Jason Scott & The High Heat release their highly anticipated new album, American Grin, listen here. The 13-track record cements the band’s reputation as one of the most exciting voices in modern Americana, blurring the lines between roadhouse country, heartland rock, and soulful storytelling.
Led by former Pentecostal pastor-turned-frontman Jason Scott, the band delivers a bold, cinematic sound on American Grin-one that’s been praised for its humor, grit, and emotional depth. Written during a period of national and personal upheaval, the album reflects on the absurdity, heartbreak, and resilience of everyday American life with a sharp eye and a wry smile.
“This record came from a heavy time,” says Scott. “We wanted to write something that still had hope and color to it-to zoom out and show a bit of the weird, wonderful, and messy landscape we’re all living in.”
Produced by longtime collaborator Taylor Johnson, American Grin was recorded between Oklahoma City and the Texas borderlands, infusing the project with sonic influences that range from Tex-Mex textures and spaghetti-western twang to Wilco-inspired psychedelia and ZZ Top-worthy guitar riffs.
Songs like “Golden” and “Bernadette” shine with stadium-sized hooks, while tracks like “Yardwork” and “Me & The Bottle (Hungover You)” bring levity and soul to familiar themes. The sweeping closer “Maria” pushes the boundaries of the genre entirely, ending the album with a lush, symphonic finale.
With American Grin, Jason Scott & The High Heat take their biggest creative leap yet. The band was recently named Emerging Group of the Year at the Texas Music Awards and is currently touring in support of the album, including a run of dates opening for Dwight Yoakam.
American Grin Track Listing: “Jimmy” (Jason Scott, Taylor Johnson) “High Country” (Jason Scott, Taylor Johnson) “Golden” (Jason Scott, Taylor Johnson) “Me & The Bottle (Hungover You)” (Jason Scott, Taylor Johnson) “Interstate of Mind” (Jason Scott, Taylor Johnson) “Yardwork” (Jason Scott, Taylor Johnson) “Natalie” (Jason Scott, Taylor Johnson) “Intermission” (Jason Scott, Taylor Johnson) “Bernadette”(Jason Scott, Taylor Johnson) “Too Wasted” (Jason Scott, Taylor Johnson) “If We Make Til The Mornin'” (Jason Scott, Taylor Johnson) “Get In Line” (Jason Scott, Taylor Johnson) “Maria” (Jason Scott, Taylor Johnson)
Montserrat House Music and trip-hop pioneer Eric Hilton’s release of Midnight Ragas, the godfather of downtempo’s brand new “compilation mix” is out now.
Featuring three different vocalists – Puma Ptah, Natalia Clavier and Kristina Westernik-Dandridge of The Infinite Daisy Chains – and lyrics sung in French, Spanish and English, Midnight Ragas has the distinct feel of international exotica, a sound that Hilton has cultivated over 30 years of album releases.
“Working with Natalia, Puma and Kristina was so great on this project, because I had all these vocal flavors to choose from,” Hilton says of his experience recording the album. “There are instrumentals on the record alongside the vocal tracks which vary the mood and pacing. To create an experience, you need to have moments in the song sequence that have a relational mood of some kind, maybe for three tracks, and then slip into another mood. Different languages and singers, changing tempos and sounds – there’s a lot of that on this record, and that’s why it sounds like a compilation album, even though it’s entirely my music.”
Compilation albums have always been a great tool for discovery, especially in electronic music. A couple of familiar artists or tracks, sequenced amongst unknown treasures, taking the listener on a satisfying journey through different moods and sounds. It’s not easy to make a good compilation album, one bad track can throw off the whole vibe, the flow. A great compilation album can elevate the individual tracks and put them into a context where the whole is greater than the sum of its parts.
With Midnight Ragas, Eric Hilton has made a great compilation album. Except not really. We’ll explain.
Midnight Ragas is a new album by the downtempo electronic music producer, with vocal contributions by longtime collaborators Natalia Clavier and Puma Ptah, along with newer recruit Kristina Westernik-Dandridge. And while the tracks are all new Eric Hilton recordings, the album sounds like a killer compilation record, with shifting tempos, moods, vocalists, and languages across twelve tracks. The vintage age of mix CDs may be long over, but listen to Midnight Ragas and you’ll think it never left.
Hilton has plenty of experience with compilation albums. Tracks by Thievery Corporation, the downtempo combo Hilton co-founded in 1995, have been featured on over 600 mix CDs, according to music database website Discogs. “I loved compilations back in the day. You bought them to get turned on to new sounds, or you liked the artist compiling it. ‘Midnight Ragas’ was not conceptualized as a compilation; the album is a moment of eclecticism,” says Hilton.
The opener, “Life In the Deep End”, hits like an even more laid-back Khruangbin, soundtracking a vintage Billy Dee Williams Malt liquor advert. Next up: “Leave it all”, a ballad in the Massive Attack/Zero 7 wheelhouse – minimal groove, smart sounding, sounds like a single. Puma Ptah pours it on smooth here. Track three is “Je ne t’aime plus” (I don’t love you anymore) – imagine it’s 1970 and you’re Alain Delon or Catherine Deneuve, driving a light gold Ferrari Daytona along the coast from Cannes to Monaco. Clavier provides the vocal accompaniment, singing for Hilton in French for the first time. The third song is “Behind My Eyes” (’70s crime flick meets ambient drum & bass). “I love the wildness of this track, we really nailed the production on this one, it’s tough and sets the tone for the next few tracks,” says Hilton.
“All I Want” also features Ptah; the track is an ass-shaking, purple crushed velvet groove, hard but smoooooth. Track six, “Burkina Faso”, will be a standout track for longtime Thievery fans, a tough D.C. bounce and “you know what time it is” feel. Things start to shift with the title track – seven songs in and things start sounding mysterious on “Midnight Ragas”. “Traditional ragas are improvisational but repetitive; this song somehow is repetitive but doesn’t hit you that way,” opines the producer. Next up: “Sol Interior”, with gorgeous vocals from Clavier amid Ipcress File/John Barry twinkles. It sounds a bit like a great lost track from Air’s classic debut Moon Safari.
The album closes out with a trifecta of late-night slow burners. “Madame Asha” is classic trip-hop, a nod to legendary Indian American vocalist Asha Puthli. “L’Ocean” stays on the ’90s trip-hop wavelength and is a standout for Hilton, as good as any track of the era/genre. And it all comes down to “Beautiful Moment”, unquestionably the most romantic track on the album. Vocals by Westernik-Dandridge summon thoughts of the late summer evening sun, slow kisses and dew drops on agave leaves. It’s as perfect a sonic representation of apres-release afterglow that you’re likely to hear.
And then it’s all over, sigh … unless you’ve put your CD player/turntable/streamer on auto repeat, which is the right idea. Midnight Ragas is the compilation album that isn’t; perhaps that’s why it’s so listenable, and so unforgettable.
Midnight Ragas track listing: Life (In The Deep End) Leave It All feat. Puma Ptah Je ne t’aime plus feat. Natalia Clavier Behind My Eyes feat. Kristina Westernik-Dandridge All I Want feat. Puma Ptah Burkina Faso Midnight Ragas Sol Interior feat. Natalia Clavier Galactic Shine Madame Asha L’Ocean feat. Natalia Clavier Beautiful Moment feat. Kristina Westernik-Dandridge
Rising country star HAYS shared his new single “Driving Myself Instead” via River House Artists. His first release of the year, “Driving Myself Insane” is a slow burning country rocker that follows a slew of singles HAYS released in 2024, including his debut single, “Lettin’ Go.”
“‘Driving Myself Insane’ highlights the honest struggles of a breakup,” HAYS explains. “Where drinking starts as the coping mechanism for the sorrow, it ends up bringing back even more memories of a lost love. This downward spiral of drinking to forget, but only remembering more, ends up driving us to a place of regret, sorrow, and ultimately, insanity. I’m excited to kick off 2025 with one of my favorite songs that I’ve written. There’s a lot more music in the pipeline!”
The 24-year-old artist from Jacksonville, Florida spent 2024 honing his craft by performing over 200 shows across the Southeast, developing a unique country rock sound that has drawn comparisons to artists like Brantley Gilbert and Jason Aldean.
Having enjoyed social media success on TikTok with an acoustic video taken on his bathroom floor, which racked in over 800K views and 100K likes, HAYS released his debut single “Lettin’ Go” on March 15, 2024. The track boasted over 100K streams within the first month of its release. His latest single “Town Near You,” released at the end of last year, showcases his continued growth and commitment to his craft. HAYS has shared the stage with stars like Dylan Marlowe, Ella Langley, and Hudson Westbrook, continuing to make a name for himself in the country music scene.
Los Angeles rockers Volumes have just released a visualizer video for their brand new single “Sidewinder,” which marks the band’s first new track in over two years.
“‘Sidewinder’ is an unapologetic hate letter to a world gone mad, especially the corruption within the music industry,” vocalist Michael Barr states, sharing insight into the subject matter that’s as in your face as the sonics.
“It offers an unfiltered perspective on a society in chaos, with no optimism or positivity. It’s a song that captures the feeling of everything unraveling as we know it.”
Band of Skulls has released “Death by Diamonds and Pearls (live from the Village)” on all streaming services. The track is one of the many B-Sides and rarities included in the limited edition deluxe boxset Cold Fame, out now via Artist Royalties Collective.
The Cold Fame box set was curated by the sole original member, Russell Marsden. For the collection, Marsden pulled items from his personal archive, including exclusive interviews, previously unseen photos, and rare materials, to give a behind-the-scenes look at the making of Baby Darling Doll Face Honey, Sweet Sour, and Himalayan, from their humble start in South Hampton to touring the globe. The box set includes the first three albums, B-sides, rarities, a coffee table book, and more.
“Death by Diamonds and Pearls (live from the Village)” was recorded at the legendary Village Recording Studio in Los Angeles in 2009, where the band was invited to record a session for MySpace’s Transmission program. The band recorded several songs for the session, including a cover of Patsy Cline’s “Walking After Midnight” and “Death By Diamonds and Pearls,” which became one of their signature songs. ” “Recording at the Village studios was a date with destiny,” recalls Marsden. ” Just a few months before, Fleetwood Mac’s Tusk and Rumours had inspired us in the creation of our debut record. We gathered in the famous Studio D, and recorded the songs in one day, a stark contrast to the sporadic sessions back in the cosy Courtyard studio back in England. The session captured the band just as we set out on our American adventure. It’s a perfect testament to our ambition and the songs that propelled us to new heights.”
Band of Skulls, formed in Southampton in 2004, led by Russell Marsden (guitar, vocals). The band released Baby Darling Doll Face Honey in 2009, which produced the stand-out tracks “I Know What I Am” and “Death by Diamonds and Pearls.” The band’s signature gritty guitar riffs, dual vocal harmonies, and raw energy of the album earned them critical acclaim, millions of streams, and memorable placements in wildly popular video games, film, and TV series, including Friday Night Lights, Twilight, Guitar Hero, and more.
In 2012 the band released their second album, Sweet Sour, which debuted in the top 20 on the UK sales charts, in the top 50 in Australia, and in the top 200 in the U.S., with the title track “Sweet Sour” peaking in the top 30 on the U.S. Alternative Charts. The album showcased a more polished and mature sound while retaining their signature intensity. The third album, Himalayan, which celebrates its 10th anniversary this year, was produced by Nick Launay ( Nick Cave & The Bad Seeds, Talking Heads, Yeah Yeah Yeah’s, Arcade Fire). The album was well-received by critics and fans alike, reinforcing the band’s reputation for delivering high-quality rock music with a distinctive edge.
The success of the first three albums and the band’s reputation for their bombastic live show led to tours supporting bands such as Black Rebel Motorcycle Club, The Dead Weather, Muse, and more. In recent years, Band of Skulls have continued to evolve and experiment with their sound, releasing several more albums and maintaining a strong presence both live and through the continued use of their well-crafted songs across film and TV. This evolution keeps their music fresh and exciting, as evidenced by their over 100M streams across streaming platforms.
International powerhouse rock group W.E.T. is pleased to release their highly anticipated new studio album, ‘Apex,’ via Frontiers Music Srl. The focus track, “What Are We Fighting For,” is accompanied by a visualizer.
Vocalist Jeff Scott Soto commented on the focus track: “What I love about this song and even about the evolvement of W.E.T. is utilizing the fact that we have two lead singers in the band, and this can be exploited as many of my favorite bands in the 70’s – like Queen, Styx, Journey, and Eagles did, adding layers to the songs. On this track, Erik and I trade off on lead vocals for this defining song with a sound that has the true W.E.T. stamp to it.”
The acronym W.E.T. comes from the members’ association with other bands, Robert Säll& Andreas Passmark from Work of Art, Erik Mårtensson & Magnus Henriksson from Eclipse and Jeff Scott Soto from Talisman. And now, for the first time ever, the T is emphasized as Talisman drummer Jamie Borger has joined forces with the band’s original core members.
W.E.T. truly epitomizes what melodic rock has become in the new decade. The key element at the foundation of W.E.T. has always been to create a modern melodic hard rock sound that will drive the genre into the future. Combining powerhouse rhythms and top-notch production (courtesy of Erik Martensson), the music is equally classic and contemporary.
Although a side project to the members’ original bands, over the course of the band’s existence, W.E.T. have reconvened regularly over the last 15 years to produce four studio albums and a live record.
Starting with a genre-defining self-titled debut, Robert Säll (the “W” from Work of Art), Erik Mårtensson (the “E” from Eclipse), and Jeff Scott Soto (the “T” from Talisman) accepted the daunting task to give that debut a follow-up, ‘Rise Up’. After that stellar follow-up, their third opus, ‘Earthrage’, cemented a legacy of music which will stand the test of time. ‘Retransmission’, their latest album, is nothing else than an absolute milestone, which is well in keeping with the tradition established by the three amazing records that have preceded this one.
‘Apex’, the fifth studio album of the melodic supergroup, is a bold statement in the band’s confidence that they have delivered their best work to date. Eleven tracks full of big choruses and hooky melodies, all served on a platter of smooth heaviness.
Phil X & The Drills are proud to unleash their latest album, ‘POW! Right In The Kisser’ to the world! Alongside the release, out via Frontiers Music Srl, the band is sharing the hot fresh track, “Broken Arrow.”
About the “Broken Arrow,” Phil X comments: “I’m really excited for our fans to witness the growth of the Drills. Songs like ‘Broken Arrow’ add a dimension to my songwriting and my voice. I wrote that song after hearing of Chris Cornell’s passing which sparked deep thoughts about challenges and dealing with options. There’s a lot of depth on ‘POW! Right in the Kisser’ and I can’t wait for the world to hear it.”
About the new album, he adds: “‘POW! Right in the Kisser’ was a good ten years in the making. ‘Battleship’ was tracked in 2014. I just kept writing, and we’d record and then kept the whole ‘different drummer on every song’ thing going. It became a very special collection of songs & vibes. It’s very exciting for me to share something like that with the world.
Six-time GRAMMY-winning multi-hyphenate St. Vincent has teamed up with A24 Music for the release of new song “DOA.” Written, recorded and performed entirely by St. Vincent, and mixed by Cian Riordan, exclusively for the A24 feature DEATH OF A UNICORN, “DOA” is now available across digital platforms simultaneously with the film’s theatrical release.
The sweetly sinister pulsations and infectious guitar figures of “DOA” distinguish the song as yet another early 2025 highlight for St. Vincent. Recent months have seen her open the Nirvana set at FireAid and perform at the SNL50 Homecoming concert. Weeks earlier, her universally acclaimed seventh album All Born Screaming took Best Rock Song, Best Alternative Music Performance and Best Alternative Music Album honors at the 67th Annual GRAMMY Awards — at which she appeared in an all-star opening performance of “I Love L.A..” This week, St. Vincent resumed her All Born Screaming world tour March 26 in Curitiba, Brazil. Following its swing through South America and Mexico, the tour returns to the U.S. starting April 6 in Dallas.
DEATH OF A UNICORN stars Paul Rudd, Jenna Ortega, Will Poulter, Téa Leoni, and Richard E. Grant, and was written and directed by Alex Scharfman.
Released on July 14, 1981, Beauty and the Beat introduced the world to the energy, attitude, and perfectly polished hooks of the Go-Go’s. It became a landmark in pop music, breaking barriers and topping the Billboard chart—making history as the first album by an all-female band who wrote their own songs and played their own instruments to hit #1. From punk roots to pastel towels, here are five wild facts about this classic debut.
1. The Towel Cover Photo Was Belinda’s Idea (and Macy’s Got the Towels Back) Belinda Carlisle came up with the idea for the iconic album cover: the band wrapped in towels and facial masks, fully incognito. The towels were returned to Macy’s right after the shoot, making it a high-concept, low-budget win. Early pressings had a peach background, but later versions featured the now-famous blue.
2. “We Got the Beat” Helped Spark a New Sound Charlotte Caffey originally worried “We Got the Beat” wouldn’t be punk enough, but the band embraced it instantly. The song shifted their sound toward pop-driven new wave, and it quickly became their signature hit. Its shout-along chorus and dance-craze lyrics made it a perfect anthem for both radio and clubs.
3. “Our Lips Are Sealed” Started with a Transatlantic Affair Jane Wiedlin co-wrote “Our Lips Are Sealed” with Terry Hall of The Specials after they met on tour in the U.K. Hall mailed her some lyrics, Wiedlin finished the song, and the Go-Go’s recorded it as their first American single. Its blend of secrecy and sunshine helped launch the band into the Top 20.
4. Record Execs Passed… But the Go-Go’s Went #1 Anyway Major labels didn’t offer the Go-Go’s a deal after a showcase at the Starwood. I.R.S. Records stepped in, and within a year Beauty and the Beat reached #1 on Billboard’s album chart and stayed there for six weeks. With two smash singles and over two million copies sold, it remains one of the most successful debut albums ever.
5. The Fountain Splash Was All Improvised The music video for “Our Lips Are Sealed” featured the band joyriding through LA, stopping at a lingerie shop, and ending with a spontaneous leap into a Beverly Hills fountain. Jane Wiedlin called it “the best day ever.” The carefree shoot cost very little and helped define the Go-Go’s as bold, fun, and totally original.
Beauty and the Beat turned garage-born punk energy into polished pop perfection. With catchy hooks, DIY flair, and undeniable charm, the Go-Go’s made an album that still dances to the beat of its own drum—and invites everyone else to join in.
Released on May 10, 1982, Rio turned Duran Duran into global icons and shaped the sound and style of an entire decade. With chart-topping singles, groundbreaking videos, and a cover that became a visual landmark, Rio brings together adventure, fashion, and irresistible grooves. Here are five wild facts that continue to keep this album in the spotlight.
1. A Saxophone Solo Became Part of the Melody Forever Andy Hamilton recorded the saxophone solo on “Rio” with two chords and a lot of flair. Overseen by keyboardist Nick Rhodes, the part became such a key feature that it was played the same way at every concert. The solo adds sparkle and swagger, just like the song’s tropical imagery.
2. The Album Cover Was Inspired by Cigar Boxes and a Playboy Discovery The cover painting by Patrick Nagel was based on a photo of model Marcie Hunt, chosen after the band’s co-manager spotted Nagel’s work in Playboy. Designer Malcolm Garrett added 1950s cigar packaging flair to the layout, including a sticker seal on first pressings. The result created one of the most recognizable album covers of the 1980s.
3. Real-Life Sounds Were Mixed Into the Tracks The giggle at the start of “Hungry Like the Wolf” came from Nick Rhodes’ girlfriend Cheryl. On “The Chauffeur,” the band added the sound of cracking ice cubes and a soft conversation about nature. These details, paired with vibraphone, marimba, and synthesizers, made the songs feel vivid and cinematic.
4. Paul and Linda McCartney Visited the Studio During Recording While Duran Duran worked on Rio at AIR Studios in London, Paul and Linda McCartney were in the next room creating Tug of War. They dropped by to say good night, and John Taylor even listened to a final mix of Rio with Paul. The moment added another layer of magic to the sessions.
5. The Music Videos Launched a Visual Movement The band filmed videos for “Hungry Like the Wolf,” “Save a Prayer,” and “Rio” in Sri Lanka and Antigua with director Russell Mulcahy. Featuring yachts, temples, and high-fashion suits, the videos brought Duran Duran’s style to screens around the world and played a huge role in the rise of MTV’s influence on pop music.
Duran Duran’s Rio brings vibrant melodies, stylish visuals, and global ambition into perfect harmony. The album continues to inspire artists, designers, and dreamers everywhere with its bold vision and unforgettable sound.
