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Billie Eilishs third studio album, "HIT ME HARD AND SOFT", released via Darkroom/Interscope Records is her most daring body of work to date, a diverse yet cohesive collection of songs ideally listened to in its entirety from beginning to enddoes exactly as the album title suggests; hits you hard and soft both lyrically and sonically, while bending genres and defying trends along the way. With the help of her brother and sole collaborator, FINNEAS, the pair wrote, recorded, and produced the album together in their hometown of Los Angeles. This album comes on the heels of her two massively successful albums WHEN WE ALL FALL ASLEEP WHERE DO WE GO?" and "Happier Than Ever" and works to further develop the world of Billie Eilish.
The Moon Is In The Wrong Place is an upbeat, yet poignant narrative on grief and resilience from Shannon & The Clams. Woven from the threads of devastating loss and communal ties in the aftermath of profound loss the sudden passing of Shannon's fiance just months before their wedding this record unfolds as the Clams' most introspective to date. With Dan Auerbach's production, the album delves deep into themes of heartache and healing, and showcases the band's trademark wry psychedelia, energetic nostalgia, and flourishes of retro beauty. It's a tribute to the power of art and community to triumph over tragedy, and a milestone in Shannon & The Clams' venerable oeuvre.
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St. Vincents first self-produced record, All Born Screaming is Annie Clark at her most unfiltered. All Born Screaming is an invitation to test the limits of what is possibleand to then keep going; Brought to life with the aid of a highly curated dream lineup of friends Rachel Eckroth, Josh Freese, Dave Grohl, Mark Guiliana, Cate Le Bon, Justin Meldal-Johnsen, Stella Mogzawa and David Ralicke the album is an unadulterated expression of St. Vincents singular vision.
Gary Clark Jr.s forthcoming album entitled JPEG RAW, his fourth studio release,
marks a grand step in his musical evolution. A powerful and expansive artistic statement.
While retaining the deep and true resonance of his blues foundations and guitar virtuosity with subtlety yet conviction, he reaches well beyond this time.
The emphasis here is on song and studio craft without losing the rawness of his young legend. (Rolling Stone Magazine called him, The Chosen One).
The music is dense and adventurous with a more cohesive synthesis of his eclectic musical palette. Hip samples, Thelonious Monk and Sonny Boy Williamson decorate flourishes of African, World Music, even Jazz while merging with blues , rock, R&B and rap; familiar areas he has ventured before, this time with more unity forging a fresh new style. Clarks lyrics are pointed, deeply personal, outspoken and socially conscious with occasional forays into rap and spoken word from Clark himself. The sonics are immersive verging on modern groove-oriented psychedelia with hip-hop driven beats in verses giving way to anthemic choruses, rich with power-chording and wide fuzz riffage.
Songs like Maktub, JPEG RAW, This Is Who We Are, Hyperwave and the epic 10-minute Habits, break fresh ground defying categorization in the ever corporatized, predictable alt music world. The co-written Stevie Wonder duet, What About The Children feels like an immediate classic that could have lived on Innervisions or Talking Book if not for Clarks fuzzed out riff and hip-hop pocket.
Clark has always had swagger and sex in his sound and very dangerous hands when wielding 6 strings. JPEG RAW is all of that and breaks new ground that is both thrilling and inspiring on every level.
One of the hardest working singer-songwriters in the game is named Katie Crutchfield. She was born in Alabama, grew up near Waxahatchee Creek. Skipped town and struck out on her own as Waxahatchee. That was over a decade ago. Crutchfield says she never knew the road would lead her here, but after six critically acclaimed albums, she's never felt more confident in herself as an artist. While her sound has evolved from lo-fi folk to lush alt-tinged country, her voice has always remained the same. Honest and close, poetic with Southern lilting. Much like Carson McCullers's Mick Kelly, determined in her desires and convictions, ready to tell whoever will listen.
And after years of being sober and stable in Kansas City - after years of sacrificing herself to her work and the road - Crutchfield has arrived at her most potent songwriting yet. On her new album, Tigers Blood, Crutchfield emerges as a powerhouse - an ethnologist of the self - forever dedicated to revisiting her wins and losses. But now she's arriving at revelations and she ain't holding them back. Produced by Brad Cook, the album features MJ Lenderman, Phil Cook, and Spencer Tweedy.
Metamodern Sounds in Country Music is the second studio album by American country music singer-songwriter Sturgill Simpson. The album was produced and engineered by Dave Cobb and was released on May 13, 2014, through High Top Mountain/Thirty Tigers.
'Metamodern Sounds in Country Music' 10 Year Anniversary Edition, to be released May 10, 2024, features fully reimagined album artwork for the CD and vinyl release. The limited edition vinyl variant is packaged in an "old-style" tip-on gatefold jacket and pressed on 180g black vinyl.
With $10 Cowboy, Charley Crockett didnt set out to make a themed record. He had released a concept album in 2022, the critically acclaimed Man From Waco, propelling Crockett to new heights and establishing him as one of the leaders of a sparkling revival of traditional country and folk music.
For the follow up album, Crockett wrote freely, over a two-month period, as he wound his way across the United States on the back of a tour bus. The resulting songsraw, personal, vivid portraits of a country in transitionended up being connected after all.
This material is written at truck stops, its written at casinos, its written in the alleys behind the venues, its written in my truck parked up on South Congress in Austin, explains Crockett. A ramblin man like me, a genuine transient, is in a pretty damn good position to have something to say about America.
As the album unfolds, you begin to understand that a $10 Cowboy is anyone who has hustled to get by, who didnt fit in, who has slept on other peoples couches, or the street, who has fallen down, gotten up, and ventured from home chasing a paying gig, or a new start.
Being out on the road gives you a first-hand experience of how different kinds of Americans see themselves as going through some kind of great struggle, Crockett says.The roughneck working the oil and natural gas fields in West Texas. The single mother raising kids by herself. Theyoung man working a street corner because he thinks it's his only option.I would be dishonest if I said I couldnt see the thread. Each of em feel invisible. I am struck by the battles they are fighting internally, and the ways they have been entrapped by what America says they are.
The album was recorded at Arlyn Studios in Austin, produced by Crockett and his long-time collaborator Billy Horton. It was recorded live to tape, with anywhere from 6-12 musicians and backup singers on each track, giving the songs the feel of a live performance. Its a sound Crockett has been after for years. Reason I cut it on tape is because when you got the right people in the room, and the great players rise to the occasion when that red light is on and the tape is rolling, you get the magic of a great performance.
It's exactly what he achieved with $10 Cowboy. Regular bandmates Fox, Nathan Fleming, and Mayo Valdez are joined by some of the genres most talented playersRich Brotherton, Kevin Smith, Dave LeRoy Biller, T. Jarrod Bonta and others, including a string quartet. Lauren Cervantes and Angela Miller sing on the album. While the musicianship and accompaniment are exquisite, they are also subtle, placed joyously, yet judiciously across the album.
No, Crockett didnt set out to write a themed record. Or, through his studied eye, to find America. But with $10 Cowboy, he might have done both.
In their decade-plus together, the four-pieceJulia Shapiro (guitar, vocals), Lydia Lund (guitar, vocals), Gretchen Grimm (drums, vocals), and Annie Truscott (bass, vocals)have created a resonant body of work. Live Laugh Love is a natural continuation. Against the bizarre backdrop of the past few years, Chastity Belt remained a supportive space for the members to grow and experiment, drawing on the ingredients most essential to their process since the beginning: authenticity and levity. Recorded over three sessions in as many years (January 2020, November 2021 and 2022), the focus became more about enjoying their time together in the studio than making it feel like work. Their ease and familiarity with engineer Samur Khouja in LA, who also recorded their last album, made for a particularly enjoyable process. Once completed, they returned to renowned engineer Heba Kadry who mastered the album.
Album opener Hollow sets the tone with a gently driving rhythm while guitar layers stream like sun rays through an open car window. A warmth radiates through Shapiros voice, even while grappling with feeling lost and stuck. The older I get, Shapiro says of the lyrics, the more I realize that I might just always feel this way, and its more about sitting with the feeling and accepting it, rather than trying to fight it. That wisdom seems to anchor Live Laugh Love. Chastity Belt has never shied from navigating the spectrum of difficult emotions, and an existential thread weaves throughout the subject matter. And yet the songs feel more grounded than ever; theres a sense of quiet confidence and self-assurance that comes with being less numb and more present. Facing discomfort takes more fortitude, after all.
Live Laugh Love finds the members in their prime as musicians. Their parts trace intricate patterns over one another, but theres room to breathe between the layers. Everyone contributes to the writing, sometimes switching instruments, and for the first time, all four members sing a song. Its never been more apparent that they are creative siblings, cut from the same belt. Weve been playing music with each other for over a decade, says Shapiro, so it really does feel like were all fluent in the same language, and a lot of it just happens naturally.
Laugh seeks in the balm of friendship, aware of the anticipatory nostalgia that hits during a good time that youre already missing before its gone; the heavier guitar tones on Chemtrails streak ominous chord progressions over Grimms precision timekeeping, lamenting memories that wont fade easily. During a transitional time, Truscott came across a note in their phone that read, it's not hard all day, just sometimes, which inspired a poignant line in the chorus of Kool-Aid, their first song as lead vocalist on a Chastity Belt recording. Another standout, I-90 Bridge shines with a silvery melody that soars as Lund belts one of the most resounding moments on the album: Tell your girlfriend shes got nothing to fear/Im set in my head/My bodys a different story. The track Blue saunters nonchalantly with a wink; you can almost hear Shapiros smile as she sings Faking it big time/So I can hit my stride/Man, it feels good to be alive, channeling early Chastity Belt channeling early 90s before channeling the late Elliott Smith in a spiral of distortion and insight: Dont get upset about it/Its gonna pass/Tell all your friends about it/Theyre gonna laugh.
We have such a strong sense of each others musical inclinations says Lund. I think this allows for a lot of playfulnesswe can kinda surprise each other, like a good punchline would.