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Folk Duo Buffalo Traffic Jam Find Hope and Heart on New EP ‘Take Me Home’

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Buffalo Traffic Jam are storming into the spotlight with their Take Me Home EP, out now on Arista Records. The Montana folk duo capture years of growing up and breaking through, wrapping raw emotion in harmonies as vast as the plains they come from. The result is a record that’s heavy, hopeful, and impossible to turn away from — a soundtrack for chasing the horizon.

Led by the aching title track, Take Me Home opens with Frankie Cassidy’s striking lyric, “I’ve been staring at the fire for a long time…” before blooming into mandolin, harmonica, and piano. Across six songs — from the cinematic “Comfort in Misery” to the stormy “Fool’s Gold” — the duo turn heartbreak into healing, their sound rooted in honesty and dust-kicked Americana.

After supporting Allen Stone and Bayker Blankenship and stealing the show at Salt Lake City’s RedWest Fest, the Bozeman pair are now on the road with Dylan Gossett’s The Westward Tour, bringing their rising folk anthems to bigger stages across North America. Next spring, they’ll join the lineup for Florida’s Tortuga Music Festival.

Buffalo Traffic Jam Tour Dates
10/24 – Toronto, ON – History *
10/25 – Toronto, ON – History *
10/27 – Grand Rapids, MI – GLC Live at 20 Monroe *
10/29 – Madison, WI – The Sylvee *
10/30 – St. Paul, MN – Palace Theatre *
11/1 – Chesterfield, MO – The Factory *
11/2 – Kansas City, MO – Uptown Theater *
11/9 – Denver, CO – Mission Ballroom *
11/11 – Salt Lake City, UT – Rockwell @ The Complex *
11/13 – Los Angeles, CA – The Wiltern *
11/14 – Oakland, CA – Fox Theater *
11/16 – Phoenix, AZ – The Van Buren *
12/4 – Beaver Creek, CO – Beaver Creek Village +
4/10–12 – Fort Lauderdale, FL – Tortuga Music Festival ^

  • headliner
  • with Dylan Gossett
    ^ festival appearance

Take Me Home is out now on all platforms. Roll down the windows, turn it up, and find comfort in the storm.

Avant-Garde Trio The Cry Unearth Sonic Brilliance on ‘The Lost Tapes’

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The Cry return with The Lost Tapes, a stunning follow-up to their self-titled debut released on Gizeh last year. The Strasbourg-based trio — Christine Ott (ondes Martenot, piano), Mathieu Gabry (piano, synths), and Pierre-Loïc Le Bliguet (drums) — blend avant-garde jazz, krautrock, and contemporary classical in fearless form once again. These four unreleased tracks, improvised live in a single November 2022 session, capture the spark of that very first meeting between the three musicians.

Opening with two covers from related projects — Crossing by Snowdrops and Golden Valley by Christine Ott — The Lost Tapes flows effortlessly into two new improvisations: Oslo, a classic jazz reverie, and Épiphanie, a psychedelic, hallucinatory celebration of spontaneous creation. Each moment hums with intimacy and discovery, preserving the spirit of experimentation that defines The Cry.

Recorded live at Downtown Studios in Strasbourg and mixed by Sohlberg at Serpentine Studio, these “lost” recordings feel more like revelations. They invite listeners into the same charged space where genre dissolves and instinct takes over — a snapshot of creation in its purest form.

Three years after that fateful session, the trio reunited in Lausanne for the Interstices festival, performing pieces like Crossing and Fire of Love with the same daring chemistry. Two videos from that concert are now available, beautifully filmed by Benoit Lesieux with lights by Maxime Curvat — a visual echo of The Cry’s boundless sonic universe.

Blues-Rock Artist Lena Morris Turns Pain Into Power on New Single “Young Blood”

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Lena Morris turns vulnerability into power on her new single “Young Blood,” the second release from her forthcoming EP Rouge, out this November. Opening with only piano and voice, it’s a quiet, confessional moment — fragile, unfiltered, and deeply human.

Halfway through, the song erupts. Live guitars, bass, and drums surge in, transforming that softness into an electrifying rock release. It’s both a personal reckoning and a communal roar — the sound of pain turning into strength.

Inspired by the melodic drama of classic rock, “Young Blood” captures everything that makes Lena Morris magnetic: emotional depth, raw energy, and fearless authenticity.

Free from autotune or digital polish, it’s more than a single — it’s a statement. With “Young Blood,” Lena Morris confirms herself as one of the most compelling and honest new voices in blues-rock today.

Country Newcomer Dalton Davis Makes Noise With Gritty New Single “Cows In The Front Yard”

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Dalton Davis is bringing some dirt-road truth to country music with his latest single, “Cows In The Front Yard.” It’s a loud, gritty, and wildly catchy anthem that captures everything fans love about the genre’s new wave – fearless lyrics, real stories, and just enough Southern swagger to make you roll down the windows and turn it all the way up.

Alongside the single, the North Carolina native announced his signing to MCA/Republic Records, marking the start of a thrilling new chapter. “This record deal isn’t the finish line — it’s the starting gun,” Davis says. “Every song I’ve written up to now and every show I’ve played was just qualifying for the race, and signing with MCA/Republic means I finally get to run.” With that same relentless energy, he adds, “With two legendary labels in my corner and ‘Cows In The Front Yard’ ready to roll, the cowboy comes up starts here.”

Raised in Gastonia, North Carolina, Davis’s story is pure Americana – part gospel, part grit, and all heart. Adopted by touring gospel musicians, he learned early on the power of song and storytelling. Later, he sharpened his skills in studios with hip-hop producers, giving his sound a modern pulse beneath the twang and dust.

The result is something that hits as hard as a honky-tonk heartbreak and shines with the soul of a Sunday morning choir. Dalton Davis isn’t just stepping onto the country scene – he’s galloping straight through it, guitar in hand, ready to make every song count.

Country Star Scotty McCreery Brings Holiday Warmth With New Rendition of “White Christmas”

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Multi-platinum and award-winning country music star Scotty McCreery is getting us all in the holiday spirit with the release of his rendition of the classic Christmas tune, “White Christmas,” out now via Triple Tigers. Written in 1942 by Irving Berlin, the song has long been a holiday standard that elicits a feeling of nostalgia and being close to the ones you love. McCreery’s take, produced by Frank Rogers, is a seamless extension of the song’s legacy and invites everyone to huddle around the fireplace surrounded by friends and family.

“I love Christmas music and sing it throughout the year,” McCreery says. “For a long time, ‘White Christmas’ has been one of my favorite Christmas songs. I especially love The Drifters’ version as well as Elvis’s version. I decided it was now time to do my own version. Hope everyone likes it!!”

Recently, McCreery was presented with an RIAA gold plaque for his seventh No. 1 hit, “Bottle Rockets” featuring Hootie & The Blowfish, making this his 11th song to receive either a gold, platinum, or triple platinum certification. The summertime anthem is featured on McCreery’s recently released EP, Scooter & Friends, as the perfect soundtrack to summer. The five-song collection also includes McCreery’s collaborations with one of his greatest musical heroes, R&B icon Charlie Wilson (“Once Upon a Bottle of Wine”) and with Country music hitmaker Lee Brice (“Whiskey Said”).

Up next, he will be co-headlining the Two for the Road Tour with fellow country star Dustin Lynch. The run kicks off on November 6th in Saginaw, MI. These will be the North Carolina native’s first concerts since the September birth of his second son, Oliver Cooke McCreery.

Rock Legends Aerosmith and Yungblud Team Up With Steve Martin for “My Only Angel (Desert Road Version)”

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Aerosmith and Yungblud have shared “My Only Angel (Desert Road Version),” a stripped-back reinterpretation of the lead single from their upcoming collaborative EP One More Time, out November 21st via Capitol Records.

Inspired by the original track’s emotional core, the band and Yungblud returned to the studio to explore its more vulnerable side. During the session, Tyler—a longtime admirer of Grammy Award-winning musician Steve Martin—imagined the distinctive sound of a banjo bringing the song to a close. He reached out to Martin, who accepted the invitation and recorded his part remotely. The addition gives the new version its defining final moment: a soulful ending that trades the drive of the original for a grounded, textured feel, with Martin’s standout banjo solo carrying the song to its finish.

Serving as an introduction to the forthcoming EP, the original “My Only Angel” and its companion visual were released on September 19th, marking Aerosmith’s first new music in more than twelve years. The track opens with a stacked harmonic a cappella vocal from Tyler and Yungblud —“Will you cry if I called you my angel? Would you leave me one more time?”—the song builds around echoing guitars, a steady beat, and a rumbling bassline before swelling into the hypnotic harmony shared by Tyler and Yungblud. Perry’s signature solo closes the track, underscoring the chemistry between two generations of rock.

“My Only Angel” debuted at No. 1 on Billboard’s Hot Hard Rock Songs chart, where it remained in the Top 10 for three weeks, and landed in the top 40 on the Mainstream Rock Airplay chart, marking Aerosmith’s 45th appearance on the tally. It also entered at No. 20 on the Hot Rock Songs chart and No. 23 on the Hot Rock & Alternative Songs chart. In its first week, the track amassed over two million streams, 1.4 million radio impressions, and 5,000 U.S. sales. Since its release, it has earned over 3,600 spins across nearly 70 active rock stations (currently charting at No. 11) and has surpassed ten million total streams.

Yungblud (real name Dominic Harrison) first linked with Aerosmith during a studio session for a guest feature on the nine-minute epic “Hello Heaven, Hello.” Their instant chemistry sparked a full writing session that led to the five-track EP with four original songs co-written by Aerosmith and Yungblud (with both frontmen sharing vocals) plus a newly remixed “Back In The Saddle.” Produced by Matt Schwartz, the collection captures Yungblud’s undeniable talent colliding with Aerosmith’s legendary musicianship: Perry’s guitars blaze with trademark grit and Tyler’s unmistakable voice intertwines with Yungblud’s across each track. Longtime friend Matt Sorum (former Guns N’ Roses and Velvet Revolver drummer) rounds out the lineup behind the kit.

Rock Duo Girl Tones Bring Punk Spirit and Sisterhood to Paste Studio’s Lollapalooza Session

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During Lollapalooza weekend in Chicago, Paste Studio “On the Road” captured something special when rock duo Girl Tones — sisters Kenzie and Laila — lit up Salon 61’s cozy Library room. Stripping back their setup without losing an ounce of fire, the pair delivered an electrifying, punk-charged performance fueled by chemistry and charm. Songs like “Volcano” and “Blame” showcased their tight bond and fearless energy, turning the elegant venue into a spontaneous celebration of family, music, and rebellion. It was punk with polish, and pure joy from start to finish.

Progressive Metal Trio Transgalactica Break Boundaries With “Peace on Earth”

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Poland’s progressive metal trio Transgalactica just dropped their most explosive track yet, “Peace on Earth,” from their upcoming album Onwards and Upwards — and it’s a thunderclap of riffs, rage, and reflection. Built around a Tool-inspired groove and crowned by a Rachmaninov twist straight from “Island of the Dead,” the song smashes metal’s boundaries with symphonic precision and raw emotion. One reviewer nailed it, calling it “modern serious music.”

Written in 2021, before Russia’s full-scale invasion of Ukraine, “Peace on Earth” channels the timeless ache of war, fear, and fragile hope. “Iron dice began to roll… Mushroom cloud is looming large,” sings the band in lyrics that hit harder with every headline. For the video, Transgalactica abandoned their trademark irony in favor of sincerity, dedicating the clip to Ukrainian soldiers. Created with a Sri Lankan collaborator, it’s a global tribute to humanity’s shared grief — and a warning that peace, though distant, is still worth fighting for.

Despite their futuristic sound, Transgalactica are proudly human-made. Every note on Onwards and Upwards was recorded before the AI era, though the band now uses artificial intelligence for visual storytelling and concept videos. “AI is just another tool,” they say — “like lithography or film — it can enhance creativity when used consciously.” Their visuals may be digital, but their heart is pure analog passion.

The band’s very name came from a dream — Tomasz imagining a spaceship called Transgalaktyk, ferrying Polish settlers to Mars while their music played in orbit. That dream now fuels their art: cosmic, fearless, and defiantly alive. Onwards and Upwards is shaping up to be their boldest voyage yet — proof that metal can question, confront, and still believe in peace on Earth.

Indie-Pop Band Low Girl Soar With Emotion on New Single “White Gown”

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Low Girl are turning up the volume on emotion and euphoria with their brand-new single “White Gown,” out now via AWAL. The indie-pop risers deliver one final tease ahead of their debut album ‘Is It Too Late To Freak Out?,’ dropping this Friday, and it’s everything fans could hope for: shimmering hooks, infectious energy, and that unmistakable Low Girl magic that blends raw vulnerability with sky-high melodies.

The track follows a string of beloved singles—“Handbrake,” “No Reasons,” and “Overgrown”—each building anticipation for their long-awaited LP. “White Gown” takes the band’s songwriting to new heights, written and recorded between Bedford and rural Yorkshire, where sonic experimentation met emotional honesty. Influenced by the dreamy tones of Alvvays and guitarist Bradley Taylor’s emo heart, the album is a testament to the band’s devotion to crafting something bold, heartfelt, and alive.

Frontwoman Sarah Cosgrove calls “White Gown” a song born from personal chaos and rediscovery. “The experience of starting a relationship at the start of your twenties, reaching all the expected milestones of moving in together, engagement, and then breaking up in your late twenties, is quite disorientating,” she said. “It was one of those songs where once we started jamming it out, the whole thing came together with surprising speed. The end result is something we are so excited about and proud of, and it feels like the energetic crux of the album.”

With BBC 6 Music and Radio 1 already championing their sound, and festival appearances from SXSW to Reading & Leeds under their belt, Low Girl are on the cusp of something big. Their upcoming UK headline tour kicks off this November, promising fans the full force of their high-octane live show. ‘White Gown’ is streaming now everywhere—press play, turn it up, and let Low Girl soundtrack your next beautiful mess.

A Cappella Icons Pentatonix Light Up New York With Holiday Album ‘Christmas in the City’

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Pentatonix are bringing the magic of the holidays straight to the Big Apple with their brand-new album Christmas in the City, out now via Republic Records. The release arrives with a dazzling music video for the title track and marks the group’s eighth holiday collection — proof that nobody wraps a Christmas classic quite like them.

Channeling the wonder and rush of New York at Christmastime, the 16-track album blends re-imagined favorites, heartfelt originals, and rare collaborations. Among its highlights: a dream-come-true duet with Frank Sinatra on “I’ve Got My Love to Keep Me Warm,” seamlessly pairing Pentatonix’s soaring harmonies with Ol’ Blue Eyes himself. Elsewhere, JoJo joins the quintet for “Snowing in Paris,” an instant modern-day holiday staple bursting with warmth and cinematic charm.

Fans will also find spirited new takes on “Silver Bells” and “Holly Jolly Christmas,” plus a show-stopping “Christmas Classics Medley.” And for the first time ever, Pentatonix expand beyond a cappella — adding live instruments to their lush arrangements. It’s a bold, joyful leap that keeps their signature sound intact while giving their holiday tradition a fresh spark.

“We were so inspired by the feeling of New York City during the holidays,” says Scott Hoying. “The process of arranging, recording and making this album felt like the magic of when Pentatonix first started making music together.” Christmas in the City captures that timeless mix of wonder, excitement, and love — the sound of a band that still believes in the magic of the season.