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5 Surprising Facts About Jason Isbell’s ‘Southeastern’

Eric Alper
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5 Surprising Facts About Jason Isbell’s ‘Southeastern’

Jason Isbell’s Southeastern isn’t all moonshine and melancholy—it’s a reckoning in guitar and ink, a quiet triumph that broke hearts wide open and stitched them up in the same breath. Made in the wake of rehab and recorded right before his wedding, it’s a record that whispers hard truths, even when it burns to speak them aloud. Let’s pour over five lesser-known stories humming beneath the surface.

1. The Album Was Nearly Produced by Ryan Adams—Until It Wasn’t
Isbell initially tapped Ryan Adams to produce Southeastern, but once Adams heard the demos, he backed out. Isbell suspected it was disappointment, then decided maybe Adams was simply rattled by how strong the material was. Either way, he handed the wheel to Dave Cobb—thank God—and the record found its soul in a single-take philosophy that left no room for second-guessing.

2. “Cover Me Up” Was So Personal, He Nearly Couldn’t Sing It
The opener is a gut-punch ballad written for Amanda Shires, Isbell’s wife, muse, and lifeboat. He said getting through the first performance of it almost broke him. There’s no metaphor for the love in this song—it’s raw, exposed nerve. It begins a record that doesn’t blink once, even when it hurts like hell.

3. The Title Comes from an Alabama Factory Dungeon
Southeastern may sound like a geographic nod, but it’s actually named after a grim tool-and-die shop where Isbell’s dad worked—“a dungeon,” he called it. Reclaiming that name, he carved something luminous out of its shadow. That’s the heart of this record: finding light inside the rust.

4. “Elephant” Is a Masterclass in Saying the Quiet Part Out Loud
This track doesn’t sugarcoat a single word about watching someone die. It’s brutal, beautiful, and delicate all at once. Isbell said if you’re not getting choked up while singing it, you’re doing it wrong. “Elephant” walks the tightrope between grief and intimacy like only a sober songwriter could.

5. There’s Humor Hiding in the Hurt
Just when you think it’s all sorrow and southern gothic ache, along comes “Super 8” with its bleary-eyed comedy. Sobriety doesn’t erase chaos, it reframes it—and this track leans into the absurdity of it all. Isbell wanted to remind us that even in the rubble, there’s room for a laugh. And a loud one, at that.

Southeastern is a record made by a man who walked through fire and took notes. It’s the sound of clarity hard-won, love wide-open, and a voice that had something true to say—for the first time, and every time after. Listen close. The honesty hums in every corner.

5 Surprising Facts About Sinéad O’Connor’s ‘I Do Not Want What I Haven’t Got’

Eric Alper
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5 Surprising Facts About Sinéad O’Connor’s ‘I Do Not Want What I Haven’t Got’

Ah now, sure we all know Nothing Compares 2 U melted hearts from Clonakilty to California, but Sinéad’s I Do Not Want What I Haven’t Got is more than just one song. It’s a howl, a whisper, a slap to the face of anyone peddling pretense. And as any Irish mother might say, “There’s layers in that one, pet.” So pour a cuppa (or a pint), and let’s dig into five quiet marvels you might not know about this iconic album.

1. She Opened the Album With a Prayer—No, Seriously
The first words you hear on the album aren’t sung—they’re spoken. Sinéad recites the Serenity Prayer like she’s standing barefoot in a chapel, eyes closed, fists clenched. It’s a mission statement. Before the music even kicks in, she’s telling you this record is about surrender, strength, and sorting yourself out.

2. One Song Is Rooted in a 17th-Century Irish Graveyard
“I Am Stretched on Your Grave” might sound like a modern lament set to breakbeats, but its bones are ancient. The lyrics come from a 1600s Irish poem, translated by Frank O’Connor, and paired with a loop from James Brown’s “Funky Drummer.” Leave it to Sinéad to lace history with hip-hop, and turn mourning into a mystic rave.

3. Her Vocals on “Nothing Compares 2 U” Were Done in a Single Take
No warm-ups, no ten takes, no auto-tuning wizardry. Just one go, double-tracked. Sinéad told the engineer: don’t you dare compress it. The voice you hear is untouched, unfiltered, and coming straight from the depths of real pain. It’s the sound of a woman singing to a ghost—and daring the world to listen.

4. She Refused Her Grammy—Then Wrote the Industry a Scalding Letter
Winning Best Alternative Music Performance at the 1991 Grammys should’ve been a crown jewel moment. But Sinéad, never one for crowns, said no thanks. Instead, she blasted the Recording Academy for rewarding commercialism over truth. She didn’t just turn down the trophy—she chucked it straight out the window, letter attached.

5. A Dance Remix on the Album Features a Mad Lust Monologue
“Jump in the River” features the one and only Karen Finley delivering a sexually explicit spoken-word piece that could make the saints blush. It’s filthy, feminist, and fearless. The track, originally from Married to the Mob, slinks into the album’s second half like a naughty grin, reminding us that Sinéad’s artistry has always swum in dangerous waters.

Sinéad O’Connor made emotional detonations wrapped in melody. I Do Not Want What I Haven’t Got is more than a breakup record or a political statement. It’s a sacred text for the bruised and brave. So light a candle, crank the volume, and remember: nothing compares, indeed.

5 Surprising Facts About Nine Inch Nails’ ‘Pretty Hate Machine’

Eric Alper
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5 Surprising Facts About Nine Inch Nails’ ‘Pretty Hate Machine’

Before it fueled angsty bedroom rituals and dancefloor nihilism, Pretty Hate Machine slipped into the world like a glitch in the Matrix—raw, furious, and painfully pretty. In 1989, Nine Inch Nails emerged not with a whisper, but a fully electrified scream. Let’s rip into five facts you (probably) didn’t know about this industrial touchstone—and don’t worry, you can dance to them.

1. “Down in It” Was Inspired by Skinny Puppy—and Nursery Rhymes
Trent Reznor’s debut single Down in It was his first stab at writing a song—and it was directly modeled after Skinny Puppy’s Dig It. Industrial homage? Yes. But the outro? A twisted take on Rain Rain Go Away. Because why not throw in a children’s rhyme to cap off your descent into emotional ruin?

2. The Drum Fills Are Frankenstein’d Samples From Other Songs
Almost every fill on “Terrible Lie” was lifted from other tracks, warped, reversed, and made unrecognizable. Reznor didn’t have time to collect pristine drum sounds, so he chopped up Public Enemy loops and EQ’d the hell out of them. The result? A mechanical heartbeat stitched together from sonic corpses.

3. “Head Like a Hole” Was Written in 15 Minutes
Yeah, fifteen minutes. Reznor banged it out in his bedroom just before Flood showed up to the studio post-Violator. With its apocalyptic synths and boot-stomping rage, you’d never guess it came together faster than your morning coffee. But anger, it turns out, is a pretty efficient muse.

4. The Original Cover Art Is a Turbine Masquerading as a Rib Cage
Designed by Gary Talpas, the OG cover looks like vertebrae bathed in neon gloom—but it’s actually a turbine, stretched until it screams. When the original art vanished, Rob Sheridan had to reverse-engineer it pixel by pixel for the 2010 reissue. Even the artwork has a resurrection arc. How NIN is that?

5. “Sin” Quietly Samples Clive Barker and Queen
If you thought “Sin” couldn’t get weirder, it includes dialogue from The Cabinet of Caligari, a line from Clive Barker’s Books of Blood, and—wait for it—a Queen cover. Their take on Get Down, Make Love is buried in the single release, complete with a cheeky We Will Rock You sample at the end. Industrial meets glam? Sin never sounded so sweet.

Thirty-five years on, Pretty Hate Machine still pulses like a haunted mainframe—glitchy, ghostly, and genre-defining. Reznor made heartbreak sound like a malfunctioning robot crying in an alley, and somehow, we all related. File under: Eternal. Mood: Corrupted. Recommended dosage: Daily.

Morgan James Turns ‘Thunderstruck’ Into a Soul Shaker Ahead of Genre-Defying Album ‘Soul Remains The Same’

Eric Alper
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Morgan James Turns ‘Thunderstruck’ Into a Soul Shaker Ahead of Genre-Defying Album ‘Soul Remains The Same’

Called “a phenomenal talent whose feel for classic soul music is bone‑deep” by The New York Times, powerhouse vocalist, former Broadway lead, and Juilliard alum Morgan James is back with her boldest concept album yet. Soul Remains The Same (out August 8) drags some of the loudest, heaviest songs of the last four decades—by Ozzy Osbourne, AC/DC, Pearl Jam, Soundgarden, Metallica, and more—straight onto the sweaty soul floor, where horns pop, Hammond organs whirl, and James’ voice testifies with unflinching fire.

The first taste arrives today with her reimagining of AC/DC’s “Thunderstruck,” recast as a Motown-fueled funk workout that sounds like 1960s Aretha stepping into the studio with Angus Young. A video for the track is out now.

“In making this album, I fell in love with these songs all over again,” James says. “When a woman inhabits them—emotionally, vocally, lyrically—they reveal entirely new colors and powers. I hope people hear them with fresh ears, the way I did while recording.”

Soul Remains The Same extends James’ ever-growing catalog of daring, full-album reinterpretations. Alongside five LPs of original music, she’s previously tackled Jeff Buckley’s Grace, D’Angelo’s Black Messiah, The Beatles’ White Album, and—most audaciously—Jesus Christ Superstar, performed by an all-female cast (Cynthia Erivo, Shoshana Bean, Ledisi, Bridget Everett, and more) with an all-female production team and symphony orchestra.

Currently in the midst of a wide-ranging tour that swings from symphony halls to jazz clubs, James treats her career like an open canvas—genreless, fearless, and soul-forward in everything she creates.

Morgan James — 2025 Tour Dates

(* indicates two sets)

June
6/28 – Aspen, CO – Aspen Art Museum

July
7/4 – San Diego, CA – The Rady Shell at Jacobs Park
7/12 – Park City, UT – Snow Park Outdoor Amphitheater
7/22 – Detroit, MI – Orchestra Hall
7/24 – East Lansing, MI – MSU Federal Credit Union Headquarters
7/29 – Lancaster, OH – Lancaster Festival at Wendel Concert Stage

August
8/8 – Charlotte, NC – Middle C Jazz Club*
8/10 – Steamboat Springs, CO – Strings Music Pavilion
8/14 – New York, NY – Dizzy’s Club*
8/15 – New York, NY – Dizzy’s Club*
8/24 – Reno, NV – Nightingale Concert Hall
8/25 – Incline Village, NV – Lake Tahoe Shakespeare Festival at Nevada State Park
8/31 – Budapest, Hungary – Béla Bartók National Concert Hall

September
9/5 – New Albany, OH – Hinson Amphitheater
9/7 – Brampton, ON – The Rose Brampton
9/9 – Toronto, ON – The Great Hall
9/10 – Montréal, QC – Théâtre Fairmount

October
10/3 – Knoxville, TN – Tennessee Theatre

November
11/15 – Buffalo, NY – Kleinhans Music Hall

December
12/18 – Newport News, VA – Ferguson Center for the Arts

Ozric Tentacles Pay Psychedelic Tribute to Melanie With Reimagined ‘California Dreaming’

Eric Alper
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Ozric Tentacles Pay Psychedelic Tribute to Melanie With Reimagined ‘California Dreaming’

In June 1971, Melanie was among the most eagerly awaited headliners at the Glastonbury Fayre – the free festival predecessor of the modern Glasto beanfeast, and an event oft-described today as the climax of the British underground, both musically and culturally.
 
Melanie was sharing the stage with some of the movement’s most significant acts, including Hawkwind, the Edgar Broughton Band, Traffic, Arthur Brown, Gong and David Bowie, and since her death in January 2024, several of her fellow counter-culture travelers have paid their own musical tributes to her, among them Terry Reid (the man who turned down Led Zeppelin!) and the Pink Fairies.  
 
Now, Ozric Tentacles, long-running heirs to that same cultural throne (and veterans themselves of later Glastonbury events), step forward with their own appreciation of Melanie, layering their unmistakable textures and tones around what the New York Post once described as her “hauntingly beautiful” rendition of “California Dreaming,”  released today on all digital platforms.

The Post continued, “Melanie’s strange phrasing allows her to get nuances out of songs”; while the Boston Globe credited her with “an impassioned vocal that gives the song [a] poignancy that the Mamas and the Papas’ smooth harmonies could not pin down.”


Those were the qualities that drew Ozric Tentacles multi-instrumentalist leader Ed Wynne to the performance.

Melanie’s original recording of “California Dreaming” came about completely by accident. “We didn’t even know we were going to do it, or that [it was being] record[ed],” she recalled in 2023. Pianist Richard Tee “was just doodling on the piano one day, and he started playing that song, so I joined in, and that was all there was to it.  Then [we] played it back and – that has to go on the album.”
 
With Tees’ piano the only thing standing between Melanie and an a capella vocal, “California Dreaming” emerged one of the most powerful, and moving, vocal performances of her entire career – as the Los Angeles Times noted when it described her as “a distinctive vocalist whose wistful, raggedy style has taken on a note of fully developed authority.”
 
Ozric Tentacles’ contributions only amplify those qualities, even as they reach back in time to recapture the radical outlaw status that the young Melanie brought to the festival circuit.

On record, it is true, she was rarely permitted to disrupt the “whimsical hippy chick” imagery that the media had draped across her.  On stage, however, she purposefully overlooked her best known songs; defiantly flaunted live venues’ insistence that audiences sit quietly throughout her performances; and effortlessly captivated everyone from stoners to Hell’s Angels with voice and acoustic guitar alone.

In fact, just moments before she was called onstage at Glastonbury, Melanie was sitting in front of the stage, drinking homemade beer with a bunch of bikers.  “You see it in the movie, I hoisted myself up onstage from the front, and that’s when I was drinking the beer that these guys made….”

It was an attitude with which Ozric Tentacles themselves have forever identified.  Formed at the 1983 Stonehenge free festival by a handful of teenaged friends, the Ozrics – like Melanie – were most at home amongst what they called “their own people”; that is, those who regarded making and listening to music as a fundamental human right, not a business proposition.
 
They still are, they still do. And the biggest surprise about “California Dreaming” is not that the band have so happily turned their attention to Melanie, but that it took them so long to do so!

Zimmer90 Share ‘Feel Myself’ and ‘Wait For You’ as Final Previews of Dreamy Indie-Electro Debut ‘Interior’

Eric Alper
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0
Zimmer90 Share ‘Feel Myself’ and ‘Wait For You’ as Final Previews of Dreamy Indie-Electro Debut ‘Interior’

One of Germany’s most promising indie-electro pop acts, Zimmer90 – made up of friends Joscha Becker and Finn Gronemeyer – drop two new tracks, ‘Feel Myself’ and ‘Wait For You’, offering the final glimpses into their anticipated forthcoming debut album, Interior, out in September.

Both tracks sit comfortably within the soulful, dreamy, disco-tinged indie-dance sound established on the album’s previous singles: December’s ‘Follow (I Will Never Let You Go)’, April’s ‘Learn To Let You Go’ ft. Balu Brigada, and the RAM-era Daft Punk-esque ‘Yours & Mine’. 

They were created in peace, surrounded by the stillness of rural France – a setting that allowed the duo to reflect, pause, and tap into the emotional core of their work. ‘Feel Myself’ is a delicate, intimate piece of music, bedded with a drowsy, reverb-soaked atmosphere, cascading piano keys and stuttering, revolving synths. It’s nostalgic and self-caring – an ode to introspection and emotional honesty. Meanwhile, ‘Wait For You’ delivers a beautifully Balearic moment, pairing White Isle-worthy percussion with a warm, electronic groove that lifts Joscha’s cloud-like vocal into something dreamlike and deeply resonant. Together, the tracks mirror the album’s central themes: self-awareness, emotional clarity, and the beauty of slowing down.

To accompany ‘Feel Myself,’ Zimmer90 have released a captivating visual that perfectly reflects the track’s introspective tone. The video showcases soft, lingering landscapes – close-up shots of Joscha and Finn interwoven with moments of stillness and emotional contemplation – mirroring the song’s dreamy, reverb-soaked atmosphere. Directed with a subtle yet evocative style, the visuals deepen the listener’s emotional connection to the song, bringing the delicate, self-reflective core of Interior to vibrant life.

Zimmer90 (“Room90”) have spent the last few years carefully shaping Interior – a deeply personal debut born from their search for balance and creative clarity. It’s a space where calm and chaos coexist, where Josch’s creative spontaneity and Finn’s structured calm collide. More than just a name, Zimmer90 has become their sanctuary – a place to turn inward and escape the extroverted noise of the outside world.

“This album is like an exhibition,” Finn explains. “The cover artwork features paintings by Joschaʼs grandfather. Each one holds a piece of our story, just like each song. Together, they form a kind of personal gallery.”

Stuttgart-based Zimmer90 began in 2020, and it wasn’t long until they made a name for themselves in the indie world with their hit track ‘What Love Is,’ which went truly viral on TikTok, featured in over 128 million posts and inspiring more than 251,000 user-created videos. Since then, their social media presence has exploded: their official TikTok account boasts a following of over 350K fans, while on Instagram they consistently engage a growing audience with behind-the-scenes stories, live studio footage, and personal reflections. This digital momentum has helped Zimmer90 translate viral buzz into real-world impact, with sold-out live shows across Europe and America and a dedicated global fan base.

New singles ‘Feel Myself’ and ‘Wait For You’ are out now, ahead of Zimmer90’s debut album Interior on 19th September. The band also head out on a mini album release shows in Stuttgart, Berlin, Brooklyn, Mexico City & LA.

Zimmer90 Tour Dates 2025
Album Release Shows September 20, 2025 – Stuttgart, Germany — Im Wizemann
September 24, 2025 – Berlin, Germany — Lido
October 1, 2025 – Brooklyn, NY, USA — The Sultan Room
October 4, 2025 – Mexico City, Mexico — Foto Indie Rocks
October 8, 2025 – Los Angeles, CA, USA — The Masonic Lodge at Hollywood Forever

Festival Appearances 2025
July 25, 2025 – Mallorca, Spain — Mobo Festival
August 1, 2025 – Diepholz, Germany — Appletree Garden
August 2, 2025 – Oberzent, Germany — Sound Of The Forest
August 3, 2025 – Varel, Germany — Watt En Schlick

Khamari Shares Lush and Longing R&B Single ‘Lonely in the Jungle’ Ahead of Sophomore Album

Eric Alper
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Khamari Shares Lush and Longing R&B Single ‘Lonely in the Jungle’ Ahead of Sophomore Album

Today, R&B artist and multi-instrumentalist Khamari released his third single, “Lonely in the Jungle.” The track marks the final installment in a string of emotionally rich singles leading up to the release of his highly anticipated sophomore album, via Encore Recordings.

“Lonely in the Jungle” brings a new energy to Khamari’s recent run of releases, trading the stripped-down intimacy of “Head in a Jar” and “Sycamore Tree” for a more lush sound led by bass guitar, percussion and a sweeping string melody. The lyrics explore themes of disconnection, uncertainty, and emotional fatigue, with Khamari reflecting on unanswered prayers and fading love. The line “let it rain” swells and repeats throughout the track like a quiet plea for release. “Lonely in the Jungle” marks a compelling shift in tone while unveiling a new side of Khamari’s sound and storytelling. 

In a statement about the record, Khamari explained “I was really inspired by what Jeff Buckley did so well – putting a certain alternative rock energy and musicality behind these soulful songs that were really blues in form and emotion. “Lonely in the Jungle” and my first single “Head in a Jar” are two parts of the same scene. It’s about being surrounded by so much yet still feeling alone.”

Blending intimate lyricism with modern R&B, classic soul, and alt-rock textures, Khamari continues to carve his own lane with vivid storytelling and genre-defying soundscapes. The first single “Head in a Jar,” achieved virality on social media through over 20,000 TikTok creates and over 7 million streams on Spotify. Following this, Khamari released the evocative“Sycamore Tree” – now, “Lonely in the Jungle” continues to build towards what promises to be Khamari’s most personal and sonically expansive project yet.

Khamari is a Boston-born, Los Angeles-based singer-songwriter and multi-instrumentalist known for his soulful blend of R&B, old soul, and alt-rock influences. A classically trained musician who picked up the violin at age four, Khamari honed his sound with a deeply personal, self-taught approach that led to the acclaimed release of his debut EP Eldorado in 2020, followed by his major label debut A Brief Nirvana in 2023, which to date has earned over 130 million cumulative streams across standout tracks like “Doctor, My Eyes” and “These Four Walls.” His latest work, including the introspective single “Head in a Jar,” reflects his continued evolution as a storyteller and producer, drawing inspiration from icons like D’Angelo, Stevie Wonder, Jeff Buckley, Mazzy Star, and even director Christopher Nolan. Rooted in vulnerability and cinematic emotion, Khamari’s music captures the universal pursuit of connection and meaning, cementing his place as one of R&B’s most compelling new voices.

Charles Berthoud Reimagines ‘Stairway to Heaven’ With Hauntingly Beautiful Fretless Bass Cover

Eric Alper
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Charles Berthoud Reimagines ‘Stairway to Heaven’ With Hauntingly Beautiful Fretless Bass Cover

In the hands of Charles Berthoud, Led Zeppelin’s classic becomes something entirely new. His fretless bass rendition of “Stairway to Heaven” is elegant, airy, and emotionally rich. It’s less a cover, more a reawakening.










Ian Flanigan Releases Calming Instrumental EP ‘Earth and Airwaves’ Inspired by Fatherhood

Eric Alper
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Ian Flanigan Releases Calming Instrumental EP ‘Earth and Airwaves’ Inspired by Fatherhood

Acclaimed singer-songwriter and The Voice finalist Ian Flanigan is proud to release ‘Earth and Airwaves,’ a deeply personal instrumental project inspired by his first year as a father to twin daughters. This new age ambient EP is available everywhere today.

Inspired by late nights spent soothing his newborn twin daughters, Ian Flanigan found that the gentle sound of his guitar helped calm and comfort them. Those quiet, meaningful moments led him to create Earth and Airwaves—an instrumental project blending soft acoustic melodies with natural field recordings like wind, water, and other natural sounds. Flanigan composed, recorded, and produced the entire EP himself, without the use of AI, as a way to capture the peaceful atmosphere of those early days of fatherhood and share that sense of calm with others.

“A year ago, I became a father to two beautiful twin girls, and music has been part of their lives since day one,” shares Flanigan. “We’d play with keyboards, synths, singing bowls—whatever instruments were around the house. Over time, I started creating ambient meditation tracks to help them unwind and fall asleep. I decided to gather those sounds into a project called Earth and Airwaves—a blend of nature recordings and organic ambient music. I hope these songs bring calm to your days, just as they have to ours.”

Earth and Airwaves Track Listing:
01. Phoenicia
02. Cold Air
03. Breathe And Balance
04. November Rain
05. Floreo
06. So Long

Flanigan recently released his highly anticipated new album, ‘The Man My Mama Raised.’ The album showcased Flanigan’s signature gravelly vocals and deeply personal storytelling, further cementing his place in modern country music.

Adding to the excitement, Ian’s single “Something Strong” from the album was added to Spotify’s official All New Country playlist—a coveted spot that put his music in front of millions of listeners worldwide. The placement marked a major milestone in Flanigan’s career and served as a testament to the growing recognition of his distinctive sound.

‘The Man My Mama Raised’ reflects Ian’s journey—both personal and musical—with songs that speak to resilience, love, and the lessons learned along the way. The album features a mix of soulful ballads and high-energy anthems, each track delivered with the raw emotion that has become Flanigan’s signature.

Hailing from Saugerties, New York, Ian Flanigan’s journey to the top of the country music scene has been marked by grit, passion, and perseverance. His road-tested voice and authentic style earned him a third-place finish on The Voice, where he gained a devoted fan following. Known for his soulful take on modern country, Ian’s music often reflects themes of love, resilience, and heartland values, appealing to a wide range of listeners.

Ian can be accurately described as slow, stoic, southern grace. He is humble yet focused, peaceful but engaged, and undisputedly talented. For the last decade, he has toured his distinct voice and evocative lyrics across America, with a country sound reminiscent of Joe Cocker and Chris Stapleton.

Ian found fame by becoming Blake Shelton’s finalist on NBC’s The Voice, where he was dubbed a “once-in-a-lifetime vocalist” by Shelton. Since that time, he has released an album with chart-topping singles (“Grow Up” reached #5 on the US iTunes sales chart, approaching 3 million streams), extensively toured with the likes of Trace Adkins and Chris Janson, and recently released his sophomore album, ‘The Man My Mama Raised.’ He has been featured on CMT, RFD-TV, Fox News, American Songwriter, Whiskey Riff, The Music Universe, Country Now, Everything Nash, Entertainment Tonight, People Magazine, USA Today, Yahoo News, and The Wrap.

Flanigan represents Taylor Guitars, Lucchese, KICKER AUDIO, and Hook and Cleaver Ranch as a brand ambassador. He also gained exposure as a Reviver Publishing writer in Nashville. He released his debut album ‘Strong’ (2022), the follow-up acoustic EP ‘STRONG: The Muscle Shoals Sessions’ (2023), and sophomore album ‘The Man My Mama Raised’ (2025) on Reviver Records.

Kurt Vile Shares Indie Rock Gem ‘Classic Love’ EP With Luke Roberts, Out Now on Verve

Eric Alper
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Kurt Vile Shares Indie Rock Gem ‘Classic Love’ EP With Luke Roberts, Out Now on Verve

Today, indie rock’s exemplary everyman Kurt Vile shares Classic Love, a five-track EP with Nashville songwriter Luke Roberts, out now on Verve Records. Classic Love is rooted in collaboration, succinct and infectious.

Prior to releasing Classic Love, Vile shared the title track with an official music video featuring Vile and Roberts and a pick-pocketing scheme. Directed by Lucky Marvel.

After packing an entire album’s worth of songs, licks, and winsome wisdom into his 2023 EP Back to Moon Beach, Kurt Vile stuck to the medium’s more traditional format with Classic Love. The project draws heavily on Vile’s friendship and creative partnership with Nashville songwriter Luke Roberts. After meeting via MySpace, they toured together for Kurt’s seminal B’lieve I’m Goin Down… album, while Roberts has gone on to release LPs on Thrill Jockey and Thurston Moore’s Ecstatic Peace. Their collaborative work emanates an energy that’s “sad and funny at the same time,” something Vile says is a guiding ethos of his music. 

With a run of adored albums and EPs starting in the late 2000s, Vile quickly became a critical favorite and commercial stalwart thanks to 2013’s Wakin on a Pretty Daze and 2015’s B’lieve I’m Goin Down… A leading figure in Philadelphia’s robust indie rock scene, Vile has released nine solo LPs since 2019, as well as a cavalcade of EPs, collaborating with Courtney Barnett, John Prine, Hope Sandoval, The Avalanches, and many more.

Classic Love is a concise but emblematic entry in the Kurt Vile canon: infectious, yet unvarnished, showcasing his natural ability to craft his own songs and interpolate others that you want to keep listening to.

Kurt Vile is currently on tour throughout North America and playing both headlining dates and shows with Pixies. See all Kurt Vile tour dates here and listed below.

CLASSIC LOVE EP TRACKLIST
1. classic love
2. hit of the highlife
3. classic love (kv version)
4. slow talkers ’22
5. wildflower

KURT VILE TOUR DATES
7/25 Washington, DC The Anthem *
7/26 Washington, DC The Anthem *
7/28 Detroit, MI The Fillmore Detroit *
7/29 Detroit, MI The Fillmore Detroit *
7/31 St. Paul, MN Palace Theatre *
8/1 St. Paul, MN Palace Theatre *
8/2 Evanston, IL SPACE
8/3 Indianapolis, IN The Vogue

* w/ Pixies

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That Eric Alper

Eric Alper is a 6-time nominee for Publicist of the Year during Canadian Music Week and has overseen the publicity campaigns for over 183 JUNO Award-nominated albums (and 16 in 2025), 45 Grammy-nominated albums, including 47 JUNO Award, 58 Canadian Folk Music Award, 126 Maple Blues Award-winning albums and is also truly honoured to work with some of the biggest and most important artists of our time.

Contact me: eric@thatericalper.com

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