Music Releases 02-14-20
Justin Bieber is ready to give the world insight into events that have taken place in his life over the past four years. From marriage to faith and his new outlook on life, Justin is reflecting on changes he's experienced and the impact they've had on him. "Changes" marks a new chapter in his career. The album hinges on themes of personal growth through life experiences, love and commitment, creatively expressed through music, giving a candid look into his evolution as an artist and human being.
Tame Impala (Kevin Parker) will release his fourth studio album, The Slow Rush, out February 14th on Interscope. Recorded between Los Angeles and his studio in his hometown of Fremantle, Australia, the twelve tracks were produced and mixed by Parker. The Slow Rush is Parker's deep dive into the oceans of time, conjuring the feeling of a lifetime in a lightning bolt, of major milestones whizzing by while you're looking at your phone. Pressed on forest green vinyl
Honeymoon is the excellent debut album from Beach Bunny, the four-piece band out of Chicago. Recorded at the iconic Chicago studio Electrical Audio with producer Joe Reinhart (Hop Along, Algernon Caldwaller), the nine songs on the LP burst with energy that capture their vital and life-affirming live shows. Songs like the swooning and anthemic singles 'Dream Boy' and 'Ms. California' encapsulate the highs and lows the exiting the honeymoon stage of a relationship. The long-awaited debut LP 'Honeymoon' from Beach Bunny follows their breakout hit on Tik-Tok, 'Prom Queen' (65 million global streams, 518K+ TikTok videos). Honeymoon will be released on February 14th, 2020 following a major market tour with festival plays.
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Nathaniel Rateliff has written and recorded his first solo record since the explosive debut of his work together with The Night Sweats. And It's Still Alright, is an intensely personal 10-song album of vibrant country-blues, badland ballads, ornate Americana and jazz-inflected R&B. Rateliff's warm baritone, ranging from gently hushed to a guttural howl, imbues these superbly drawn character studies with raw, naked emotion.
And It's Still Alright was produced by Rateliff, Night Sweats' drummer Patrick Meese and James Barone of the indie band, Beach House and primarily recorded at National Freedom in Cottage Grove, Oregon, the studio formerly owned by the late Richard Swift (who produced both Night Sweats recordings). While Rateliff, Meese and Barone handled much of the album's instrumentation, several friends make contributions including Night Sweats' guitarist Luke Mossman; bassist Elijah Thomson (of the indie band Everest); keyboardist Daniel Creamer (of The Texas Gentlemen); steel guitarist Eric Swanson (touring musician for Israel Nash) and renowned string arranger Tom Hagerman (of the instrumental vocal ensemble DeVotchKa), whose delicate orchestrations beautifully complement the album's deep emotional terrain.
And It's Still Alright's many highlights include album opener ''What A Drag,'' which sketches a vivid portrait of a disconnected relationship, ''Tonight #2,'' a haunting, end-of-the-world waltz, ''Time Stands,'' detailing an epic, desperate struggle for love and the elegiac ''Rush On,'' a heart-breaking requiem for Swift.
Unguarded and unflinchingly real, Nathaniel Rateliff's And It's Still Alright expands on the sounds and styles he's used to great affect across both his band and solo careers. It's a commanding next step in Nathaniel's evolution into one of America's most vital and essential songwriters.
Tennis are an indie pop duo comprising husband and wife Patrick Riley (guitar, keyboards, production) and Alaina Moore (vocals, keyboards). The band wrote their upcoming album on land and sea; on their sailboat traveling around Baja California, Mexico & in their recording studio they built in Denver. Alaina and Patrick were driven to elevate their songwriting & experimented with different instrumentation, time changes, & a focus on lyrical storytelling. The band experienced many life-changing occurrences over the last two years that influenced their writing - from loss to illness and renewed bonds. Swimmer is a single they are releasing in Fall 2019, coming out as the band announces touring dates for spring 2020.
Puss N Boots—the charming trio featuring Norah Jones, Sasha Dobson, and Catherine Popper—have announced a February 14 release date for their second full-length album, Sister.
Sister is a fetching collection of originals written by the band members collectively and individually, mixed with loving covers of songs by Tom Petty (“Angel Dream”), Dolly Parton (“The Grass Is Blue”), Paul Westerberg (“It’s a Wonderful Lie”), and Concrete Blonde (“Joey”). Jones, Dobson, and Popper each take turns delivering lead vocals and also pick up multiple instruments throughout the album trading off on guitar, bass, and drums.
“This band has always been a great adventure,” says Jones. “Sasha and Cat’s fearlessness eggs me on to try new things, be it playing guitar, drums, writing a new way or wearing an elf costume on stage. We feed off of each other’s eagerness to jump in, sink or swim. And singing together feels like the most natural thing in the world. It’s a real privilege to have found this space together, try different things and to watch this band grow into what is at this moment. It is ever evolving and so fun.”
“For me this band has always been an incredible and uniquely safe outlet for trying new things,” adds Dobson. “For example, I’d been writing all year on bass but was too shy to tell anyone, but when Norah asked me if I had anything new, before I knew it we were covering those tunes and I was playin’ bass in the band!”
“We were rehearsing for something and we took a break,” recalls Popper. “I sat at the drums and started messing around, Norah came back and picked up a guitar and riffed, and Sasha picked up the bass, and in an hour we had ‘It’s Not Easy.’ My bandmates just love to make music and it’s been a great learning experience for me about setting my ego aside and taking a chance.”
Portland, OR's Eyelids, one of rock's best-kept secrets, step firmly out from the shadow cast by the band members' pedigrees earned from time spent in GBV, Decemberists, The Jicks and Elliott Smith. Produced by Peter Buck of REM and featuring lyrics written by poet and frequent Tim Buckley collaborator Larry Beckett, The album features a bountiful cacophony of gorgeously shimmering riffs and songs so delectably crafted that all who value the electric guitar as a source of joy should find themselves awash in goosebumps once under this record's spell. A testament to rock's remaining vitality as an art form, Eyelids' fourth album finds the outfit as both stewards of a classic sound (Big Star and REM disciples will fall hard for this project) and accomplished artists propelling their craft to thrilling new heights. The Accidental Falls casts a hypnotic spell over the listener and triumphantly reminds us, hearts fully on sleeves, why we fell in love with rock n roll in the first place.
No one forgets the first time they saw Tami Neilson. She can hush a room with an original song that channels the hurting spirit of Patsy Cline or the sensuality of Peggy Lee, or bring the audience to its feet on a rockabilly raver. She's an artist with real range, whose powerful voice can take on big ballads, golden-age country, heartfelt Gospel, soul-infused R&B, Western swing, even old-style rock 'n' roll. Tami encompasses them all and is a personality-powered cyclonic force of nature in stylishly retro attire, long lashes and a stacked-high beehive. Of her new album's title, CHICKABOOM!, Tami explains, 'I wanted to write an album of punchy little songs, popping firecrackers that, when stripped back to nothing but a guitar, percussion and two voices, would still go boom!' The new collection brings much personal and family history to the table. Tami grew up performing across North America with the Neilson Family Band, working alongside greats such as Johnny Cash, Tanya Tucker, and Kitty Wells. Subsequently, Tami fell in love with a New Zealander, moved to the bottom of the world and began her solo career without the support of the family. Her early records saw her in a self-created territory between mainstream country and alternative country, with awards in New Zealand for albums that added breadth to her 'country singer' label: Best Female Artist, Best Country Album, Best Country Song, an APRA Silver Scroll (songwriting) award and Album of the Year nominations. Her Dynamite! album of 2014 received rave reviews in Britain's MOJO and the Guardian named it a Top 10 Best Country Music Album. Tami's songs appeared on the Netflix series Wanted and the terrestrial TV series Nashville. Tami Neilson's singing and writing is too big to contain, as HMV Canada noted: 'There are singers and then there is Tami Neilson, for whom the word singer just isn't big enough.' The road has now led to CHICKABOOM!, which is something different again, and even more personal. 'In the past year, I started to notice something,' she says. 'The artists I would spend time with backstage at festivals, the ones I gravitated to the most and followed on social media ... artists like the Secret Sisters, Shovels & Rope, Kasey Chambers, Brandi Carlile ... they all had family performing with them. When you tour away from loved ones, it makes a world of difference to have part of your village with you on the road. Not to mention, nothing can come close to that special blend of blood harmonies and silent communication that only comes from being onstage with a person for over 30 years. Family has always been a huge part my music-writing, recording and creating with me, but I wanted family on this project and on the road with me again.' Brother Jay flew to Auckland, New Zealand from Toronto to record a selection of new songs that have unmistakable sibling magic and harmonies. 'I don't think he quite understands what he's gotten himself into but now the album's coming out it's a bit too late. Sucker,' she laughs. And if you've missed Tami before ' on record or in concert ' then you are in for a treat ... and you might not quite understand what you've gotten yourself into either. As we say: you'll never forget the first time you saw Tami.
The sophomore full-length from Post Animal, Forward Motion Godyssey unfolds with a frenetic momentum, mercurial and unhinged and gloriously volatile. In a bold leap forward both artistically and sonically, the Chicago-based alt-prog band sets their existential questioning to a wildly kinetic sound, mining inspiration from genres as divergent as electronic and psych-rock and—at one particularly sublime point—achieving both stoner-metal brutishness and dreamy R&B elegance in the very same instant. At turns rhapsodic and unsettling, meditative and chaotic, the result is anything but subtle: a body of work that beckons deep involvement from the listener, a richly layered experience primed to leave its audience indelibly transported.
New 7" Vinyl: $14.98 Buy
Originally released in the UK on 15th February, 1980 ‘ALABAMA SONG’ was initially written as a poem by Bertolt Brecht in 1925 and was put to music by Kurt Weill for the 1927 play Little Mahogany. David Bowie was a longstanding Brecht fan and included the song in the setlist for his 1978 Isolar II tour.
Creating their own experience of sonic space waves, Tan Cologne feels like diving into a secret pool, where Mazzy Star and CAN surf together on silky waves of sand dunes. Their debut album explores the dynamics of floating, through dreamy double vocals, swirling guitars, and rhythmic woven textures. "Cave Vaults on the Moon in New Mexico is like a new genre of southwestern gothic, Cocteau Twins meeting Wall of Voodoo" - Backseat Mafia
For our second vinyl expedition into the Grateful Dead vaults (having sold out of Dick's Picks Vol. 34), we've landed on one of the most momentous shows in the band's long history: the March 23, 1974 show at the Cow Palace that marked the first appearance of the famous (or infamous, depending on which Dead Head you ask) Wall of Sound concert PA! And, since the calling card of that amplification system was its crystal-clear fidelity, we have taken absolutely no chances with the sound on this vinyl release: the show was mastered from the original analog tapes by long-time Dead engineer Jeffrey Norman at Mockingbird Mastering, and the venerable John Golden (who's cut lacquer for everyone from Sharon Jones and the Dap Kings to Jonathan Wilson to Soundgarden) at Golden Mastering cut the lacquers. It took two rounds of test pressings to run the approval gauntlet of Norman, Grateful Dead archivist David Lemieux, and Real Gone's own Gordon Anderson, so rest assured you're getting the very best vinyl listening experience we can deliver, and the 180-gram vinyl pressing ensures minimum warpage and surface noise. In short, you'll hear the same unprecedented sonic clarity that Bear envisioned when he put together the Wall of Sound PA'and indeed the set includes the note from Bear that accompanied the original CD release as part of the 4-page, full-size, full-color insert that lies inside the color hardshell box containing the four LPs (which are housed inside poly-lined sleeves). Aside from the debut of the Wall of Sound, the 3/23/74 show is notable for several reasons. First, it featured the debut of two songs, 'Cassidy' and 'Scarlet Begonias,' that were to become staples of the band's repertoire. And, second, this show marked the third and last appearance of the 'Playing in the Band/Uncle John's Band/Morning Dew/Uncle John's Band/Playing in the Band' medley, and you can see why'it would be very, very hard to top this performance, which stretched its 'Playing in the Band' segments almost to their breaking point. It's a peak show from a pivotal period in the band's development'and we're only pressing up 1500 hand-numbered copies of this 4-LP set! Once they're gone nothin's gonna bring 'em back'
New York band The Men have always been genre-morphic and unpredictable, but on their eighth album Mercy they have truly done something new as a band. For the first time since forming, they have now created three straight records with the same lineup, and the result is a sound that feels developed and continuous despite running the gamut of mood, in true Men fashion. Having this lineup stability has allowed the band to deepen and finesse the sounds they were exploring on 2017's Drift and produce tracks that have a unique and distinct voice. Mercy was recorded live at Serious Business studio to 2" tape with Travis Harrison. The band did minimal overdubs, contributing to the urgent feel of the recording. The album is simply the sound of a band that has a deep and unjaded passion for songwriting and creation, working at the peak of their collaborative connection. Founding guitarist and vocalist Nick Chiericozzi described the band's process by way of an anecdote borrowed from Jeff Daniels about his time working with Robert Altman: "Daniels said, 'Altman will tell you, 'Now walk through that doorway,' but what he doesn't tell you is that he's got three people walking through the door from the other direction.' Doesn't that sound like a Men record? We've got 'Children All Over the World' saying hello to something like 'Fallin' Thru'. Mercy has a place next to Drift and it's now a distant neighbor to New Moon, Devil Music and the others. It's a wholly contained universe that shares the ash, the birth and the memory; the things motion takes with you after bumping into someone. We hope you enjoy the record and what it brings." Mercy takes the listener on a cinematic journey throughout it's seven tracks, beginning with the soothing but lonesome country rock opener "Cool Water." This track, like many on the record, feels timeless, illustrating the band's ability to write songs you are convinced you've heard before on the B-side of your favorite record from the '70s. You are then pulled into it's longest song, the 10-and-a-half minute psychedelic blues rock opus of "Wading in Dirty Water." The band explore some new territory on Mercy, and they also revisit the Suicide-style sound they have been working on for a while through Drift and also with one of their side projects Dream Police, resulting in the highlight "Children All Over the World," a song that could stand next to any classic rock hit but with The Men's unique artistic savvy. It wouldn't be a contemporary Men record without a total fuzzed-out stomper a la their Open Your Heart-era sound, and this record's offering, "In the Breeze," shows the band's complete command of this urgent and pulverizing style.
The 3X Grammy nominated trio, Highly Suspect, returns with their third studio album,MCID. The genre-transcending body of work features Young Thug, Tee Grizzley, Gojira and Conor Mason from Nothing But Thieves. MCIDis a manifesto narrated byfrontman, JohnnyStevens. The album centers around themes of self-loathing, body image issues, a sprinkle of anti-Trump, false social media worship, heartbreak, and hope.
Produced by Ethan Johns (Paul McCartney, Michael Kiwanuka, Laura Marling, Ray LaMontagne, Kings of Leon, Counting Crows, etc.) 2018 Americana UK Album of the Year Winner 2016 Americana UK Bob Harris Emerging Talent of the Year Winner
On "Quema", as on the rest of Or¡genes, Sotomayor perform Latinx electronic music that is as bold, thrilling and alive as any street party, with a strong sense of roots or tradition. Yet it is also music that is defined by the duo's qualities as songwriters, with a clear knack for melody and dynamics that add a sense of rock `n' roll urgency. They are aided on thealbum by co-producer Eduardo Cabra, who has recently helped push Latin singer/songwriters like Jorge Drexler, iLe and Vincent Garcia.
BRKN LOVE envisions a fresh future for the genre on the band’s 2019 full-length debut for Spinefarm Records produced by Joel Hamilton [Highly Suspect, Pretty Lights]. BRKN LOVE represent a new era for rock music that’s as powerful as it is emotional. The band has already achieved a Top 20 single with “Shot Down” and have toured with Dinosaur Pile-Up, Pop Evil, cleopatrick this year
Vocalist Robin McAuley (McAuley Schenker Group), guitarist Reb Beach (Winger, Whitesnake), bassist Jeff Pilson (Foreigner, The End Machine, ex-Dokken), and drummer Matt Starr (Ace Frehley, Mr. Big) have joined forces in Black Swan, a new band project signed to Frontiers Music Srl. Their debut album, Shake The World, an aptly titled album if ever there was one, is a delightful romp of powerful hard rock that is not simply the sum of its parts, but a powerful rock n roll machine.
'3D Routine' has arrived. Following on from their 'Induction Party E.P', Mush are circulating their own sonic mythology, blurring the lines between abstract surrealism, existentialism and social commentary. Like its predecessor '3D Routine' is a sensory overload of clattering, hooky, guitar work. However, this time space emerges between the onslaughts and in this respite, room is found for new emotional depth. More expansive than ever before, '3D Routine' manages to maintain the rawness of a classic debut but it's experimentation and variety portray a band unlikely to rest on their 'guitar band' chops. Songwriter Dan Hyndman explains the genesis of the band as being 'fairly boiler plate' a combination of friends old and new converging in Leeds post-uni to form a band predominantly united in their mutual affection for the Pavement back catalogue. Finally settling on a lineup of Nick Grant (bass), Tyson (guitar) and Phil Porter (drums) the band's progression has taken them far beyond this original vision. Having garnered local attention in the early days for their unhinged and often calamitous live shows in Leeds, it was the unlikely radio hit 'Alternative Facts', (clocking in at an uncompromising ten minutes) that brought the Mush to the attention of a wider audience. The song, one of the last releases for the legendary Too Pure Singles Club saw early support from Marc Riley and others on BBC 6music with them playing multiple sessions, and the follow up single, 'Gig Economy' hopping onto the 6music playlist. Roaming further afield from their hometown, Mush spent the first half of 2019 heading out around the UK, earning a reputation for their intense live performances, supporting the likes of Girl Band, The Lovely Eggs, Yak, Shame and Stereolab, as well as releasing the 'Induction Party' EP to great acclaim. At the tail end of summer of 2019 Mush headed to Leeds' Green Mount Studio and with Andy Savours (Dream Wife, Our Girl, My Bloody Valentine) manning the mixing desk, their debut LP, '3D Routine' was born. The way in which the album brazenly moves from polished 3- minute punk tracks, to avant-garde spoken word, to sardonic-political funk, whilst sounding like the same band is testament to an uncompromisingly unrefined ethic and compounds the jarring nature of Mush. Together, the songs form a unified, abrasive, emotive, frenetic and entirely beguiling concoction of sound and opinion, a fast-moving snapshot of current times, relatable, politically minded and incredibly personal. Music for those who want their guitars loud and weird, and their political commentary a little less 'on the nose'.
The simple power of Drama's musical expression is matched only by their work ethic. Since 2014, the Chicago-based duo have bootstrapped a subtle rise on their own terms, self-releasing several EPs and mapping multiple tours with Midwestern grit. A multicultural collaboration between producer Na'el Shehade and vocalist Via Rosa, the project plays to the complementary dynamics of their pairing, blurring the lines between R&B and dance-pop, heartbreak and bliss. Following their signing to Ghostly International in 2019, they realize their years-in-the-making full-length debut, aptly titled Dance Without Me, a refined collection that recasts romantic tragedy as moonlit self-acceptance.
It’s been said that you don’t see out the blues – it seeks out you. For guitar virtuoso Albert Cummings, no words could ring more true. Cummings' masterful guitar wizardry has drawn comparisons to iconic axe legends Albert King, Freddie King, Jimi Hendrix, and even his own musical inspiration, Stevie Ray Vaughan. He has graced the stage with such esteemed luminaries as Buddy Guy, Johnny Winter, Susan Tedeschi, Sheryl Crow, and B.B. King, who called Cummings “a great guitarist”. Freshly signed to Provogue Records, Cummings joins the elite ranks of such guitar legends as Joe Bonamassa, Walter Trout, and Eric Gales. Albert Cummings’ new album 'Believe' is available February 14th, 2020 via Provogue Records.
Dave Alvin, Victor Krummenacher (Cracker, Camper Van Beethoven), Michael Jerome (Toadies, Better Than Ezra) and David Immerglück (Counting Crows, Camper Van Beethoven) form the core of this group of seasoned musicians, who have joined forces to take a trip back to the psychedelic folk/rock sound of the late 1960s and early 1970s. They put their own spin on songs made famous by Alice Coltrane, 13th Floor Elevators, Fred Neil and others, plus an original song, Claudia Cardinale,. Turn on, Tune in, rock out!
The Aeronauts features Eddie Redmayne and Felicity Jones (The Theory of Everything) as a scientist and a pilot in an epic fight for survival while attempting to make new discoveries aboard hot air balloon. Composed by the Oscar and Grammy Award-winning composer Steven Price, The Aeronauts soundtrack is Decca's first with Amazon and features "Home To You" by Sigrid. Now available on vinyl.
Real Gone Music grants the wishes of record collectors and TV fans worldwide by releasing, for the first time ever on CD and for the first time on vinyl since its original issue in 1967, the only album Barbara Eden ever recorded! As you can tell from the cover, she made the record at the height of her fame starring in the TV comedy I Dream of Jeannie, her huge break which came after years of appearing in such series as How to Marry a Millionaire, Burke's Law, and Route 66 and in films like 7 Faces of Dr. Lao and Flaming Star (opposite Elvis Presley). So, one could be excused from going into this album thinking that Barbara's chops were more on the acting than the musical side. But she got her start performing while singing in the church choir, and studied at the San Francisco Conservatory of Music long before the camera found her. She subsequently headlined on stage in Las Vegas and appeared in TV music-variety shows and specials as well. So, Miss Barbara Eden is not just a highly sought-after curio from the long career of a TV icon but an irresistible pop platter in its own right! With Bill Justis conducting and arranging, and songs by Bill Anderson and Ted Daffan among others, there's a little bit of a country tinge, but it's definitely not of the cry-in-your-beer variety as Barbara keeps things light and lissome while offering plenty of personality along with the pipes. For our money, the stand-out track is the last one, 'Bend It,' which belongs (complete with sitar'it is 1967, after all!) in the bubblegum hall of fame right up there with 'Yummy, Yummy, Yummy.' Our CD reissue includes copious photos and notes by Joe Marchese with fresh quotes from Barbara herself, while our LP reissue comes in pink vinyl limited to 1000 copies. One more note on the LP: we're releasing it at 45 r.p.m. to ensure maximum fidelity to 'the master' (wink, wink). Remastered by Mike Milchner at SonicVision'another Real Gone find!
Exploring an entirely new and original sound, Mackenzie Nicole partners with producer Michael "Seven" Summers to chronicle an odyssey of mental breakdown and recovery in her sophomore album Mystic. From deep cuts like "A Cut Rose in Tap Water" to the more ethereal "The House above the World", Mystic is the premiere of Mackenzie's full artistic freedom and creative control as a lyricist and vocal performer. Accompanied by 12 music videos, Mystic will also build to a high-end production short-film
Austin-based Star Parks have received recognition from Paste Magazine, Daytrotter, Austin Chronicle and KUTX. Their sophomore album, The New Sounds of Late Capitalism was recorded with Danny Reisch (Shearwater, Other lives), and is a record about alienation, dissatisfaction and postmodernism. Reisch played a pivotal role in helping the band shape the sound of the new album, which is an attempt to reproduce a time where studios could employ dozens of musicians and keep orchestras on hand.
2020 release. Some artists need smoke and mirrors. All Jeremiah Johnson needs are songs. In the age of manufactured pop, the acclaimed St. Louis bandleader is a beacon of time-honored songcraft, writing on acoustic guitar, digging deep for raw lyrics and insisting on studio production that bottles the sweat of his shows. The approach might sound old-school, but on Heavens To Betsy, the result is some of the most vital music of the new decade. Heavens To Betsy is another bold creative leap for an artist on fire. It's been just two years since Straitjacket hit #6 on the Billboard Blues Album chart and scored rave reviews across the board (Blues Blast: "This is grade-A primo stuff"). It was the cherry on top of Johnson's triumphant early career, following up 2014's Grind, 2016's varied Blues Heart Attack, and the confessional Ride The Blues documentary. But while Johnson is rightly proud of that early catalogue - and still serves up house-rocking takes on the Straitjacket material each night - he's always kept one eye on the horizon.
The impact of southern CA's Suicide Silence on extreme metal is undeniable. Since the band's inception in 2004 and the subsequent release of genre defining tracks like "You Only Live Once", "Unanswered" and "You Can't Stop Me" Suicide Silence took deathcore to enormous crowds selling hundreds of thousands of records and playing enormous stages around the world. (bone/black splatter)
“Our thing is incorporating rhythms from a wide variety of African Diaspora sources. This album in particular is darker than the previous two.”
“TropiFunk from Los Angeles” TropiFunk is an actual sub-genre we have been building and practically trademarking over the past 9 years and we feel it rings true to what our music and vibe is.”
“The album opens with “Quémalo”, a fuzzed out and psychedelic Pilón (the Cuban musical genre, not the coffee brand) inspired ode to the great Cuban Funk master himself, Juan Pablo Torres. As the name implies, it is a burner meant to clear the way for new and funky forms of musical expression.”
“The second track, “Pico Union” is inspired by the neighborhood where Jungle Fire rehearses and creates their music. With its swirling guitar lines straddling the lines between Peruvian Chicha and experimental video games, heavy drum feel and floating bass lines, the tune pays homage to several of the cultures which share space just a mile south of where Fela Kuti and Sandra Izsadore met in 1969.”
“‘Biri Biri’, which in part takes its meaning from the Yorubá phrase meaning “that which spreads”, is a happy union between a bouncy Afrobeat-esque rhythm with synth and dub flavoring that has proven to be a stimulating force in the dance floor for the band’s most recent performances in California.”
“‘Masa’ takes its name partly from the band’s love of Southern Mexican tamales, a staple of many establishments in Pico Union, and is dedicated to a Japanese masa loving audio engineer friend of the band, Masa Tsuzuki. Much like the nature of the food that inspired its creation, “Masa” is a tasty offering of Pilón, Cumbia and Funk dough wrapped in psychedelia, polyrhythms and strong horn melodies.”
“‘Slipshot’” follows with a palate-cleaning dose of Angeleno TropiFunk and space-loving spring reverb laced musical turns.
“For listeners who purchase the vinyl version of the Album, expertly mastered by JJ Golden of Golden Mastering, Side B begins with the moody call to action titled “Emboscada” (Spanish for “Ambush”). Like its name implies, it is sure to surprise the listener with cinematic rhythmic twists and turns, as if Black Sabbath’s Bill Ward and Latin Funk legend Ray Barretto were sharing a groove comfortable to both.”
“‘Smash & Grab’ is a blistering mash up of sped-up Boogaloo, West African inspired rhythm guitar lines, slowed down Drum ‘n Bass and jaw shattering horn lines, setting up the tension/release with “OscilLAdope”, which marks the only time Jungle Fire has incorporated a non-live instrument (a filtered synth sequence) into its music. This tune spawned a whole EP of synth inspired explorations to be released at a later date.”
“The Afro Disco and Psych Rock sounds of “Atómico” are a nod to the dance floor burners of Jungle Fire’s debut LP and have proven to be a great set closer and/or encore during the band’s most recent club performances.”
“The album’s closing track “Consider This” pays homage to Rod Serling and came about during a musical exploration inspired by the copious amounts of DVDs labeled “Consider This” circulating the City of Angels at the end of 2018 while the band was immersed in its first group venture into film scoring. It is a likely approximation to what would happen if they would ever score an episode of the legendary TV show, Twilight Zone.”