streaming-only live album, We’re All Gonna Live. The band recorded the fifteen-song release during the first four shows on their current, “An Evening With Dawes” tour. The album contains live versions of audience favorites and new originals including ‘When The Tequila Runs Out,” “Roll With The Punches,” “One of Us,” “Things Happen,” and “All Your Favorite Bands.” Said Taylor Goldsmith of the live album: “With this tour we’ve felt like we’ve begun to turn a corner as a live band, so we figured it was time to share some of it with everyone.” We’re All Gonna Live plays off the title of Dawes’ critically acclaimed studio album, 2016’s We’re All Gonna Die, and the album’s cover features a phone number that fans can call to leave a message for the band while they are on the road. The album is available to stream on all digital platforms here.

Today Dawes also released a new video for “Roll With the Punches” starring Goldsmith and his girlfriend Mandy Moore. Check it out below…..

WE’RE ALL GONNA LIVE TRACK LIST:

  1. Coming Back to a Man (Live from An Evening With Dawes)
  2. One of Us (Live from An Evening With Dawes)
  3. Right On Time (Live from An Evening With Dawes)
  4. Quitter (Live from An Evening With Dawes)
  5. Somewhere Along the Way (Live from An Evening With Dawes)
  6. Roll With the Punches (Live from An Evening With Dawes)
  7. A Little Bit of Everything (Live from An Evening With Dawes)
  8. Picture of a Man (Live from An Evening With Dawes)
  9. Less Than Five Miles Away (Live from An Evening With Dawes)
  10. Things Happen (Live from An Evening With Dawes)
  11. Still Gonna Die – Intro (Live from An Evening With Dawes)
  12. We’re All Gonna Die (Live from An Evening With Dawes)
  13. From the Right Angle (Live from An Evening With Dawes)
  14. When the Tequila Runs Out (Live from An Evening With Dawes)
  15. All Your Favorite Bands (Live from An Evening With Dawes)

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Bob Odenkirk Thinks ‘Girlfriend’s Day’ Will Be Your Favorite Movie… Eventually

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Overnight, Netflix released its latest foray into original content: Girlfriend’s Day, a bizarre, brazen film noir that explores the seedy underbelly of… the multi-billion dollar greeting card industry. Co-written, produced, and starring Bob Odenkirk, Girlfriend’s Day is a unique experiment in feature filmmaking — and not just because it’s so reminiscent of some of the avant-garde bits that Mr. Show offered up back in its heyday as the leader in late night TV’s cult weirdness.

Just a few hours before the movie would be made available online, Austin’s Alamo Drafthouse held a screening of the film, with director Michael Paul Stephenson in attendance, and Odenkirk himself via Skype, to talk about the process of making this movie.

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Building on a draft written by Eric Hoffman, who worked as a scribe on Mr. Show, and Philip Zlotorynski, Odenkirk said the appeal was immediate.

“He’s a romance (card) writer with no romance in him. He’s a negative misanthrope who hates people. I just love that voice, and I love that crabby guy and his hatred of everything. That’s funny to me.”

By setting the film inside the world of greeting cards, an entity that everyone knows of but doesn’t know anything about, he and Stephenson were able to craft a unique, wholly original cinematic experience. A serious (but not too serious) farce that plays heavily off classic tropes of the noir era, the film is even described as their Chinatown.

“It’s really a unique little project. It doesn’t have any purpose, it’s not stating anything about society, (and) it’s something that would not get made in the world we’re in right now. Yet, it’s charming and funny and oddball, and for a certain audience that likes oddball, it could be satisfying.”

Along with the incomparable story, it manages to bridge a mishmash of genres while keeping a consistent tone throughout. It also clocks in at a mere 65 minutes, a conspicuously short runtime that still tells its story without feeling abbreviated.

With such a disregard for convention, Odenkirk credits Netflix for being the kind of studio that allows for artists to deliver projects that are proudly outside the box, and a place where “an audience with curious minds can find offbeat stuff — and it will find them.”

“I think it’s a curious little thing that needs to exist on its own. It’s a high-wire act, it’s a little tricky. It’s a unique film, and I feel like its going to find its audience over time. Maybe they watch it once and think ‘I didn’t really get it.’ Then, a year later, they press play on Netflix, and it’s their favorite movie ever. We beat Chinatown. I don’t know, but I think it’s gonna sink in over time.”

Girlfriend’s Day is currently available to stream on Netflix.

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Nightlands Announces New LP ‘I Can Feel the Night Around Me’ and Spring Tour

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Nightlands, the project of Philadelphia-based Dave Hartley (best known as a core member and longtime bassist of The War On Drugs), will release his third album, I Can Feel the Night Around Me, on May 5th via Western Vinyl. Immediately following, he and his band will head out on a North American tour.

Continuing the tradition of previous Nightlands releases Forget the Mantra (2010) and Oak Island (2013), I Can Feel the Night Around Me showcases Hartley’s ability to layer his voice and conjure some of the most beautiful virtual choirs in modern music. Take album opener and lead single “Lost Moon. The synths and vocal stacks echo through a canyon illuminated by the light of a billion stars — gaze up long enough and you can make out the shapes of All Things Must Pass, The Beach Boys’ Friends and Hiroshi Satoh’s That Boy.

More literally, the song was written and recorded in an unheated warehouse basement during a record-setting blizzard. ”The dissonance between the sound of the album and the atmosphere in which it was recorded is actually pretty striking,” Hartley admits. Indeed, the music seems more geographically inspired by the microclimates of the Lost Coast than the post-industrial cityscape of North Philadelphia.

I Can Feel the Night Around Me uses meticulous choral arrangements and wistful major-seventh chords to evoke a longing for a future that once lay ahead, but has drifted out of reach. Where should a rational man turn when the world seems so increasingly senseless? For Hartley, the answer is a retreat from the cold static of modern life and into the warmth of love and protection.

Hartley has been a fixture in Philadelphia’s music scene for a decade and a half. He has performed his songs as a taut four-piece, a twelve-piece ensemble with a choir and as a one-man-band. Between tours he wrote and performed an original score to Stanley Kubrick’s opus “2001: A Space Odyssey” and remains a prolific collaborator with artists including Sharon Van Etten, Carter Tanton, Torres, Steven A. Clark, Sondre Lerche, The Dove & the Wolf, amongst others.

The Nightlands live band is Dave Hartley on vocals and guitar, Anthony LaMarca (The War On Drugs, Dean & Britta) on drums, Eliza Hardy Jones (Strand of Oaks, Grace Potter an the Nocturnals) on keys and vocals, Jesse Hale Moore on keys and vocals and Scott Churchman (Chubby Checker) on bass.

I Can Feel The Night Around Me Tracklisting:
1. Lost Moon
2. Easy Does It
3. You’re Silver
4. Love’s in Love
5. Depending On You
6. Fear of Flying
7. Only You Know
8. Moonbathin
9. Human HeartsNightlands’ Tour Dates:
Mon. May 8 – Vancouver, BC @ Fox Cabaret [Tix]
Tue. May 9 – Seattle, WA @ The Sunset [Tix]
Wed. May 10 – Portland, OR @ Doug Fir [Tix]
Fri. May 12 – San Francisco, CA @ Bottom of the Hill [Tix]
Sat. May 13 – Los Angeles, CA @ The Echo [Tix]
Fri. May 19 – Washington, DC @ DC9 [Tix]
Sat. May 20 – New York, NY @ Rough Trade [Tix]
Mon. May 22 – Boston, MA @ Great Scott [Tix]
Wed. May 24 – Toronto, ON @ Garrison [Tix]
Thu. May 25 – Chicago, IL @ Schubas [Tix]
Fri. May 26 – Pittsburgh, PA @ Spring Sound Series @ The Warhol [Tix]
Sat. May 27 – Philadelphia, PA @ Johnny Brendas [Tix]
Pre-order Nightlands’ I Can Feel The Night Around Me:
via Bandcamp: https://nightlands.bandcamp.com/
via iTunes: http://hyperurl.co/4472hz
via Amazon: http://a.co/amgg5Cl
via Western Vinyl: http://westernvinyl.com/shop/wv158
Photo: Dustin Condren

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Sidemen – A Long Road to Glory Reveals Legacies of Pinetop Perkins, Hubert Sumlin, Willie “Big Eyes” Smith (FILM REVIEW)

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What if there were no Beatles, Eric Clapton or Rolling Stones? The new documentary film, Sidemen - Long Road to Glory successful answers that they may not have existed in their remembered incarnation if it weren’t for the influence of three compelling blues sidemen: Pinetop Perkins, Hubert Sumlin or Willie “Big Eyes” SmithSidemen, which premiered last year at the South by Southwest Film Festival, is directed by Scott Rosenbaum and produced by Rosenbaum with Jason Cadic, Tony Grazia and Joe White.

Sidemen are the forgotten members of music – often huge contributors to an artists’ live and studio sound but not receiving any of the accolades or attention worthy of them. The three men focused on in the film  (Perkins, Sumlin, Smith)  had eerily parallel lives while working for the legendary Muddy Waters and Howlin’ Wolf. They were all African-American men, steeped in their love of the blues, who all played well into their 80’s and 90’s, who came from humble beginnings in the deep south and latched on to prolific mentors. The men achieve great heights as far as stellar musical composition is concerned but all are eventually broke and underappreciated as the appreciation of blue’s fades and their mentor’s pass away. The film contains the last interviews and last live performances of these musicians and last links to the significant blue’s era.  The back story or each player is depicted in quite meticulous fashion and it allows for an intimate portrait of each’s long road to glory. Each road is equally compelling and we learn firsthand why their contribution to music so noteworthy.

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The film’s most compelling component are the long list of contemporaries and relevant respected musicians that are intertwined and share thoughts, insights and respect. The long list of luminaries includes Gregg Allman, Joe Bonamassa, Warren Haynes, Robby Krieger, Joe Perry, Bonnie Raitt, Tim Reynolds, Kenny Wayne Shepherd, Susan Tedeschi, Derek Trucks and Johnny Winter. The outpouring of emotion from these successful musicians towards these men, that the masses generally don’t know, speaks volumes about their far-reaching influence. One impeccable segment focused on the Rolling Stones and their risky cover of “Little Red Rooster” which Howlin’ Wolf had famously recorded in 1961.

Well known comedian, Marc Maron, adds a smooth and steady voice as the narrator. He effectively knows when to be informative, authoritative or add a subtle flair to the proceedings. Veteran editor, Bo Mehrad, does a superb job splicing the film together; his style and intercutting facilitates a smooth flow of action and keeps an appropriate focus on important moments. There is effective and professional animation used throughout to recreate historical situations that don’t have any documentation.

The film culminates in a satisfying conclusion that subtly pulls on one’s heart strings in a memorable and thought provoking manner. Their important legacies and music live on through this compelling, heartfelt and memorable documentary that reminds us of those that make an indelible mark that might otherwise have been regretfully overlooked and forgotten.

The relentless images of these men sharing their musical chops will mesmerize and enthrall even the casual fan. They all deserve to be household names and by releasing this film, the daring filmmakers have finally given credit where it is due and the result where satiate anyone’s soul with an open heart.  The tight 75-minute opus film paints a portrait of an important musical era in our history without force or conjecture. The result is flowing and seamless entertainment while providing a valuable lesson.  In a saturated market of music documentaries, Sidemen stands out as a poignant and important statement on the human condition and the unsung heroes of song.

A special screening will take place on February 23rd at the historic Douglas Theater in Macon, GA hosted by Allman Brothers / Big House.

There is currently a Kickstarter campaign (http://kck.st/2k8ikqh) currently underway to help secure clearance rights for the film. In the event that these funds are not secured, the film may very well land on the shelf, so any assistance is greatly appreciated.

The post Sidemen – A Long Road to Glory Reveals Legacies of Pinetop Perkins, Hubert Sumlin, Willie “Big Eyes” Smith (FILM REVIEW) appeared first on Glide Magazine.

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