Category: Music News

311’s Action Packed 2025 Tour includes Long Beach Warped Tour

311 announces new tour and the 30th anniversary re-issue of their iconic self titled Blue Album. Photo: Brian Bowen Smith, used with permission.

311 is an alternative rock band known for their signature blend of rock, reggae, and funk influences. With a devoted fan following and a legacy spanning three decades, the band continues to innovate and bring fresh energy to the music scene. Formed in 1990 in Omaha, Nebraska, 311 features Nick Hexum (vocals/guitar), Chad Sexton (drums), Tim Mahoney (guitar), SA Martinez (vocals/dj), and P-Nut (bass). 33 years later, the band is still regarded as one of the most entertaining and dynamic live bands in the U.S. 311’s celebrated live shows and touring schedule have earned them a vast and dedicated following nationwide. (Big Picture Media, 2025)

Following the release of their long awaited 14th studio album Full Bloom, the Grammy nominated, platinum certified rock band is gearing up for an exciting 2025. This year marks their fifth appearance at the revival of Van’s Warped Tour, set for July 26–27. Additionally, the band will headline major festivals, including Pointfest in St. Louis, Point Break Festival in Virginia, and the recently announced Minnesota Yacht Club Festival.

Upcoming 311 Dates
March 21 – The Fillmore – New Orleans, LA
March 22 – The Moon – Tallahassee, FL
March 24 – House of Blues Orlando – Orlando, FL
March 26-31 – 311 Caribbean Cruise – Miami, FL
May 17 – Pointfest – St. Louis, MO
June 22 – Point Break Festival – Virginia Beach, VA
July 20 – Minnesota Yacht Club Festival – St. Paul, MN
July 26-27 – Van’s Warped Tour – Long Beach, CA

On the heels of the release of Full Bloom, the group was recently crowned one of NPR Tiny Desk’s Best Performances of 2024 and continues to thrive after more than three decades on the road. From performing at halftime during the Las Vegas Raiders’ final home game to a run of recently announced US dates, 311 continues to redefine what it means to be one of the longest-running touring bands.

311 commemorated their legacy with the announcement of a 30th anniversary reissue of their iconic self titled Blue Album out July 11. The Blue Album reissue will feature a 2-LP set with seven bonus tracks and will be available in two color variants – a direct to fan exclusive citrine shade and retail release blue smoke color via Legacy Recordings, the catalog division of Sony Music Entertainment. The strictly limited package is the latest in the band’s series of 30th Anniversary “Pearlized” special editions, and also includes an embossed gatefold sleeve with exclusive art. The reissue is 21 tracks on 2 LPs and brings together every song that was recorded by the band during the Blue Album sessions, and marks the first time the bonus songs have ever been released on LP. 

Blue Smoke + Citrine Vinyl Variant. Courtesy photo, used with permission.

Kadavar’s New Single: ‘Hysteria’ is a Must-Listen for Rock Fans

Kadavar releases ‘Hysteria’ single and music video. Courtesy photo, used with permission.

Berlin, Germany – Berlin based rock band Kadavar has shared the second single from their forthcoming new album I Just Want To Be A Sound out May 16 via Clouds Hill. (Big Picture Media, 2025)

“Hysteria” – with its pulsing, dark rhythm brings the listener into a hypnotic state of mind. Its lyrics explore themes of mental and physical disarray, portraying a sense of confusion, overstimulation, and self-destruction. The repeated refrain of “Hysteria” adds to the overwhelming, frantic atmosphere, spiraling under pressure.

Listen to “Hysteria” here. Pre-order the album at this link.

“We wrote this song down from the feeling of words losing their meaning, when even a stream of consciousness can’t keep up to make sense of the inner chaos,” says the band. “As a state mixed with constant overstimulation and terrifying news, it might just fit this time we’re living in.”

“Hysteria” follows the single “I Just Want To Be A Sound” – the title track of Kadavar’s new album – released last month upon the album’s announcement. The song was added to top playlists with Spotify, Apple, Deezer and TIDAL, gaining traction on lists like Metal Injection’s Top Tracks of the Week, Fresh Noise, New In Rock, Hot New Rock, and more.

‘I Just Want To Be A Sound’ is a manifesto for freedom, transformation and radical presence. An album that repeatedly abandons itself in order to reincarnate in new forms. Rock anthem, ballad, pop song, epic and earthly alternate seamlessly and virtuously. Free and full of momentum.

Now a four-piece led by founders Lupus Lindemann and Tiger Bartelt, and rounded out by guitarist Jascha Kreft and bassist Simon ‘Dragon’ Bouteloup, the declaration “I Just Want To Be A Sound” came from Bouteloup. When Lindemann Bartelt asked him in 2013, shortly after Lindemann and Barlet joined the band, why he didn’t have any social media accounts, he replied: “I just want to be a sound.” A sentence that stuck – and that sums up the band’s self-image.

What was casually formulated at the time has developed into a leitmotif over the band’s 15-year history: an uncompromising claim that demands nothing less than to be completely absorbed in the sound without being distracted by outward appearances. A principle to which Kadavar has remained true since their formation in 2010 and which finds its strongest development to date with this album.

“I Just Want To Be A Sound” is more than a song to us – it’s the essence of Kadavar: A relentless yearning for freedom and the unshakable urge to live through music. We poured everything into it – our lives, our spirit, our truth,” says the band in a joint statement.

Kadavar also announces a string of special album release shows that will take place in London, France and Berlin. Dates and ticket links below:

May 13 – London, UK – Rough Trade East // TICKETS
May 14 – Paris, France – Supersonic // TICKETS
May 15 – Berlin, Germany – Urban Spree, presented by Rough Trade Europe // TICKETS

The band is confirmed for this year’s Austin Psych Fest along with artists like Dinosaur Jr, Explosions In The Sky, Kim Gordon, Yo La Tengo and more. The festival will take place April 25-27 in Austin, TX. Tickets are available online.

Change has always been a constant for Kadavar. What remains unchanged is their raw power. Wherever they go, you can feel the intensity – in their songwriting, their dedication, their performances. In the sound! This is the transfer that makes Kadavar incomparable. They explore the potential of music, even in quiet nuances, while always retaining the power of their rock roots. Having grown as a band, they have fulfilled their mission of being completely immersed in their sound.

‘I Just Want To Be A Sound’ tracklist:

1.    I Just Want To Be A Sound

2.    Hysteria

3.    Regeneration

4.    Let Me Be A Shadow

5.    Sunday Mornings

6.    Scar On My Guitar

7.    Strange Thoughts

8.    Truth

9.    Star

10. Until The End

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From ‘Yellowstone’ to ‘Honkiest of Tonkers’: Garrett Bradford’s Musical Journey

Texas country artist Garrett Bradford releases Honkiest of Tonkers Part 1 – out now. Photo: WT Fletcher, used with permission.

Nashville, Tennessee – Texas country artist Garrett Bradford has officially released Honkiest of Tonkers – Part 1, the highly anticipated first installment of his two-part album. Out now via H.O.T. Records and available on all streaming platforms (Amazon Music, Apple Music, Spotify, and more), the album delivers a collection of boot-stomping honky-tonk anthems and dynamic tracks showcasing Bradford’s signature grit and deep Texas roots. The second installment, Honkiest of Tonkers – Part 2, is set to arrive on April 11, 2025. (Aristo PR, 2025)

Fans got an early taste of the album with lead singles “Watching You Burn,” “Do You (I Do),” and “Bad Girl Good.” Part 2 will follow a similar rollout, featuring “She Loves Horses” (March 21) and “Firefly” (April 4) ahead of its full release. 

This is shaping up to be a pivotal year for Bradford, with his music gaining traction across major platforms. His single “Watching You Burn” landed on playlists, including Spotify’s All New Country, CMT’s Roundup, and ACM’s Fresh New Finds. Meanwhile, “Do You (I Do)” was featured on Apple Music’s New in Country playlist. Additionally, Country Evolution named Bradford to their Artists to Watch in 2025 list, further cementing his status as one of country music’s most exciting rising stars.

Bradford’s music has also caught the attention of critics, earning high praise for its traditional honky-tonk grit: “Pure, classically old-fashioned, 100% hardcore Texas honky tonk. Over the years, I’ve heard a lot of this type of music and trust me; this is stellar honky tonk country where the singer/songwriter has lived every word and note … Bradford is the real deal.” – The Rocking Magpie

Raised on a ranch in Weatherford, Texas, and deeply connected to the Western and rodeo lifestyle, Garrett’s music is infused with authenticity and a genuine understanding of the cowboy way of life. His background in ranching, rodeo, and bucking stock, combined with his natural talent as a songwriter and performer, makes him a true storyteller who captures the heart and soul of the West in every song.

Bradford burst onto the Texas music scene in 2020 with his debut EP. His breakout single, This Way of Life, was featured on the hit TV series Yellowstone (Season 3, Episode 9), catapulting him into the spotlight. The track became the most Shazammed country song in the U.S. the day after its airing, climbing to #32 on the iTunes Country Top 40 Chart.

Taylor Sheridan, the acclaimed writer, producer, and director behind Yellowstone and its prequels (1883, 1923), as well as Landman and Lioness, played a pivotal role in inspiring Garrett’s music career. Sheridan’s mentorship and belief in Bradford’s authentic storytelling helped reignite his passion and opened doors for his music to reach a wider audience. 

In 2023, Bradford was recognized as the songwriting winner of Texas Songwriter U, a prestigious program hosted by Jack Ingram, Liz Rose, and BMI. With over 60,000 monthly streams and a loyal fanbase, Bradford has solidified his place in the world of Texas country music, performing more than 600 shows and keeping dance floors packed across the state.

His ability to blend authentic Texas grit with compelling lyrics and dynamic performances positions Honkiest of Tonkers as a standout project that true country fans can appreciate.

Honkiest of Tonkers – Part 1

  1. Honkiest of Tonkers (Garrett Bradford)
  2. Bad Girl Good (Garrett Bradford, Greg Manuel Sr.)
  3. Keep On Drivin’ (Garrett Bradford, Jami Grooms)
  4. Do You (I Do) (Garrett Bradford, Greg Manuel Sr.)
  5. Watching You Burn (Garrett Bradford, Logan Jarvis, Greg Manuel Sr., Greg Manuel Jr.)
  6. 50 In The Fast Lane (Garrett Bradford)
  7. Peterbilt Pipe Dream (Garrett Bradford)
  8. Bulletproof (Garrett Bradford, Greg Manuel Sr., Greg Manuel Jr., Kristina Van Dyne, Yale Van Dyne)
  9. Honky Tonk Devil (Garrett Bradford, Greg Manuel Sr.)

The Seldom Scene Reimagines a Classic: A Bluegrass Twist on Bob Dylan’s ‘Farewell, Angelina’

The Seldom Scene gives fans a new take on a long-beloved Bob Dylan Song. Photo: Jeromie Stephens, used with permission.

Bethesda, MD -This month, The Seldom Scene released their delicate and masterful version of the timeless classic “Farewell, Angelina.” Written by Bob Dylan for his widely-lauded album Bringing It All Back Home (1965) and famously recorded by Joan Baez, the haunting waltz is still being resurrected six decades later. And not just by US-based songwriters like Jeff Buckley and John Mellencamp—the song has been carried through France and Italy (“Adieu, Angelina,” “Addio Angelina”), India, Sweden, and beyond. The Seldom Scene’s elegiac interpretation glides through intimate conversation between words and strings. (IV PR, 2025)

“This song, written in 1964, is another gem by Bob Dylan,” says Seldom Scene bassist Ronnie Simpkins, whose daughter insisted the band give the song their own treatment. “I’m glad we listened!” he laughs. Basing their arrangement more on Mellencamp’s 1997 Rough Harvest version than the original, the 53-year-running quartet originally from Bethesda, Maryland, gives “Farewell, Angelina” space to breathe and blossom. The track opens with Ron Stewart deftly picking the guitar in duet with Bluegrass Hall of Famer Dudley Connell’s rich, soft voice. One by one, dobro, fiddle, mandolin, and acoustic bass add subtle new layers to the story without overtly announcing themselves. The Seldom Scene’s poignant arrangement gives depth and texture to the song’s surreal poetry.

“Farewell, Angelina” is the latest single from the Seldom Scene’s forthcoming album, Remains to Be Scene—out March 14 on Smithsonian Folkways. Continuing their long-running legacy of pulling gems from outside of and within the bluegrass canon and reimagining them in what is now the Seldom Scene’s signature style, Remains to Be Scene features an interpretation of Jim Croce’s “A Good Time Man Like Me Ain’t Got No Business (Singin’ the Blues),” a pair of songs by Bob Dylan: “Walking Down the Line” and, of course, “Farewell Angelina,” while also revisiting a fan-favorite, “White Line,” from the iconic Live at the Cellar Door album and paying tribute to their inspirations, Flatt & Scruggs, with “Hard Travelin’.”

Americana UK shared an early listen. Today, fans can stream or purchase “Farewell, Angelina” and pre-order or pre-save Remains to Be Scene ahead of its March release here.

Remains to Be Scene tracklist:
Last of the Steam-Powered Trains
Crossroads
A Good Time Man Like Me Ain’t Got No Business (Singin’ the Blues)
Hard Travelin’
Farewell Angelina
Walking Down the Line
Lonesome Day
I Could Cry
White Line
Show Me the Way to Go Home
The Story of My Life

Self-produced with engineering and mixing by Jim Robeson at his studio The Bar in Rockville, Maryland, Remains to Be Scene caps the end of an era for the group in many ways. The album is dedicated to the memory of Bluegrass Hall of Famer and Seldom Scene cofounder Ben Eldridge, who retired from the group in 2014. But Eldridge remained a major presence and friend to the band, penning heartfelt liner notes for this album before his passing in April 2024. 

Also notable is that Remains to Be Scene marks the final album for Dudley Connell, another Bluegrass Hall of Famer as a member of the Johnson Mountain Boys. Connell wrapped up a Seldom Scene tenure of nearly three decades on guitar and vocals with his retirement at the end of 2024. “Twenty-nine years, dude, that’s a long, long time,” Connell says with a laugh. “No regrets, I’ve loved every minute of it, and it’s been a real joy working with these guys for so long. But I want to get out while I still have my mobility and can travel, walk my dog, things like that.”

The Seldom Scene has mostly stayed close to home in the greater Washington, D.C. vicinity for most of its 53 years of existence. Even as the progressive bluegrass quintet’s lineup has turned over multiple times from those early days, The Scene has maintained an admirably high standard of musicality and artistry, on record as well as onstage at live-residency venues like The Birchmere in Alexandria, Virginia.

The band makes old songs sound brand new while putting a bluegrass spin on some of the least-likely cover songs in the genre. Those virtues are all in place on Remains to Be Scene, their 24th album, released on Smithsonian Folkways, on which they cover everybody from Bob Dylan to The Kinks with customary flair. The album is also another milestone effort for the Scene — the first since the passing of co-founder Ben Eldridge (who penned liner notes before his death in April 2024) as well as the last for longtime Scene member Dudley Connell, who is retiring after 29 years in the band. As usual, the rest of the Scene is taking those departures in stride. One way or another, The Seldom Scene will go on. 

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‘El Día Más Triste’ by Alex Cuba: His Most Emotionally Charged Single Yet

Alex Cuba releases his new single right before his new US tour. Courtesy photo, used with permission.

Los Angeles, CA. –  ®Grammy Award-winning artist, Alex Cuba releases brand new music in time for Valentine’s Day and coinciding with the launch of a tour of the United States. The Cuban/Canadian singer-songwriter announces the release of the first single for his upcoming 2025 album. (Vesper Public Relations, 2025)

“El Día Más Triste” is about transforming hurt into understanding. Feelings of love are joyous, wondrous events in our lives, spontaneous and beautiful. Its shadow side, those moments of betrayal, hurt and emptiness are no less important in how they create growth and urgency in our lives. “El Día Más Triste” shows the depth of sorrow, the pain of a ruptured relationship, and the process of rumination and inner conflict surrounding the confusion. “Es Amor” (it’s love) Alex remarks in the chorus at the conclusion of his self-reflection. An equally poignant part of our Valentine’s Day celebration is that side of love, that when it is missing, leaves a hole in our hearts.

The video was filmed in Miami with Cuban director Yeandro Tamayo. Warm intimacy invites the viewer into his healing journey through sad moments.

Alex Cuba’s U.S. Tour — No More Empty Words —At the heart of his ability to charm anything that breathes is Alex’s mastery of a deeper, more important language. The dude speaks joy. And it doesn’t’ matter if it’s Tito Puente joy or Stevie Wonder joy; it’s contagious. It shines through songs he’s co-written with Nelly Furtado and Jason Mraz. It’s the north star of his compositions.

Wherever his songs start their journey–in the land of lust, deep affection, or even melancholy–they know where they’re headed. Their path leads to a deep, shimmering gladness that everyone wishes was their native tongue. It’s this undeniable exuberance, expressed with masterful musicianship that has catapulted Alex to the highest levels of global critical acclaim. It’s what led this fiercely independent artist to 2 Juno awards, 4 Latin Grammys, and a 2022 Grammy for Best Latin Pop Album.

Just like his songs elicit “la-la-las” from audiences without a translator, they woo critics without a middleman. The magic he makes with melody and rhythm can’t be held back. Because in the end, whether in times of trouble or celebration, people everywhere want to go where Alex’s songs are going, to an unconditional sense of home, belonging, and bliss.

U.S. TOUR DATES
February 11/12 – Seattle, WA, Jazz Alley
February 14 – Corvallis, OR
February 15 – Portland, OR, Old Church
February 18 – Beverly Hills, CA, Vibrato
February 20 – Oakland, CA, Yoshi’s
March 21 – Mamaroneck, NY, Emelin Theatre
March 22 – Queens, NY, Kupferberg Centre for the Arts
March 23 – Baltimore, MD, Creative Alliance
March 26 – Orlando, FL, Judson’s Live
March 28 – Gainesville, FL, University of Florida
March 29 – Fort Myers, FL, Alliance for the Arts
March 30 – Memphis, TN, Buckman Center for the Arts
April 2 – Decatur, GA, Eddies Attic
April 3 – Birmingham, AL, Alys Stephens Center
April 4 – La Grange, GA, Purelife Studios
April 5 – Cary, NC, Cary Arts Center

Though raised in Artemisa, an hour outside of Havana, Alex Cuba’s artistry is as far-flung as the place he has settled and lived for over fifteen years: Smithers, BC, 14 hours north of Vancouver. His music at once incorporates his roots and is a unique amalgam of styles, having collaborated with artists ranging from Jason Mraz to Ron Sexsmith and Nelly Furtado; and bringing together melodies, pop-soul hooks, and rock chords in songs that may seem to bear little resemblance to traditional Cuban form.

A forward-thinking, indie-minded artist, Alex has amassed a steadily growing following among critics and fans. He has over 20 awards and nominations to his name, including four Latin Grammys, two Juno Awards, and, in 2022, his first Grammy Award from a total of four career Grammy nominations.

Alex carries his Cuba within, incorporating subtle jazz influences gained from his early years as a bass player in Cuba. His tasteful, sophisticated chords and lyrics express his poetry in an undeniably Cuban way. His growing body of work defines a unique musical place in the Latin diaspora.

Media Accolades:
“…Best performance – Alex Cuba.” – National Post
“Staying true to his Spanish language Folk-Funk-Rock hybrid has paid off.” – Billboard
“Wicked guitar, undeniably soulful vocals. His package is simple and he wears it well” – popmatters.com
“He’s like Marvin Gaye singing soul to a new generation” – Boston Globe
“A master at conveying emotions through songs.” – Vancouver Sun
“(Alex) Cuba is a groundbreaking figure, which may say something about the process of giving roots music a cosmopolitan polish” – Nashville Scene
“Sublime is, a consummately crafted and beautiful offering” – Sounds and Colours

Groovy Vibes and Twangy Tunes: Joel Timmons’ Psychedelic Surf Country

Joel Timmons takes bad dreams and turns them into rock and roll with new single End of the Empire from his forthcoming new album Psychedelic Surf Country. Photo: Joel Timmons

Charleston, SC – Joel Timmons is a dynamic songwriter, musician, and journeyman. Growing up on Sullivan’s Island, South Carolina, Timmons developed a deep connection to both music and the ocean, influences that permeate his artistic work. His early years were marked by a passion for surfing and a love for music, cultivated in part by his mother, a photographer and park ranger at Fort Moultrie, a vibrant local arts scene, and a close community of aspiring young musicians. The lead vocalist and guitarist for Sol Driven Train, founded by Timmons and his friends during college in 2000, Timmons also plays guitar with Maya de Vitry and makes music with his life-partner and wife, Shelby Means, under the name Sally & George. Psychedelic Surf Country, out February 7, marks the long-time collaborator’s first solo-work. (IV PR, 2025)

Within the patchwork of Joel Timmons’ debut solo album, Psychedelic Surf Country, lies a kaleidoscopic view of the career sideman and band leader’s striking self-awareness. Both in lyricism and musicality, Timmons has adopted an easy-going and reflective view of the world, creating unencumbered and accessible songs from even the most left-field subjects like lighting old Christmas trees ablaze, the highway patrol K9 who paid his band a visit between tour stops, and the tight jeans and Stetson hats that took over his former neighborhood. But it’s in the heavier subject matter, like his latest single, End of the Empire, where Timmons’ upbeat musical attitude shines.

“My wife, Shelby Means, started writing this song on a small boat in the Virgin Islands while surfers rode waves across a nearby reef,” remembers Timmons. It sounds picturesque, but the initial idea brought about an undercurrent of influence from a wildly different place. “My recurring dreams of doom and nightmares of being hunted by an unknown predator—as well as a sense of apocalyptic loss—figured into the co-write.” Ethereal and dreamy from the onset, End of the Empire floats between images of inescapable crashing waves and desperate hiding, looking for escape, but it might take listeners a couple of passes to recognize these as the song itself feels uplifting and borderline anthemic; a testament to Timmons’ positive spin. With the help of Psychedelic Surf Country producer Maya de Vitry, End of the Empire turns into a huge wash of harmonies and a wall of rhythm section. “The recording ended up being a rocker,” says Timmons, “and the guitar is howling.”

Fans can stream and purchase End of the Empire, check out the premiere on Glide Magazine, listen to Timmons’ previously-released singles, The Swimming Song, Guitars, Guns, and Pickup Trucks, Turbo, and The Bullfighter featuring Shovels & Rope’s Cary Ann Hearst, at their respective links, and pre-order or pre-save Psychedelic Surf Country ahead of its February 7th release.

Psychedelic Surf Country tracklist:
Just A Man
Turbo
The Bullfighter
Guitars, Guns, and Pickup Trucks
Edge of the Empire
Cottage by the Sea
Say It To My Face
The Swimming Song
East Nashville Cowboy
Here We Are
Tryin’

Catch Joel Timmons on Tour:
2/8 – Charleston Pour House – Charleston SC
2/12 – Analog at Hutton Hotel – Nashville TN
2/15 – House Concert – Charleston SC ^
2/28-3/2 – Green Parrot Bar – Key West, FL *
3/15 – Charleston Pour House – Charleston SC *
3/19 – Tractor Tavern – Seattle, WA +
3/20 – Showdown – Portland, OR (co-bill w/ Love, Dean) +
3/22 – The Talent Club – Ashland, OR +
3/26 – The ’58 @ Eastside Bowl – Nashville, TN
4/24 – Parlor Room – Northampton, MA +
5/4 – Sundays on the River – Asheville, NC +
5/23-5/25 – Rooster Walk Festival – Martinsville VA *
5/30 – Party At the Point – Mt Pleasant SC *

  • = with Sol Driven Train
    ^ = with Sally & George
  • = with Maya De Vitry

Last Leg of the Human Table: Cloakroom’s Masterpiece of Introspection and Atmosphere

Cloakroom, L-R Doyle Martin (Lyrics, Guitar), Tim Remis (Drums), Bobby Markos (Bass), announces new album on Closed Casket and shares ‘Bad Larry’ video and single. Photo: Vin Romero, used with permission.

For Cloakroom, an American shoegaze band from Northwest Indiana, the world of modernity is in polycrisis and America has lost its soul. Narrative fetishism is all too usual of a literary mechanism for Cloakroom. If you listen closely you can hear the concern; not just for the teetering social structure but for what it means to be human and the high cost of the human experience. (another side, 2025)

The Indiana three return next month with their next studio album, Last Leg of the Human Table – the follow up to 2022’s post-apocalyptic space western Dissolution Wave, and label debut for Closed Casket Activities. Each song showcases Cloakroom’s genre-bending capabilities and seemingly vast array of influences; whether it be the sampling of the post-disco Detroit group Was (Not Was) or the lifted NASA recording of the humming of Saturn’s rings. Recorded in December of 2023 at Electrical Audio in Chicago and Rec Room Recording in Des Plaines, Illinois, engineer Zac Montez (Whirr, Turnover) aided in smoothing out the rough and turning up the quiet.

Last Leg of the Human Table sees its release on February 28 via Closed Casket. Fans can pre-order/pre-save here.

Pop, shoegaze, doom, post-punk, folk only scratch the surface on Cloakroom’s shortest yet most essential release to date. Its title Last Leg of the Human Table may sound sardonic in its nature, but this group has always found some wonder in the scurrying chaos of modern life. In 37 minutes, the album imbues a sense of responsibility to the listener as if one leg were to falter, the whole table will fall. 

Cloakroom shares the lead single and video “Bad Larry.” Lyricist and guitarist Doyle Martin explains, “It was written about a fabled character out of folklore like ‘Diamond Joe’ composed by Baldwin ‘Butch’ Hawes.. if that’s who even wrote that song first. Bad Larry roams free and wants for nothing; living a life of experience and lives by his own rules and dying on his own terms; a life to vilify or envy.” 

After wrapping an extensive North American tour with Full of Hell last month, Cloakroom has announced a special Chicago album release show happening April 12 at Empty Bottle. More dates and news to come.

Last Leg of the Human Table tracklist:
01 – The Pilot
02 – Ester Wind
03 – On Joy and Unbelieving
04 – Unbelonging
05 – The Lights Are On
06 – Bad Larry
07 – The Story of the Egg
08 – On Joy and Undeserving
09 – Cloverlooper
10 – Turbine Song

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Skeleten Unleashes His Boldest Sound Yet with ‘Let It Grow’—A Glimpse into Mentalized

Skeleten shares ‘Let It Grow’ single from new album Mentalized, out on February 7, 2025. Courtesy photo, used with permission.

Eora/Sydney-based artist Skeleten (aka Russell Fitzgibbon) unveils his final single “Let It Grow” from his forthcoming second album, Mentalized, out February 7 via 2MR / Astral People Recordings. (another side, 2025)

Amidst a record absorbed in the ways we’re disconnected from ourselves every day – “mentalized for better or worse” – “Let It Grow” immerses in a dissociative surrender. Over a sensual synth line, Skeleten breathes life into the inexplicable weight of intimate connection. It’s a submission to that feeling of an “it” that cannot be denied. The song hangs heavy in the air, unmoving like the heat of an overpacked club, and the only way out is up.

“‘Let It Grow’ was so natural it just kinda started existing without me even realising it. Which I guess is the whole vibe of the song. Surrender and acceptance??”- Skeleten

“Let It Grow” completes a lineup of adored singles “Deep Scene”, “Love Enemy”, “Viagra,” and “Bodys Chorus” alongside respective remixes by Axel Boman and Spray, in laying the foundations for Mentalized. The releases have earned tastemaker nods from Pitchfork, Stereogum, Paste, Brooklyn Vegan, KEXP, KCRW, BBC 6Music, FBi Radio, Apple Music’s ‘Best of 2024’ playlists, and more.

This month Skeleten will complete a 3-month residency at Sydney’s Pleasure Club, spotlighting local talent across the city’s different scenes, alongside Skeleten and his full live band. Having already united acts like Hugh B and the Modern Pop Ensemble, Dylan Atlantis, Scruffs. and Killian, stay tuned via Skeleten’s socials for the final surprise announcement. Skeleten will also perform at Golden Plains Festival in March, alongside esteemed artists PJ Harvey, Fontaines D.C, Kneecap and more.

Mentalized tracklist:
1 – These People
2 – Love Enemy
3 – Bodys Chorus
4 – Crack In The Shell
5 – Deep Scene
6 – Raw
7 – Let It Grow
8 – Viagra
9 – Ravers Dream
10 – Mindreader

Skeleten Live Dates:
Mar 8 – 10, 2025: Golden Plains Festival, Meredith Supernatural Amphitheatre, VIC

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Honoring John Hartford: Tribute Album Brings Classic Fiddle Tunes to Life in Volume 2

Julia Belle: The John Hartford Fiddle Tune Project Vol 2 features the most beloved female artists in the Hartford-inspired bluegrass scene. Courtesy photo, used with permission.

Nashville, TN – In the twenty-three years since Bluegrass and Americana titan John Hartford’s passing, the witty, vibrant tunes of the Grammy-winning, river and steamboat-obsessed, flatfoot dancing legend have taken on a life of their own, creating an entire sub-genre of the American music canon. That’s thanks to not only Hartford’s pure, funny, and virtuosic catalog, but also to the family and friends attending to the late banjo and fiddle player’s legacy. In the past few years alone, Hartford’s daughter, Katie Harford Hogue, and modern-day fiddle great Matt Combs compiled a never-before-seen collection of unrecorded music in a book entitled “John Hartford’s Mammoth Collection of Fiddle Tunes” which quickly turned into a star-studded album, The John Hartford Fiddle Tune Project Vol 1. (IV PR, 2024)

Today, Hartford’s legacy takes another step into the future with the announcement of Julia Belle: The John Hartford Fiddle Tune Project Volume 2. Again co-produced by Hogue, along with Sharon Gilchrist and Megan Lynch Chowning, Volume 2 celebrates some of the most beloved female artists in the Hartford-inspired bluegrass scene: Rachel Baiman, Phoebe Hunt, Ginger Boatwright, Brittany Haas, Deanie Richardson, Allison de Groot, Della Mae, The Price Sisters, Uncle Earl, and many more.

“The feeling of working on an all-female project is unparalleled. It felt powerful and developed a real sense of togetherness and community.” – Della Mae’s IBMA Award-winning bassist and vocalist, Vickie Vaughn

Volume 2 contains thirteen new Hartford instrumental fiddle tunes and five “legacy” covers of beloved John Hartford songs, all of which take on new life under the hands—and voices—of some of the finest musicians around today. “What is so incredible is that you hear these tunes played in so many different ways, and Dad comes through on every one of them,” says Hogue. “It’s like his DNA is in the songs.” Today, with the announcement of Volume 2, one of Hartford’s most beloved songs, “Steam Powered Aereo Plane,” was released, much to the pleasure of the Goodle Family, the official-ish collective of Hartford fans worldwide. 

Fronted by legendary country vocalist Kathy Mattea, the cast behind “Steam Powered Aereo Plane” delivers a mellow, true-to-the-original version of the song originally released on Hartford’s 1971 album of a slightly altered name, Aereo-Plain. Alison Brown, who produced the single, leads into the first verse on banjo accompanied by none other than Sierra Hull on guitar. Gradually Missy Raines brings in the bass and Larkin Poe’s Megan Lovell and the latest Punch Brothers band member Brittany Haas add their dobro and fiddle flourishments, respectively. The result is four straight minutes of pure John Hartford ethos, brought into the present day by a lineup of some of the most respected and accomplished musicians of their time—all of whom credit Hartford as an iconic influence in their musical lives. 

Fans can stream or purchase “Steam Powered Aereo Plane” and pre-order or pre-save Julia Belle: The John Hartford Fiddle Tune Project Vol 2 ahead of its February 28 release. 

For fans who can’t get enough Hartford, the Hartford family has rallied their efforts around the Goodle Family Patreon page: a subscription-driven home base for all things John Hartford. Whether it be archival releases, updates on the Fiddle Tune Project, orin-person/livestream fan meetups—like the upcoming installment of Mammoth Marathon Mondays.

Julia Belle: The John Hartford Fiddle Tune Project Vol 2 tracklist:
Irish Familiarity
The Julia Belle Swain
Grant Marsh & Joseph La Barge/Little Pig/Entertainment Tonight (medley)
Spirit of the South
Availability
I’m Still Here
Kenny and Mac
Merry Christmas
Learning To Smile All Over Again
Royal Box Waltz
Takes Her Clothes Off
Gasoline Alley No. 1
No End of Love
Living Up Stairs
Not Soft Enough
Don’t Throw Her Down
Steam Powered Aereo Plane
Champagne Blues

One of the most respected musicians in Nashville history, John Hartford is considered a cornerstone of the newgrass movement due to his 1971 masterpiece, ​Aereo-Plain​. He won a career four Grammy Awards, including two for his 1967 recording of “Gentle on My Mind,” a third for his 1976 album Mark Twang, and a fourth for his contributions to the O Brother, Where Art Thou? soundtrack in 2000. He was posthumously inducted into the International Bluegrass Music Hall of Fame in 2010, was awarded the Americana Music Association President’s Award in 2005, and the Folk Alliance “Spirit of Folk” award in 2011.

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Julia Belle: The John Hartford Fiddle Tune Project Vol 2 release date

‘The Nail Beside The Door’: The Soulful New Single from E.W. Harris’ new album

Alt-folk singer/songwriter E.W. Harris unveils new single and announces new EP Machine Living in Relief. Courtesy photo, used with permission.

(New York, NY) With the release of the new single, “The Nail Beside The Door,” alt-folk singer/songwriter E.W. Harris announces the forthcoming EP, Machine Living in Relief, due out this year. An ambitious collection of songs born out of a last call challenge to make a completely acoustic record about robots and AIs, Machine Living in Relief is the latest in a five-album series set inside Harris’s self-styled “romantic dystopia” Rocket City. (One in a Million Media, 2024)

If one weren’t already familiar with Harris’s more traditionalist background, the chummy strum of his guitalele reaches out and shakes your hand by way of friendly introduction. He also incorporates a number of unusual instruments (cedar flute, a broken autoharp), outside-the-box toys (Speak-n-Spell, Mr. Robot, Magic Wand Reader), and MacGyvered percussion hacks (can full of rice, “suitcase that I hit with a roll of duct tape”) throughout these folkways-meets-the-spaceways tracks. Call it asteroid field recording.

In a strange bit of real-time lore that feels like it could only happen to Harris, one of his cousins walked up to him mid-set a few years back and handed him a banjo, offering only the briefest explanation – “Here man, I’m not gonna learn this and I thought you might use it” – before promptly leaving the gig. The result, some months later as Harris tinkered with the unfamiliar instrument under lockdown, was this album’s lead single, “The Nail Beside the Door.” “Written from the perspective of a prisoner who becomes emotionally dependent on an AI companion,” it effectively sets out to explore the ideas behind the album opener from the other side, with all the profound, maddening aloneness of COVID isolation bleeding through the character loud and clear.

Courtesy photo, used with permission.

Though perhaps best known for his event horizon synths, spaghettified guitar effects, and above all, his overwhelming, spacetime singularity of a voice, Harris’s career began, some 25 years ago, in a much more earthbound vein, with the train trestle roots-rock of Luminous and the cable knit jazz-folk of The Eric Harris Group.

Through subsequent releases and relentless touring Harris steadily populated his teeming retropolis with comet-hopping hobos and android vagabonds of every stripe, worldbuilding his future from the ground up until it finally skyscraped against the present, with Machine Living in Relief, and the fateful fortune of that half-remembered night at the bar.

If Machine Living in Relief is truly the result of some apocryphal gauntlet throw issued at last call, Harris has met it in spades. Both a natural outgrowth of what came before, and a tantalizing peek at what might be soon to come, it pushes all the right buttons – even when those buttons are connected to the characters themselves – and leaves you contemplating your place within our brave new world of hyperconnected loneliness and transhuman striving.

“If the heart pumps a turbine that generates power to the computer half of the cyborg brain, what is the value of the parts? Is addiction just a modality of being a divided whole? If time is not linear, in remembering our past mistakes do we actually return to those moments? It’s a damn good thing songs don’t need to answer questions.” – E. W. Harris