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07.04.2020 news

Other Lives Release New Single “We Wait” & Share Its Tragic Backstory

OTHER LIVES

 

Release Devastating New Single “We Wait” & Share Its Tragic Backstory

 

New Album For Their Love Out April 24

 

 

 

“A band without limits.” – The Guardian

 

“A lush, intricate sound… charismatic and emotional.” – New York Times

 

“Majestic, pastoral folk-rock.” – KCRW

 

“Full of layers and rich atmosphere, a beautiful partnership between folk and classical music.” – MTV

 

“Dynamic and expansive.” – Consequence of Sound

 

 

Today Other Lives release their new single “We Wait,” the latest preview of their forthcoming new album For Their Love, due out April 24. It is also the most intimate song frontman Jesse Tabish has ever written. An homage to a tragically lost close friend, “We Wait” finds Tabish confronting one of the darkest corners of his past for the first time. Tabish shared the track’s devastating backstory and how it shaped his musical career in a statement:

 

When I was 15, I formed the All American Rejects. This was my high school band. Always there in our everyday life were Tommy and Jennifer, a member’s older sister and brother-in-law. Tommy was the older brother I never had. Kind and wise, he was my mentor and family to me. 

 

Tommy was shot and killed at the age of 25, on the morning of 30th November. Jennifer, his wife, had hired his murderer.

 

This event completely devastated and shattered my reality. I quit the Rejects and was very lost. I soon found the piano and started moving towards a deeper place inside, artistically, which has shaped me to this day. For many years, I had avoided this trauma and couldn’t touch the subject. I pushed it out, only for it to haunt me more recently. 

 

Writing this song is the way for me to heal and remember my old pal, Tommy. 

 

For Their Love is due out April 24 and is available for pre-order HERE.

 

Don’t miss the previously released videos for “Lost Day” and “Hey Hey I,” both filmed in the A-frame home studio in the Oregon mountains where the band recorded the album. American Songwriter calls “Hey Hey I” “a great remedy for the quarantine blues… A song about hard times, but expressed in a joyous and communal spirit.”

02.04.2020 news

King Gizzard Announce “Chunky Shrapnel” Album & Feature Length Film

King Gizzard & The Lizard Wizard are excited to announce that their new double-LP live album CHUNKY SHRAPNEL will be released digitally on April 24th and available in US record stores on May 29th!

 

Pre-orders will be available in ATO’s online store at 6pm EST on April 9th, check back and don’t miss out on our “Vomit Bomb” edition! 🤮 💣

 

 

This double-LP live album features 13 live performances hand-picked from the band’s 2019 European tour and includes a musical score written by Stu Mackenzie that adds a ‘magical touch of alien melancholy’ throughout the record. Chunky Shrapnel is an adrenaline fueled psychedelic trip that captures the energy of a live concert while also creating something tailored and unique to King Gizzard.

 

The band has also announced a feature-length motion picture by the same name that follows King Gizzard’s adrenaline-inducing onstage performances from the perspective of the band. The film is accompanied by a double LP featuring the music from the film, which was recorded throughout the band’s 2019 European tour. The film will premiere on Friday, April 17 via an online live-stream — watch the trailer and purchase tickets to the premiere HERE.

“John Stewart (director of Chunky Shrapnel) followed us around for a few weeks through Europe,” says the band’s Stu Mackenzie. “It was fun and funny and wild and weird. Sometimes an inconspicuous fly on the wall, sometimes an intrusive camera man one inch from my face. Always exciting though. Chunky Shrapnel was made for the cinema but as both concerts and films are currently outlawed, it feels poetic to release a concert-film digitally right now.”

 

 

A musical road movie dipped in turpentine, Chunky Shrapnel is a point of view / on stage experience from the perspective of King Gizzard & The Lizard Wizard. Once a song begins, just like the band, you’re stuck in the adrenaline-fueled quicksand that there is no escape from. The film’s contention is clear from the outset, it’s going to be a “journey” not a “lecture”, an incurved experience rather than a linear one.

 

The band, nor the film-makers, were interested in making a self congratulatory “behind the scenes expose” film. It was a direct decision to keep the inner workings of the band’s personality at arms length, it is the music they were interested in exploring. The approach was taken that the film’s protagonist should be the “on stage” performances, that was the focus. With this, they abandoned multiple cameras and cross cutting during performances, turning the camera into a vehicle for the audience to experience the show through, rather than placing them in a crowd or side of stage. At 96 minutes, Chunky Shrapnel more than earns its length. At times gently holding your hand and at other times smashing a bottle over your head and dumping your body in a heaving crowd. There is an inevitability to the film, a driving, ever accelerating spiral that climaxes in a 15 minute medley that spans four countries.

Chunky Shrapnel is directed by John Angus Stewart and scored by Stu Mackenzie.

 

Chunky Shrapnel album track list:
1. Evil Star
2. The River (Live in Luxembourg ’19)
3. Wah Wah (Live in Madrid ’19)
4. Road Train (Live in Manchester ’19)
5. Murder Of The Universe (Live in Utrecht ’19)
6. Quarantine
7. Planet B (Live in London ’19)
8. Parking (Live in Brussels ’19)
9. Venusian 2 (Live in Milan ’19)
10. Hell (Live in Milan ’19)
11. Let Me Mend The Past (Live in Madrid ’19)
12. Anamnesis
13. Inner Cell (Live in Utrecht ’19)
14. Loyalty (Live in Utrecht ’19)
15. Horology (Live in Utrecht ’19)
16. A Brief History Of Planet Earth (Live in London, Berlin, Utrecht and Barcelona ’19)

KING GIZZARD AND THE LIZARD WIZARD
LIVE 2020
10/3 – Greek Theatre – Berkeley, CA &
10/5 – Moore Theatre – Seattle, WA
10/7 – Roseland Theater – Portland, OR
10/9 – Coachella Valley Music and Arts Festival – Indio, CA
10/12 – Red Rocks Amphitheatre – Morrison, CO &
10/13 – Red Rocks Amphitheatre – Morrison, CO &
10/16 – Coachella Valley Music & Arts Festival – Indio, CA
10/18 – Shaky Knees Festival – Atlanta, GA
10/19 – The Anthem – Washington, DC
10/22 – Franklin Music Hall – Philadelphia, PA
10/23 – Kings Theatre – Brooklyn, NY
10/25 – L’Olympia – Montreal, QC
10/27 – Queen Elizabeth Theatre – Toronto, ON
10/28 – Masonic Temple – Detroit, MI
10/29 – Radius – Chicago, IL
10/30 – The Palace Theatre – St. Paul, MN

& – Marathon Set shows
All headline dates w/ Leah Senior

31.03.2020 news

Nick Hakim Announces New Album ‘WILL THIS MAKE ME GOOD’ + Releases Music Video For “QADIR”

NICK HAKIM ANNOUNCES NEW ALBUM

 

SHARES NEW SONG AND VIDEO “QADIR”

 

WILL THIS MAKE ME GOOD OUT MAY 15TH

 

 

“QADIR”

WATCH: https://youtu.be/PqzFi6PwTGA

LISTEN: https://smarturl.it/NickHakim_QADIR

 

PRE-ORDER: WILL THIS MAKE ME GOOD

https://smarturl.it/NickHakim_WTMMG

 

Today, Nick Hakim announces his new album and shares its first single. WILL THIS MAKE ME GOOD is out May 15th and is the follow up to his critically-acclaimed 2017 debut Green Twins. “QADIR,” releasing today, is a fitting introduction into this new era. The song arrives with a Nelson Nance-directed visual which finds Hakim in moments of solitude in the forest and in solidarity amongst his community.

 

The nearly eight minute cut is the heart of the album and the first song he wrote for the record, made as an ode to his late friend and a reminder to check in on your loved ones. “If I really sink into a recording, I don’t want it to end,” Hakim says. “[‘QADIR’] is repetitive and hypnotizing, like a trance — that’s intentional. The song is my ode to him. It’s my attempt to relate to how he must have been feeling.”

 

 

While WILL THIS MAKE ME GOOD is distinctly Nick Hakim, it does represent a tonal shift from Green Twins that reflects the ideas with which he grappled while making the record. To prepare listeners for the experience, Hakim shares the following statement about the record:

 

“I feel the people simmering, on our way to the boiling point. There’s a lot of madness going on around us and this world can feel so cold. It can get hard to remember what makes it worth it. The people around me and the music I love helps.

For a while, I couldn’t write. I worked on new music but couldn’t find the right words. But that time was just a build-up to the three months of expression that led to this album. I hope this music will raise awareness about where we are right now. About how we are living on this planet. About how we treat our neighbors. About community. About depression. About what can heal us and what can’t. About overmedication, overstimulation and manipulation. About respecting and loving the people around us, because one day they won’t be here-or you won’t.

 

 

But it’s also true that I’m still trying to figure this record out. People have told me that it’s confusing or that it’s messy-that’s fine. There’s so much pressure on artists to commit to being one thing, or to restrict an album to exploring just one subject or sound. But my life isn’t like that, and so my music can’t be like that either. I’m not thinking about this music as a product to be bought and sold, or how I’ll buy your interest. This is my world; a lot of friends touched this record, and that makes me feel lucky and proud. These songs are glimpses into my community. I’m exploring, but I’m not alone. It’s a journey in progress; it’s an experiment, every day.”

 

About Nick Hakim:

 

Confusion. Repetition. Musical hypnosis and drum patterns. Hope. Cities underwater. Kindness. The texture of a community. Care. For the last couple years this is some of what’s occupied Nick Hakim. The New York-based musician works out of a pleasantly cluttered loft studio in Ridgewood, and like so much of the city, it’s a neighborhood of deep history that’s in flux; if you spend even a little time there you might start to wonder about what the future holds, and what it means to be someone’s neighbor. Hakim’s been wondering about it, and his new album WILL THIS MAKE ME GOOD is something like a response.

 

In 2017, Hakim’s debut album, the critically acclaimed Green Twins, announced the singer-songwriter as an idiosyncratic talent, making music that resists genre classification. You could work a song of his into an HBO original series, as Insecure did; you could smoke to it and wonder about your ego; you could slow dance with the person you love-it’s not versatility, so much as a lack of boundaries and a strong sense of intuition. It drew on the music Hakim listened to growing up in Washington D.C. with his older brother and parents, who emigrated to the States from Peru:  American soul music and political folk from South America; Go-go and hardcore.

 

The time since Green Twins has been complicated; you can hear it in the swirling sprawl of his sophomore release WILL THIS MAKE ME GOOD. Hakim lost a notebook of new songs during a trip overseas not long after Green Twins came out. He tried to recall from memory those drafts and the fight to do so resulted in writer’s block. Musical ideas still came and he worked with his peers, some including Onyx Collective, Anderson .Paak, Jesse and Forever, Lianne La Havas, and Slingbaum-but when it came time to write his own songs, lyrics eluded him. Then a childhood friend passed away.

 

“He was a little younger than me, but we had a similar path,” Hakim says. “We both had trouble in school and switched schools a lot. He was the youngest in his family and his older sisters asked me to watch out for him.” Affected deeply by his passing, Hakim struggled to articulate his feelings in the wake of the tragedy.

 

He recalls advice from a close collaborator, Andrew Sarlo, who told him during this difficult period, “Pretend there’s no audience. Don’t think about an outside perspective.” By turning inward, Hakim found a way to express himself and the first song that emerged addressed his departed friend. “QADIR” is the longest song in Hakim’s catalogue; it’s the heart of WILL THIS MAKE ME GOOD, originally an 11-minute epic that builds to a shattering vocal performance accompanied by a ten-person chorus. “If I really sink into a recording, I don’t want it to end,” Hakim says. “It’s repetitive and hypnotizing, like a trance-that’s intentional. The song is my ode to him. It’s my attempt to relate to how he must have been feeling.”

 

He sings about how “there’s a complexity to being kind”-to yourself, to your space, to your community. “That’s a direct reflection of the neighborhoods that I’ve experienced across the East Coast, from Washington D.C. to Baltimore to Philadelphia to New York to Boston-all places I have ties to,” he explains. Accepting everyone around you is a daily task; it’s also a reminder to keep close the people you love, because nothing is promised. “When I heard of Qadir’s passing I hadn’t checked in on him in a while,” Hakim admits. “I say ‘we’ in the first verse of ‘QADIR’ but I really feel like I’m talking to myself.”

 

WILL THIS MAKE ME GOOD is a question Hakim has asked himself since he was young and struggling in school, when he was prescribed medication in an attempt to correct his wayward attention. It’s a question he still wonders about, and if the album sounds messy, it’s because there are no easy answers to its query. “I’m still trying to figure out what the record is about,” he says. One thing’s for certain though-it is a reflection of what’s happening in his head as he sorts through his life and the tumult around the globe that can’t help but seep in. WILL THIS MAKE ME GOOD articulates a sense of confusion alongside a desire for hope and clarity. Another bravura epic, “Bouncing” describes sleepless nights spent looking for some calm. “It’s such a dark climate these days,” Hakim says, “with what’s going on politically and how immigrants are being treated here in the US. The travel ban, the camps.”

 

“Sinking down these thoughts at night,” he sings on “BOUNCING” over heavy drums and distortion, his voice a pinched whisper. Across the album, Hakim treats his voice like an instrument to be played in various ways. “All These Instruments,” which was written with his brother, Danny, is a moment where his vocals rings clear. Hakim sings over delicate acoustic guitar about the “strange powers” musical instruments have. “It’s been so damn hard to find some peace/In a world that’s so damn cold and mean,” he sings.

 

If there’s any possibility of reprieve from that coldness and meanness, it’s in fingers on guitar strings, in the voice of someone you love, close to your ear. That’s something that could make any of us good, if only for a spell.

27.03.2020 news

Margaret Glaspy’s New Album ‘Devotion’ Out Today

 

Performing on CBS This Morning: Saturday Sessions Tomorrow, March 28

 

 

“Margaret Glaspy has evolved. Devotion… sways with the confidence of knowing that whichever decision you make is the right one, no matter what.” – MTV

 

Devotion is a study in contrasts and cohesion: each song sounds further afield from Emotions and Math, yet every verse fortifies Glaspy’s voice and the vulnerability she chooses to embrace in life, love and a world gone mad.” – BILLBOARD

 

“Margaret Glaspy’s songs are deeply personal, often peppered with humor and heartache.” – NPR MUSIC

 

“Margaret Glaspy stun[s] us with her commanding guitar work and penchant for amorous songwriting.” – STEREOGUM

 

“Building on a well-received debut, and taking a bold step in a new direction… It’s an impressive feat that Glaspy manages to do both at once.” – PASTE

 

“Over the course of 12 songs, Glaspy takes listeners through the full spectrum of heart-centric matter, from in-love to lovelorn, and it’s all connected through consistently excellent vocal work and a bold sonic landscape.” – NO DEPRESSION

 

“Twelve love songs that unflinchingly delve into the tender heart and dark underbelly of relationships, commitment, and romance.” – UPROXX

 

“Under all the new technique… is the same powerful singer-songwriter who won fans over in the first place.” – CONSEQUENCE OF SOUND

 

Margaret Glaspy is thrilled to celebrate the release of her sophomore album Devotion, out today. Praised as “starkly beautiful” (Rolling Stone) and an “exhilarating departure from her previous work” (American Songwriter), Devotion finds the New York singer/songwriter daringly exploring new sonic textures while still showcasing the incredible guitar skills and candid songwriting that first endeared her to fans and critics. “The biggest centerpiece for the record is a sense of vulnerability and earnestness,” Glaspy recently told Uproxx in an interview. “My little corner that I found was most interesting was being vulnerable, where you can just say how you feel and not create boundaries around it.”

 

LISTEN TO DEVOTION HERE

 

Today Margaret also shares a new live video of her performing her plaintive single “Stay With Me” at Atomic Studios in Brooklyn’s Red Hook — the same studio where the album was recorded — alongside keyboardist Eric Lane and drummer Tim Kuhl. Watch “Stay With Me (Live)” below and don’t miss the previously released live version of “Devotion” and the official music video for “Killing What Keeps Us Alive.”

 

 

 

Don’t miss Margaret Glaspy performing “Killing What Keeps Us Alive,” “Stay With Me,” and “Devotion” on CBS This Morning: Saturday Sessionstomorrow, March 28 at 7-9am ET. Margaret and her band worked with the CBS crew to record a socially distanced session at The Bridge Studio inBrooklyn.

 

 

MORE ON DEVOTION:

 

 

On Margaret Glaspy’s long-awaited second album, Devotion, this highly acclaimed young artist reaffirms her status as one of the most sharp-eyed singer-songwriters of her generation while managing to fearlessly reinvent her sound. The results are as exhilarating and defy expectations.

 

 

Coming home after nearly three years on the road in support of her 2016 debut album Emotions and Math and the 2018 follow-up EP Born Yesterday, Glaspywas eager to challenge herself as an artist and start to make a new album with a clean aesthetic slate. Her bold experimentation has paid off, with tunes that are her most melodically confident, rhythmically compelling, and often incredibly romantic. The arrangements are unexpectedly lush at times, especially on the torchy “Heartbreak,” and often boast an impressive groove, on such tracks as “You’ve Got My Number” and the title song, “Devotion.” Glaspy announces her radical approach at the very start of Devotion, where digitally altered voices serve as the prelude to “Killing What Keeps Us Alive,” and she fills the album with surprising sonic touches, right up to the haunting electronics-and-voice soundscape of album closer “Consequence.”

 

 

On Devotion, Glaspy has not only transformed but evolved. The distinctive personality that marked Emotions and Math is still very much in evidence here. On her debut, Glaspy could be bracingly direct as she chronicled the trials of being alone or the tribulations of being together. She brought swagger, as well as sensitivity, to her lyrics and her performances. On Devotion, she still does, but her perspective has changed: “This record is very different from the last. It’s not about being righteous or all-knowing, it’s about letting love in even when you don’t know what will happen when you do. It’s about devoting your heart to someone or something, against all odds.“

 

 

Glaspy toured throughout the USA, Europe, China and Australia behind Emotions & Math including dates with Wilco and The Lumineers among others – she also appeared on NPR’s Tiny Desk, CBS Saturday Morning and Late Night With Conan O’Brien. Finding herself in her Brooklyn apartment after all of her travels, Glaspy admits, “It was such a shift for me that I didn’t know what to do with myself when I closed that chapter. I was feeling pretty shy. I like to be alone and I had constantly been around people for two or three years straight. I took a long breath, reorienting myself, trying to find my in to get inspired and to get excited about making records again.”

 

 

Glaspy enlisted L.A.-based producer and multi-instrumentalist Tyler Chester, who has collaborated with Blake Mills and Jackson Browne among many others, to produce Devotion – recorded at Atomic Sound in Red Hook, Brooklyn, where they recorded the bulk of Devotion. “Tyler and I proved to be a very good match in the studio. I love being very hands-on with my records and he was a force of nature without restricting my sense of what the record should be. His instincts and ability are truly inspiring.” They brought in Glaspy’s touring drummer Tim Kuhl to complete the picture with his brilliantly artful and austere sense of the kit paired with Chester’s programming. Brooklyn based engineer, Mark Goodell captured these performances masterfully and James Krausse (Los Angeles) mixed Devotion in a way that Margaret says “she has always envisioned her music sounding like.”

 

 

“It has been amazing to be able to stretch out, to not define myself just by the music I make, but to follow my nose toward all the things that make me happy.” A good example being Glaspy enlisting herself in distance education through Harvard University to fulfill her dream of getting an education outside of music. “Embracing being a student has made me feel like a child again and I think that has helped to propel my music forward so much more. My brain feels happy.”

 

 

Devotion, then, is like a series of hard-earned life lessons. Glaspy’s evolution over the last few years has been both musical and personal, which makes the album that much more compelling: “I’m learning that life is painful but you take the bad with the good; that love is hard but if you love someone, you make yourself available; that life is short and it’s okay to be sincere. I’m starting to be able to write about these things and it’s a feat for myself as an artist and growth for me as a person.”

margaretglaspy.com | Facebook | Twitter | Instagram

14.03.2020 news

Honey Harper’s Cosmic Country Debut “Starmaker” Is Out Now

Honey Harper’s Debut Album Starmaker Is Out Now!

Order Here

 

Honey Harper’s celestial cosmic country debut album Starmaker, is now available everywhere.  Starmaker comes as a collection of contradictions in both subject matter and style. Written with his wife and writing partner Alana Pagnutti over the past three years, the album itself is primarily about the journey to create it. Its self-awareness is largely the result of Harper’s inner monologues about his fear of failure, desire for success, and the toll that journey has taken on him and his loved ones. It’s an attempt at honesty through the veil of a country singer lost in the stars.

After explorations in other vastly different styles, Harper recognized the value he could add to a genre with beautiful sounds but negative connotations. On Starmaker, Harper seeks to revitalize country music for people who don’t like country music.

 

 

The latest offering from the album, “In Light Of Us,” arrives with a fittingly tender video. Directed by Joshua Gary, the visual compiles VHS footage of Harper and his friends (including the director) from the ages of 15 through 21, the song an ode to them and the times they spent together. Harper says it best: “When I turned 18 I left home and moved to Decatur, GA with my best friends. ‘In Light of Us’ is a significant song for me as it represents that time; the light and dark psychedelic paths that led and inspired the beginning of my journey to Starmaker.” 

 

 

The album itself is primarily about the journey to create it, following his mysterious emergence with “Secret” from 2017’s critically-acclaimed Universal Country EP. The new album’s self-awareness is largely the result of Harper’s inner monologues about his fear of failure, desire for success, and the toll that journey has taken on him and his loved ones. It’s an attempt at honesty through the veil of a country singer lost in the stars. With album appearances from Sébastian Tellier, Austra, and John Kirby, the contrast of the songs becomes even more apparent and set Honey Harper apart to become the torch-bearer for a revitalized country sound.

 

06.03.2020 news

Danny Barnes’ “Man On Fire” is out now! Watch “Hey Man” Clip Starring Dave Matthews.

“A clever lyricist with a punk-rock past who understands the raw simplicity of a good country tune.” – Rolling Stone

“While many players use the banjo to show what they can do, Danny Barnes uses it to show who he is—something so rare that we have to look back decades for comparisons.” – Bluegrass Today

 

Banjo virtuoso Danny Barnes releases his new album Man On Fire today alongside a video for his single “Hey Man” that stars the record’s executive producer Dave Matthews. Directed by longtime Dave Matthews Band lighting designer and video director Fenton Williams, the video has Matthews playing the part of a lonesome vagabond searching for a place to lay his head.

 

 

In an interview with Billboard, Barnes says, “[Matthews] and I were thinking that we ought to do a video, and he’s such a good actor. Dave’s really great with facial expressions.” Of the video’s plot, he adds, “A lot of my poetry is about being stuck in that moment where you don’t really know what you’re gonna do. It deals a lot with someone trying to find dignity as a poor person.” Barnes encourages fans to visit and get involved with the charities Mary’s Place Seattle and the National Coalition for the Homeless.

Man On Fire features Led Zeppelin’s John Paul Jones on bass and mandolin, Bill Frisell on guitar, Matt Chamberlain on percussion, and Matthews himself on vocals and Wurlitzer. It is available for purchase HERE.

 

Originally from Texas, Barnes was a founding member of the influential roots-punk band the Bad Livers before relocating to the Pacific Northwest. He has been hailed as “smart, literate, innovative, and endlessly creative” (No Depression) and “A clever lyricist with a punk-rock past who understands the raw simplicity of a good country tune” (Rolling Stone). In 2015, Barnes was awarded the Steve Martin Prize for Excellence in Banjo and Bluegrass, hailed as “one of bluegrass music’s most distinctive and innovative performers.”

 

MORE ON MAN ON FIRE:

“Normally I work by myself,” says Danny Barnes. “I’ve learned to make records pretty quickly on my own over the years, but this time around I wanted to slow things down and open up the process to a circle of friends whose musical input I really value, to collaborate with a small handful of artists I consider to be true masters.”

Take a glance through the liner notes of Man On Fire, Barnes’ remarkable new album for ATO Records, and you’ll be sure to recognize quite a few of those masterful friends. There’s Led Zeppelin’s John Paul Jones, who contributed bass from London; jazz pioneer Bill Frisell, who laid down guitar in Brooklyn; session wizard Matt Chamberlain (Bruce Springsteen, David Bowie), who cut drums in LA; and executive producer Dave Matthews, who helped shepherd the whole collection from the very beginning. As star-studded as the album may be, it’s Barnes who shines brightest throughout, his virtuosic banjo and unassuming vocals front and center as he delivers poignant portraits of everyday folks struggling to get by in a world that’s been rigged against them. The songs here walk the line between past and present, fusing old-time tradition with modern experimentalism as they draw on a wide swath of American musical history, from Appalachian folk and Memphis rockabilly to Kentucky bluegrass and Bakersfield country. Ably guided by the subtle touch of producer Geoff Stanfield (Sun Kill Moon, Firehorse), the resulting collection manages at times to be both hilarious and heartbreaking, reaching out for hope wherever it appears but forging ahead with dignity and self-respect even when it’s nowhere to be found.

“To me, the fundamental question of life is, ‘How do you lay your burdens down?’” says Barnes. “There are so many powerful entities stacked against a person, especially a regular, unmoneyed person, but I think that just by realizing what’s happening to you, by recognizing the forces at play, you can start to regain some of your power.”

Growing up in rural Texas, Barnes learned firsthand what it took for working class men and women to survive. The son of an iron ore miner-turned-tractor salesman, he spent much of his childhood around farmers and tradesmen, which led to a natural affinity for the kind of earthy, organic music that reflected their stories. Already a prodigious banjo and guitar player by his teenage years, Barnes left home to study audio production at the University of Texas in the early ’80s, and it was there in Austin that he launched the Bad Livers, a groundbreaking trio with a wildly eclectic sound that mixed bluegrass, punk, jazz, and metal. Hailed by Rolling Stone for their “striking blend of virtuoso flash and poignant simplicity,” the group would release seven studio albums during their decade-long run, earning praise everywhere from The Washington Post to The Times of London and carving out a path for future string band genre-benders like The Avett Brothers and Old Crow Medicine Show along the way.

When the Bad Livers dissolved in 2000, Barnes embarked on a new chapter, touring and recording under his own name and collaborating with a wide range of prominent songwriters including Bela Fleck, Lyle Lovett, Robert Earl Keen, Dave Matthews Band, and members of the Butthole Surfers, Dead Kennedys and Ministry among others. As a solo artist, he released more than a dozen critically acclaimed record, took home the prestigious Steve Martin Prize for Excellence in Banjo, and helped redefine the instrument’s possibilities with an innovative approach he dubbed “folktronics.”

“I liked to imagine this guy in a rural area who discovered all of this electronic machinery from the ’50s and ’60s just laying around in his yard,” explains Barnes, who now calls Washington State home. “I wanted to make songs that sounded like some hillbilly got a hold of a bunch of oscillators and stuff and incorporated it all into a hoedown. That weird conflict of old and new has always been a part of my music.”

Indeed, Man On Fire is no exception. Barnes’ characters on the album are timeless figures grappling with the essential questions of their humanity. They could live in any era, and though their portrayals are richly detailed and grounded in modern reality, the reckonings they face and revelations they come to are universal in nature.

“I’m an unusual guy in that I don’t like to write about myself much,” Barnes explains. “A lot of my ideas come from reading the Bible and observing the world around me. On some level, we’re all just trying find beauty and happiness and fulfillment within a system that doesn’t necessarily have our best interests at heart, and I think the role of music and art and poetry is to provide catharsis in the face of all that.”

In the case of Man On Fire, that catharsis begins with funky album opener “Awful Strange,” which finds its narrator coming to terms with the reality that his life and his labor are cogs in someone else’s wheel. It’d be easy to give up in the face of such a realization, but in Barnes’ telling, that knowledge comes with possibility, and the song, like much of the album, manages to find a glimmer of promise in otherwise desperate straits. The hypnotic “Coal Mine,” for instance, hints at vintage Alan Lomax field recordings in its Sisyphean portrait of keeping your head up even when escape seems impossible, while the modal “Zandapp,” which features Matthews singing the verses, finds a ray of light against the darkness in a little Austrian motorcycle, and the infectious “It’s Over” tumbles out of the speakers in a melodic cascade as its narrator keeps the faith that he’ll make it through the storm he finds himself in.

“Country, bluegrass, rock and roll, it was all designed to provide real service to humanity, to be a balm against the cruel reality of this physical plane,” says Barnes. “It was a doorway to a vast cosmos that could give you strength and lift you up. My mother grew up on a sharecropping farm in central Texas, and they’d pull the car up to the house at night and run the radio off the battery just so they could listen to the Grand Ole Opry. People forget how much this music used to mean because nowadays it feels more like advertising or lifestyle branding, but I’m trying to capture that relevance, that spiritual connection, that essence of where it came from.”

While Barnes touches on the political with the album, it’s never about left vs. right, but rather have vs. have-not. The timely “Enemy Factory” finds history repeating itself as the ruling class tells the rest of us who to hate, while the lilting “Mule” imagines life on the farm from a working animal’s perspective, and the wistful “Hey Man” relays the tale of a drifter just searching for a warm place to sleep. It’s perhaps the heartbreaking “The Less That I Know,” though, that most embodies the album’s central conflict: do we bear witness to the pain and suffering of this world, or do we shield ourselves by looking away when it all becomes too much to endure?

With Man On Fire, Barnes insists that we not only bear witness, but that we also step outside of ourselves, that we treat our brothers and sisters with the empathy and grace they deserve. In that regard, it makes perfect sense that he would open up the album’s creation to a circle of trusted friends and collaborators who could bring their own perspectives and histories to the music. These are troubling times, no doubt, but Danny Barnes wants you to know we’re all in it together.

02.03.2020 news

Chicano Batman Announce New Album ‘Invisible People’ Out May 1

Lead Single “Color my life” Out Now Exclusively via Rolling Stone 

 

The Los Angeles Alternative Mainstays Return to Coachella

 

Expansive 30+ Date North American Headline Tour Presented by Johnnie Walker to Kick off April 8th

 

To Play LA’s Shrine Expo Hall and NYC’s Webster Hall 

Pre-Order Invisible People HERE: http://smarturl.it/invisiblepeople

 

 

Los Angeles psych-soul four-piece Chicano Batman announce Invisible People, out May 1. The follow-up to 2017’s critically-acclaimed Freedom Is Free is also their most sonically-varied and cohesive. The record is a statement of hope, a proclamation that we are all invisible people, and that despite race, class, or gender we can overcome our differences and stand together.

 

 

For the album, the band worked with Shawn Everett, the GRAMMY-award winning mixing engineer known for his work with Alabama Shakes, War on DrugsKacey Musgraves, and Julian Casablancas. With Leon Michels’ (Sharon Jones & The Dap-KingsLee Fields & The Expressions) producing and Everett’s mixing steering the record’s direction, the band’s lush Tropicalia-tinged sound has transformed into their most polished and densely layered. Invisible People is an illuminating and encapsulating sonic landscape, one that hasn’t lost the essence that put Chicano Batman on the map.

 

The group who combine “soul, surf and Tropicália into a raging blend of fire and excitement” (Rolling Stone) are celebrating the announcement with a new single and video for “Color my life.” Directed by George Mays, the video is a psychedelic collage of visuals that sees the band grooving to synths amongst palm tree-studded backgrounds of Los Angeles’ streets, beaches, and boardwalks.

 

Check Out Official Music Video for “Color my life”

 

Flaunting their “laid back lounge grooves…R&B with flavors from Mexico or Brazil and a funky swagger” (NPR) that they’ve become so known for, “Color my life” places the listener in a hazy, California dream.

 

“[It’s a] neck breaker from the future, beckoning a retreat to nature in the apocalyptic dawn,” says lead singer Bardo Martinez of the track and accompanying visuals. “This is Chicano Batman’s new single for all generations past and for all those yet to be born. Everything is everything, brothers and sisters.”

 

Pre-Order Invisible People HERE: http://smarturl.it/invisiblepeople

 

Chicano Batman will embark on an expansive U.S. tour in support of Invisible People which will take the “politically astute” (Billboard) group across both coasts, including stops at New York City’s Webster Hall and LA’s iconic Shrine Auditorium, their largest venue to date. After earning a coveted spot in 2015’s Coachella line-up, the band will return to Indio this year to play the Festival this year.

 

PRAISE FOR CHICANO BATMAN

 

“collide soul, surf and Tropicália into a raging blend of fire and excitement” – Rolling Stone

 

“a pitch-perfect voice of the resistance”- Billboard

 

“a deeper dimension of sly pop culture references, unapologetic Latin pride, and the thoughtful exploration of popular music’s all pervasive black roots”- Noisey

 

“laid-back lounge grooves and a funky swagger” – NPR

 

“You need to know Chicano Batman…with their combination of soul, pop, tropicalia and psych” – THE GUARDIAN

 

CHICANO BATMAN 2020 SPRING / SUMMER TOUR DATES PRESENTED BY JOHNIE WALKER

^w/ CRUMB
*w/ Le Butcherettes

 

Wednesday, April 8th — Santa Fe, NM —Meow Wolf

 

Thursday, April 9th — Phoenix, AZ —Van Buren^

 

Friday, April 10th — Indio, CA — Coachella

 

Wednesday, April 15th — Indio, CA — Chella

 

Friday, April 17th — Indio, CA — Coachella

 

Wednesday, April 29th — Kingston, NY —BSP Kingston*

 

Friday, May 1st — New York, NY —Webster Hall*

 

Saturday, May 2nd — Boston, MA — Paradise Rock Club*

 

Sunday, May 3rd — Philadelphia, PA — Union Transfer*

 

Monday, May 4th  — Toronto, ON — Mod Club*

 

Wednesday, May 6th — Detroit, MI — The Magic Stick*

 

Thursday, May 7th  — Indianapolis, IN — The Vogue*

 

Friday, May 8th — St. Louis, MO — Ready Room*

 

Saturday, May 9th — Chicago, IL — Concord Music Hall*

 

Sunday, May 10th — Minneapolis, MN — First Avenue*

 

Friday, May 15th — Seattle, WA —Showbox*

 

Saturday, May 16th — Portland, OR — Crystal Ballroom* 

 

Monday, May 18th — Salt Lake City, CO — Metro Music Hall*

 

Tuesday, May 19th — Denver, CO — Gothic Theatre*

 

Thursday, May 21st — Las Vegas, NV — Brooklyn Bowl*

 

Friday, May 22nd  — San Diego, CA — SOMA*

 

Friday, May 29th — Los Angeles, CA — Shrine Expo Hall^*

 

Saturday, May 30th — San Francisco, CA — Warfield Theatre^*

 

Friday, June 5th — Mexico City, MX — TBA

 

Sunday, June 7th — El Paso, TX — Lowbrow Palace* 

 

Tuesday, June 9th — McAllen, TX — Cine El Rey*

 

Wednesday, June 10th — San Antonio, TX — Paper Tiger*

 

Thursday, June 11th — Dallas, TX — Granada Theater*

 

Friday, June 12th — Houston, TX — White Oak Music Hall*

 

Saturday, June 13th — Austin, TX — Emo’s*

 

Sunday, June 14th — Oklahoma City, OK — The Jones Assembly*

 

Wednesday, June 17th — Orlando, FL — The Abbey*

 

Thursday, June 18th — Miami, FL — The Ground*

 

Friday, June 19th — Tampa, FL — Orpheum*

 

Saturday, June 20th — Atlanta, GA — Variety Playhouse*

 

Sunday, June 21st — Nashville, TN — Brooklyn Bowl*

 

Tuesday, June 23rd — Birmingham, AL — Saturn*

 

Wednesday, June 24th — Charlotte, NC — Visulite Theatre*

 

Thursday, June 25th — Raleigh, NC — Lincoln Theatre*

 

Friday, June 26th — Richmond, VA — The National*

 

Saturday, June 27th — Washington, DC — 9:30 Club*

 

 

 

31.01.2020 news

The Unraveling Is Happening…

Drive-By Truckers new studio album The Unraveling is in stores today! Buy it now at your favorite indie record shop, direct from the band’s webstore, or at a variety retailers here:

 

Buy / Stream: Drive-By Truckers – The Unraveling (link – http://smarturl.it/zqk7it)

 

The album has been met with fantastic press from The Guardian (“fantastic” / 5 stars), Sound Opinions (“another masterpiece”), Uncut (“Tremendous” / 4 stars), Mojo (4 stars), The Chicago Tribune and more. The band will kick off the release with an event at Rough Trade in Brooklyn on Saturday February 1st before starting their tour in earnest next month. All dates below, along with the lyric video for “Thoughts and Prayers”.

 

WATCH “THOUGHTS AND PRAYERS” BELOW
 

 

Tour Dates:

 

FEBRUARY

13 – Athens, GA – 40 Watt Club

14 – Athens, GA – 40 Watt Club

15 – Athens, GA – 40 Watt Club

18 – Carrboro, NC – Cat’s Cradle

19 – Charlottesville, VA – Jefferson Theater

21 – New York, NY – Webster Hall

22 – Boston, MA – Somerville Theatre

23 – Portland, ME – State Theatre

25 – New Haven, CT – College Street Music Hall

27 – Philadelphia, PA – Union Transfer

28 – Washington, DC – 9:30 Club

29 – Washington, DC – 9:30 Club

 

MARCH

12 – Indianapolis, IN – The Vogue

13 – Chicago, IL – Metro

14 – Palace Theatre – St. Paul, MN

17 – Commodore Ballroom – Vancouver, BC

18 – Seattle, WA – The Showbox

20 – Portland, OR – Wonder Ballroom

21 – Portland, OR – Wonder Ballroom

22 – Arcata, CA – Van Duzer Theatre

24 – Petaluma, CA – Mystic Theatre

26 – San Francisco, CA – The Fillmore

27 – Los Angeles, CA – The Regent Theater

28 – Phoenix, AZ – The Van Buren

31 – Albuquerque, NM – El Rey Theater

 

APRIL

2 – Dallas, TX – Granada Theater

3 – Austin, TX – Scoot Inn

4 – Austin, TX – Scoot Inn

16 – Asheville, NC – The Orange Peel

17 – Asheville, NC – The Orange Peel

18 – Charleston, NC – High Water Festival *

21 – Winston-Salem, NC – The Ramkat

23 – Lexington, KY – Manchester Music Hall

24 – St. Louis, MO – The Pageant

25 – Nashville, TN – Ryman Auditorium

27 – Pensacola, FL – Vinyl Music Hall

28 – Orlando, FL – The Plaza Live

29 – Ponte Vedra Beach, FL – Ponte Vedra Concert Hall

MAY

1 – Birmingham, AL – Iron City

2 – Atlanta, GA – Shaky Knees *

 

JUNE

1 – Raalte, NL – Ribs and Blues

3 – Dublin, IE – Vicar Street

5 – Leeds, UK – Irish Centre

6 – London, UK – O2 Forum

7 – Amsterdam, NL – Paradiso

8 – Antwerp, BE – De Roma

9 – Koln, DE – Kantine

11 – Berlin, DE – Kesselhaus

12 – Copenhagen, DK – Amager Bio

13 – Stockholm, SE – Sthlm Americana *

14 – Oslo, NO – Rockefeller

15 – Arhaus, DK – Train

28.01.2020 news

Margaret Glaspy Announces New Album ‘Devotion’ Out March 27

 

On Tour This Spring, Including Brooklyn, Los Angeles, Chicago, SXSW, Mexico’s Corona Capital Festival

 

Brooklyn singer-songwriter Margaret Glaspy is returning with her highly anticipated new album Devotion, due out March 27. Devotion is Glaspy’s first full-length since her acclaimed debut 2016 Emotions and Math and marks an entirely new sonic chapter for her. Glaspy has built a reputation as a skilled guitarist, and Emotions and Math was notable for its swaggering electric guitar sounds; on Devotion she shifted gears and built songs with completely different instrumentation as their base. The results – co-produced with Los Angeles’ Tyler Chester – are rich, sweeping, and melodic, a fittingly enchanting sound for a collection of 12 love songs. “It’s about letting love in even when you don’t know what will happen when you do,” says Glaspy. “It’s about devoting your heart to someone or something, against all odds.”

 

Devotion‘s first single “Killing What Keeps Us Alive” and its gorgeous video, shot by Alex Chaloff, is out now. Watch the video below and pre-orderDevotion HERE.

 

Watch the Video for First Single “Killing What Keeps Us Alive” Below

 

Margaret Glaspy emerged as an audacious new musical presence in 2016, with the New Yorker praising her “extraordinary voice” and the New York Times hailing her as “a singer-songwriter who specializes in giving her confessional tunes a distorted crunch.” Upon Emotions and Math‘s release, Stereogum labeled Emotions and Math “a bold and career-defining debut” and called Glaspy “one of the year’s most exciting breakout acts,” while Pitchfork raved, “These songs share the self-scrutinizing intimacy of Elliott Smith and the imaginative melodic intonations of Joni Mitchell … Glaspy is a lyricist who can toggle between distanced storytelling and open-hearted self-examination with equal ease.”

 

Today Glaspy also announces a spring tour in the UK and North America, including Los Angeles, Chicago, and two hometown shows at Brooklyn’s Bell House. She will also appear at SXSW in Austin in March and Guadalajara’s Corona Capital Festival alongside The Strokes, Kings of Leon, Blondie, and more in May. All live dates are below.

 

MARGARET GLASPY SPRING 2020 TOUR

3/16-22: SXSW – Austin, TX

3/27: Mono – Glasgow, UK

3/28: Institute – Manchester, UK

3/29: Fleece – Bristol, UK

3/31: Lafayette – London, UK

4/12: The Met RI – Pawtucket, RI

4/13: Paradise Rock Club – Boston, MA

4/14: The Bell House – Brooklyn, NY

4/15: The Bell House – Brooklyn, NY

4/16: Underground Arts – Philadelphia, PA

4/17: 9:30 Club – Washington, DC

4/20: Higher Ground Showcase Lounge – Burlington, VT

4/21: Opera House – Toronto, ON

4/22: Mr. Smalls Theatre – Millvale, PA

4/24: El Club – Detroit, MI

4/25: Thalia Hall – Chicago, IL

4/26: High Noon Saloon – Madison, WI

4/27: First Avenue – Minneapolis, MN

4/28: The Mill – Iowa City, IA

5/01: The Crocodile – Seattle, WA

5/02: Fox Cabaret – Vancouver, BC

5/03: Aladdin Theater – Portland, OR

5/05: Great American Music Hall – San Francisco, CA

5/06: Harlow’s – Sacramento, CA

5/08: Belly Up Tavern – Solano Beach, CA

5/09: Teragram Ballroom – Los Angeles, CA

5/16-17: Corona Capital Festival – Guadalajara, MX

 

margaretglaspy.com | Facebook | Twitter | Instagram

27.01.2020 news

Rodrigo y Gabriela Win GRAMMY For Best Contemporary Instrumental Album

RODRIGO Y GABRIELA WIN GRAMMY

FOR BEST CONTEMPORARY INSTRUMENTAL ALBUM

 

FIRST-EVER GRAMMY WIN

 

NEW TOUR DATES ANNOUNCED

 

Acclaimed guitar virtuosos Rodrigo y Gabriela won the GRAMMY for Best Contemporary Instrumental Album at the 62nd GRAMMY Awards ceremony yesterday. The award was given for Rodrigo y Gabriela’s latest album Mettalvolution, their fifth studio album and first in five years. It was the duo’s first-ever Grammy win.

 

“We are incredibly thankful,” says Gabriela Quintero. “This is quite a moment for us. We are grateful for this opportunity to share this Grammy with our families and fans all over the world, with a big hug and also to our potential fans! After 20 years, and having played all over the world, even for President Obama in The White House, there was something missing — a Grammy. We finally got it. Rodrigo and I are people that care about many of the challenges that we are facing as a species. Mettavolution is an album about change and growth. Through music, we truly believe that we can share, at an emotional level, healing and to bring about ideas that might help to solve a lot of those challenges. We wanted to create something as unique as possible. It is important for us to feel that we are contributing something with our music. The way we perform, the way we write and produce our albums; it has been a lot of years of hard work and it feels great. A special start to the new decade, it will make us even more inspired. This is the cherry on the cake. Thank you to the Academy. Winning a Grammy will help give us a louder voice to reach more people. Thank you to our management, label partners all over the world. Keep connected everyone, we are connected with you through our music.”

 

“The most amazing part of winning a Grammy is the huge sense of happiness that goes around between people we love and people that love us,” says Rodrigo Sanchez. “I hope to go beyond the recognition itself to use it for something positive that can transform as many stories as possible. To all the fans around the world for supporting our music – we love you all and we can’t wait to go back to work to keep making music that inspires you.”

 

WATCH “METTAVOLUTION” VIDEO BELOW

 

Mettavolution marks the most ambitious music of Rodrigo y Gabriela’s remarkable two-decade career. Three years in the making, the LP embraces the duo’s passionate interest in Buddhism, the history of human evolution, and the liberation of the potential we have as a species, all expressed through the medium of two acoustic guitars. Conceived and composed in their studio in Ixtapa on the Mexican Pacific Coast, the music of Mettavolution was road-tested around the world on tour in 2017 and 2018 before being recorded late last year in Los Angeles with multiple GRAMMY-winning producer Dave Sardy (Oasis, LCD Soundsystem, A Perfect Circle, Band of Horses) behind the board.

 

Mettavolution gathers six white-hot new Rodrigo y Gabriela compositions – much of which acknowledge the duo’s thrash metal roots back in Mexico City – as well as an inspired, side-long cover of Pink Floyd’s sprawling “Echoes” – originally found on 1971’s MEDDLE – audaciously reimagined for two acoustic guitars. Rolling Stonerecently hailed the 19-minute epic as a “Song You Need to Know,” noting, “(‘Echoes’) is such a signature song, it’s hard to imagine anyone else doing it justice, yet somehow the Mexican acoustic-rock duo Rodrigo y Gabriela landed on a brilliant interpretation… Like the original, the song is its own journey, and it’s beautiful.” “(Rodrigo y Gabriela) make (‘Echoes’) entirely their own,” wrote NPR Music, “turning the original version’s extended psych-jam and terrifying atmospherics into percussive knocks on their guitars and strings and other strange, tactile effects. It only gets better and more breathtaking the deeper you get into the track.”

 

Rodrigo y Gabriela have been traveling the world in support of Mettavolution, and today are announcing new tour dates. All tickets will go on sale this Friday, January 31 at 10am local time. For complete details and ticket information, please visit www.rodgab.com/tour-dates.

 

ON TOUR

 

MARCH 2020

11 – San Antonio, TX – Majestic Theatre

12 – Sugar Land, TX – Smart Financial Centre at Sugar Land

14 – 15 – Mexico City, Mexico – Vive Latino Festival

18 – Mexico City, Mexico – Teatro Metropolitan

20 – Monterrey, Mexico – Tecate Pa’l Norte Festival *

24 – New Orleans, LA – Joy Theatre

25 – Mobile, AL – Saenger Theatre Mobile

27 – Orlando, FL – Bob Carr Theater

28 – Clearwater, FL – Ruth Eckerd Hall

 

www.rodgab.com/tour-dates

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