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Song Of The Week | Jul 25, 2016

Anthony D’Amato – Rain On A Strange Roof

ANTHONYDAMATOProduced by Mike Mogis (Bright Eyes, First Aid Kit) and recorded with an Omaha all-star team of musicians including Conor Oberst and members of Bright Eyes, The Faint, and Cursive, ‘Cold Snap’ is Anthony D’Amato’s most ambitious, incisive, and sophisticated collection yet, with a larger-than-life sound propelled by dual drummers, explosive guitars, infectious hooks, and erudite lyrics. Written primarily during a touring hiatus forced by a broken finger, the songs explore the schisms between perception and reality, projection and truth, who we are and how we’re seen. The record follows D’Amato’s 2014 debut, ‘The Shipwreck From The Shore,’ which was inspired in part by his time studying with the Pulitzer Prize-winning Irish poet Paul Muldoon and earned raves on both sides of the pond, with NPR lauding that “he writes in the tradition of Bruce Springsteen or Josh Ritter” and Uncut proclaiming that his songwriting “echoes with early Bob Dylan.”

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Song Of The Week | Jul 18, 2016

Sulk – No Illusions

sulk2015The time is suddenly right for well-crafted British pop – there’s a thirst for new century psychedelia which is where London quintet SULK fit in. Steeped in the rich traditions of classic British songwriting, the band could be said to begin where the ’90s ended with solid musicality, joyful uplifting harmonies, giant psychedelic guitar riffs and, of course, tambourines.
They’ve been compared to just about every great Britpop band of the ’90s, but SULK are very much their own men; musically tight and lyrically beautiful with sun-drenched vocals, ethereal guitars and pounding drums, rooted in ’90s vibes but with their gaze to the future. This is anthemic bliss for a whole new generation.
Sticking to their basic musical values of classic indie, pop, shoegaze, and psychedelia, but adding elements of Motown beats, sitars, Love-esque vocal harmonies and Lynchian cinematic atmosphere, SULK’s sophomore creation, No Illusions, stays true to its heart yet elevates itself to a point seemingly different to its older sibling.

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Song Of The Week | Jul 11, 2016

The Tragically Hip – In A World Possessed By The Human Mind

tragicallyhipOften referred to simply as The Tragically Hip, are a Canadian rock band from Kingston, Ontario, consisting of lead singer Gordon Downie, guitarist Paul Langlois, guitarist Rob Baker, bassist Gord Sinclair, and drummer Johnny Fay. Since their formation in 1984 they have released 13 studio albums, two live albums, 1 EP, and 54 singles. Nine of their albums have reached No. 1 in Canada. They have received numerous Canadian Music awards, including 14 Juno Awards. The Tragically Hip formed in 1984 at Kingston Collegiate in Kingston, Ontario, where Gord Downie, Gord Sinclair and Rob Baker were students. Guitarist Paul Langlois joined in 1986; saxophonist Davis Manning left that same year. They took their name from a skit in the Michael Nesmith movie Elephant Parts.

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Song Of The Week | Jun 27, 2016

Empty Houses – Rope

EmptyHouses

Vocalist Ali Shea, accompanied by Adam Mercer and David Mackinder (Fireworks) have put their heads together to create a new breed of genuine feel-good music. They call it Empty Houses.

In an industry lacking depth and raw talent, this trio is already leaps and bounds ahead of their peers, with potential to crossover into a mainstream mainstay. The endearing melodies and upbeat musicianship should put a smile on your face because you can tell these three genuinely love what they do.

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Song Of The Week | Jun 27, 2016

Through The Sparks – The Driveway

Through-The-SparksThe veteran Birmingham, Alabama, indie-psych band Through the Sparks recorded their new album, Transindifference, so that frontman Jody Nelson could stop beating people up. Not physically, of course. Over the course of the group’s decade-plus career, he has penned some dark songs about real-life subjects: the encroachment of death, the absurdity of modern life, the tribulations of the American office rat, the insatiable wanderlust of contemporary suburbia. It was beginning to wear on him—and, he suspected, on his audience. “We were playing an outdoor festival, with all these people walking around barefoot,” Nelson recalls. “And this guy walks up to me after our set and is like, ‘Great stuff, man, but you really don’t have to harsh the mellow. You don’t have to take it out on the crowd.’ Every time I found myself singing to crowds of people, I just felt like I was beating everybody up.”

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