New Music Tuesday: Greg Felden – Made of Strings [Album]

 

Hello Folks! I will be damned if we don’t have another brilliant singer/songwriter to share with you all here today. Hailing from our beloved Pacific Northwest, Greg Felden is another performer from our original location that I was so happy to discover. Now a Los Angeles transplant, Felden has been creating beautiful Americana and sort of country based tunes for a number of years and is now bringing his talents to what will be his first full length album entitled Made of Strings. And Folks, it is good. Really good. I know we tend to say this a lot. But, it’s only because it is so true. Felden has a beautiful batch of 10 tracks to share with you all that he has been cultivating for years and has fine tuned them and has called in some additional very talented folks to bring the entire concept of the album together. And again, it’s so damn good!

As per usual, it would be damn near impossible to pick out a stand out cut amongst the damn near perfect selection of tunes that Felden has assembled to become Made of Strings. “When the Change Comes” Is definitely one that jumps out runs the gauntlet on your emotions with its catchy hook and hopeful lyrics. But, the album’s closer “Ghost” is probably the track that has stuck with me the most. Greg’s voice echoes through billowing sadness into a hopeful future in his stellar songwriting. This is one of the best of the year Folks, I truly cannot recommend it enough.

 

Made of Strings will be available wherever you get your music on June 14th, 2019.

 

New Music Tuesday: The Black Tones: Cobain & Cornbread [Album]

 

Holy Shit Folks, this is probably one of the most exciting and unique New Music Tuesday features we have done in quite a while. We’ve been pretty steady with our usual singer/songwriter and hip hop trends, even digging into some standard rock n roll gems, which have all been absolutely wonderful in their own right. But now, we have something truly special to share with you all. Folks, we are talking about The Black Tones. Have you ever listened to a something that is such an incredible combination of so many different styles of music that it tends to transcend average misconceptions of what something should sound like, and sounds incredibly original? For some of us, this isn’t really a new concept, but in this day and age, it is the mark of some true artists. And that is exactly what is happening on The Black Tones aptly titled album, Cobain & Cornbread.

The entire track list of Cobain & Cornbread is absolutely the standardized definition of solid. It is an insane jazz-fused collection of blues influenced rock & roll with some absolutely stunning guitar work. The unorthodox way in which The Black Tones choreograph a song is probably one of the most impressive feats in which they manage to step up to. My absolute favorite track on the album, “Chubby & Tubby”, entails about 2 minutes of Eva, one half of the band, riffing in such a manner that it simply sounds like the guitar is speaking directly to you. And it continues on with the wailing and whining that would put a smile on an aging Hendrix fan today. And this is just one example. It has been quite a while since I have heard just true musicianship being showcased in such a manner. Maybe I’m not listening hard enough anymore, but I truly believe that something as original as The Black Tones is such a rarity in this day and age, and I am so excited to have been introduced to these phenomenal artists.

 

 

I am dead serious when I say this folks: The Black Tones are an uncategorized & genre-bending couple of masterminds. And while there is obviously a little bit of punk influence in their sound, it is more about the organized chaos that within their sound, which is also similar to the also very obvious blues influences. But then, they will riff so fucking hard into something that sounds like early grunge music of the late 80’s and you just don’t know what the fuck to think anymore. Which is perfect! Again, it is the truest of indications that you are listening to something truly unique and original. And The Black Tones and their incredible album Cobain & Cornbread are nothing if not incredibly talented and insanely original. You absolutely have to check this one out, Folks!

 

Cobain & Cornbread is available now wherever you get your music. To learn more about The Black Tones, check out a few dates below, and be sure to check out their website, theblacktones.com.

 

Live Shows:

 

18 May – Seattle, WA @ Bothell Block Party and Brewfest 2019

23 May – Bellingham, WA @The Shakedown (w/ SISTERS)

19 July – Seattle, WA @ Capital Hill Block Party

24 Aug – Historic Fort Worden in Port Townsend, WA @ THING

19 Oct – Clarksdale, MS @ 2019 Deep Blues Festival

 

For a preview of the genius you are going to hear, listen to “Chubby & Tubby” right now:

New Music Tuesday: Tom Speight – Collide [Album]

 

My oh my, Folks. Do I have an absolutely tremendous record to talk to you all about today. Tom Speight has not only created one of the finest albums of the year thus far, but one of the finest albums I have ever heard. I am not kidding. I honestly believe that based solely on the 13 tracks he has given us with his debut full length album Collide, we are witnessing the evolution of the next big pop star to come out of the United Kingdom. This is even without looking back on Tom’s earlier work, which I surely will, and I am certain it is fantastic as well.  I simply cannot imagine a world where Tom Speight doesn’t start to dominate the charts and, more importantly, the hearts and minds of audiences across the globe. He’s already left his mark everywhere from Brazil to Bulgaria, so it’s not hard to believe that he is proverbial eagle that is just waiting to soar.

The track list that makes up Collide is a real whirlwind of emotion. Tom comes in at about an 11 with the opening tracks (my favorite 3 tracks, by the way) “Waiting”, “Little Love”, and “Strangers Now” with anthemic chorus lines and a beautifully progressive build ups. He drops it down to around a 7 for a while with some beautiful ballads and perfect showcases of his impeccable ability to write the hell out of a song. And then it is back to 11 again with the clear stand out single “My Name” that will inevitably be played amongst a crowd of 20,000 people, microphone pointed to the crowd that is echoing his every damn word. I sincerely believe this will happen. Then, just to bring it all around, the opus that is “Evermore” pieces together all the elements that we had come to love about Tom through the 13 tracks.

If I haven’t made myself crystal clear, here: I fucking love this album! And again, I see nothing but wonderful things happening for Mr. Speight in the near future. I firmly believe that the unfortunate medical issues that have held him back in the past are the only reason that his name hasn’t yet infiltrated the American airwaves as intensely as at least one other UK born sensation. We all know who I’m talking about. No need for name dropping. He’s great, but dare I say Tom Speight is the best singer/songwriter in the world of pop music that I have heard in several years. He’s already selling out his own shows, and amazing audiences as a supporting act, but look the hell out people. Tom is here to dominate!

Collide will be available on April 12th, 2019, wherever you buy music.

And look for Tom out on the road through 2019. Here are some UK dates to look out for:

April 17th – Dublin @ Whelan’s

April 18th – Cork @ Cyprus Avenue

April 20th – Belfast @ Voodoo

April 23rd – Birmingham @ The Cuban Embassy

April 24th – Bristol @ The Louisiana

April 25th – Manchester @ The Night & Day Cafe

May 2nd – Leeds @ Hyde Park Book Club

May 3rd – Glasgow @ The Hug and Pint

May 4th – Edinburgh @ Sneaky Pete’s

May 5th – Newcastle @ Hit the North Festival

 

Check out this wonderful video for “Strangers Now”:

 

New Music Tuesday: Richard James Simpson: Deep Dream [Album]

 

Hello Folks! I have to say, since my departure from only writing about music close to a decade ago, I rarely have the experience of listening to a full album and thinking, “Well, that was a fucking experience!”. But, I have to say, listening to Richard James Simpson’s sophomore release Deep Dream was indeed a motherfucking EXPERIENCE. I wasn’t just listening to the normal singer/songwriter love affair that I have become accustomed to and have fallen in love with over the years. No, I was sent on a god damned journey listening to this beautifully produced and satanic collection of rhythms and fears that were delightfully packaged as an “alternative rock” album. If “alternative” were to be something that is still packaged as an actual genre of music, this album is definitely something that goes even further beyond that weird ass wave. There is something different about this collective. There is something special hear. It obviously can’t be defined. It is noise. It is beautiful fucking noise. It is a collection of sounds. Wonderful, delightful, and David Lynchian worthy sounds.

There are indeed elements of Deep Dream in which you think that the tracklist is simply coming around to a more recognizable sound, like when “Mary Shoots ‘Em First” comes on and you feel taken back to a the confusing yet recognizable times that we called the 1990’s with the an obvious grunge ode, but fear not dear hipsters, the weirdness comes back instantly. And dammit if it isn’t fucking beautiful! It has been a while since I have heard an album describe in a press release as “sonic”, and it actually range true in any sort of way. But when it comes to Simpson, I feel as this is entirely accurate, and yet, a bit of an underselling.

 

The ballsy attempt to make “I Couldn’t Be Happier” as the lead off track from the album was a genius and sellable idea. But, the seemingly 80’s anthem rock turned truly weird as fuck track “Free” is bound to be the best track that this album has to offer. Yes, it is catchy yet dark in a way that melds a couple of decades of the past together like melted barbed wire, but it is the epicenter of the entire album. After listening to this entire album even the utterly hip and weird “Half Brother, Half Clouds” with its abundance of pterodactyl screams can’t waver my mind from loving the more simple elements of this wonderfully bizarre album. Don’t get me wrong, the entire thing is wonderful. As I said before, Deep Dream is more of an experience than it is an simply an album. And overall, no matter what it is that you decide to find the most joy out of this album for, you are going to know that this is a wonderful experience. I guarantee it. And if you don’t, well, that’s on you. Please figure out what is wrong with you if those obvious Devil nostril exhaustion don’t fuck with your mind just a little bit. The Sabbath like riffs of “Job” should be enough for you, you god damned psychopath.

 

“Deep Dreams” will be available wherever you get your music on April 12th, 2019. 

 

 

New Music Tuesday: Tremendous – Open For Closing [Single]

 

Oh do we have something absolutely wonderful to share with you all today. Let me start this out by stating that “Open For Closing” is a brilliant, and systematically engineered absolutely PERFECT song. Seriously Folks, this beautiful track has everything that, I personally feel, is required to be a perfect track. From the soft beginning that quickly ramps up into a hard as hell and also anthemic like vocal structure. With ironic and open for interpretation lyrics that breathe into your ear holes with a sound that is part glam rock, part 80’s hair metal, yet has a far greater and more modern collection of guitar work that is more reminiscent of the best of what we heard in the early 00’s, but without the cheese. This is truly an amazing 3 minute experience that you will quickly turn into a 6 minute experience. And then 9, 12, 27, 300, and so on. It’s an absolutely brilliant record, and I am so happy that it was brought to my attention, and you can rest assure that the name Tremendous will be appearing on these digital pages as the year 2019 progresses forward.

“Open For Closing” is the third single from Tremendous’s forthcoming debut full length album, Relentless, that will be coming to the world this coming September, and I am so damned excited to check out this album, and of course share it with you all when the time comes. Tremendous has that sort of sound that is obviously influenced from another era, yet is completely original in its own right. As I expressed before, there are recognizable elements that will be obvious, but there is something extremely modern and sort of cleaned up about the arrangement in which the track is presented. This could be partially due to the fact that they have acclaimed Kings of Leon and Robert Plant producer Gavin Monaghan piecing the whole thing together. But, I dare say that he was handed a proverbial chunk of gold, and was asked to add a few bits of platinum into it. Folks, it is a damn fine track, and it’s definitely going to leave you wanting more and more.

For our readers in the UK, check out Tremendous doing “Open For Closing” & more live for yourself as they will be performing at Dublin Castle in London on April 4th. Check out the event HERE.

 

“Open For Closing’ will be available for streaming and purchase wherever you do these things (iTunes, Spotify, etc.) on April 12th.

Until then, check out this wonderfully original video for the song, and bask in the glory that is “Open For Closing”:

 

<iframe width=”560″ height=”315″ src=”https://www.youtube.com/embed/GlautZGr6HE&#8221; frameborder=”0″ allow=”accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture” allowfullscreen>

New Music Tuesday: Jason DeVore – Conviction Volume III: The Road To Clarity [Album]

 

You know when you are born? And you eyes are simply drowning from your mother’s inner fluids that you simply cannot see? Remember that? Well, whilst living the life of a lowly music blogger in the world of digital madness for the last couple of decades, this is a pretty normal feeling that manages to rear its sloppy head time and time again. Case in point: Jason DeVore. This is a cat that has been producing some very important and amazing music for well over 25 years, yet I have been blind to his brilliance. The bright side of it all though: eventually the fluids are wiped away, and the beauty can be identified. This could be a reason why I am so excited to talk about what is apparently (well, maybe literally, not apparently if we are to use proper terms) the third volume of a series of a punk rock legend who also likes to experiment in the world of acoustic and experimentalism from time to time. While I am admitting that Conviction Volume III: The Road To Clarity is my very first listening experience involving the world of Jason Devore, I will say that I am beyond intrigued by his brilliance and will obviously be looking into the previous two volumes, as well as his already well established and beloved punk band Authority Zero, who is probably already a staple in the lives of any new readers we have hear today. Because if anything that this man has done with on his previous solo work, as well as with Authority Zero is half as great as this album, I have a HUGE selection of greatness to get through.

 

 

Third volume of a solo project or not, Conviction Volume III: The Road to Clarity is an absolute gem of an album that stands entirely on its own as a beautifully written collection of songs that perfectly pander to audiences who enjoy high energy and amazing songwriting at the same time. And I’m not talking about the fans of the Church of Latter Green Day. No, this is just a wonderful collection of perfectly written songs that have a certain punk energy that is depicted in an acoustic pop format that is absolutely incredible. For regular readers of TWS, you are already going to know that “Whiskey And Roses” is the stand out track from this album. Fuck, I loved this track so damn much. It will definitely be a fan of this track. Yet, I couldn’t help but be compelled by the modern day spaghetti-western themed track that directly followed that is “Are We Too Loud”. In fact, I have to acknowledge that is is a truly fucking insane way to finish off an album, as these were the last two songs of the album. It’s almost as if Devore is planning to prepare us for a part IV that will be even more entertaining. And as somebody is is planning on devoting a great deal of time listening to the rest of the works from Jason DeVore, this may have been a well timed decision when it comes to track listing.

Essentially, I truly loved this album, and I am very excited to hear what Jason has to share in the future. The fluids of being a newborn have been cleared, and I am a Jason DeVore fan. I shall look to the past for entertainment, and to the future for the inspiration of a brighter day thanks to this amazing songwriter and debutant of a performer.

 

If you are reading this from Florida, Jason Devore is currently touring your truly bizarre state at these locations:

 

MAR 12 HIGH DIVE – Gainesville, FL

MAR 13 Mad Beach Dive Bar- Madeira Beach, FL

MAR 14 Iron Oak Post- Melbourne, FL

MAR 15 Banana Boat- Boynton Beach, FL

MAR 16 Martinis Bombay- Marco Island, FL

Also, check out the wonderful official video for the wonderful track from the previously mentioned album entitled “I Hate To Say I Told You So”:

New Music Tuesday: The Tenth – Dunes [Album]

 

Loud. Abrasive. Fucking brilliant. In just about 30 seconds of listening, these were my initial thoughts of Dune. And that sentiment held true throughout the amazing listening experience that we should come to expect from a band like The Tenth. They refer to themselves as “bubblegum punk”, which if self-inflicted, seems accurate and okay. But, in all actuality, this is a fun group that is punk as fuck, yet also melodic at times, with a primal energy that is absolutely mesmerizing. While vocalists Harley Quinn Smith and Taylor Blackwell have a snappy tone that pops at exactly the right moments over brilliant guitar riffs, I feel that the “bubble gum” effect is minimal at best. I usually don’t care to make comparisons to other groups, but seeing as though they are a staple here at Trainwreck’d Society, I will just go ahead and say that I love this group as much as I love our dear friends at Tacocat. And while there are obvious differences between them, I will say that I would truly love to catch a bill that involved them together. As well as Portland’s Forever. What a fucking roster that would be, right?

At certain points throughout Dunes, it does honestly become less abrasive and a bit more melodic (as sort of mentioned before, in a roundabout way) with tracks like “I’ll Go When It’s My Time”. But the forthrightness and fuck it all energy is a ever-present, no matter how much they decide to slow down the tempo to prove a point on one of their brilliantly written tracks. The very quick but very impactful “I Saw A Ghost” is the obvious single, and a very good representation of the band as a whole, and I am very happy that they chose it as the the lead off track. But I will be fucked if I don’t acknowledge the incredible stick work of Kelly Cruz on the entire album, but specifically on “Hymns and Hieroglyphs”. And the amazing guitar work (especially that damn intro!) from Blackwell and Eden Hain on “Stop Pretending the Song’s Not About Me” is pure magic.

Lastly, I absolutely adore how the incredible artists that are The Tenth seem to be absolutely in love with the word “fuck”. It fucking screams throughout the entire album. It’s contagious, really. I’ve probably written the word “fuck” in this piece more than anything I have written before. The Tenth did that. That is some pretty inspirational stuff in itself, right? In all seriousness though, this is such an incredible album that you simply have to check out. It is fun, it is thoughtful, and a wonderful reminder of the power of what youthful angst can give to the world of music.

Dune is available now wherever you stream or buy (please do that) music. Check out this wonderful video for “I Saw A Ghost” right here: