{"title":"New Releases","description":"","products":[{"product_id":"bad-bad-hats","title":"Bad Bad Hats \"Bad Bad Hats\" 12\"","description":"\u003cp\u003eThe Minneapolis, Minnesota duo Bad Bad Hats are named after a little-known song from “Madeline,” a beloved children’s book series about a mischievous young girl and her yellow-clad classmates. Founded by singer\/songwriter Kerry Alexander and guitarist Chris Hoge, the band traffics in similarly playful concepts and warm scenes of youth. Bad Bad Hats are celebrated for crispy, lived-in melodies, big choruses that stick for days, and an easy musicianship that carries across their eclectic, wide-ranging releases.\u003c\/p\u003e\n\u003cp\u003eThe band's lead singer Kerry Alexander grew up between Tampa, Florida and Birmingham, Alabama. As a child, she was a student of the glossy MTV pop that defined the early 2000s, as well as the David Bowie and Tom Petty CDs her parents would play while making dinner. Singer songwriters like Alanis Morissette, Kim Deal, and later, Michelle Branch, were an early inspiration for Kerry: after discovering songwriting as a profession while watching American Idol, the young teenaged Kerry began filling binders with songs, planning to one day write hit records for stars.\u003c\/p\u003e\n\u003cp\u003eAs her confidence grew, Kerry began testing her performance chops at open mic nights, and eventually began sharing demos on Myspace, where she first connected with Chris Hoge, a savvy guitarist and classmate at the small liberal arts school Macalester College. The pair’s chemistry was undeniable, sharing common tastes in songwriting and sound, and they flourished creatively--and, soon, as a couple. They refined demos together and gigged around the Twin Cities, where they received consistently strong responses from friends who’d come to their shows. Soon, Kerry and Chris were assembling their first EP, \"It Hurts,\" and catching the ear of local indie labels. After fleshing out the line up with bassist Noah Boswell, Bad Bad Hats was officially born.\u003c\/p\u003e\n\u003cp\u003e\"Psychic Reader,\" BBH’s debut LP, arrived in 2015. Led by the ebullient single “Midway,” the album highlighted the band’s cinematic sound, punchy rhythm sections, and Kerry’s heart-aching vocals. With \"Psychic Reader,\" the band expanded their audience beyond local Twin Cities venues, as their music spread organically via college radio and shared links. New fans seemed to discover the music daily, their growth coincided with a renaissance in young bedroom musicians via streaming through the 2010s. With their follow up full length albums “Lightning Round” (2018) and “Walkman” (2021), Bad Bad Hats expanded their sound and look, with hilariously DIY music videos that cast the band as ice hockey players, Elvis impersonators, secret agents and more. In the years since their initial noodling around St. Paul, Bad Bad Hats have toured globally with peers like The Beths and Hippo Campus, and storied acts like The Front Bottoms and the aforementioned Michelle Branch, who picked them up for her 2022 headlining world tour. It was a full-circle moment for Kerry, one that she made clear on stage at each show.\u003c\/p\u003e\n\u003cp\u003eLast January, Kerry, Chris, and longtime bandmate Con Davison cozied up under frigid winter in Chris and Kerry’s Twin Cities home, writing and recording their latest, self-titled LP. Each day for two weeks, Kerry would make sandwiches for lunch (tuna salad on Tuesdays), and the crew would get to work in the basement home studio, stacked to the brim with gear. The group recorded more quickly than usual, and even incorporated a few songwriting prompts sent in directly from their fans as jumping-off points. Where BBH are typically known for big song topics like love and heartache, Kerry took to smaller ideas this go round—included are songs inspired by parking tickets, scorching Tampa grocery store lots she remembered from her youth, and other autobiographical scenes woven into dancefloor-ready numbers.\u003c\/p\u003e\n\u003cp\u003eToday, Bad Bad Hats are back to their founding duo, and their upcoming record is the band’s first time self-producing, with a freewheeling, pristine tone and several unexpectedly funky turns. 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We have started work on another project: Let’s Swarm Smith! The Brooklyn, Lower Manhattan and Louisville Fiddle\/Mandolin Swarm. Regarding Let’s Swarm Smith!––after seeing Jenny Scheinman perform her violin magic with Bill Frisell, I talked to her about that sound that happens when a minimum of three or even more violins play together. “Yes,” she said, “The Swarm. Like bees.” “Yes,” I said. “Perfect! That’s the word I’ve been looking for!”\u003cbr\u003eHence our albums Holiday for Strings, The Brooklyn and Lower Manhattan Fiddle\/Mandolin Swarm and the upcoming Let’s Swarm Smith!, which will mainly be a trad-yet-modern take on the seven fiddle tunes on the Harry Smith Anthology, which to me remains the best collection of fiddle tunes I’ve ever heard. Seven songs were not enough for an album, so we will be rounding out Let’s Swarm Smith! with some cool surprises. 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A bouncy opening bassline acts as a springboard for a rush of guitars as Road launches into a rapid fire snarl of lyrics. Road describes Tragic Bullshit as a “fuck the world, everything sucks, let’s run away together” song, and the band attacks with the reckless abandon of a powerful crush. Nuts4Nuts dives deeper into the specifics of the “bullshit” that defines these relationships. Painting a picture of an early Covid New York, Nuts4Nuts looks out at a suffering city and finds hope in the people. Half of the song was written pre-covid, inspired by the New York queer-core scene, paying tribute to the strong sense of community Road felt.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eSonically, Choked Up draws a heavy influence from 90’s East Bay punk and pop-punk, but Road’s appreciation for the emotive pop of her youth, including Selena, Cyndi Lauper, and Shakira, is a subtler force, present in the record’s more hopeful moments. Working with producer Jade Payne, the band sought out a raw garagey sound, capturing the energy of the new lineup. There are two solo tracks snuck between the full force of the four piece band, the reflective serenade “In Your Dreams” and the snarky self-titled closer “Choked Up”.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eThough Mala Lengua draws on a baseline of righteous anger, a love for community shines through despite the “bullshit”. Equal parts love and frustration, Choked Up epitomize the spirit of pop-punk on these songs, creating something that is simultaneously dejected and hopeful.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003c\/span\u003e\u003cspan\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003cbr\u003e1. Tragic Bullshit\u003cbr\u003e2. Nuts 4 Nuts\u003cbr\u003e3. Direct Communication\u003cbr\u003e4. In Your Dreams\u003cbr\u003e5. Cascarilla\u003cbr\u003e6. Jersey Turnpike (N.O.T.A.F.L.O.F)\u003cbr\u003e7. 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While her illustration allows her the opportunity to express frustration with an unjust status quo, her music captures the parts of life that happen in between politics. Feeling pigeon holed into the themes of her visual art, Road explains “its an annoying task to be expected to be a certain way because you’re a woman or you’re latina or you’re queer”. Choked Up pushes against that expectation by making simple, catchy pop-punk rooted in everyday feelings.\u003c\/p\u003e\n\u003cp\u003eThe bands 2019 debut “Dichoso Corazon” is a love letter to the broken hearted, grappling with the experience of falling in love while falling apart. Road affirms her right to write personal, emotional music that is distanced from her political perspectives, noting that her largely white, male punk predecessors were afforded the luxury of writing about love and heartbreak. “Feelings are important. We love Jawbreaker, we love Selena. Why can’t I have fucking feelings?” Road asks. While Road’s identity does not drive the band politically, it shines through as “Dichoso Corazon” swiftly shifts between English and Spanish.\u003c\/p\u003e\n\u003cp\u003eSonically, Choked Up draws a heavy influence from 90’s East Bay punk and pop-punk, but Road’s appreciation for the emotive pop of her youth, including Selena, Cyndi Lauper, and Shakira, is a subtler force, bubbling up through hardened punk grooves in the vocal hooks of “Callin’ Me” and “Water Signs”. At the time of Dichoso Corazon’s original release, Choked Up’s lineup included Wes Ruiz and Rachel Alicia of Baby Got Back Talk and Gibbons, as well as bassist Rose Bomberg, and while it isn’t a formative influence in Road’s songwriting, the rest of the band’s interest in 2000’s emo became another ingredient in the band’s sound.\u003c\/p\u003e\n\u003cp\u003eTwo tumultuous years out from it’s initial release, Dichoso Corazon is being reissued on CD in celebration of Choked Up’s signing to Don Giovanni Records. For Road, who has often been seen as primarily a visual artist, this carries a special significance, an acknowledgement that she has just as much to offer the world as a musician as she does as an illustrator.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003cbr\u003e1. Nosebleeds\u003cbr\u003e2. Peo Atravesado\u003cbr\u003e3. Venus In Aries\u003cbr\u003e4. Last Night at Hey Queen!\u003cbr\u003e5. Home\u003cbr\u003e6. Callin' Me\u003cbr\u003e7. Water Signs\u003cbr\u003e8. Dichosa Vida\u003cbr\u003e9. Broken4Broken\u003cbr\u003e10. Lomas Y Chisme\u003cbr\u003e11. Self Care? Dont Care...\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e\u003cstrong\u003eCredits:\u003c\/strong\u003e\u003cbr\u003eRecorded February 2019 at Sonic Iguana Studios Lafayette, Indiana Produced,Mixed \u0026amp; Mastered by Mass Giorgini Assistant Engineers Sean Rose \u0026amp; Cameron Forbes Art \u0026amp; Layout By Cristy C. 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Like medusae, this interaction can be both frightening and fascinating.\u003c\/p\u003e\n\u003cp\u003eThe musical improvisation features Video Interactive VST Orchestra (VIVO), an innovative computer system capable of responding musically to an interplay, without it having musical knowledge. VIVO is simple yet effective, like a medusa.\u003c\/p\u003e\n\u003cp\u003eIt’s an exploration of dialogue between Italian and African American, between man and\u003cbr\u003ewoman, between computer scientist and intuitive improviser. The project creates sonic realms for intellectual and spiritual challenges and discoveries.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eNicole M. Mitchell\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eis an award-winning creative flutist, composer, bandleader and educator. She is perhaps best known for her work as a flutist, having developed a unique improvisational language and having been repeatedly awarded “Top Flutist of the Year” by Downbeat Magazine Critics Poll and the Jazz Journalists Association (2010-2017). Mitchell initially emerged from Chicago’s innovative music scene in the late 90s, and her music celebrates contemporary African American culture. She is the founder of Black Earth Ensemble, Black Earth Strings, Sonic Projections and Ice Crystal, and she composes for contemporary ensembles of varied instrumentation and size, while incorporating improvisation and a wide aesthetic expression. 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Blending the Native American spirit of December Wind with Healing Messages for the Spirit of Humankind.\u003c\/p\u003e\n\u003cp\u003eEmbarking on their New Journey with their strong influence of Native American Culture addressing spirit issues and strength of the Native Peoples of today! With over 2000 songs to his credit this 2-time Multi nominated Award winning Folk artist and his band has shared the stage with Meryl Haggard, George Jones,Aerosmith, Foreigner, Carrie Underwood and many other great artists! This prolific songwriter has touched so many with the beauty of his songs, and in fact saved the life of a woman from Pittsburgh,PA who sought him out to thank him in person, about a time she stood in her kitchen, on a chair, with a rope around her neck and their music came on the radio. And she sought out help. A group of inmates at San Diego State Prison sent them hawk feathers and said that their music had set them free! 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Bains and the Williamson brothers can also be found collaborating with artists like Lonnie Holley and Swamp Dogg, lending their bombast to truck-bed protests of Donald Trump and Roy Moore, playing benefit shows for striking Alabama coal miners and Southern Black LGBTQ liberation organizations, and presenting gospel-music live streams for Birmingham and Atlanta food banks.\u003c\/p\u003e\n\u003cp\u003eWhile the Glory Fires have spent a decade propagating what the New York Times calls “pandemonium with a conscience,” in recent years, as the band drove their 400,000+-mile van between shows, they found themselves listening to records that were more produced, arranged, and textured than their own past work, to records that struck them as timeless and immense, ones that invited you in, to get lost in the details. 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They contacted Athens, Georgia’s David Barbe, whose work with the Drive-By Truckers, Sugar, Son Volt, Vic Chesnutt and countless other artists has earned him a legendary reputation amongst Southern independent rockers, and they agreed to set about bringing this vision to fruition. After months of recording demos with John Paul Foster in Montevallo, Alabama and going over arrangements with Texas punk stalwart Tim Kerr, who the band calls their “coach,” the band decamped to Athens to record with Barbe at Chase Park Transduction in December of 2019. Soon after laying down the initial tracks, the COVID-19 pandemic erupted, and the usually hard-touring trio soon found themselves at home with yet more time to consider, flesh out, and arrange this new batch of songs. The result is an album whose levels of dynamics, nuance, range, and intimacy are new for the band. Enriching those explorations are kindred musical spirits like pianist Thayer Sarrano, organist Jay Gonzalez (Drive-By Truckers), singer Kym Register (Loamlands), horn players William Washington and Theresa May (Mourning A BLKstar), and string arranger Annie Leeth, whose idiosyncratic contributions to the album deepen that sense of collectivism that the lyrics invoke.\u003c\/p\u003e\n\u003cp\u003eThe album was nearly named A People’s History, and its thirteen songs are focused on that mission–to investigate the band’s stomping grounds of Alabama and West Georgia, and to summon stories of that land’s peoples, rising up collectively to defend and liberate themselves from systems of power and exploitation. Just as the album’s music meanders between jagged rock’n’roll and churchy swells, feedback-drenched dirges and orchestral rave-ups, the lyrics lead us through those rich varied lands and time itself: black-masked protestors face SWAT tanks in smoggy cities; Muscogee warriors encircle a colonial fort along a muddy river; incarcerated workers noisily strike in a maximum-security prison surrounded by cottonfields; coal miners barricade the entrance of a mine; kids talk politics in the alley out back of a punk show; families gather outside a country church to prepare a dinner on the grounds. As we encounter these people and places, we sink deeper into what Bains calls “old-time,” that which connects us to those who have gone before, to the land, to each other, and to something deeper and older still.\u003c\/p\u003e\n\u003cp\u003eWhile tackling such lofty political, historical and philosophical concepts, the album is also the band’s most intimate, vulnerable and spiritual to date. The perspective is both outward- and inward-facing, Bains never taking on the persona or experience of others, but rather writing about the way his own limited experience and perspective of the band’s place can lift the veils of false narratives, and uncover “piles of winding stories” through time. Throughout the record, great forces–whether exploitative or liberatory, reconciliatory or confrontational, grand or humble, condemning or merciful–show up in the smallest, most personal moments of our lives and relationships, both public and private. Little by little, we are drawn into a long arc of freedom, justice, and beloved community, and into a celebration of and thanksgiving for those who do its work. Bains uses words like a chef, fusing them together like the chips from a multitude of trees are pressed together into particle board. These are songs that are not just songs, but stories and poetry, as well, and Bains’s sense of melody makes the stories into anthems.\u003c\/p\u003e\n\u003cp\u003eIn an age characterized by individualism, and at a time when the past seems to be the sole domain of the status quo, Old-Time Folks illustrates the deep, thick, tangled roots of liberation, collectivism, mutuality and solidarity in the Deep South, and where they are flowering and bringing forth fruit today.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003cbr\u003e1. Old-Time Folks (Invocation)\u003cbr\u003e2. Lizard People\u003cbr\u003e3. The Battle of Atlanta\u003cbr\u003e4. (In Remembrance of the) 40-Hour Week\u003cbr\u003e5. Outlaws\u003cbr\u003e6. Gentlemen\u003cbr\u003e7. Rednecks\u003cbr\u003e8. Post-Life\u003cbr\u003e9. Caligula\u003cbr\u003e10. Done Playing Dead\u003cbr\u003e11. Old Friends\u003cbr\u003e12. God's A-Working, Man\u003cbr\u003e13. Old-Time Folks (Benediction)\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e\u003cstrong\u003eCredits:\u003c\/strong\u003e\u003cbr\u003ePRODUCED, ENGINEERED, AND MIXED by David Barbe at Chase Park Transduction, Athens, Georgia\u003cbr\u003eMASTERED by Joe Lambert at Joe Lambert Mastering, Jersey City, New Jersey\u003cbr\u003eSTRING ARRANGEMENTS by Lee Bains and Annie Leeth\u003cbr\u003eHORN ARRANGEMENTS by Lee Bains, Theresa May, William Washington, Blake Williamson\u003cbr\u003eCOVER ART by Nazrene Alsiro\u003cbr\u003eBACK COVER ART by Andrea Morales and Chinita Muhammed\u003cbr\u003eILLUSTRATION AND LETTERING by Tracy Chahwan\u003cbr\u003eLAYOUT by John Yates\u003c\/span\u003e\u003c\/p\u003e","brand":"Lee Bains + The Glory Fires","offers":[{"title":"Black","offer_id":44766409720051,"sku":"LP-DG-257","price":29.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/8706\/1491\/files\/leebains-mainvinylmock.png?v=1713307766"},{"product_id":"lee-bains-the-glory-fires-old-time-folks-cd","title":"Lee Bains + The Glory Fires \"Old-Time Folks\" CD","description":"\u003cp\u003e\u003cem\u003e\"Lee Bains + The Glory Fires have long been one of my favorite live rock and roll bands, blowing the walls out of venues worldwide while also growing exponentially with each release into one of the most lyrically insightful and politically inspiring bands of recent years. Old-Time Folks, helmed by longtime DBT producer David Barbe, takes them to new sonic levels, making a record that comes closer than ever before to actually capturing their live assault while holding up as an album you’ll want to play (loud) over and over.\"\u003c\/em\u003e\u003cbr\u003e-\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003ePatterson Hood (Drive-By Truckers)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eOn August 5th, Lee Bains + The Glory Fires will release Old-Time Folks, their fourth full-length studio album, via Don Giovanni Records.\u003c\/p\u003e\n\u003cp\u003eSince releasing their first album There Is a Bomb in Gilead in 2012, the road-worn Birmingham, Alabama band – singer and guitarist Lee Bains, bassist Adam Williamson, and drummer Blake Williamson – has built a reputation as being what NPR calls “punks revved up by the hot-damn hallelujah of Southern rock” who carry on “the Friday-night custom of burning down the house,” a raw live sound that they captured with Texas punk producer Tim Kerr on studio albums Dereconstructed (2014) and Youth Detention (2017) before recording a full-on live album at their favorite hometown dive, Live at the Nick (2019).\u003c\/p\u003e\n\u003cp\u003eTheir work has come to be known, too, for Bains’s lyrics and their literate, incisive social commentary on the band’s beloved homeplace, leading him to publish poetry in the New Yorker and speak at universities from Mississippi to Sweden. Bains and the Williamson brothers can also be found collaborating with artists like Lonnie Holley and Swamp Dogg, lending their bombast to truck-bed protests of Donald Trump and Roy Moore, playing benefit shows for striking Alabama coal miners and Southern Black LGBTQ liberation organizations, and presenting gospel-music live streams for Birmingham and Atlanta food banks.\u003c\/p\u003e\n\u003cp\u003eWhile the Glory Fires have spent a decade propagating what the New York Times calls “pandemonium with a conscience,” in recent years, as the band drove their 400,000+-mile van between shows, they found themselves listening to records that were more produced, arranged, and textured than their own past work, to records that struck them as timeless and immense, ones that invited you in, to get lost in the details. On many bleary-eyed interstate drives, they talked about wanting to make a classic record–not a transparent document of their playing live with the occasional embellishment–but a record. They talked about working with a producer who had made such albums. About taking Bains’s songs and deconstructing them, stripping them down to their most minimal elements, reimagining them, and building them back up again. They talked about closely considering arrangements. Digging into their varied influences. Swapping instruments. Getting high-fidelity sounds. Inviting guest musicians. Incorporating percussion and synthesizers and horns and strings. Maybe even doing a song or two without a blaring electric guitar, or even–gasp–without a guitar at all.\u003c\/p\u003e\n\u003cp\u003eSo, that’s what they did. They contacted Athens, Georgia’s David Barbe, whose work with the Drive-By Truckers, Sugar, Son Volt, Vic Chesnutt and countless other artists has earned him a legendary reputation amongst Southern independent rockers, and they agreed to set about bringing this vision to fruition. After months of recording demos with John Paul Foster in Montevallo, Alabama and going over arrangements with Texas punk stalwart Tim Kerr, who the band calls their “coach,” the band decamped to Athens to record with Barbe at Chase Park Transduction in December of 2019. Soon after laying down the initial tracks, the COVID-19 pandemic erupted, and the usually hard-touring trio soon found themselves at home with yet more time to consider, flesh out, and arrange this new batch of songs. The result is an album whose levels of dynamics, nuance, range, and intimacy are new for the band. Enriching those explorations are kindred musical spirits like pianist Thayer Sarrano, organist Jay Gonzalez (Drive-By Truckers), singer Kym Register (Loamlands), horn players William Washington and Theresa May (Mourning A BLKstar), and string arranger Annie Leeth, whose idiosyncratic contributions to the album deepen that sense of collectivism that the lyrics invoke.\u003c\/p\u003e\n\u003cp\u003eThe album was nearly named A People’s History, and its thirteen songs are focused on that mission–to investigate the band’s stomping grounds of Alabama and West Georgia, and to summon stories of that land’s peoples, rising up collectively to defend and liberate themselves from systems of power and exploitation. Just as the album’s music meanders between jagged rock’n’roll and churchy swells, feedback-drenched dirges and orchestral rave-ups, the lyrics lead us through those rich varied lands and time itself: black-masked protestors face SWAT tanks in smoggy cities; Muscogee warriors encircle a colonial fort along a muddy river; incarcerated workers noisily strike in a maximum-security prison surrounded by cottonfields; coal miners barricade the entrance of a mine; kids talk politics in the alley out back of a punk show; families gather outside a country church to prepare a dinner on the grounds. As we encounter these people and places, we sink deeper into what Bains calls “old-time,” that which connects us to those who have gone before, to the land, to each other, and to something deeper and older still.\u003c\/p\u003e\n\u003cp\u003eWhile tackling such lofty political, historical and philosophical concepts, the album is also the band’s most intimate, vulnerable and spiritual to date. The perspective is both outward- and inward-facing, Bains never taking on the persona or experience of others, but rather writing about the way his own limited experience and perspective of the band’s place can lift the veils of false narratives, and uncover “piles of winding stories” through time. Throughout the record, great forces–whether exploitative or liberatory, reconciliatory or confrontational, grand or humble, condemning or merciful–show up in the smallest, most personal moments of our lives and relationships, both public and private. Little by little, we are drawn into a long arc of freedom, justice, and beloved community, and into a celebration of and thanksgiving for those who do its work. Bains uses words like a chef, fusing them together like the chips from a multitude of trees are pressed together into particle board. These are songs that are not just songs, but stories and poetry, as well, and Bains’s sense of melody makes the stories into anthems.\u003c\/p\u003e\n\u003cp\u003eIn an age characterized by individualism, and at a time when the past seems to be the sole domain of the status quo, Old-Time Folks illustrates the deep, thick, tangled roots of liberation, collectivism, mutuality and solidarity in the Deep South, and where they are flowering and bringing forth fruit today.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003cbr\u003e1. Old-Time Folks (Invocation)\u003cbr\u003e2. Lizard People\u003cbr\u003e3. The Battle of Atlanta\u003cbr\u003e4. (In Remembrance of the) 40-Hour Week\u003cbr\u003e5. Outlaws\u003cbr\u003e6. Gentlemen\u003cbr\u003e7. Rednecks\u003cbr\u003e8. Post-Life\u003cbr\u003e9. Caligula\u003cbr\u003e10. Done Playing Dead\u003cbr\u003e11. Old Friends\u003cbr\u003e12. God's A-Working, Man\u003cbr\u003e13. 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Love at Leeds is him at the top of his songwriting game—just one finely tuned ear-worm after another.\"\u003c\/em\u003e\u003cbr\u003e\u003cstrong\u003e-Dan Ozzi\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eLove At Leeds is the realization of many dreams for Mikey Erg. A lifelong music obsessive, growing up in the early 90’s, there was one sound he’d always hoped to capture on his recordings. The sound of Steve Albini. Steve’s credits include The Pixies, PJ Harvey, Jimmy Page \u0026amp; Robert Plant and of course Nirvana’s third LP In Utero: one of Mikey’s absolute favorite records.\u003c\/p\u003e\n\u003cp\u003eMikey had never in his twenty-plus year recording career ever gotten to make a fully analog recording. Love At Leeds was the perfect time to rectify all of that. Using the group of musicians that helped him realize his debut solo LP Tentative Decisions (Jeff Rosenstock, Alex Clute \u0026amp; Lou Hanman), he Headed to Chicago to make this dream a reality.\u003c\/p\u003e\n\u003cp\u003eRecorded and mixed in just five days, Love at Leeds is a swift twenty five minute long grunge-pop tour de force. Once the album was complete, Steve and his trusty razor blade compiled the master mix reels and sent the band on their way. The tapes then made the journey to Hollywood California to the legendary Bernie Grundman Mastering facility to be mastered and cut straight to lacquer disc by Chris Bellman (Frank Zappa, Neil Young, Kenny Dorham, Pearl Jam).\u003c\/p\u003e\n\u003cp\u003eMikey, who takes his name from the seminal mid-2000s NJ pop-punk band THE ERGS who he was drummer and principal songwriter for, is a decades-long fixture in the DIY punk rock scene, directly influencing the next generation of power pop and punk bands as he concurrently continues his solo songwriting career.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003cbr\u003e1. Sick As Your Secrets\u003cbr\u003e2. Caroline Told Me So\u003cbr\u003e3. Almost Like Judee Sill\u003cbr\u003e4. Always Like This\u003cbr\u003e5. Goodnight Vienna\u003cbr\u003e6. Landmines\u003cbr\u003e7. Love At Leeds\u003cbr\u003e8. On A Carousel v 9. Heartbreak #53\u003cbr\u003e10. 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Piano on “Caroline Told Me So”\u003cbr\u003e\u003cbr\u003eBuilt By John Yates at Stealworks.\u003cbr\u003eHeart by Em Foster. Back Cover Photo by Emily McKern\u003c\/span\u003e\u003c\/p\u003e","brand":"Mikey Erg","offers":[{"title":"Black","offer_id":44766658986227,"sku":"LP-DG-251","price":24.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/8706\/1491\/files\/leedsmock.png?v=1714860357"},{"product_id":"mikey-erg-love-at-leeds-cd","title":"Mikey Erg \"Love At Leeds\" CD","description":"\u003cp\u003e\u003cem\u003e\"Mikey Erg continues to set the gold standard for hooky punk love songs. Love at Leeds is him at the top of his songwriting game—just one finely tuned ear-worm after another.\"\u003c\/em\u003e\u003cbr\u003e\u003cstrong\u003e-Dan Ozzi\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eLove At Leeds is the realization of many dreams for Mikey Erg. A lifelong music obsessive, growing up in the early 90’s, there was one sound he’d always hoped to capture on his recordings. The sound of Steve Albini. Steve’s credits include The Pixies, PJ Harvey, Jimmy Page \u0026amp; Robert Plant and of course Nirvana’s third LP In Utero: one of Mikey’s absolute favorite records.\u003c\/p\u003e\n\u003cp\u003eMikey had never in his twenty-plus year recording career ever gotten to make a fully analog recording. Love At Leeds was the perfect time to rectify all of that. Using the group of musicians that helped him realize his debut solo LP Tentative Decisions (Jeff Rosenstock, Alex Clute \u0026amp; Lou Hanman), he Headed to Chicago to make this dream a reality.\u003c\/p\u003e\n\u003cp\u003eRecorded and mixed in just five days, Love at Leeds is a swift twenty five minute long grunge-pop tour de force. Once the album was complete, Steve and his trusty razor blade compiled the master mix reels and sent the band on their way. The tapes then made the journey to Hollywood California to the legendary Bernie Grundman Mastering facility to be mastered and cut straight to lacquer disc by Chris Bellman (Frank Zappa, Neil Young, Kenny Dorham, Pearl Jam).\u003c\/p\u003e\n\u003cp\u003eMikey, who takes his name from the seminal mid-2000s NJ pop-punk band THE ERGS who he was drummer and principal songwriter for, is a decades-long fixture in the DIY punk rock scene, directly influencing the next generation of power pop and punk bands as he concurrently continues his solo songwriting career.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003cbr\u003e1. Sick As Your Secrets\u003cbr\u003e2. Caroline Told Me So\u003cbr\u003e3. Almost Like Judee Sill\u003cbr\u003e4. Always Like This\u003cbr\u003e5. Goodnight Vienna\u003cbr\u003e6. Landmines\u003cbr\u003e7. Love At Leeds\u003cbr\u003e8. On A Carousel v 9. Heartbreak #53\u003cbr\u003e10. 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Culturally, there seemed to be an impenetrable barrier from the place Rose was operating, and what at the time in the 1990s was considered to be popular music. As formats for how music is released and consumed changed over the decades, much of Rose’s earliest recorded output was relegated to obscurity for the fact that it seemed to exist in a vacuum.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003cbr\u003e1. Ma Ko Wey\u003cbr\u003e2. Get Tribal\u003cbr\u003e3. Cherokee\u003cbr\u003e4. Baby of the Sky\u003cbr\u003e5. How the Night\u003cbr\u003e6. We Dance\u003cbr\u003e7. Still\u003cbr\u003e8. To All The Wild Horses\u003cbr\u003e9. I Will Be\u003cbr\u003e10. 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Rose never even considered recording the informal, deeply personal material she had been penning. \"I was a mom with three kids at home,\" she reflects. \"I would have never thought I would ever record or play a show.\"\u003c\/p\u003e\n\u003cp\u003eRose was booked for piecemeal studio time at Prince's Paisley Park Studio at off-hours: middle of the night and early morning sessions to get her songs committed to tape. The recordings existed in a sort of suspended-animation: issued as a small run cassette-only demo tape and sold at shows direct to a smattering of fans in 1993. No record label, no distribution. Rose doesn’t own a cassette deck on which to play it today. In fact, Rose hadn’t heard her earliest recordings in over fifteen years when she was approached to reissue them. Joe Steinhardt of Don Giovanni states \"Buckskin may be one of the last great undiscovered lost records.\"\u003c\/p\u003e\n\u003cp\u003e\"I wish I could remember where I found Buckskin but I am always buying interesting and obscure looking tapes as it's how I've discovered some of my favorite albums of all time,\" Steinhardt continues. \"Whenever I had downtime I would search for anything I could find about her, hoping to someday get in touch and find out more about the tape.\"\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003cbr\u003e1. I'm Not Ready\u003cbr\u003e2. Sweet Fire\u003cbr\u003e3. Plain Jane Princess\u003cbr\u003e4. Kick Back\u003cbr\u003e5. Let's Right\u003cbr\u003e6. What We've Been Through\u003cbr\u003e7. Black Irish Indian\u003cbr\u003e8. To All The Wild Horses\u003cbr\u003e9. Gypsy Wind\u003cbr\u003e10. Colored Blues\u003cbr\u003e11. 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He liked her songs, and thought they should be recorded. Rose never even considered recording the informal, deeply personal material she had been penning. \"I was a mom with three kids at home,\" she reflects. \"I would have never thought I would ever record or play a show.\"\u003c\/p\u003e\n\u003cp\u003eRose was booked for piecemeal studio time at Prince's Paisley Park Studio at off-hours: middle of the night and early morning sessions to get her songs committed to tape. The recordings existed in a sort of suspended-animation: issued as a small run cassette-only demo tape and sold at shows direct to a smattering of fans in 1993. No record label, no distribution. Rose doesn’t own a cassette deck on which to play it today. In fact, Rose hadn’t heard her earliest recordings in over fifteen years when she was approached to reissue them. 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Expanding on the “exuberant, hook-stuffed” (Pitchfork) compositions of their previous band, McArdle and Williams have written an album of solid gold power-punk tunes.\u003c\/p\u003e\n\u003cp\u003eEx-Vöid draw on guitar pop through the ages- The Byrds, Big Star, Teenage Fanclub- and attack it with the ferocity and economy of a hardcore punk band. Even on mellow numbers like “Weekend” and “No Other Way’, the band have a way of pummelling the listener with an unhealthy quantity of hooks, harmonies and Thin Lizzy inspired dual-guitar solos.\u003c\/p\u003e\n\u003cp\u003eYet there’s also a delicacy to the vocal which brings to mind the eye-of-the-storm melodies of Bilinda Butcher and imbues the album with a kind of grounding ethereality. On tracks like Chemical Reaction and Churchyard, McArdle and Williams’ voices blend and trill with a folk-like quietness while, down in the grubby engine room, bandmates Laurie Foster (bass) and Jonny Coddington (drums) thrash their way through noise jams, hardcore breakdowns and open-chord power-pop riffs.\u003c\/p\u003e\n\u003cp\u003eOn Lyin’ to You (Baby) and So Neurotic, McArdle’s solo vocal and lyrics take centre stage, and reveal an alt-country tinge to the band reminiscent of acts like Waxahatchee or Lucinda Williams. Bigger Than Before plays the impressive trick of naturally uniting these disparate strands, and the result is an album which feels both familiar and strikingly unique. Take, for instance, their cover of Arthur Russell’s I Couldn’t Say it to Your Face, in which the band squash a country song into a 2 minute power-pop epic before turning on their heel, and ending with an unexpected, severely catchy Cars style synth hook.\u003c\/p\u003e\n\u003cp\u003eBigger Than Before was laid down live, with a few minimal overdubs, in just over an hour at Sam and Rachel’s Studio in Hackney, London. (With the exception of Weekend, which was recorded at Coddington’s Bottle Rocket Studio.) The songs were recorded without breaks, and Foster was reported to have “kept on playing even though his belt came loose and his trousers fell down”.\u003c\/p\u003e\n\u003cp\u003ePrior to recording the album, the band have toured with Waxahatchee, supported bands like Speedy Ortiz, and been covered in publications like The Fader and Stereogum. 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Take, for instance, their cover of Arthur Russell’s I Couldn’t Say it to Your Face, in which the band squash a country song into a 2 minute power-pop epic before turning on their heel, and ending with an unexpected, severely catchy Cars style synth hook.\u003c\/p\u003e\n\u003cp\u003eBigger Than Before was laid down live, with a few minimal overdubs, in just over an hour at Sam and Rachel’s Studio in Hackney, London. (With the exception of Weekend, which was recorded at Coddington’s Bottle Rocket Studio.) The songs were recorded without breaks, and Foster was reported to have “kept on playing even though his belt came loose and his trousers fell down”.\u003c\/p\u003e\n\u003cp\u003ePrior to recording the album, the band have toured with Waxahatchee, supported bands like Speedy Ortiz, and been covered in publications like The Fader and Stereogum. 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Known for bringing a joyful, exuberant presence to their live shows, touring with The Beths, Margaret Glaspy, The Front Bottoms, Hippo Campus, and Third Eye Blind, the group took specific care to bring their fun-loving spirit to their third LP, Walkman.\u003c\/p\u003e\n\u003cp\u003eKerry (guitar\/vocals), Chris (bass), and Con (drums) let their collective hair down on Walkman, bringing raucous and explosive riffs alongside witty lyrics. Though you might not notice from their indie rock exterior, Bad Bad Hats draws a heavy influence from classic pop songwriting that shines through in their hooky choruses and strong melodic sensibilities.\u003c\/p\u003e\n\u003cp\u003eFor this release the band set out to push their capabilities as a trio. 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The Dogg’s cult classic debut Total Destruction to Your Mind struck a powerful blend of Williams' classic soulful sensibilities and the blooming psychedelia of the time. Infused in the swirling brew is Swamp’s blink-and-you’ll-miss-it humor, a number of acid odes, and a heavy dose of sharp political insight. Though the psychedelic strangeness alienated R\u0026amp;B fans of the time, and the authentic R\u0026amp;B infrastructure prevented it from clicking with hippie audiences, it has retroactively received legendary status in cult music circles.\u003c\/p\u003e\n\u003cp\u003eSwamp Dogg is at his most earnest on lead single “Soul to Blessed Soul” - out now across all streaming platforms. The song is a wholesome yet triumphant tune about the divine power of love. Paying tribute to the kind of connection that overcomes the deepest hardships and brings out the best in a person, Swamp Dogg can only think to thank God for his good fortune. 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Molly Put the Kettle On\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e\u003cstrong\u003eCredits:\u003c\/strong\u003e\u003cbr\u003eFriends who played on this with us:\u003cbr\u003eTim Wooten plays fiddle on Little Rabbit and Sally Johnson.He got the tunes from his grandfather who spelled Wooten with an A.\u003cbr\u003eAngie Wooten plays second banjo on We will All Go To Heaven When The Devil Goes Blind\u003cbr\u003eBeth Chrisman plays fiddle on Crook Brothers Breakdown, Walking In The Parlor, and Molly Put The Kettle On.\u003cbr\u003eJaie Devore plays fiddle on We will All Go To Heaven When The Devil Goes Blind\u003cbr\u003e\u003cbr\u003eAll was recorded by Jason Morales at his BBQ shack in 2019\u003c\/span\u003e\u003c\/p\u003e","brand":"Up Around The Sun","offers":[{"title":"Black","offer_id":44766889541875,"sku":"LP-DG-209-BLACK","price":20.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/8706\/1491\/files\/uoparoundthesun1.png?v=1714006802"},{"product_id":"dead-best-dead-best-13","title":"Dead Best \"Dead Best\" 12\"","description":"\u003cp\u003eLong time friends Adam Goren and Brian Sokel followed interwoven paths through the Philadelphia punk scene in the late 90’s and early 2000s. While Sokel brought riffs to the dub and hardcore blending Franklin and was the primary songwriter and multi-instrumentalist for AM\/FM, releasing a number of albums on Polyvinyl Records, Goren was playing in punk bands Fracture and Armalite, and exploring the use of sequencers in his eccentric solo project Atom and His Package. In their respective projects the two toured the US and Canada together, released each other’s music on self-run labels, and Goren would even pay tribute to Sokel’s band on the Atom and His Package track “For Franklin”. Despite their closeness, they had never played in a band together until the Covid-19 pandemic\u003cbr\u003e\u003cbr\u003eAs life began to draw them in other directions, keeping up with the punk scene was no longer a priority. Even without their shared experience in music, Goren and Sokel remained in each other’s lives, ultimately finding themselves living next to each other just outside Philadelphia. As the Covid-19 pandemic forced people inside and the occasional neighborly interactions became a sole social outlet, the two shared concerns and anxieties. Conversations over the fence about politics and the increasingly confusing state of the world led the two to try writing music together, just to see what it would sound like. One song quickly became three, and soon they were recording what would come to be the self titled debut release from Dead Best.\u003c\/p\u003e\n\u003cp\u003eDead Best takes the raw pandemic expressions of two punk veterans and refines them into a ripping 13 tracks. Exhuming deep anxieties through pummelling guitars and frantic, distorted vocals, the LP is a brief but clear profile of Goren and Sokel’s combined creative voice. Grimy punk riffs propel tracks like “Life, Love and Liberty” and “Just Sounds” with the ferocious youthful intensity of Franklin or Armalite, while the frantic eccentricity of Atom and His Package shines through on “Zombies of Love”. Making the most of their fresh collaboration, Dead Best harnesses their years of shared history into a new sound, heard from the croaked vocals of “The Grind” to the instrumental grooves of “Dooms”.\u003c\/p\u003e\n\u003cp\u003eThe duo hadn’t initially intended the songs for release, viewing the process primarily as a coping mechanism during a period of intense upheaval. With this perspective in mind, the band set out not to clearly articulate a message with others, but to document emotional reactions for their own benefit. Abandoning pressures to “say something important”, Goren explains “at the age I’m at if I want to say something or argue something or persuade someone of something I think is important, there is media that is much more productive than making rhyming couplets”. 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What is the key of the waters, night creatures, spin of the Earth? What do the birds sing? Uncertainties certain to be known interspecies communication will teach us this knowledge. Through the portal of understanding is a rite of togetherness. I will hold what you give me in the highest honor; this is the meaning of thank you, miigwech\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003cbr\u003e1. Eastern Glow\u003cbr\u003e2. Arne's Theme\u003cbr\u003e3. Intaglio\u003cbr\u003e4. K-hop\u003cbr\u003e5. Portals\u003cbr\u003e6. Seeds\u003cbr\u003e7. Spanish Guitar\u003cbr\u003e8. Spirit Journey\u003cbr\u003e9. Survivia\u003cbr\u003e10. The Spin of the Earth\u003cbr\u003e11. Traveler's Song\u003cbr\u003e12. 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Brian Kemp.\u003cbr\u003e\u003cbr\u003eDesign\/Art\/Layout – Keith Michael Secola\u003c\/span\u003e\u003c\/p\u003e","brand":"Keith Secola","offers":[{"title":"Default Title","offer_id":44766892392691,"sku":"CD-DG-191","price":13.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/8706\/1491\/files\/KeithSecolaPortalsCD.png?v=1712709401"},{"product_id":"model-home-both-feet-en-th-infinite-12","title":"model home \"both feet en th infinite\" 12\"","description":"\u003cp\u003e\"The two musicians mutually agree to disappear the false boundary between producer and speaker.\"\u003cbr\u003e\u003cstrong\u003e– Pitchfork\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"A messy and unblinking improvisational blurt that quickly becomes dense and confusing, even though reality itself is often incredibly confusing and overwhelmingly dense, and perhaps that’s the fundamental idea radiating from every spontaneous noise-blot ever made by this District duo\"\u003cbr\u003e\u003cstrong\u003e– The Washington Post\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"Together, they’ve created an unselfish world where each member has room to breathe within their far-out experiments in liberated sound, vision, and performance.\"\u003cbr\u003e\u003cstrong\u003e– Bandcamp\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eOn its Don Giovanni Records debut, both feet en th infinite, model home walk a balance between a polished studio effort and the energy of their live experiments in expression. The Washington, D.C. duo’s work employs a freewheelin’ and improvisational approach to communicate their ideas. Their single-take gonzo mind-melds currently span 19 Bandcamp-only transmissions, a compilation album, one full-length LP, and numerous mixtapes. As a whole their catalog forms a sonic journal, unfiltered, immediate, and frequently expanded.\u003c\/p\u003e\n\u003cp\u003eboth feet en th infinite sees the duo under the microscope of a professional studio (Tonal Park), a process that allows them an opportunity to enhance fine details that might slide out of view amid blown-out basement recordings. Clarity has not made them any less weird. The takes are alive with a new meditative focus, while not losing the mutant decadence of previous efforts. The sound is akin to David Tudor meeting African Head Charge with an 808 and a rapper, spilling groove over industrial experimentalism.\u003c\/p\u003e\n\u003cp\u003eOn these sessions model home’s core duo – Nappy Nappa (voice) and p cain (electronics) – are augmented by producer and Future Times label-founder, Andrew Field-Pickering (Dolo Percussion, Max D), whose obliquely funky rhythm tracks set a solid foundation for the group to spill alien logic. The 7 songs presented here were captured with the goal of creating a record that could be replicated on stage, they reflect this with live and direct frankness. A communal energy permeates the release with gatefold art work by Maya Miller (Double Leopards), cover art and design by Meghan Raham (woozy) and sonic contributions from a who’s who of contemporary DMV heads – dreamcastmoe, Awad Bilal (Too Free), Luke Stewart (Irreversible Entanglements), Bubbie, and Rob Stokes. The album was recorded and engineered with Mike Petillo (U-Udios, Geo Rip) at the controls routing the fray onto the mixing board.\u003c\/p\u003e\n\u003cp\u003emodel home create and document their music at an intimidating pace. Amid that flood of noise and energy there are moments that have marked a refinement of technique or a shift in currents. Last year’s album SE was one, as was the compilation One Year. both feet en th infinite is another. Its newfound stillness and gridded percussion are an extension of Cain, Nappa, and Field-Pickering's previous work and also an evolution in vision, expanding the possibilities of communication in the moment. It’s a set that pulls double duty as a brain-breaking koan and an outer-limits party record.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003c\/span\u003e\u003cspan\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003cbr\u003e1. Night Break\u003cbr\u003e2. 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Songwriter, guitarist, and vocalist Sonia Sturino is supported by Annie Hoffman (bass\/vocals) and Adam Hand (drums), filling out a mature and emotive sound.\u003c\/p\u003e\n\u003cp\u003eCentral to the record thematically is the empty threat of quitting music and “getting a real job”. Sturino wrestles with her relationship with music on the title track, shouting “I love it, but it never really feels okay” over scorching guitars. Despite the implications of the title, quitting is not an option for the band. Even as friends settle into adulthood, Weakened Friends find themselves trapped in a fortress of their own creation, inseparably attached to the eternal youthfulness of life in music. In this liminal zone, life passes by and friendships are weakened, and Quitter takes plenty of time to mourn these losses.\u003c\/p\u003e\n\u003cp\u003eChunky, distorted riffs support snarky, cutting vocals on “Everything is Better”, a tongue-in-cheek acceptance of one such broken friendship. 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Incorporating banjo, pedal steel, horns, extensive synth arrangement and a number of non-instrumental sounds such as ovens and camera flashes, Weakened Friends expand on their universe of sounds on their new LP.\u003c\/p\u003e\n\u003cp\u003eSturino begins songs as skeletons, allowing the rhythm section to “pull every song apart and investigate every path they could go down”, as Hoffman put it. Focusing on the momentum behind every lyric, the trio squeezes each musical moment for maximum emotional impact. The album’s opener “Bargain Bin’ exemplifies this process, beginning just with Sturino providing a contemplative melody underlaid by wandering guitar picking. 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This otherworldliness permeates throughout the record, applying magical perspectives to real lived experiences.\u003c\/p\u003e\n\u003cp\u003eUsing musical nostalgia as it’s crystal ball, Queen of My World looks back through life’s little moments and sees the mystical within the ordinary. Though many of the songs are autobiographical, at its core the record is a lens into other worlds, gazing into timelines that could have been and childhood memories so distant they may as well be past lives.\u003c\/p\u003e\n\u003cp\u003eOne such reminiscion takes place on the title track, which reflects on a wild adolescence of drugs and destruction, with an aggressive guitar attack to match. Underneath the high octane teenage antics is a genuine tribute to the unique friendships that can only form in the pseudo-invincibility of youth.\u003c\/p\u003e\n\u003cp\u003eAs the record examines deeper into these alternate dimensions, it becomes increasingly psychedelic. 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Taking up the primary songwriting role and shifting to guitar, Wright steps outside of the typical Ex Hex sound with Bat Fangs’ rowdy rock.\u003c\/p\u003e\n\u003cp\u003eTheir sophomore LP, Queen of My World is a reeling, rocking mass of guitar and vocals that serves as both a reclamation and a reevaluation of a sound that was once a breeding ground for a particularly egregious brand of cock rock dude-bro. Paying tribute to the glam rock and metal sounds of their youth while offering a modernized alternative to an era of music that deified toxic masculinity as a core value, Wright and King represent a new model of Rock Stardom that’s less about the Stars and more about the Rock.\u003c\/p\u003e\n\u003cp\u003eOn “Talk Tough”, the first song written for this LP, Wright sings of music carrying her into a near supernatural state, describing herself as being “in the cosmic sea”, and inviting others “crawl out the window on to a higher plain”. This otherworldliness permeates throughout the record, applying magical perspectives to real lived experiences.\u003c\/p\u003e\n\u003cp\u003eUsing musical nostalgia as it’s crystal ball, Queen of My World looks back through life’s little moments and sees the mystical within the ordinary. Though many of the songs are autobiographical, at its core the record is a lens into other worlds, gazing into timelines that could have been and childhood memories so distant they may as well be past lives.\u003c\/p\u003e\n\u003cp\u003eOne such reminiscion takes place on the title track, which reflects on a wild adolescence of drugs and destruction, with an aggressive guitar attack to match. Underneath the high octane teenage antics is a genuine tribute to the unique friendships that can only form in the pseudo-invincibility of youth.\u003c\/p\u003e\n\u003cp\u003eAs the record examines deeper into these alternate dimensions, it becomes increasingly psychedelic. 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But the striking thing about this band is not so much the warrior beliefs, but their sincerity and genuine faith in themselves and their culture.\u003c\/p\u003e\n\u003cp\u003eWinterhawk appeared in the 1983 US Festival and has opened for such big names as Tina Turner, Santana, Country Joe and the Fish, Steve Miller, Van Halen and Motley Crue. The Electric Warriors LP was produced by Tom Bee of XIT, AKA Lincoln St Exit. A must have for Native American, Hard Rock, Metal music fans. Nik Alexander's song writing and guitar playing skills are the best.\u003c\/p\u003e\n\u003cp\u003eNik Winterhawk Alexander, a Cree Indian who lead the band with his savage guitar riffs and powerful vocals, says, \"Music is a very sacred part of Native American lifestyles. If a person of a tribe possesses a rattle or a drum or a stick to beat the drum, those articles are treated with great respect. Winterhawk carried that same reverence toward music, because the ability to play music is a gift\" \"It's important for people to realize that the band Winterhawk were not posers\" Alexander emphasizes. \"The majority of our songs have a very deep message in them. I believe in setting an example for young people. Young people really look up to rock and rollers\" We carry high the values our forefathers did: keeping our environment clean, taking care of the creatures, including ourselves. I don't drink. The idea is to be a positive force in front of the young people, he explains. \"If theres any music that is close to traditional Native American music, a war dance beat, it's straight rock and roll\" \"Our best received songs are Indian ones\" - like their \"Custer's Dying,\" a hard-edge, head-banging rocker with serious lyrics about guess who.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003cbr\u003e1. Prayer\u003cbr\u003e2. 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