Holly Golightly & The Brokeoffs – Clippety Clop 2018

MI0004385663

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.”

170484

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.

Advertisements

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

The-Underhill-Family-Orchestra

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.

s0tefhnekmy2b_600

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

horsefeathers

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.

0012765243_10

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.

Califone – All My Friends Are Funeral Singers 2009

B1L8hhpU3WS._SL1000_

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 ,

Califone-all-my-friends-are-funeral-singers.jpg

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 .

 

Micah P Hinson – Presents The Holy Strangers 2017

mph-grand

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.

holy-strangers

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

William The Conqueror – Proud Disturber Of The Peace 2017

Screen-Shot-2017-08-03-at-09.06.00

William The Conqueror – Proud Disturbed Of The Peace2017 seems to be the year of artists going solo, independent, or otherwise walking away from major record deals. Ruarri Joseph has established himself a member of this trend, leaving his solo folk career behind for more grungy shores, hoping that a new direction would allow him to loosen the restraints on his creativity which was otherwise being restricted by record label demands.

61jz5oCl9rL._SS500

Joseph’s new band William The Conqueror (featuring drummer Harry Harding and bassist Naomi Holmes) is another reminder that separating oneself from a major industry label can be artistically freeing, and their debut album Proud Disturber Of The Peace is a sign that William The Conqueror know how to work that new found freedom into a consistent and enjoyable album.

After one listen to the band’s debut release it is clear that trying to label Joseph’s newest project with a specific genre presents a challenge. There are hints of country in the guitar hooks and bluesy rhythms are peppered throughout the album, while the overall feel and the band’s laid back approach to performance says good old fashioned rock ‘n’ roll.

Lambchop – Awcmon 2003

lambchop544

link will be deleted on monday –  download link removed 

Well before i head off for another weekend off grid i thought i would share this album with you all . So i have uploaded a heap of Lambchop up to the ipod so you know ill be listening to the complete discography .

LAMBCHOP-Awcmon

Touted as “Nashville’s most fucked-up country band” by their label Merge Records, Lambchop was arguably the most consistently brilliant and unique American group to emerge during the 1990s. Their unclassifiable hybrid of country, soul, jazz, and avant-garde noise seemed at one time or another to drink from every conceivable tributary of contemporary music, its Baroque beauty all held together by the surreal lyrical wit and droll vocal presence of frontman Kurt Wagner. Although Lambchop’s ever-rotating roster would later expand to over a dozen members, the group formed in 1986 as a simple three-piece teaming Wagner, guitarist Jim Watkins, and bassist Marc Trovillion, former high school classmates already ten years removed from the educational system. Originally dubbed Posterchild, the trio made its earliest recordings in Trovillion’s bedroom, self-releasing a series of cassettes with titles like I’m Fucking Your Daughter. In time, the lineup began to grow and the band regularly performed live in and around the Nashville area, often at the area record shop, Lucy’s (not coincidentally owned by Wagner’s wife, Mary).

I Hope You’re Sitting Down (aka Jack’s Tulips) In 1992, Posterchild — now consisting of Wagner, Trovillion, guitarist Bill Killbrew, clarinetist Jonathan Marx, multi-instrumentalist Scott C. Chase, drummer Steve Goodhue, and percussionist Allen Lowery — released An Open Fresca + A Moist Towlette, a split single with friends Crop Circle Hoax. The 7″ brought the group to the attention of entertainment lawyer George Regis, who issued cease-and-desist orders on behalf of his clients, the noise pop band Poster Children. After rejecting the names REN, Pinnacles of Cream, and Turd Goes Back, the band settled on Lambchop, added vocalist/saxophonist Deanna Varagona, steel guitarist Paul Niehaus, and organist John Delworth, and signed to Merge to release the 1993 single “Nine.” Their debut LP, I Hope You’re Sitting Down (aka Jack’s Tulips), followed a year later. In many ways, this album would be the most conventional Lambchop record. Its Nashville origins and torch-and-twang ambience would saddle the band with the increasingly erroneous alt-country tag, although Wagner’s Lou Reed-like vocals and bizarre narrative conceits — in particular the fan-favorite “Soaky in the Pooper,” a vivid recounting of a bad LSD trip — immediately signaled their obvious distance from the likes of Uncle Tupelo or the Jayhawks.
How I Quit Smoking The lovely How I Quit Smoking appeared in 1996 (although on the subsequent “Cigaretiquette” single, Wagner would proudly announce, “I’m smoking again”). Recorded live the previous Independence Day, the Hank EP followed later in 1996. Marking the debut of drummer Paul Burch, the disc represented the apotheosis of Lambchop’s Billy Sherrill-inspired phase, its lush production evoking the Nashville sound so popular three decades earlier, but by then completely passé among Music City’s chart superstars. 1997’s Thriller proved a major turning point; highlighted by the Muscle Shoals soul of “Your Fucking Sunny Day” and including no fewer than three songs penned by East River Pipe’s F.M. Cornog, this sprawling, difficult album introduced the uncompromising eclecticism that would dominate Lambchop’s work from here on out. The follow-up, 1998’s What Another Man Spills, upped the ante further. On remarkably soulful covers of Curtis Mayfield’s “Love Song (Give Me Your Love)” and Frederick Knight’s “I’ve Been Lonely for So Long,” Wagner’s baritone drawl even gives way to a Prince-like falsetto. That same year, the group also backed Vic Chesnutt on his album The Salesman and Bernadette.
NixonLambchop’s fifth full-length, Nixon, appeared in the spring of 2000. Supposedly a concept album exploring the presidency of the infamous Tricky Dick, Wagner even included a bibliography in the liner notes — a direct connection to the Watergate scandal remains unidentified. Though still criminally unknown at home, Lambchop enjoyed a much more substantial following overseas, and on May 13, 2000 they appeared at the London Royal Festival Hall. The gig was recorded and made available at U.K. appearances that fall as the Queens Royal Trimma limited-edition EP. (A 2001 European tour yielded the Treasure Chest of the Enemy EP.) The 2001 collection Tools in the Dryer assembled many of Lambchop’s scattered singles, compilation tracks, and remixes.
Is a Woman After recording the purposefully spare Is a Woman in 2002, Wagner and company moved on to their most ambitious project yet — two simultaneously released albums, Aw C’Mon and No, You C’Mon, in which Lambchop returned to full power and joined by a lush string section. The next year, the musically experimental EP CoLAB came out, followed in the spring of 2006 by The Decline of Country & Western Civilization, Pt. 2: The Woodwind Years, an eclectic collection of tracks that had never appeared before on Lambchop records, including one new song, “Gettysburg Address,” and a record of all-new material called Damaged later that summer. 2008 saw the release of the typically graceful and elegant OH (Ohio), followed in early 2012 by the group’s 11th full-length outing, the austere Mr. M., which offered up 11 lush, string-laden meditations on love and loss, all of which were dedicated to the late Vic Chesnutt. In 2015, Kurt Wagner introduced his electronic side project HeCTA, and elements of HeCTA’s eclectic musical approach informed Lambchop’s next project. FLOTUS (which Wagner says stands for “For Love Often Turns Us Still”) was released in October 2016.

 

Lift To Experience – The Texas Jerusalem Crossroads 2017 (remix)

lifttoexperience_1-495x0

Well i said to myself that i wasn’t going to purchase this AMAZING album AGAIN , But guess what i ? i did . How could i not purchase this , it is one of the greatest albums ever made by three dudes that make you feel that you just been hit head on by a train of wonderful noise .

LiftToExperience_cover2000-584x584.jpg

The band set out to create a brand new mix of “The Texas-Jerusalem Crossroads” with engineer Matt Pence 15 years after its original release. The album was originally recorded live to tape, and Matt Pence was able to mix from those original recordings and capture the energy of the three musicians playing together in the room.
… If there was ever a case of an album being ‘ahead of its time’ this probably is it. Akin to Slint’s Spiderland in many ways, lift to experience ‘s the texas jerusalem crossroads came seemingly out of nowheresville middle-America (Denton, Texas in this case) and only made a small ripple at the time, the summer of 2001. The band disappeared shortly after, satisfied with their contribution (even if critically and commercially it wasn’t…

…an overwhelming success at the time) but also citing an interest in their solo careers – most notably, lead guitarist/vocalist Josh T. Pearson’s – and a changed world post-9/11. To date, last year’s appearance at Guy Garvey’s Meltdown Festival at the Royal Festival Hall remains their only live performance since.

It’s fascinating looking back on critics’ initial response to The Texas-Jerusalem Crossroads years later. In general, no one could deny the band’s ambition in taking on such a ‘big concept’ 90-minute record about the biblical end of the world taking place in Texas (rather than Jerusalem’s actual location in Israel), but there’s a resistance to those same religious allegories and questions Pearson mulls over this 90-minute epic, coupled with the band’s own meta-self-referential plot within the tale. For the uninitiated, The Texas-Jerusalem Crossroads begins with “the Angel of the Lord” appearing in front of the band one dark Texan night, prophesising the end of the world is coming and they must “lead the children of Israel to the Promise Land” which turns out to be in Texas. Across the next 90 minutes, Pearson wrestles with his specifically American-Christian struggles with forming a successful band with “a smash hit” as he negotiates with God himself in ‘Waiting’.

On that summary, it’s perhaps understandable that initial audiences weren’t really sure how seriously to take Lift to Experience’s debut (and only) full-length record. Were they actually speaking from a privileged religious point of view – the album certainly isn’t an outright criticism of Christianity – are they in fact as arrogant as they suggest in ‘These Are the Days’? – “So all you haircut bands, doing headstands/thinking you’ll turn the world upside down/Put your guitars up over your shoulders/A new sort of experience is taking over /’cos we’re simply the best band in the whole damn land/and Texas Is The Reason.” – is this meta-fictional narrative just simply pompous and pretentious?

Similarly, by the summer of 2001, musically, audiences would now be fairly used to the epic “post-rock” record. The beginning of this millennium was a pretty incredible time for music considering what was coming just around the corner. Bands who at the end of the previous century had posited themselves as outsiders prophesying, if not maybe the end of the world, certainly a catastrophic change to it, were already releasing big ‘statement’ albums – Godspeed You! Black Emperor’s Lift Yr. Skinny Fists…, Explosions in the Sky’s Those Who Tell the Truth… – while other already gloomy bands changed their established style post Y2K to point to the huge imminent technological changes, both in their music and what it means to us, on its way – Radiohead’s Kid A, Fugazi’s The Argument, Unwound’s Leaves Turn Inside You; however all these bands removed themselves from their art’s focus. While there is no way any of these artists knew exactly what was coming – which fellow Texans Explosions in the Sky found out the particularly hard way – there seemed a general trend in 2000 and 2001 that something was coming.

There are many comparisons to be made between then and now. At the beginning of the millennium, George W. Bush has been sworn in on a wave of right-wing populism after eight years of controversial liberalism, scaring everyone out of their late Nineties stupor into a decade defined by war which would carry on into the next presidency. If in 2001 The Texas-Jerusalem Crossroads risked being sanctimonious, 2017’s collective doom-mongering makes this album suddenly very relevant indeed – just when we thought white, American privilege couldn’t surprise us any further they go ahead and elect a fascist.

It also helps that we as an audience are now much more smart to Pearson’s intentions. Given his tremendous solo career in the subsequent time, we are familiar with his wry sense of humour and very real religious and spiritual considerations. Equally, we now live in a very changed world both socially (well, kind of) and musically 15 years on where meta-fictional concept double-albums – such as Fucked Up’s David Comes to Life – is now not such an alien concept in indie music.

Musically, The Texas-Jerusalem Crossroads speaks for itself. It is a tour-de-force in musicianship and songwriting, especially impressive for a three-piece. For 90 minutes, the world really does sound like its ending as this trio blast through sonic explosions on their respective instruments, move to delicate, reverb-soaked moments of sorrow and back again over the course of this double album. Another big reason for the record’s underrating at the time is the very valid argument of its sketchy production – hence the real reason for the re-mastering. While the original is still impressive, there often lacks a clarity between each member’s input and layering from the Cocteau Twins’ original mix, which thankfully has now been fixed by Matt Pence (Jens Lekman, Yuck, True Widow) so that the guitars shimmer, the bass rumbles and the drums explode.

With that in mind, along with America’s current climate, there is no reason why The Texas-Jerusalem Crossroads shouldn’t finally find its place in indie-rock music’s canon. It is a stunning singular work, hugely visual and symbolic like a great film or novel that highlighting individual tracks is kinda empty when it so clearly should be enjoyed as a whole. Let’s just hope the Angel of the Lord’s prophecies doesn’t come true.

Richmond Fontaine – Thirteen Cities 2016

fontainedonjonescig

The complete Tucson sessions including seven extra tracks.
2007: the snap-pocket shirts, sideburns, literary leanings and pedal steels of alt-country are simply memories from the ’90s. Movement hero and harbinger Jeff Tweedy has led Wilco far from the decade-old roots rock rusticisms of Being There, finding purchase in experimental landscapes dotted with the detritus of modern living. Many have forgotten that Ryan Adams once fronted a marvelous alt-country band called Whiskeytown, as the bedheaded man-child jettisons off into the pop star stratosphere, bouncing from rock to pop to punk to country (again). Not so for Richmond Fontaine, who are led by archetypal old-school-styled alt-country hero Willy Vlautin.

Thirteen_Cities_cover

DOWNLOAD FOR 24HRS ONLY – link expired 

The intelligent and slightly shaggy Vlautin, who has published a successful novel (and whose voice contains the perfect blend of fragility and gravel for this type of fare), writes smart songs — poetic weepers that ride strains of deep twang and pedal steel and lash sweet pop melodicism to country intonations.

For their seventh album, Thirteen Cities, the Portland, OR band headed into the deserts of Tucson to work for the third time in a row with J.D. Foster, who is known for producing Calexico and Richard Buckner. Calexico pitch in significantly with horns on the euphoric, sprightly pop-country of the opener, “Moving Back Home #2.” Elsewhere, on the busily titled “$87 and a Guilty Conscience That Gets Worse the Longer I Go,” sweet cries of pedal steel trail the mini sketches of Vlautin’s narrator, who witnesses enough suffering and depravity (a near-death boxing match, a tractor-trailer crash, a teenage runaway in a sexual tryst) to spur him into the kind of deeply beautiful and downtrodden existential crisis that was once Tweedy’s stock-in-trade (e.g. “Far, Far Away” from Being There). By the time one gets to “Capsized,” whose down-by-luck narrator drifts, sells his possessions, and estranges himself from all palpable life, you begin to get the sense that the deeper Vlautin plunges his characters into despair, the brighter the twinkle of exultation in his eye. But all would be for naught if he didn’t breathe rare life into these literary tales with melodies that often take breathtaking little turns and swoops.

With Thirteen Cities, Richmond Fontaine employ varnished beauty to exceed the already high-water marks set by 2004’s Post to Wire and 2005’s The Fitzgerald.

Son Volt -Notes Of Blue 2017

32-og

So with the release of son volt new album “notes of blue” now out there i got to say that its such a superb album filled with great songs and great lyrics . Son volt came out of the ashes of the last Uncle Tupelo tour 1994/95 . In many music forums Uncle Tupelo are hailed as the inventors of the alt/country scene although Son Volt play a different style from UT Farrar still wears that alt/country crown and long may that continue .

sonvolt-notes-of-blue

So where do you start with Son Volt ? Well we took the time to compile a little something for you to listen to .

Grandaddy – Last Place 2017 (PROMO)

37816_large.jpg

Well this morning just became “fucking” epic with the arrival of the new Grandaddy album “Last Place” . A massive thanks to Zach for sending this out, this is going to be so hard to beat, Grandaddy return with a brilliant album of just what you expect from them .

grandaddy last place.jpg

Last Place, is the new album from Grandaddy: Jason Lyte (vocals, guitar, keyboards), Kevin Garcia (bass guitar), Aaron Burtch (drums), Jim Fairchild (guitar), and Tim Dreyden (keyboards). The band formed in Modesto, CA in 1992, and after four albums disbanded in 2006. Jason Lytle relocated to Montana, where he happily made two solo albums, and reconnected with the natural world around him. Eventually, though, life uprooted him again, taking him to Portland, Oregon until he eventually returned to his former home of Modesto. The return to California was practical (he needed to be near his bandmates) but also appropriate, as he had started writing songs that he felt would be fitting for another Grandaddy album. Following a second reunion tour in the summer of 2016, the band announced the new album would be released on Danger Mouse’s 30th Century Records along with releasing a video for the single, “Way We Won’t.”

Last Place, is a perfect addition to the band’s celebrated, critically-acclaimed catalogue, that includes their breakthrough sophomore album, Sophtware Slump, and their debut, Under the Western Freeway. It’s a symphonic swirl of lo-fi sonics and mile-high harmonies, found sounds and electronics-gone-awry mingling with perfect, power pop guitar tones. Lytle’s voice sounds as warm and intimate as ever, giving graceful levity to the doomsday narratives that have dominated the Grandaddy output. Last Place is written, performed, and produced by Jason Lytle.

Album of The Day

Lift to Experience  – The Texas – Jerusalem Crossroads cxdznt7w8aaso24

As far as concept Album’s go this one is up there as probably the best for a certain kind of genre at least . Three musicians coming out of Denton Texas with a noise you would think that the Band was at least five plus . With help from Robin Guthrie of the Cocteau Twins they managed to blend that sound of “My Bloody Valentine” while still holding down that fresh Alt/country sound .

dd01_jtp-900x743

With a front man like this Josh T Pearson controlled croon and the Gift of arranging these songs into something majestic with a touch of Armageddon chucked in . The Texas Jerusalem Crossroads touches on awkward religious theories that will be evident when you listen to this Masterpiece .

61rvzhba3el

Here is an Album that MUST be in your record collection , and when the soul needs to be woke up this is the only Album you should grab .

best songs of 2016

photogrid_1479643460248

Well folks its that time of year when all the best of start to make a show so we thought we would put together a list of 20 songs that “siding with the insane stereo” have loved throughout the year .

20 – st Paul and the broken bones  – is it me

19 – blind pilot – packed powder

18 – needle points – Corazon

17 – yo la tengo – New York groove *not on spotify playlist

16 – M Ward – girl from Conejo valley

15 – Turin brakes – brighter than the dark

14 – Chris Bathgate – big ghost

13 – Margo price – hurtin /9on the bottle)

12 – Whitney – no woman

11 – Mount Moriah – calvander

10 – Justin peter Kinkel-Schuster – painting houses

9 – cool ghouls – days

8 – drive-by truckers – kinky hypocrite

7 – Bon Iver – 00000 million

6 – the avalanches – because i’m me

5 – Karl Blau – no regrets

4 – the goon sax – up to anything

3 – treetop flyers – 31 years

2 – the cave singers – that’s why

1 – Carter Sampson – take me home with you

All these tracks will appear on our spotify playlist apart from yo la tengo (17)and we will have a download link for you soon where  the yo la tengo track will appear .

also keep an eye open for our top ten album of the year .

 

album of the day

rs-ryan-adams-26c67b07-f8a7-41dc-81fc-7d982402b90d

Ryan Adams – easy tiger 2014

slow it the fuck down dude should of been the title to this album , but only Ryan Adams could of nailed it in two words “easy tiger” . Ryan Adams really had no choice but to make a professional alt/country rock album . this is the style that Adams is best at .Since he has a well known reputation of being consistently unpredictable .

ryan-adams-easy-tiger

you could never say that Adams is the work shy type of performer easy tiger is his 9th release up to that point . i don’t have a bad word about this album apart from when he shouts “guitar solo” on the catchy track of halloweenhead its always a cringe moment but i can put up with that .

 

Aborist – home burial 2016

arborist-press-pic-1

Here we have an album that will probably go under the radar and that alone is a travesty because this album is perfect in every way shape and form . Mark McCambridge has put together a bunch of talented musicians to deliver this album . Based out of Belfast Arborist have built up a steady following with there version of a alt/country sound .

Mark McCambridge has a soulful voice mixed with superb guitar playing that weaves in and out of this album not only that but the beautiful track “rules of the burial” it has a wonderful trumpet going on .

this album also features a guest appearance from Kim Deal (the pixies and the breeders) on the Americana vibe track “twisted arrow”  and a violin that would break the hardest of hearts .

so we are highly recommending you purchase this album it really will not let you down .

home_burial

mountaintop junkshop

20161103_210611

Hailing from Leicester UK mountaintop junkshop could easily be mistaken for the alt/country hipsters from some California scene .This four piece outfit recently play the hut at Corby on a support slot with Erin Rae and the meanwhile’s .

This is the second time i have seen these play and each time i witness this i cant help but think that these guys are on the cusp of making something happen for themselves . with there lo/fi, alt/country sound and two superb e/p’s under there belt “roman candles and red lights” and the superb three tracked e/p called “i dreamed i heard somebody singing in the outhouse “cameringo_20161103_211238

There is something about mountaintop junkshop that is dark and yet to be explored to its full potential , Amy and John’s harmonies together and clearly delivered with heart felt precision . yes its dark , yeas its down right fucking miserable . but these are the trade marks that give this lo/fi alt/country band the sound .

Every now and then a genre needs a kick up the arse because it becomes stale and boring . Mountaintop junkshop are that band to stick that boot in and challenge a genre so that it evolves.

you can buy mountaintop junkshop from the bandcamp website http://www.mountaintopjunkshop.bandcamp.com/music

honestly we really do recommend that you go and see these guys perform and purchase there e/p’s .

the Delines – colfax 2014

delines080514w

Take yourself back to 2014 , it was the year a UKIP councillor blamed the floods on gay marriage (madness) . torrential summer flash flooding , we had tweedy release “sukierae” Interpol released “el pintor” jack white released “lazaretto” caribou released “our love” hurray for the riff raff released “small town heroes” Benjamin Booker released his self titled debut album .

I could easily continue the list of great albums that came out during 2014 , but there is only one that will always stand head and shoulders above them all and that’s “colfax” by the Delines . Formed by willy vlautin from Richmond fontaine he has simply put together one of the greatest bands around . Now your probably thinking “that’s high praise” but if you haven’t listened to them , then you really need to .

20161024_192515

Colfax opens up with “calling in” with an intro that makes you think it’s going to be an epic retro-country style anthem of an instrumental , then all of a sudden your hit with the most amazing , warm  voice of Amy Boone . with the opening line “you callin in” just them three words had me hooked from the start . As the song drifts through you can simply place yourself in some mid-west joint in the states or even standing alone with a panoramic back drop of lonely mountains sipping whiskey or bourbon and being nursed to a state of bliss by the voice of Amy Boone .

Track two slips in seamlessly to “Colfax avenue” this is the song that connects with me . as a ex serviceman i think this song was written for me and any other ex serviceman will probably connect with this . we all witnessed and seen to much to young and the daily struggles to deal with it . so having a blow out when the shit hits home now and then is OK “i guess” . Amy delivers this like she has experienced this on a personal level . sometimes i wish i had sister to help when shit gets real   .

Here is an album that clearly everyone can connect a little bit of themselves with . whether it be a life changing event in your life or a moment that hits you square in the face to wake you up from a life of slumber . And the “oil rigs at night” is one of them songs , i had recently introduced a friend to the Delines and it wasn’t till several months after lending the album that it was a life changing track . it would probably mean nothing to everyone else . but this confirms that there is a little bit  for everyone to connect with in this album  .

Wichita ain’t so far away kicks in , this has a upbeat vibe to it, but clearly it still holds that panoramic sound that only the Delines seem to deliver with ease . In this song there is a line that will ring home to most folks “and your finger prints on me have begun to fade” such a powerful line that Amy delivers like she felt it .

so on this little description i will end there , you need to delve in to this album and listen . who knows you may find yourself or it may even destroy you with its heartbreaking vibe and storytelling . this is retro-country at its best and shouldn’t be passed by  .