Music Releases 09-28-18
By most bands’ fifth LP, the sound is pretty set. Parameters established. Refinement dissipated in favor of to-formula execution of what’s worked in the past. Fair enough. All Them Witches go a harder route.
In 2017, the Nashville four-piece offered what might’ve otherwise become their own template in their fourth album, Sleeping Through the War. Also their second for New West Records behind 2015 mellow-vibing Dying Surfer Meets His Maker, it brought a larger production value to dug-in heavy psych blues jamming, with oversight from producer Dave Cobb (Jason Isbell, Sturgill Simpson).
After exploring new ground through their early work on 2013’s Lightning at the Door and 2012’s Our Mother Electricity as well as Dying Surfer, the band had arrived at something new, sprawling, and grander-feeling than anything before it.
So naturally in a year they’ve thrown that all to the Appalachian wind, turned the process completely on its head and gone the absolute other way: recording in a cabin in Kingston Springs, about 20 miles outside of Nashville on I-40, with guitarist Ben McLeod at the helm. Take that, expectation.
The result, mixed by Rob Schnapf (Beck, Elliott Smith, Kurt Vile), is the most intimate, human-sounding album All Them Witches have ever recorded and another redefinition of who they are as a band. Introducing keyboardist/percussionist Jonathan Draper to the fold with McLeod, bassist/vocalist Charles Michael Parks, Jr., and drummer/graphic artist Robby Staebler, All Them Witches’ All Them Witches isn’t self-titled by mistake.
It’s the band confirming and continuing to develop their approach, in the shuffle of “Fishbelly 86 Onions,” the organ-laced groove of “Half-Tongue,” the tense build of “HJTC” and the fluid jam in closer “Rob’s Dream.”
It’s a reaction to being a “bigger” band. To playing bigger shows, bigger tours, etc. From the sustained consonants in Parks’ vocals to McLeod’s commanding slide in “Workhorse” and drifting melancholy at the outset of “Harvest Feast,” All Them Witches is their laying claim to the essential facets of their identity.
And most crucial to that identity is its shifting nature. All Them Witches didn’t get to this point by resting on laurels, and if anything, the urgency of these tracks – fast pushers and sleepy jams alike – is among their greatest strengths.
It’s a rawer delivery, as stage-ready as the band itself, and as ever, it captures All Them Witches in this moment. Is it who they’ll be tomorrow? Who the hell knows? Check back in and we’ll all find out together. That’s the whole idea.
LP will be packaged Die-cut jacket with 2 triangle flaps will have 1 pocket to hold insert. 21 minute Instrumental song, Play , featuring Dave Grohl playing all instruments Other Specifications: Project Update: Recorded at East/West Studios in LA (Concrete and Gold studio) Audio recorded by Darrell Thorp (Concrete and Gold) Project came together to help promote music education in schools
Summer Salt is an Austin, Texas- based rock band of best pals. Self- deemed “coral reef rock ,” Summer Salt delivers a retro blend of bossa nova and 60’s pop with a modern twist. They create the perfect soundtrack for chillaxin’ by the pool. Band mates Matt Terry (vocals and guitar), Phil Baier (bass), and Eugene Chung (drums), and MJ Tirabassi (formerly The Walters), have self- released 3 EP’s and have gained a cult following through touring and a strong online presence.
After his celebrated self-titled 2016 debut, Roosevelt aka Marius Lauber steps outside. While the debut album was deeply rooted in club culture and neon lit Nightmoves, his new album, entitled Young Romance, sees the 27 year-old producer embracing a new found love for bigger, bolder and sunnier pop songs - a fearless leap towards the light with songs that will further establish him as one of the most talented young artists of the day.
News of a previously unreleased recording by any of jazz s 'holy trinity is a reason to get excited. Now two have come along in the space of a few months. For hot on the heel s of Impulse s hit Coltrane release comes this precious lost treasure from prime-era Monk, featuring his most critically acclaimed Quartet. Mønk is a memorable live set (Copenhagen, Denmark) from 1963, featuring among other gems, glorious versions of soon-to-be classics Bye-Ya and Monk s Dream that outdo even the famous studio versions. It's most definitely Monk in is pomp, heralding a year in which Monk would become one of only 4 jazz artists to ever appear on the front cover of TIME magazine. The original tapes, having been saved from a skip, have been faithfully restored, mastered and cut using Gearbox's legendary all-analogue process, making this a treat for audiophiles, enthusiasts, historians and music lovers of all shapes and sizes."