Luthier extraordinaire Burl just dropped jaws with his second newspaper guitar, and this time he went absolutely massive with 1,600 misprinted newspaper sheets pressed into one stunning instrument. That’s more than twice the paper from his first build, and the results speak for themselves with a spiral star pattern emerging naturally from the compressed grain. Using a 3D printed mold gave Burl the precision to create a custom fit that transforms recycled materials into a fully functional guitar that looks like nothing else out there, proving once again that the best instruments come from minds willing to experiment and push every boundary in sight.
Burl Takes Newspaper Guitar To Wild New Heights With 1,600 Sheet Monster Build
Hayes Carll Releases ‘We’re Only Human’ and Delivers His Most Introspective Work Yet
Grammy nominated artist Hayes Carll has released ‘We’re Only Human’ , marking his most introspective and reflective work in a celebrated career built on character narratives and clever perspectives. The new collection turns the mirror back on himself for an extraordinarily thoughtful and personal set of songs that brim with his signature blend of pensive lyrics, grit and just the right touch of sardonic wit. The cheerful video for “Good People (Thank Me)” dropped alongside the album, featuring Carll performing at multiple intimate venues as a duo with his fervent audiences and even some staffers more than happy to join him in an engaging call and response. Carll explains the track offers both a chance to receive a heartfelt thank you and give one, a small but meaningful way to lift each other up.
The long awaited follow up to 2021’s critically acclaimed ‘You Get It All’ finds the Nashville artist creating songs that allow listeners to see themselves through his lens while simultaneously offering his most vulnerable and honest work to date.
Muscle (Shoals) Flex: Inside The Country Music Museum’s Low Rhythm Rising Exhibit
By Darryl Sterdan of Tinnitist.com
NASHVILLE, TENN. — Muscle Shoals has always punched far above its weight. But now, the tiny Alabama town that became the unlikely epicenter of southern soul, R&B and rock is flexing in a big way.
Nashville’s Country Music Hall Of Fame And Museum just opened the doors on its fantastic new exhibit Muscle Shoals: Low Rhythm Rising. The landmark show celebrates the beloved ‘Muscle Shoals Sound‘ — a swampy mix of deep grooves, funky basslines, rich keyboards and punchy horns that fuelled hundreds of immortal songs and albums over decades — and honours the singers, songwriters, studio musicians, producers and entrepreneurs who conjured it into being like so much sonic alchemy in the freewheeling ’60s. And I was the only Canadian journalist in the room. I got to preview the exhibit, tour Muscle Shoals’ landmark studios, and attend a star-studded VIP launch, which included a slate of incredible performances. More on those in a bit, but first, back to the exhibit:
Painstakingly and lovingly curated and assembled over the course of years, the 5,000-square-foot display is, like the rest of the museum, a treasure trove of prized, priceless artifacts and memorabilia. Including:
• The piano Aretha Franklin played on her breakthrough hit I Never Loved A Man (The Way I Love You).
• Vintage instruments played by the legendary session band The Swampers, who backed Franklin on that single and others. It was the first of countless hits they helped create for a musical who’s who that includes Wilson Pickett, Percy Sledge, Paul Simon, The Rolling Stones, Bob Dylan, Rod Stewart, Cher, Bob Seger, Bobbie Gentry, Boz Scaggs and scores more.
• A Fender Stratocaster and Telecaster played by slide-guitar hero Duane Allman, who worked with artists like Pickett and Franklin before forming The Allman Brothers Band.
• Stage clothes worn by The Staple Singers — who cut their civil-rights era anthems I’ll Take You There and Respect Yourself at Muscle Shoals Sound — along with outfits sported by Pickett, Franklin and others.
• Instruments played by more recent local heroes like Drive-By Truckers (whose singer-guitarist Patterson Hood is the son of Swampers bassist David Hood, the sole surviving member of the crew) and Jason Isbell (who also loaned his grandfather’s banjo to the exhibit).
• Scores of documents, manuscripts, photographs, classic video footage, new footage and vintage records that chronicle one of the most fertile and unforgettable periods in contemporary music history.
Not surprisingly, it’s all been one long labour of love for curator Michael Gray, VP of museum services. “We got officially greenlighted about three years ago, but really, we’ve been working toward it for a long time — going all the way back to 2010, 2011,” he says. On a personal level, his dedication goes back even further — all the way to high school, when he first heard and fell in love with the Muscle Shoals Sound and started learning the story behind the music.
For those who aren’t up to speed, the exhibit covers a lot of that too. Naturally, if you want the whole (sometimes-sordid) saga, you’d be better off with a book or the definitive 2013 documentary Muscle Shoals. But in a nutshell, the scene started when irascible maverick Rick Hall opened FAME (Florence Alabama Music Enterprises) Studios in 1960, determined to finally make his mark in music after years of frustration and failure. Soon, the funky grooves and earthy sound emanating from his studio and its musicians lured the likes of Franklin, Pickett, Allman, Otis Redding, Etta James and more down to the sleepy southern community — along with Atlantic Records’ hard-nosed executive Jerry Wexler, who started spreading the sound around the world. Hall’s dream had finally come true.
But then came the rude awakening. Hall’s controlling, uncompromising ways eventually drove away Wexler. Worse, it soured his relationship with The Swampers — guitarist Jimmy Johnson, bassist Hood, drummer Roger Hawkins and keyboardist Barry Beckett. Having graduated from local house band to in-demand session players, they balked at signing an exclusive contract with Hall, opting to take their ball and open their own Muscle Shoals Sound studio a couple of miles down the road. After having Cher as their first customer — her 1969 album 3614 Jackson Highway borrowed the studio’s address for its title, and pictured the building on its cover — they soon had their own celebrity client list, topped by The Rolling Stones, who dropped in mid-tour the same year to cut Brown Sugar, Wild Horses and You Gotta Move for Sticky Fingers. (Fun fact: The bill for Wild Horses totalled $1,009, mostly for studio time at the princely sum of $65 per hour.)
Gray says both FAME and Muscle Shoals Sound were gracious enough to throw open the vaults and files for the exhibitors, and to give them access to important pieces of equipment. That’s especially impressive when you consider that both facilities are still working studios that host contemporary artists like The Black Keys, My Morning Jacket, St. Paul & The Broken Bones and more (and remain surprisingly economical and available for venues with such rich legacies and storied histories).
“Rick Hall’s son Rodney and wife Linda are just so kind and helpful and just loaned us anything we wanted,” Gray says. “They even let us come into the studio and film interviews there. Granted, when we asked them about the Aretha piano, they had to talk about it for a minute. I mean, they give their own tours there, you know? But when we assured them that it would be the centerpiece of the exhibit and we would take great care of it, they said, ‘All right, come get it.’ ”
Musicians like Isbell were just as generous, he says. “People just kept showing up at every turn. We didn’t know necessarily what Jason was going to give us. And then he’s like, ‘Hey, you know, my grandfather played this banjo every day of his life, and these are my roots. I would love to let you have it.’ And we just said, ‘We’ll take it!’ ”
Isbell’s generosity and commitment continued at Thursday night’s VIP launch. As a few hundred VIPs, movers / shakers and media were wined and dined with open bars and southern-fried fare like okra, grits and sausage sliders, Isbell — a musical prodigy who grew up near Muscle Shoals — dug into the studios’ back catalog, playing solo acoustic covers of Arthur Alexander’s You Better Move On, Paul Simon’s Kodachrome and The Rolling Stones’ Wild Horses. Also on the musical menu: Singer-songwriter Dan Penn and MVP pianist Spooner Oldham, who teamed up on the former’s I’m Your Puppet; and vocalist Bettye LaVette, who sang an abbreviated version of George Jones’ Choices backed by Oldham. All of them (except Isbell) will also take part in a full-scale opening concert Friday night, along with Jimmy Hall, Tiera Kennedy, Wendy Moten, Maggie Rose, Shenandoah, Candi Staton, John Paul White and a crew of Muscle Shoals session players (including some latter-day Swampers).
The exhibit itself runs until March 2028, so you’ve got some time to plan your visit. But personally, I wouldn’t wait. I would also recommend you include a trip to Muscle Shoals in your itinerary so you can get the full picture (and eat some incredible food; the town also punches above its weight on the culinary side).
Come back to read more about my Alabama adventures in a few days, but for now, listen to a playlist of Muscle Shoals classics below and check out video clips from the exhibit and the VIP launch above.
Ape Drums and Luch Unite on “FFM” and Deliver a Sleek Cross Border Afro House Masterpiece
Two forward thinking Mexican talents unite as Houston’s Ape Drums and Mexico City’s Luch unveil “FFM,” a sleek late night groove sitting perfectly at the intersection of melodic Afro house and meditative dance music. First previewed during the duo’s JAAM session at Caracas Bakery in Miami, the track builds with patient intensity before dissolving into a calm yet rapid drop that showcases both artists at their creative peak. Ape Drums, a core member of the globally renowned trio Major Lazer, brings his decade of experience shaping modern dance music with production credits spanning collaborations with Diplo, Sean Paul, Randy and co-writing BLACKPINK’s recent number one global hit “JUMP.” His recent solo singles “Into My Ocean,” “For Your Love” and “Like Dat (Remix)” have earned championing from tastemakers across the electronic and Latin dance spectrum, proving his sound fuses global rhythms with sharp minimalism and undeniable groove. Meanwhile, 6x RIAA Platinum certified Luch arrives with the kind of refined atmospheric production that’s propelled him from Mexico City’s underground to iconic stages worldwide, earning support from Keinemusik, Black Coffee and RÜFÜS DU SOL along the way.
At just 24, Luch has already racked up hundreds of millions of streams and performed everywhere from the Pyramids of Giza to Mexico City’s Palacio de los Deportes, plus stages in Ibiza, London, Dubai, Miami and New York. His journey began early, DJing by 8, producing by 12, and ghost producing for established acts by 14 before signing to Axident’s Honua Publishing at 19. Ape Drums, born Eric Alberto-Lopez in Houston, fell in love with music as a kid obsessively dissecting cassette tapes and teaching himself song structure long before having proper gear. “FFM” captures the balance between intimacy and expansiveness with percussive elements that fizzle and pulse beneath the surface, creating tension without overwhelming as Ape Drums anchors the rhythm while Luch weaves in atmospheric detail. This collaboration proves Mexican artistry has a powerful voice in global dance culture, rooted in shared identity yet expansive enough to move crowds anywhere in the world.
Sarah Vanderzon Releases Anthemic Debut Single “Are You With Me” Ahead of ‘Fortune Teller’ EP
Toronto singer songwriter Sarah Vanderzon dropped her debut single “Are You With Me” back in August, the first taste of her EP ‘Fortune Teller’ which arrived October 17th. The sweet and soulful track showcases Vanderzon’s impressive vocal control and range as she glides through the musical landscape with effortless grace. Originally written as an open letter to her partner, the song explores the reality of a musician’s life spent traveling between venues, sometimes packed and sometimes empty, asking whether love can survive the constant motion. Vanderzon describes her EP as what a first date should feel like, honest and easy going, and “Are You With Me” became an instant crowd favourite when she tested it at live shows.
The debut EP ‘Fortune Teller’ introduced a fresh voice in the Americana, folk and country space, revealing Vanderzon’s stylistic versatility and dedication to her craft. After winning the 2024 Emerging Artists Showcase at Boots & Hearts, she signed with Universal Music Canada and returned to perform at the festival on The Front Porch stage. Sarah and her self proclaimed Vanderband also took the stage at Montreal’s LASSO music festival in August, marking the beginning of an exciting upward trajectory for this talented newcomer who’s proving she knows how to carve her own path in the current music scene.
Evidence Drops “Dutch Angle” From ‘Unlearning Vol. 2’
Grammy winning producer and emcee Evidence is building anticipation for ‘Unlearning Vol. 2’ with his final release single “Dutch Angle,” out now through Rhymesayers Entertainment. Produced by QThree with a video directed by Stephen Vanasco, the track takes its name from a cinematography technique where tilted camera angles create disorientation and tension, and the visual leans fully into this moody aesthetic that mirrors Evidence’s introspective approach.
The song captures his deep connection to Los Angeles through dim, atmospheric production while delivering lines that speak to the album’s core themes of reinvention and perspective shifts. The album arrives loaded with heavyweight production from Evidence, The Alchemist, Conductor Williams, Graymatter, C-Lance, QThree, Sebb Bash, Beat Butcha and Coop The Truth, plus guest appearances from The Alchemist, Larry June, Domo Genesis, Blu and Theravada. Previous singles have already set the stage beautifully, including “Rain Every Season” with The Alchemist, “Outta Bounds” with another Stephen Vanasco directed video, “Different Phases” produced by Beat Butcha and Coop The Truth with visuals from SHEESH, and “Nothing To See Here” which Evidence directed himself with cinematography by Louis Llewellyn.
This is Evidence at his most vulnerable and confident, crafting a smoky journey through grief, growth and fearless artistic evolution that proves he’s still pushing boundaries and redefining what hip hop introspection can sound like.
Wild Baby Delivers Heartfelt Debut With “Letters” and Showcases Their Melodic Storytelling Magic
Helsinki’s Wild Baby is making their entrance with “Letters,” a debut single that perfectly captures what this Finnish rock band is all about. The track features the group’s two lead vocalists trading lines in a captivating dialogue, weaving a story about lovers separated by time and distance. Recorded at Sonic Pump Studios in Helsinki, “Letters” leans into the band’s softer acoustic sensibilities with a rich arrangement of guitars, ukulele and double bass creating an intimate sonic landscape. This is melodic rock that prioritizes emotion and storytelling, proving Wild Baby knows how to craft songs that connect on a deeply human level. The interplay between the vocalists gives the track a conversational warmth that draws you in from the first note and keeps you hanging on every word until the final chord rings out.
Paul Dally Unveils Spellbinding New Single “Revelator” With Stunning Live Visual
American songwriter Paul Dally is back with “Revelator,” his first single of the year through R&R and a powerful follow up to his 2024 EP ‘Moonlit Breakers’ which featured R&R labelmate Dijon. Dally has earned serious respect from the indie scene, with both Dijon and Mk.gee handpicking him to open their LA shows after being captivated by his sound. The track opens with the full weight of Dally’s commanding voice before blossoming outward with runaway harmonica flourishes, deep bass rumbles, inviting claps and layers of vocals building into something truly transcendent.
The release comes paired with a gorgeous live visual directed by Danica Arias Kleinknecht, the acclaimed filmmaker behind work for Mk.gee and Dijon. “Revelator (Live)” strips everything back to reveal the song’s pure heart, featuring Dally with just an acoustic guitar and friends as they ride the melody through golden hour until the last light fades. This is songwriting at its most honest and affecting, proof that Dally knows exactly how to bottle magic and share it with the world.
Wino Roars Back With ‘Create Or Die’ and Delivers His Rawest Solo Statement Yet
Doom metal titan Scott “Wino” Weinrich is bringing the thunder with Create Or Die, his fourth solo album out now via Ripple Music, and the first single “New Terms” proves the legendary voice behind The Obsessed, Saint Vitus, and Spirit Caravan is firing on all cylinders. The album title came from a friend’s letter closing, and Wino knew immediately those three words captured everything he stands for. What started as an acoustic endeavor quickly evolved into something bigger, pulling in electric guitars and drums to create a record that balances intimate reflection with raw power. These are songs Wino has lived with, some carried for years before finding their final form, others born from those rare moments when inspiration strikes all at once.
The lead single “New Terms” showcases something special, featuring the Irish bodhrán drum and traditional banjo courtesy of We Banjo Three members Fergal Scahill and Enda Scahill, brought together through engineer Frank Marchand who spent years working with the Irish folk band. Produced and engineered by Marchand and Wino, then mastered by Alan Douches, Create Or Die arrives on vinyl, CD and digital formats with pre-orders live now through Ripple Music.
Wildernesses Drop Mind-Bending “English Darkness” Video That’ll Shake Your Soul
ondon’s Wildernesses are bringing their dreamo sound straight to your speakers with “English Darkness,” a powerful new single arriving on DSPs out now. The track marks the band’s second release and showcases frontman Phillip Morris drawing from his real world experience as an NHS approved mental health professional. The song captures something raw and real, weaving together observations from psychiatric admissions with deeply personal storytelling that hits different than anything you’ve heard lately.
The music video takes things to another level entirely. Director Stewart Baxter, the Hull artist who created that unforgettable visual for Idles’ “Pop Pop Pop,” filmed the whole thing in Sunk Island near Hull, which happens to be Morris’ hometown. The result is a stunning piece of visual storytelling that matches the intensity of the track itself. Wildernesses are crafting something special here, blending vulnerable lyricism with atmospheric soundscapes that pull you in and refuse to let go. This is the kind of release that announces a band ready to make serious waves.