Robbie Fulks‘s storytelling through folk and bluegrass music on Upland Stories delivers the quieter, sometimes unsettling truths of humanity.
Coming of age in the 1960s and 1970s in Virginia and North Carolina, at the edge of the broad “upland” region referenced in the record’s title, provided depth and detail for Fulks’s songs about the mysteries of memory, the vanishing of cherished things, and the struggles of everyday life. Robbie tries to make songs that offer more than verse-chorus-hook: songs that have space, calmness, unresolved tensions, and the hallmarks of lived experience. This sort of complexity is displayed in “Fare Thee Well, Carolina Gals,” an intimate folk song from the perspective of a man who has let life’s possibilities pass him by, and in “Never Come Home,” in which a sick man returns to spend his last days among an unwelcoming clan of pious, hard-bitten East Tennesseans.
Available from Bloodshot Records April 1 (pre-order is up now).
Available for pre-order now (released 04/05/2016): DJ Vague – Restoring Nature. Drones created by Government Engineers, financed by the elite, built to keep the people in line ultimately rebel against their makers. A battle raged for decades until the drones decided to strike a deal with their once great overlords. The deal would allow the drones to continue to help with the enslavement of the lower rankings of mankind. In return, once the last of the elite left the planet to their new home, the Drones would begin to terraform the planet back to its original form of chaotic nature, ridding the planet of humans, technology and AI of any kind. Thus, Restoring Nature. There is another deal happening… one kept hidden and in silence that will forever change the history of the ANARCHOSTAR.
Darren Keen has been performing for over ten years under the monikers The Show is the Rainbow, Touch People, and now his given name. His new album, He’s Not Real, continues to explore Footwork, Juke, Bass, and African polyrhythms, merging these various forms with the ease of a master producer and lifelong dance-music aficionado. Minimal in execution but complex in it’s composition and forward motion, He’s Not Real functions as thrilling club music while sitting on the edge of the avant-garde’s recent fascination with rhythm and deep bass. Available from Orange Milk Records.
Pittsburgh’s Old Head returns March 19 at The Brillobox! Get there early for Terry & The Cops and Outsideinside.
Featuring Modey Lemon’s Phil Boyd and Jason Kirker, along with bassist Bill Wehman and Mike Layton, the band’s brand new self-titled release via Omentum Records is officially available at the show.
Austin-based darkwave metal trio Troller is proud to announce their second LP, Graphic (out 4.8.16 on HOLODECK). The music video for “Not Here,” the first single off of the new LP, premiered on FACT Magazine recently. Despite the underground success of the critically acclaimed 2012 self-titled debut, Graphic manages to eclipse the broad appeal of the first record’s addictively ominous pop anthems. Troller’s focus on layered composition and biting sound design has resulted in a highly developed work that embodies the band’s unique raw form while raising the benchmark on fidelity and experimentation. Graphic arrives perfectly unhinged and hideously sophisticated, reinterpreting familiar elements from their debut LP, and propelling the trio’s provocative sensibilities explicitly further.
Holodeck is excited to announce its official 2016 SXSW showcase, which will take place at Lucky Lounge in Austin on Friday, March 18th. The lineup features heavy-hitting Holodeck artists, including Troller, SSLEEPERHOLD, Dylan Cameron, Samantha Glass, and Bill Converse, as well as New Orleans synth duo ((PRESSURES)). The night will be headlined by Inhalt, a Bay Area-based darkwave band.
The rare 1983 Minas (Orlando and Patricia) record – Num Dia Azul takes Brazilian and American roots to create a sound that is fresh and innovative, from ballads tinged with melancholic traits of Blues and Choro, to Folk coasting on the subtle coolness of a Bossa Nova pulse, to upbeat Sambas elaborated with instrumental jazz improvisation, scat singing and whimsical whistling.
A rare look into the discotheque era of Waikiki, Al Nobriga’s “My Last Disco Song” tells of a time when nightclubs lined Kalakaua Avenue and practically every hotel hosted live entertainment. Seven days a week, locals rubbed elbows with visitors in discos like The Point After, Cock’s Roost, Garden Bar, Infinity, Duke Kahanamoku’s, Foxy Lady Too, Valentino’s, Hawaiian Hut—the list goes on.
In the years following the release of Al Nobriga with Island Company’s LP, They’re Playing My Music, a massive shift in Waikiki’s tourism industry began. More and more nightclubs closed their doors or hired duos and disc jockeys to entertain guests. The venues that once lined Kalakaua Avenue eventually gave way to newly constructed luxury shopping centers, a trend that continues into the 21st century.
Nobriga offers a poignant escape from what would soon become decades of ongoing development in Waikiki. Not just another yacht rock tune, “Break Away” carries the listener to a place where one finds enlightenment in the tropical winds and cool ocean blue, far from the concrete jungle of Honolulu.
Failure Records & Tapes is pleased to announce the release of What Is This Some Kind Of Joke? from heralded songwriter Jack Logan and The Roach Brothers . The full length LP will be available as a limited pressing of 300 multi-colored vinyl discs. The first 50 records sold will come with limited edition Jack Logan buttons and stickers.
Psychic upheaval through art! Break Open the Head is the follow-up to Suit of Lights‘ critically-acclaimed Shine On Forever, which was included in “Top Albums of the Year” lists from Brooklyn’s The Big Takeover to the UK’s Instrumental. Pre-order is up!
Lilting melodies, including a shimmering cover of Eduardo Mateo’s ‘Mejor me voy,’ infused with an undercurrent of bossa nova and the drowsy, faded memory of sun-drenched islands. All of this melodic loveliness is made ever-so-groovy in an Afro-Cuban sort of way thanks to a mighty contribution from world famous percussionist Jorge Trasante, Totem drummer Roberto Galletti, and Limonada drummer José Luis Sosa. Pippo Spera had come into the orbit of Uruguayan master Eduardo Mateo back during the days of El Kinto (one of that band’s finest songs is about a visit by Mateo to Pippo’s house). From 1967 to 1970, Pippo concentrated on studying classical guitar at the Conservatorio Nacional of Uruguay, until the military dictatorship closed the school.
So, Pippo started his songwriter career, which culminated in 1975/1976 with the recording of “A Buen Puerto.” As Pippo says, “It was a beautiful experience to me. I had the help of the best musicians in town, they were like brothers. At that time in Uruguay, nobody used to get money to perform in a recording studio; for the musicians it was a pleasure, it was just love of art…” After the release of this LP, Pippo decided to leave a Uruguay oppressed by a brutal dictatorship. He sailed to Brazil in a ship much like the one hovering behind him on the “A Buen Puerto” album. Brazil was indeed “a good port” for Pippo—he became friends with many of the best Brazilian musicians of those years: Milton Nascimento, Geraldo Azevedo, Renato Rocha, and Alceu Valença, and ended up writing for and playing on Nascimento’s “Clube da Esquina 2” album.