folk . americana . blues . r&b . rock&roll


Genre pick of the week Cover of For Use And Delight by Promised Land Sound.
Nashville's finest purveyors of febrile root-work psychedelia return with a dizzyingly accomplished second album that highlights an expanded band (including members of the Paperhead and Fly Golden Eagle); bigger, bolder arrangements featuring more and louder guitars, squally strings, and Steve Gunn; and road-ripened songwriting that veers between the frenetic and tender, recalling Jim Ford, the Pretty Things, the Grateful Dead, Dennis Linde, and the Byrds at their most eight-miles-fried.

The current lineup likewise prominently features invaluable Nashville stalwarts Peter Stringer-Hye (The Paperhead) on additional vocals and rhythm guitar and polymath Mitch Jones (Fly Golden Eagle) on keyboards, as well as handling co-production and string arrangements on the record. That’s Peter singing on “She Takes Me There” and “Northern Country Scene,” and providing honey to Joe’s vinegar on “Through the Seasons”; his chugging rhythm parts allow Sean space to explore the stratosphere. Mitch’s complex but understated organ and electric piano parts color and thicken things throughout, providing a subtle glaze to the proceedings. Lest you think Promised Land Sound is a band that aspires to sound like the sum of their record collections, think again: the fact is that there just aren’t many other bands writing and inhabiting rock and roll songs of this scale and structural and performative sophistication. The Chiltonisms and chiaroscuro of “She Takes Me There” recall Big Star, but not so much in sound as in sentiment—the melancholy dislocation of a Southern band in a Southern city, but existing strangely out of time and pushing beyond geography. Listen to the bittersweet swagger of “Otherwordly Pleasures” or “Oppression”: despite the classic psych and pop influences, Promised Land Sound is in some essential sense a staunchly Southern band, unselfconscious classicists eager to anchor their songs in traditional forms while tearing at the edges of the vernacular.

Reminds me of Eggs Over Easy & the Link Wray albums - a version of country-rock that isn't too glossy, that still has gravel stuck in the boot toes. - William Tyler

What the Byrds might have sounded like had Gram Parsons joined the band a year or two earlier. Exemplary! – Uncut

It has that wonderful bar-band sound. Really fresh! – NPR

Brisk country-rock tunes that might make a young Gram Parsons kneel down and pray. - PopMatters


L-85 Turntable - Green

    Direct MP3 encoding, from vinyl to USB stick
    Integrated stereo pre-amplifier
    2 rated speed settings 33 RPM and 45 RPM
    Moving Magnetic Cartridge (MMC)
    Mechanical arm lift
    Belt drive
    Auto return
    Track splitting
    Removable plastic dust cover
    412mm x 325mm size

    USB input
    RCA out

    Israel Nash

    Israel Nash's Silver Season

    Cosmos-wrangling Americana upstart Israel Nash returns from Texas Hill Country with his Silver Season, a deeply gorgeous and wholly immersive nine‐song set that plays less like an album, and more like a cross section of time and space. The man’s fourth LP ventures farther down the acid‐soaked trail blazed by 2013’s Rain Plans, arriving in lush and expansive territory. Here, this Missouri son sounds more assured than ever, supported by his highly capable band and production inspired by psychedelic greats. Israel Nash’s Silver Season is best played loudly, and sounds wonderful in headphones.


    Deluxe LP Info: 180g LP + download, limited initial copies in gatefold sleeve with custom windows.

    'Stranger Still' is an anthem for insomniacs, illuminating the hours when the world exceeds our grasp. 'From Now On' rings out some emotional tinnitus, the moment a night runs away from you, when freedoms turn into responsibilities.

    The album builds around dualities, the way people pair at parties. 'Current Carry' percolates with the confidence of love, while 'Confiding' reveals how vulnerable we are chasing love. 'Backwards Slowly' and 'Edgar' are vignettes of transition, more ebb than flow.

    As with many of Vetiver's better moments, sunshine is only a chord away from melancholy. An introspective lyric underlies an extroverted chorus. Subtlety tries to be outgoing, loneliness familiar, in an effort to connect the dots of life's ellipsis.

    'The Errant Charm' (2011) received praise from Clash “Utterly Lovely” and The Quietus ”masterpieces of simmering, inward-looking passion“

    Weyes Blood

    Cardamom Times

      Cardamom Times was recorded onto reel-to-reel tape at Natalie Mering’s home studio in Rockaway Beach, New York. Like the area, which itself has recently been devastated by natural causes and is regaining its bearings, Mering has created a language of dystopian love. A place where hurt, comfort, past, and future are finding themselves together, not necessarily out of mutual affection, but because ‘this is the way things are.’

      As with her past recordings, these songs echo her flirtatiousness with the classics and of the avant-garde; channeling the domestic hymns of Sybille Baer through the lens of Baltimore’s recent experimentalism; the devotional drones of Terry Riley accompanied by the voices of the Sacre Coeur; the confrontational words of Anais Nin along with the warm embrace of St. Augustine. Mering’s search for true, timeless love, is accompanied by her caravan of ancestors who channel through her like spectres caught on magnetic tape. Using DIY recording techniques with a horde of equipment, Cardamom Times alters tropes of classicist folk arrangements with echo chambers, flutes, keyboards, and manipulated tapes. On "Take You There" she performs a stark and deep call of longing over minimalist organ, on Cardamom a secret infatuation is addressed through delicate guitar playing and flute. The instruments are both vintage and contemporary, piercing and soothing.

      Mesmerizing performances from the four corners of the world played on stringed instruments and recorded and released 78rpm records circa 1920-1950. Featuring fiddles, shamisen, charango, Paraguyan harp, Indian vina, Lebanese oud, Persian violin, Vietnamese moon guitar, and more. All previously unreleased on CD, with three bonus tracks not available on the now out-of-print LP. All records have been carefully transferred and mastered and are presented with extensive liner notes by Jonathan Ward.

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