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Country Queer features new Bonnie & the Mere Mortals single “Tennessee” (Live and Unplugged)

Many songs have been written about the state of Tennessee, but this one – the opener for the upcoming live set by Bonnie & the Mere Mortals, Live & Unplugged, (out August 4) – is surely a first. Written by frontwoman Bonnie Ramone, the track takes a southern gothic musical approach to a tale about loss of belonging. To have a queer identifying artist write about Tennessee as a place they’ve felt embraced is progress… even if the song is lamenting the loss of that feeling in the wake of challenges to freedoms we all hold dear.

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Various Small Flames shares the new single from Handsome Family, “Skunks,” noting its “fictitious pest control advert which warps into something stranger, moving from squirrels and skunks and centipedes to a whole host of other services.”

If the lead single held up a personal experience for us to see, latest track ‘Skunks’ welcomes the audience themselves into this eerie world. A kind fictitious pest control advert which warps into something stranger, moving from squirrels and skunks and centipedes to a whole host of other services. “We’ll sterilize your yards / Run your cats around the park / Now try our rental cars / Stop by our sandwich bar,” as Sparks sings in one of the verses. “Call us anytime at night / Call us day or night.” This final offer captures the track’s weird tension, rich with the southern gothic sensibilities for which the band have become known, playing as something between an invite and warning to those on the outside.

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HipHopSince1987 features new LUNA Clipse album LUNAtic and his new video for “The Belly of the Beast,”HipHopSince1987 features

LUNA Clipse press photo by Ruth Koleva for his album LUNAtic
NYC rapper and poet LUNA Clipse harnesses the fire of his bipolar disorder and forges it into a gift on his new LP LUNAtic, a collaboration with GRAMMY-winning producer Jerry Wonda (The Fugees, Mary J. Blige, Santana, John Legend, Beyoncé). LUNAtic tells LUNA’s story from first diagnosis, to forced institutionalization, to Judgement Day itself.
 
Album opener “Lunacy” encompasses the spark of his diagnosis and exposes the nightmare of greed surrounding the American dream. “It was 2005 / those visions popped into my eyes / so either I’m a prophet of our times / Or the world just hadn’t yet become as psychotic as my mind,” raps LUNA.
 
LUNAtic is one man’s journey through bipolar and the stigma surrounding mental illness. The songs flow like episodes to a narrative that dramatizes how LUNA went from hating his bipolar and considering it a curse, to being proud of it and considering it his greatest gift. It’s a manic-depressive cycle that’s equal parts heaven and hell, from depression that’s taken him to the brink, to being an overmedicated zombie, to the spiraling mania that created this album.
 

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FAME Magazine debuts the latest single from Beekeeper Spaceman, “In the Custody of Stars,” calling it a “lush ballad” and “a mesmerizing song… Brownderville’s blurry soundscapes create a feeling of heartache and loneliness.”

Brownderville’s blurry soundscapes create a feeling of heartache and loneliness. Kenney adds his touch by dressing up a simple acoustic guitar arpeggio with programmed drums, dreamy background vocals, and twinkling synths. Everything is combined to create a beautiful picture of emotion and atmosphere.

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Americana Highways reviews the new album from Megan & Shane, Peaks & Valleys, noting, “The duo of Megan and Shane Baskerville is a bit country-based in a Gram Parsons-Emmylou Harris style.”

This effort starts pensive & folky but then by “Rose Colored Glasses,” Megan Baskerville’s pipes really start to percolate. The song is superb & her vocals are like Benedictine & Brandy. The duo of Megan and Shane Baskerville is a bit country-based in a Gram Parsons-Emmylou Harris style.

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B-Sides & Badlands debuts the latest single from Shannon Clark and the Sugar, “Like the Stars,” noting, “The song runs dark and brooding in the verses before ballooning on the chorus, anthem-style. ‘Where do you run to when there’s no place else you can call your own,’ sings Clark over palpitating percussion.”

Originally conceived as “a b-side style tune,” Clark says, the song morphed into something wholly different and cosmic. “We reworked it and recorded it live with minimal overdubs. Once the band felt it, it took on a life of its own,” the singer-guitarist tells B-Sides & Badlands. “It gave us this early ’90s alternative sound a bit, like an old R.E.M song but with a Tom Petty/Fleetwood Mac spin on it. It was much more a folk song in its original draft, and we might have cut this three times total — but the first take just had a certain charisma that we loved.”

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