Back in 1991, Drop Nineteens were recording songs in their dorm rooms and sending them out on cassette to various labels in the U.S. and the U.K. These demos sat unreleased for over three decades and are now finally seeing the light of day with 1991, putting another feather in the band’s cap after touring for the first time in that long in 2023 and releasing their last new album, Hard Light, last year.
1991 (sometimes known as Mayfield in some bootleg releases) is a great slice of time and shoegaze sound. “Daymom” instantly drops you into another world that’s brighter and lusher than the one you’re experiencing right now. The gorgeous guitars, tight beats, and misty vocals are intoxicating. “Song for J.J.” has great rolling beats and more vocals you can’t quite make out but know make you feel good. The thudding bass of “Back in Our Old Bed” reminds me of early Cure tracks, and is largely an instrumental track – which I love. The drop-out in the middle with swirling vocal sounds and guitar effects is a stunner.
Female vocals chant and call in “Soapland,” making you think of sirens luring sailors to either jagged rocks or island paradises. You’re not sure which. The unofficial title track, “Mayfield,” growls like an angry cat with guitars that would make Oliver Ackermann of A Place to Bury Strangers sit up and smile. “Shannon Waves” hits you in waves, and is a pure instrumental that washes over you like a slow-rolling hot tub.
“Kissing the Sea” glistens like sunbeams atop the water at first, and then the drums roll in and almost change the track to an adventurous sail across a secluded bay. It’s not yacht rock by any means, but it’s just as smooth. “Snowbird” sounds like something being sun from atop a snowy mountain, so the title is appropriate. There are no drums on the first half of track, just swirling guitars and synths, but then the song grows into a thumping rocker with buzzsaw guitars everywhere.
Ending with “Another Summer,” 1991 goes out on the fastest notes of the album and is a glimmering rock track that’s perfect for your summer playlists and leaves you optimistic.
This was a stunning debut that had multiple labels scrambling to sign Drop Nineteens. Caroline Records eventually won the skirmish, and Drop Nineteens became legends.
Sparks, brothers Ron and Russell Mael, make their opening gambit for 2025 with the release of “Do Things My Own Way.” A teaser for their 28th studio album, MAD!, due this year on new label home Transgressive Records, the single also functions as something of a manifesto for the Maels – Sparks are a band who have always, always done things their own way.
“Our mantra since 1972, amplified in 2025.” — Sparks
While further details about the album remain under wraps, fans can look forward to the MAD! Tour. Having wowed audiences and critics alike on their 2023 tour – including sold out shows at London’s Royal Albert Hall (two) and Sydney Opera House, a hometown triumph at Hollywood Bowl, and a headlines-stealing set at Glastonbury Festival – Sparks will be returning to the live stage this June kicking off with the Japanese, UK and European legs of their world tour. A full list of dates can be found below, and tickets are available here.
SPARKS MAD! TOUR DATES: Sun. June 8 – Kyoto, JP @ ROHM Theatre Tue. June 10 – Osaka, JP @ Zepp Namba Thu. June 12 – Fri. June 13 – Tokyo, JP @ EX Theater Wed. June 18 – Thu. June 19 – London, UK @ Eventim Apollo Sat. June 21 – Sun. June 22 – Manchester, UK @ O2 Apollo Tue. June 24 – Glasgow, UK @ Royal Concert Hall Thu. June 26 – Haarlem, NL @ PHIL Haarlem Sat. June 28 – Brussels, BE @ Cirque Royal Mon. June 30 – Paris, FR @ La Salle Pleyel Tue. July 1 – Cologne, DE @ Gloria-Theater Thu. July 3 – Copenhagen, DK @ The Koncerthuset Fri. July 4 – Stockholm, SE @ Grona Lund Tivoli Sun. July 6 – Berlin, DE @ Uber Eats Tue. July 8 – Milan, IT @ Teatro degli Arcimboldi
Most acts, by the time they’ve been making music together across seven different decades, would have slowed to a crawl, creakily playing the oldies on the heritage circuit and releasing nothing more modern than the occasional Greatest Hits collection.
Sparks aren’t most acts. And, if anything, their rate of productivity has sped up in recent years: since the millennium the duo have released eight new studio albums, a radio opera (The Seduction Of Ingmar Bergman), a side-project (Franz Ferdinand collaboration, FFS), a live album, a film musical (2021’s Annette, which won a Best Director award for Leos Carax and the Best Original Score at the César Awards for the Maels), toured the world numerous times, and been the subject of The Sparks Brothers, an acclaimed documentary by Edgar Wright. Their laurels remain resoundingly unrested-upon.
It’s no secret that Lightnin’ Hopkins is my favorite bluesman of all time. He’s the only one I have emblazoned on a T-shirt I bought in Nashville years ago. So, I practically jumped at the Chicago wrecka stow rack when I saw this 2022 issue of his 1960 album, Lightnin’ in New York, for sale at a stunningly cheap price.
Hopkins was slowly getting into the concert scene around this time, mostly playing in house parties and honkytonks back in the Houston area. He had trouble connecting with young, white audiences at first, figuring (correctly so) that they hadn’t seen or experienced the things he and his friends and family had. How would and how could white people relate to the blues?
He landed in New York City in late 1960 and, after being shuffled around to some low-rent apartments, learned that there were indeed some white people in the Big Apple who could relate to the blues. Downtrodden and heartbroken people can be found everywhere.
Recorded on November 15th of that year, Hopkins sat in the studio with his trusty guitar and a piano, often switching back and forth on the same song. “Take It Easy,” the opener, is a great showcase of this talent. “Mighty Crazy” is a witty, fun track that skewers oppressive social and sexual attitudes (“Ain’t it crazy to keep on rubbing at that same old thing?”).
Hopkins is relaxed and enjoying himself on “Your Own Fault, to Treat Me the Way You Do.” His playful piano work is like a strutting cat on it. “I’ve Had My Fun If I Don’t Get Well No More” is a song about approaching death, but looking back and appreciating the ride. Hopkins wants his mother to know what’s happening (“Let her know the shape I’m in. Just tell her to pray for me, momma, forgive me for all my sins.”).
“The Trouble Blues” is a powerful song with Hopkins’ vocals aching with sad memories of his girl leaving him (“I’m leavin’ in the morning. Lightnin’, your crying won’t make me stay.”) and fatigue from rough mileage brought on by the world in general. “Lightnin’s Piano Boogie” is a fun instrumental showcase of his playing.
“Wonder Why” is another heartfelt performance of Hopkins losing love yet again. He can’t figure out why his girl is leaving him, and she’s not giving him any hints. The album closes with one of his classic storytelling songs, “Mister Charlie,” about a stuttering boy who has to tell a kind mill owner that his mill is on fire. The boy is losing his home, and the owner is losing his business, but the owner lets him know things will be fine despite the tragedy.
This is a great recording of a blues legend relaxed and playing what he wants. It’s a prime addition to anyone’s blues or Hopkins collection.
If you’re like me, you also had no idea that Lou Reed, before he helped found The Velvet Underground and become one of the most influential musicians and songwriters of his time, was a songwriter, singer, and guitarist for Pickwick Records – a long-closed label that produced sound-alike recordings of artists who resembled popular bands of the day. Reed wrote everything from surf music to soul ballads, and thankfully the Lou Reed Archive has collected a lot of these rare tracks on Why Don’t You Smile Now: Lou Reed at Pickwick Records 1964-65.
There’s a lot of fun and interesting stuff on this collection. It starts off with Lou in a band called The Primitives performing “The Ostrich,” a fuzzy record describing yet another dance craze, and returning again with the band later on the wonderfully wacky “Sneaky Pete.” You can instantly hear the seeds of the loud, wild edges of The Velvet Underground in this track. On “Cycle Annie” by The Beachnuts, Reed is singing hot rod rock and putting down fast-paced guitar strumming while doing it. Later, on “Sad, Lonely Orphan” and the “Okay, we get it.” “I’ve Got a Tiger in My Tank,” he hands the mic to someone else and concentrates on hammering out riffs.
Reed contributes soul jams “I’m Gonna Fight” and “Soul City” for The Hi-Lifes, slick ballads (“Oh No Don’t Do It,” “Love Can Make You Cry,” and “What About Me”) for Ronnie Dickerson, and sings lead again for The Roughnecks on “You’re Driving Me Insane,” which sounds like it could be a modern track from The Schizophonics.
The J Brothers‘ “Ya Running, But I’ll Getcha” has a bit of bluegrass flair to it, and Beverly Ann‘s “We Got Trouble” is a straight-up hippie rock track that was probably an attempt by Pickwick to create their own version of Cher.
The compilation’s title track comes from The All Night Workers and blends soul-rock with psych-drone. Jeannie Larimore‘s “Johnny Won’t Sure No More” is a bit sugary, but the drum beat behind it is the early sound of the kind of beats Reed would ask Moe Tucker to play later. Robertha Williams comes next with powerful soul numbers “Tell Momma Not to Cry” and “Maybe Tomorrow” that make you wonder why she didn’t become better known.
Terry Philips‘ “Flowers for the Lady” and “This Rose” sound like a lot of other 1960s crooners’ songs, but that’s what Pickwick wanted. Your head might explode when you hear Reed singing lead on The Surfsiders‘ goofy “Surfin'” (Dig that wacky saxophone!) and their cover of “Little Deuce Coupe.”
This is a fascinating look and listen back at a part of Reed’s career that’s unknown to many, and the seeds of his later work are all here.
The weather stayed nice for us on Day Two of Levitation Austin. There was no rain, and it was overcast – which meant that the sun wasn’t beating down on us at this place.
There is no parking.
We spent most of our day here. It was a first time for both of us at the place, and the Austin Psych Fest in the spring is held here. You have to take the bus or use a ride-share service to get here because it’s on a busy road and there’s no where to park for miles. That being said, it’s a nice place big enough to hold two outdoor stages and multiple vendor booths. I would’ve enjoyed more food truck options other than pizza (which looked delicious, by the way), and we’ll bring a blanket next time, but the place reminded me of the La Chabada venue at Levitation France. You can easily hop back and forth between stages at both places.
Up first were Meatbodies, whom I’d recently seen in Chicago. They were the first band of the day and had a good crowd for a 4:30 slot. They had fun and set the table for everyone else to follow with a night of garage-psych, electro, cosmic rock, and post-punk.
They had to cut their set a bit short, as the second band of the day was in the process of unleashing fierce dance-punk on the main stage. Special Interest came out ready to fight and / or fuck. “Fierce” is how my girlfriend described their wild set.
We could hear parts of Fat Dog‘s set, which was described by one of the sound engineers as “Like Fontaines D.C., but hornier.” We decided to get close for Gang of Four, who are on their final tour, and were the big draw of the day for me. They didn’t disappoint, playing a lot of classics and destroying a microwave in the process. Jon King‘s manic energy made my girlfriend wonder if he might have a heart attack on stage, but one look through his unbuttoned shirt showed how ripped he is.
We hung out in the same area for Dry Cleaning, who somehow had to follow Gang of Four. Lead singer Florence Shaw (whom my girlfriend described as “fucking weird”) spoke, a bit nervously, about all the great bands playing that day. She and her bandmates didn’t have to worry, however, as they put down a great post-punk set. I love the addition of their saxophonist on this tour. The echoing horn is a sharp touch.
We heard part of Pissed Jeans‘ set, which sounded crazy, and they had a lot of fans at the Far Out. I saw plenty of their band shirts on people in the crowd (“Excuse me, are those Pissed Jeans you’re wearing?”), and then headed over to see Slift, who were once again wrapping up their U.S. tour at Levitation. They wasted no time, using every bit of gas left in the tank. Crowd surfers were abundant during their set and they practically blasted the east fence off the place. “I think Slift stole the show,” my girlfriend said.
We wrapped up the night at Kingdom in downtown Austin, a venue that’s the opposite of the Far Out. It’s pretty much a rave warehouse that you can only access through a door in an alley. We hit the dance floor during MJ Nebreda and Doss‘ sets, which were full of so much bass that we were both buzzing by the end of the night. It was fun to hang out with a crowd of ravers (many of whom still in costume a night after Halloween) after hanging out with rockers for several hours.
Up next, night three of Osees‘ four-night residency at Hotel Vegas.
I wasn’t sure I’d ever get to see The The live. The band’s leader, frontman, and songwriter, Matt Johnson, had seemingly retired many years ago to make film scores and write other non-musical projects. Then, in 2018, he did a reunion tour through the United Kingdom. I thought that would’ve been great to see (and video recordings of the shows bear me out), but guessed that my only chance was gone.
Then he released Ensoulment, his first new album in almost thirty years and announced a world tour that was stopping in Chicago. I signed up for pre-sale tickets and snagged a pair as soon as possible. My friend, Brian, and I went, both of us having been fans since 1986’s Infected album.
There was no opening band. The The played two sets. The first was Ensoulment in its entirety, and this was the first time I’d heard more than the first three singles from it. The first half is almost a jazz album, and Johnson’s sharp lyrics and jabs at the political establishment (i.e., “Kissing the Ring of the POTUS”) on both sides of the pond still hit like a gold medal fencer.
Following a 15-minute intermission, the band came back out for a “time traveler’s set” of material from their previous albums, opening with a slightly stripped-down, but no less funky version of “Infected.” “Armageddon Days Are Here (Again)” and “Heartland” were big hits with the crowd. “Love Is Stronger Than Death” was a beautiful addition to the set, and Johnson declared “This Is the Day” as a song of hope that was just as important now as when he wrote it decades earlier.
All of his songs still resonate. “Lonely Planet” prompted a “Fuck yeah!” shout from a guy a couple rows ahead of us when Johnson announced it to close the second set. The encore was two songs from Soul Mining, which had been released forty-one years prior (“I wasn’t even born then,” Johnson said.). “Uncertain Smile” and “Giant” rounded out the show, leaving a lot of people happy and buzzing. The whole crowd was in the same boat as Brian and I. We all thought we might not get to hear these songs live, and were all thankful that it happened.
Following the release of POPtical Illusion earlier this year, John Cale announces the Paris 1919 Deluxe Editionand The Academy in Peril reissue,out November 15th via Domino. Both remastered by Heba Kadry, this is the first artist sanctioned reissue of these beloved records. Paris 1919 includes previously unreleased outtakes and liner notes by Grayson Haver Currin, and features a brand new recording, “Fever Dream 2024: You’re a Ghost,” and The Academy of Peril includes bonus track,“Temper.” Both will be available on CD, vinyl and digitally.
“Revisiting work from the past is a double-edged sword for me. Of course, it’s bound to happen when you’ve been making music for 60 years or so. . . What’s unique about this process with Domino, is their desire to get it right. Not merely re-issue something for the sake of an anniversary or racking up a catalogue favorite – but finding new treasures and highlighting what made it special in the first place. After hearing the test pressings, it occurred to me that the new mastering was a major part of how these works will be presented, rather than simply being preserved. There are moments of clarity and even a laugh or two had by revisiting not only the music, but recalling the sessions (and antics) that made up what became these two recordings. It is my pleasure to share these with you . . . again.” – John Cale, September 2024
John Cale was never very kind to his solo debut, Vintage Violence. Released in early 1970, Cale had been out of The Velvet Underground for less than two years, and had been wanting to prove he could be the songwriter behind which a band could work. “I was masked on Vintage Violence,” he wrote much later. “You’re not really seeing the personality.” Indeed, Cale’s personality as a polyglot seemingly interested in everything emerged more and more on his next two solo albums and only two for Reprise: 1972’s bracing and exploratory classical sojourn, The Academy in Peril, and 1973’s masterclass in anxious but accessible songcraft, Paris1919. By reissuing both records in tandem, Domino—Cale’s home now for a dozen years—affirms the artistic fearlessness Cale then fostered at the edge of 30, when all of music seemed like one inviting playpen.
When Cale arrived in Los Angeles from New York in the early ’70s, he was a pinball in the world; out of The Velvet Underground, out of a marriage with designer Betsey Johnson, no longer a vital piece of a New York scene. He had just kicked heroin, too. In California, he entered a chaotic new relationship, starting his new industry gig, and found his West Coast drug of choice, cocaine. Despite its reputation as Reprise’s first classical album, The Academy in Peril indulges that extreme upper energy, bouncing among ambitious ideas with unguarded zeal. Warner Brothers spent $120,000 on The Academy in Peril, and Cale even enlisted the Royal Philharmonic Orchestra to play on several of its tracks. Still, there is an early punk energy to it all, with a frantic pace of making from idea to execution, where he created his own secret fusion and ignored the strictures of expectation.
The frantic pace of making The Academy in Peril, though, taught Cale an important lesson: take the time you need to make the album you want to hear. And that is precisely what he did on Paris 1919. Arriving at the studio with songs already written, he worked with Little Feat and bassist Wilton Felder at Sunwest Studios in Hollywood, and fully relinquished production duties to English producer Chris Thomas. This remastered and expanded reissue of Paris 1919 is a testament to the progress and the patience that engendered it. In previously unreleased tapes, Cale teases his new chemical habits as he tries to find his way through “Half Past France,” then attempts new vocal arrangements for its beginning in an alternate version. A brilliant “Drone Mix” of “Hanky Panky Nohow,” with Cale’s viola seesawing in hypnotic waves, shows just how much he and Thomas were willing to tinker with these tunes and test the bounds of songcraft. Appended at the end of these extras, “Fever Dream (You’re a Ghost)”—a new Cale composition that perfectly flows out of yet another mix of “Hanky Panky Nohow”—shows that he’s still doing just that into his 80s.
As previously announced, John Cale’s POPtical Illusion tour begins in Europe on February 28th.
John Cale POPtical Illusion Tour Dates Fri. Feb. 28 – Groningen, NL @ De Oosterpoort Sat. Mar. 1 – Maasmechelen, BE @ CC Maasmechelen Mon. Mar. 3 – Paris, FR @ Le Trianon Tue. Mar. 4 – Brussels, BE @ Cirque Royal Thu. Mar. 6– Karlsruhe, DE @ Tollhaus Fri. Mar. 7 – Munich, DE @ Alte Kongresshalle Sun. Mar. 9 – Stuttgart, DE @ Theaterhaus Mon. Mar. 10 – Esch-sur-Alzette, LU @ Rockhal Wed. Mar. 12 – Nurnberg, DE @ Markgrafenhalle Thu. Mar. 13 – Leipzig, DE @ Haus Auensee Fri. Mar. 14 – Berlin, DE @ Columbiahalle Sun. Mar. 16 – Hamburg, DE @ Laeiszhalle Mon. Mar. 17 – Utrecht, NL @ TivoliVredenburg Tue. Mar. 18 – Cologne, DE @ Carlswerk Victoria Thu. Mar. 20 – Nottingham, UK @ Playhouse Fri. Mar. 21 – London, UK @ Royal Festival Hall Sun. Mar. 23 – Birmingham, UK @ Town Hall Mon. Mar. 24 – Glasgow, UK @ Pavilion Tue. Mar. 25 – Newcastle, UK @ New Tyne Theatre Thu. Mar. 27 – Bexhill on Sea, UK @ De La Warr Pavilion Sat. Mar. 29 – Cardiff, UK @ Wales New Theatre Sun. Mar. 30 – Liverpool, UK @ Philharmonic Hall Mon. Mar. 31 – Dublin, IE @ Vicar Street
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Back in the golden era of the single of the 1970’s and 80’s, Motörhead would regularly assault the ears of chart listeners on a Sunday afternoon with a string of hit smashes in the rock charts of the time. The single as a format may have been less prominent from the 90’s onwards due to the dawn of the CD, but that didn’t diminish the calibre of the singles and promos that Motörhead continued to release. These mostly CD singles are now rare and highly collectable, so it only feels fitting for this era of the band’s bullet belt full of hits to be reappraised and released on the format that singles were born for, 7” vinyl.
We Take No Prisoners is a collection of the bands singles spanning 1995 to 2006, and available as a nine 7” single box set and expanded double CD and digital editions. From crowd pleasers like the pummeling ‘Sacrifice’, through their unique cover of Sex Pistols, ‘God Save The Queen’ to the semi-acoustic roots vibes of ‘Whorehouse Blues’, no one could deny their song writing prowess was still second to none. With a selection of rare live and radio edits thrown in for good measure and a long lost promo interview with Lemmy and Mikkey Dee from 2004, this is a definitive collection of this era of the band and the songs that drove the success of the albums they were lifted from.
See below for full details of the We Take No Prisoners releases and be sure to visit www.iMotorhead.com for news and updates!
7” BOX SET TRACKLISTING
DISC ONE
A – Sacrifice
B – Over Your Shoulder (Live)”
DISC TWO
A – I Don’t Believe A Word
(Single Edit)*
B – Overnight Sensation (Live)”
DISC THREE
A – Love For Sale
B – Take The Blame
DISC FOUR
A – God Save The Queen
B – One More Fucking Time
DISC FIVE
A – Shut Your Mouth
B – See Me Burning
DISC SIX
A – Whorehouse Blues
B – Killers
DISC SEVEN
A – God Was Never On Your Side
B – Trigger
DISC EIGHT
A – R.A.M.O.N.E.S.
(2006 version)
B – R.A.M.O.N.E.S. (Live)”
DISC NINE
A/B: Inferno Interview – Bel Age Hotel, California, April 2004”
(w/ Mikkey Dee and Lemmy) CD EDITION TRACKLISTING DISC ONE
1. Sacrifice 2. Order / Fade to Black 3. Over Your Shoulder (Live) 4. I Don’t Believe a Word (Single Edit) 5. Overnight Sensation (Live) 6. Love for Sale 7. Take the Blame 8. God Save the Queen 9. One More Fucking Time
DISC TWO
1. Shut Your Mouth (Single Edit) 2. See Me Burning 3. Whorehouse Blues 4. Killers 5. God Was Never on Your Side 6. Trigger 7. R.A.M.O.N.E.S. 8. Devil I Know 9. R.A.M.O.N.E.S. (Live) 10. ‘Inferno’ Interview 11. ‘Inferno’ Interview – Bel Age Hotel, California, April 2004” (w/ Mikkey Dee and Lemmy)
There are records and there are records that change the game. The Damned‘s debut album Damned Damned Damned is one such record. People hadn’t heard anything quite like it before 1977. This album made people sit up and pay attention.
Comedian Craig Ferguson once described punk rock as “sounding like a fight…and that made me feel happy,” just before he introduced The Damned on his show in 2008 to play the album’s opener “Neat Neat Neat.” It’s a great description because the song instantly ignites a fire wherever and whenever it’s played. “Fan Club” has a swaggering danger to it. Rat Scabies‘ crashing cymbals on “I Fall” sound like a thousand breaking windows.
On “Born to Kill,” Brian James‘ guitar roars and soars at the same time. “There’s a brand new kid in town,” Dave Vanian declares on “Stab Your Back.” He was right because The Damned’s frontman inspired thousands to come after him. “Feel the Pain” dips its toes into psychedelia.
“New Rose” was the second A-side of the split single with “Neat Neat Neat,” and it’s another punk classic full of pent-up anger (“A got a rage inside of me, hormones, and frantic energy (“A got a feeling inside of me. It’s kinda strange, like a stormy sea. I don’t know why, I don’t know why. I guess these things just gotta be.”). James’ guitars on it trade shredding and growling throughout it.
No Damned album review would be proper without mentioning Captain Sensible, who played bass on this record before later switching to lead guitar. Sensible’s bass line on “Fish” is full of heavy fuzz that hits you like a mackerel upside the head. “See Her Tonite” is another rager, burning down everything around it. Scabies’ drums on it are just bonkers.
Sensible continues the heavy bass thuds on “1 of the 2,” and Scabies throws in so many wild fills that you lose track of them. “So Messed Up” absolutely crushes, barley giving you time to get ready even with Vanian’s three-count to start the song. The album ends with their cover of The Stooges‘ “I Feel Alright,” which somehow matches the original’s intensity and ups the madness.
L.A. based composer/musician Bryan Lee Brown shares the first single today from his forthcoming album under the Dark Brown moniker, American Instrument. The track, “Rhythm Surfer” features one of the last recordings of guitar icon Dick Dale — lending his legendary and oft-imitated “Machine Gun Staccato” style to the track, alongside L7 guitarist/vocalist Donita Sparks on the entrancing tune. Hear/share “Rhythm Surfer” on all DSPs HERE and Bandcamp HERE.
Brown has assembled a short series of mini-documentaries about the sessions for the album, with the first episodes covering the “Rhythm Surfer” sessions at Dave Catching‘s fabled Rancho De La Luna. Watch/share Dick Dale‘s fight club (HERE), Donita Sparks on Dick Dale fandom (HERE). Official video HERE. More to come soon.
American Instrument is conceptually just as expansive and ambitious as the lush soundscapes within. An 18-song album featuring an array of legendary guest musicians, its theme likewise embodies a profound meditation on selfhood and the Other.
Dark Brown is the creation of Los Angeles composer and musician Bryan Lee Brown. American Instrument is the fifth album under that pseudonym, but Brown has an extensive life-long career in music: Scoring Dave Grohl’s HBO series Sonic Highways (2014) and documentary film What Drives Us (2021) as well as countless other films, TV shows and commercials, drumming for Dick Dale, as well as numerous stints as a session musician.
The album was recorded over a 12-year period at 7 different studios. It features guest appearances by surf guitar innovator Dick Dale, John Stanier (Battles, Helmet), Brad Wilk (Rage Against The Machine, Audioslave), Alfredo Ortiz (Los Lobos ,Beastie Boys), Eric McFadden, Jon Theodore (QOTSA), Donita Sparks (L7), marching percussionist Marcus Joyner, Dave Catching (Desert Sessions), Jose Medeles (The Breeders, Author) and more.
The predominantly drummer-heavy line up is another element of the album’s exploration into Brown’s relationship with drumming, both musically and socially. Brown has a personal connection to almost everyone who played on the album. In a way, the album unites many common threads (personal and philosophical) throughout the musician’s life.
Slated for release in Fall 2024, American Instrument combines abstract minimalism with melodic psychedelia to create a vast ranch of soundscapes. Brown’s now signature sounds of melodic percussion, droning guitars, tremolo and propulsive rhythms permeate the tracks, with each guest musician’s personality leading the songs in many directions with each of their unique personalities shining through. Case in point, Dick Dale’s unmistakable guitar pyrotechnics on 2 album tracks, recorded in 2013 at Rancho De La Luna in Joshua Tree, bring all of his larger-than-life sonic imprint into a completely new world where the surf guitar meets counterpoint rhythms, post-rock ethereality and anthemic hooks. “Spacetime (feat. Brad Wilk)” finds the Rage Against The Machine drummer’s powerful backbeat driving a psychedelic haze of Hendrix-style guitar warped through haunting sounding tubular bells. “Miami Rute (feat. Jon Theodore and Alfredo Ortiz)” juxtaposes Latin percussion with soaring Pink Floyd-ian drones and ominous vocal chants. Throughout, a wide variety of sounds and musical styles explore the very meaning of rhythm and impact of the uniquely American instrument, the drum set, and its place in the course of human history.
American Instrument will be available digitally via Memory Bulldozer Records on September 10, 2024. Pre-order/pre-save HERE.
