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
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
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-saveJulia 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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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
Harrison Lipton masks post-breakup sadness with cheeky humor on ‘On My Own.’ Photo: Eciaus Booth, used with permission.
Breakup songs hold a unique appeal for listeners, offering emotional catharsis and a sense of solidarity. These songs often explore themes of heartache, loss, and personal growth, providing an outlet for listeners to process their own emotions. The relatable lyrics and powerful melodies resonate deeply, allowing individuals to feel understood and less alone in their struggles. Whether through soulful ballads or upbeat anthems, breakup songs help listeners navigate the pain of relationships ending while offering hope for healing and new beginnings. The universal nature of heartbreak makes these songs timeless and comforting during times of emotional turmoil.
The Brooklyn-based musical jack-of-all-trades Harrison Lipton recently released his cheeky new breakup anthem “On My Own” via Amuse. The facetious, 70s-inspired dad rock song uses the all too familiar coping mechanism of poking fun at inherent sadness to make it through the day. His voice full of smooth earnestness, Lipton ushers listeners towards the greener grass on the other side. (Big Hassle, 2024)
“The song started in a small bedroom studio in Carroll Gardens during a session with Aidan Ludlam of the booyah! kids, who uses lyrics like an impressionist painter uses paint. He helped me balance the dissonance between being dumped and finding how to be okay with it.” – Harrison Lipton
Shot on 16 mm film, the official music video was directed by Yishen Wang. An ode to the city and people of New York, Lipton finds himself lost in a sea of recognizable faces, even Times Square’s Naked Cowboy.
“…feels like a rarity, transposing of-the-moment sounds into a dusted-off paean to a romance lost in memory and feeling.” – NPR
“An artist whose stylistic tenacity is fabulously muddled, Lipton floats between genres, brushing against indie, alternative and bedroom pop with a driven psychedelic influence flowing through the hazy soundscapes.” – The Lines of Best Fit
Fresh on the heels of landing songwriting and production credits for indie-rock sensation Yot Club and Atlantic Records six-piece MICHELLE, among others, Lipton has made a name for himself as a rapidly ascending, go-to creative collaborator. His recent work as a songwriter and producer has earned him shoutouts in HYPEBEAST, The Line of Best Fit, and Sirius XM’s Life with John Mayer.
Now with the focus shifted to his own releases, Lipton unveiled “Synchronized Swimming,” with its captivating accompanying music video, back in September. Exploring romance coyly nestled within the metaphor of synchronized swimming, listeners witness Lipton’s proven songwriting and production talent in raw form. Complete with dusty piano, laid-back Khruangbin-like drums, and an underwater guitar solo, the final touch is the perfect pairing of background vocals from MICHELLE’s Layla Ku.
“On My Own” keeps building the world “Synchronized Swimming” started, putting forth a distinctly clean and modernized late 70s aesthetic.
Harrison Lipton is a 30-year-old singer, songwriter and producer. The Brooklyn artist’s musical flair resides in the intersection of indie, R&B and 70s soft rock. Lipton prides himself on fully realizing a track from start to finish, leading the charge with songwriting, producing, and mixing, as well as creative direction. Lipton’s music is a product of his singular imagination, presenting a style that is sincere, authentic and all his own. His music has been featured in NPR and Early Rising as well as on numerous editorial playlists such as Apple Music’s Late Night Menu and Spotify’s Fresh Finds and Chill Vibes. Now focusing on new singles leading toward a larger project, Lipton emerges as a promising and unique voice, blending soulful vocals with singular and catchy production.
Banjo player, songwriter, and author Max Wareham announces debut, Peter Rowan-produced album Daggomit! Photo: Sasha Pedro, used with permission.
Whether on archaeological digs or translating medieval poetry, the past has always been a north star for banjo player, songwriter, and author Max Wareham. His commitment to early innovators of the banjo shines on Daggomit!, his debut album of soulful original songs, highlighted by the hard-driving chemistry of Nashville’s preeminent bluegrass stars. Wareham tours nationally with the Peter Rowan Bluegrass Band, bringing his creativity to the Telluride Bluegrass Festival, Ryman Auditorium, Merlefest, Green Mountain Bluegrass Festival, IBMA Bluegrass Music Awards, and many more, as well as with his own band, Max Wareham and the National Bluegrass Team. (IV PR, 2024)
“It brings me back to my childhood,” says Max Wareham of his new single “Lonesome Blues, I’m Coming Home,” “camping in the woods of New York state and longing for a simpler time.” Forever a student of bluegrass tradition, Wareham has tapped into a very real feeling that can be found all the way back before the genre had its name; part nostalgia, part yearning.
“I wrote this one a while back,” says Wareham. “Then I took it to Peter Rowan, who proceeded to disassemble it completely and put it back together in a way that made more sense.” The tutelage of his bandleader boss Rowan helped to hone Wareham’s arrangement into a beautifully simple melody with ample room for instrumental embellishment and crystalline harmonies by former members of the Grammy-nominated band, Po’ Ramblin’ Boys, Laura Orshaw and Josh Rinkel.
MAGNET Magazine shared an early premiere of “Lonesome Blues, I’m Coming Home.” Fans can stream or purchase “Lonesome Blues” at this link.
“Lonesome Blues, I’m Coming Home” is the latest single from Wareham’s upcoming debut album, Daggomit!, which was produced by Rowan and is due out on February 21. Fans are encouraged to check out Wareham’s previously released single “Hard Times Are Far Behind” at this link and pre-order or pre-save Daggomit! ahead of its February release right here.
Wareham is currently touring with Max Wareham & the National Bluegrass Team, featuring international mandolin prodigy Jean Baptiste Cardineau, singer and guitarist Walker Russell, and Boston bass stalwart Emma Turoff. Tour dates for Warham & the National Bluegrass Team as well as Wareham’s appearances with the Peter Rowan Bluegrass Band can be found online.
Produced by legendary grasser Peter Rowan and recorded by multi-Grammy-winning engineer Sean Sullivan, Daggomit! features Chris Eldridge and David Grier on guitar, Laura Orshaw on fiddle, Chris Henry on mandolin, Mike Bub on bass, and Larry Atamanuik on snare drum; a group of stars making the initial listen of the album worth the price of admission, alone. But fans will undoubtedly stick around for the stories Wareham tells throughout the 13-song collection. Stories from a lifetime of experiences and feelings that together tell the story of exactly what makes Max Max.
Daggomit! tracklist: Walking In Jerusalem Lonesome Blues, I’m Coming Home The Black & Gold That’s Just Part Of It Heartaches Rexford Falls Gone, Baby, Gone I Remember Hard Times Are Far Behind Cattails Bar Blues Drifting Too Far From The Shore Miles
John Mailander’s Forecast to independently release ‘Let The World In’ on January 24, 2025. Photo: Emily Walis, used with permission.
Nashville Tenn. — John Mailander’s Forecast is excited to independently release Let The World In on January 24, 2025,on CD, vinyl, and digitally. Forecast is a Nashville-based collective of visionary musicians led by acclaimed performer, producer, composer, educator, and recording artist John Mailander, known for his voice on the fiddle and other stringed instruments. (Dreamspider Publicity, 2024)
Forecast is John Mailander on fiddle, keys, and electronics; Ethan Jodziewicz on upright and fretless electric bass; Chris Lippincott on steel guitars, keys, and electronics; Mark Raudabaugh on drums and percussion, Jake Stargel on acoustic guitar, and David Williford on tenor saxophone and bass clarinet.
Produced by Mailander, Let The World In was recorded by Brook Sutton at The Studio Nashville, assisted by Will Tyson and Maeve Graham. It was mixed by Daniel Rice and mastered by Wayne Pooley. With nine tracks, four of which are shorter free improvs, all but “Road” are original instrumentals.
The songs show a crossover from the jazz side of things and more into the jam band world, especially with the first single—a Nick Drake song, “Road,” which is available to stream and buy now.
“‘Road’ has been a bit of a mantra to me over the past couple of years. I haven’t always considered myself much of a singer, but it felt important for me to sing this one myself on the album. Lyrically, I feel like it ties into the themes of the album as a whole, and it’s a great vehicle for jamming as a band. This track captures a lot of the vibe of what we do live.” – John Mailander
The song was described as “majestic and expansive” by JamBase, who debuted the Grouch Bucket-animated video that accompanied it. In their feature, they went into deeper detail with John about “Road” and the entire album.
Let The World In is the spiritual third in a trilogy of “Forecast” records and the second “true” album as a band since 2021’s Look Closer, which was recorded during the pandemic. Originally assembled for the live debut of John’s 2019 album Forecast, the group adopted the name for a series of residency shows in Nashville at Dee’s Lounge. John Mailander’s Forecast has since developed a dedicated following through their adventurous improvisations, singular collaborations, and genre-bending, exuberant musical explorations.
The album opens with 18 seconds of the band candidly gathering to warm up, culminating in the count-off to “Let The World In.” The title track is a Forecast sound collage in which Mailander explores on fiddle and Wurlitzer, and the ambiance is enhanced further with the addition of the“Let The World In Sound Freedom Expressionists” (Hannah Delynn, Maya De Vitry, Gibb Droll, Ella Korth, Lindsay Lou, and Royal Masat).
Other compositions include the bluesy, whimsical, and mysterious “Gardener,” the string-layered “Chapters,” and the peaceful Metheny/Hornsby-inspired “Heartland,” which showcases Stargel’s imaginative guitar solo along with a Jodziewicz arco bass feature and Mailander’s piano playing.
“(improvisations 1)” and “(2)” are short pieces that were spontaneously composed by Forecast during the end of their daily recording sessions. “(reprise),” bookends the album with a reinterpretation of the title track’s cinematic main melody, with Mailander again on piano. Let The World In is meant to be played as a whole listening experience. Play this album loud.
Along with “conducting” the Forecast, Mailander is a member of Bruce Hornsby & the Noisemakers. His playing can be heard on albums by Billy Strings (including the Grammy-winning album Home), Noah Kahan, Joy Williams, Lucy Dacus, Molly Tuttle, Joe K. Walsh, Chatham County Line, and many more. John is currently on tour with Sam Grisman Project.
Ally Venable shares her new song ‘Do You Cry,’ a heartfelt exploration of lost love. Courtesy photo, used with permission.
Texas blues-rock singer, songwriter, and guitarist Ally Venable is back with a poignant new single, “Do You Cry,” a soul-stirring ballad that dives deep into the emotional complexities of heartbreak and lost love. The song, which marks a raw departure into the more vulnerable corners of Venable’s musical identity, is available now on all streaming platforms. (Big Hassle, 2024)
“The song explores the raw, vulnerable experience of heartbreak and the complex emotions that come with it. I wrote ‘Do You Cry’ about the bittersweet reality of lost love. I hope this song can connect with listeners on a deeply personal level.” – Ally Venable
Known for her electrifying live performances, signature glitter dresses, and black knee-high boots, Ally Venable is a force in the blues-rock world. Guitar Player Magazine describes her as an artist who “pulls off a stunner of gritty and/or sultry blues rock tunes embellished with lots of tasty guitar solos.” With a musical journey rooted in the blues and nurtured through early influences like Stevie Ray Vaughan, Ally has steadily built a reputation as one of the most exciting and dynamic guitarists and songwriters of her generation.
Born in Kilgore, Texas, Ally Venable began singing at age four and picked up the guitar at age 12. By 13, she was leading her own band, already drawing from her deep love for the blues. Her early albums, No Glass Shoes (2016) and Puppet Show (2018), earned her local acclaim and charted radio play. However, it was her 2019 release, Texas Honey, which pushed her to international recognition, debuting at #2 on the Billboard Blues chart and establishing Ally as one of the brightest stars in the genre.
Her 2021 album Heart of Fire, which also charted on the Blues Billboard charts, featured collaborations with music legends like Kenny Wayne Shepherd and highlighted Ally’s ability to write about love, pain, and overcoming adversity.“On this album, I really wanted to create a tone of overcoming your struggles and persevering through them,” she shared.
Ally’s most recent release, Real Gone (2023), produced by Grammy-winning Tom Hambridge, debuted at #1 on the Billboard Blues Charts and included collaborations with blues icons Buddy Guy and Joe Bonamassa. This spring, she was named #2 on Guitar World’s list of “Top 15 Young Guns Making the Gibson Les Paul Cool Again” and received the Road Warrior Award at the Independent Blues Music Awards.
In addition to her solo tours, Ally’s band has supported legends like Buddy Guy, Kenny Wayne Shepherd, and Colin James, and she has performed alongside fellow guitar icons on the Experience Hendrix tour and at ACL Live in Austin, Texas.
Looking ahead, Ally Venable will be part of the highly anticipated Experience Hendrix Tour in 2025, where she will share the stage with musical heavyweights like Samantha Fish, Devon Allman, Eric Johnson, Christone “Kingfish” Ingram, and many more.
With her new single “Do You Cry,“ Ally Venable proves once again that her artistry continues to evolve, offering her audience a more intimate and introspective side of her music. Fans old and new will find comfort in the vulnerability and soulfulness of this beautifully crafted song.
Slacker’s Prom is Gus Baldwin & The Sketch’s new single from forthcoming album. Courtesy photo, used with permission.
Austin band Gus Baldwin & The Sketch shares a new single from their forthcoming debut album The Sketch via PunkNews. – Slacker’s Prom. Available on DSPs and Bandcamp. (US/THEM group, 2024)
Gus Baldwin is a singer/songwriter/ex-hippie/part-time punk hailing from Austin, TX. After a stint holding down drums for Dallas surf punk legends Sealion in high school, Baldwin went on to form the Psych Pop combo Acid Carousel, which he led for 6 years and 20 something releases before departing the band on Halloween night 2021.
Since leaving Acid Carousel, Gus has made a name for himself as a solo artist in Austin, constantly performing as a singer/songwriter, one man garage band, or with his band The Sketch. Quickly releasing a string of titles on his own GetWithIt! Records imprint, including the EPs THRILLER II, and Live Bugs, as well as a slew of singles, Gus established himself firmly as the godson of Texas rock ‘n roll. Splitting his time as a frequent collaborator with The Black Angels, Baldwin also works with the likes of Christian Bland & The Revelators as well as The UFO Club with Night Beats frontman, Danny Lee Blackwell.
The Sketch is the full length debut of Gus’ partnership with The Sketch. The album was recorded in one day at Studio 22 in Los Angeles by engineer Joey Oaxaca (White Reaper, Starcrawler).
The Sketch will be available on LP, cassette and digital on January 31, 2025. Pre-orders are available.
Gus Baldwin & The Sketch‘s tour of Western U.S. states continues this month. Current dates below are below. Midwest & Eastern shows to follow in early 2025.
GUS BALDWIN & THE SKETCH LIVE 2024: 12/04 Reno, NV – Lo Bar Social 12/07 San Francisco, CA – Kilowatt 12/09 Palmdale, CA – Transplants Brewing 12/10 Las Vegas, NV – The Griffin 12/11 Visalia, CA – Cellar Door 101 12/12 Long Beach, CA – Alex’s Bar 12/13 San Diego, CA – The Tower Bar 12/14 Los Angeles, CA – The Redwood Bar 12/20 Austin, TX – Hotel Vegas
Artist: Gus Baldwin & The Sketch Album: The Sketch Label: Permanent Teeth Records Release Date: January 31, 2025
01. Part I
02. Part II
03. Part III
04. Itch
05. Steady on It
06. Luxury Television
07. Slacker’s Prom
08. (She’s Gone) Arigato
09. Beautiful Delilah
10. What the Freaks Say
11. Sympathy for Sunday
Just goes to show you can still be catchy as hell while playing really fucking loud… I’m not entirely sure there’s a single that can capture the live energy the drips from the stage when Gus Baldwin & The Sketch are up there, but this brand new single is pretty damn close.” — Austin Town Hall
“Kick ass to bombastic levels.” — Cosmic Clash
“Noisy, fuzzy punk with a distinct pop sensibility… Full of energy and anger while also managing to be a lot of fun.”— New Noise Magazine
Blood Incantation is: L-R Paul Riedl (Guitars, Vocals), Morris Kolontyrsky (Guitars), Jeff Barrett (Fretless Bass), Isaac Faulk (Drums). Photo: Julian Weigand, used with permission
Death metal is a subgenre of extreme metal characterized by its aggressive, fast-paced sound, often featuring growled or screamed vocals, heavy guitar riffs, and complex drumming. Its appeal lies in its raw energy and cathartic nature, offering a way for listeners to release pent-up emotions. Fans are drawn to the technical skill required to play the intricate rhythms and fast tempos, as well as the intensity of the performances. The dark themes, often exploring death, decay, and existential questions, provide a sense of escapism for some, while the sheer heaviness of the music creates an adrenaline-fueled experience.
If you’re a fan of the genre, there’s a new album out by Blood Incantation worth noting.
Blood Incantation is an American death metal band from Denver, Colorado formed in 2011. Their new album Absolute Elsewhere is the sound of a star being born. (another side, 2024)
“The Stargate” Side One: A violent storm invokes the familiar before a grand cosmic key turn for a hint of sweeping scope to come with spiritual acknowledgement and accompaniment by Tangerine Dream’s Thorsten Quaeschning on synths on the song’s second tablet. Musically as violent as it is mediative, with subtle spoken passages flitting between Nicklas Malmqvist’s (Hällas) busy synthesizer keys and Mellotron strings invoking both the modern and ancient, and it is all given sharp focus by Arthur Rizk’s powerfully dynamic and enveloping mix. Blood Incantation depart Extreme Metal’s traditionally antiquated waystation, warping their way towards “Genre of One” stature, as “The Stargate” intones the disembodiment of consciousness itself, careening through the stargate towards Samsara-like reincarnation, punctuated by the occasional growl from Sijjin/ex-Necros Christos main man, Malte Gericke.
“The Message” Side Two: A step through doorways of unearthly beauty, playfulness, quirk and horror. As if David Gilmour jams beside Chick Corea and Trey Azagthoth melting together through psychedelic hyperspace, eliciting mystical vibes and a tangible metaphysical transcendence. Dalos briefly reengages with this track in his native language, alongside star-riding Malmqvist, whose iconic synth/keys work throughout the album adds to the unearthly atmospherics that with Absolute Elsewhere defines a new musical epoch for Blood Incantation, as much as 21st century Metal itself.
In total the piece hovers at nearly 45 minutes, their longest full length recording yet, the album’s two movements are as confounding as they are engaging, exponentially expanding upon the formulas laid down by their scene-shattering debut Starspawn (2016) and landmark follow up Hidden History of the Human Race (2019).
For inspiration, the group looked to the mid-70s progressive rock collective, Absolute Elsewhere as the album’s namesake. For the uninitiated, Absolute Elsewhere’s obscure 1976 album, In Search of Ancient Gods, was constructed as a musical accompaniment to the works of Chariots of the Gods author, Erich Von Daniken, and his theories of non-terrestrial humanoid prompts towards mankind’s evolution. The subject matter of which should serve as no surprise to anyone familiar with Blood Incantation’s cosmically philosophical leanings. But make no mistake, the four musicians working under the Blood Incantation banner for the past decade – guitarist and vocalist Paul Riedl, drummer Isaac Faulk, guitarist Morris Kolontyrsky and bassist Jeff Barrett – have successfully left the microgravity of genre behind and are re-writing the Rosetta Stone of extreme music with a new language entirely.
Absolute Elsewhere is available from Century Media. Its physical version features a 73 minute feature film All Gates Open: In Search Of Absolute Elsewhere which tells the story of their time in Berlin during the summer of 2023, while recording at the legendary Hansa Studios. It is available on Blu-Ray with the album’s deluxe media book package and includes the documentary’s original soundtrack, All Gates Open (Original Motion Picture Soundtrack) which includes 60 minutes of exclusive new music distinct from the new album.
This special edition will also include Blood Incantation’s 2023 maxi-single, “Luminescent Bridge” for the first time ever on CD, and of course, Absolute Elsewhere in both standard and Dolby Atmos / 5.1 mixes, alongside exclusive liner notes, exclusive interviews, behind the scenes photos and a forward by Ross Dolan of Immolation. Underscoring the classic Progressive Rock vibe, the album is adorned with contemporary visionary paintings by the iconic and reclusive 70s Sci-Fi artist Steve R. Dodd.
Blood Incantation sets out on an extensive North American tour crossing both coasts and more with support from Midwife. All tickets are on sale now here. A full list of dates is available online.
Blood Incantation Absolute Elsetour Dates:
Nov 27: Boston, MA – Brighton Music Hall ~ Nov 29: Montreal, QC – Fairmount ~ Nov 30: Toronto, ON – Lee’s Palace ~ Dec 01: Detroit, MI – Magic Stick ~ Dec 03: Chicago, IL – Metro ~ Dec 04: Minneapolis, MN – Fine Line ~ Dec 05: Omaha, NE – Bourbon Theater ~
~ w/ Midwife
Early Praise For Absolute Elsewhere:
“the metal album of the year” NPR
“an amazing, proggy, thrilling death metal epic” The Needle Drop
“This album is the work of a band who have proven themselves capable of anything. It belongs on the shelf alongside Pestilence’s ‘Testimony Of The Ancients and Spheres’, The Orb’s ‘UFOrb’ and Pink Floyd’s ‘Wish You Were Here’. It’s a goddamn masterpiece.” The Wire
“the ultimate Blood Incantation album” Brooklyn Vegan
SA Examiner 