Some forty years into one of music’s most impactful partnerships, Tears For Fears have arrived together at The Tipping Point – the group’s ambitious, accomplished and surprising first new studio album in nearly two decades. An inspired song cycle that vividly recalls the depth and emotional force of the group’s earliest triumphs, The Tipping Point is the bold, beautiful and powerful sound of Tears For Fears finding themselves together all over again.
Like pausing a VHS tape, music freezes the frenetic motion of daily existence. Even if just for an instant, it calms the feedback loop of routine, engages respite, and provides perspective. Siphoning guitar transmissions and a dynamic vocal push-and-pull through a lens of cinematic production, Lo Moon deftly balance expansive soundscapes and eloquent songcraft. The Los Angeles based quartet—Matt Lowell, Crisanta Baker, Sam Stewart and Sterling Laws - ultimately use music to make sense of each day on their sophomore offering, A Modern Life [Strngr Recordings/Thirty Tigers].
“It’s about survival’’ observes Matt. “Navigating through all that’s thrown at us. Maintaining who we are and where we want to be. Music itself has been so powerful for us in our own survival, it can change everything in an instant. As a band, we’ve got a lot of reverence for it and strive for it. We don’t take it for granted.”
They never have either…
In 2016, Lo Moon materialized as a fan and critical favorite with the buzzing “Loveless.” It paved the way for their 2018 self-titled full-length, Lo Moon, which NPR hailed as ‘’shimmering, immersive and otherworldly. As intimate as it is anthemic’’. Meanwhile, Variety attested, “It possesses a rare balance of pop-inflected songwriting and dense atmospherics that hold each other in check rather than clashing.” Beyond acclaim from The New York Times, NPR, Los Angeles Times, The Sunday Times, NME, Noisey and more, Billboard named them among “10 Rock & Alternative Artists to Watch.” Between amassing over 50 million streams, the band performed alongside The War On Drugs, Glass Animals, Phoenix, and Air in addition to gracing the bills of Governors Ball, Lollapalooza, SXSW, All Points East and more. The group also made their late-night television debut on Jimmy Kimmel LIVE! followed by The Late Late Show With James Corden.
Following a tour with CHVRCHES, the musicians entered the studio with producer Yves Rothman (Yves Tumor, Miya Folick) to record what would become the next body of work. Various elements fell into place as they also officially added Sterling to the fold in the studio. Their old friend Chris Walla (Death Cab For Cutie), who co-produced their debut, eventually joined them for some of the finishing touches.
In the end, Lo Moon might just inspire you to enjoy A Modern Life a little more.
‘’The journey of making a record is always winding, every artist will tell you that. We found that all we needed was the connection to each other and the commitment to believe in the music and emotion in the four of us. Great art has the ability to transform, and transport and we know how powerful that can be. We hope this record does that for you and can’t wait to play it live. That will be the moment this journey feels truly complete.’’ says Matt.
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Dashboard Confessional’s ninth studio album, All The Truth That I Can Tell, is both a remarkable renewal and fortunate step forward for the band’s songwriter, front man, and founder, Chris Carrabba. All The Truth That I Can Tell stands among Carrabba’s finest – a strikingly potent musical look at himself through a rediscovered keyhole, both an achievement of vision and a vital burst of artistic clarity; less like reading someone’s diary and more like reading their eyes.
All The Truth That I Can Tell is available exclusively at participating indie retailers on “Cold Night” transparent dark blue/green vinyl.
Once Twice Melody is the 8th studio album by Beach House. It is a double album, featuring 18 songs presented in 4 chapters. Across these songs, many types of style and song structures can be heard. Songs without drums, songs centered around acoustic guitar, mostly electronic songs with no guitar, wandering and repetitive melodies, songs built around the string sections. In addition to new sounds, many of the drum machines, organs, keyboards and tones that listeners may associate with previous Beach
House records remain present throughout many of the compositions.
Beach House is Victoria Legrand, lead singer and multi-instrumentalist, and Alex Scally, guitarist and multi-instrumentalist. They write all of their songs together. Once Twice Melody is the first album produced entirely by the band. The live drums are by James Barone (same as their 2018 album, 7), and were recorded at Pachyderm studio in Minnesota and United Studio in Los Angeles. For the first time, a live string ensemble was used. Strings were arranged by David Campbell.
The writing and recording of Once Twice Melody began in 2018 and was completed in July of 2021. Most of the songs were created during this time, though a few date back over the previous 10 years. Most of the recording was done at Apple Orchard Studio in Baltimore. Once Twice Melody was mixed largely by Alan Moulder but a few tracks were also mixed by Caesar Edmunds, Trevor Spencer, and Dave Fridmann.
“I’m starting to realize that being an outlier and a weirdo––it doesn’t have to be a bad thing,” says Sarah Shook. Shook pauses, then adds with a grin, “It can be whatever you want it to be.”
Shook is home in North Carolina, talking about Nightroamer, the hotly anticipated new album from their band, Sarah Shook & The Disarmers. Backed by white-knuckle playing from Eric Peterson on guitar, Aaron Oliva on upright bass, drummer Jack Foster, and Adam Kurtz on pedal steel, Shook has pulled from Hank Williams, Elliott Smith, the Sex Pistols, and Shook’s own inquisitive, open, outlying self to create pop-savvy, honky-tonk punk that’s both an escape and a reality check––a re-opened wound and a balm. Relationships and life-changing realizations are dissected with honesty and humor, three tight minutes at a time.
When Sarah Shook & The Disarmers released Sidelong four years ago, the irreverent quintet’s debut turned heads around the world. Then 2018’s follow-up Years hooked everyone from Rolling Stone to Vice. “This ain’t no country for hipsters or posers,” said No Depression. “It’s real, raw, mean-and-evil-bad-and-nasty bidness.” Then, the first two albums turned into a tease: The pandemic shut down the world, just as The Disarmers finished recording Nightroamer in Los Angeles. The band has had to sit on the album––until now.
Nightroamer is worth the wait. This is still a band whose recordings beg to be heard live, either in a punk-rock hole in the wall or honky-tonk roadhouse. Shook’s voice is crystalline––but boozy, too, with a cadence that sounds comfortable resting in the pocket before lagging, jumping, or cozying up to the offbeat. What initially may feel like a slip is actually a stroke––and listeners cannot get enough.
Produced by Pete Anderson, Nightroamer is the confident next step fans hoped The Disarmers could take. “I think this record is different than ones we’ve done in the past. It feels every bit as expansive as I wanted it to feel,” says Shook. “I didn’t want there to be a shocking, jarring difference, but I definitely wanted it to feel like things are opening up. It’s a bigger feeling experience.”
Asked what they hope listeners experience, Shook is clear. “Music is one of the ways we can connect to other people,” they say. “That’s my hope: That people feel seen and they feel connected to something that brings them a sense of peace.”
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“I was born in the North Carolina mud,” says Jamil Rashad, better known as Boulevards, one of the most idiosyncratic artists making music in the Tarheel State. His fourth album, Electric Cowboy: Born in Carolina Mud, is caked in the soil where he grew up, mired in the muck of this place—not stuck but freed. Grounded in personal experience and haunted by personal demons, Electric Cowboy is an album that reaches out, that embraces the world, that mixes the confessional and the communal. But the dominant sound—the dominant mindset—is funk: gritty, warm, weird, charismatic. Rashad once again composed and recorded with Blake Rhein, guitarist for Durand Jones & the Indications, after they had worked so well together on 2020’s Brother! EP. They corralled an all-star team that included Adrian Quesada from the Grammy-nominated neo-soul act Black Pumas and Colin Croom from the Chicago indie-rock outfit Twin Peaks.
“On Electric Cowboy I wanted to make some modern funk that the kids would enjoy, but still have some soul elements and some punk elements. On the cover you see a black man on a horse running away from his demons. That’s me. You can hear it all in the songs – struggling with demons and still coming out on top of it all. That’s what funk is! You got some heavy, dark shit, but you also got some joyful compositions, funky basslines, dope harmonies, infectious hooks. So that’s me on the cover, the Electric Cowboy, slaying anything that comes in my path. I gotta keep riding, keep trucking, keep fighting, keep pushing.”
Priscilla Block draws listeners in with her unfiltered, relatable songwriting and catchy melodies. "I love writing about real-life experiences and the ups and downs that I've gone through," Priscilla says. "I don't sugarcoat anything, and I think that's the beauty of songwriting and being an artist. It's a little sass, a little trash and a little sad," she describes with a knowing wink as her catalog rolls easily from heartbreak to laughter. Features the Country radio hit, "Just About Over You."
Minneapolis indie pop rebels Hippo Campus return with their third full-length, LP3, on February 4th. Their strongest and most complete work yet, LP3 is a freshly-inked portrait excavating young adulthood, identity and, more importantly, how that personal identity fits into a larger camaraderie.
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Exclusive to Indie Retailers. Give Me The Future, Bastille's wildly-ambitious new album, is a tribute to tech times and a glimpse of what could be to come. Exploring both the opportunities of new technology and the dark side of lives lived online, it's as playful as it is thought-provoking, as dystopian as it is dancefloor-friendly and as electronic as Bastille have ever been. Executive produced by Ryan Tedder, Give Me The Future by Bastille will release on February 4, 2022. The following Bastille album will be released on 2/04/2022. The color of this vinyl is ORANGE.