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Punknews.org premieres Beechwood’s new music video for “This Time Around”

Today, Punknews is pleased to debut the new video by Beechwood!

Built around a cold wave of shimmering guitars and wails, “This Time Around” pulls from the sinister aesthetic of first wave goth and the mid-70s nihilism of Bowie and Lou Reed in equal measures. Fittingly, images of war and chaos are layered on top of these nasty vibes, suggesting that the terror of the past may very well be right around the corner.

Speaking to Punknews, the band’s Gordon Lawrence said, “There is a certain driving force or intensity in “This Time Around” that (in my mind) is met with images of conquering armies, cities burning, a sort of Wagnerian Götterdämmerung. We even recorded ourselves in combat boots marching in place on a tiled floor to enhance the effect in the song. It’s claustrophobic, paranoid, destructive, but also– in a way it’s therapeutic. There is a certain freedom in the knowledge that any day it can all be over. The use of historical/pop-culture references illustrates this sense of impending doom. I have no doubt that humanity will one day do itself in for good, and what more damning evidence does one need than our own recent history?”

The band’s new album is out now and you can check out the band here.. Meanwhile, see the new video below. READ MORE…

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by Baby Robot Media

mxdwn compares John Calvin Abney’s “Sundowner” to Elliott Smith & William Elliott Whitmore

John Calvin Abney is an Oklahoman musician who adeptly mixes classic Americana sounds with more modern genres like dream pop and indie folk. The result is a sound that is equal parts Elliot Smith and William Elliott Whitmore and we’ve got the premiere of a great example of this skill in “Sundowner.” The single shows off Abney’s Oklahoma vocal twang while showcasing a songwriter that is not satisfied with classic American songwriting practices. READ MORE…

by Baby Robot Media

Americana Music Show Presents Ross Cooper’s “I Rode The Wild Horses”

I Rode The Wild Horses by Ross Cooper

Some of the best Country tracks released in 2018 are to be found on I Rode The Wild Horses by Nashville domiciled Texan, Ross Cooper. If you start with the fact that Cooper raised $21k via crowd funder website Kickstarter to get this album promoted then you obviously won’t find the fingerprints of a major record label across it. However it is only a matter of time before they come calling.

The twelve short tracks are a cross between mainstream Nashville Country and Americana Country Rock, although the PR threw up Alt-Western as the genre. That somehow seems to fit the atmospheric title track with its cinematic vista of horses, tumbleweed, rodeos and bars.

Cooper had an earlier career as a bronco rider and writes with considerable experience of the lifestyle, travel and injuries. He relays this through the thoughts of a retired rider reflecting on the highs and lows but taking considerable satisfaction at the thrill of his tussle with unharnessed nature. Eric Masse produced the album and he’s been accumulating experience with some stellar artists. This included working on Miranda Lambert’s The Weight Of These Wings. Along with his talent on the dials he brings a fabulous selection of Nashville musicians. It’s here that we first hear the incendiary and heavy guitar of Jeremy Fetzer as he sets the track alight with a blistering solo toward the end.

Cooper slips easily between light and shade. “Another Mile” is a fast paced acoustic pop tune where a pleasing chorus is supported by being driven along by a band of guitar, keyboard, pedal steel and drums. However, the sweetest traditional Country outing is ‘Lady Of The Highway’. Cooper lays down his homage to travel on the road. Eddy Dunlap’s delightful pedal steel gives the song charm and personality. Take note this should be at the very top of the Country charts NOW.

by Baby Robot Media

The Alternate Roots Presents Lloyd Green and Jay Dee Maness’s “You Ain’t Going Nowhere”

Appropriately dressed up for the occasion, Joshua Hedley sits in the #1 spot this week, neon and vinyl spinning with “Mr. Jukebox” on the weekly Top Ten for Wednesday, April 25, 2018. Returning with a new album on June 22, 2018, The Record Company have an advance listen with “Life to Fix” from All of This Life. Soul music gets southern sweetness in the groove of The California Honeydrops for “Call It Home” and Walter ‘Wolfman’ Washington add a touch of Jazz to the bluesy New Orleans soul stamp he puts on “What a Difference a Day Makes”. In advance of her upcoming (May 18, 2018) release Back Being Blue, Kelly Willis puts “Only You’ on the chart while Austin’s Okkervil River list “Famous Tracheotomies” from their April 27, 2018 release, In the Rainbow Rain, and San Francisco’s Wooden Shjips draw “Red Line” from the upcoming (May 25, 2018) release, V. Shlomo Franklin has a new E.P., Don’t Love Anybody, and is on the Top Ten with the title track as The 502s deliver “What to Do” from their upcoming interactive album release. Lloyd Green and Jay Dee Maness carry on the tradition of The Byrds’ Sweetheart of the Rodeo with a dual pedal steel tribute to the album for Record Store Day, offering “You Ain’t Going Nowhere” to close out the weekly Top Ten Songs of the Week for Wednesday, April 25, 2018.

by Baby Robot Media

Indie-folk outfit Book Club’s new LP Dust of Morning receives “7 out of 10” from Americana UK

Apparently inspired by founding frontman, guitarist, singer and songwriter Robbie Horlick’s travels in Europe, Book Club’s third album, ‘Dust of Morning’ shows the Atlanta-based ensemble demonstrating a growing maturity that has them deserving of a wider audience. That isn’t to say these songs appear inspired by a particular place or places as such – the meditative and reflective nature of this indie-folk typified by the track, ‘Space Between The Days’ from which the album title is drawn: “If the dust of morning shakes/ Itself off you in great escapes/It will return to say its peace/Rearranged but thick as thieves.” Plus ca change, plus c’est la meme chose, as the French might put it.

Horlick’s vocal on many of the songs has a somewhat nasally sounding intonation, reminding one a bit like an American version of Steven Adams from ?the Broken Family Band?. It takes some getting used to, which is why the songs in which he either alternates singing duties with Lauren Love, the band’s new pianist, such as ‘Every Song, Another Question’ or where she sings solo on ‘So Many Nights’ take on another dimension entirely – indeed, the band might benefit from giving her the lead more frequently in future. ‘So Many Nights’ is very much a highlight, Love’s sad, yearning vocal allied to a dramatic mid section which contrasts nicely with the opening verse. READ MORE…

by Baby Robot Media

Anti Music Presents Charlie Overbey’s “Slip Away”

Charlie Overbey will be releasing his new album “Broken Arrow” tomorrow, April 20th, to celebrate we asked him to tell us the story behind the single “Slip Away” which features Miranda Lee Richards. Here is the story:

“Slip Away’ was written directly following the loss of someone in my deep inner circle that was ruled to be an accident but to me seemed a suicide. I tend to like to leave things to the imagination and incorporate–especially in dark times–elements of hope. I did not feel the need to mention suicide–nobody needs to be thinking about or even reminded that this is an option.

I do think that in times of despair, people tend to find warmth in darkness, which is a trick of the mind as referred to in my favorite line in the song: ‘And then you gimme’ that look / yeah you gimme that look, like you’re never comin’ back again / like you’ve crawled down into a deep dark hole / and it’s warm like the house of a friend.’

The mind is a strange place which can turn dark to darker or vice versa with ease. ‘Slip Away’ is definitely one of the deepest songs I’ve ever written and a personal favorite for that reason. It’s a somber song about loss and was a very tough one to deliver while tracking the vocal. Miranda Lee Richards, who sang this duet with me, was amazing to work with on this track. She was perfect for it and I knew it before she ever sang a note.”