David Quinn is a ramblin’ man. “It’s like what they say about some sharks: if they’re not moving, they die,” he remarks. The Indiana musician demonstrated such aching need to always be on the move with his 2019 studio debut, Wanderin’ Fool ? and it seems not much has changed. His second record, Letting Go, falls quite in line with its predecessor, a musical companion piece drenched in his wood-smoked vocal and hearty blend of folk-rock and stone cold country.
The heart-wrenching “Mommy and Daddy” grapples with a universal truth that evolution has not yet alleviated. NYC-bred rock & roller Shmitt, who has performed and recorded with legends like Levon Helm and Gordan Gano, steps back into his artistry with a harrowing vignette of his once-spirited parents closing in on the end of their lives.
“My mom was a fox. She had long hair and was just a beautiful woman. My dad was a handsome, tall man,” he describes. Shmitt’s mother played the drums and his father played guitar. His sister wrote concertos, wore long black dresses, and conducted orchestras. READ MORE…
Wayne Graham delivers a multi-generational approach to Americana from the rugged hills of central Appalachia. Today, they premiere their new single, “What For?” ahead of 1% Juice, due on November 13th. READ MORE…
The Pinkerton Raid’s “Rebel Mama Blues” is a satirical slow-burner with a Bowie-meets-Black Keys feel- a blast of zeitgeist-capturing political garage-psych that explores how a whole generation of white hippie-boomer parents were unconsciously primed for late-life Fox News brainwashing by 1960s anti-authoritarian individualism.
When the Durham, N.C., band’s singer and guitarist Jesse James DeConto wrote the song- premiering exclusively today at The Big Takeover- he’d been meditating on how a steady diet of Right-wing propaganda has strained intergenerational family relationships for him and so many of his friends.
“I always thought of my parents’ generation as these hippies who stood up to The Man,” DeConto says. “Then when all the post-mortems came out after the 2016 election, it was clear that the hippies, the boomers, were the ones who chose Donald Trump. They thought of him as some kind of rebel because he didn’t have political experience, and he was supposed to be this outsider who would ‘drain the swamp.’
Martin Ruby – who also goes under the name Marco North – is a songwriter who finds a lot to draw on for inspiration in his life. He started off in the New York music scene where, as he says, “Jeff Buckley literally played two doors over.” He recalls playing in the World Trade Center, and he recalls watching them fall. Then there’s the twist of fate which has led him to live in Moscow for the last fourteen years.
Goliathan seamlessly blends crushing instrumental doom metal and dreamy post-rock, and they just unearthed some raw, primal, early recordings that date all the way back to 2006, documenting the band’s first and most primitive incarnation. The epic, three-song, 37-minute set—Artifact—has just been remixed by Toshi Kasai (Melvins, Red Sparowes, Helmet) and mastered by Gene Grimaldi (Failure, Fantômas). It will be released Oct. 30, digitally and also on limited-edition 10″ vinyl.
Through their alternately punishing and ethereal instrumentals, Goliathan tells stories as vast as geologic time itself. Tales of epic beginnings and inevitable ends, of the epochal crawl of continents, apocalyptic future landscapes and, perhaps most impactfully, of nature finally—and violently—reclaiming its rightful dominion over man.