Music Releases 09-10-21
Elvis Costello and award-winning producer, Sebastian Krys, have brought together a stunning international cast of some of the biggest Latin rock and pop artists from around the globe to interpret Elvis Costello and The Attractions' album, This Year's Model, entirely in Spanish. The inspired Spanish-language adaptations are set to the band's classic studio performances, culled from the original master recordings, which have been newly mixed by Krys. Available on black Vinyl.
Elvis Costello & The Attractions' album, This Year's Model, which has been newly remastered.
Originally released in 1978, Elvis Costello & The Attractions' album, This Year's Model, has been newly remastered. Available on 180-gram black vinyl with the addition of "Big Tears" and "Radio Radio."
Spanish Model featuring a stunning international cast of some of the biggest Latin rock and pop artists from around the globe interpreting Elvis Costello and The Attractions' album, This Year's Model, entirely in Spanish.
Vinyl: $39.98 Buy
Twiztid have been no strangers to mixing rap and rock. After an appearance on the final Warped Tour in 2018, Twiztid hit the ground running with ideas to release a more rock-centered album. Unlikely Prescription is the result of those thoughts and plans. Working with artists like Ice Nine Kills, From Ashes to New, and Dani Filth, as well as drummer/producer Drayven, the duo has compiled an album sure to peak the interest of long time Twiztid fans as well as a brand-new generation of rock fans.
Specially Curated By Island Records' Founder, Chris Blackwell! Volume Two Covers 1962-1969
Featuring John Martyn, Jimmy Cliff, Nick Drake & More!
Since its beginnings in Jamaica in 1959, the story of the pioneering Island Records label has been inextricably linked to the story of its founder, Chris Blackwell. Now, Blackwell has curated a series of compilation LPs, featuring his hand-picked tracks that correspond with his and Island's legendary history. Volume Two of The Vinyl Series, a 9-track album, includes John Martyn, Jimmy Cliff, Nick Drake, and more.
VINYL SERIES VOLUME TWo
1 LP surprise color vinyl (collect all three). Kacey Musgraves’ new album star-crossed is a bold, empowering, and personal series of songs that displays the 6x GRAMMY Award winner's continued growth as one of the finest singer-songwriters of our time. It's the follow-up to Golden Hour, which earned Musgraves her third No. 1 on Billboard’s Top Country Albums chart and distinguished her as only the third artist ever to take home Album of the Year at the GRAMMY Awards, CMA Awards, and ACM Awards.
ALL VERSIONS come in random Caterpillar Red, Chrysalis Yellow, or Butterfly Blue LP. Gatefold Jacket and unsealed in 100% recycled paper sleeve.
KGLW’s 18th studio album, Butterfly 3000, might be their most fearless leap into the unknown yet; a suite of ten songs that all began life as arpeggiated loops composed on modular synthesizers, before being fashioned into addictive, optimistic and utterly seductive dream-pop. The album sounds simultaneously like nothing they’ve done before, and thoroughly, unmistakably Gizz, down to its climactic neon psych-a-tronic flourish. This is undoubtedly their most accessible and jubilant album to date.
Only Honest At The Weekend is Becky Hill's hotly anticipated debut album - all your favorite tracks in one place. Featuring the hits "Better Off Without You," "Heaven On My Mind," and the summer anthem "Remember" with David Guetta. Plus, brand new tracks with S1mba, Ella Eyre, Topic, 220 and much more. CD w/ 16-page booklet.
"I've got plenty of energy, it's my currency" sings Amy Taylor on the opening track of Comfort To Me. After the release of Amyl and The Sniffers (2019), the band conquered the world one club gig and festival stage at a time. Their unrelenting, jaw dropping live show propelled them to must see status and prompted The Guardian to declare AATS “the single most exhilarating rock’n’roll show I’ve seen in years.” Comfort To Me is somehow both heavier and more awesome than their debut and fully captures the chaotic energy of their live show.
Hayley Williams, lead singer of Paramore, recently celebrated the surprise release of her second solo project, FLOWERS for VASES / descansos. The gripping album was written and performed in its entirety by Hayley Williams, a career first for the music industry titan. Recorded at her home in Nashville, the 14-track album spans from stories of love to stories of loss. “In a world that often requires us to ignore our deepest needs, Hayley Williams does not provide a light at the end of the tunnel or a closed door, but a new body, a new tongue, and possibly a new frame of reference to survive and even thrive,” writes NPR. Named one of the best albums of the year so far by outlets such as Rolling Stone and SPIN.
It’s finally here – Metallica’s eponymous album, better known as The Black Album – is remastered and will be available everywhere on September 10th. The Black album is one of the most commercially successful and critically acclaimed records of all time, with global sales of over 35 million, and contains a series of unrelenting singles, “Enter Sandman,” “The Unforgiven, “Nothing Else Matters, “Wherever I May Roam,” and “Sad But True.” The standard album is remastered by Bob Ludwig at Gateway Mastering and all other content is remastered by Reuben Cohen at Lurssen Mastering. All content was overseen by executive producer Greg Fidelman.
Limited edition deluxe numbered box set (with magnetic flap) of Metallica (Remastered)includes the album remastered on 180-gram double LP and CD, Sad But True picture disc, three live LPs, 14 CDs and six DVDs featuring unreleased content (live shows, rough mixes, demos, etc), MP3 download card of all audio, four tour laminates, lanyard, three lithos, three guitar picks, lyric folder and sheets, and a 120-page hardcover book with never-before-seen photos + stories from those who were there.
At the top of 2020, after a year of traversing the globe in support of 2019’s Run Fast Sleep Naked, Nick Murphy began creating music that simply felt good. Though the singer had retired his billionstreaming Chet Faker project four years prior, the new songs he was working on in his New York City studio had an energy reminiscent of his earlier work. Reviving the project “wasn’t on my radar” at the time, Murphy admits, but the next thing he knew, he had a full album. The result is Hotel Surrender, a radiant 10-track LP full of swaggering bass lines and electrifying melodies that reintroduces Chet Faker to the world – and to Murphy himself. Like his debut LP, 2014’s Built on Glass, Murphy wrote and produced Hotel Surrender solely on his own, finishing most of the songs before COVID-19 hit in March 2020. He admits that before Hotel Surrender, he had never approached his process with such ease. This time, as the album title suggests, he surrendered to the music. “There was this, like, unconsciousness—not thinking, but just feeling, letting it come out and letting it steer itself,” Murphy says. “The great lesson for me was that I could write from a place of joy. I was also just being kind to myself. None of this music was hurting, it just felt good. It made me feel better, and it helped me be better.”
Internationally acclaimed hard rock musician and God of Partying, ANDREW W.K., marks another extraordinarily intense chapter in his fabled and perplexing tenure as a pop culture icon, with his fifth full-length rock album, God Is Partying. Hovering in the fluorescent spotlight of his legendary party power, God Is Partying sees ANDREW W.K. ransack the corners of the human psyche, reaching a triumphant apex in his catalog nearly 20 years after the release of his chart-topping 2001 full-length debut, I Get Wet. Showcasing his indisputable musical chops, God Is Partying features ANDREW W.K. performing all the album’s instruments, in addition to co-producing the album with Grammy Award-winning engineer, Ted Young. Channeling the manic euphoria that has compelled ANDREW W.K.’s auditory insignia for decades, God Is Partying is comprised of nine exhilarating exaltations soaked with a flood of epic energy – often traversing nearly impenetrable lyrical themes while remaining refreshingly relatable, inspiring, and vital for survival. From sinister metallic bastions like the buzzing single “Babalon”, to the timeless story telling of “Remember Your Oath”, the album will have fans of embracing their own party power and reveling in the depths of musical euphoria. God Is Partying opens triumphantly with ANDREW W.K.’s hyper-melodic keyboard stylings introducing the menacing and magical music of “Everybody Sins”, setting the stage for the dramatic immensity to follow. Tracks like the poetic, “No One To Know”, and the soaring tension of “Stay True To Your Heart”, transport the listener to the precipice of a sonic horizon – rising into synthesizer-infused epics of maximalist rock, each track showcasing another example of ANDREW W.K.’s expanding abilities as a vocalist and songwriter. Only halfway through the album is the listener driven directly into fiery depths with the massive track, “I’m In Heaven”, before ascending into the sonic stratosphere with the tracks, “My Tower” and the album closer, “And Then We Blew Apart”. The album is a true ode to the quiddity of ANDREW W.K. Emotional yet steadfast, ominous yet invigorating, God Is Partying embraces both the break-ups and break-downs of life, and ANDREW W.K. once again provides his audience with the perfect soundtrack to celebrate all the intensity life has to offer.
Aaliyah is the self-titled third and final studio album by the "Queen of Urban Pop." Originally released in 2001 by Blackground Records, the album debuted at number two on the Billboard 200 albums chart. Cited by critics as one of the best R&B records of it's time, the album is a reflection of herself as both a young adult and matured vocalist. Standout tracks include "We Need A Resolution," "More Than A Woman," and "Rock The Boat."
Recorded almost entirely remotely on two different sides of the Atlantic, Screen Violence is an ode to the digital violence experienced on screen, by screens and through screens. Featuring standout singles "He Said She Said" and "How Not To Drown (feat. Robert Smith)," the album serves as a marriage between personal experience, visual imagery and cultural narrative.
A Beautiful Life is the first new music from Heartless Bastards since 2015’s Restless Ones. The album was produced by Kevin Ratterman (Strand Of Oaks, Jim James, White Reaper). Album performers include Andrew Bird on “The River,” Greggory Clifford (White Denim) on drums, Jesse Chandler (Mercury Rev, Midlake) on keys, flute, clarinet; David Pulkingham (Patty Griffin) on guitar, Bo Koster (My Morning Jacket) on keys. The music is a melange of blues rock, rock and singer-songwriter which surround themes about self-love and awareness, mental health, the environment, and consumerism.
Hologram is the first release from New York Post-Punk legends A Place To Bury Strangers on their own newly formed label, Dedstrange. Hologram is the follow up to their highly regarded fifth album, Pinned, and is a sonic return to A Place To Bury Strangers’ rawest, most unhinged sound. With songs addressing the decay of connections, friendships lost, and the trials and tribulations of these troubled times, Hologram serves as an abstract mirror to the moment we live in. Written and recorded during the on-going global pandemic and in the midst of the decline of civilization, Hologram is a sonic vaccine to the horrors of modern life.
Frances Forever can spin anything into sunshine. As the project of Boston-area singer-songwriter Frances Garrett, its myriad moods can send listeners reeling into romance or off floating in existential space. Garrett balances their familiarity with extremes with an undeniable ear for melody and a gift for writing tracks that could live at home anywhere on the pop timeline. paranoia party, the project's first EP in the wake of TikTok explosion 'space girl,' rockets forward with the past half-century of radio magic in its back pocket. Atop this glitter-shocked display, Garrett spills their guts about fumbling their own power. Take one listen to 'space girl,' Frances' latest charmer of a single that's rocketing up indie charts and TikTok counts despite a disaster mission of a year. The track continues to grow, with 80MM+ streams globally, 57 Viral Spotify Charts, 265k average daily streams, and over 535 million video views and 500k videos created on Tik Tok. Frances Forever has been hotly tipped as one of the top artists to watch in 2021: featured in lists by Rolling Stone, SPIN, Amazon Music, GQ UK, Uproxx, and recently named as one of Pigeons & Planes best new artists. paranoia party further seals their fate as a breakout act, showing off Frances Forever's mastery of vintage texture and 2021 attention spans in equal measure. From the doo-wop glaze of opener 'depression' to the horn-flecked indietronica of 'daytime,' paranoia party carves its identity from stopovers in darker, braver territory. Those enchanted by 'space girl' have plenty to root for, though, as the EP's title track serves as its boldest mission statement, stacking a story of college-party anxiety against a circus-tent waltz that glitches and stutters in line with Garrett's narrative confidence.
Vinyl: $37.98 Buy
Swedish musician and producer DJ Seinfeld (Armand Jakobsson) rose to prominence in 2016 through the so-called 'lo-fi house' scene, inadvertently helping define its sound. His debut album 'Time Spent Away From U' (2017) received support from Pitchfork, Resident Advisor and Crack Magazine with Rolling Stone describing the album as 'one of the best proper dance-music albums of the year' whilst FACT called it 'a victory lap'. Contemporaries like Aphex Twin (who played his track 'Sakura' in recent live shows), Flying Lotus, Four Tet, Flume, Bonobo, Hot Chip, Benji B, Marcel Dettmann, ODESZA, PatrickTopping are all known fans and supporters of his music. Now having transcended early labels, his long-awaited new album 'Mirrors' is set to be released on Ninja Tune in September.
Booker T. & the MG's - The Complete Stax Singles Vol. 1 (1962-1967) (2-LP, Red Vinyl) - VINYL LP
With apologies to groups like The Meters, Bar-Kays, and Average White Band, when it comes to all-time great instrumental R&B bands, for most folks Booker T. & the MG's represent the gold standard. And with good reason'or, actually reasons! First of all, as the house band of the hallowed Stax label, The MG's pretty much invented the sound of Southern soul, playing on records by everybody from Otis Redding to Wilson Pickett to Carla Thomas. Second, on their own as Booker T & the MG's, they came up with some of the most indelible instrumental jams of all time, including'but by no means limited to!''Green Onions.' And, third, each member of the band was an absolute monster on their instrument, to this day revered and copied by untold numbers of musicians. Indeed, by the time the mid '60s rolled around, bands on both sides of the Atlantic wanted to sound like Booker T. Jones, Steve Cropper, Al Jackson, Jr, and Lewie Steinberg (replaced about halfway through this collection by the great Donald 'Duck' Dunn). And what was that sound? Well, a typical MG's tune started from the bottom-up, resting on the rock-solid drumbeat of Jackson and the in-the-pocket bass work of Steinberg and, later, Dunn, over which keyboardist Jones and guitarist Cropper traded slinky and/or stinging licks. But these cats weren't just riff-happy groove masters; Jones basically codified the classic Hammond organ sound and Cropper's guitar tone remains the Holy Grail of anyone who's ever picked up a Fender Telecaster. Together, they recorded 49 single sides for Stax under the name of Booker T. & the MG's, and you'll find the first 29 (yes, 29!) of 'em right here, released on a single CD or double-LP pressed in red vinyl. As with all of our singles collections, we have very carefully vetted these songs to make sure they are the correct mono single versions, with mastering by Dan Hersch at d2 Mastering, and tape research and sourcing by Mike Johnson and Aaron Kannowski with help from Bill Inglot. Ed Osborne has contributed detailed notes and discographical information, too, and the set's produced by Real Gone's own Gordon Anderson. As for the music, it pretty much speaks for itself: 29 songs, 15 of which reached the charts, including, along with 'Green Onions,' such classics as 'Boot-Leg,' 'Hip Hug-Her,' and 'My Sweet Potato.' Get ready to get into the groove and stay there for a nice, long while!
COMPLETE STAX SINGLES 1 (1962-1967) - BOOKER T & MG'S
Neon Green Vinyl. Slow Pulp's remarkable full-length debut Moveys is a testament to hard-fought personal growth. In the process of making their new record, the Chicago-based indie rock band powered through health challenges, personal upheaval, and a pandemic, all while breaking old habits and learning how to be better songwriters and friends. Full of blistering energy and emotional catharsis, this compelling 10-track collection highlights the band's resourcefulness and resilience to come together even when they were states away.
Slow Pulp's tough adaptability is something that has formed over time thanks to the unbreakable bond of lifelong friendship. Slow Pulp's roots can be traced back to elementary school, with Alexander Leeds (bass), Theodore Mathews (drums), and Henry Stoehr (guitar) performing in bands together since the sixth grade while growing up in Madison, Wisconsin. Emily Massey (vocals/guitar) was later invited to join their new project, Slow Pulp, in 2017. "I can't describe a level of closeness with other people like we have. Having lived together, toured together, worked together, and written together, we learned so much about each other so quickly," says Massey. Slow Pulp first started working on new songs in the Spring of 2019, immediately after the release of their EP, Big Day, but they ended up scrapping the material. "When we started writing this record, I had been experiencing so much fatigue and getting sick a lot and I didn't know what it was. I got diagnosed with Lyme disease and a chronic Mono," says Massey. She adds, "The diagnosis validated a lot of what I was feeling. I got tools for how to take care of myself better." For Massey, taking care of herself meant more than just addressing her physical needs. "The way that I internalize trauma is I will hold it in and not process it for a very long time, but writing songs is the one place where I can't hide from myself. It just comes out whether or not I want it to or if I'm ready for it to. Figuring out how to write together, as a band, was like me learning how to take care of myself and learning how to communicate better." When the band toured with Alex G in the fall, new songs started to take shape. However, in March, as the band was finishing the songs and starting to realize a full-length effort, Massey's parents got in a severe car accident forcing her to pause recording and return home to Madison and take care of them. A week later, the COVID-19 pandemic hit. "I wasn't able to come back to Chicago for a while. How were we going to finish this apart from each other?" thought Massey. With Stoehr leading engineering, mixing, and production duties, the band managed to finish the record in an isolated, post-COVID world. "Thankfully most instrumentals were already written. Alex and Henry and I were all able to do that separately from a studio space that we rent in Chicago. It required a lot of FaceTime which was no substitute for us being in the room together," says Mathews. As Massey's father Michael recovered from his injuries, the two worked on completing her vocal takes from his home studio. On top of engineering all but two vocal tracks, Michael Massey also contributed the instrumental piano track "Whispers (In the Outfield)." After a handful of singles and EPs, Moveys marks a turning point for Slow Pulp, not just as musicians, but as friends and bandmates. It is a marked departure from the ramshackle coziness of their earlier output, with a more thoughtful sound that allows Massey to soar. For example, lead single "Idaho," written on the road during tour-induced disorientation that led Stoehr to confuse their gig at Colorado College for a show in an entirely different state, bursts to life thanks to Stoehr's shimmering guitar theatrics and Massey's powerful and yearning vocal delivery. Here, she sings powerfully of the mental health hurdles that come with accepting love, "I'll keep on holding out for the downside / Before I knew why." Other songs like the shoegaze-y "Channel 2" feature Leeds on lead vocals whereas the understated and delicate highlight "Falling Apart" boasts Alex G collaborator Molly Germer on violin. So much of the album broadcasts their adventurousness, from the funky and cheeky samples on the title track to the gorgeous acoustic strums on opener "New Horse." The driving, two-minute ripper, "At It Again", was written and recorded in self-isolation as the last song to make the record. Massey explains her mindset behind the track: "I was starting to feel like I was getting back to a place where I could be healthy both physically and mentally. Then when everything happened, it was like, 'sike!'" The word "moveys" is multi-faceted for Slow Pulp. It's a made-up word, and a title of the album's bonus track. It is an invitation to dance. It is a wink at the cross-country nature of the album's songwriting process, while the bandmates were literally on the move touring, sheltering in place, and going through major life changes. But, mostly, it's an inside joke. Listening to these warm, dynamic and welcoming songs, it's easy to feel like you're a part of it too.
Vinyl: $30.98 Buy
The Spaceman Reissue Program edition of Ladies & Gentlemen We Are Floating In Space promises to give those recordings the fullest spectrum audio and physical treatment they’ve deserved since the original release. It will be the third in this series of 180g double albums with the lacquer cut from original sources by Alchemy Mastering, presented in a gatefold jacket adorned by reworked art by Mark Farrow, and available in both a standard black vinyl pressing and limited edition Neptune Blue vinyl, as well as CD.
Featuring golden-age superhero DMC (of RUN-DMC) and Hieroglyphics' leader Del The Funky Homosapien, with art by longtime CZARFACE co-creator Lamour Supreme, this album will bring all the thrills of a cosmic summer blockbuster. Recorded and slated for an early 2020 release, and paused while COVID raged, this collaboration of masked men is finally finding its way to you on all formats.
Focusing on their craft, staying out of the fray, and holding fast their faith to find new ways to express the discord and delight of being alive, to turn the duality of existence into hymns we can share, Low present HEY WHAT. These ten pieces—each built around their own instantaneous, undeniable hook—are turbocharged by the vivid textures that surround them. The ineable, familiar harmonies of Alan Sparhawk and Mimi Parker break through the chaos like a life raft. Layers of distorted sound accrete with each new verse - building, breaking, colossal then restrained, a solemn vow only whispered. There will be time to unravel and attribute meaning to the music and art of these times, but the creative moment looks FORWARD, with teeth. HEY WHAT is Low's thirteenth full-length release in twenty-seven years, and their third with producer BJ Burton.
F. Scott Fitzgerald's The Great Gatsby was a work so filled with ambition, yearning, and inner contradictions that it came to represent the condition of a nation itself. Yet, at its core, the slim novel tells a story about people and, more often than not, their inability to communicate and connect In 2018, composer/producer Frank Maston was living in Paris, working on new music when he was introduced to Geneva based band L'Eclair. Blown away by what he heard, there seemed to be a mutual understanding and appreciation for that loungey, groovy world of library and soundtrack music from the seventies. An immediate thought occurred to him - what if he could record with this simpatico group backing him up? The result is the colorful and kinetic album Souvenir.
Riddy Arman opens her debut album from La Honda Records with a song called “Spirits, Angels, Or Lies” inspired by the true story of her father’s passing. In the lyrics, she examines the human tendency to interpret the unknown. The story she weaves details the final moments and visual hallucinations experienced when Johnny Cash visited her father on his deathbed. Long-time fans of Arman will recognize the song from her viral performance video, shot by Western AF in a Montana rail link boxcar, where the world was introduced to her distinct, sultry lope.
Against the bucolic and industrial backdrop of the video, Arman is clearly in her element, clad with ranch worn clothing. It is obvious she lives a lifestyle many romanticize, but few truly understand. However, Arman is more than just a cowboy, singing her lonely songs. The chapters of her life so far make for a story much richer than a common western archetype. Unafraid to take new paths, Arman has traveled across the country — from the farmlands of the Midwest to the bustling streets of New York City — writing songs, working as a ranch hand, and practicing an Agrarian lifestyle. It was during her childhood, full of folk and country music, in rural Ohio that she was first drawn to the guitar. Her deep dive into songwriting didn’t happen until her early 20s when she moved to central Virginia to resume her interest in horsemanship and agriculture on a friend’s small farm.
It was there, knee-deep in barn chores, that she found inspiration in female songwriting icons. The quiet isolation led to inspiration and a tangible way to heal through story. “Singing is my meditation, and I learned that in the imagery of Virginia,” Arman says of her growth during that time of her life. “It sets the stage for healing.”
With the encouragement of friend and fellow musician Kiki Cavazos, Arman began to feel more comfortable with a guitar in her hand. They often played together when passing through, and Arman credits Cavazos as her main inspiration. After Virginia, she headed west, taking a job at a farm in California where she spent four years working the land and learning livestock agriculture. In the sunburnt hills of ranch country, Arman fell in love, fell out of love, and found the beginning of her new record. Looking for a change of scenery, she found herself in Fayetteville, Arkansas, where many of the songs that would make up her self-titled debut record first came to life.
In the midst of this intensely creative period, Arman’s close friend overdosed. She headed to New Orleans in the wake of this loss and surrounded herself with the support and inspiration of several of her oldest and dearest friends. While in the Crescent City, Arman often joined her friend Nick Shoulders, playing shows around the Lower 9th Ward and downtown New Orleans. These stints on the stage served to bolster her confidence to perform and became just the catalyst Arman needed to keep going.
As fate would have it, Arman was invited to ranch sit in Montana, where she was contacted by content creators at Western AF at the behest of several New Orleans musicians. Not too long after the unexpected success of her Western AF session, Arman began an intensive six-day recording session at Mississippi Studios in Portland, Oregon. Hopeful, and longing to capture the essence of deeply personal stories from her life, she teamed up with producer Bronson Tew (Dom Flemons, Seratones, Jimbo Mathus) of Dialback Sound and tracked nine songs.
“Recording these songs brought me back to the times that inspired them, but instead of reliving the pain, the studio magic empowered me to overcome it,” Arman says of her experience.
The first song she wrote for the record, “Half a Heart Keychain,” started off as a slow and somber breakup tune. With the help of Tew, the track morphed into a triumphant and transformative anthem for women. Moving forward from some of life’s most painful moments is in many ways the thread that ties each song together. Songwriting became part of Arman’s dialog with life, translating the experiences in not only lyrics, but also performance.
“Most people would try to find a therapist, but at the time that wasn't something that I had access to, so I just started playing music because it was cathartic,” she explains. “It’s very, very meditative for me.”
While tracks like “Half a Heart Keychain” and “Too Late to Write a Love Song” allowed Arman to heal, her debut LP is far from just a breakup album. Her songs are rooted in the poetic imagery of country life, from the beauty of its simplicity to the isolation and loneliness that can often overtake its inhabitants.
“Old Maid’s Draw” is a song about the landscape where Arman has worked, an area mythologized by locals with the tale of a woman who lived alone in the early settling days of Montana. “Problems Of My Own” is rooted in classic country songwriting, exploring the darkness that can lurk within family life. With simple references to classic scenes, such as bacon frying in cast iron pans, the song explores the urge to escape.
Arman’s take on Kris Kristofferson’s beloved classic “Help Me Make It Through The Night” fits perfectly alongside her originals, with her aching vocals at center stage. “Barbed Wire” was written during her time working as a ranch hand and wisely recalls the seclusion and longing that can come while living on the range.
“A lot of folks distract themselves with work. It is a common trait of cowboys and ranchers alike,” Arman says. “In the song ‘Barbed Wire’ the cowboy understands who he is, but not how he relates to other people, so it is easier to be alone.”
Arman herself has chosen to take a different path, embracing isolation and interpreting her life through the rural landscape that adorns her lyrics. With fierce honesty and a voice that immediately commands attention, on her debut record, Riddy Arman has proven herself as much more than a cowboy.
Over the last four decades, Bela Fleck has made a point of boldly going where no banjo player has gone before, a musical journey that has earned him 15 Grammys in nine different fields, including Country, Pop, Jazz, Instrumental, Classical and World Music. But his roots are in bluegrass, and that's where he returns with his first bluegrass tour in 24 years, My Bluegrass Heart. My Bluegrass Heart is the third chapter of a trilogy which began with the 1988 album, Drive, and continued in 1991 with The Bluegrass Sessions. The project features a who's who of some of the greatest instrumentalists in bluegrass music's history alongside some of the best of the new generation of players mandolinists Sam Bush, Sierra Hull, and Chris Thile; fiddlers Michael Cleveland and Stuart Duncan; celebrated multi-instrumentalist Justin Moses, bassists Edgar Meyer and Mark Schatz, and the amazing Bryan Sutton and Molly Tuttle on guitar.
On her new album Faster, Samantha Fish joins forces with superproducer Martin Kierszenbaum (Lady Gaga, Sting) and imbues even more intensity into her electrifying brand of blues/rock-and-roll. With Fish accompanied by legendary drummer Josh Freese (Guns N’ Roses, Nine Inch Nails, The Replacements), bassist Diego Navaira of The Last Bandoleros, and Hannah Brier on backing vocals, the result is a singular body of work both irresistibly galvanizing and emotionally raw.