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The solo project of Sam Duckworth, Get Cape. Wear Cape. Fly, entered the musical hemisphere all the way back in 2006 with debut The Chronicles Of A Bohemian Teenager. Delicately formed and honestly played out, it merged together elements of folk, indie, and a political narrative.
Staunch in his liberal left-wing views, politics and the latter were woven into the self-titled LP, ‘Maps’ and the most recent album ‘London Royal’ (2014). Lyrically discussing commentary around austerity, the economic crisis, and the issues of a biased media.
After a hiatus and explorations under Duckworth’s own name and the Recreations moniker, Get Cape. Wear Cape. Fly is back with its seventh studio album. ‘Young Adult’ features 10 politically charged indie-pop songs, and includes collaboration with Shy FX entitled ‘Always’.
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We haven’t heard any new music from Ty Segall in about a week now, since he put out “The Main Pretender,” so he was pretty much due for another release. But this time, he upped the ante: Not only did he share a new song “Fanny Dog” on Conan, but he also used his appearance to announce his forthcoming album Freedom’s Goblin, for which the tracklist features a whopping 19 songs. Color us impressed—but considering Segall’s prolificacy when it comes to music, we didn’t expect anything less.
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conic singer-songwriter John Gorka will kick off 2018 with a brand new studio album, True In Time, on January 19, 2018. As well as being Gorka’s first new studio album since 2014’s Bright Side Of Down, this will be the first Red House album released through the Compass Records Group in Nashville, which acquired the venerable folk/Americana label on November 1st, 2017. Produced by Rob Genadek at Uptown Sound in Minneapolis, it features a band of some of the Twin Cities best musicians in live sessions, with vocal cameos contributed by fellow folk luminaries Jonatha Brooke, Eliza Gilkyson, and Lucy Kaplansky.
True In Time is an engaging, personal album that shows the full range of Gorka’s artistry, exhibiting his spirited acoustic guitar playing, insightful lyrics and wry, witty storytelling. The tracks capture the sound of career musicians (and friends) who understand where Gorka’s music comes from and instinctively knew what to contribute. You can hear the songs lock into place with a spontaneity and vibe that makes you, the listener, feel as if you’ve been invited to sit in. There’s a warmth, both sonically and in the interaction of the players, that makes this one of Gorka’s best, and that’s saying something.
The tracks sound fresh and lived in at the same time. “A lot of the songs on this record remind me of Utah Phillips’ line ‘The past didn’t go anywhere’ and Faulkner’s ‘The past is never dead. It’s not even past,’” says Gorka of the album’s themes. “I wrote the title song with Pete Kennedy (The Kennedys). When Carrie Fisher and her mom, Debbie Reynolds, died within a day of each other I quoted lines from Paul Simon’s ‘Mother and Child Reunion’ on Facebook — ‘Oh I would not give you false hope on this strange and mournful day. But a mother and child reunion is only a motion away.’ Pete responded, ‘Maybe all songs come true in time.’ Later he wrote, ‘True in time sounds like a song,’ and we proceeded to write the song long distance via the internet. We collaborated on the title and the lyrics and I came up with the tune,” Gorka says. “I think that ‘What is true?’ is a question a lot of us are asking today.”
Both “Arroyo Seco” and “Iris & Pearl” were born at Eliza Gilkyson’s Casa de Musica songwriter workshop near Taos, NM. “Iris & Pearl” was inspired by the names of Eliza’s two dogs and their spirit. “I think they could have done all those things that they did in the song.” says Gorka. “Nazarene Guitar,” inspired by his 20-year-old Martin guitar, was written for his friends at Godfrey Daniels Coffeehouse in Bethlehem, PA, where he got his start as a songwriter.
Three are earlier songs previously performed live but never before recorded for an album: “Blues with a Rising Sun,” a song about bluesman Son House and “Red Eye & Roses” were “lost” songs. “Someone sent me a cassette of me singing ‘Rising Sun’ on the Gene Shay radio show in Philadelphia around the time I’d written it, and “Red Eye & Roses” was retrieved by singer Anne Hills a few years ago. “The Body Parts Medley” has long been a frequent request at his live performances.
John Gorka continues to find new insights in the commonplace, beauty in the ordinary, the twist of bitter in the sweet, all delivered with one of the most distinctive folks voices of our time..
The album was recorded “old school” with the musicians all playing together in one place, making up their own parts in the moment or in reaction to the demos he and Genendek had circulated prior to recording. The result is a lively, immediate listening experience certain to find a treasured spot in the collection of long time fans.
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Their ninth studio album is the followup to 2015’s critically acclaimed Edge of Sun. Working with their longtime engineer Craig Schumacher, Calexico co-produced The Thread That Keeps Us, gathering musicians from across the globe to dream up an earthy yet expansive sound spiked with jagged guitar tones and flashes of distortion.
The album mostly came to life in a house studio near the Northern California coast. Known as the Panoramic House but nicknamed “Phantom Ship” by Calexico vocalist/guitarist Joey Burns and drummer John Convertino, the sprawling Stinson Beach home was built partly from shipyard-salvaged timber and cobblestones unearthed from the streets of San Francisco.
The drama of that landscape directly influenced the lead single and opening track to The Thread That Keeps Us. Driven by sing-song melody and galloping rhythms, “End of the World With You” finds an unlikely romanticism in volatile times. With its lyrics illuminating “love in the age of the extremes,” the track feels equally joyful and grim: the perfect intro to an album that endlessly explores the contrast between bright and dark, hope and fear.
Like “End of the World with You,” much of The Thread That Keeps Us captures the anxieties and unease of living in tumultuous times. But while the album draws a kinetic energy from all that uncertainty, its lyrics unfold with a literary nuance and sense of setting and character.
On the making of the album, co-founder Joey Burns says, “There’s a little more chaos and noise in the mix than what we’ve done in the past,” Burns points out. Although that chaos has much to do with “where we’re at right now as a planet,” it also echoes Calexico’s dedication to constant experimentation. “Whenever we’re writing and we come up with something that feels too familiar, someone will end up saying, ‘That feels good, but let’s keep going and see what else we can uncover,’” Burns says. “It’s been really important to the arc of this band’s evolution for us to always keep on trying new things.”
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In reggae, all roads lead to the “Riddim Twins”, Sly & Robbie. They’ve been revered as style-defining icons for years, and together and individually have a massive influence on the genre. They are also renowned for their willingness to shatter boundaries and experiment with sounds. Over the past decades, they have never been shy of leaping over into other genres – for instance, their timeless, super-tight production work for Grace Jones…!
Now, Sly & Robbie meet Dubmatix. The Canadian producer and multi-instrumentalist got his hands on original Sly & Robbie tracks and spent months crafting this new album, Overdubbed. Dubmatix is celebrated for his out-of-the-box thinking and willingness to experiment, and the album shines with fresh ideas.
Sly & Robbie’s tunes, which are originally without vocals, haven’t simply been dubbed: extracting the individual essence of each track, Dubmatix has added a plethora of tweaks, ideas and individuality, making his musical signature clearly audible. On some tracks, he invited vocalists, including Jay Spaker (John Brown’s Body), Screechy Dan and Prince Alla, to contribute their unique style. As well as Dubmatix himself, the album features many other musicians.
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“Carvin Jones is a young cat out of Phoenix who I think is the next up-and-coming blues player” – Eric Clapton
“Carvin Jones is one of the brightest young stars on the blues scene today” – Albert Collins
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Hailing from a small town off the coast of Northern Ireland, Rend Collective (Gareth Gilkeson, Chris Llewellyn, Ali Gilkeson, Patrick Thompson and Stephen Mitchell) wants to be known as a celebration band, worshiping for God’s Glory and fame. Since the release of their first album, Organic Family Hymnal, the group’s authentic and energetic style of worship has attracted an international audience, with career sales of more than 300,000 albums. The group saw early success as their first ever single “Build Your Kingdom Here,” peaked at No. 12 on the National Christian Audience Chart. Their 2014 release The Art of Celebration, charted at No. 1 on the Billboard Christian Albums Chart within the first week of its release. Known for their electric lively worship, the band has been a part of several major tours with top artists such as Chris Tomlin, MercyMe, Kari Jobe, Lecrae and more. The group released critically acclaimed As Family We Go in 2015, followed by, Campfire Christmas Volume 1, their first Christmas record, and Campfire II, both in 2016, Rend Collective’s newest single, “Rescuer (Good News)” is available now. Good News is set to release in January, 2018.
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After three decades, these original recordings will finally see the light! Before Beginning-The Unreleased I Know, Nashville 1985 features never-before-heard arrangements of 9 of the 12 songs on I Know including “I Saw a Stranger with Your Hair,” “Love is Our Cross to Bear” and “Geza’s Wailing Ways,” a track released in 1983 on a Fast Folk compilation. Before Beginning is a quintessential album for any folk fan’s John Gorka collection.
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Little Feat meets Freddie King, meets Jimi Hendrix. With a hint Allman Brothers and San Francisco influence of the 1970’s.
