CIMS In The Groove
Yves Jarvis is a recasting of Montreal-based musician Jean-Sebastian Audet. Audet previously created under the name Un Blonde. Each aspect of Audet’s work is immensely personal, and Yves Jarvis reflects this literally. Yves is Audet’s middle name, while Jarvis is his mother’s last name. His music is idiosyncratic neither by design or by chance; it just is. It mutates and shifts, as he does, through cycles and phases. Yves Jarvis’ new record, The Same But By Different Means, is a new cycle. With The Same But By Different Means, Audet continues to create music that is at once warm, haunting, and unfamiliar while remaining singularly inviting and kind—a mélange that reflects both comfort and its counterpart. Un Blonde’s 2017 LP Good Will Come To You was celebrated universally for those things that make Audet’s work compelling: careful folk noir, tender R&B flourishes, pillowy vocal beds that somehow seem to neither begin nor end, and a punkish ambivalence towards saccharine melodics that traditionally dominate the previous three structures. Asked for a message he hopes his listeners receive, Audet simply says, “I really have to ask: talking or listening? That’s all I want to ask with anything I do now, I think. It’s this spectrum and it’s this dichotomy that I’m interested in exploring. Both sides of everything, and everything in between.” Jean-Sebastian Audet presents Yves Jarvis. The same, but by different means.
The Faint's long-awaited new album, Egowerk, is set to release on March 15, 2019. Made up of vocalist Todd Fink, drummer Clark Baechle, keyboardist Graham Ulicny, and guitarist and bassist Michael “Dapose” Dappen, the group that ignited an electro-pop-punk movement is back with an 11-track deep-dive into themes on modern society, the internet, and ego - specifically social media and its dark effects. Opener “Child Asleep” echoes well-loved Faint singles from the Danse Macabre days, with rapidfire techno beats that sear so hot, your forehead will break into a sweat regardless of proximity to a dance floor. And though the synths should sound familiar to any Faint follower, the song’s monotone message is at once classic and current: “If I was wise, I would see I’m a child still asleep.” Elaborating further, Todd says, “It would be amazing if I could wake up from the world that I think I'm awake in already. If there’s a better way of understanding life, I'd love to be privy to it. You see the wisdom of all Gurus in the East, and you know they're not bothered by this or that. They've attained something, and the rest of us are just kind of banging into stuff, trying to figure out what to do with our lives.” It’s been four years since The Faint dropped a proper studio album, and more than two decades since they first tore onto the Midwest scene, alongside area staples Cursive and Bright Eyes, with anxious electro-pop-punk anthems that meshed doomsday themes with thudding dance-floor hooks. The group began to construct Egowerk shortly after releasing their 2016 career-spanning record, CAPSULE:1999-2016, with Baechle making frequent trips back to Omaha from his new home in Philadelphia to mix the record. The band made a unanimous decision to self-produce the entire record, making it unique and far more involved than any of their past work. Despite The Faint’s nihilistic musings on Egowerk, Fink and Baechle remain optimistic that things can improve if society is willing to absorb dueling perspectives. “The more you learn about any issue, any issue at all, the more you understand that it's more complicated than you think,” Fink says. “I'd like to see people less convinced that they're right about everything all the time. I guess I think we'll figure it out as time goes on.”
The legendary American rock band TESLA will release their new studio album, SHOCK. The band has enjoyed international chart, radio, and tour success for nearly 35 years, with global album sales topping 15 million. The album is comprised of 12 new tracks and is produced and co-written by Phil Collen (Def Leppard), and SHOCK is TESLA's eighth studio album. The band are actively touring across North America, Europe, and elsewhere around the globe throughout 2019.
David Gray announces details for the release of his new album, Gold In A Brass Age. This marks his 11th studio album which is set for release on March 8, 2019. Gold In A Brass Age was produced by Ben DeVries, son of producer and soundtrack composer Marius. The album finds Gray in renewed creative form and arrives just ahead of a run of headline shows in the US and UK. Gold In A Brass Age is defined by an intuitive approach from Gray, exploring new electronic textures and sound palettes, along with new production techniques in the process. David began writing Gold In A Brass Age in 2016 and it was recorded over several months between tours, including a 50 date US tour and a co-headline tour with Alison Krauss in 2017. Using a cut and paste approach to the arrangement of songs, the album's atmospheric and experimental undertones are evident throughout.
Stay Wild, the debut album from SONTALK, follows the personal trials and triumphs of Joseph LeMay, singer-songwriter and multi-instrumentalist behind SONTALK. By way of familial candor and visceral vulnerability, the twelve tracks comprising SONTALK's full-length debut album Stay Wild, chronicle LeMay's journey of self-reflection, discovery, acceptance and ultimately, growth. In 2016 LeMay met producer Jeremy Lutito (Chuck Berry, Colony House, Erin McCarley) and together they brought the vision of SONTALK to life recording Stay Wild along with engineer Logan Matheny at Big Light Studio in Nashville. LeMay imbues Stay Wild with moments of triumph and despair, tossing and turning between emotional extremes to create an openly honest dialogue with himself and listeners. The album is an expansion of the emotional terrain covered in his introductory EP, SONTALK: Act I, released last April. On Act I, the lead single (included on Stay Wild) "I Am A War Machine," through jagged textures and frenetic rhythms, LeMay invokes a voice on the verge of mental unraveling realizing his own volatility and gaining awareness. The lead offering from Stay Wild, "Baby, I m Gone" fuses a stark and soulful vocal to sinewy acoustic guitar and a glitchy beat, with LeMay's haunting voice echoing with powerful passion and plaintive poetry. I Am A Mountain follows the October release of "Baby, I'm Gone" and serves as a dynamic apex and bookend to the first half of Stay Wild. With a loping pace and persistent driving beat, it illustrates the tired longing of the narrator, building to a heartbreaking crescendo that mimics the fallout of a failing relationship. Elsewhere the album is grounded by LeMay's powerful vocals and a delicate dissonance of multifarious sonic textures that range from distorted slide guitar transmissions, sequenced beats, vinyl samples and warm electronics. The result is a deeply emotional journey into LeMay's life, offering a therapeutic and universal wisdom meant to be shared for a long time to come.
After spending the last six years making rock albums, Todd Snider is going back to folk. Cash Cabin Sessions, Vol. 3 was recorded at Cash Cabin in Hendersonville, TN. Snider wrote the set of songs and played all the instruments on the record, displaying his growth as a musician and vocalist. Of the five songs on which Snider serves up his humorous brand of socio-political commentary, three are performed in the talking blues style. He even had his friends, Jason Isbell and Amanda Shires, contribute backing vocals on a few of the tracks. If Snider is anything, he is a true artist, and he reminds us of that on Cash Cabin Sessions, Vol. 3. At a point in time when the world has never been more complicated and confusing, with people getting louder and louder, Snider did a 180, went back to his roots as a folksinger, to a simpler, quieter form of expression; and it might be what the world is waiting to hear; a man, his guitar, and the truth.
The release of their fourth studio album, To Believe, in March 2019, is the next step in a process of constant evolution. Born out of the band’s latest formation, it’s a creative partnership between founder Jason Swinscoe and longtime friend and collaborator Dom Smith, along with an extended family of regular bandmates and collaborators. Guided by a communal spirit, the changing members are consistent with their ethos, where no individual ego takes precedence. Guest vocalists on To Believe include the art-soul singer Moses Sumney, legendary UK rapper Roots Manuva, longtime vocal collaborator Heidi Vogel and many more. To Believe is the product of a long period of gestation, a reflection of the kind of album they wanted to make – the kind of album, that is, they’ve always made: deep, textured, and layered with meaning. With artwork by The Designers Republic™ (Aphex Twin) and mixed by 15 time Grammy Winner Tom Elmhirst, at the legendary Electric Lady studio built by Jimi Hendrix, it’s a masterful return that stands as their most definitive statement as a group. Surveying the musical landscape of 2019, it’s easy to forget how The Cinematic Orchestra have helped to shape it. They’ve long bridged deep-thinking jazz, a soundtrack sensibility and electronic music into new shapes, starting with their 1999 debut, Motion. They’ve forged a path for acts like Floating Points, Kamasi Washington, Ólafur Arnalds and BADBADNOTGOOD, artists who blur different disciplines together to carve out their own new niches. In this sense, the band’s recorded absence is less a break than an embrace of its unique relationship with space, with kinship, with dissent, of course with art and sound, but most of all, with one another.
Patty Griffin represents an extraordinary new chapter for this incomparable singer-songwriter and immediately stands among the most deeply personal recordings of her remarkable two-decade career. The album -- which follows 2015's GRAMMY Award-nominated Servant Of Love -- collects songs written during and in the aftermath of a profound personal crisis, several years in which she battled -- and ultimately defeated -- cancer just as a similar and equally insidious disease metastasized into the American body politic. Yet as always, like very few others, Griffin's power lies in how, as Holly Gleason in the Martha's Vineyard Gazette observed, ''her songs seem to freeze life and truth in amber.'' It's in how Griffin can express the strikingly intimate while never making it about herself, all wrapped in sparse arrangements that breathe an incomparable force and import into her songcraft.
SASAMI (Sasami Ashworth) has been making music in the Los Angeles area, in almost every way you can, for the last decade. Between playing keys, bass, and guitar within Cherry Glazerr and Dirt Dress; contributing vocal, string, and horn arrangements to studio albums (Vagabon, Curtis Harding, Wild Nothing, Hand Habits, etc.); arranging for films and commercials; and even playing French horn in an orchestra; plus teaching music to students and producing for other artists, she has gained a reputation as an all-around musical badass. The two SASAMI singles released so far – “Not The Time” and “Callous” – have garnered healthy attention and led to support slots with Mitski, Soccer Mommy, Snail Mail, Japanese Breakfast, Liz Phair, and The Breeders. As well as seeing SASAMI hand-selected by Devendra Banhart for his his curated day at Le Guess Who festival, and Courtney Barnett for her curated day at Sonic City Belgium. SASAMI’s debut self-titled album is due March 8, 2019 on Domino. Recorded at Studio 22 in Los Angeles, the album was written and produced by Sasami Ashworth, JooJoo Ashworth, and Thomas Dolan, with the latter also engineering and mixing the album.