CIMS Now Hear This
Combining the lulling ambience of shoegaze with the iconic melodies and vocal prowess of classic American country music, enigmatic outlaw cowboy - Orville Peck, croons love and loss from the badlands of North America. The resulting sound is one completely his own, taking the listener down dusty rose-colored desert highways, through a world where worn out gamblers, aloof road-dogs and lovesick hustlers drift in and out of his masked gaze. Orville’s upcoming debut album, Pony, delivers a diverse collection of stories that sing of heartbreak, revenge and the unrelenting tug of the cowboy ethos. Warm lap steel guitars and echoing drums move through dreamy ballads, campfire lullabies and sometimes frantic buzzsaw tunes, all the while paying homage to his country music roots. Orville’s music has been featured by Nylon magazine, ID mag, Vice, The Needle Drop, as well as numerous Apple Music and Spotify playlists. He has also had magazine features in New York’s Hello Mr. and the UK’s Notion.
Everything Not Saved Will Be Lost – Part 1 & 2, a pair of releases, separate but related, they share a title, themes and artwork. ‘Part 1’ will be released on March 8th, with ‘Part 2’ following in the Autumn. Profoundly tethered but possessing their own personalities, the two forthcoming albums capture the most compelling, ambitious and cohesive creations that Foals have ever produced. “They’re two halves of the same locket,” frontman Yannis Philippakis explains. “They can be listened to and appreciated individually, but fundamentally, they are companion pieces.” There are exploratory, progressive-tinged tracks which occasionally break the 10-minute mark alongside atmospheric segues which make the music an experience rather than a mere collection of songs. Yet the band’s renowned ability to wield relentless grooves with striking power also reaches new heights.
With the release of his new record, 99 Cent Dreams, Eli Paperboy Reed begins his second decade as an artist much in the same way he began his first: in love with soul music. Reed is ten years wiser this time around, writing with the kind of freewheeling confidence. The result is the finest of his career. Cut at the legendary Sam Phillips Recording in Memphis, TN, and produced by Matt Ross-Spang (Jason Isbell, Margo Price), 99 Cent Dreams is exuberant, a celebration of life delivered by an ecstatic messenger. Reeds arrangements on the album are lean, filtering vintage R&B, soul, and gospel through the heart of a modern songwriter. His stunning voice remains front and center but his performances have matured, a sign perhaps of the newfound perspective hes gained with fatherhood. Fueled by love and hope, this is a collection that, despite its moments of loneliness and pain, ultimately insists on seeing the bigger picture, on recognizing each and every day for the gift that it is.
Recorded at Los Angeles' Sargent Studios, the album sees Wallows reunited with Grammy award-winning producer John Congleton (St. Vincent, Alvvays, Future Islands) and captures the band's journey towards adulthood through 11 intimate, introspective tracks.
Dee left college and began making trips to Tennessee, where he found another mentor in Dan Auerbach. Together, the two co-wrote a number of new songs, often teaming up with additional composers in town. Allison Krauss sings on four songs, lending her gossamer harmonies to album standouts like "Bucket of Bolts" and "Tell the World I Do." A world-class vocalist, she found a kindred spirit in the 19 year-old Dee, whose unforced vibrato and effortless tone floored her. During one recording session, she pointed to Dee in the vocal booth and announced, "From now on, you only sing with me." Not bad for a Nashville newcomer."It would be two of us," Dee remembers, "and Dan would rotate these other writers — all older guys who loved classic music — in and out of the writing room every day. Each write would be completely different, which is why each song on the album sounds so unique."Eventually, they whittled down the list of songs to two-dozen finalists. They then recorded all twenty-four songs in two weeks, using Auerbach's studio — Easy Eye Sound, a playground of vintage gear and analog equipment — as their home base. TITLE HERE features ten of those tunes, along with guest appearances by a number of titans from the folk, country, and bluegrass worlds.The guest list doesn't stop there. Fellow Nashville newcomer Ashley McBryde duets with Dee on "Road That Goes Both Ways," their voices backed by sweeping strings and steel guitar. Auerbach himself plays guitar throughout the album, while first-class sideman like Bobby Wood (keyboardist for Elvis Presley and Garth Brooks), Bubba Chrisman (drummer on Dusty Springfield's "Son of a Preacher Man"), and Billy Sanford (the man behind Roy Orbison's "Pretty Woman" guitar riff) all appear on multiple tracks. On an album filled with all-star musicians, however, it's Dee White who shines the brightest, filling Southern Gentleman with a mix of youthful energy, rich lyrical metaphors — particularly "Rose of Alabama," a cheating song dressed up as an achingly gorgeous ballad — and swooning melodies."We were just trying to write standards," says Dee.Stripped free of pitch correction and studio trickery, Southern Gentleman is an honest portrayal of a 19 year-old natural. Dee White's songs are classics-in-the-making, inspired by traditional sounds but happily rooted in the 21st century. This isn't a throwback record. Instead, it's a contemporary, ageless album — one that packs just as strong a punch today as it would've 50 years ago.
Shana Cleveland has been beguiling listeners for years in her role as the superlative frontwoman for elastic surf rockers La Luz. Now Cleveland is evolving her sound on the new solo full-length Night of the Worm Moon, a serene album that flows like a warm current while simultaneously wresting open a portal to another dimension. As much a work of California sci-fi as Octavia Butler’s Parable novels, Night of the Worm Moon incorporates everything from alternate realities to divine celestial bodies. Inspired in part by one of her musical idols, the Afro-futurist visionary Sun Ra (the album’s title is a tip of the hat to his 1970 release Night of the Purple Moon), the record blends pastoral folk with cosmic concerns. Cleveland dreamt up this premise while living in Los Angeles, a city where--as deftly explored on La Luz’s recent Floating Features--reality and fantasy casually co-exist. Abetting Cleveland during the recording process was a familiar gallery of co-conspirators: multi-instrumentalist Will Sprott of Shannon & the Clams, original La Luz bassist Abbey Blackwell, Goss, pedal steel player Olie Eshelman, and Kristian Garrard, who drummed on Cleveland’s previous solo effort (with then-backing band The Sandcastles), 2011’s Oh Man, Cover the Ground. But whereas that album was internal and contemplative, Night of the Worm Moon occupies a different, vibrant kind of headspace. UFO sightings, insect carcasses, and twilight dimensions are all grist for Cleveland’s restless creativity, and they and other inspirations collide beautifully on the album’s 10 kaleidoscopic tracks--a spacebound transmission from America’s weirdo frontier.
This album is for those who are no longer with us. It is about coping with the loss of friends, family, and mentors, while building a new community in their wake. “When I meet someone that's good I want to die with them, dead friends I still want to say good bye to them.” In the midst of losing friends we strive to created a stronger community, dedicated to fight, survive, and thrive in their memory and spirit. A lot of people have said to us this is a perfect time to make a Punk record. We are disgusted by this prompt. This album and our music does not belong to a political party. No authority, political movement, or side may claim the function of our music in this society. This album is personal. It is about and for the disenfranchised youth of this city, of this country, and of this earth. It is for our community and anyone who may find shelter within it.
With this collection, Lang Lang goes back to his first love - to the pieces that made him want to become a musician in the first place. Rediscovering the most popular and accessible pieces written for learners and lovers of the piano, this album is a journey; of inspiration, of discovery, fantasy and learning. It is a moment for Lang Lang to illuminate these classic pieces as the masterworks they truly are. It is also a reflection on the music that influenced him most during his early childhood, later in life coping with difficult moments, and working with young piano learners around the world. Music can change lives and Piano Book tells this story. "I dedicate this album to my wonderful piano students and all my friends around the world who love the piano as much as I do." Lang Lang
Acoustic Space is the first installment in The Invisible Light trilogy helmed by Grammy- and Oscar-winning producer T Bone Burnett in collaboration with Jay Bellerose and Keefus Ciancia. Burnett describes the trilogy "as an experimental song cycle" which consists of a single piece of poetry broken down into distinct songs. The albums explore the idea that society has been subject to over a century of electronic programming, a "programming epidemic," which is causing us to lose our ability to differentiate fact from fiction. The Invisible Light is a fusion of trance, electronic, folk, tribal and global music, providing the listener with the unique opportunity to stretch their mind and attention span. At the heart of this trilogy is technology and how it has advanced significantly throughout the course of the last century, with radio, film, television and the internet serving as central parts of our lives. The Invisible Light: Acoustic Space explains that "the center is everywhere and there is no border," that people have the ability to hear from every direction.
• Texas music legends. • Remastered reissue features eleven previously unissued bonus tracks. • New liner notes include a history of all the 1970s reissues and their variations. “Walter Hyatt, David Ball and Champ Hood have been an inspiration to me ever since the first time I heard Uncle Walt’s Band,” said Lyle Lovett, a journalism student at Texas A&M University when he first heard the band. “Musically, their finely crafted original compositions reflect diverse influences, while lyrically they demonstrate a sensitive, sophisticated understanding of the dignified South.” Uncle Walt’s Band, from Spartanburg, South Carolina, was an eclectic music trio that moved to Nashville in 1972 and shortly thereafter, to Austin at the urging of Willis Alan Ramsey. An attempt at an album with Ramsey at the helm was unsuccessful, so the band headed back to Spartanburg in 1974 to produce their own debut LP, Blame It On The Bossa Nova. One thousand copies of the original self-released vinyl were pressed, sold through performances and self-promotion, disappeared quickly. Heat was gaining for the band, so they headed back down to Austin with a reissued album now titled, Uncle Walt’s Band. (Original pressings of Blame It On The Bossa Nova change hands for hundreds of dollars these days). While the album gained many fans and followers, it wasn’t enough to sustain the band’s larger ambitions. After a hiatus a second album, An American In Texas was released in 1980 followed by a live album, Recorded Live in 1982. (a cassette-only release of studio sessions, 6-26-79 was also released along the way). Gaining the love of Texas music fans, performing regularly throughout the state, yet unable to get traction nationally, they called it quits in 1983. Although remaining friends and working on various projects over the years, each went on to pursue solo music careers. Hyatt release several albums, plus performed on Austin City Limits. Hood became a Texas Music Hall of Fame sideman playing for artists like Lyle Lovett, Jerry Jeff Walker and more, and Ball’s success with the hit, “Thinkin’ Problem” established him as a Country music star. Following the first-ever, career-spanning Anthology: Those Boys From Carolina, They Sure Enough Could Sing, Omnivore is now proud to present a deluxe reissue of the original Uncle Walt’s Band album, expanded with eleven bonus tracks and remastered. New liner notes include a history of each re-pressing of this private press classic (reissued no less than six times with different covers and sequence variations back in the ’70s)! If you were one of the lucky owners of an original that you’ve worn out across the years, here’s your chance to retire that well-loved copy and double the fun discovering the new bonus tracks. For the rest of us, it’s the opportunity to own the classic!
2019 release. Kevin Garrett twists up soulful tradition with singer-songwriter spirit, lush instrumentation, and alternative adventurousness. The Pittsburgh-born Grammy Award-nominated artist, multi-instrumentalist, and producer echoes the kind of grit meant to be smoothed out only on vinyl and emanates the ambition of a 21st century festival draw on his full-length debut, Hoax. His brand of bold and blunt soul unfolds on singles such as "In Case I Don't Feel" and "Faith You Might."
This is the debut EP from iDKHOW. They are a 2 piece band consisting of Dallon Weekes (ex Panic! At the Disco) and Ryan Seaman (ex Falling in Reverse). The band self released 2 tracks in 2017 that fans discovered and streamed millions of times, earning them a Rock Sound cover as a then unsigned band. They played Reading and Leeds festivals this summer and are on tour with Waterparks in the US during the release of Extended Play.
The second album in less than a year from those lovable New Jersey moptops with the sweet twin guitars, 'Natural Facts' provides a portal to the carefree place that both indie rock and jam bands forgot. Bolstering the summer glow of 2018s 'Cosmic Cash' with flashes of fuzz, teeth and power, 'Natural Facts' is the more driving counterpart to its rural predecessor. Danny Arakaki & Tom Malachs guitars remain at centerstage on machine gun shreds like the album-opening Feel So Great & the rolling grooves like High Noon Violence (which would fit right in with one of David Crosbys early 70s supergroups). Tracked in Philly with Jeff Zeigler, 'Natural Facts' is a newly emerging conversation, songs & structures drawing from the most right-on musicians to cross Garcia Peeps collective transom. Classic rock guitarists of yore might be obvious touchstones but bend your ear and newer colors emerge, generated from hours & years of talk & music. Nothing inorganic here, just pure Natural Facts