So Annie Clark of St. Vincent has announced that the new album is set for release 13th October 2017 . I’am not the only one thats a little excitied about this , so here is a little teaser of whats to come
So Annie Clark of St. Vincent has announced that the new album is set for release 13th October 2017 . I’am not the only one thats a little excitied about this , so here is a little teaser of whats to come
Last summer, Matt Mondanile announced his departure from Real Estate to focus on his solo project as Ducktails. That renewed attention has led to the bedroom pop outfit’s latest full-length, Jersey Devil, due out October 6th via Mondanile’s own New Images.
Ducktails’ sixth album overall and follow-up to 2015’s St. Catherine, Jersey Devil was recorded over two years before being mixed in Hoboken, New Jersey at Sonic Youth’s Echo Canyon studio with engineer Ernie Indradat. To help out with the production and recording, Mondanile called on producer/composer John Anderson (Sky Ferreira, Girls), who also contributed guitar, as welll as drummer John da Costa, South Korean bassist Chi Yoon Hae of Parasol, and backup singers Malcolm Perkins and Samira Winter.
Here at last is the anthology Jukes fans have been waiting for, the one that not only includes all four albums the group cut with Miami Steve Van Zandt (including the CD debut of the promo-only LP Jukes Live at the Bottom Line), but also finally, finally presents this seminal body of work in newly remastered form. Indeed, the Epic recordings of Southside Johnny and the Asbury Jukes, the crucial early sides that made their reputation (and featured a ton of Springsteen/E Street Band spillover), have long suffered from indifferent sound and packaging, as all reissues have been taken from the same digital masters made at the dawn of the CD era.
The Fever—The Remastered Epic Recordings changes all that all four Epic albums including I Don’t Want to Go Home, Jukes Live at the Bottom Line, This Time It’s for Real, and Hearts of Stone (plus the single version of “Havin’ a Party”) appear here in brand-new, sparkling versions remastered from the original master tapes by Mark Wilder at Battery Studios in New York. What’s more, the 2-CD, 40-track collection offers new liner notes by Chris Morris that feature fresh quotes from Southside Johnny himself, and Bruce Springsteen’s original liner notes for I Don’t Want to Go Home. Speaking of Springsteen, his fingerprints are all over these projects, with such songs as “The Fever,” “Little Girl So Fine,” “Love on the Wrong Side of Town,” “When You Dance,” “Talk to Me,” “Trapped Again,” and “Hearts of Stone” all written or co-written by The Boss, while Van Zandt not only produced all four Epic albums but wrote much of the repertoire. But the real star here, of course, is Southside Johnny himself, one of the great white R&B singers of this or any other time, backed by a crack band including The Miami Horns and with such special guests as Ronnie Spector, The Coasters, The Drifters, and The Five Satins. Joyful, soulful music finally sounding the way it oughtta!
On August 25, Ominvore Recordings released a brand new, expanded version of Alex Chilton’s 1995 album A Man Called Destruction.
Chilton had a long legacy in a number of bands starting with the Box Tops where he was lead singer on such songs as The Letter, Cry Like a Baby and Soul Deep and followed in the 70’s with the critically acclaimed by often overlooked Big Star. Between 1979 and his death in 2010, Chilton released eight solo albums.
A Man Called Destruction was divided evenly between Chilton originals and covers of songs like Lies, You Don’t Have to Go and The New Girl in School. When it was released, the Orlando Sentinel said “Plenty of bands attempt, however feebly, to reproduce Big Star’s melancholic power-pop. But nobody else would dare try to approximate the brilliant, offhand weirdness and subtle irony of Chilton’s later solo work. Teenage Fan Club might be able to imitate Big Star’s guitar sound on September Gurls, but they couldn’t transmogrify Volare the way Chilton did on 1987’s High Priest. Destruction is very much in the tradition of High Priest — a peculiar mélange of deliriously cheesy pop.”
The new edition includes seven previously unreleased tracks along with new liner notes by Bob Mehr.
So yesterday i got my C88 box-set and like the previous Cherry Red Records collection that has been released i just knew it would be a superb release . this was the lead up to the pre baggy scene that took the U.K. with a right kick up the fucking arse that it needed. .
Following up their C87box set, which was the next step after their C86 box set, Cherry Red takes yet another step in documenting the U.K. indie pop scene with the 3-disc C88. It follows the fortunes of some of the bands from previous years who didn’t make the jump to major labels, tracks the influx of bands who were influenced by the jangling pop sounds of C-86, and generally provides an exhaustive view of the guitar groups sneaking around the edges of the late-’80s scene. Each disc is a mix of both names that have lasted through the years and complete unknowns; the compilers take great care to make the set one that even dedicated followers of indie pop will find full of surprises. For every Stone Roses or Vaselines track, there’s one by the Driscolls or the Church Grims.
For every indie pop classic like the Charlottes’ “Are You Happy Now?” or the Sea Urchins’ unbearably lovely “Please Rain Fall,” there’s a total obscurity that gives them a run for their money, like the Prayers’ “Sister Goodbye,” or “Village Green” by the Clouds. The big labels like Creation, Sarah, Rough Trade, and the Subway Organization are all represented with a few songs each, but mostly the tracks are sourced from tiny labels whose names have been lost to time names like Whoosh, Bi-Joopiter, and Medium Cool don’t exactly resonate with the public at large, but the bands they contribute to the collection (Holidaymakers, Remember Fun, the Corn Dollies) show that there were plenty of good bands out there and plenty of savvy label owners to release their singles. Most of the collection focuses on sunny indie pop that was noisy, sweet, and as catchy as a summer cold (as typified by the Pooh Sticks, the Flatmates, and the Darling Buds), but there are detours into Lloyd Cole-style sophisticated singer/songwriter sounds (the Caretaker Race’s “Anywhere But Here”), angular post-punk drama (the Great Leap Forward’s “Who Works the Weather”), jaunty instrumental pop (Apple Boutique’s “The Ballad of Jet Harris”), a couple of frothy fun songs from the El Records stable (“The Camera Loves Me” by the Would-Be-Goods and “Curry Crazy” by Bad Dream Fancy Dress”), synth pop with trumpets (Pacific’s New Order-on-a-shoestring-budget “Barnoon Hill”), and tough and scrappy rockers like Rote Kapelle’s “Fire Escape.” They even dug up a rare demo from Pale Saints, “Colours and Shapes,” which shows they were a fine pop band before they discovered atmosphere.
These side trips help make the journey a fairly varied one, even within the pretty tight confines of the indie pop scene of 1988. It’s also a thoroughly enjoyable trip, whether you were there at the time and want to rediscover the glorious tunes of your long-ago youth, or a neophyte just getting into indie pop. Either way, there is a wealth of brilliant pop on C88 ripe for the picking, enough to keep anyone smart enough to check it out satisfied for a long time, or at least until C89 arrives.
Some artists become legends. They become household names. Most people will know at least one or two of their songs. For whatever reason their mainstream success transcends commercialism, and they end up transforming popular culture and by extension, culture at large. These artists’ names become adjectives. Dylan-esque. Beatles-esque.
Australian enfant terrible Nick Cave may not have quite reached that stage, but he’s close. Most music lovers will immediately understand it when you call something ‘Nick Cave-esque”.
Of course, the adjective itself can quickly become a crutch for lazy reviewers, and all too often for artists as well. So it’s a pleasant surprise to hear a release that can be called Nick Cave-esque but still very much marches to its own beat.
John Murry’s life story in itself is the stuff of legends. From an unhappy, over-medicated childhood to drug addiction, musical success, and another fall into addiction and even prison, his life story reads like a book. He also was adopted into William Faulkner’s family at birth (a cousin of his mother). John certainly need not look far for inspiration.
A Short History of Decay is an album that resulted from a chance meeting with Cowboy Junkies guitarist Michael Timmins. Recorded over a five day period with an emphasis on off-the-cuff creativity, the album is a strong statement by an iconoclastic artist, backed by a tight group of excellent musicians.
This is a sonically adventurous release, frantic and understated at the same time, with cavernous piano, telephone vocals, sudden volleys of fuzzed-out guitar, and the backup vocals of Cait O’Riordan ( the Pogues, Elvis Costello) .
Silver or Lead starts off with a sombre piano, joined by minimal drums and bass. The song walks a tightrope between sombre dirge and a more hopeful sing-along chorus while remaining solidly entrenched in Murry’s trademark melancholy.
Under a Darker Moon is a personal favourite, grinding and sputtering along happily on a solid bed of bone-dry drums and psychotic guitars. Wrong Man reminds me of Nebraskaera Bruce Springsteen and is one of the strongest cuts on the album. Murry’s vocals on this song give me a mental picture of the world’s loneliest monk, preaching to the buzzards and rattlesnakes in the Mohave Desert, right before the fiery ball in the sky claims his sanity.
Another mid-tempo rocker is Defacing Sunday Bulletins, with Murry’s spine-tingling telephone vocals steering the sonic mayhem with steady if slightly trembling, hand. Miss Magdalene is an achingly beautiful acoustic song reminiscent of Leonard Cohen at his most morose.
Originally an Afghan Wigs tune, What Jail is Like is a guitar-driven ballad with sad piano, tribal drums, and some of that good old-fashioned backwards guitar. The lyrics take on extra poignancy in light of Murry’s life story.
A Short History of Decay is a gripping album, sonically adventurous, by an artist who’s paid his dues, came out a stronger man and an iconoclastic artist who made a career out of transforming tragedy and hardship into stark beauty.
review from charlie who will be featuring more on this blog .
Daniel Wylie was in Cosmic Rough Riders then he left to pursue a solo career while they carried on without him but now it seems Cosmic Rough Riders are his. Go figure. Anyway he’s back with several slabs of spangling guitar pop with nods to Teenage Fanclub and Big Star. Also with a few nods to Neil young’s crazy horse lets hope we get some kind of a tour from him now
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.
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.
“It’s gonna have to be good enough, I can’t do this anymore, my brain won’t work.” So James Murphy confesses on recent single “Tonite”. Hardly an encouraging admission given LCD Soundsystem‘s America dream is probably the most anticipated comeback record of the year. But then Murphy has always tried to pre-empt and derail expectation and criticism, as his outfit’s premature split itself suggests.
…LCD Soundsystem have always been great performers, so it stood to reason that their live prowess, coupled with an appetite born out of a near-five-year abstinence, would hit the spot. New material, on the other hand, is a different matter. Popular music history is littered with disappointment when it comes to the ‘comeback……record’.
Ergo, fans will no doubt approach American Dream with a degree of trepidation.
Happily, for the most part, any lingering doubt is unfounded even if, on first listen, American Dreamsounds so familiar it’s a little disconcerting. Sure, there’s an expectation that the band sound like themselves, but initially, the synths, beats and Murphy’s vocal style feel a little too habitual. Other Voices reworks Us V Them, and Tonite can err too close to LCD-by-numbers for example. But then should we really expect to be dazzled by one of recent years’ most adept magpies? While LCD Soundsystem’s music has always cribbed from and re-imagined numerous touchstones and genres, had the hunter-gatherer in James Murphy finally exhausted his territory?
It turns out not. This record, more than any from their back catalogue, is a slow burn. It doesn’t have the spiky malevolence of North American Scum or the punchy pull of Daft Punk Is Playing At My House, but it does have depth to spare. Sonically, it’s the richest record they have produced. The nine-minute plus How Do You Sleep’s opening tribal beat and subtle digital tinkling leave Murphy’s cries of “I can’t hear you anymore” sounding like they are echoing out into the abyss. It’s a spooky and troubling opening, which builds gradually and magnificently to a crescendo capped with the repeated line “And six steps back.” Other Voices includes a lovely bass line that recalls Tina Weymouth on baggier form; Emotional Haircut dabbles in a cacophony of rhythmical layers, and Change Yr Mind apes David Bowie’s Fame guitar licks to great effect (his presence pervades the record more than any other LCD Soundsystem recording, which is saying something).
Lyrically, Murphy imprints himself seemingly without outside influence. American Dream is certainly the saddest record LCD Soundsystem has produced. These are songs battered by self-doubt, a preoccupation with getting older (a theme that has run through much of his work) and aching laments for his failure to connect. Time and time again he berates himself: “You know that you’re the only one who’s been destroying all the fun,” painting a picture of a party pooper extraordinaire. The themes of the record aren’t restricted to his own preconceived shortfalls, as more than ever his view is outward looking. Call The Police reflects political confusion: “Well, there’s a full-blown rebellion but you’re easy to confuse/By triggered kids and fakers and some questionable views/Oh, call the cops, call the preachers!” And Other Voices touches on division: “Your still a pushover for passionate people/and you’re just a baby now/with those soft hands and no eyes/resisting other voices.”
There are thematic crossovers between this record and Arcade Fire’s recent Everything Now, such as “Everybody’s singing the same song,” versus “Every song that I’ve ever heard/Is playing at the same time/It’s absurd.” But unlike Arcade Fire’s inglorious and patronising efforts (“Love is hard/Sex is easy” or “Be my Wendy, I’ll be your Peter Pan” to quote just a couple of that record’s lyrical horrors), Murphy is far more pragmatic and unsentimental, whether he’s debunking Hallmark sentiments – “Yeah, we don’t waste time with love/It’s just a push and a shove” – or demanding “So get up and stop your complaining”, he’s is pretty adept at calling bullshit when he sees it.
It’s difficult to believe Arcade Fire’s sentiments on Everything Now, feeling as clunky and forced as they do, but in spite of Murphy’s recent claims that he broke up his band to sell tickets, it’s his record that is the more convincing of the two. Despite his best efforts to sabotage a sense of authenticity, the messages on the record remain credible.
American Dream is flawed, human, and will only commit to one certainty: “You’re getting older/I promise you this; you’re getting older.” Yet it isn’t a depressing record. Like any other LCD Soundsystem album it will doubtless encourage folk onto their feet, and whilst Murphy may rue a perceived failure to connect, this is where he will unite others.
Equally, although these songs wreak of dissatisfaction in places, he’s no cynic, and while overall it’s a less immediate work than their previous efforts, the added complexity will no doubt ensure its longevity. The most instant song on the record is the lead single Call The Police, and while it might be an unabashed play for glory, he can be forgiven the pitch. After all, this time his fans still wanted a hit, and he deserved one. Murphy’s fallibility has proved to be his strength.
Thanks to charlie for writing this up .
So it has arrived and im happy the The National HQ sent me out a advanced copy . Seventh album from American indie rock band The National, due September 8, 2017. In an interview with Rolling Stone, lead singer Matt Berninger said that the album is “about marriage, and it’s about marriages falling apart. I’m happily married, and but it’s hard, marriage is hard and my wife and I are writing the lyrics together about our own struggles and it’s difficult to write, but it’s saving my marriage. Not saving my marriage, my marriage is healthy, but it’s good for everything! And so it’s gonna be a strange record, and I’m crazy about it.”
and the only photo that actually turned out when i went to see them London
Well at the beginning of the year we lost our bass player and our drummer but i guess these things happen , And it wasn’t through bad vibes our change of direction it just happened . so Gary and myself sat down and thought about how we overcome this issue after trying out new bass players and drummers none of them actually got what we as a band are about or had a clue of less is more if that makes any sense .
So after heaps of coffee and bouncing around ideas and plans we actually came up with lets just do all the parts ourselves until we actually found the correct people we want this time rather than just grab the first available bassist and drummer and to quote Gary ” if they like us they will join us ”
So we went back to something that we loved and reworked it i tried to come up with a dirty bass line but it eluded me hence why i don’t play bass , we did two version of this and this is the radio friendly version . the live version really has a groove to it and will post that up on our soundcloud page in a few weeks
so on that note i’m outta here i have a heap of Guinness to get through after all it is a saturday night .
Things have a been a little slow round here and not much new music coming my way, but saying that the new Waxahatchee album arrived today and i just know that’s going to be so good . also having no mobile is fantastic its been a total detox from being on call to everyone . the down side is having to use my ipad for everything at the moment and that’s a rare thing i use normally avoid all apple products .
so i’m working on this playlist that i pick two songs from some of my albums and put them out there and its time to share with you now . this list will never stop growing so a quick check every now and then would be recommended
download available for 24 hours only – link deleted
Mojave 3 is a firm all time favourite here and a little bit of me always hopes that they return with more amazing music . Spoon and Rafter was released on 22 September 2003 in the UK, and a day later in the US. After the break up of Slowdive in 95 Neil Halstead formed the birth of Mojave 3 and released 5 amazing albums
here is a new playlist vol 9 that’s been kicking around here enjoy it .
Well my new Thurston Moore record arrived and its what you expect from him . the release date is april 28th via carolineinternational.com
Shaped from former members of Yo La Tengo, The Human Switchboard and Peter Stanfel’s Bottlecaps, The Schramms have been a Hoboken and New York fixture since 1985.
Finding a place in the sun both in the U.S. and in Europe, they have become one of rock’s most respected and talented bands.
Dave Schramm can also be heard as a featured guitarist on current works by Richard Buckner, Freedy Johnston, Soul Asylum, The Replacements and Whiskeytown.
This Album establishes the depth and sophistication of these veteran song crafters. This time, they’ve enlisted J.D. Foster to produce. This release is tight, and precise. The songs belong together and make for a flowing, detailed and intriguing work – like a book you cannot put down.
The band is joined by such luminaries as Richard Buckner, Syd Straw and Jeb Loy Nichols who all share in the vocals and the atmosphere.
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 .
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.
Much loved indie group British sea power have returned with a collection of songs that showcase the strongest elements of their music, giving listeners space for contemplation while also bringing a healthy dose of high-energy rock.
Exquisitely crafted, the album’s introductory instrumental track is an extension of closer, “Alone Piano,” providing seamless repeated listens, but there’s plenty in the middle to love, too. Lead single “Bad Bohemian” is upbeat, with an ’80s influenced bass line, and Yan Wilkinson’s melancholic lyrics: “It’s sad now how the glass looks rather empty / The formulation of the elements makes you yearn.” Third track “What You’re Doing,” led by the softer vocals of Wilkinson’s brother, Hamilton, contrasts sharply, its warm drums and guitars bringing…
…wide-open spaces to mind as Hamilton brings a feeling of optimism to the song. It’s complemented by “Keep on Trying (Sechs Freunde),” an invigorating track with brilliant guitar interplay and a strong rhythm section.
“Electrical Kittens” features Abi Fry’s beautiful violin playing, and feels like a quintessential British Sea Power song with its emotional intensity. “Praise for Whatever,” meanwhile, captures the band’s ability to pry bombast out of melancholy, as the drama grows from Yan’s first lines while the bass and guitars build. The lyrics perfectly express the world of contrasts we live in: “It’s such a convoluted hour / To play amongst the flowers / When we’re counting all the missiles down, from three to one to none.”
On Let the Dancers Inherit the Party, British Sea Power seek to express the confusion and despair — and, most importantly, the hope — felt during these trying times. Their music doesn’t shy away from the contradictions of life, and provides motivation to “keep on trying.”