Old Crow Medicine Show - Miles Away (Feat. Willie Watson).
Old Crow Medicine Show announces the August 25 release of their new album Jubilee via ATO Records. Arriving as the two-time GRAMMY award-winning band gears up to celebrate their 25th anniversary, Jubilee finds the group once again co-producing with Matt Ross-Spang (Drive-By Truckers, St. Paul & the Broken Bones) and recording at their own Hartland Studios.
The album features appearances from legendary soul singer Mavis Staples and singer/songwriter Sierra Ferrell. Along with the announcement, the band shares the debut single “Miles Away,” a sweetly reflective track co-written by bandleader Ketch Secor and bluegrass virtuoso Molly Tuttle, with guest vocals from Old Crow Medicine Show co-founder Willie Watson.
About the debut single, Ketch Secor explains: “This is one of those rearview songs where objects in the mirror are closer than they appear. 25 years of making music on the road means you’re always coming back to the same places as a different person; there’s a reminder of your past self and the choices you made back when. Molly Tuttle and I wrote this one together and when it was through, I asked my Old Crow co-founder Willie Watson to make his first appearance on an Old Crow record in years. After all, this is a song about amends, of bygones being bygones, and of renewal.”
“Miles Away” marks the first time Willie Watson has recorded with Old Crow Medicine Show in over 10 years. He will hit the road with the band this fall, performing as an opening act in addition to joining them on stage.
While songs like “Miles Away” embody a bittersweet gravity, much of Jubilee harnesses the unruly exuberance that Old Crow Medicine Show unfailingly channels into their live show. The new album finds the band doubling down on their commitment to creating roots music that bears an undeniable urgency, encompassing everything from jug-band tunes to Irish folk songs to exultant gospel jams. The result is a wildly expansive body of work showcasing the dazzling musicality and poetic yet powerfully trenchant storytelling that has made Old Crow Medicine Show one of the most potent and influential forces in American roots music for more than two decades.
End of the World is the newest single from Canada’s West Coast Roots Reggae veterans, the Phonosonics. Historically focusing on Rocksteady and Early Reggae, the band began internalizing a more 80’s-inspired sound when they were tapped to backup Sister Nancy in 2019 and subsequently Yellowman in 2020 (sadly cancelled due to COVID 19). Rehearsing these sets allowed the band to branch out into a new vibe, and one inspired by the events of our time.
This new track is a darker one, but still with a positive and conscious message: “the sickness divides us, together the cure, no on should be alone at the end of the world.” With an infectious hypnotic rhythm, spacey dubbed-out harmonies and blazing horn lines, it is sure to please on the radio and in the dancehall.
The world has become divided, but we can still come together united. As the lyrics say “there’s no storm we can’t weather if we come together as one.” Hoping all of our beloved fans and DJ friends can come together and enjoy this new one from the Phonosonics.
California-based indie/rock trio Heavy Gus have shared their new single “Still to Be” along with the accompanying music video. The latest track to be released from their debut album Notions (out August 5th via BMG Records), the infectious song finds beauty everywhere it looks. The band stated, “‘Still to Be’ is about the roller coaster of falling in love and staying there. It’s an apocalyptic ode to dying hand in hand presented as a summertime love song.”
“Still to Be” follows the release of the high energy single “Weird Sad Symbol,” that Under The Radar called “genuine live-wire indie rock sound.” The long-distance-love-song “Dinner For Breakfast” is also out now along with the group’s psychedelic-tinged debut track “Do We Have To Talk?”
Formed in the high desert town of Bishop, CA, Heavy Gus is led by singer, songwriter, guitarist Dorota Szuta along with multi-instrumentalist Stelth Ulvang of The Lumineers and percussionist Ryan Dobrowski of Blind Pilot. The band took shape during the pandemic when couple Uvlang and Szuta (a marine scientist who also has a background in music playing with Laura Gibson and Gill Landry) took a socially distanced road trip to Nashville — picking up Dobrowski in Colorado along the way — to record at The Creative Workshop. The resulting collection of songs blur the lines between grungy garage band fare, hazy desert surf, and dreamy, sun-soaked indie rock.
Their debut offering calls to mind everything from Meat Puppets and The Breeders to Yo La Tengo and Acetone in its artful balance of hope and fatalism, loneliness and desire, strength and vulnerability. While all three bandmates came to Heavy Gus from very different worlds, they fit together like puzzle pieces, bound by the kind of love and trust that can only grow from years of deep kinship. Notions was engineered and mixed by Parker Cason (Margo Price, All Them Witches, Coin) and mastered by Pete Lyman (Chris Stapleton, Jason Isbell, Brandi Carlile).
Raven Shelley tells us about herself and her beautiful new song - "I am a singer-songwriter based in Manchester. I write ethereal and poetic alt//indie-folk songs, inspired by a love of literature, poetry and visual mediums. I have a very broad range of influences, from Bob Dylan to Ani DiFranco, and Schiele to Nicolas Roeg.
I grew up in a rural part of the south of France, and educated myself in English Literature from a young age by raiding my parents’ bookshelves. Reading in English became my own private world, and I went on to study it at The University of Manchester. This is what impacted my desire to create lyrics that can also be described as poetry.
I try to be honest in the music that I write; I hope that all the hurt, all the anger, all the love, everything that runs through me can be found somewhere in my songs.
My first single, ‘Sink in Solitude’ will be released with The Animal Farm on the 24th June. It is heavily influenced by lines from Shakespeare and Shelley, and is about time passing by without achievement."
Acclaimed singer/songwriter Josh Rouse shares the summer-ready new single “She’s In L.A.,” from his upcoming album Going Places, out July 29 via Yep Roc Records. Featuring a laid-back groove, the song is accompanied by a camcorder-style music video inspired by Townes Van Zandt. Rouse recently spoke with Magnet Magazine, who called the album “feel-good strumming, off-the-cuff hooks and a mildly exotic groove that should translate perfectly to the live setting.”
"In June of 1993, I dropped out of college, planning on a move to Los Angeles,” explains Rouse. “The idea was to move there and start a band with a few friends, things you do when you're in your early 20's. I went to South Dakota for a few months to save up some money while living with my family. In late July, my bandmates decided not to go to L.A. I moved to Tempe, AZ, interning in a recording studio on an impulsive whim. While it proved to be a fruitful adventure (I also bussed tables at a Scottsdale resort), I moved back to Tennessee and re-enrolled in college six months later. I often wonder what would have happened had I gone to L.A."
Going Places came together over the last two years when Josh Rouse found himself unable to tour and hunkered down with his family in Spain. Together with his Spanish band, he began workshopping new songs in a small local venue owned by a friend, resulting in ten road-ready tracks with a looser, more relaxed vibe than his previous work. Where 2018’s Love in the Modern Age saw him take a left turn to keyboard-based retro-new wave territory, Going Places is steeped in classic guitar melodies, with touches of organ and horns, layers of backing vocals and a distinctive southern twang. Rouse has shared two previous singles, including the guitar-driven “Hollow Moon” and the 1970’s-inspired “Stick Around,” which BrooklynVegan called “a song that's warm, welcoming, unpretentious, and serves as a promising taste of the new LP.”
Two-time GRAMMY award-winning band Old Crow Medicine Show has shared the music video for “Used To Be A Mountain” off their critically acclaimed new album Paint This Town (ATO Records). A galvanizing meditation on environmental catastrophe, the video shines a light on the impact of mining in the Appalachian region.
Along with the video, the band has announced their partnership with Cumberland River Compact, a non-profit organization dedicated to enhancing water resources through education and cooperation. The partnership serves to bring awareness to the effects of climate change, connecting fans with ways to get involved in the local climate movement through local action. Cumberland River Compact will be present to share more information at the band’s upcoming June 25 performance at The Caverns Amphitheater in Grundy County, TN.
"I’ve been playing Appalachian music in Appalachia since I was a kid. West Virginia, Kentucky, Southwest Virginia, and East Tennessee are the places I love to play most. When you saw a fiddle in these settings it always feels like a homecoming. But time has dealt a hard hand to the region that gave birth to country music, and 'Used To Be a Mountain' is a song that wrestles with the issues facing Appalachia today,” explains Ketch Secor.
"I think that the Intrepid spirit of the mountaineers of the coal fields of the Southern Highlands and Appalachia are some of the hardest and most important for bearers of the American dream. I think that when you take away the natural beauty and destroy the ecology of places, you don't have a whole lot left to rebuild with. I know there's a lot of folks that are hurting right now in the communities of the coal fields. This song is there to both reflect that hurt and to ask the question, can we do something better for these folks? Can we do something better for these mountains, these hills, the flora and fauna, for anybody who wants to breathe clean air and drink clean water in Appalachia?"
Black Dog’ is final single from Glasgow trio Jill Lorean’s upcoming debut album This Rock, and sees the band carrying a danceable freak folk energy, which adds to the timeless diversity of their singles to date. An odyssey of sorts, ‘Black Dog’ lures you in with a trance-like violin loop that remains a constant throughout, before crusading through pulsing drumbeats, haunted, gothic guitar lines and playful disco-esque basslines, alongside Jill O’Sullivan’s ethereal vocal delivery, which claws your attention in on the hood laden repetitive chorus line “how can I laugh and how can I cry”.
Jill Lorean as a living breathing thing, featuring Jill O’Sullivan (Sparrow And The Workshop, Three Queens in Mourning, Bdy_Prts) in collaboration with Andy Monaghan (Frightened Rabbit) and drummer Peter Kelly (The Kills, Ladytron), the band is a unique beast inhabiting its own world, incorporating elements of many genres from folk and lo-fi to post-punk and underground rock.
“Black Dog’ is like being on a consciousness-bending, self-seeking quest. It’s a lucid dream-like adventure where a godlike figure attempts to grant all of a persons wishes by carving them all kinds of exciting things out of the clouds. But a sad dog keeps appearing so the deity swallows the sky not understanding that the person wanted to confront the whole spectrum of their emotions, including the sad dog chasing them around.”
“I worked with Pete (Kelly) on this dance project and he would do these fills and I just wanted to dance suddenly. And I like that he did that over the ‘Black Dog’, there is this slight freak folky vibe going on. And it could go down a Fairport Convention, sort of route, but it doesn't. He brings it into this transient style. And I love it. It was not what I was expecting. I like the unexpected. I like to feel surprised, I want people listening to it to feel alive and awake.”
With her 2020 album Big Hair Small City, Shaela Miller proved yet again to have her hand on the pulse of “honky tonk noir.” With central themes rooted in the deep intricacies of heartache, loss, healing, and inner growth, Miller took the listener on a journey with her witty turns of phrase, strong finger pickin' and no-nonsense lyrics.
The native of Lethbridge, Alberta is now giving her fans an added bonus with the new, standalone single “Tidal Wave,” which was recorded during the sessions for Big Hair Small City with producer Scott Franchuk at Riverdale Recorders in Edmonton. Given the meaning behind the song, Miller has chosen to release "Tidal Wave" now to mark International Women's Day 2022.
As Shaela explains, "'Tidal Wave' is an in-depth confession of realizations and struggles of the heart and how a woman can feel, inside and outside of love, like they are drowning in the staggering, multi-dimensional duties of life. It's about how the expected and demanding responsibilities women face in life through the roles of motherhood and romantic partnerships, can leave us feeling completely void of fire, passion and inspiration, yet the expectations remain and we just have to power through it all."
The Hamilton, Ontario-based trio, Ellevator have shared their new single, "Sacred Heart" – it's another thrilling installment lifted from their forthcoming debut album, The Words You Spoke Still Move Me which comes produced by ex-Death Cab for Cutie guitarist, Chris Walla (production for Pinegrove, Foxing, Tegan & Sara, etc) and is out via Arts & Crafts on May 6. The new single arrives following earlier tips from NPR, The Needle Drop, Exclaim, FLOOD, The Line of Best Fit, Under the Radar, CBC and more. The band will support the release of the new record with North American dates, including a stop at SXSW later this month.
Ellevator poses a fantastic ability to sculpt these mammoth, melodramatic post-rock and indie-rock soundscapes, somewhat inspired by the late-aughts sounds of Spoon, Metric, Interpol and Arcade Fire, as well as the stadium-ready sounds of U2, Kate Bush and Bruce Springsteen. The new single, "Sacred Heart" explores ideas surrounding young love, commitment and intimacy while blending racing guitar lines – somewhat reminiscent of Springsteen – with driving percussion and piano.
Speaking about the new single, which comes with a live visual directed by Cam Veitch, singer Nabi Sue Bersche says: "This one’s a love song about how intimacy and deep knowing can make it feel like there’s nothing left to discover, and choosing to push on anyway in search of new depths. Ty (guitar) and I got married on a cold spring morning when I was 22 and he was 19. There wasn’t much chance to sell each other on our own myths, to be the mysterious stranger from outta town: we wrote our origin story together. Learning to love each other better has been a strange journey and the great gift of my life."
When discussing the video, Nabi continues: "We shot, edited, and delivered the whole thing in less than 24 hrs. We’ve made a bunch of videos that I’m proud of but this one touches something special: we wanted to show what it feels like to play live as Ellevator, in all its sublime chaos, and I think we captured the lightning."
GRAMMY award-winning band Old Crow Medicine Show releases “Honey Chile,” the latest single from their new album Paint This Town out April 22 via ATO Records. Showcasing soaring harmonies and swooning fiddle melodies, the melancholy love song is accompanied by a live performance video featured this morning at Garden & Gun, who said “Musically, the song is something of a salvo for the whole of Paint This Town, rising out of the gates with a bold swell before settling into a traditional Americana-tinged groove.” Along with the new single, the band has announced a coast to coast spring/summer tour kicking off in April that will make stops in Philadelphia, New York, Portland, Seattle and many more.
Bandleader Ketch Secor explains the new single: “When you mine the musical traditions of the South as we have you’re always going to run head on into the region’s most successful export: Southern Rock, and my favorite performers of this style are the Charlie Daniels Band, who Old Crow was lucky enough to open for back in the early 2000’s. We’ll miss Charlie around these parts, but he lives on in songs like ‘Honey Chile,’ a backwoods slow burn about good lovin' and other hard habits to break.”
Paint This Town showcases Old Crow Medicine Show’s long-standing ability to merge profound introspection with a rapturous string band revival sound. The album shines a light on the darker aspects of the American experience, with character-driven songs underpinned by the band’s vision for a more harmonious future. The debut single “Paint This Town” has maintained the #1 slot on the Americana Singles Radio Chart for three weeks in a row, garnering praise from press including Billboard, Rolling Stone, SPIN and more. The band’s latest single “Bombs Away” (feat. Molly Tuttle on banjo) was recently hailed by Consequence, who said it’s “brimming with the euphoria of new beginnings, a tongue-in-cheek tale of throwing caution to the wind and starting over.”
Old Crow Medicine Show have just released “Bombs Away,” the latest single from the GRAMMY award-winning band’s seventh studio album Paint This Town (out April 22 via ATO Records). Featuring Molly Tuttle on banjo, the band’s devil-may-care twist on a classic divorce song is accompanied by a live performance video.
"I realized something about my song ‘Bombs Away’ when my new girlfriend played the Kacey Musgraves’ album Star-Crossed on a recent road trip; I realized that ‘Bombs Away’ is a song about divorce,” explains Ketch Secor. “Bobby Braddock wrote what I believe to be the genre’s epitome when he spelled it D-I-V-O-R-C-E, but my song about life's detour through Splitsville is far more breakneck, full of fiery fiddling, lyrics more spat than intoned, focusing upon that final phase of the Big D.”
He continues, “‘Bombs Away’ is a song about acceptance. And not of the keel over and die variety, instead it’s a whole-hearted without-a-net leap, a jump-from-the-airplane kind of acceptance, one in which the singer obliges his fate and decides that ‘If I can’t learn to fly let me fall.’ We all crash. We all burn. And if you can accept that, then you might just get through it, hobble home from the impact site, and start living again. Because the only trail down the mountain spelled D-I-V-O-R-C-E is the one spelled S-U-R-V-I-V-E, and since that’s the path to take, you might as well start now, pierce the air, take the plunge, commence falling. What are you waiting for? Bombs away.”
Paint This Town showcases Old Crow Medicine Show’s ability to merge profound introspection with a rapturous string band revival sound, shining a light on the darker aspects of the American experience with character-driven songs underpinned by visions for a more harmonious future. The album unlocks a new level of creative freedom for the band, who took a far more insular approach than on previous releases as they recorded in their own Hartland Studio and co-produced it with Matt Ross-Spang (John Prine, Jason Isbell). The process revived the band’s spirit of pure abandon and marks a return to the deliberate unpredictability of their earliest busking days.
Gifted with the kind of superpowers that have blessed Alison Goldfrapp with her unwavering glam-pop allure and Stevie Nicks with that invincible soul, Fe Salomon’s strident first offering proves she’s cut from the same cloth and ready to be your newest musical hero.
With pop prowess firmly in check, “Super Human” sees Salomon backed by simmering ‘Big Band’-esque arrangements courtesy of her faithful co-writing sidekick: Johnny Parry. An esteemed classical arranger in his own right, Parry conjures all of the drama and intrigue of a Vaughan-Williams composition, accompanying Salomon’s earthy vocal with shadowy orchestral overtones.
Speaking about the inspiration behind “Super Human” and its origins, Salomon says: ““Super Human” is a song exploring the alter ego. It originated with dancing around with some upper body shimmy moves. Then a chunky brass section, dirty synth and disjunctive rhythms, all inspired by a number 70’s and 80’s movie soundtracks.”
Chiming with the single’s cinematic qualities, “Super Human” is accompanied with an expertly choreographed, kaleidoscopic video by Director/Videographer Fraser Taylor and starring Salomon. Fe Salomon is a singer-songwriter, performer and producer, currently based in the East Midlands. Born in Northampton, Salomon moved to London where she cut her teeth on the bustling stages of the Camden music scene. Developing her act in the capital for over 13 years, it was there that Salomon honed her idiosyncratic sonic stylings from its melting pot of influences and began to percolate ideas for a solo career.
Today, the young bedroom pop superstar Lisa Heller is thrilled to share her new single, “cheetos n coke.” The first music to be released since last year’s massively successful is anyone listening? EP is a beautifully vulnerable performance, replete with sweet-as-sugar melodies and Heller’s endearing and inviting vocals.
Speaking on the origins of the song, Heller writes: “I wrote “cheetos n coke” with my frequent collaborator Meghan Williams. We wrote the song when I mentioned I wanted to write a song about my previous struggles with an eating disorder and the common struggle amongst a lot of people, especially young women, with body image and body neutrality.”
Heller continues, “I recorded the song in my bedroom in LA, which felt symbolic because I have actually looked in the mirror in that very room and dealt with some negative body image. I worked with my producer, Will McCoy, to make sure the production remained just as vulnerable as how I felt when writing the song. I think that “cheetos n coke” touches on important aspects of mental health. Although not everyone will have a mental illness in their life, everyone has their mental health to tend to. Body image is something that I have had my struggles with and at times really took over my happiness and my life. I wanted to open the conversation by openly sharing those struggles for the first time through a song, because maybe it will help someone feel a little bit less alone.”
Raw, authentic, and honest describe the alternative pop music of Lisa Heller. Lisa found her voice at the age of 13 when music became the creative outlet for her anxiety. As her local following grew, Lisa saw that her music not only helped her, but that its message could help others. Through the release of her music, including her latest EP, “is anyone listening?” Lisa has gathered millions of views and streams, been placed on official Spotify and Apple playlists, and performed with artists such as Bryce Vine, American Authors, Party Nails, Weathers, Jesse McCartney, Kenzo Cregan and Bea Miller. 2022 will bring more touring, more music, and more fans. Lisa Heller and her music and just getting started.
Nurdjana is a Canadian vocalist who was born and raised in the Netherlands. She’s been immersed in music ever since as a little girl she tagged along with her dad Rob de Rijcke.
He was a singer/songwriter and guitarist and when Nurdjana started singing it was only natural to start making music together.
Rob was a composer of dreamy songs full of love and sadness. Nurdjana and her dad won songwriter competitions, recorded music and played lots of gigs together. He was a modest man and modesty doesn’t bring fortune and fame. But that was not what he was after. He was only after poetry and that was what he found.
Nurdjana is a true advocate of her father’s music and after taking a break from singing when he passed away, she is back full force; determined to put her dad’s music back in the spotlight. Her sound has been described as delicate, yet soulful and jazzy.
Her first EP ‘Coming Home’ will be released May 10th. All songs are written either by Rob or by the duo of father and daughter, some completed by Nurdjana after he passed away.
