Search Results for "Solo Project"

Dave Hause announces 2020 US tour dates, unveils Martin Museum video for “Paradise”

Kinda combining a couple of stories into one here, but I don’t think you’ll mind once you see what they are. First up, the great Dave Hause has outlined the first of his touring plans for next year! The three-week jaunt kicks off February 21st in Seattle and runs through March 14th in — you guessed it — Philadelphia. Tickets are on sale now; check out the full rundown here.

Last but certainly not least, Hause had the opportunity to record a few stripped down tracks at the Martin Guitar Museum as part of their Museum Series. Check out the video for “Paradise” as played on a 1941 000-28M below!

“Paradise” appears in its original form on Hause’s last album, Kick, which was released earlier this year on Rise Records.



DS Exclusive: Tim Barry gets raw and real – even for Tim Barry – on the transitional new album, “The Roads To Richmond”

It is not, by any stretch, an overstatement to refer to Tim Barry as one of the premier storytelling songwriters in the punk rock scene for as long as most of us have been associated with it; he was certainly trending in that direction during his Avail days, but it’s become an irrefutable fact in his work since going solo a decade-and-a-half ago. With the exception of maybe “Prosser’s Gabriel” from his 2010 album 28th and Stonewall (or, I guess, “T. Beene” from it’s follow-up, 40 Miler), Barry writes almost exclusively in the first person. Sometimes, this finds him telling the gut-wrenching components of someone else’s story in explicit, vivid detail; see “South Hill” or “Solid Gone” or “Dog Bumped” most notably. While the subject matter is clearly not his story in each of those songs, he’s got a way of pulling the listener in and making you feel every last strain and emotion and decision made by each of the respective narrators.

Sometimes, though, and especially when relationships are involved, the lines between author and subject get blurry to say the least. Sure there are songs like “Lela Days” or “Older And Poorer” that are pretty on-the-nose when it comes to being obviously self-referential. But on classic Barry fan-favorites like “Exit Wounds” and “Avoiding Catatonic Surrender” and “Walk 500 Miles” and “This November,” he long-ago proved that he can write a broken-hearted love song like nobody aside from maybe Ben Nichols. Because the themes present in those songs are so, unfortunately, universal and because of Barry’s adeptness as a songwriter, you’re never quite sure if he’s retelling traumatic events from his own biography or simply relating the cautionary tales of his friends and peers. Case in point: years ago when Tim and I spoke during a prior album-cycle promotional run, he relayed the story of his father contacting him after the release of Rivanna Junction, asking if he was doing alright.

Today marks the release of Tim Barry’s latest album, The Roads To Richmond. It’s his seventh studio full-length, and it is, in many ways, an album that delves into what’s been a very transitional time in the proud Richmond, Virginia native’s life. Not only did Barry quit working a “real job” and make the decision to live solely on music for the time being, but more importantly (and profoundly) Barry and his wife split up in the years since we last heard new music from him. He found himself living, at various times, in his van, in an apartment on the “bad side of town,” and most recently, in the very first house he’s ever purchased. And so the weight of separation and moving on and all of the confusion and emotions that those things entail, particularly when still trying to embrace the role of SuperDad to his pair of young daughters (Lela, 7, and Coralee, almost 5) were destined to bleed into the material that wound up on The Roads To Richmond. In fact, when we caught up over the phone to discuss The Roads To Richmond, it prompted me to jokingly – well, half-jokingly anyway – paraphrase that Rivanna Junction quote from his dad. As it turns out, I’m not alone. “Brent Baldwin down at The Kitchen mastering plant down in Carrboro, North Carolina, was doing the work on it, putting the finishing touches on the recording,” Barry explains. “He’s a professional, and I trust him and I trust his opinion and his work, and basically he said what you were paraphrasing my dad as saying. Like, “whoa, man, I hope everything’s okay!” (As homework, I challenge you to listen to the funeral dirge that is “Box Wine And Xanax” and not feel like you got repeatedly punched squarely in your midsection.)

The tone is present right from the first somber piano notes of album-opener “Big Ships.” When Barry’s voice eventually joins the instrumentation, it does so in a more tender way than we’re really accustomed to. It’s a song that was written in a place that’s been important to a small legion of East Coast punk rock fans over the last several decades: Asbury Park’s Little Eden. “I was sitting in Kate Hiltz’s kitchen at Little Eden in Asbury Park. I don’t know what I was doing there, but I was there for a couple of days, and no one was around, I had the whole house to myself,” Barry tells me.  “And I was writing that song, it just popped out of nowhere like songs do, and when it came around to the chorus, I looked up and on her wall it said “Big Ships Turn Slow.” I ripped those lines right off of her kitchen wall, and that completed the chorus and the song kept on trucking.” 

Barry tends to play his cards close to his vest when discussing the actual subject matter of some of his more ambiguous material, preferring instead to allow the listener to connect to songs on their own personal level. Still, he offered a bit of a hint behind what went into “Big Ships,” which turned out to be the pivotal moment in putting the writing for The Roads To Richmond to bed. “It’s like this,” he explains. “If you’re taking on a massive life change, you can use the phrase “big ships turn slow,” like, if (I’m asking you for) advice, I can say “I’m quitting my job and I’m gong to be self-employed and I want everything to go right.” And you could say “Tim…big ships turn slow.

Peppered throughout the album are tracks that are unambiguously autobiographical., perhaps none moreso than “April’s Fool,” a song that in some ways sounds like a follow-up to Rivanna Junction‘s “Exit Wounds,” except with the added weight of a marriage and children involved. “(That song is) autobiographical to a T. And you know, to be clear, that song was written while I was going through possibly one of the biggest transitions of my life. It was written in one go. It was “play and record” on my iPhone while I was living in my van. There’s really very little editing on that song, and I don’t think, for me, that music gets any more real than that.

While Barry is obviously no stranger to the broken-hearted love song, “April’s Fool” is a track that evokes enough visceral emotion that Barry was initially remiss to include on the album. “My instinct is to not share that kind of song and share that kind of music because it is sad. My job isn’t to depress people. I don’t even have a job!” As time elapsed, however, Barry started to understand that there was real value both to himself and to his listeners in telling such a personal story. “The subject of the song is divorce, it’s separation, it’s the end of a relationship. It’s the difficult possibility of going on alone when you’re not used to that. That’s what the song’s about. It’s just a moment. And when I was going through that at that point, I didn’t have any peers who were. I had a lot of questions, and there wasn’t really anyone to reach out to…But, as I breach the release of this new record, I realize that I have multiple friends that are going through that exact situation. I have many peers who are dealing with that dynamic in their life right now. I think it’s purposeful now to put that sort of intimacy onto a record so that other people know that other people have been through it. 

I suppose this is as good a point as any to explain, emphatically, that The Roads To Richmond is a sad, depressing album; it’s not! There are very real and very weighty feelings on the album. Over the last half-dozen years, a couple of Barry’s musical peers, Dave Hause and Brian Fallon, wrote their own powerful post-divorce albums (Devour and Get Hurt in that order if you’re keeping score) that rank among the best collections of work in either of their respective lengthy careers, both with bands and as solo artists. Part of the reason those albums have resonated with so many people for so long is that, sure, they’re raw, visceral looks at the pain and isolation that separation leave behind, but they also offer a little bit of redemption; a little bit of positive glow that in spite of all the pain, the future may turn out alright. For that reason, there are a lot of people for whom The Roads To Richmond will be their Devour (or their Blood On The Tracks…or their Rumours…or their Tunnel Of Love).

If I’m going to highlight some of the more raw, heavy emotional tracks on The Roads To Richmond, it’s only fair to highlight some of the tracks that provide a little levity and balance. “Bent Creek” is in uptempo, front-porch singalong about being at piece with the freedom that laying your burdens down and moving on can provide. It’s a cathartic song, and Barry’s voice sings like that of a man with a weight that’s been freed from his shoulders. “Fussin’ Over Fate” is a similar feeling track, a boot-stomping jam about not lamenting the fact that your old hometown has changed from the place you used to remember. “East Texas Red” is a reworking of a Woody Guthrie classic that was popularized by Guthrie’s son Arlo, a country and western murder ballad of a cruel old railroad yard boss who gets his comeuppance at the hands of two weary railroad travelers. “Coralee” is a tender, sweet acoustic ballad of Barry’s own, an ode to his youngest daughter.

And then there’s “Oh My Darling.” It’s a rollicking, Pete Seeger-esque finger-picked number that is placed perfectly on the album, as it helps lift the spirits from the weight of “April’s Fool.” “Oh My Darling” is a track that sounds like Barry singing to his daughter, but the reality is infinitely sweeter; it was penned by Barry’s oldest daughter Lela Jane, then five, as an ode to her little sister, the aforementioned Coralee. “Lela free-styled the lyrics!” Barry explains. “She told me to get a piece of paper and write it down as she sang. She’s fast at writing lyrics and melodies.” Barry gave Lela co-writing credit on the song, and Lela even sings some of the response parts on the call-and-response section of the last chorus. 

You can check out an abridged version of my chat with Barry below; much of our chat was edited and condensed for content purposes. We talked quite a bit about The Roads To Richmond, naturally, and we also talked about Barry’s recent run of shows with Avail, the seminal band’s first gigs in more than a dozen years. You can also buy your own copy of The Roads To Richmond at Tim’s Bandcamp page or at his official store here or at his longtime label home, Chunksaah Records here.



Full Album Stream: Sammy Kay – “civil/WAR”

Earlier this year, New Jersey’s Sammy Kay launched a successful Kickstarter campaign to support his fourth studio album, civil/WAR. If you contributed to that, you probably got your vinyl in the mail already. If you didn’t contribute to it, today is your day! civil/WAR is officially released into the wild! You can stream it below, or head here to purchase your own digital copy. Still want a hard copy of your own? The good folks at Say-10 Records have got them here. Oh, and if you’re in the Jersey area, go to Sammy’s record release show tomorrow night at Crossroads in Garwood with the inimitable John Moreland!

civil/WAR is Sammy Kay’s first full-length since his untitled came out back in 2017 on Stomp Records.



Chris Farren streaming new track “Surrender” off upcoming album

Chris Farren is streaming the track “Surrender” off of his upcoming album Born Hot. Due out October 11th on Polyvinyl Records, the new track is a great taste how great a songwriter Chris truly is.

You can check out the new track below as well as the remaining stops on Chris’ latest tour.

Chris Farren last released Can’t Die back in 2016.  Chris is just finishing up the tail end of a lengthy tour.



Chris Farren announces new album, streams new video

Chris Farren has announced he will be releasing his new album, Born Hot, on October 11th via Polyvinyl Records.

To give you an idea of what to expect from the album, check out the video for “Search 4 Me” below.

Chris Farren last released Can’t Die in 2016.



Dylan Disaster (punk) releases music video for “Milestone”

Texas punk act Dylan Disaster has released a music video for his song “Milestone,” which comes from the upcoming album, Remission, that is set to be released on August 31st via Travel Well Records, Stars at Night, and Ring of Fire Records.

You can check it out below.

Dylan Disaster last released Self Titled in 2015.



New Music: Sammy Kay – “Thoughts And Prayers”

If you read this site on the regular, you probably saw that Sammy Kay recently wrapped up a successful Kickstarter campaign in advance of his new full-length album, civil/WAR. There’s a song on the new album called “Thoughts & Prayers,” and as you might imagine, it’s Kay’s take on the seemingly never-ending state of affairs in our nation right now.

You can check out “Thoughts And Prayers” here and pick up your own digital copy as a “pay-what-you-can” single. But here’s the thing; there’s also going to be a going to be an extremely limited edition, lathe-cut seven-inch backed with another civil/WAR track, “Forgotten Ones.” All proceeds from the single will be donated to The Brady Campaign and Everytown or Gun Safety.

The Pete Steinkopf-produced civil/WAR is due out in October on Say-10 Records. You can pre-order it here. Also, tickets for his record release show at Crossroads in Garwood, NJ, are available here; Kay will be opening for the inimitable John Moreland that night!



Jeff Rosenstock releases new single “Monday At The Beach”

Solo project Jeff Rosenstock has just released a new single titled “Monday AT The Beach” and you can stream and/or download it for free here.



New Music: Sammy Kay unveils “Sweet Cecilia” from upcoming album, “CIVIL/WAR”

Sammy Kay recently wrapped up a successful Kickstarter campaign in advance of his new full-length album, civil/WAR. Now, he’s released the first single into the wild for your listening pleasure. It’s called “Sweet Cecilia” and you can check it out below.

The Pete Steinkopf-produced civil/WAR is due out in October on Say-10 Records. You can pre-order it here. Also, tickets for his record release show at Crossroads in Garwood, NJ, are available here; Kay will be opening for the inimitable John Moreland that night!



Vinnie Caruana (The Movielife) announces new EP “Aging Frontman” and UK tour dates, and streams new single “Better”

Vinnie Caruana has announced a new EP “Aging Frontman”, which is out on 4th October via Big Scary Monsters. The Movielife frontman has also announced a UK tour and released the first track from the release, “Better”.

“This is as personal as I’ve ever been with the listener. The people who listen to my music know me. I’ve personally met most of them at shows and we have a relationship. This is just another layer. I’m still looking for answers. We all are. We have to keep finding the beauty in life, no matter how hard life can sometimes make it for us. I want to keep being the best version of myself until I die.”
 
The EP was produced and mixed by Brett Romnes and recorded at Barber Shop Studios in New Jersey. 

Check out “Better” from the release and his UK dates below.



Stream new Joey Cape album “Let Me Know When You Give Up”

Lagwagon singer and acoustic extraordinaire Joey Cape has released his new solo album Let Me Know When You Give Up and you can stream the entire thing below. Don’t miss the song “I Know How To Run.”

The album hit “shelves” July 5th through Fat Wreck Chords, and is Joey’s first solo release since 2015’s Stitch Puppy.



Coffin Salesman stream new EP “Misadventure”

Coffin Salesman, the acoustic side project of Boston-based musician Aria Rad (of The RadicalsLive Nude Girls) are streaming their new EP, Misadventure, which was released on June 28th.

You can give it a listen below.

Coffin Salesman last released Nicrophorous Americanus in November 2018.



Billy Liar releases new album “Some Legacy”

Scottish folk punk Billy Liar has released his new album, Some Legacy, which came out via Red Scare. The Scottish folk punk mainstay has got together a band for this one and it’s available to order on vinyl or CD.

You can have a taste of the record below.



DS Photo Gallery: Craig Finn And The Uptown Controllers with Laura Stevenson, Boston, MA

The current leg of Craig Finn‘s tour in support of his latest solo album, I Need A New War, found the singer/songwriter (and The Hold Steady frontman) and his stellar backing band, The Uptown Controllers, landing at the Sinclair in Cambridge, Massachusetts, last Tuesday evening. It was a bit of an intimate affair – the presence of rows of chairs on the main floor was unexpected and limited the venue’s capacity from its normal SRO heights, but created a bit of a unique lounge/theater vibe in what is already the best room of its size (normal capacity is 525) within a hundred mile radius.

The infinitely-talented Laura Stevenson was the opener for this brief run of shows. Armed with only a guitar, the minimalist performance allowed Stevenson’s deadliest weapon – her voice – to shine. It’s a voice that can seemingly effortlessly wander from fragile to ferocious; haunting but with a sweetness to it that makes for a powerful and sometimes funny and occasionally awkward-but-in-a-good-way start to the evening. (Oh, an she opened with “Lay Back, Arms Out,” and that might be my favorite Laura Stevenson song so that was awesome).

Finn and his band took the stage next – shoutout to two-band bills on a weeknight, by the way – and by the time they did most of the floor’s seats were occupied and a few stragglers had filled in standing room spots around the edges. It was one of the first few shows that this particular group had played as a six-piece (Parker Shper whose name is somehow not misspelled on keys, Stuart Bogie on sax and clarinet among other things, James Richardson on guitar, Will Berman on bass and Falcon Valdez on drums with the occasional pop-up appearance by Stevenson on vocals) but as consummate veterans of around a collected 700 other bands over the last twenty years, the parts seemed to fit together magically already, which is no easy task; the muted tones and subtle layers provide a lot of room for the potential stepping-on of toes between musicians, but there wasn’t much of that at all to the naked ear.

Finn occasionally played guitar, but his preeminent role in these full-band solo shows is that of storyteller. Sure it’s a rock show, but in many ways what Finn and the Uptown Controllers are conveying feels more than a little bit like a night at the theater. Through his work with The Hold Steady, Finn has long made a history of telling stories as a songwriter that eschew the traditional verse-chorus-verse-chorus-bridge-repeat structures. His solo storytelling, particularly on the most recent trio of albums (2015’s Faith In The Future, 2017’s We All Want The Same Things and this year’s stellar I Need A New War), ups that ante, and in a live performance, Finn doesn’t just tell stories with his lyrics but with his actual performance, tying songs together, explaining characters in a way that really inserts them into all of our lives.

Head below to scroll through our full photo gallery from the evening!

 



Mike Herrera (MxPx) records new version of ‘Don’t Walk Away’

Mike Herrera, frontman of MxPx, has shared a new version of the song ‘Don’t Walk Away’. The original version of the song first appeared on the 2003 studio album ‘Before Everything and After’. Mike and his wife Holli were recently featured on the tv show ‘Fixer Upper’ where work was done on their home in Texas. A plaque was installed in the kitchen with the lyrics to this song, this can be seen at the beginning of the video.

Check out the video for the new, stripped back version below.