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FLOOD Magazine debuts the new single and video from Super Cassette, “Path Through the Past,” noting “it fully captures both the ecstasy and the misery of our short time on this planet.”

Taken from their forthcoming debut album, Continue?, Super Cassette’s new single “Path Through the Past” is a wonderfully joyful blast of twee indie-pop from the Oakland-based, queer-pop sibling duo. At least, on the surface—underneath the chipper tune and its seemingly whimsical instrumentation is an all-too-real depiction of human mortality and the sad fact that everything we ever know will one day vanish into unexistence. “Every path through the past reaches a dead end,” sings Max Gerlock in the song’s first line, before they follow it up with the real kicker: “My ex-girlfriend’s dog is probably dead.” 

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Listen: State of the Art Spotify playlist for 10/24/23

Freddie Gibbs, Pusha T - Gold Rings. "State of the Art" Spotify playlist for 10.24.23

Listen to this week’s State of the Art Spotify playlist featuring:

Coma Girls – Dirty Water (Baby Robot Records)
Florence + The Machine – King
Super Cassette – Continue?
Danger Mouse, Black Thought, MF DOOM – Belize
Mega Ran – Count Me In
Freddie Gibbs, Pusha T – Gold Rings
Josh Rennie-Hynes – When We Touch
Jamila Woods – Good News
Beekeeper Spaceman – Icicles
Slaughter Beach, Dog – Float Away
Helltones – Every Time You Pick a Fight
Fontaines D.C. – Jackie Down The Line
Old Heavy Hands – Coming Down
Jean Dawson, SZA – NO SZNS
Shane Rennison – Cold Winter
Phoenix, BENEE, Pusha T, Chad Hugo – All Eyes On Me
Volk – Stand the Test
The Drums – Plastic Envelope
Leeann Skoda, Sie Sie Benhoff, Dylan Rodrigue – The Living Room
Jax Hollow – Wolf in Sheepskin
Dylan Chambers, Alex Lambert – Don’t Leave Me
EE Beyond – Just Human
Squirrel Flower – Full Time Job
Paper Idols – The Morning
Rocket – Portrait Show
Soul Glo – If I Speak (Shut The Fuck Up)
Oso Oso – computer exploder
Enumclaw – Cowboy Bepop
Dry Cleaning – Swampy
AJ Suede, Steel Tipped Dove – Reoccurring Characters
Jay Worthy, Kamaiyah, Harry Fraud – 9AM


Josh Rennie-Hynes – LIGHT/SHADE

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JOSH RENNIE-HYNES / LIGHT/SHADE LP (OUT OCT. 27)

Australian born, now five-year Nashville resident, indie-pop/dreampop artist Josh Rennie-Hynes’ new album LIGHT/SHADE (out Oct. 27) explores his artistic boundaries, moving from Americana singer-songwriter fare into a more electronic realm—doing what he does best, creating songs that linger long after the first listen. He’s been covered at Rolling Stone, Bridge Magazine, Paste, No Depression, Atwood Magazine, Cowboys and Indians, American Songwriter and more. Authenticity is the defining aspect of Rennie-Hynes’ songs, they feel timeless and familiar while being uniquely his own.

LIGHT/SHADE was written during a period of extreme change and growth for Rennie-Hynes. It has a striking and urgent quality to it as Rennie-Hynes is not afraid to lay out his feelings. It makes you stop in your tracks and simply listen.

“I was falling in love when I was writing this album,” says Rennie-Hynes. “I was probably partying way too much. I was looking at the life I’d created here in a foreign country, away from all I’d known in Australia. I was questioning my boundaries and some of the people I’d surrounded myself with. This album helped me work through and process a lot of that.”

The album sees Rennie-Hynes diving deeper into electronic sounds with the help of his producer and collaborator Kyle Henderson. Together they wrote and recorded the album piece-by-piece over the course of six months, working almost daily on it. The result is an album that’s powerful yet vulnerable, intense yet reflective, deep yet accessible.

Songs like “Morning Stars” show his melodic prowess and romantic inclinations, paying homage to 90’s acts such as Dido with angelic strings wafting throughout. “Head in the Clouds” brings an intensity and spark similar to Post Malone, and includes a spoken word verse by his lover at the time. “When we Touch” feels like a song that could’ve been used in Ryan Gosling’s Drive, with a sexy and pulsating beat, and lyrics that question one’s choices in the later hours of the night. “Fucking with my Head” is a swelling and heavy-hitting track that relates to something we’ve all felt, not knowing up from and down, and being lost in in your thoughts. “Is it in the Water” is a summery track that bursts and emanates with sunshine and young love.

On the back of being awarded the Australian Arts Council’s prestigious Nashville Songwriters Residency, gifted to one Australian Artist a year, Rennie-Hynes relocated to the US in May 2018. He left behind a well-established solo career in his native country and his role as one half of The Ahern Brothers, a folk duo whose harmony-heavy debut album earned a four-star review from Rolling Stone and quickly garnered them a legion of fans throughout Australia and New Zealand. 

Yet, Rennie-Hynes was looking for a change, in both musical direction and setting. Moving into the close-knit East Nashville community, Rennie-Hynes immersed himself in the inspiring and thriving creative scene taking place there. Since making the move in 2018 he’s released a slew of singles and two full-length albums Patterns (2019) and Day Rage (2022) adding to his already extensive catalogue of his self-titled album (2012), February (2014), and Furthermore (2016).

LIGHT/SHADE represents the dichotomy we all experience as human beings, the light and shade that all of us contain inside of ourselves. It’s Rennie-Hynes’ most bold and exploratory album to date. Artists must be willing to push beyond and outside their defined norms to grow and expand, and Rennie-Hynes has always done this. LIGHT/SHADE sees him move into a new space, artistically and stylistically. It’s exciting to see this growth, while at the core of these indie-pop and dreampop songs is that same artist striving for authenticity and honesty. This is what defines Josh Rennie-Hynes’ body of work.

Song credits:
Written by Josh Rennie-Hynes and Kyle Henderson
Produced & mixed by Kyle Henderson
Mastered by Ryan Schwabe

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“Exquisite, shimmering guitar colors and fine lyrical details. 4 out of 5 stars.” – Rolling Stone

“Take the outrageous alt-pop flair from the outback and mix it with the pristine Nashville production and we get something that smells like Parcels bathing musically with Lord Huron… a contagious alt-pop banger that displays the artist’s tenacious knack for experimental pop and hooks.” – Glide

“Pushes the limits with lush pop arrangements over profoundly engaging songwriting. The music serves to uplift Rennie-Hynes soaring, honeyed vocals – just rough enough around the edges to keep things interesting.” – Ghettoblaster Magazine

“Leading with yearning, guitar tones that are instantly redolent of the song’s philosophical nature, the artist sells it with its wishful chorus, sifting through the ebb and flow that our lives all inherently produce.” – PopMatters

“Exemplifies the bright future of Nashville’s music scene.” – Lightning 100 (Nashville)

“Whimsical, bright, nostalgic, yet still a little edgy, this is a perfect song for the end of summer.” – Cowboys & Indians

“Josh Rennie-Hynes reminds us to be present with his latest roaring indie-rock gem. There is an authenticity to it. A true grit. A uniqueness that leaves you wanting more.” – Atwood Magazine

“A good sized portion of Neil Youngesque guitar fireworks… has a wonderful intimacy.” – Americana UK

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Americana Highways debuts the new single from Old Heavy Hands, “All the Time in the World,” noting, “There are pauses, notes, and other aspects of this song that strike you, and by their very nature grab hold of you until you stop in your tracks and think.”

Americana Highways is hosting this premiere of Old Heavy Hands’ song “All the Time in the World” from their new album Small Fires, slated to be released on January 19. Small Fires was produced by Danny Fonorow and Old Heavy Hands; engineered by Mitch Easter, Ted Comberford and Benjy Johnson; mixed by Henry Lunetta and mastered by Greg Calbi and Steve Fallone.

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The Memphis Flyer interviews Dr. Augusta Palmer about her new documentary The Blues Society, writing, “Augusta Palmer’s documentary digs into race, music, and Memphis’ freaky side.”

“I felt like it was like the zombie film that wouldn’t die.” So says Augusta Palmer, filmmaker and associate professor of communication arts at St. Francis College in Brooklyn, about her latest movie, The Blues Society, enjoying its world premiere at the Indie Memphis Film Festival this coming Sunday. But the producer/director isn’t talking about any scary on-screen content; her “zombie” comment refers to the film’s half-genesis nearly 10 years ago, and the way it insisted on being made despite Palmer’s other commitments.

She had compelling personal reasons to see it through: Her father was the late musician and writer Robert Palmer, who helped found the Memphis Country Blues Society in the mid-’60s. Her mother Mary Branton was also deeply involved in the blues festivals that the society staged at the Overton Park Shell from 1966-1969. A decade ago, Augusta Palmer saw footage from the final year of those concerts — shot by Adelphi Records owner Gene Rosenthal — and it resonated deeply with her.

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UpToHear Music reviews new single from The Helltones, “Nothing Compares to You,” calling it “full of heart and emotion, offering warm retro tones that conjure the classic records of the 1960s.”

From Oakland, California, The Helltones return to our blog with the gorgeously stripped-back and soulful “Nothing Compares to You.” The song is full of heart and emotion, offering warm retro tones that conjure the classic records of the 1960s.

“Nothing Compares to You” starts incredibly stripped-back with a warm but purposeful bass line that begins to flesh out the song’s melody. Staccato guitar heralds the introduction of more layers. The guitar churns out classic, slow rock ’n’ roll licks whilst the drums provide a sense of motion and direction. The musical layers remain wonderfully raw over the verses, allowing melody and vintage textures to subtly surround the vocal.

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