“The maestro who has sea changed with every new generation of listeners has been working on this latest example since 2013, alongside four-time Grammy-winning producer Greg Kurstin; and we’re talking right along side, as the duo play and record nearly every instrument on the album.”

It’s by far my favorite tune of last year, and it would be my favorite of this year too, but qualifications don’t allow that, and rules are important.

Fortunately for all, now my “Wow” praise can officially commence, with the release of Beck’s new album, Colors. The maestro who has sea changed with every new generation of listeners has been working on this latest example since 2013, alongside four-time Grammy-winning producer Greg Kurstin; and we’re talking right along side, as the duo play and record nearly every instrument on the album.

Under the auspices of a nebulous forthcoming album, Beck released a slew of singles, starting with “Dreams” in 2015. Two of those, the aforementioned “Wow” and “Dreams,” are particularly strong. Which isn’t just my opinion, it’s apparently also Beck’s. In an interview with NME, Beck said, “the album is probably what exists in the range between ‘Dreams’ at one end and ‘Wow’ at the other.”

I would put both songs into the happy-to-be-alive-on-this-wonderland-called-Earth camp, with varying degrees of boogieability, but equally funky. And yet, though hips must be served, both make you think just enough about the wonder of it all, albeit with a technicolored oblivion that feels borderline escapist as opposed to trenchant, as does the album on the whole. Still, all in all, “It’s like WOW! It’s like right now!”

Interestingly, “Wow” was recorded while Beck and Kurstin were supposed to be recording “Dreams” … perhaps. As he told NME: “I was working on another song – maybe [2015 hit] ‘Dreams’ – when I had an idea for a flute beat. I picked up the mic and ‘Wow’ came out totally spontaneously. I put it away and forgot about it. Then ‘Wow’ was on in the studio one day and someone said “You should put this on the record.” I went “I don’t think anybody would like this.” Usually, I turn in a whole album to my record company when they want a single. But there were a lot of songs in progress, so I sent in a cache of them this time. Nothing happened for months, then suddenly the record company said “We’re putting ‘Wow’ out as a single.” I was “Really? ‘Wow’? Huh. Well, OK then.” ‘Wow’ was the last song on the cache I’d sent over.”

Yeah, Beck has ideas for flute beats. And that’s just one of the reasons why I’ll always wait patiently for his next album. Because you’re often rewarded with what right now sounds like, at least to Beck. As we are yet again with Colors. Alas, it kind of sounds like he’s tuning a lot out, or is releasing songs that were being written in 2013, back when times were simpler, more saccharine, less needy of bite. Oh well, we all need a little oblivion now and again.

The post Beck’s ‘Colors’ Finally Drops — Now Let’s Talk About ‘Wow’   appeared first on FactoryTwoFour.

“Like most of you, I woke up on Monday, Oct. 2, 2017 to the shitty news that another psycho shot up another concert. Later, we got news that the great Tom Petty died way too young, which just capped the shitty day. I’m sure I wasn’t the only one who felt numb, dumb, and powerless. Who knows how long I would have stayed like that too, had music not pulled me out.”

Indeed, listening to the shit out of Tom Petty while writing about him helped put things in perspective, but I really pulled myself out of the doldrums with a live rock ‘n’ roll weekend the likes I’ve never seen.

Beginning after work on Thursday, I hightailed it to The Forum to go see The Gorillaz. As I stood in line with the rest of the multi-racial masses of LA, amidst the added security and tension, I’ll admit to wondering if it was worth it, to risk it all, just to see a show. What a fucking state of affairs I should have to think such thoughts, but I got over it, got frisked, got to my really good seat, examined my closest exits, and sat down, just in time to stand up for the entire disco party.

Indeed, I rocked steadily with Damon Albarn and his very large company of extra funky homo sapiens, including some of the most mesmerizing backup singers you’ll ever lay eyes on. The sound system over delivered too, with crystalline noise that turned the entire Forum into a cooking dancefloor. It was the exact release I needed, and the best show I’ve seen since Sturgil Simpson’s big band tour last year.

So I was even more excited for the next day, when Sturgil finally graced The Greek. For some reason though, he skipped A Sailor’s Guide to Earth’s Grammy-winning  sound – which he self-produced – in lieu of a stripped-down version, that didn’t even include my third favorite band member, Laur “The Estonian Sensation” Joamets on lead guitar, or any of that album’s (and last tour’s) sensational horn players. Apparently, Sturgil wanted to show the world that he’s a pretty damn good lead guitarist himself, as the golden-throated baritone complimented his snarl with a flurry of licks that rivaled Dicky Betts in his prime. But The Greek’s sound system wouldn’t crank the volume, even on a Friday night, and I have to say I was left a bit disappointed, compared to the two times I was previously blown away by Sturgil. Oh well, at least I didn’t get blown away by some crazy person.

Then came the weekend’s really big trip, to the Palm Desert’s Empire Polo Grounds, site of Coachella, to attend the Desert Oasis music fest. Nothing like a mostly-reggae fest in the gorgeous outdoors to remind you that one good thing about music, “when it hits you, you feel no pain,” as the undisputed father of the genre, Bob Marley, continually reminds me. Arguably even more fun than attending the sometimes overwhelming Coachella fest, the Desert Oasis is a much smaller affair (like its equally-fun cousin fest held on the same grounds, Rhythm, Wines & Brews), but you still get more damn music than you can actually watch.

Desert Oasis 2017, the debut of the festival, featured some of the best names in reggae – Damian “Jr. Gong” Marley (the most powerfully gifted of all the Marley kids!), Steel Pulse (still got it!), Rebelution (Sunday night and I still danced!) – but also some huge tangential-genre-rocking talent, too: Los Lobos, E-40, Murs, Fishbone, Reel Big Fish, Warren G, Fortunate Youth, Inner Circle, and more.

Altogether, it was a soul-stirring blitz of funky beats and irie vibes, and just what I needed to see: people of all colors and creed, moving as one, loving as one, vibing as one, and believing as one, that music is the soul of the people, and the people are one. One love. And that’s as timeless and indestructible, no matter how hard the bad guys try to get us to stop dancing.

The post When the Bullets Stop Flying, Music Will Still Be Here appeared first on FactoryTwoFour.

“With Exodus, Marley somehow overcame the pain of being forced from his homeland, which had been run into poverty, violence, and hatred by 400 years of colonialism and its aftermath. But he didn’t forget it, as the first half of the album – “Natural Mystic,” “So Much Things to Say,” “Guiltiness,” “The Heathen,” and “Exodus” – so poetically informs, in a way that even the best books could never do.”

Before we get into the album itself though, it’s important to discuss the events that led to Bob beginning recording at Harry J. Studio in Kingston, only to make a real-life exodus from Jamaica, to London, where he recorded the rest of the album at Chris Blackwell’s (“the single person most responsible for turning the world on to reggae music.”) Island Studio.

It was 1976, two years after The Wailers split up, and Bob, Peter Tosh, and Bunny Wailer had gone solo. It was also an election year, and political tensions had boiled over into violence across Jamaica. In this atmosphere, according to Daily Beast, Bob agreed to play one song at the Smile Jamaica Concert in Kingston, as his attempt “to present a message of apolitical unity and love, not one of agendas and divisions.”

Before Bob fully realized the concert was being politically hijacked by many sides (a loaded assertion these days, but in this case, true), while practicing for the show, he and his bandmates got brutally gunned down by one side or the other (if you want to get an idea of just how f***ed-up politics had gotten at this point in Jamaica, check out Marlon James fictional masterpiece, A Brief History of Seven Killings). Four people were shot in the attack, including Bob, in the arm and chest, and his wife and backup singer, Rita Marley, in the head. Two days later, Bob played that one song, as well as many more in a magical 90-minute set, powered by the strength of Jah almighty.

It’s a transcendent performance, to be sure, and part of the lore that makes Bob more of a deity than a musician at this point. But none of that could have been achieved without Bob’s next move: Exodus. Realizing Jamaica had become toxic and dangerous, Bob moved the just-gelling new band – including the incredible I-Threes (Bob’s three little backing birds, Rita, Marcia Griffiths, and Judy Mowatt) and brand-new stud guitarist, Junior Marvin – and he got them crazy bandmates out of town, first to Nassau, and then on to London.

With Exodus, Marley somehow overcame the pain of being forced from his homeland, which had been run into poverty, violence, and hatred by 400 years of colonialism and its aftermath. But he didn’t forget it, as the first half of the album – “Natural Mystic,” “So Much Things to Say,” “Guiltiness,” “The Heathen,” and “Exodus” – so poetically informs, in a way that even the best books could never do. You feel Bob’s pain. You feel humanity’s pain. You know, deep within, that Bob’s right. That the struggle is and always has been real, and if you really open your ears and soul, that righteousness is on the side of the people.

And then you listen to the hit and love-song filled Side 2 – “Jamming,” “Waiting in Vain,” “Turn Your Lights Down Low” “Three Little Birds” and “One Love/People Get Ready” – and you realize that there’s a way out of all this oppression and hate: love. Bob feels love so hard you feel impregnated by it. Indeed, Bob’s love overcoming all that pain that makes his music truly soar. To be sure, no artist speaks more divinely to me than he. I need only put it on, and my whole being finds strength and calm, in knowing, undoubtedly, that One Love surrounds us all.

(via Daily Beast)

(photo Pinterest)

The post Forty Years Later, Bob Marley & The Wailers’ Exodus Remains Music for the People appeared first on FactoryTwoFour.

But as much fun as a night out on the town can be, I’m referring instead to a more private and solitary experience, the kind of night where you can curl up with a few drinks and listen to an album from start to finish. Maybe you’re focusing on the music, or maybe your thoughts drift someplace else. The only thing that really matters is listening to every track, and sipping on your drink throughout.

Here’s a list of great albums to listen to while enjoying a drink. So pop your top and muddle your mint, and we’ll see you on the other side.

If You’re Drinking Beer

Let’s get one thing straight: I love beer. It’s my go-to drink while listening to albums because of its unique ability of putting me into a wistful state. These albums pair perfectly with a cold six pack and an hour or so to yourself.

“As much fun as a night on the town can be, I’m referring instead to a more private and solitary experience, the kind of night where you curl up with a few drinks and listen to an album from start to finish. The only thing that really matters is listening to every track, and sipping on your drink throughout.”

Beck – One Foot in the Grave: Probably the best Beck album ever produced, and certainly my favorite one. The album has a consistent vibe of melancholy punctuated with manic highs and soul-searching lows. There are examples of the trademark sound Beck is famous for, but the album demonstrates a simpler songwriting and more raw approach to music. You’ll know from the first song, right away, if it’s for you.

Kyle Craft – Dolls of Highland: I walked into a concert last November and this guy was opening for the headlining band. He instantly cemented himself as one of my favorites. Clever and tight musical arrangements and incredibly powerful vocals make for an album worth rocking out to. Prepare to be told a series of stories by Kyle Craft, all with a quality seemingly written to be listened to with a beer in one hand.

Marcy Playground – Leaving Wonderland in a Fit of Rage: Most folks are surprised to learn that Marcy Playground, the band behind the 90’s hit “Sex and Candy,” continued producing albums. This particular gem demonstrates some of the band’s best songwriting and contains the killer tune “Devil Woman.” It’s one of my favorite albums for reminiscing and kicking back.

If You’re Drinking Wine

Wine is the drink of poets, philosophers, and bored housewives, all of which are fine company. For me something about the aroma and heady highs of wine pairs well with the following albums.

Asteroids Galaxy Tour – Fruit: The first album released by the band, Fruit is a collection of over-stuffed sounds with an intoxicating lead singer powering through every song. This is an album to move and dance and groove to, even if you’re sitting in your chair with a glass — just try not to spill it. The best part of Asteroids Galaxy Tour is that they are so damned difficult to fit into a category.

Simon and Garfunkel – Sound of Silence: This is definitely the album to listen to when you’re aching for something unapologetic. Most everybody knows the album’s title track, but it’s the rest of the album that makes it a spectacular listen. Prepare yourself for a walk down memory lane with this musical accompaniment.

Tool – 10,000 Days: I’ve listened to this album about 10,000 times, and it’s never sounded as powerful as when I’m drinking some wine. This is an album perfect for listening to through some high-quality speakers or headphones with some rich red wine in hand. The operatic, guitar-driven music is balanced perfectly with musicians of incredible skill and talent. The lyrics for each song are just as powerful. Fair warning: This record is considerably louder than anything else on this list!

If You’re Drinking Cocktails

I’ve never been big on liquor of any sort, but a few drink combinations feel just right, at least when listening to music and drinking.

Tom Waits – Mule Variations: No list involving music and drinking should ever be considered without adding something by Tom Waits into the mix. Mule Variations catches a little bit of everything Waits is about. It’s impossible to listen to it and not catch the groove. This is my go-to album when I’ve had a good day and want to relax to some great storytelling — after all, that’s what Waits excels at. This pairs perfectly with a Jim and ginger (2 oz. Jim Beam bourbon and 10 oz. ginger ale).

eels – Blinking Lights and Other Revelations: Prepare for one hell of a show with this one. The eels really reach into the ether for this album, experimenting with new sounds and songwriting. There are plenty of hits in the mix, but enough gambles to keep the listener tuned in to the unusual sounds and combinations. Speaking of combinations, the eels have been a lifelong-favorite band of mine, and my circle of closer friends have agreed that the only drink to enjoy while listening to the eels is the classic Tom Collins (2 oz. gin, 1 oz. simple syrup, 3/4 oz. lemon juice (I use most of a single lime for mine), soda water, lemon wedge and cherry for garnish).

Neil Young – In Concert (BBC 1971): Alright, this one isn’t actually an album, but it’s a single show Neil Young played more than 40 years ago. It’s worth actually watching, too, if only to enjoy the fact that there are no cell phones in view recording the show. This album is the quintessential Neil Young experience, and may be the only “required listening” on this entire compilation. It’s a straight-up, no-frills performance, and as such deserves a straight drink. I recommend whiskey neat.

The post Music and Drinking: Here are Some Perfect Pairings appeared first on FactoryTwoFour.

For example, look at Jason Isbell, over the course of his solo career folks have tried to classify what he does as Americana, country, alt-country, roots, folk, twang, etc. And yes, you could squeeze Isbell into any of those boxes if you wanted to, but when you have an artist with the breadth of talent that Isbell possesses why would you want – or need – to pigeonhole him? He deserves better than that.

So, let’s call Isbell what he is, one of the best singer-songwriters working in music today – in any genre. If you don’t believe that, just pick up a copy of the record he and his band The 400 Unit are releasing on June 16, The Nashville Sound.

With this collection, his first with a full band since 2011’s “Here We Rest,” the 38-year-old Isbell tackles a changing world. On a personal level, this is the first record Isbell has released since he and his wife (and bandmate) Amanda Shires welcomed a daughter, Mercy Rose, into their family. Isbell also takes on larger societal issues on several songs on The Nashville Sound.

As a songwriter, Isbell is a talented storyteller. He takes what could be short stories and boils them down for maximum impact. He’s that rare writer that can make you feel like he’s talking both to you and for you in his lyrics.

In the hard-rocking “Cumberland Gap” which features the full 400 Unit band, Isbell captures the despondency of a coal miner’s son who is just looking to find a way out of a town that threatens to destroy him in more ways than one on a daily basis.

Things slow down in “Tupelo.” At first listen this one might sound like a paean to the city, but on further listening it’s anything but, as Isbell declares, “You get about a week of spring, and the summer is blistering/There ain’t no one from here that’ll follow me there.”

“White Man’s World” is getting a lot of attention ahead of the release of this record and rightly so. In four minutes Isbell tackles the weighty topic of white male privilege, addressing both race and gender issues in a powerful tune. The subject matter is touchy, but Isbell is not without hope that things can change, as he says in the closing lines, “I still have faith, but I don’t know why / Maybe it’s the fire in my little girl’s eyes.”

The centerpiece of The Nashville Sound is, without a doubt, “If We Were Vampires.” In this song, Isbell pares things down to just acoustic guitar, his voice and backup vocals from Shires. With that setup, Isbell delivers a devastatingly beautiful love song. This is not some sappy take on unrequited affections. No, this is a song written from the point of view of a man that has found the love of his life and who is coming to terms that their time together is limited and that they need to treasure each moment. As Isbell sings, “It’s knowing that this can’t go on forever / Likely one of us will have to spend some days alone / Maybe we’ll get forty years together / But one day I’ll be gone or one day you’ll be gone.”

“Anxiety” is the longest song on the record, coming in at over seven minutes and like “Cumberland Gap” it features the full band, which is firing on all cylinders as Isbell ponders a life that could be taken away from him at any moment. “Lying here in silence / Wife and child still sleeping deep enough to dream / I know I’m a lucky man today / But so afraid that time will take it all from me.”

“Hope the High Road” is the rock anthem, well as close to a rock anthem Isbell is going to get. It’s another politically charged song, but there’s no unfocused anger in the lyrics. As the title suggests, Isbell is trying to take a positive outlook on what he sees going on around him, “I’ve heard enough of the white man’s blues / I’ve sang enough about myself / So if you’re looking for some bad news / You can find it somewhere else.”

For those that long for the type of songs that made Isbell’s last two albums, Southeastern and Something More Than Free, so good, the closing track, “Something to Love,” will bring a smile to your face.

Isbell has flirted with a mainstream breakthrough for the past several years with each of his last two records climbing high on the charts in multiple categories. It feels like the ten-song The Nashville Sound will be the collection that puts him over the top, allowing him to shed the constraining labels he’s been burdened with throughout his career.

The post With The Nashville Sound, Jason Isbell Stakes His Claim as America’s Best Songwriter appeared first on FactoryTwoFour.

I guess that feeling started last Sunday, at band practice, where me and me mates were putting together our set list for the next gig (which we have not yet booked). We have a big band, with a lot of … unique personalities and different tastes in music, and most our fights happen while selecting new tunes. So yeah, consensus is rarely reached. But when one of our singers suggested Auerbach’s first single from the new album, “Shine on Me,” by the end of the video he threw on, we were 100% sold – a band united. And we rocked the simple tune on the first try, mostly.  I couldn’t figure out the progression on the chorus, but everyone else sounded great!

Perhaps the reason we all fell so had and immediately for the song is because of that recognizable, timeless quality that the Black Keys also possess. And maybe because the video is so damn captivating. Just the same, with the sweetest of harmonies and a simple melody, it’s like we already knew the song. That’s not as easy as it sounds, either. Auerbach’s a music-and-recording-aphile who knows his place in musical history, and is well aware of the shoulders upon which he stands.

But for this album, Auerbach also got to stand shoulder to shoulder with some of those giants, as Nashville legends John Prine, Duane Eddy, Jerry Douglas, Pat McLaughlin, and Bobby Wood and Gene Chrisman of the Memphis Boys all contributed to the 200+ songs recorded for the album at Auerbach’s Easy Eye Studios. 200. And they wrote more than that, those are just the recorded ones! Here’s what Auerbach told People about the experience:

“The thing is, keep in mind, every one of these musicians on this record probably played on some of your favorite records. So it doesn’t sound like those records, it sounds like those guys who invented those sounds. It’s a really important distinction to make, and I have to remind myself of that all the time that I’m hanging around with the masters. These are the guys we modeled things after.”

Auerbach obviously relished the experience. And you can hear it all over “Waiting on a Song.” The more I listen, the more I hear, the more I like. Maybe it’s just my latest thing, and I’ll move on to another album of the week, but just I don’t see how something this classic can ever get old. I think this one’s here to stay, folks. Give it a listen below, and let me know if I’m right in suspecting it’s an instant classic.

The post Dan Auerbach Recorded 200 Songs to Get 10 for Waiting on a Song appeared first on FactoryTwoFour.

“It’s easy to hear why such popularity has finally come to Stapleton, as there’s much of the good-timing honkytonking that’s easy to stomp your feet to. Indeed, you’d be hard pressed to find someone else around who can extoll and denounce the virtue and vice of booze more poetically than Chris, as his biggest hit, “Tennessee Whiskey” can smoothly attest.”

I’ve been thinking about pledging such allegiance since 2015’s Traveller successfully brought outlaw into mainstream country (thanks in no small part to his CMA performance with Justin Timberlake), but that’s my definitive conclusion after spending a good amount of time with Stapleton’s follow-up, From a Room: Volume 1.

Of course, I believe that all country should be outlaw country, or at least not the cheesedick variety of candy popcorn the majority of Nashville seems to have been putting out since long before The Highwaymen fell out of favor. But even though Stapleton has been writing hit songs for all sorts of folks around that town for many a year now, and has been embraced by the country establishment, I don’t hold that against him. More so I find comfort that such a bridge has been laid; if you’re going to be a savior, you have to start with the masses.

It’s easy to hear why such popularity has finally come to Stapleton, as there’s much of the good-timing honkytonking that’s easy to stomp your feet to. Indeed, you’d be hard pressed to find someone else around who can extoll and denounce the virtue and vice of booze more poetically than Chris, as his biggest hit, “Tennessee Whiskey” can smoothly attest. This album’s “Up to No Good Livin’” only cements that rep, as he sadly remembers the time he used to be the “Picasso of painting the town.” And then there’s “Them Stems,” which recalls a dark day without a bag of weed, and having to resort to smoking its remnants.

While I certainly appreciate the stuff which likely makes him so popular, for me, it’s his authenticity that propels him aloft as an artist worth revering. I’m easily compelled by the open-hearted, closed-knuckled way he goes through life and music. Just like the best of bluesmen, Stapleton brings you right into his hardest moments, plucks you down in his shitty living room, and in three minutes of simple, heartbreaking poetry, makes you understand everything that’s truly vital about that hurt, and how it came to be.

That’s the blues, right? Especially when you mix in Stapleton’s stellar guitar skills, so sweet as to make Lucille envious. But when his wife and musical partner, Morgane Stapleton, starts harmonizing along, the way that only family members can, that’s when it begins to transcend. And with stud Dave Cobb returning to produce yet again, the new album (comprised of songs written before Traveller but recorded after) gets right back into saving territory.

The post Chris Stapleton – Or Should We Just Call Him Christ? appeared first on FactoryTwoFour.

“DAMN. is an album that captures not just the frustration of an artist but the collected thoughts, worries, pain, and fear of a generation. The hope is that we ultimately come together in a triumph of persistence in the face of certain doubt. This album may have been Kung-Fu Kenny’s introduction, but it was Kendrick the philosopher rhyming to us all along.”

Albeit, The Heart Part 4 didn’t make the cut for his fourth studio album titled DAMN., but the loss of the track is understandable once you take a dangerous, lustful, brash, and introspective journey through the world as Kung Fu Kenny sees it. If you were disappointed by his two previous releases, To Pimp A Butterfly and Untitled Unmastered — he artist dabbled in space funk, and jazz-tinged melodies — then you’ll be in for a treat since this is effectively the evolution of the gritty 20-something we last saw on Good Kid, M.A.A.D. City.

“Hail Mary, Jesus and Joseph/
The great American flag is wrapped and dragged with explosives/
Compulsive disorder, sons and daughters/
Barricaded blocks and borders/
Look what you taught us.”

Across the entire album, there’s plenty of dynamic assistance on the boards from producers such as Soundwave, DJ Dahi, Mike Will Made It, and virtuoso Ricci Riera who built the beats. TDE’s label head, Anthony “Top Dawg” Tiffith also brought in the likes of The Alchemist and 9th Wonder on the team. Their talents make an album coming together make for an album that’s already an instant classic for fans of real hip hop.

DAMN., for the most part, is an incessant jab masterfully thrown from a boxer who knows he’s the best — but wants other rappers to try their luck for his own amusement. Lamar also jabs at targets that range from the likes of Geraldo Rivera, his Fox News cohorts, top rappers, and anyone who dares to touch anyone he loves. With an almost-breathless flow filled with multi-syllable rhymes, he lays down verses that drip with venom towards anyone who dares to challenge his claim of being “the greatest rapper alive.”

On ELEMENT., Lamar betrays a scathing perspective on his last musical venture, and particularly, anyone who mistook his kindness for weakness: “Last LP, I tried to lift up black artists / But there’s a difference between black artists and wack artists.” With LOYALTY. we see KDot linking up with pop princess Rihanna over a beat laid by hitmaker DJ Dahi. This track emphasizes the merits of placing your faith in a higher power over the pursuit of earthbound baubles. However, Kid Capri reminds us all with a booming voice that could be from God himself that “What happens on Earth stays on Earth!”

The album’s last song DUCKWORTH., is a true-life tale of how the butterfly effect of something as innocuous as giving out free food to gain favor can very well save one’s life. With chopped vocal samples of electronic band Hiatus Kaiyote, 9th Wonder crafts a schizophrenic landscape for Kendrick to take us on a journey of fate.

Long ago his father, who worked at a fast food restaurant, had his life spared by TDE boss Top Dawg when the eatery was knocked over. Kendrick makes the album come full circle in the style of Usual Suspects. We are given a rundown of events that very well could have ended with Lamar losing his father, and falling into gang life. The gunshot heard at the end of the album takes us right back to square one where the album began. Effectively, the album began with Kendrick being killed by what we can believe as bad fortune of his own, only to survive at the climax of the album due to the good fortune of his father.

DAMN. is an album that captures not just the frustration of an artist but the collected thoughts, worries, pain, and fear of a generation. The hope is that we ultimately come together in a triumph of persistence in the face of certain doubt. This album may have been Kung-Fu Kenny’s introduction, but it was Kendrick the philosopher rhyming to us all along. DAMN., is exactly what we need right now, an album where a rap god with limitless creative talent reminds us all that he is still just a man.

The post Kendrick Lamar’s DAMN. is the Album We Need Right Now appeared first on FactoryTwoFour.

The heroes of this sometimes true, mostly fantastic hip-hop origin story are many, but ultimately, it’s the story of four neighborhood kids led by gifted wordsmith, Ezekiel “Zeke” “Books” Fiuero (Justice Smith), who pines for another neighborhood friend, Mylen Cruz (Herizen F. Guardiola) while ably aiding her quest for disco glory. When the four meet mysterious graffiti legend, part-time underworld boy-toy, and aspiring super DJ Curtis “Shaolin Fantastic” Caldwell (the incomparable Shameik Moore), Puma-kicking-Kangol-tipping-record-scratching fireworks erupt, and the Fantastic 4 Plus 1 are born. With a little help from Grand Master Flash, who’s revered as much like a Kung Fu Grand Master as a DJing one, the crew sets out to take over not just the Bronx, but the world, despite the forces of poverty, organized crime, and disco working against them.

Luhrmann co-created the show, along with Pulitzer Prize-winning dramatist Stephen Adly Guirgis. Luhrmann also directed the Shaolin-Fantastic first episode, in all its frenetic, majestic, fluorescent glory. It’s the same type of glory I saw when I first fell for Baz, with Romeo + Juliet – perhaps the only Shakespearean production I’ve ever really loved. And The Great Gatsby is my favorite book of all time, a sacred text, somehow made all the more magnificent and telling in the modern hands of such a master visionary. Both source materials are iconic pieces of art, treated with passionate understanding and vibrant expression, and made all the more vital by Baz. That he has given the origins of hip-hop such legendary light is a testament to those funky forces who lived it, those who soared above the graft and poverty all around, who rose from the ashes of a world on fire, and created something bold and new.

Though Luhrmann relinquishes the directorial reins after Episode 1, and there is a bit of a drop in subsequent shows, his stamp is all over The Get Down, as he remains the Executive Producer. Nas is an EP, as well, and also dubs the raps for the grownup wordsmith, Zeke during flash forward arena shows, which serve to make the Fantastic 4 Plus 1’s origin story all the more epic since you know at least one of them “made it.” The raps also serve as story bumps before and after episodes, like a dope Greek chorus that catches you up far more eloquently than your typical “scenes from last week” fare. Nas’s stature also obviously serves to bolster the creative team’s hip-hop credibility, along with consulting help from the genre’s originators, like Kool Herc, Grand Master Flash, and Afrika Bambaataa.

One thing the show certainly doesn’t lack is music cred, not just of the hip-hop variety, but everything else that was popping in 1977. Indeed, it’s the music that glues this whole she-Baz-shebang together. But it’s more than just a great soundtrack; it’s a celebration of creation, no doubt, and the magical, mythical, world-changing forces that can unleash. Netflix just released the final five episodes of season 1, so do yourself a favor and get down with The Get Down. Your street cred depends on it.

https://www.youtube.com/watch?v=usv442G6H8A

The post The Get Down: The Most Dynamite Time You Can Have Watching TV appeared first on FactoryTwoFour.

Admittedly, after about four weeks of usage, I’m happier with these than with any other Skullcandy product I’ve tried – mostly because they usually break by now. The around-the-neck collar make the Ink’d a perfect option for wearing while exercising. Not only can volume and song controls be accessed with the large buttons on the collar, but the collar reduces the likelihood the buds will fall out of your ears while running and sweating, a problem I’ve encountered with $100+ Beats in the past. The battery life lasts roughly 8 hours, though this figure is a liberal estimate, and depends strongly on volume and if the headset is being used for calls at all (I can only speak well of the microphone, it performed very well while both exercising and driving)

The largest grievance I have with these is the claimed “30 feet of chord-free Bluetooth” which blatantly isn’t true – three feet is a more accurate promise. I found that if my device was in my pocket, then there weren’t any issues. But as soon as distance exceeded my roughly four feet, playback would become choppy and anxiety inducing. Not so brilliant for working out, as you can’t really hop on the bench press and put your phone next on you.

I chose this product primarily for use on my motorcycle, as the large, collar mounted buttons allow for quick song and volume access, and for exercising in. In both these categories, the product performs well, and few others offer the same value in relation to the cost. The Skullcandy Ink’d Wireless are a budget option and perform well in the circumstances, but you can do far better for your dollar in this competitive field.

The post Skullcandy Ink’d Earbuds are Terrible appeared first on FactoryTwoFour.

Crazy, right? But apparently, that’s Melbourne psychedelic/surf/garage/rock/metal band King Gizzard & The Lizard Wizard’s resolution for 2017. And here I am, merely resolved to quit eating Chocolate Fudge Brownie ice cream this year, and failing to do so. But King Gizzard’s king lizard, Stu Mackenzie, wanted to set the bar high, even for a band that’s known for their productivity, to the tune of nine full-length albums since 2012. That obviously just wasn’t enough output, though.

So how the heck do you put out so much music? Well, you go light on the lyrics and heavy on the grooves. Like many a good jam band, the Lizard Wizards have a habit of repeating themselves, and simplifying lyrics, which are often drilled down to one word or phrase repeated with growing intensity. But sometimes that really works.

Case in point: “Rattlesnake” kicks off their first 2017 album, Flying Microtonal Banana. It’s getting some good indie radio play, and is the reason I bent my ear towards these guys in the first place. Right now, I’ve got it tied with Chuck Prophet’s “In the Mausoleum (For Alan Vega)” for most rocking groove of the year. Honestly, of all the exciting developments going on at Coachella this year, witnessing “Rattlesnake” live may be the one I’m most excited about, now that we’re guaranteed Queen B won’t be performing a live birth.

But let’s get back to album 1 of 5, Flying Microtonal Banana. That’s got to be a made-up word, right? Apparently not, as Mackenzie says it comes from the custom, extra-fretted guitars the band had specially made for the album. “We were messing around with microtonal tuning,” Mackenzie told The Guardian. “Without getting too technical, it’s like dividing the musical notes so there’s one extra space: 24 notes an octave instead of 12. It opens up a bunch of possibilities.”

As whacky as the album’s title and many-noted tunes sound, it’s par for the course when dealing with a band named King Gizzard & The Lizard Wizard. Lizard automatically makes you think of the Lizard King himself, Jim Morrison of The Doors. As well it should, as that’s partially where the band’s name comes from. The “Gizzard” part remains somewhat mysterious.

Judging from the full live show below (they’re big in Belgium!), you could possibly mistake Mackenzie for Jimbo, too, particularly in a dark venue. Except that he’s not falling over, his voice needs a lot more effects to sound mysterious, and he plays a ripping guitar. The way Mackenzie plays intricate riffs and sings along at the same time is damn impressive. As are the myriad other instruments he delves into, like the sitar, bass, zurna, and most prominently, the flute. Hey, it worked for Ian Anderson of Jethro Tull, right?

But Mackenzie’s just one of the talented Lizards. Ambrose Kenny Smith sings eerie backups and plays keyboards, synths, and heavily-effected harmonica. Joey Walker and Cook Craig, the other two ripping guitarists, at times make you feel like there’s three Robbie Kriegers playing at once. As if that’s not enough sound, the band also rocks two drummers – Michael Cavanagh and Eric Moore, who also fills in on the theremin during the really psychedelic jams. And then there’s Lucas Skinner, who lays down the heavy bass groove upon which all these trippy tunes keep moving steadily forward.

It’s all swamped in distortion and reverb, which gives things that haunting, psychedelic surf rock sound. It can get repetitive and droning at times, as any jam band can. But few jam bands wield the cosmic power of these kings. Can they keep it up for four more albums this year, though? We shall set aside some strong acid and see.

The post King Gizzard & The Lizard Wizard: The Hardest Working Band in Psychedelic Surf Rock appeared first on FactoryTwoFour.

For many, though, that’s been obvious since at least the band’s last album, Small Town Heroes, which expressed the time-honored narratives of Americana roots music in a wholly new feminist and humanist manner. Their new effort, The Navigator, the bands’ sixth studio album, continues in that righteous direction, albeit with a notably more expansive air to it. While the lyrics may not, the music on Small Town Heroes still feels like Americana/Folk. But “The Navigator” has obviously moved into a more genre-defying realm.

That’s a beautiful thing too, given Segarra’s rambling past – she’s of Puerto Rican decent, grew up in the Bronx digging on doo-wop and Motown, and then dove into the hardcore punk scene in NYC. By the time she was 17, New York wasn’t big enough, so she began busking her way around America, literally hopping freight trains along the way. And you hear all of that travelling on this new album, particularly the Latin roots, which bring a whole new vivacity to her often haunting hymns.

Riff Raff actually does a really good job of describing this genre-busting direction. The new line-up’s home base is still New Orleans, but you wouldn’t describe them as having a New Orleans sound, except for in the bouillabaisse sense of the place, where many ingredients come together to make something steamy.

Segarra’’s subtly understated yet never lacking voice is definitely the paprika in that musical bouillabaisse, though. Her often nebulous lyrics lure you in with softness, but her edge is far too sharp and probing to ever feel like you’re fully grasping her other-level understanding of things. Though you do keep nodding along, as the music sonically reflects all of that mystery. It’s not necessarily cinematic, but more so visual in the poetic sense. Your imagination is stirred, along with your intellect.

The Navigator is supposedly a concept album, told from the perspective of our navigator, Navita. But Navita is clearly channeling Segarra, who’s unclearly channeling the forces of our collective past, and reforming those spirits through her own lenses. They’re not rose colored, not even close, but they will help you see beyond your nose.

The post Travelling Heavy With Hurray For the Riff Raff’s ‘The Navigator’ appeared first on FactoryTwoFour.

Of course, that’s the Capital R kind, as the word would take on new meaning as the title of the first song on Aretha’s first Atlantic Records album, her breakout record, after 10 previously released by Columbia. Did you know “Respect” is actually Otis Redding’s song? Yeah, try telling Aretha that. In 1967, you can imagine a lot of women found a whole lot to agree with in the Queen of Soul’s admonishing rendition. And a lot of ‘em in 2017, too.

Speaking of respect, I’ve never shown this album it’s just due, even though Rolling Stone calls it the 84^th best ever. I’ve always been a fan of its major hits – “Respect, “Dr. Feelgood,” “Do Right Woman, Do Right Man” – but I somehow failed to realize the glorious sum of its parts. Till last week, that is, when KEXP played every track in honor of International Women’s Day and the album’s 50^th Anniversary.

Having spent that day with the album, and at least one full listen every day since, I can honestly say I’m a better man. There’s so much life lived in these 11 songs – filled with hope, love, pain, fear, and faith. And soul. Holy God above, does it have soul – so much so, that the album basically defined the genre as the perfect mix of gospel, rock, and R&B.

Take a deep long listen to the album, and you’ll glean the meaning of the songs, and how they relate to your own masculine development. It’s particularly noticeable on “Do Right Woman, Do Right Man”; you’ll never take a women’s power and humanity for granted again. And bonus, you’ll be hard pressed to ever hear better backing tracks than those laid down by Aretha’s sisters, Carolyn and Erma Franklin, along with Whitney’s mom, Cissy Houston.

But it’s not just one song, or even the many hits, as I so foolishly thought. It’s the whole thing – that moment in time, 50 years ago, when Aretha could no longer be tamed, and indeed roared. It was her first opportunity to truly express herself musically, and reveal the ferocious and tender Queen she was born to be. And Respect must be paid.

The post Wanna Be a Better Man? Study Aretha Franklin’s ‘I Never Loved a Man the Way I Love You’ appeared first on FactoryTwoFour.

“The album let’s us get to know its seven characters intimately, glaringly, scathingly. So that we know every frailty, fear, and desire. They are perfectly human, desperately alone in an imperfect world. But it’s the hypocritical world that gets even more laid bare.”

That’s especially true for you folks who aren’t woke, as the socially-aware kids are saying these days. Of course, odds are good if you’re down with the F24, you’ve already had some conscious coffee.

But regardless of how alert you may be, I can’t imagine you’re as woke as Tempest. And if you are, that’s awesome, way to see how the world really works. But still, I’m guessing you’re not quite as pissed about what you’ve woken up to. And even if you are, you couldn’t possibly articulate that dissatisfaction half as well as tempestuous Kate. (If you do, I know a good agent.)

To be awake in Tempest’s world is quite the haunting scenario. That’s specifically vivid in the world she creates on her mesmerizing Fall-2016 effort, Let Them Eat Chaos. The celebrated album frequently goes back to the theme of being awake, while poignantly illustrating all there is in this fucked up world to keep you up at night.

Tempest extends the waking metaphor via seven separate characters, neighbors and strangers in her lost city of London. They’re all alone, up way too late, at 4:18 in the morning, precisely.

“At this very moment, on this very street
Seven different people in seven different flats
Are wide awake, they can’t sleep
Now, of all these people, in all these houses
Only these seven are awake
And they shiver in the middle of the night
Counting their sheepish mistakes”    

The album goes on to get to know these seven characters intimately, glaringly, scathingly. So that we know every frailty, fear, and desire. They are perfectly human, desperately alone in an imperfect world. But it’s the hypocritical world that gets even more laid bare.

It’s poetry to be sure. As Tempest was a Ted Hughes-prize winning performance poet before dropping the second best album of 2016, according to the world’s greatest DJ, John Richards. But while the desperately delivered rhymes propel the album to greatness, the “post-dubstep bass” music drives those words all the way.

More than anything, though, it’s just damn good story telling. Tempest’s characters are as rich and alive as those found in any novel. Their travails just as illuminating. Indeed its her empathy that allows her to see so closely, so intimately. She seems to internalize every injustice in the world, and then venomously spit it out. It’s scary stuff, that will keep you up at night. But hey, at least you’ll be woke.

The post Kate Tempest Is Woke AF (at 4:18 in the Morning) appeared first on FactoryTwoFour.

“From the second I got to hear some early tracks — mixed by Mark Needham (The Killers, Fleetwood Mac, Imagine Dragons) no less — Joe’s music felt vital. It speaks to something very human nestled within, something spiritual and full of innate insight – sagacious, old-soul knowledge, nurtured in old-growth woods. But still very rocking, and very much unlike anything else I’d ever heard.”

From the get-go, Joe was as caring as they come, and friendly – a rarity for the gruff and hooded Central District. As we began chatting every morning, I learned that besides serving a mean cup of joe, Joe was also waging a bit of a comeback in the music business.

It turns out Joe had been signed by Geffen a while back, and was on the verge of blowing up, before it all blew up.

Joe had also been a Grade-A drunk in his past, something he’s since given up. But getting back into music without the aid of booze had been quite an obstacle for him. Fortunately for the good of humanity, by the time I’d met up with him at Cortona, Joe was beginning to learn that clarity and creativity need not be mutually exclusive.

From the second I got to hear some early tracks — mixed by Mark Needham (The Killers, Fleetwood Mac, Imagine Dragons) no less — Joe’s music felt vital. It speaks to something very human nestled within, something spiritual and full of innate insight – sagacious, old-soul knowledge, nurtured in old-growth woods. But still very rocking, and very much unlike anything else I’d ever heard.

But it’s Joe’s live act that really hijacked my soul. His voice, which on the album sounds like it must be finetuned in a studio, is so beautifully not. And what range! And soul – so much heart and soul – the raw, honest, spewing-forth kind. Add to that a band full of well-heeled Seattle rockers pushing the sonic landscape out of coastal isolation and into the balls of your connected feet. And then there’s the mostly-naked people on stage with them, or as Joe calls them: “Living, naked, burlesque, boylesque and transgender statues.”

You can see a couple of these statues in the photo above, taken last March at Nuemos in Seattle, the first time I saw Joe live. The statues take on this air of mystery throughout the show, as does Joe himself, with his dark makeup and bold denim. But it turns out there’s a story behind those living statues, which Joe recently recounted to me via Messenger.

“The first J GRGRY show, last December, was to be the first show I would perform without alcohol in my entire life, since I started performing at 15. And I was terrified to the point of shaking, weeks before the performance. I recalled my first major recording environment, The Hearse, in Berkeley California, where I went into the vocal booth and had a similar confrontation with fear and anxiety. I had Mark Needham in the control room, who is as talented and accomplished an engineer and producer as exists, and there was no amount of whisky that could keep my little, underdeveloped voice from shaking. In a moment of clarity or madness, I stripped down naked to take my internal focus away on my fear of singing and replace it with my fear of being naked around a bunch of people I didn’t know.”

And that’s how Joe got his first record deal. Because Joe’s passion can’t be “chained by fear.” And because he knows that the only way to really rock is without inhibition. And with as many naked people by your side as possible.

As I hoped, big things are happening for my old barista. His new album’s on the way February 10, featuring the song below, which is just starting to get spins on KEXP. Check it out, preferably with headphones on, and nothing else. And if you’re on the west coast in the next week or two, J GRGRY’s a got a little mini-tour kicking off too. I’ll see you in L.A. at the Resident on February 4!

The post Get Naked With J GRGRY appeared first on FactoryTwoFour.

“What is truly inspiring about the album is that he manages to process this depth of sadness without giving into despair or self-pity. In a certain sense this is the most life-affirming work that he and the Bad Seeds have done in their 30 year-plus history.”

Cave experienced the horror of losing a son in the summer of 2015 and Skeleton Tree is a direct engagement with the realities of loss in this life. What is truly inspiring about the album is that he manages to process this depth of sadness without giving into despair or self-pity. In a certain sense this is the most life-affirming work that he and the Bad Seeds have done in their 30 year-plus history.

In this LP we see the band continuing in the ambient minimalism of previous album closer “Push the Sky Away”. These are more soundscapes than full-blown, structured pop/rock songs. Throughout their career the Bad Seeds have gone between chaotic rock n’ roll and their unique takes on gentle piano ballads. Skeleton Tree doesn’t have either of those. These are songs performed in the midst of mourning and everything about the production, vocals, musical accompaniment and lyrics follow suit. This is another masterpiece from the now legendary band.

I go back to my initial question: what does the artist do in the wake of tragic loss? Nick Cave has long been the kind of creator that combines discipline and intuition. He speaks with genuine mystery and reverence about his muse. At times he has written about this directly in his songs. One of my favorite lines that shows his own humility in the creative process is found in “There She Goes, My Beautiful World”:

“So if you got a trumpet, get on your feet,
brother, and blow it
If you’ve got a field, that don’t yield,
well get up and hoe it
I look at you and you look at me and
deep in our we hearts know it
That you aren’t much of a muse,
but then again I’m not much of a poet”

He is the kind of artist that treats his writing with the discipline of specific work hours and habitual practices. He literally goes to an office Monday-Friday. The death of a loved one puts a full stop to the routines and norms of daily life. In the trauma of loss all of life seems to be suspended. Cave directly confronts this idea about event and how to continue after radical change in the trailer to the film One More Time With Feeling that accompanies the new album. He says this about the difficulty of transformation after tragedy:

“What comes out in Skeleton Tree is a direct, radical confrontation with loss itself. In this way Cave reminds me again that art is one of the supreme gifts in all of life but also a courageous act that requires bold vulnerability.”

“Most of us don’t want to change really. I mean why should we? What we do want is, sort of, modifications on the original model. We keep on being ourselves but, hopefully, better versions of ourselves. But what happens when an event occurs that is so catastrophic that you just change? You change from the known person to an unknown person. So that when you look at yourself in the mirror do you recognize the person that you were? But the person inside the skin is a different person.”

Nick Cave has gone through several of these kinds of changes in his life: as the crazed front-man of The Birthday Party, heroin addicted artist in Berlin with the Bad Seeds and “mature” renassiance man of recent years. And there he was doing his 9-5 work engaged in the creative life and as devoted husband and father. Suddenly, out of nowhere, the absurd loss takes place. I wondered myself what would come next from him. Would he directly confront this or process it in a less obvious way? No one would have faulted him for hiding these inner workings from the outside world.

What comes out in Skeleton Tree is a direct, radical confrontation with loss itself. In this way Cave reminds me again that art is one of the supreme gifts in all of life but also a courageous act that requires bold vulnerability. There are examples of this kind of painful openness in songs like John Lennon’s “Mother”, Earl Sweatshirt’s “Grief” and Joni Mitchel’s “River”. You can’t be a weak person and share things like that with the world. Genuine art takes guts.

The gift we get in the creations of others is a shared experience of life. When someone like Nick Cave is bold enough to share his grief with an audience we are given the gift of processing loss that we know in our own lives.

On the stunning “I Need You” Cave sings:

“Nothing really matters, nothing really matters when the one you love is gone
You’re still in me, baby
I need you
In my heart, I need you”

He may be singing about his wife, his family, his friends, his departed son, God, his art or life itself. I am reminded, something I never really seem to forget, that I need art. I am so thankful for those that are brave enough to share their inspiration with the world. Nick Cave transcends musical trends and “coolness” on Skeleton Tree; this is the real stuff of life with all of it’s glory and pain.

The post Nick Cave and the Bad Seeds Grief and Life-Affirmation on ‘Skeleton Tree’ appeared first on FactoryTwoFour.

So when I initially rejected KEXP, it wasn’t because I don’t like new stuff, which is what you get a healthy dose of at the station, albeit with plenty of old-school gems mixed in. It was mostly because the listener-powered public radio station is in Seattle.

And every time my co-worker in L.A. would implore me to listen, I’d give in, and somehow feel guilty, like I was in Seattle and rejecting my sunny L.A. public radio stations KCRW and KCSN, both of which are perfectly good.

“When I moved up to Seattle for a couple of years, I was in dire need of friends, and KEXP thankfully found its way into my life. I was soon enjoying breakfast with The Morning Show host John Richards, who didn’t just play the Seattle Sound, but also dropped deep cuts from hip hop to punk to indie to classic country.”

But when I moved up to Seattle for a couple of years, I was in dire need of friends, and so KEXP thankfully found its way into my life. I was soon enjoying breakfast with The Morning Show host John Richards, who didn’t just play the Seattle Sound, but also dropped deep cuts from hip hop to punk to indie to classic country. All this while making me genuinely laugh and educating me on all the bands, old and new, and where I could see them.

Since I work to streaming music all day long, Cheryl Waters would inevitably come up next for The Mid Day Show, and she’d frequently have an in-studio guest to play a short set and share an insightful Q&A – most of which are impeccably filmed and archived for streaming. And of course I’d have to stick around for The Afternoon Show with Kevin Cole, who used to D.J. private parties for Prince. And then there’s the specialty shows that go professorially deep into genre—rockabilly on Shake the Shack, twang/country on Swingin’ Doors, and reggae with Positive Vibrations, just to name a few.

One of the reasons KEXP is so special is because it is “listener-powered radio,” as you’ll hear on many of the station’s promos. Because of this, they can play whatever the fuck they want, as long as they keep getting supported by benefactors, all of whom seemingly enjoy the 40-plus DJs’ vast curated selection as much as I. This allows KEXP the great privilege of pivoting; if an artist dies, for instance, then there is nowhere better to mourn along. Or if Bob Dylan wins the Nobel Prize in Literature, you can expect a healthy dose of “here’s why.”

Being listener-powered also allows KEXP to have specialty programming, where they’ll take a day to deep-dive into a special song or album. Like when they spent the day playing all the references in “Losing My Edge,” or a sample-by-sample breakdown of the Beasties’ Paul’s Boutique, or De La Soul’s 3 Feet High and Rising.

Those are hard days to get work done though, because you spend so much time looking at the live playlist to find out what new band you’re hearing. But for any true music fan, the loss of productivity is more than worth it.

image via RadioFacts.com

The post Let KEXP Power Your Daily Music Fix appeared first on FactoryTwoFour.

That’s why I first started listening to him, because we had that in common. Soon I started really hearing him. And I haven’t been the same since.

“I’ve seen Jesus play with flames in a lake of fire, that I was standing in. Met the devil in Seattle and spent nine months inside the lion’s den.” The first words sung on Sturgill’s genre and mind-bending Metamodern Sounds in Country Music grabbed me right from the get-go, mostly for personal reasons; I was just getting to know Seattle myself, and Satan may have been my barista.

“Perhaps it is psychedelic country, but it still rocks. All of it. As much as any outlaw country band I’ve ever loved. Yet his cover of When in Rome’s “The Promise” not only doesn’t sound like country music, it doesn’t sound like the original at all. It took me a full two years of listening to realize it was even the same song.”

So that drew me in. That and KEXP and NPR going gaga for him. And a buddy proselytizing about him being the savior of country music. But I didn’t even know if saving country music was that great of a plan in the first place. Certainly not new country. Well, as I found out, Sturgill is an old soul, and he even sounds like a soul singer at times too.

But listen to that baritone, and you know Sturgill’s country. Unmistakably so.

His 2013 debut album, High Top Mountain, is perhaps even more country than Sturgill was shooting for. Albeit in all the best outlaw ways, with legendary old-time pickers giving it even more authenticity, and lyrics that cut right to my wandering and wondering core. Like when he growls, “the most outlaw thing that I’ve ever done was give a good woman a ring.” As a reluctant married guy, that got me for sure.

Sturgill’s next album, 2014’s aforementioned Metamodern…, sounds completely different. Some have called it psychedelic country, as Sturgill gets deep, both philosophically and sonically. Listen to “Turtles All the Way Down,” the first song I was discussing earlier, and you’re presented with ideas of not just Satan, but Buddha, “reptiles aliens made of light,” “the pain caused by some old man in the sky,” and how that can all be compared to the world being a giant turtle, which rests on the top of another much greater turtle, and so on down the line. So perhaps it is psychedelic country, but it still rocks. All of it. As much as any outlaw country band I’ve ever loved. Yet his cover of When in Rome‘s ’80s one-hit-wonder “The Promise” not only doesn’t sound like country music, it doesn’t sound like the original at all. It took me a full two years of listening to realize it was even the same song.

His third album, A Sailor’s Guide to Earth, the one being played on excellent radio stations now, sounds completely different from both the others, what with the addition of soul breathing organ and horns (the Dap Kings, no less). It also covers a song that bears little resemblance to the original, and again defies anything in country music, or music in general for that matter: Nirvana’s “In Bloom.” The concept album is the first that Sturgill produced on his own, without today’s go-to producer, Dave Cobb at the helm. And it’s visionary.

It’s a concept album conceived as a love letter to his first kid, conveying the lessons Sturgill wants to pass down, which seem to be rooted in the idea that love is all around, if you can just let go of the pain. But then on “Call to Arms,” it explodes into a cacophony of defiance, rocking in the not-so-free world, and screaming “bullshit’s got to go.” And there you are with your mind blown again.

Then you see him live. And you realize that his band is as good as any jam band gets, with Miles Miller clicking the skins and harmonizing like a family member, Laur “The Estonian Sensation” Joamets picking and sliding right up there with Nashville’s finest, and Sturgill—who grew up fashioning himself a guitar player more than a singer/songwriter—strumming the acoustic, driving it all.

That’s when I started proselytizing too, not just about Sturgill saving country music, but all music.

The post Sturgill Simpson Isn’t Just Country Music’s Savior appeared first on FactoryTwoFour.

Both options offer a range of audio quality, but always limit what you can hear of your surroundings. Now this might sound great if you’re sitting next to a baby on an airplane, however, what if you’re biking through a crowded city? Or hiking next to a winding river in beautiful windy canyon? You may end up missing out on calming nature sounds or the honk of a crazed city driver.

Science has come through once again with a new audio option that allows you to listen to your favorite tunes without blocking out the sound around you. They are called Bone conducting headphones. Yes, you read that correctly. Instead of covering up your precious ear-holes, the AfterShokz Bluez 2S use your cheekbones to communicate with your inner-ear bone. By sending the sound vibrations through your cheekbone, you can leave your ears open to your surroundings. The coolest part is that you can plug up your ears and you will actually hear your music better!

You’re probably thinking, “that sounds cool and all, but I bet the sound quality is pretty low.” I was in the same boat, thinking that the quality will get lost when communicating through the density of my skull. So I purchased a Bluez 2S a while back and have found myself coming back to them again and again (to the point of listening to them while writing this.) I was skeptical before, but I am a believer now. The sound quality is great, with high treble coming through spectacularly and low bass less so, but still equivalent to other in-ear headphones in the $99 price range. The volume range is extraordinary, with only the faintest buzzing audible by others at high volume in a quiet room.

I thought I would be using these while I bike around downtown Philadelphia, or at least while working-out. However, their most useful application is in the office. I have two co-workers who enjoy politely playing classic rock at low volume on either side of me. During those not so rare stretches where the office goes completely quiet, I feel like my brain is slowly turning to pudding from front to back. The AfterShokz have solved that problem while simultaneously allowing me to hear when the boss starts making his rounds, giving me enough time to close “non-essential” tabs.

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Frightened Rabbit – Get Out

The Rabbit crew are finally back, and with production help from Aaron Dessner of The National their newest album Painting of a Panic Attack is a massive gut punch of melancholy lyrics and souring orchestral sounds. This is such a dream team of Rabbit’s poignant and wholly unique lyrics ripped from their, and our, everyday lives, along with the kind of driving multi-layered sound The National have rode to success. This album has been on heavy repeat here at the F24 office, and we haven’t even broken the seal on our vinyl yet. Soon.

LNZNDRF – Beneath the Black Sea

Speaking of The National, LNZNDRF is a side project for their bassist and drummer (real life actual brothers) along with Ben Lanz of Beirut. Sticking mostly with instrumentals with this album, there’s more than a passing resemblance to Explosions in the Sky – if you’re into that kind of thing (and many are). Beneath the Black Sea, however, adds on some lyrics (I mean really, how hard is that?) to provide a drum-propelled wander of a song.

Daughter – How

Daughter is also recently back with now their second major label album. Again highly produced and multilayered – a large departure from their sparse and wonderfully naked early work – Not to Disappear is a contemplation on failed relationships, personal trauma, and the general ennui of being a human among humans. Always a good listen, Daughter has an innate ability to sneak a lyric into your head that makes you stop and think, “wow, that’s messed up.” In the best way.

Tiny Deaths – The Gardener

This one has a little funk to it. Tiny Deaths are a new group (you heard it first!) with just an EP out. Don’t expect that to stay the case for long. Hardly sounding like an amateur freshman attempt, The Gardener is a fully fleshed hip shaker with a chorus you’ll have after the first go around. We’ll be keeping an eye on this crew and can’t wait to see what’s next.

On Dead Waves – California

Ready for your summer anthem? Coming hot off the presses is On Dead Waves with this poppy little number that will sound perfect on the beach, at your annual BBQ where you get too drunk, or just blasting out of your windows as you dust. With etherial vocals and a running time closer to a Ramones song, California is a nice little pick-me-up in the list of otherwise sad sack songs. I mean, we have to leave you on a happy note right?

Look, we made it through an entire music post without mentioning Prince…

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After more than a year of only buying relatively new records—meaning released in the the past year or two—I fell off the wagon. Leaving Hollywood’s Amoeba Music without the Jesus and Mary Chain’s Munki proved to be an impossible task. As we can all attest, the flesh is weak.

That said, the desire to buy old records is now mostly out of my system, and I’m recommitted to focusing on the future. So I figured I’d use this opportunity to plug some of the albums I loved in 2015, as well as a couple recent favorites.

All these bands are built around strong female vocals, and lately, my friends have been joking I have the musical taste of a 15-year-old lesbian.

Can’t say that bothers me. Enjoy.

Bully Feels Like (Columbia)

Singer Alicia Bognanno and company might have formed Bully in Nashville, but there’s not enough Music City twang to fill a thimble on Feels Like, the band’s 2015 debut. The fearless confessional nature of Bognanno’s lyrics—”I remember the way your sheets smell”—meshes menacingly with a riot of buzzing guitars, bouncing bass, and tempo shifts, and the songs’ underlying urgency keep the album plunging forward like a great night gone off the rails.

Childbirth Women’s Rights (Suicide Squeeze)

There’s an inescapable humor to Women’s Rights, the first effort from Seattle punk super group Childbirth. “Baby Bump,” finds the narrator bringing cocaine to a baby shower, while “Siri, Open Tinder” lets listeners know how to get ladies to swipe right. And while it’s near impossible not to laugh at a title like “Since When Are You Gay?,” the trio’s complete mastery of three-chord punk harmonies makes this brisk, 13-track effort more novel than novelty.

Daughter Not to Disappear (4AD)

U.K. label 4AD—see the Cocteau Twins, Dead Can Dance—has long been famous for releasing ethereal, cinematic efforts, and the latest release from the London band Daughter dovetails nicely into the catalog. Thematically, Not to Disappear paints a bleak, brooding landscape, but it’s a gut–wrenchingly beautiful one, and singer Elena Tonra’s voice is a glorious reminder that sometimes, even heartbreak can be dazzling.

The Sun Days Album (Run For Cover Records)

Nope, though this five-piece from Gothenburg, Sweden shares the ’90s alt-rocker’s facility with hooks and harmony, it’s not that Sundays. Here, Elsa Fredriksson Holmgren’s flawless vocals lead a flirtatious blitz of jangling guitar, groovy bass and twinkling keys, and every track on this stunning debut achieves fever-pitch bliss. Album is a shimmering, eight-song set of crystalline indie pop from a band which arrived fully formed.

Hop Along Painted Shut (Saddle Creek)

Philadelphia’s Hop Along began as a solo project for singer Frances Quinlan, who’s been performing for over a decade. And while years of practice clearly can’t be dismissed, it’s obvious Quinlan is profoundly gifted.  She commands her extraordinary range—soaring highs, precision intonation, arresting, guttural screams—with the fearlessness and dexterity of a lion tamer, and her pipes are what make Painted Shut such a grunge-folk triumph.

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