Bedouine – Bedouine Deluxe Edition 2017

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Azniv Korkejian is literally a world-traveling musician. The singer/songwriter was born in Syria, moved to Saudi Arabia as a child, and later moved to America, where she lived in Boston and Houston before settling in LA.
She studied sound design and has done quite a bit of work in Southern California in the arena of dialogue editing. A quick IMDB search reveals that she has dialogue edited for shows like “Preachers’ Daughters” and “Ultimate Soldier Challenge.”
For her self-titled debut album as Bedouine , she’s joined by a very impressive cast. The album was produced by Gus Seyffert and features guitarist Smokey Hormel (who are both known for working with Beck and Norah Jones), it was mixed by Thom Monahan (Vetiver, Devendra Banhart),…

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…and Matthew E White is releasing it on his Spacebomb label. It’s got gorgeous string arrangements by Spacebomb’s co-owner and in-house arranger Trey Pollard, who also lent his talents to Matthew, Natalie Prass, Foxygen, and more. As you may expect from a team like that, the album hearkens back to ’60s and ’70s songwriting, and has a real smooth, calm feel to it.

Though she’s lived everywhere, it’s appropriate that she ended up in LA, a breeding ground for a lot of music like this in the ’60s (The Byrds, Linda Ronstadt, John Phillips, Tim Buckley, etc). If you like that stuff, you’ll probably find that Azniv does a lot of justice to that sound. Early highlight one of these day’s is so instantly familiar and instantly pleasing, that you’ll be checking to make sure it’s not a cover from that era. (It’s not.) solitary daughter has a spoken word/poetry feel to it, like Leonard Cohen or the trippier side of Paul Simon. “Summer Cold” embraces dark, queasy melodies, almost sounding like a psych-folk singer covering Billie Holiday. Songs like that prove that Bedouine is anything but a one-trick pony.

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Holly Golightly & The Brokeoffs – Clippety Clop 2018

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Renowned genre-blending artist Holly Golightly returns from a hiatus with the Brokeoffs and an equine-themed album titled Clippety Clop, due out May 4th. Working once again with life and music partner Lawyer Dave, Golightly crafts a set of twelve songs that combine the spirit of punk with the authenticity of rural Americana.

A quick look at the song titles on Holly Golightly & the Brokeoffs’ Clippety Clop reveals a clear, unifying theme: “I Ride an Old Paint,” “Mule Skinner,” “Pinto Pony.” But at its core, Golightly says that Clippety Clop is simply “what came out best from a batch of songs we wanted to do.”

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London-born Golightly got her professional start as a member of Kent, England’s Thee Headcoatees, a garage rock combo formed as an opening act for Billy Childish and his band, Thee Headcoats. After the group’s run of albums and singles ended, Golightly continued a solo career that had already kicked off with her 1995 debut album The Good Things. She has also lent her talents to others’ work, including vocals on the White Stripes track “It’s True That We Love One Another.” As a solo artist, Golightly has released nearly a dozen albums; Clippety Clop is the tenth long-player credited to Holly Golightly & the Brokeoffs (“& the Brokeoffs” is really just Holly’s longtime partner Lawyer Dave) It will hit the streets May 4, 2018 on Transdreamer Records via The Orchard / Sony.

Clippety Clop opens with “Mule Skinner,” an irreverent and plucky country blues that effectively sets the album’s mood. Holly and Dave often sound like a bigger band, extracting the most mileage out of the least number of instruments. Dave’s lean, distorted guitar lines juxtapose wonderfully with the down-home vibe. The duo’s ragged-but-right harmony (and/or unison) vocals convey the album’s spirit: equal parts punk-era England and timeless classic American country.

The Underhill Family Orchestra – Tell Me That You Love Me 2018

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It’s the first week of May and it’s approaching 90 degrees here in New York City. After a bitter winter, the entire city is humming with joy and excitement. It’s been a real treat seeing the smiles on everyone’s faces and the bright colors on everyone’s bodies. It’s the perfect time to throw on The Underhill Family Orchestra’s new album Tell Me That You Love Me. The Mobile-based collective has an intense and irresistable chemistry. The songs on this album are full of chemical reactions that are a pleasure to be hold. Truly, the album is a testament to the power of people working together.

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The recording process marked a first for the band—working with a producer, Los Angeles-based Noah Shain, who helped the group realize its musical vision. “It was wonderful. It’s like you’re adding another person to the band,” says Laney. “You’re saying ‘Hey, what do you think about this?’ to someone whose only vested interest is making a record. We were okay letting him take the reins. Noah is a drummer, and he was able to help out with Joe and Roy, who are already militant about how they work together,” he laughs. “They’re an amazing rhythm section, they’re so smart and are a really important part of our sound, and Noah picked up on that right away,” he adds. “It was a unique experience, and we were grateful.”

Opening track “Oak Holler” is a three-minute introduction to the timbre of the album; the anthem firmly plants the band’s flag in a landscape of harmony crafted through diversity and features all of the band members’ voices swirling at its conclusion. “That’s a super real Underhill moment,” recalls Laney. “There’s something visceral about a group of people singing the same words.” At the end of the album version of track “When The Trumpet Sounds,” Joelle’s grandmother, Maw Maw Ida, recounts the story of the day before her husband’s death. “She was telling us an embattled but sentimental story, and I saw so much art in that. When we were tracking the vocals with Noah in Los Angeles, he asked us how we wanted to end the song and I set the phone down and played that clip. Joelle was in tears, Noah was quiet, it was a nice moment for all of us,” says Laney. “I saw this vision I had for the track really affect people.” The song was a therapeutic one to write and employs religious imagery to illustrate a call to reunite with a loved one, an idea that lends itself to not only the literal, but to the metaphysical as well.

thanks for the submission Zach .

Horse Feathers – Appreciation 2018

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Portland-based band Horse Feathers have announced the release of their forthcoming album Appreciation, out May 4 via Kill Rock Stars. Justin Ringle has never been one to hide away the struggles he has faced in creating music. Following the release of Cynic’s New Year in 2012 there followed a long period of disillusionment during which he thought his career was over. Then in 2014, he surprised many with the release of So It Is With Us, an album on which he allowed the joy of making music to shape his songwriting. Four years on and life’s worries (those who are very conscious of advancing years will appreciate them) have naturally played their part in shaping his songwriting.

Despite the dark picture this may paint, the first single “Without Applause” is anything but. Ringle’s new rhythm section shows off their Northern Soul sensibilities to great effect in a swirl of Hammond organ, strings, and horns that leaves the listener filled with joy and warmth.

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On Appreciation, their sixth full-length and the fifth on venerable independent label Kill Rock Stars, the signifiers of the band are there: Lead singer Justin Ringle’s warm tenor and lyrics that speak of work, love, and other struggles. But on this album less of the song dynamics are achieved with strings and more with an exciting new rhythm section steeped in Northern Soul. Longtime violinist Nathan Crockett and keyboardist Dustin Dybvig provide continuity, but much of Appreciation feels like the best of Ringle’s previous musical ideas just took a giant step into a larger arena.

Recorded primarily in Kentucky (at La-La Land Studios in Louisville and Shangri-La Studios in Lexington), the new album features instrumentalists J. Tom Hnatow, Robby Cosenza and R&B vocalist Joslyn Hampton, who helped make Appreciation a mixture of strutting ‘70s-style country-pop and supple soul.

Lord Huron – Vide Noir 2018

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Lord Huron have well and truly stepped up to the next level on their third outing. The heart-wrenching folk is still there, but this time it’s laced with questioning promise – and we are here for it.
Calling your third album vide noir is a bold move. Not only does it immediately present a needed translation, but once done so, presents you with one of humanities biggest fears – a black void.
So, how do Lord Huron approach such grandiose ideas? Rather spectacularly actually. The ethereal harp and choral vocals twinned gently plucked strings that ring in this third outing immediately project ideas that may sit on a station way out of reach, but it feels like Vide Noir isn’t supposed to be received this way.
While “Lost In Time and Space’” feels just like…

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…that – a wandering journey through the cosmos with an angelic soundtrack, instead, it, and the album after it offers you the opportunity to delve into what your life might pertain.

Though it does sit on the expected side of the sonic line for Lord Huron, it’s “Never Ever” where the engines really kick in. A distorted rollicking number that drives like a The Killers track, it has all the makings of an epic run and is just the beginning for Vide Noire.

The sound of “Never Ever” is swiftly followed up by the one-two of “Ancient Names (parts I & II)”. Which feature more pounding drums and determined instrumentation from the first part, but it’s the second part where the energy really comes through and Lord Huron feel like a beast unleashed.

While the folk-essence lies below and often comes through in its truest form, the developments are clear and passionately welcomed all across Vide Noir. Where a band like Mumford & Sons abandoned ship from their beginnings to a mixed result, it sounds like Lord Huron have managed to evolve forward incorporating electric elements in a major way without forfeiting any kind of integrity.

Father John Misty – God’s Favourite Customer 2018

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Father John Misty will release God’s Favorite Customer, his fourth album worldwide on June 1st, 2018 through Sub Pop, with the exception of Europe through Bella Union.

The 10 track effort features the previously released “Mr. Tillman,” along with highlights “Disappointing Diamonds Are the Rarest of Them All” and “Just Dumb Enough to Try.” God’s Favorite Customer was produced by Tillman and recorded with Jonathan Rado, Dave Cerminara, and Trevor Spencer and was written largely in New York between Summer 2016 and Winter 2017.

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Say Sue Me – Where We Were Together 2018

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Well who would of thought that probably the best indie pop album to be released this year would come from South Korea. Normally the likes of Glasgow and Australia are the best contenders to produce mighty fine indie pop but this gives the likes of Belle and Sebastian and Camera Obscura a cause to up there game .

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I really cant recommend this enough it really is solid from the start to the finish.

Album Of The Year

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This Florida-based band is fresh, quirky and sexy. Their new album Arduino dropped on October 4, and is the band’s third record since their self-titled album in 2012. Arduino is the perfect combination of ‘50s rockabilly and ‘60s rock ‘n’ roll. It’s exactly what you need to listen to if you’re in the mood to jam.Instead of sounding like a carbon copy of Robert Plant, though, The Woolly Bushmen create a distinctive new sound by meshing doo-wop, soul and rock together while using unconventional instruments like the VOX organ.

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Arduino starts off strong and stays that way. From the first drumbeat and guitar riff, you know you’re in love. You hear Simon Palombi’s voice and then you really know you’re in love. He sings, he wails, he screams and sometimes sounds a little like Elvis. Goddamn. The band’s lyrics are honest and sometimes dark, but the ambiance from the VOX organ creates an aura of fun vibes.

Califone – All My Friends Are Funeral Singers 2009

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So the other day i pulled this out from my collection only because i was sifting through it and thought ” shit i haven’t played these guys for what seems like years” So on the player it went and it still holds well ,

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I believe this is what Wilco would of sounded and developed into if they had the balls . if you haven’t came across these guys yet then i would highly recommend starting with this album . i know its not going to be everyone’s cup of tea but its a cup of tea that should be sipped .

 

The Wynntown Marshalls – After All These Years 2017

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As the title “After All These Years” might suggest, this is a retrospective set marking Edinburgh’s ringing guitars Americana outfit’s ten years together, during which time The Wynntown Marshals have released three albums and assorted EPs as well as having gone through some line-up changes. They’re represented in this 16 track collection that, along with rarities and fan favourites, also includes three previously unreleased new numbers pointing to the road ahead.

It opens with the country rock Low Country Comedown with its thoughts of home and the life of a band on the road from their 2013 The Long Haul album, singer Keith Benzie dust-hoarse vocals recalling Miracle Legion’s Mark Mulcahy. That album also offers up the Byrdsian family-themed Canada, the quieter, more reflective Curtain Call with its tale of a magic trick gone wrong and the Neil Young influenced Tide.

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Debut album Westerner yields three numbers, the gently chugging pedal steel coloured Ballad of Jayne, the spare, slow-paced seven-minute Thunder In The Valley and the chirpier jangle of Snowflake with its Sweetheart of the Rodeo flavours.

Their most recent, critically acclaimed album was 2015’s The End of the Golden Age from which four tracks feature: Being Lazy, a brass warmed number from now departed bassist Murdoch Macleod, with its local landmark references and a dash of glockenspiel. The Gram Parsons influenced Red Clay Hill, with Hannah Elton-Wall from the Redlands Palomino Company on harmonies. The nautical-themed piano whale hunting ballad Moby Doll, and, of course, the jangling title track itself.

Although titled after the opening track of their self-titled 2007 EP debut, the number itself doesn’t figure, though you do get The Burning Blue, a song themed around WWII RAF pilots. Also from that EP is 11:15, a song about the storm and floods of 1829 that devastated farms from Inverness to Montrose that opens with rumbling drums before breaking out into the trademark chiming guitars.

Which leaves the new numbers, the first up being Your Time, guitar and organ underpinning a wistful song about an unequal relationship, followed, some tracks later, by the unrequited love of the yearning Odessa with its organ backing and a fine guitar solo. The final new track closes the album and is, in fact, a recording of Different Drug from the debut EP, the new line-up bringing a fuller, more relaxed sound with the addition of keyboards and more fluid guitar.

They don’t get the wider commercial acclaim they deserve but, as the sticker on the front of the sleeve says, they truly are “Europe’s best Americana band.” So, here’s to the next decade.

We highly recommend that you purchase this album .

The Delgados – Universal Audio 2004

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So last night i woke up at 02:43am and the first thing that came in to my head was The Delgados album ‘ Universal Audio ‘ What the fuck was all that about ? Any way i’am glad i it did , because i ventured down stairs and clattered about to pull if from my collection .

So in the CD player it goes headphones plugged in and coffee in hand i played it and instantly forgot how good this album was and clearly still is . It opens up with ‘ I Fought The Angels ‘ with a sparse and choppy guitar to start with and the amazing voice of Emma Pollock you get the feeling that its going to be dramatic .

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This is a more stripped down album that ‘Hate’ that i always thought was over produced but still clearly very good . Alun Woodward works well with Pollock on this album given the fact that there is less instruments to fight with . Girls of valour has a beach boys-esque running through the chorus while some other tracks like ‘bits of bone’ has a XTC vibe going through it .

Any way i still have no idea why the fuck i woke up with this on my mind and i aint digging around too much either to figure it out . so enjoy my album of the day .

Phoebe Bridgers – Stranger in the Alps 2017

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Phoebe Bridges releases her debut album ‘Stranger In The Alps’ on Dead Oceans. Writing songs since age 11, Bridgers spent her teenage years performing at open mic nights and busking throughout her hometown before recording a debut three-song single, “Killer,” with Ryan Adams in his L.A. studio. “Killer” was released on Adams’ Pax-Am label in spring of 2015.

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Angus And Julia Stone – Snow 2017

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t’s been three years since Sydney-born siblings Angus And Julia Stone’s released their self-titled album. Snowis a welcome return to serene sounds which stay true to the minimalist production of previous endeavours.
The title track kicks things off with an oxymoronic, sunny tinge to its tone. Call and response vocal techniques trickle through the album and take precedent in the first track, exploring failing relationships, as well as moving on from them; “Looking at the stars, I have you to myself / Standing here with you and thinking of someone else. / Blanket on my back, I’m cold, I’m cold again. / Smile in the snow, tryna find something to say”.
“Chateau” comprises of a melodic backdrop which later develops into an ethereal display of vocal layering which echoes Bon Iver’s “Calgary”. Young romance is the driving force behind the song as Angus Stone coos “we can go to the Chateau Marmont and dance in the hotel room […] / I don’t mind if you wanna go anywhere / I’ll take you there.”

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“Nothing Else” takes us back to the duo’s acoustic roots, with smooth harmonies and saccharine lyrics to boot, while pop ballad “Who Do You Think You Are” offers an accompaniment of guitars with a country twang (similar to those from “Yellow Brick Road” off their second album), and the smooth sheen of “Sylvester Stallone” finishes the full-length with peace and polish.

Lead tracks “Snow” and “Chateau” may create the most groundswell, but don’t neglect the rest of the album – even if some tracks take a little longer to really sink into your earbuds. They’re well worth the wait.

Actual Wolf – Faded Days 2017

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Based in Oakland, CA, but born and raised in Minnesota’s Mesabi Iron Range – the same fertile region as Bob Dylan – indie folk-rocker Actual Wolf (Eric Pollard) shines brightly on his national debut Faded Days. Lush and expansive, it conjures the classic cosmic country albums of the past with it’s layered vocals and sweeping choruses. The album plays out like a vintage record store find, with a care to storytelling and payoff choruses that are in scarce supply these days.

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Album highlights include the Springsteen-esque “Be My Love,” which segues into the hazy vintage Neil Young & Crazy Horse vibe of the first single, “Baby Please.” “Little Runaway” is a classic rock radio cut (if you grew up in the ’70s, that is) and the wistful title track speaks of lost opportunities and old relationships, with the chorus asking “Can you still get high?” Dividing his days between music and being one of the leading extract/hash makers in the Northern California Bay Area (working for a boutique provider growing rare/hard-to-cultivate cannabis strains), Actual Wolf is the latest addition to the Red House Records’ artist roster. Actual Wolf has cultivated, cut and cured these songs with the same patience as that of a grower. The album is subtly informed by that breadth of different atmospheres as much as it is richly colored by the array of collaborators: Jeremy Hanson (Tapes ‘n Tapes, Tungsten), Jake Hanson (Gramma’s Boyfriend; 12 Rods; Alaska), Steve Garrington (Low, the Erik Berry Duo), Ditch Kurtz (a pedal steel guitarist from Nashville), with additional vocals by Al Church.

massive thank you to Red House Records .

Hiss Golden Messenger – Hallelujah Anyhow 2017

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Hallelujah Anyhow is the latest studio album from Hiss Golden Messenger, out September 22 worldwide on Merge Records. Its ten new songs, penned by HGM principal M.C. Taylor, were recorded with Brad Cook, Phil Cook, Chris Boerner, Josh Kaufman, Darren Jessee, Michael Lewis, and Scott Hirsch. Alexandra Sauser-Monnig, Tift Merritt, Skylar Gudasz, Tamisha Waden, Mac McCaughan, and John Paul White provided vocal harmonies.

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“I see the dark clouds. I was designed to see them. They’re the same clouds of fear and destruction that have darkened the world since Revelations, just different actors. But this music is for hope. That’s the only thing I want to say about it. Love is the only way out. I’ve never been afraid of the darkness; it’s just a different kind of light. And if some days that belief comes harder than others, hallelujah anyhow.” —M.C. Taylor

Thanks to Merge Records for sending this promo out .

Superchunk – Superchunk 1990 (remastered 2017)

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The remastered LP features updated artwork and includes an 11” × 17” replica of an early Chunk show flyer, with photos and notes from the band on the reverse. Both CD and LP include a bonus download of Clambakes Vol 9: Other Music From Unshowered Grumblers – Live in NYC 1990, a show recorded at CBGB just four days after the album was released. Mac shared his memories of these early days of Superchunk: When I listen to our first album now, other than cringing at some clams and the vocals and the juvenile attitude of the whole thing… what was I angry about? You’ll have to ask 21-year-old me because in my memory, we were having fun. I hear the accumulation of our influences, which I suppose is normal for a first album—weaving all the things you loved up to that point into your own first thing. The Buzzcocks, Hüsker Dü, Dinosaur Jr, and Sonic Youth are all right there and what we were listening to. Hearing this record recently, though, I was surprised at how “southern” some of it sounds, and I think the influence of bands like Drivin’ n’ Cryin’ and of course R.E.M. is there under the fuzz. I remember thinking the solo 4-track demo of “Slack Motherfucker” sounded like Tom Petty. I can’t find it now to prove it to you, but take my word for it. I was living in NYC finishing school when we made this record, so rehearsals and recording were all rushed. I’m surprised we knew this many songs well enough to record them. Twenty-seven years later, we still play at least three or four of these songs live occasionally (one of them all the time…), which says something good about a few of the songs, anyway! We got so much better as a band, and as songwriters, that it’s hard to even see this as any kind of template for what Superchunk would eventually be, but it’s definitely where we were at in 1989/90.

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thanks to Merge Records for sending this out .

Micah P Hinson – Presents The Holy Strangers 2017

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Micah P. Hinson’s new album “Presents The Holy Strangers” is described by the artist as being a “modern folk opera.” Telling the story of a war time family, going from birth to love, to marriage and children, to war and betrayal, murder to suicide – spanning all of the strange and glorious places life can lead. We follow their story, we see their decisions, we see their faults and their beauty. We live with them, we die with them.

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Two years in the making, Micah wrote and recorded The Holy Strangers in Denison, Texas, incorporating ancient reel to reels, analogue keyboards, old Tascam and Yamaha desks. The recording only entered the digital realm once pre-mastering took place.
Split across two pieces of vinyl, the 14 tracks which make up The Holy Strangers are at times sparse and haunting; at other times luscious, maybe even euphoric. From the Johnny Cash-style country single “Lover’s Lane,” to the album’s broad, spoken-word centrepiece “Micah Book One”, The Holy Strangers covers a lot of ground over the course of its hour long running time, appealing to both long-time fans and new ones alike

Alvvays – Antisocialites 2017

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Toronto-based five-piece Alvvays combine their fuzzy, jangly indie pop with infectious, sugary melodies that recall the likes of Scottish outfit Teenage Fanclub and nod to the U.K. post-punk act the Dolly Mixture. Lead vocalist Molly Rankin – the daughter of John Morris Rankin from the popular Canadian folk family group the Rankin Family – was joined by childhood neighbor Kerri MacLellan on keyboards, and met guitarist Alec O’Hanley at a show as a teenager before they proceeded to write music together. Rankin self-released a solo EP in 2010 with the help of O’Hanley before bringing the rest of Alvvays together, with Brian Murphy (bass) and Phil MacIsaac (drums) joining the fold. They then toured heavily, supporting the likes of Pains of Being Pure at Heart and Peter Bjorn and John, while busily working on new songs.

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The band enlisted fellow countryman and musician Chad VanGaalen to record sessions for their debut album at his Calgary studio in 2013, and also worked with Holy Fuck’s Graham Walsh and producer John Agnello (Kurt Vile, the Hold Steady). Standout performances at 2014’s SXSW and the Internet hype surrounding their demo of “Adult Diversion” alerted their talents to Polyvinyl Records, who subsequently signed Alvvays and released their self-titled album in 2014. The album became something of a sensation, thanks in part to the popularity of “Archie, Marry Me,” and the band began a whirlwind of touring. As they gained popularity, the concerts became larger and they nabbed slots at Glastonbury in 2015 and Coachella in 2016. Along the way, they began sprinkling new songs into their set, but Rankin finished up writing the album while taking day trips to Toronto Islands to work in isolation in an abandoned schoolroom. When the songs were done, Rankin, MacLellan, and Murphy recorded in Los Angeles, then Rankin and O’Hanley moved the sessions to their basement in Toronto, where they invited a few guests to contribute, including Teenage Fanclub’s Norman Blake. The resulting album, Antisocialites, was released by Polyvinyl in September of 2017.