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To Whom It May Concern,
I am here to announce that my new album, Sundowner, will be out October 16th, 2020 via Dead Oceans. THE WRITING: (KANSAS CITY, KANSAS) In the winter of 2017 I moved back to my hometown of Kansas City from Los Angeles. The move was sudden and unforeseen, just as I was tying a bow on the writing process for what would become my 2019 album, Oh My God. I bought a Four Track Tascam model 424 off of an old friend to help me get to the finish line, but much to my surprise and excitement, this new piece of equipment in my all-but-bare home didn't help complete one album but rather inspire another: Sundowner. The new collection of songs came quickly and effortlessly as I did my best not to resist or refine the songs, but instead let them take shape all on their own. As the songs kept coming I cleared out the crowded shed that was sitting dormant in my backyard and built a makeshift studio before adding drums, lead guitar and piano to complete the demos. Each day I would teach myself basic recording techniques, watching the channels illuminate and pulse as if the machine were breathing, and then emerge in the evenings as the sun was getting low: - around 5:30 in the winter, when the Kansan sunsets look icy and distant, like a pink ember inside of a display case, and 9 o'clock in the summer, when the sunsets are warm and abstract. Landing back home felt jarring juxtaposed with a life full of chaos and adventure with my band on the road. But at the very least, I was happy to have - for the first time in my adulthood - a place to close the door, with no temptations other than to work on music and reflect on what I had built since I left. It was a new form of isolation, one I had never explored or expected to experience. Not ready to let go of the hand of the California desert, I spent the winter decorating the best I knew how; with mementos from my previous home, cactus and aloe vera and covering the walls in pinewood - immediately earning my house it's nickname, The Little Los Angeles. THE RECORDING: Sonic Ranch, Neve Room, Tornillo, Texas In January 2019 I contacted my friend and producer Brad Cook to help recreate what I had made in my shed. We chose to work in Texas; we wanted to make sure the record was done far away from any coastline, and in the heart of America. Brad played bass and some keys on the album, but beyond that he encouraged and inspired me to play almost everything else. All lead guitar, proper drums (save the drums on "A Night At The Little Los Angeles"), mellotron and what I believe to be the albums secret weapon - a WWII era collapsible and slightly out-of-tune pump organ - were performed by me. We did, however, bring in James Krivchenia towards the end of the session to fill out the percussion. It was an honor to work with him as he built maracas from pecans and played on the floor of the live room, adding flourish wherever he saw fit. On the last evening of the session, after everything had wrapped, we all climbed on top of an empty water tower on the property, giving us a view in all directions. To the North you could see an endless Texas, with long wisps of cirrus clouds above the desert floor, and to the South there was Mexico, the recent detention camps only a mile beyond, with large cumulus clouds hovering over, bringing us to an ominous pause. To the West, towards the setting sun, the two families of clouds merged, holding the last light of the day in purple and orange. Below, a freight train cut the landscape in half as it whistled in the distance. AFTER Almost as soon as the session wrapped, I was off and away on press trips and then proper tours for Oh My God, which came out in April that same year. Sundowner sat inside of a hard drive back at Sonic Ranch and did not see the light of day, until I found myself, as did the rest of the world, stuck inside their home and in quarantine in March 2020. My second year of touring for Oh My God was cancelled. Brad, Jerry and I worked from our respective homes, sending notes back and forth as we worked alone but together to mix the album, and suddenly, just like that, Sundowner was finished. Songs, like sunsets, are fleeting, and it's only due to a willingness and desire to catch them that you ever, if even only for a moment, grab a hold of one. When writing Sundowner, I was lucky to have had the Tascam 424 there to help capture both. Sundowner is my attempt to put the Middle American twilight - it's beauty profound, though not always immediate - into sound. It is a depiction of isolation. Of the past. Of an uncertain future. Of provisions. Of an omen. Of a dead deer. Of an icon. Of a Los Angeles themed hotel in rural Kansas. Of billowing campfires, a mermaid and a highway lined in rabbit fur. It is a depiction of the nervous feeling that comes with the sky's proud announcement that another day will be soon coming to a close as the pink light recedes and the street lamps and house lights suddenly click on. Kevin Morby, Kansas, 2020.
"Live at the Roundhouse” is unlike any other concert film connected with Pink Floyd. It’s the nearest thing you can get to a time machine, transporting you back to the very earliest days of the band. Nick Mason, the only band member to have played on all of Pink Floyd’s studio albums, returns to the group's earliest records, joined in the line-up by Gary Kemp, Guy Pratt, Lee Harris and Dom Beken.
Nick Mason’s Saucerful of Secrets took the drummer back to clubs for the first time in 1967, then to theatres, across the UK, North America and Europe, playing only music his old band had recorded before The Dark Side of the Moon.
Captured from the band’s celebrated shows at London’s Roundhouse, where Pink Floyd played some of their most revered early shows in the 1960s, this release features a uniquely thrilling setlist including songs hailing from Syd Barrett’s time with the band. Only four songs from this eclectic roster have ever previously appeared on official live releases by Pink Floyd or its members. Everything else is being experienced for the first time since their original live performances.
‘Rough and Rowdy Ways’ is Bob Dylan’s first album of original material in 8 years and his first since becoming the only songwriter to receive the Nobel Prize for Literature, in 2016. Its 10 tracks include the three new songs released this spring: the album’s lead-off track, “I Contain Multitudes,” the nearly 17-minute epic “Murder Most Foul” and “False Prophet.”
Thirty Tigers artist Reckless Kelly's release new album 'American Jackpot / American Girls' This is the follow up to 2016's 'Sunset Motel', this new collection of songs from songwriter Willy Braun finds the band covering topics ranging from the duality of the American Dream to the simple things such as American Baseball and deep family ties.
- Focus Track "American Girls " - "I Only See You With My Eyes Closed" to be worked to Texas and Americana radio formats. - Working on extensive plans for visual creative content to tie into IG tracks and the overall narrative behind this two album set. The Grammy nominated Backstage Design Studio is overseeing creative - US press campaign being led by Joe Sivick and Missing Piece Group - Known for their impressive work ethic on the road, the band will be supporting this new album with extensive US touring.
Luke Bryan will be releasing his latest album on August 7th. `Born Here Live Here Die Here' includes the #1 hit "Knockin' Boots" and his current hit single "Whatever She Wants Tonight". Bryan is known for his catchy, chart-topping tracks like ""Country Girl Shake It For Me" which was included in Billboard Magazine's "100 Songs that Defined a Decade" list out last month.
Circles is the sixth and final studio album by Mac Miller. Conceived as a sister album to 2018's full length Swimming, the album was completed with the assistance of Jon Brion, with whom Miller worked on Swimming and had been working together on Circles at the time of his passing. While sonically distinctly different than its predecessor, Circles features many of the hallmarks for which Swimming was critically-acclaimed upon its release -- Miller further realizing his singing voice in addition to rapping, live instrumentation and earnest, confessional lyrical content. Listeners will hear shades of some of the album's influences in its songs, from the T-Rex guitar tone of "Surf" to the Plastic Ono Band-era John Lennon feel of its production and the inspired cover of Arthur Lee's 1972 single "Everybody's Gotta Live." It's a momentous final entry into the discography of an artist that remains at the center of reimagining the limits of rap.
Special 25th Anniversary Commemorative Edition. First time on vinyl! The first soundtrack to one of the mostpopular television shows of all time. Contains great '90s tracks from The Rembrandts, Lou Reed, Pretenders, Hootie & The Blowfish, Grant Lee Buffalo, k.d. lang, Lou Reed, Joni Mitchell, R.E.M., Toad The Wet Sprocket, Barenaked Ladies and Paul Westerberg. Pressed on Hot Pink vinyl. Track list is spread over 3 sides, with a special etching on side 4.
Phoebe Bridgers doesn’t write love songs as much as songs about the impact love can have on our lives, personalities, and priorities. Punisher, her fourth release and second solo album, is concerned with that subject. To say she writes about heartbreak is to undersell her blue wisdom, to say she writes about pain erases all the strange joy her music emanates. The arrival of Punisher cements Phoebe Bridgers as one of the most clever, tender and prolific songwriters of our era.
Bridgers is the rare artist with enough humor to deconstruct her own meteoric rise. Repeatedly praised by publications like The New Yorker, The New York Times, GQ, Pitchfork, The Fader, The Los Angeles Times and countless others, Bridgers herself is more interested in discussing topics on Twitter, deadpanning meditations on the humiliating process of being a person, she presents a sweetly funny flipside to the strikingly sad songs she writes. Fittingly, Punisher is fascinated with, and driven by, that kind of impossible tension. Whether it’s writing tweets or songs, Bridgers’s singular talent lies in bringing fierce curiosity to slimy and painful things, interrogating them until they yield up answers that are beautiful and absurd, or faithfully reporting the reality that, sometimes, they are neither.
Bridgers pulls together a formidable crew of guests, including the Julien Baker, Lucy Dacus, Christian Lee Hutson and Conor Oberst as well as Nathaniel Walcott (of Bright Eyes), Nick Zinner (of the Yeah Yeah Yeahs), Jenny Lee Lindberg (of Warpaint), Blake Mills and Jim Keltner as well as her longtime bandmates Marshall Vore (drums), Harrison Whitford (guitar), Emily Retsas (bass) and Nick White (keys). The album was mixed by Mike Mogis, who also mixed Stranger In The Alps.
On the album’s epic, freewheeling closer, “I Know The End,” Bridgers orchestrates wails and horns, drums and electric guitar into a sumptuous doomsday swirl, culminating in her own final whispered roar. This is Punisher in a nutshell: devastating elegance punctuated by a moment of deeply campy self-awareness.