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Taking Back Sunday celebrates 20th Anniversary Of ‘Tell All Your Friends’ With Bonus-Filled Reissue

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Craft Recordings celebrates the 20th anniversary of Taking Back Sunday’s landmark debut album, Tell All Your Friends, with a variety of special reissues and bonus content. Set for release on May 27th, all formats offer newly remastered audio, while the vinyl, CD and digital editions feature four previously unreleased demos of “Mutual Head Club,” “Bike Scene,” “The Blue Channel,” and “Great Romances of the 20th Century.”

The deluxe, 2-LP vinyl set is housed in a gatefold jacket, offering the remastered original album plus a bonus etched 10-inch disc with the four demos. Various limited edition color pressings will also be available, each offering a unique color for LP1, along with the standard black 10-inch. Fans can pick these up via the band’s webstore and on tour (Blue Smoke and Forest Green vinyl), Craft Recordings (Fog vinyl), Revolver (Orange Crush vinyl), and Urban Outfitters (Sangria vinyl). Rounding out the LP and CD formats are new liner notes from journalist Glenn Gamboa, who covered music for the Long Island-based Newsday during the band’s rise to fame. Additionally, a limited cassette edition will deliver the classic 10-track album, which includes such iconic hits as “Cute Without the ‘E’ (Cut from the Team)” and “You’re So Last Summer.”

Originally released in 2002, Tell All Your Friends not only propelled Taking Back Sunday to global stardom but also became a defining album in the alt-rock canon. Yet, as the Long Island band readied to record their debut, their expectations were modest—evidenced by the album’s tongue-in-cheek title. After solidifying their line-up in 2001 and recording a five-song demo, Adam Lazzara (vocals), Eddie Reyes (guitar), John Nolan (guitar + vocals), Mark O’Connell (drums), and Shaun Cooper (bass) caught the ears of Victory Records, who signed them promptly that December. Not long after, the band entered New Jersey’s Big Blue Meenie studio with producer Sal Villanueva (Thursday, Murphy’s Law) to record Tell All Your Friends.

Released in March 2002, the album delivered a blend of hardcore, punk, and pop-forward anthemic melodies with heartfelt lyricism and an emotionally charged delivery. Relatable, angsty, and cathartic, Taking Back Sunday’s music touched a nerve with a new generation of alt-rock fans. In his liner notes, Gamboa argues that the album’s songs “capture universal feelings that don’t generally get much play. We can all name a dozen love songs right now, sure. But how many songs can you name about wanting to be the one to betray your ‘best friend’ to ensure his downfall? What about the power of frenemies?”

He continues, “The feelings that Tell All Your Friends conjures up don’t even have to come from the hyper-literate lyrics, from a thousand clever lines unread on clever napkins. That mosh pit of emotions, which were extra raw in those angst-ridden days, starts with the driving rhythms from Mark O’Connell’s drum and Shaun Cooper’s bass. It soars on the triumphant guitar riffs from John Nolan and Eddie Reyes. Soon, you’re screaming along with Adam Lazzara. That is magic.”

Initially, fans were drawn in by “Cute Without the ‘E’ (Cut from the Team)”—the first track off Tell All Your Friends to be released online, and now, perhaps the band’s most enduring song. Following the album’s announcement, two more singles arrived: “Great Romances of the 20th Century,” which chronicled the end of a doomed relationship, followed by “You’re So Last Summer,” which served as an ode to summer flings. Eventually, “Cute Without the ‘E’” was officially released as a single and the high-energy (and utterly infectious) track spread quickly across the airwaves, helping to popularize the post-hardcore sound that would become mainstream in years to come.

In its first week, Tell All Your Friends sold nearly 2,400 copies—no small feat for a relatively unknown act. Over the following months, sales began to increase steadily, and mightily, thanks to the grassroots efforts of the band, their label, and their fanbase. The album’s title proved to be eerily prophetic, as the emerging power of online fan communities (particularly on Myspace) and peer-to-peer sharing fueled the band’s popularity. Tastemakers took notice as well, including MTV and alternative radio stations across the country, while the band performed on late-night TV shows, including Last Call with Carson Daly and Jimmy Kimmel Live!, during breaks from their busy tour schedule.

Within a year of its release, Tell All Your Friends had surpassed 100,000 units—a number that would double by the end of 2003. In 2005, it was certified Gold by the RIAA. Today, Tell All Your Friends has sold over one million copies and continues to be a fan favorite in Taking Back Sunday’s lengthy body of work. The band revisited the title in 2012 with a 10th-anniversary tour, followed by a live, acoustic version of the album, TAYF10 Acoustic, a year later.

Two decades after its release, the legacy of Tell All Your Friends cannot be underestimated. Among its many accolades, the title was ranked among Rolling Stone’s “40 Greatest Emo Albums of All Time” and NME’s “20 Emo Albums That Have Resolutely Stood the Test of Time” lists. Alternative Press called Tell All Your Friends “The record that changed everything,” adding that it was “As close as it gets to a modern masterpiece, capturing not just a band at their apex, but an entire scene. It will never be duplicated.” The BBC praised the band’s “ability to write fantastically catchy songs that are poppy and fun as they are upbeat and emotionally aggressive,” while Drowned in Sound simply declared it to be “the start of a movement.”

For the band, however, Tell All Your Friends represented something more. During an era when indie bands were still limited in their reach, Taking Back Sunday defied the odds, breaking through to the mainstream—and staying there. It also proved the power of the fanbase (and the internet) years before social media reached its apex. Most importantly, Tell All Your Friends launched the band’s 20+ year career, a benchmark that few acts can achieve.

When reflecting on the last 20 years since the album’s release, Nolan says, “During our live shows, there is a part during ‘Cute Without the ‘E’’ where we stop and let the crowd sing, ‘Why can’t I feel anything from anyone other than you.’ That has become an unbelievably moving moment for me. The connection between us and the audience is so apparent and so strong. The crowd screams it at us, we stand back from our mics screaming it at them, and the lyrics take on more significance than we ever imagined they could. In a lot of ways, that moment is a distillation of what Tell All Your Friends has meant. It sums up the mind-boggling psychological and emotional connection we made with people 20 years ago that’s still going strong today.”

The current line-up—vocalist Adam Lazzara, guitarist and vocalist John Nolan, drummer Mark O’Connell, and bassist Shaun Cooper—have been through a lot together. The band, in its various formations, has released seven albums to date (four of which were in the Billboard 200 Top Ten and three of which earned gold records). In 2018, Taking Back Sunday joined such iconic artists as Billy Joel, Joan Jett, and Lou Reed as inductees of the Long Island Music Hall of Fame, while in 2019, they celebrated their 20thanniversary as a band with an extensive tour and a career-spanning compilation, Twenty. In addition to working on a new album this year, the band is readying for an extensive summer tour across the U.S. with Third Eye Blind (see dates below). They also look forward to performing at Las Vegas’ highly anticipated When We Were Young festival in October.

Tour Dates (with Third Eye Blind):
22 June — Troutdale, OR — Edgefield
23 June — Auburn, WA — White River Amphitheatre
24 June — Bonner, MT — KettleHouse Amphitheater
25 June — Sandy, UT — Sandy Amphitheater
27 June — Morrison, CO — Red Rocks Amphitheatre
29 June — Council Bluffs, IA — Harrah’s Stir Concert Cove
30 June — Kansas City, MO — Starlight Theatre
1 July — Prior Lake, MN — Mystic Lake Casino Mystic Amphitheater
6 July — Newport, KY — Ovation
7 July — Indianapolis, IN — TCU Amphitheater at White River State Park
8 July — Chicago, IL — Huntington Bank Pavilion at Northerly Island
9 July — Sterling Heights, MI — Michigan Lottery Amphitheatre at Freedom Hill
12 July — Columbus, OH — KEMBA Live! Outdoor Amphitheater
13 July — Pittsburgh, PA — Stage AE
15 July — Philadelphia, PA — The Mann Center Skyline Stage
16 July — Mansfield, MA — XFINITY Center
17 July — Wantagh, NY — Northwell Health at Jones Beach Theater
21 July — Uncasville, CT — Mohegan Sun Arena
22 July — Holmdel, NJ — PNC Bank Arts Center
23 July — Columbia, MD — Merriweather Post Pavilion
26 July — Atlanta, GA — Cadence Bank Amphitheatre
27 July — Franklin, TN — FirstBank Amphitheater
29 July — Houston, TX — White Oak Music Hall
30 July — Del Valle, TX — Germania Insurance Amphitheater
31 July — Irving, TX — The Pavilion at Toyota Music Factory
1 Aug — Oklahoma City, OK — The Zoo Amphitheatre
4 Aug — Phoenix, AZ — Arizona Federal Theatre
5 Aug — Inglewood, CA — YouTube Theater
11 Aug — San Diego, CA — Cal Coast Credit Union Amphitheater
12 Aug — Las Vegas, NV — Virgin Hotels Las Vegas
13 Aug — Irvine, CA — FivePoint Amphitheatre

Tracklist (CD/digital editions):
1. You Know How I Do
2. Bike Scene
3. Cute Without The ‘E’ (Cut From The Team)
4. There’s No ‘I’ In Team
5. Great Romances Of The 20th Century
6. Ghost Man On Third
7. Timberwolves At New Jersey
8. The Blue Channel
9. You’re So Last Summer
10. Head Club
11. Great Romances Of The 20th Century (Demo)
12. The Blue Channel (Demo)
13. Bike Scene (Demo)
14. Mutual Head Club (Demo)

Tracklist (vinyl edition):
A1. You Know How I Do
A2. Bike Scene
A3. Cute Without The ‘E’ (Cut From The Team)
A4. There’s No ‘I’ In Team
A5. Great Romances Of The 20th Century

B1. Ghost Man On Third
B2. Timberwolves At New Jersey
B3. The Blue Channel
B4. You’re So Last Summer
B5. Head Club

C1. Great Romances Of The 20th Century (Demo)
C2. The Blue Channel (Demo)
C3. Bike Scene (Demo)
C4. Mutual Head Club (Demo)

Tracklist (cassette edition):
1. You Know How I Do
2. Bike Scene
3. Cute Without The ‘E’ (Cut From The Team)
4. There’s No ‘I’ In Team
5. Great Romances Of The 20th Century
6. Ghost Man On Third
7. Timberwolves At New Jersey
8. The Blue Channel
9. You’re So Last Summer
10. Head Club

Delmore Recordings announces all-new Karen Dalton collection ‘Shuckin’ Sugar’

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Musical archaeologist and record label Delmore Recording Society is honored to announce an all-new collection, Shuckin’ Sugar, from legendary blues and folk singer Karen Dalton.

Available April 23rd on vinyl as a Record Store Day exclusive, followed by a wide release in CD and digital formats on May 6th, Shuckin’ Sugar is a riveting 12-track live set recorded in 1963-1964, featuring the earliest known duets of Dalton (with then-husband, guitarist, and songwriter Richard Tucker) and seven never-before-heard solo performances. The collection is accompanied by an 8-page (LP)/24-page (CD) booklet featuring a treasure trove of newly discovered unseen and rare photos, as well as newspaper clippings, artwork by Dalton, and a heartfelt 6,000-word essay by veteran UK journalist and author Kris Needs.

Limited to 3,500 copies worldwide, the RSD release was pressed at Third Man Records on transparent, natural vinyl which comes housed in an old style, tip-on jacket. Click here to find your nearest participating record store. The CD and digital editions will be available to pre-order on April 25th at Delmore Recordings on Bandcamp and at most digital retailers.

Since falling completely under the spell of Karen Dalton in the 1990s, Delmore has been on a mission to unearth previously unheard Dalton recordings, including acting as North American liaison for Cotton Eyed Joe and Green Rocky Road, and in 2012, releasing the intimate cabin recordings Karen Dalton – 1966. Now, Delmore is incredibly proud to present a never-before-heard performance by Dalton, offering an unprecedented glimpse of a cult legend in the making. Label founder and release producer Mark Linn shares, “To describe the record would take a poet, but all I can say is that unveiling a missing chapter in the Karen Dalton story─with six songs we’ve never heard her sing before─is cause for celebration in Delmore’s world.”

In his essay, Needs writes, “Shuckin’ Sugar is of major significance for several reasons. Most obviously because it adds to a catalogue with even less official releases than her close friend and biggest champion, Fred Neil (if larger on the excavated tape front). It also illuminates a missing piece of Karen’s story, capturing rarely documented duets with partner Richard Tucker at full throttle, along with several superlative solo flights…From her opening jaw-dropping lift-off with early blues standard ‘Trouble In Mind,’ the unique otherworld Karen conjured springs into vivid life. Playing to audiences inevitably bound to the era’s formalities and traditions, Karen instinctively pushed the envelope, straying into uncharted territory beyond the established borders. She must have bewildered many who came to see her in those winsome Peter, Paul and Mary times.”

Shuckin’ Sugar comes on the heels of the internationally acclaimed documentary film Karen Dalton: In My Own Time (released last fall on Greenwich Entertainment) and the 50th anniversary celebration from Light in the Attic (featuring a highly-praised, expanded release of Dalton’s second and final album In My Own Time, along with a separate 7”/digital single featuring award-winning singer/songwriter Angel Olsen covering Dalton’s iconic “Something on Your Mind”). Directed by Robert Yapkowitz and Richard Peete, and executive produced by Delmore, Wim Wenders, and Light in the Attic, Karen Dalton: In My Own Time chronicles the life, music, and legacy of Dalton and features interviews with family, friends, collaborators, and a variety of artists (including Peter Walker, Nick Cave, Lacy J. Dalton, and Vanessa Carlton). Angel Olsen lends her voice to the film as the principle narrator, reading aloud from Dalton’s personal journal. Praise for the film includes: The Hollywood Reporter (“In sync with a singular musical artist. In tune with the haunting poetics of her work.”), The Guardian (“An unvarnished authenticity that cannot be mass-manufactured.”), The New York Times (“Critic’s Pick: An Elemental Musical Force.”), and The Washington Post (“The new film spotlights a fascinating tale of a singularly talented and complex woman.”).

Karen Dalton was a remote, mercurial creature, a hybrid of tough and tender with an otherworldly voice that seemed to embody a time long past. As is often the case with such fragile beings, she instinctively understood that if she wanted to survive the harshness of the world around her, she would have to keep herself hidden. It comes as no great surprise that she rarely sang in public or ventured into the unnatural setting of a recording studio. Only twice was she coaxed into formal studio settings, for 1969’s It’s So Hard To Tell Who’s Going To Love You The Best and then again for 1971’s In My Own Time. The rest of the time she made undocumented music at home, during late nights, sitting around with friends, singing songs until the sun came up.

Looking back to 1962, Dalton summoned her then-husband Richard Tucker to join her in Colorado, extolling the healthier lifestyle and plentiful gigs at Boulder folk club The Attic. Upon Tucker’s arrival, the pair solidified their personal and professional relationship, riding horses in the mountains and performing as a duo at parties and venues throughout Denver and Boulder. Stories of the spell they conjured, and rumors of tapes, have circulated among friends and musicians who witnessed them, but until now, no recorded evidence had turned up.

Shuckin’ Sugar is the glorious result of three reel-to-reel tapes that miraculously found their way to Delmore in November 2018, featuring two complete shows from The Attic in January 1963 and a benefit concert for The Congress of Racial Equality (CORE) recorded the following February (1964). In addition to the duets, Dalton and Tucker’s gigs would often include brief solo sets by each. All seven solo songs of Dalton’s found on the three reels are included on Shuckin’ Sugar, as well as five duets, sequenced as close to how it all went down as humanly possible.

Tracklist (vinyl edition):
Side A:
Trouble In Mind
If You’re A Viper*
When First Unto This Country*
Shiloh Town
Shuckin’ Sugar Blues*
Everytime I Think Of Freedom

Side B:
Ribbon Bow
Blues Jumped The Rabbit
Lonesome Valley*
When I Get Home*
In The Pines*
Katie Cruel
* previously unheard Karen Dalton rendition

Video: Tom Jones, Crosby, Stills, Nash & Young Perform “Long Time Gone” In 1969

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Tom Jones & Crosby, Stills & Nash performing Long Time Gone on Tom’s TV show This Is Tom Jones in 1969.

Film Footage Of Tower Records From 1971 Is REALLY Making Me Miss The Store

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Watch this video, filmed and produced by Sacramento City College professor Darrell Forney, to travel back in time when Tower Records was THE place to be in the 1970s.

Audiences are Taken On A Musical Road Trip with Bobby Cameron & Jamie Oppenheimer’s “White Car”

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Performed by Bobby Cameron and written by Jamie Oppenheimer, “White Car” is an auditory road trip and you’re invited along for the ride!

The song is what Oppenheimer refers to as in-part autobiographical; inspired by the first car he ever drove, he says this track represents the freedom and escape of getting behind the wheel of his mother’s 1968 Buick Skylark convertible.

Ignition turned, and brakes released; in one spin of the track, you’re transported to the open highway, Wayfarers blocking out the sun, and the music washing you down the road.

“Generally, I gave Bobby the freedom to interpret the songs as he saw fit, and I think he did a great job,” Oppenheimer says. “As the album Songs From Room 421 evolved, we both knew that, as musicians and songwriters, we were going to be as proud of the work in 10 years as we are now.”

Oppenheimer reveals “I have been writing songs since the late 80s, but after five years of failed efforts to interest others in my music, I finally took the hint. I never quit writing songs, I just did it for my own enjoyment, and I concentrated on my day job. Now, 30 years later, having retired and moved to Katrine, Ontario, where my wife and I built a log home on the site of the old family cottage, I have resurrected that passion.”

While Oppenheimer spent his formative years working as an industrial real estate broker, retirement has provided him the opportunity to put pen to paper and let the lyrics flow out of him. Bobby Cameron has been a mainstay in Canada’s music landscape, gaining notoriety and recognition after winning the MuchMusic’s Guitar Warz competition in 1990. That win gave this East Coast musician the opportunity to take the stage alongside the great Jeff Healey, and led to his eponymous first release in 1994. A heavily decorated musician, he has lent his talent to collaborations with Luke McMaster (Rihanna, Nick Lachey), Stan Meisnner (Celine Dion, Starship), Long John Baldry, and many others. He’d scoop the JUNO alongside co-writers Jully Black and Keith Harris (Black-Eyed Peas) for Black’s album Reunion.

Released in December 2021, the track reflects the power of a strong song performed by an outstanding musician and producer. The acoustic-heavy, roots/country upbeat diddy speaks to the truth of leaving it all in the rearview. Oppenheimer’s lyrics cover the universal theme of wanderlust, a story of allowing yourself the opportunity to drop down the convertible top and head out to where the road takes you. Cameron’s delivery is honky-tonk roadhouse; his commitment to remaining authentic to the spirit of the song brings the package to life.

Suddenly, it’s summertime. And as the wheels roll, the windows roll down, and the landscape rolls past you, you’ve found the perfect soundtrack to a destination unknown.

Maggie Rogers Unveils “That’s Where I Am” The First Single From Her New Album, Surrender Out July 29

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GRAMMY Award-nominated producer/songwriter/performer Maggie Rogers returns with “That’s Where I Am,” the explosive first single from her new album, Surrender through Capitol Records/Universal Music Canada, the country’s leading music company. Her powerful, emotive vocals glide over a shapeshifting sound that melds electronic, acoustic and electric elements to joyous effect. Rogers wrote and produced “That’s Where I Am” with Kid Harpoon. The track was recorded at Electric Lady Studios in New York City and at Peter Gabriel’s Real World Studios near Bath, England.

The official video for “That’s Where I Am,” co-directed by Rogers, Michael Scanlon and Warren Fu (Daft Punk, Dua Lipa, The 1975), is a love letter to Rogers’ adopted hometown of New York City and its vibrant, diverse energy. She strides confidently through the city, engulfed in crowds and encountering a few notable New Yorkers – GRAMMY, Oscar and Tony award winning artist David Byrne, photographer Quil Lemons and singer-songwriter Hamilton Leithauser – on her way to a powerful, skyscraper-lit nighttime performance.

Maggie Rogers, who will perform at the Coachella Valley Music and Arts Festival on April 17 and 24, said, “That’s Where I Am” is a story I’d been carrying around for many years, the story of a love that had been with me and unfolding for a long time. A lot of the events that Surrender chronicles take place in New York City. In the stark solitude and distance of covid, it was the backdrop for all my claustrophobic fantasies. The proximity and pleasure of just staring at strangers. The way a night could unfold. Events that interrupt your day instead of having to consciously and deliberately make each decision. I longed for someone to sweat on me. Spill their beer on my shoes. Be too tall for me to see at the concert. The city’s music and attitude was a big source of inspiration for the record. For all these reasons, there was only ever one place we could shoot the video. I’ve always said that New York is the city that winks back. It’s a main character. It’s a friend, a lover, an enemy sometimes. In many ways, the music video is about that New York love story. And on those filming days, it felt like the city was on our side. We got our first taste of true New York spring. That feral downtown explosion when suddenly everyone’s smoking on the sidewalks in short sleeves and drinking gin and tonics. The appearance of a few classic New York characters – David Byrne, The Walkmen’s Hamilton Leithauser, and photographer Quil Lemons – made the daydream feel complete.”

Surrender, which will be released by Capitol Records/Universal Music Canada on July 29, is available for pre-order HERE. Fans who pre-order the digital album will instantly receive “That’s Where I Am.” Surrender is the follow-up to Heard It in a Past Life, her massively beloved 2019 album, which entered Billboard’s Top Album Sales chart at No. 1 and debuted at No. 2 on the Billboard 200. Praised by the likes of NPR, The New York Times, Rolling Stone, Pitchfork, TIME Magazine, and many others, Heard It in a Past Life landed Rogers a nomination for Best New Artist and went on to amass over one billion combined global streams.

In early 2020 – after multiple sold-out headline tours and major festival performances in support of Heard It in a Past Life – Rogers retreated to the coast of Maine. As she immersed herself in deliberate stillness, she eventually felt called to create music with the same sense of playful, open exploration and internal discovery that made her fall in love with writing and producing music back in high school. Channeling the ocean’s unruly energy, she soon arrived at the controlled chaos and ecstatic physicality that would come to define Surrender.

Over the course of 12 unfettered yet exactingly crafted tracks, Rogers fully captures the frenetic intensity of the last two years of her life, bringing her bracing honesty to stories of anger and peace and self-salvation, transcendence through sex and freedom through letting go. Surrender is her most joyful output yet: a body of work built for the sweaty immediacy of live performance, raw and revelatory and primed for shared abandon. View the album trailer, which Rolling Stone described as “a poetic retelling of the album’s journey,” below.

Folk & Roots Artist James Culleton Totally Rocks at Child’s Play with “Superfun” New Single

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Everyone can agree childhood years are a full-on, multi-sensory experience with much time spent in the pursuit of pure, unadulterated fun. In celebration of such, Winnipeg’s children’s music innovator James Culleton releases his high-energy new anthem, “Superfun.”

Fresh from Culleton’s forthcoming album of the same name, the release builds on the folk/roots artist’s first children’s offering, Unusual Friendships (2020), where he created a multi-sensory experience for the ears, eyes, mind, and heart.

And builds, he does; “Superfun” roars out of the backyard gate with a title track and lead single that sets the garage rockin’ tone for the ultimate, all-day playdate. With joyfully raucous guitar work from revered guitarist/producer Grant Siemens (Corb Lund, Del Barber), “Superfun” cranks the volume all the way up to the top for glee.

According to Culleton, it’s a tune with a singular and simply irresistible mission: “It’s a song about everyone playing and having fun!”

That said, things started out quite differently when Culleton, Siemens, and the rest of the musicians tackled recording the tune. “When we were recording all the songs, it was the last one on the list,” recalls Culleton. “It was near the end of the day, everyone was pretty tired. But when that guitar lick started, the whole band just got revved up and it blew all our hair back, becoming the title track.”

“Superfun,” the song, was written by Roger Mollot; Superfun, the album, was recorded in Winnipeg at The Song Shop, and engineered, mixed, and mastered by Jamie Sitar. In addition to Siemens on guitar and keyboards, the release features Al Simmons on banjo, harmonica, and sound effects, Keri Latimer on theremin, Paul Balcain on saxophone, flute, and clarinet, Tom Fodey on bass, and Joanna Miller on drums. The joy of jumping into playing and creating without inhibitions, just like most kids do, is evident throughout the new collection.

“A lot of the songs on the album are about making art and music and how fun that can be,” explains Culleton. “How there are no mistakes, or how you’ll be a lot of things in life and it’ll be the people you meet that are important.”

Toronto Rockers Neon Bloom Lodge “A Bullet in Tomorrow” with New Single

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The looming questions that plague us all: what do we want for tomorrow? And what happens when today flips over? Canadian rock outfit Neon Bloom seek that same sentiment on their new dark and disco-esque offering, “A Bullet In Tomorrow.”

An uptempo, electronica-fused rock anthem exploring the macabre uncertainty of what tomorrow may bring, the song arrives from their recent sophomore EP, Still Life. In it, the Toronto-based group lushly score an undeniable truth behind an undeniable groove, and the result is non-fiction prose on possibility — or lack thereof.

“Lyrically, it’s meant to question the type of future we want to live in,” the band explains, adding it was largely inspired by the pandemic, the effects of overconsumption, our treatment of animals and our planet, and the consequences of this behaviour.

“The song is meant to encourage listeners to question their role as responsible co-habitants of an interconnected planet with finite resources,” they continue. “It encourages listeners to consider what sort of future they’re willing to work toward.”

Neon Bloom’s Jen Simpson [vocals], Fred Yurichuk [bass], Simon Chow [guitar/keys], and Chris Romano [drums] are no strangers to the music community of Canada’s indie scene mecca; their charismatic stage presence and insatiable ability to write earworm soundscapes have garnished attention from Alan Cross (102.1 The Edge, Ongoing History of New Music) to Rob Sanzo (Sum 41, Treble Charger), and more.

Their recently released EP Still Life also features “Novocaine,” “Tangerine,” and “Our Faces,” and follows their 2018 debut, First Fever. Written near the beginning of the COVID-19 pandemic, Neon Bloom had to adapt their creative process for the four-track offering. “Like many other bands, we were unable to see each other, practice, or play shows,” they share. “We wrote and recorded from our individual homes, and sent clips of ideas back and forth.

“We eventually pieced the songs together in a way that was very different from our usual in-person songwriting sessions; for ‘A Bullet in Tomorrow,’ specifically, Fred and Simon switched roles and came up with the initial musical melody that way.”

Much like the songwriting, even the production on the track and album came differently than the band’s previous efforts; “A Bullet in Tomorrow” focused on building and tweaking layers of loops, rather than recording full, or long takes of the song.

Plus… Listeners are offered an additional treat at the end of the drop. “There’s an underlying ambient sample playing at the end,” the band confesses. “It’s an audio recording from Fred’s younger sister’s house party. We felt it helps to compliment the party-vibe at the end.”

If carpe diem reminds us to seize the day, then Neon Bloom is here to incentivize us to put “A Bullet in Tomorrow”…

All while we dance. Genius.

My Next Read: “Ten Steps to Nanette: A Memoir Situation” by Hannah Gadsby

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“There is nothing stronger than a broken woman who has rebuilt herself,” Hannah Gadsby declared in her show Nanette, a scorching critique of the way society conducts public debates about marginalized communities. When it premiered on Netflix, it left audiences captivated by her blistering honesty and her singular ability to take them from rolling laughter to devastated silence. Ten Steps to Nanette continues Gadsby’s tradition of confounding expectations and norms, properly introducing us to one of the most explosive, formative voices of our time.

Gadsby grew up as the youngest of five children in an isolated town in Tasmania, where homosexuality was illegal until 1997. She perceived her childhood as safe and “normal,” but as she gained an awareness of her burgeoning queerness, the outside world began to undermine the “vulnerably thin veneer” of her existence. After moving to mainland Australia and receiving a degree in art history, Gadsby found herself adrift, working itinerant jobs and enduring years of isolation punctuated by homophobic and sexual violence. At age twenty-seven, without a home or the ability to imagine her own future, she was urged by a friend to enter a stand-up competition. She won, and so began her career in comedy.

Gadsby became well known for her self-deprecating, autobiographical humor that made her the butt of her own jokes. But in 2015, as Australia debated the legality of same-sex marriage, Gadsby started to question this mode of storytelling, beginning work on a show that would become “the most-talked-about, written-about, shared-about comedy act in years” (The New York Times).

Harrowing and hilarious, Ten Steps to Nanette traces Gadsby’s growth as a queer person, to her ever-evolving relationship with comedy, and her struggle with late-in-life diagnoses of autism and ADHD, finally arriving at the backbone of Nanette: the renouncement of self-deprecation, the rejection of misogyny, and the moral significance of truth-telling.

Primus Announces ‘Conspiranoid’ EP, Reveals Epic, 11-minute Opening Track, “Conspiranoia”

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As they gear up for their 64-date world tour, ‘A Tribute To Kings,’ paying homage to prog-rock legends, Rush, Primus has announced a new 3-song EP, ‘Conspiranoid,’ out April 22nd via ATO Records. The band announced the EP with the release of its epic, 11-minute opening track, “Conspiranoia. “I’d been itching to record an opus–basically a long, winding, bastard of a song, reminiscent of some of the compositions I cut my teeth (or ears) on, in my music-hungry adolescence,” bassist Les Claypool told Consequence. “”Conspiranoia” was sprouted from a seed I had planted in my notebook a year or so ago–a few lines commenting on the mental state of the contemporary world.”

As they gear up for their 64-date world tour, ‘A Tribute To Kings,’ paying homage to prog-rock legends, Rush, Primus has announced a new 3-song EP, ‘Conspiranoid,’ out April 22nd via ATO Records. The band announced the EP with the release of its epic, 11-minute opening track, “Conspiranoia. “I’d been itching to record an opus–basically a long, winding, bastard of a song, reminiscent of some of the compositions I cut my teeth (or ears) on, in my music-hungry adolescence,” bassist Les Claypool told Consequence. “”Conspiranoia” was sprouted from a seed I had planted in my notebook a year or so ago–a few lines commenting on the mental state of the contemporary world.”

The release of ‘Conspiranoid’ will coincide with the second leg of Primus’ wildly popular ‘A Tribute To Kings’ Tour, which finds Bay area trio performing Rush’s 1977 album ‘A Farewell To Kings’ in its entirety, following a set of their own music. Kicking off in Oklahoma City before winding its way throughout the US, and then ultimately to Europe this fall, the second leg will also include the tour’s first stops in Canada, beginning with two dates in Toronto on May 13-14. Rush was formed in Toronto in 1968. The US performances will also feature special guests Battles, Black Mountain, and The Black Angels.

Two additional ‘A Tribute To Kings’ tour dates have just been announced at Gerald R. Ford Amphitheatre in Vail, CO on August 12th and 13th. A special pre-sale, including VIP upgrade options, is current open. A local pre-sale will open on Thursday, April 7th at 10am local time. Tickets go on sale to the general public on Friday, April 8th at 10am local time. For ticketing and show info, please visit www.primusville.com/tour

As Claypool told Rolling Stone, the ‘A Tribute To Kings’ Tour is about paying tribute to a band that has given him so much inspiration over the years.

“Hemispheres was my first concert,” Claypool said, referring to Rush’s 1978 album and tour. “Originally we’d always kind of joked around about doing Hemispheres…but we settled on Kings, because A) it was the first Rush record I ever heard and B) it contains ‘Cygnus X-1,’ which has always been my favorite Rush tune. It seems to be a good one for us to tackle; 2112 seemed a little obvious.”

The announcement follows the massive success of the first leg of ‘A Tribute To Kings,’ which was long-delayed due to the coronavirus pandemic. It’s just the latest in a long series of Rush-related milestones for Primus, who first opened for their musical heroes in 1992.

“Geddy, Alex and Neil had been superheroes to Larry, Herb and I in our teens,” Claypool recalled, “so when we all became pals while touring together in the early ’90s, we were pretty delighted; partially because of the musical geek-out factor but mostly because the three guys whom we had admired so much from afar, turned out to be truly great, down-to-earth humans, and like us, a tad eccentric.”

Primus will once again partner with On Location & CID Entertainment for the ‘A Tribute to Kings’ tour to offer ticket packages that include one premium ticket, invitation to a Q&A experience with Primus, exclusive VIP merch, and more. For full details, visit https://www.cidentertainment.com/events/primus-tour/

Comedy Central also recently announced that Primus will be featured in the “South Park: 25th Anniversary Concert” this summer. The concert, with Trey Parker and Matt Stone, Primus and Ween, takes place on Wednesday, August 10th at Red Rocks Park and Amphitheatre. For more information and to purchase tickets please visit www.SouthParkatRedRocks.com

‘Conspiranoid’ EP – Out April 22nd
1. Conspiranoia
2. Follow The Fool
3. Erin On The Side Of Caution

PRIMUS ‘A TRIBUTE TO KINGS’ TOUR DATES

NORTH AMERICAN TOUR
Friday, April 15 – Oklahoma City, OK – The Criterion *
Saturday, April 16 – San Antonio, TX – Majestic Theatre *
Tuesday, April 19 – Springfield, MO – Gillioz Theatre *
Wednesday, April 20 – Kansas City, MO – Grinders KC *^
Friday, April 22 – Cedar Rapids, IA – McGrath Amphitheatre *^
Saturday, April 23 – Madison, WI – The Sylvee *
Monday, April 25 – Knoxville, TN – Tennessee Theatre*
Wednesday, April 27 – New Orleans, LA – Saenger Theatre *^
Saturday, April 30 – Huntsville, AL – Mars Music Hall, Von Braun Center *
Tuesday, May 3 – Miami Beach, FL – The Fillmore *
Wed, May 4 – St. Petersburg, FL – Mahaffey Theater, Duke Energy Center for the Arts *
Friday, May 6 – North Charleston, SC – North Charleston Performing Arts Center *
Saturday, May 7 – Saint Augustine, FL – The Saint Augustine Amphitheatre *
Monday, May 9 – Nashville, TN – Ryman Auditorium *
Tuesday, May 10 – Fort Wayne, IN – The Clyde Theatre *
Friday, May 13 – Toronto, ON – Massey Hall +
Saturday, May 14 – Toronto, ON – Massey Hall +
Monday, May 16 – Montreal, QC – L’Olympia +
Tuesday, May 17 – Quebec, QC – Videotron Centre +
Wednesday, May 18 – Albany, NY – Palace Theatre *
Friday, May 20 – Port Chester, NY – The Capitol Theatre *
Saturday, May 21 – Montclair, NJ – Wellmont Theater *
Sunday, May 22 – Huntington, NY – The Paramount *
Tuesday, May 24 – Washington, D.C. – Warner Theatre *
Wednesday, May 25 – Bethlehem, PA – The Wind Creek Event Center *
Friday, May 27 – Atlantic City, NJ – Borgata Hotel Casino & Spa *
Saturday, May 28 – LaFayette, NY – Beak & Skiff Apple Orchards *
Monday, May 30 – Louisville, KY – Old Forester’s Paristown Hall *
Tuesday, May 31 – Grand Rapids, MI – GLC Live at 20 Monroe *
Thursday, June 2 – Milwaukee, WI – BMO Harris Pavilion *^
Friday, June 3 – Saint Paul, MN – Palace Theatre *
Saturday, June 4 – Winnipeg, MB – Burton Cummings Theatre for the Performing Arts +
Monday, June 6 – Regina, SK – Conexus Arts Centre – Capital Auto Theatre +
Tuesday, June 7 – Saskatoon, SK – TCU Place – Sid Buckwold Theatre +
Thursday, June 9 – Calgary, AB – Grey Eagle Event Centre, Grey Eagle Resort & Casino +
Friday, June 10 – Edmonton, AB – Edmonton Expo Centre +
Sunday, June 12 – Vancouver, BC – The Orpheum +
Tuesday, June 14 – Troutdale, OR – Edgefield ~
Wednesday, June 15 – Redding, CA – Redding Civic Auditorium ~
Friday, June 17 – Sacramento, CA – Sacramento Memorial Auditorium ~
Saturday, June 18 – Reno, NV – Grand Theatre, Grand Sierra Resort and Casino ~
Sunday, June 19 – San Jose, CA – San Jose Civic ~
Tuesday, June 21 – Santa Barbara, CA – Arlington Theatre ~
Thursday, June 23 – Riverside, CA – Riverside Municipal Auditorium ~
Fri, June 24 – Long Beach, CA – Long Beach Convention & Entertainment Center ~
Saturday, June 25 – Las Vegas, NV – The Theater at Virgin Hotels Las Vegas ~^
Friday, August 12 – Vail, CO – Gerald R. Ford Amphitheatre
Saturday, August 13 – Vail, CO – Gerald R. Ford Amphitheatre

EUROPE TOUR
Friday, September 9 – Stockholm, Sweden – Fryshuset Arenan
Saturday, September 10 – Oslo, Norway – Oslo Spektrum
Monday, September 12 – Copenhagen, Denmark – Vega
Wednesday, September 14 – Berlin, Germany – Huxley’s Neue Welt
Friday, September 16 – Warsaw, Poland – Klub Stodola
Saturday, September 17 – Prague, Czechia – Forum Karlin
Sunday, September 18 – Munich, Germany – TonHalle München
Tuesday, September 20 – Zürich, Switzerland – Kaufleuten
Wednesday, September 21 – Padova, Italy – Gran Teatro Geox
Friday, September 23 – Bogerhout, Belgium – De Roma
Saturday, September 24 – Paris, France – L’Olympia
Sunday, September 25 – Amsterdam, Netherlands – AFAS Live
Tuesday, September 27 – Glasgow, United Kingdom – 02 Academy Glasgow
Thursday, September 29 – London, United Kingdom – Eventim Apollo
Friday, September 30 – Manchester, United Kingdom – Manchester Academy
Saturday, October 1 – Dublin, Ireland – Olympia Theatre

* with Battles
+ with Black Mountain
~ with The Black Angels
^ Tickets are currently on sale for these performances