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

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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 .

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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.

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Skyway Man – Seen Comin’ From A Mighty Eye 2017

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To fully appreciate James Wallace (a.k.a. skyway man ), it helps to understand his background. The auteur is the ultimate Nashville outsider having worked with his hometown Richmond, Virginia’s Spacebomb collective and his own alternative — some might say experimental — folksy naked light band among other under-the-radar projects over the past decade. Along the way he’s picked up some high profile fans in the form of Alabama Shakes’ frontwoman Brittany Howard, but in Nashville he can be seen as a provocateur; a guy unafraid to push boundaries that transform pop into art. He continues that endeavor under his newest alias, Skyway Man.
It’s as good a name as any to lead a collective of nearly 20 musicians who have contributed to……his debut under this moniker. By any measure, Seen Comin’ from a Mighty Eye is an audacious example of what his press release calls “folk futurism.” The song cycle’s concepts are largely too obtuse to easily untangle, but the lyrics are sung in the first person and seem in part to be about living in a dystopian society.

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Wallace’s sweet, boyish voice makes even extended tracks like the wordy, nine-plus minute “Wires (Donny Angel and the Opening Wide)” go down easy, even if inscrutable lyrics such as “And if your sky catches fire ‘cause the tank crushed the car with the family inside/ and you fly from reason like sparks or rocks that you kick down the street with your heels while you’re waiting for the community van that takes you and your bag someplace that you’ve never been before”… phew … are a mouthful to unravel.

Musically, the twisted but melodic tunes encompass a variety of sounds, including but not limited to colorful psychedelic rock, lighter Beatles-styled pop, and a skewed Nilsson/Donovan chamber style that, even with multi-tracked instrumentation, including creative use of horns and string arrangements, stays frothy and generally bubbly. A sunlit prog-folksy instrumental titled “The Dedication of Giant Rock” splits the album in two pieces, giving the listener a break from having to scrutinize the lyrically dense songs.

Those more dedicated to the Wallace cause can spend the necessary effort disentangling the concept, but even for those who take a pass on that task, this is an impressive, bold, and ambitious 53-minute work. Wallace is clearly talented and you can tell he’s referring to himself, and perhaps the creation of this four-sided opus, when he sings “Visions and the sound of my blood/ have been keeping me awake at night.” – American Songwriter

Richmond Fontaine – Thirteen Cities 2016

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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.

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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.

The Jesus And Mary Chain – Damage And Joy 2017

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All praise Creation Records founder Alan McGee, for he was right: The Jesus and Mary Chain will return next year with their first new album in 18 years, Damage and Joy.

Due out March 24th via ADA/Warner Music, the long-awaited follow-up to 1998’s Munki was produced by Killing Joke co-founder Martin Glover, aka Youth, who also plays bass on the record alongside JAMC touring drummer Brian Young and Lush bassist Phil King.

The album’s first single and opening track, “Amputation”, premiered on Steve Lamacq’s BBC 6 Music today. Better yet, you don’t really need your ear buds; this one’s pure melody, sounding like something off an indie soundtrack from 1996.

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VA – Let It Be: Black America Sings Lennon, McCartney and Harrison (2016)

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A sequel to Ace’s 2011 compilation Come Together: Black America Sings Lennon & McCartney, the 2016 set let it be black america sings lennon , mccartney and harrison expands upon its predecessor, finding space for selections from the ’80s and even the 2000s (nevertheless, most of these 22 songs are from the ’60s and ’70s) plus songs from George Harrison too. “Something” is indeed here, presented in an expansive, seductive 12-minute rendition from Isaac Hayes, and its presence suggests just how far-reaching Let It Be is. Hayes sits alongside Ella Fitzgerald’s funky version of “Savoy Truffle,” an unexpected combination of singer and song that finds its match in Nina Simone’s moodily elegant “Here Comes the Sun,” not to mention Little Junior Parker’s slow,…

…trippy version of “Tomorrow Never Knows.” Such delights are rampant on Let It Be. Only a handful of cuts adhere to the original arrangements, but even those put a distinctive personality on the tunes: Earth, Wind & Fire funkify “Got to Get You Into My Life,” Fats Domino rolls through “Lovely Rita,” and Arthur Conley gives the ska of “Ob-La-Di, Ob-La-Da” some grit.

More than its predecessor, Let It Be stands as a testament to both the songbook of the Beatles and the imaginative interpretations of black America.

Real Estate – In Mind 2017

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On In Mind the band fine-tunes the winsome songwriting and profound earnestness that made previous albums—Real Estate, Days, and Atlas—so beloved and pushes their songs in compelling new directions. Written primarily by guitarist/vocalist Martin Courtney In Mind offers a mild shifting of the gears, positing a band engaged in the push/pull of burgeoning adulthood. Reflecting a change in lineup, changes in geography, and a general desire to move forward without looking back, the record recasts the band in a new light — one that replaces the ennui of teen suburbia with an adult version.

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sinners and saints – on the other side 2017

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Sometimes you need a friend to laugh with and sometimes you need a friend to cry with. The two-man band Sinners & Saints, from Charlotte, NC, fits the bill for both. Whether they’re crooning about heartbreak or tearing it up with joyful abandon, you’ll feel happier for having listened. Perry Fowler and Mark Baran infuse their acoustic, country-tinged tunes with compelling harmonies and foot-powered percussion on repurposed drums from an abandoned kit.

Since the band’s formation in 2011, Sinners & Saints has been gathering a following of fans who turn to their whiskey drinking, shit kickin’, sweet loving music for a good time but find something more – an irrepressible optimism even in dark times. We’re all sinners and we’re all saints, and we’re all in it together.

The band has shared the stage up and down the east coast with the likes of Flogging Molly, Shovels and Rope, Robert Earl Keen, Daniel Romano, St Paul & the Broken Bones, SUSTO, Sun Kil Moon, Bombadil, and many others.

Sinners & Saints will be releasing their second full-length album, On The Other Side, in early 2017, in partnership with

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Elliott Smith – Either / Or Epanded Edition 2017

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About two minutes into either/or  opener “Speed Trials,” Elliott Smith’s seamlessly double-tracked lead vocal splits into a two-part harmony. It’s a very subtle gesture, and only lasts for a few seconds — but contrasted with the tight, hushed unison of Smith’s prior solo output, it feels as dramatic as The Wizard of Oz shifting from sepia to technicolor. This moment plays out like a microcosm of Either/Or at large, the sound of Smith conjuring something far bigger than himself and coming into his own as a songwriter, arranger, and performer.
The final album in Smith’s catalog before the major label-backed XO and Figure 8, Either/Or marks the last time Smith’s instincts would outpace the studio resources to execute them. It’s extraordinary how he embodies a magical, alchemical mix of……intimacy and bombast.

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By the time Either/Or was released in 1997, Smith was no stranger to the cynical machinations of the post-grunge major label gold rush. A year prior, his former band Heatmiser had been put through that very ringer, an experience captured in Either/Or standouts “Pictures of Me” and “Angeles.” Either/Or sounds like the work of somebody who has zero interest in either conforming to or directly transgressing the “commercial” sounds of the day. It’s too ambitious to read as “lo-fi” and too gritty to read as straightforward pop classicism. Thankfully, this 20th anniversary remaster doesn’t smooth out too many of those rough edges—if anything, it brings the unique sound of the record into even clearer focus.

The sounds and words of Either/Or often conjure very specific images, textures, and situations. And yet, Smith—as with many truly great songwriters—used this specificity as a way to explore emotional themes that resonate both deeply and broadly. Nowhere is this clearer than “Between the Bars,” the closest thing to a modern-day standard Smith ever wrote and covered by everyone from Metric to Madonna. It’s not a love song, exactly, and it’s not a song about addiction, exactly. “Between the Bars” is about the ways in which protecting somebody you love turns into the need to control that person. The fact that Smith was able to build this much emotional complexity into a song that sounds at home in a stadium or at a Starbucks speaks to his irreplaceable gift as a songwriter.

Elsewhere, Smith amplifies his well-honed songwriting chops with more fleshed-out arrangements. “Ballad of Big Nothing” propels itself forward with bubbly McCartney-esque bass lines and background vocals that sound like they might have been string arrangements if there were an orchestra handy. “Angeles” and “Cupid’s Trick” provide a back-to-back study in Smith’s versatility as a guitarist, going from intricate fingerpicked pattern to lopey electric riffs. By the time album closer “Say Yes” rolls around, it’s clear that the solo acoustic approach is a specific and purposeful choice, and no longer Smith’s default mode.

This reissue is framed as an “expanded” edition, and the bonus materials included fit the bill nicely. Rather than aiming for comprehensiveness or definitiveness, the bonus tracks provide interesting glimpses into Smith’s growing strength as a live solo performer (some excellent live recordings of album and non-album cuts), sense of humor (a sketch of New Moon track “New Monkey” that sounds like it was played on a baseball organ), and where he would go with his next record (a formative version of XO cut “Bottle Up and Explode!” that shows just how much thoughtful editing and revision went into the final version). And then there’s “I Figured You Out,” a longtime fan favorite that Smith gave to his friend Mary Lou Lord to record because it “sounds like the fuckin’ Eagles.” “I Figured You Out” would have been the most straightforward and polished song on Either/Or, and its omission speaks volumes about how determined Smith was to find his own voice and chart his own path.

In the years that followed the release of Either/Or, Smith managed to do just that, performing “Miss Misery” at the Academy Awards and releasing an uncompromising major label debut. For some of his fans, Either/Or marked the end of Smith’s career as a direct and intimate folk singer-songwriter. For others, Either/Or marked the beginning of Smith’s career as a one-man classic pop band. In truth, Either/Or marks the one moment in Smith’s career when he was truly both.

Las Rosas -Everyone Gets Exactly What They Want 2017

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The Brooklyn trio las rosas have their roots in bands like Harlem and Wild Yaks, small combos that crackled with the vibrant energy of the best rock & roll with simple tunes, sharp hooks, spiky guitars and snotty attitude. Las Rosas take the best of those two bands and hone it to a fine point on their debut album, everyone gets exactly what they want The songs have the swagger and strut of classic ’60s garage rock, the rhythm section of bassist Jose Aybar and drummer Christopher Lauderdale are tight and action packed, and the sound of the record is immediate and loads of fun.
These factors would be enough to make the album a worthwhile addition to the garage rock continuum, but when the exploits of vocalist/ guitarist Jose Boyer are dropped on top like…

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…a cheerful cherry, things get even more impressive. His guitar playing is whip smart and razor sharp as he drops glorious riff after glorious riff, sounding like he’s done his homework for sure but never coming off like a copycat at all. His vocals are even better, slurring deliriously through the rockers, emoting like a stray cat on the ballad, always sounding weird and a little tipsy. There’s a little Ray Davies dandy drawl in the there, maybe a little Mick and Keith sass, but mostly he sounds like an idiosyncratic oddball and his style certainly helps Las Rosas stand out from the garage rock masses.

So do the memorable tunes that make up the album’s tracklist. Speaker rattling rave ups like “Ms. America” and “Black Cherry”share time with midtempo jangle poppers (“Moody”), rambling rockers like “5000 Hit” and the super catchy “Mr. Wrong” pair up perfectly with moody ballads (“Rose,” “Bad Universe.”) There’s not a weak song anywhere and just about any one picked at random would give a garage mixtape a boost of guts, energy and fun.

Los Rosas might not be reinventing the garage rock wheel on their debut album, that would be too much to ask. They do inject a sometimes tired form with lots of spunky energy, off-kilter charm and woozy personality though, and that plus the killer songs, make it an album well worth investigating.

Roadkill Ghost Choir – False Youth Etcetera , Vol 1 2017

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Roadkill Ghost Choir are an indie rock band whose music combines the languid but emotionally charged approach of indie rock with a Southern gothic undertow, articulated through the voices of banjo and pedal steel guitar. Roadkill Ghost Choir were formed by lead vocalist and songwriter Andrew Shepard in in DeLand, Florida in 2011; Shepard had been booked to play a solo show at a local club, but soon decided he preferred to have a band for the occasion. Shepard rounded up a backing combo from his friends and siblings: guitarist Stephen Gaza was in a band called Introduction to Sunshine, Andrew’s brothers Zach Shepard (bass) and Maxx Shepard (drums) had worked with the Quiet Men, as did pedal steel and banjo man Kiffy Meyer, and Joe Davoli on keys and trumpet had played in the group Loud Valley. The musicians were pleased with the show and decided to continue working together, and Roadkill Ghost Choir were born. The band earned a reputation in Florida and began touring throughout the South and East Coast, and in 2013, the group released a Kickstarter-funded EP, Quiet Light. The EP received enthusiastic reviews, and as positive word of mouth began to spread, Roadkill Ghost Choir began landing bigger and better bookings, including appearances at the Austin City Limits and Governor’s Ball festivals, and a spot on The Late Show with David Letterman. in 2013, Roadkill Ghost Choir began work on their first full-length album, though not long after the sessions were finished the group was pared down to a quintet by the departure of Joe Davoli. In the summer of 2014, the band released In Tongues and set out for more touring, including appearances at the Bonnaroo and Lollapalooza festivals.

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The Shins – Heartworms 2017

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Rock has many artists who retain a consistent sound across projects. the shins ’ James Mercer is one, and the sound of his fifth album under that moniker retains all that’s good about The Shins, only slightly infused with tricks learnt from side projects like Broken Bells.
As the only remaining original member, perhaps it’s unsurprising. But what startles is the way the tracks contain the same sort of charm and warmth evident on 2001’s Oh, Inverted World. Mercer wrote the entire album, from the clomp of ‘Painting a Hole’ to the Christmastime Spector feel of Fantasy Island. He also took on production duties from Richard Swift.

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Despite being a male-heavy record, ‘Name for You’, the lead single, is billed as a call to arms for Mercer’s three daughters, another reason for……the gap between records, perhaps.

The strongest feeling is one of looking back. There are tales of school days, of learning guitar and Mildenhall is even named after the UK airbase he was raised in. Melancholy levels are high – but that’s a distraction, as beneath this motif is a wealth of songwriting nous that continues to set Mercer apart

future release for Craig Finn

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So the mighty Craig Finn has a new solo album out on March 24th with  Partisan Records ‘We All Want The Same Things’ this album isn’t as bombastic as any of the hold steady material but it stands firmly on its own as yet another great release from Finn .

Craig Finn is currently on tour opening up shows for Japandroids in my opinion it should really be the other way around . thanks to the label for sending the out the promo of this release .

Hurray For The Riff Raff – The Navigator 2017

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Well the arrival of the new Hurray For The Riff Raff “The Navigator” Four days before the release date has made me a little happy to say the least . This Bronx beauty really knows her shit an avid campaigner for woman’s rights and a avid believer in just do the right fucking thing .

Living In The City track opens up and you just know this is my track for the spring months ahead and possibly right in to the summer its powerful and upbeat with a vibe that will clearly lift you up .  I Am going to declare this a Siding With The Insane Stereo LAW  that each day should start with “Living In The City”

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I have been a huge fan of HFTRR since the self release “It Don’t Mean I Don’t Love You” and i knew from then that this band is going to do well , and everything after that release has always been ,solid and worth every listen .

Rolling Blackouts Coastal Fever- The French Press 2017

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Rolling Blackouts Coastal Fever bit of a shite name for a band but who really cares because this band can make some superb music and with only two albums under there belt you can clearly hear that they are here for the long haul .

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Talk Tight was the bands first release and it is a thunderous album Listening to these seven tunes, you can easily trace a national lineage: the relentlessness of radio birdman , the pop literacy of the go betweens , the rambunctious energy of the easybeats , and the belief shared with courtney barnett that guitars are not just crucial to the message but might very well be the message themselves.

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French Press is the follow up from last years mini album release its due out march you need these in your life trust me .

Father John Misty – Pure Comedy 2017

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Well it has arrived the advance Father John Misty “Pure Comedy” and i have to state that this album is much better than “I Love You, Honeybear” that album really let me down in a way that i never want to hear anything from it again . i tried so hard to get in to it but it seemed to escape me , And i have spoke to so many folks that say it either great , or bad nobody ever states that its OK (marmite album) .

Anyway back to Pure Comedy Josh Tillman wrote the majority of this back in 2015 and recorded all vocals and basic tracking on to tape with no more than two takes . this was recorded at the same studios The Beach Boys called home .

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Woods Album Of The Day

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Woods is a American folk rock band hailing from the mighty Brooklyn they formed  back in 2005 i think , But hey i could be wrong . i first came across this band back in 2014 when they released “with light and with love” that is a stunning album . Jeremy Earl has a voice like no other at the first moment of hearing it, i kind of made me  a little uneasy and thinking that this dude really isn’t at ease . But you end up hooked on his vocals and lyrics . Woods latest release ” City Sun Eater In The River Of Light” that was released in 2016 has been a firm favourite here and time to share with you .

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Cali In A Cup doesn’t appear on this album .

Son Volt -Notes Of Blue 2017

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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 .

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

Ron Gallo – Heavy Meta 2017

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Every now and then an artist comes along that you really want to keep to yourself , and share with nobody . this is one of them moments not since the release of kings of Leon first album “youth & young manhood” have i felt an album grab me from the inside out . But i must admit here that everything after kings of Leon debut was shite .

Its evidently clear from the opening track “young lady, you’re scaring me” that this album clearly has no Nashville twang . Ron Gallo has brought that Philadelphia sound to Nashville and has given it the much need kick in the balls that it deserves . This album touches on the singers frustration’s with humanity and stupid fucking people

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Lyrically Ron Gallo is all over the place but its that passion that seals the release with conviction specially when you can have a line with “dumb bell right to the temple” its fresh , its raw , it has a back bone and a set of bollocks and as much as i tried to keep this to myself over the last month i have to share go get this album and treasure it and play it seriously loud .