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Der Nachfolger zum 2019er Blue With Lou-Album! Nils Lofgren, aufgenommen in die Rock & Roll Hall of Fame, Mitglied der E Street Band und Crazy Horse sowie Solokünstler, meldet sich mit einem klanglich und visuell beeindruckenden Werk zurück. Es waren ein paar arbeitsreiche Jahre für den Rocker Nils Lofgren, und es wird nicht ruhiger. Nachdem er als Mitglied von Neil Youngs Crazy Horse sowohl das Barn-Album (und den für einen Grammy nominierten Film) als auch das World Record-Album (produziert von Neil Young und Rick Rubin) aufgenommen hat, gefolgt von dem kürzlich erschienenen Album All Roads Lead Home der Bandmitglieder Molina, Talbot, Lofgren und Young und nach dem Abschluss der Aufnahmen für sein neues Soloalbum Mountains, erhält Nils einen Anruf, dass Bruce Springsteen und die E Street Band auf eine ausgedehnte Welttournee gehen werden. Aber während die Solotournee also auf Eis gelegt wurde, müssen die Fans nicht auf Nils' neues Studioalbum Mountains warten. Auf Mountains bewegt sich Nils nahtlos zwischen bluesigen und geradlinigen Rockern und zarten Balladen, wie nur wenige es können, alles mit Nils' klanglicher Detailverliebtheit, unverwechselbarem Gesang und speziellen Gitarre veredelt . Mountains enthält Nils' beste Geschichten in ihrer besten Form, mit 9 brandneuen Eigenkompositionen und einer Coverversion von Bruce Springsteens Back In Your Arms. Zu den namhaften Gästen auf dem neuen Album gehören Neil Young, Ringo Starr, David Crosby, Cindy Mizelle, der Howard Gospel Choir und Ron Carter. Die Bandkollegen von Vorgänger Blue With Lou, Andy Newmark und Kevin McCormick, sind erneut dabei. Nils merkt an: "Da wir in den letzten Jahren der Pandemie mit neuen und ungewohnten Herausforderungen konfrontiert waren, habe ich Mountains geschrieben und aufgenommen, um diese Reise zu reflektieren. Ich kann mich nicht erinnern, dass ich mich bei einem neuen Album stärker gefühlt habe. Rau, zärtlich, ein inspiriertes Werk für mich, dankbar." Mountains wurde von Nils und seiner Frau Amy produziert. Er fügt hinzu: "Ich bin begeistert, diese neue, sehr persönliche und emotionale Musik zu teilen. Das atemberaubende Artwork stammt von Künstlers Ed Mell, LP im Gatefold mit bedruckter Inenhülle, CD als Digi-Sleeve mit Booklet.

Rolling out of the mist and dust and silence of time, Ty Segall is behind the wheel of a sleek new ride, a confetti of pages torn from his ongoing saga blizzarding into the air behind him.With Harmonizer, his first album in two years, Ty glides smoothly into unexpected territory, right where he likes to find himself! Responding to the challenge his new songs gave him: a synthtastic production redesign, Ty kicks back with bottom-heavy creativity, dialing up a wealth of guitar andkeyboard settings to do the deed. Harmonizer is a glossy, barely-precedented sound for him, and truth, it enraptures the ear - but in Ty's hands, the sound is also a tool that allows him to cut through dense undergrowth, making for some of his cleanest songs and starkest ideas to date. Harmonizer's production model couches tightly-controlled beats in thick keyboard textures, with direct-input guitar signal whining and buzzing purposefully from left to right. The Freedom Band appear all over the record, but often one at a time, their contributions leaving a distinctive footprint on the proceedings wherever they appear. Operating in this airtight environment with an eye towards precision, feel, and explosive mass, Ty's crafted a formidable listening encounter - and once you get between the lines, the need to know more grows more compelling with every song.The thing about closed doors is they need opening again, no matter what happens. You open them and then you can pass through them. And there's light on the other side. That's what this album is about.The first recording to be released from Ty's just-completed Harmonizer Studios, Harmonizer benefits from a collaboration with Cooper Crain, who co-produced the album with Ty. The Venn diagram of these guys unites them in DIY/punk dyed-in-the-wooldom; Ty's propers you know, but Cooper's own unique journey in rhythm, minimalism and DIY (as heard on his productions with CAVE, Bitchin Bajas and Jackie Lynn) mines the depths around Ty's peerless vocal attack and aid in the latest c...

1973: Connecticut native Gary Higgins and his friends record RED HASH and release it on Gary's own Nufusmoon Records. Following the release, legal issues halt all promotion and sales, rendering the small pressing of RED HASH a hotly-rumored and much sought-after "lost" album of rock and roll lore.2005: Drag City is honored to present the first-ever authorized reissue of Gary Higgins' acid-folk gem RED HASH - mastered from the original master tapes with two previously unheard bonus tracks. The reviews are glowing: the haunting sound of Gary's meticulously arranged folk-pop is a sound that everyone can relate to, and RED HASH makes many year-end lists around the world as Top Reissue.2007: What do you mean, we forgot to make a vinyl version of RED HASH in 2005? Really? Well, let's not wait another minute, we might forget again...2021: Whaddya mean it's been literal years since we've had copies of RED HASH for sale? Oh yeah, whoops - you're right. Spaced it! Okay, here's more vinyl, complete with the tip-on sleeve, lyric insert and 7" single featuring the CD bonus tracks "Don't Ya Know" and "Last GreatSperm Whale."This is your chance to score a letter perfect reproduction of the early 70s acid-folk classic as it was reissued WAY back in the early 20-somethings! Don't blow it, dude.

2020! Now it can be told: the charade of a world without new Magik Markers records (six-plus years!) has finally ended. In these times of contagion fables and hacky blockbuster n95 disaster imagery IRL, Markers emerge again like three Lazarus from their three individual firmaments, just in the nick of the end of time.What Magik Markers do best is listening, and as John Shaw, Pete Nolan and Elisa Ambrogio worked with the tunes, they heard something taking shape. Less a style than a spirit - a spirit that had to do with a delight in friendship and invention. So, here we are with results, the murky and public airing of songs, improvised and planned.2020, recorded and slowly mixed in the first humming tinnitus years after Trump was elected, feels like an animal response to the intellectual luxury of despair. It explodes like a dream. We can all be forced into wage slavery, the dreary fears of our own mortality and the tender traps of love, compassion and family; this record, in eternal Markers fashion, stands as proof that work born out of the unconscious can transcend the individual concerns of meatsackery, and commute purity and relief in the untethered ether that we all contain.Ultimately human music, danceable and grandly damaged, like sister Kim Gordon. The new normal in stadium rock sound: one person on headphones in an empty room.

Just when you thought every loner folk genius had been outed/discovered, hyped, and pontificated about, a new/old challenger lurks in the murky depths of time...and Maine. Sure, you have your Skip Spences, Dave Bixbys, Stone Harbours, and Perry Leopolds already, but have you heard the lonesome sound of Bill Stone? Well, don't feel bad or "unkool", hardly anyone has--unless you lived in rural Maine in the early 70s and grabbed his barely-ever seen LP in the day. Titled simply Stone, Bill's mysterious album was pressed in the micro-est of quantities, covering wistful, airy psychedelia on par with the UK's Mark Fry's classic Dreaming of Alice, while still evoking the earthy, evening-hour melancholy of Leonard Cohen or Tom Rapp. Stone was also especially influenced by one Donny P. Leitch, one Robby Zimmerman, and much trad folk, while growing up in his hometown of Old Town, Maine. Stone started out playing in a few small folk ensembles while also moonlighting with occasional solo gigs, finally recording this lone platter in 1969 in a pottery studio (!?) on a 2-track Panasonic tape recorder in Boothbay, Maine (where he says, they competed with a cat in heat). The LP features Tom Blackwell/Bill Stone-guitars, Arthur Webster-bass, Bob Blackwell/Skip Smith-drums, Bill/Beth Waterhouse on vocals. It also seems cover artist Doug Bane went on to become an acclaimed cosmic painter--committing loads of animals, psychedelic scenes, and Native American portraits to canvas, who knew? But we digress--anyhow, seems Stone's solo career slowed down after marriage hit, and he transitioned to playing covers in bars for cash, but after acquiring a masters and doctorate in education, he moved into the teaching walk of life. Bill published books and articles on subjects as diverse as school counseling and chaos theory--but now retired, he's returned to music, even recording a new album of originals and traditional numbers, based on his experiences as a cab driver (another wrinkle in the Stone Saga we must hear more of someda...