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PHOENIX — Grey Daze marks the release of Amends… Stripped (Jan. 29, Loma Vista Recordings), a five-song re-imagination of tracks originally featured on the band’s critically-acclaimed 2020 full-length album, Amends, with a one-of-a-kind global listening session that brings the stirring acoustic songs to life via internationally renowned sand artist Anna Streklova’s animated illustrations.
The special event, including an exclusive interview from the band’s first radio interview from back in the ’90s, is viewable via Grey Daze’s YouTube channel tomorrow, Jan. 28, at 1:00 PM Pacific / 4:00 PM Eastern / 9:00 PM GMT.
“We wanted to create a unique listening experience for our fans to hear this EP for the first time,” says Grey Daze co-founder and drummer Sean Dowdell. “One that was visual, moving, and something we had never seen done before. The nature of sand art as a medium is one that fits well, aesthetically, with the stripped down nature of this particular music. A fleeting form of art that aptly expresses the fragile nature of our band. The resulting illustrated film feels like a perfect metaphor, a dream sequence, an experience that sums up our new release. We hope everyone enjoys it as much as we do.”
Grey Daze returned to the studio in October, working with producer Billy Bush (Garbage, Muse) and a selection of alternate vocal tracks from Chester Bennington. The concept of an acoustic release was something Grey Daze had discussed prior to the release of Amends, knowing that the songs present an entirely new aspect to the material and spotlight Bennington’s immense talent, something they’d only been able to witness in the studio.
Amends… Stripped pre-orders are available now, with the vinyl variant of the EP set for an April 9 street date. The vinyl release includes a trio of ‘90s era interviews with the band from the new defunct Phoenix alternative radio station, KEDG. The release is also available digitally. The band released the single “Shouting Out (Stripped)” and its accompanying video.
Grey Daze releasedAmends in June of 2020 with All Music calling it “a gift for those who loved Chester,” Kerrang! proclaiming the collection “both celebratory and emotional, the record stands as a heartfelt echo of Chester Bennington’s power,” Rolling Stone describing the album “modern without sacrificing Bennington’s inherent adolescent grit” and Billboard saying it “provides some grunge-laced light in an otherwise dark hour.”
Amends’ arrival followed months of build-up for an album that serves as a tribute to Chester Bennington, the man “who was known for his piercing scream and free-flowing anguish”(New York Times) and “a human being with a huge heart and a caring soul” (Associated Press).
The people surrounding the release, his Grey Daze bandmates: Sean Dowdell, Mace Beyers, Cristin Davis, as well as Chester’s family members: Talinda Bennington, his parents, Susan and Lee, and his son Jaime all participated in the curation and storytelling that served as both catharsis and the completion of a promise to see the 11-song album through to completion. They shared stories and insight into how Amends became a reality via a documentary, an eight-part, studio driven video series titled “Making Amends”, and a Dave Navarro (Inked Master, Jane’s Addiction) hosted roundtable discussion featuring Dowdell with Amends contributors Brian “Head” Welch (Korn), Chris Traynor (Bush/Helmet), LP and producer Esjay Jones.
New England-based extreme metal quintet AVERSED has revealed a video for the scientific-inspired track “Laboratory” from the band’s upcoming release, Impermanent. Watch the video for “Laboratory” today via Toilet Ov Hell or here:
“‘Laboratory’ turns self-reflection and actualization on its head, discussing the consequences of ignoring and exploiting the natural world for our own gain regardless of its spiritual or intellectual benefit,” says drummer Jeff Saltzman. “In this interconnected world, we sow the seeds of our mechanized destruction if we only look inward rather than aim to help others.”
“Laboratory” was inspired by Saltzman’s own time working in a biology laboratory and its effects on the world outside of the lab. “Despite our cutting-edge research, we weren’t helping a soul,” he says. “What’s the point? ‘Laboratory’ is my criticism of the pursuit of scientific progress just for the sake of progress.”
Aversed’s Impermanent is set for release on March 19. Mixed and mastered by Christian Donaldson (Cryptopsy, The Agonist, Shadow of Intent), Impermanent illustrates Aversed’s unique approach to songwriting with nine diverse compositions full of catchy hooks and vast melodies. Aversed offered fans a glimpse of the album last month with a video for the title track.
Pre-orders for Impermanent are available here. In addition to the album, a variety of bundles are also available, as well as a brand new t-shirt design.
With the release of Impermanent, Aversed presents a metal experience cultivated of unprecedented beauty and torment. The third release following 2011’s self-titled EP and 2016’s Renewal EP, Impermanent marks a turning point for the New England scene veterans as they pivot from melodic death metal towards a nuanced balance of blackened and orchestral melodic metal.
“Miss Anthropocene is the fifth studio album by Canadian musician Grimes, released on February 21, 2020. It marked her first album in over four years, when she released Art Angels. It was officially announced on March 19, 2019. The album’s name is a pun on the feminine title ‘Miss’, and the words ‘misanthrope’ and ‘Anthropocene’, a neologism popularized in the year 2000 by Paul J. Crutzen that was proposed to denote the current geological age the Earth is in.
“The album is a loose concept album about an ‘anthropomorphic goddess of climate change’ inspired by Roman mythology and villainy.Miss Anthropocene is Grimes’ final album on record label 4AD, to which she has been signed since 2012. The album is darker in style than Grimes’ 2015 album Art Angels, containing inspiration from the sounds of industrial music.” (Source: Wikipedia)
On January 1, 2021, Grimes released Miss Anthropocene (Rave Edition) featuring remixes by ANNA, Richie Hawtin, Channel Tres, Rezz, Âme, Tale Of Us, Julien Bracht, Things You Say, Modeselektor and Bloodpop.
Chosen by:
Katherine Amy Vega
Owner, Manager, Concert Photographer, Media Artist
Katherine Amy Vega | Photography: Jim “Fury” Hesterman
In the darkest midst of the Covid-19 pandemic, LORE and her band recorded a locked-in LIVE audio & video performance.
These are the DEADLY SESSIONS
3 Live Recordings • 3 Live Videos
It all started with Stay-In-Fest 2020…
LIVE from Heretic Sound in Los Angeles, bandmates LORE, Chris Egert, and Vincent Cabagnot were captured performing and recording three songs. This was for Infest’s “Stay-In-Fest 2020” music festival — one of the electro/industrial and goth scene’s most revered UK festivals.
“Our band is proud of these performances because we look and sound just as we do in concert – LIVE, RAW & REAL!”
“It was an exciting offer and we had to make it happen! Plus, after months of lockdown, we needed some fun! I hired a notable music video director and we got it together fast!” said LORE.
“It was also a fun opportunity to premiere a new song, “Until The Day I Die (Gothic Wedding Song) LIVE.”
LORE continued, “These are not the polished album versions. They are more guitar heavy with the electronic elements still prominent. When we realized how great they sounded, we decided to officially release them as a new product. Out of nowhere, a new release!”
Previously released on the SAW IV soundtrack album/Trisol, this version features the same intensity of industrial trip hop with insanely powerful and emotional vocals. “The Wait” is a cowrite between LORE and Julian Beeston.
Recorded, Mixed & Mastered by Chris Egert at Heretic Sound
About LORE
Trip-Hop put her on the map with her song “My Soul Speaks” included on “SHE – a female Trip-Hop Experience.” Next, LORE is featured with LONDON AFTER MIDNIGHT performing Hebrew vocals on “Blessing.” LORE then got her revenge featuring Sean Brennan/LAM on “Haunting” with her debut album, also entitled “MY SOUL SPEAKS.” The album, received outstanding reviews (released in Germany and Russia). Now, LORE delivers her “DEADLY SESSIONS (LIVE)” 3 song locked-in quarantine set of songs and videos. A full studio album anxiously waits in the shadows.
LORE has performed concerts alongside London After Midnight, The Birthday Massacre, Abney Park & more.
LORE’s songs are also included on:
SHE – a female Trip-Hop Experience “My Soul Speaks” (Sonic Images Records)
SAW II OST “My Soul Speaks” (Trisol)
SAW III OST “Haunting feat. Sean Brennan” (Trisol)
A year, a week and a day from their last live performance at KROQ’s Almost Acoustic Christmas, critically acclaimed alternative rock band Jimmy Eat World are excited to announce Phoenix Sessions, a global stream performance series in partnership with Danny Wimmer Presents.
Performing Surviving, Futures, & Clarity in their entirely over three nights…
To kick off 2021, the band will come together for one-of-a-kind performances of three “chapters” in their storied career. Beginning January 15th with a performance of their 10th studio album Surviving (Chapter X), which has only been seen live by the lucky fans who made it to the shows last October, followed by Futures (Chapter V) on January 29th and Clarity (Chapter III) on February 12th.
“We are always looking for ways to challenge ourselves, to do things as music fans that we think would be cool for OUR fans. We came up with the idea of presenting a series of concert films centered around a few specific albums (for now) and performing them on a different level. It isn’t the way we normally play a show and it’s definitely something new for how we approach a performance, but we haven’t been able to share the experience with our fans in over a year… so here we go!” – Jim Adkins, frontman of Jimmy Eat World
Recorded at the Icehouse in Phoenix, AZ, the virtual events will feature the band performing each album in its entirety for a full concert experience. Each show will start at 2pm PST / 5pm EST / 10pm GMT / 11pm CET and will be available on demand for 72 hours post stream at JimmyEatWorldLive.com.
Tickets for these events are on sale NOW and can be purchased as a single show or in a three-pack bundle. Early bird pricing begins at $14.99 for a single performance (through the Sunday prior to each show) and $39.99 for the bundle of all three through January 10th. Other bundles, merchandise and VIP meet and greets will be available at a variety of price levels. For more information on tickets and bundles please visit JimmyEatWorldLive.com.
Danny Wimmer Presents recently entered the digital content curation space, promoting pay-per-view concert streams and creating the popular digital series Offstage with DWP. DWP is known worldwide for their stellar portfolio of music and lifestyle events, which includes Aftershock, Bourbon & Beyond, Epicenter, Hometown Rising, Louder Than Life, Sonic Temple Art + Music Festival, and Welcome To Rockville.
Seminal ska-punk luminaries Less Than Jake will be commemorating the release of their 9th studio album Silver Linings with their first-ever livestream performance this evening at 6pm EST from Gainesville, FL. Tickets are still available here.
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Their 9th studio album and first with new drummer Matt Yonker (Teen Idols, The Queers) is a dozen tracks of a rejuvenated and refreshed Less Than Jake. They picked up right where they left off and aren’t trying to fit in with any current trends because their ska-punk formula has stood the test of time and simply works. Vinyl, CD, and merchandise bundles are still available via Pure Noise Recordswebstore.
Outburn Magazine proclaimed, “expert level ska punk.”The Punk Site asserted, “there is no filler, no throwaway tracks, just old-school ska punk done just as it oughta be.”KERRANG! chimed in, “a collection of typically upbeat ska-punk jams.”ReadJunkadded, “a punkier version of LTJ.”Cryptic Rock declared, “Less Than Jake are only one of a handful of bands that can be considered the best of the best.”
To celebrate the album release, the band revealed their 8 bit style new music video, “Keep On Chasing“, today. Watch it here:
Continuing to play over 150 dates a year while also writing and recording new material has kept the band fresh in a time when “ska” has become something of a four-letter word. The list of acts they have supported is staggering (Bon Jovi, Linkin Park, Snoop Dogg) while the list of bands that have supported them makes even the most hardened music industry veteran do a double take (Fall Out Boy, Paramore, Yellowcard). All the while the band has held firm to its punk rock roots and have managed to live through many musical trends simply by just being Less Than Jake.
With well over 300 releases on various labels under their belt, most would think their legacy is already intact, but the status quo has never interested Less Than Jake. They continue to write and perform new material and have no thoughts of letting up. With the energy and exuberance of a band half its age and the determination of savvy veterans, there is seemingly no end point to this enduring and entertaining band.
Philadelphia pop punk staple The Starting Line will be joining the growing list of Live at Studio 4 livestream concert series performers. They’ll be doing three separate performances that include their classic albums Direction (December 30th at 9pm EST) and Based On A True Story (January 15th at 9pm EST) as well as a “best of” set (January 29th at 9pm EST) live from the legendary Studio 4. Tickets and exclusive merch bundles are now available here.
“We haven’t played together in a year,” explains The Starting Line lead vocalist and bassist Kenny Vasoli. “The only logical thing to do is perform over three dozen songs, whilst being meticulously filmed and recorded. Quite a few of these tracks have NEVER been played live. This is a delightfully insane challenge for me. I know there will be flaws, but I truly can’t wait to embrace the impending raw reflection. I’ve been starved of playing live music with my friends all year… I’m eager and grateful to end that streak.”
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“I’m so excited to have The Starting Line as part of our Live at Studio 4 series,” Will Yip adds. “They’re a band that has had such an impact on our scene and I feel very honored to have them do these three shows here.”
Live at Studio 4 is a livestream concert series that’s curated by Grammy-nominated producer Will Yip and filmed by Sunny Singh of hate5six at the legendary Studio 4 in Conshohocken, PA. Past livestream performances include: The Menzingers, The Bouncing Souls, Tigers Jaw, and Anthony Green.
With a career dating back to 1982 with their lone release as a hardcore group, the Pollywog Stew EP, and their 1986 genre-defining hip-hop debut, Licensed to Ill, it’s hard to remember a world without the Beastie Boys. Considering the deep personal connection many of us have with them (Questlove from The Roots once said that there’s no such thing as a casual Beastie Boys fan), it feels triumphant and yet bittersweet to see the Beasties take one final career lap. Beginning with the 2018 release of their mammoth tome of a memoir Beastie Boys Book, and continuing this year with Apple TV’s Beastie Boys Story, the cycle is now complete with the release of the career-spanning Beastie Boys Music, which was released October 23rd on Universal Music Enterprises.
This is not the first compilation from the band, however, as it follows the previous releases of 1999’s Beastie Boys Anthology: The Sounds of Science and 2005’s Solid Gold Hits. What’s so different about Beastie Boys Music is the feeling of finality to it. While the future could perhaps see the release of anniversary deluxe editions of any of their landmark albums featuring B-sides and unreleased tracks or alternate takes (the 30th anniversary of Check Your Head is in two years, for instance), this still feels like the final word on a career that dates back to their early days as a New York hardcore punk band, through their years as hip-hop innovators, and finally their time as the genre’s elder statesman. With the 2012 death of Adam “MCA” Yauch from salivary cancer, we will never get “new” Beastie Boys music in the truest sense, as Adam “Adrock” Horovitz and Michael “Mike D” Diamond have vowed to never again record as Beastie Boys.
Now, the first issue to confront with any greatest hits album isn’t in reviewing the songs themselves. It’s insulting to the reader and even to the band themselves to approach a collection of their hits as if it is the first time any of us have heard the music. “You should really check out the song ‘Sabotage’ because it’s a total banger!” As with any greatest hits collection, it comes down to two main things: which songs and the sequencing.
Looking at a track-by-track breakdown of the album, it is evident that for this collection, the group opted for the singles specifically in chronological order. That is why their landmark debut Licensed to Ill (the first hip-hop album to go to #1 on the Billboards chart) is disproportionately represented, as compared to later albums, with a total of five songs appearing on the collection:
“Hold It Now, Hit It” – Both Beastie Boys Book or Beastie Boys Story explain the importance of this song to their growth as a hip-hop group).
“Paul Revere” – If you doubt its well-earned stature, try saying “Now here’s a little story that I got to tell” and listen for the inevitable reply from someone within earshot of “of three bad brothers you know so well”
“No Sleep Till Brooklyn,” with Kerry King of Slayer providing the iconic guitar riff, was a long-time set closer for their live shows (later to be supplanted by another song on the collection) and is a deserved inclusion.
The goofy-fun drinking ode “Brass Monkey” is a nice surprise, though it comes at the cost of a lot of great singles that were left off.
Of course, no Beastie Boys collection could possibly omit “(You Gotta) Fight for Your Right (To Party),” the song the band intended as an ironic parody of “party” and “attitude”-themed songs, in the same vein as “Smokin’ in the Boys Room” and “I Wanna Rock” and which the dearly-departed MCA once referred to as “kind of a joke that went too far.” Regardless of its original intentions or how it was received and what it became as a result, it’s still a fun song and hard to not sing along to (as loudly and obnoxiously as possible).
Heavily regarded by both fans and critics as one of the greatest hip-hop albums of all time, Paul’s Boutique still somehow feels like it’s underrated in their discography, as it’s sandwiched between the instant-classic Licensed to Ill and the one-two punch of Check Your Head and Ill Communication, like being the smart, sensitive middle child between the class clown and the golden child. Maybe it’s that status that makes the three tracks included from it (“Shake Your Rump,” “Hey Ladies,” and “Shadrach”) sound so fresh. They also don’t suffer from cultural saturation, as some of Licensed to Ill’s singles do. In fact, I would argue that “Shadrach” may be one of their greatest tracks on any album (check out the Nathanial Hörnblowér-directed video for it that featured live footage hand-painted by different artists to create a moving painting).
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Anyone who even has a cursory knowledge of the band’s history knows that the lack of success from Paul’s Boutique left the group with a unique opportunity: to reinvent themselves free from the somewhat indifferent eye of their record label, Capitol. This led to them doing anything and everything they wanted to try, resulting in the genre-defying 1992 classic Check Your Head.
While for a band that released eight albums across 25 years, “best album” becomes a heated debate, I place myself firmly in the Check Your Head camp. It doesn’t matter how many times I’ve heard them: “Jimmy James,” “Pass the Mic,” and “So What’cha Want” still hit just as hard. The album’s “anything goes” experimentation took them to the next level. By taking up their instruments again (for the first time since their early hardcore days) and creating their own samples, they did what no hip-hop groups before them had done and only a few have sense.
If Check Your Head was the reinvention, then Ill Communication was the polished refinement of that reinvention. Two of Ill’s tracks, “Get It Together,” (featuring Tribe Called Quest’s Q-Tip guest verse), and the ode to early NYC hip-hop “Root Down”, are no brainers, but the album’s two true classics get to the essence of the Beastie’s greatness, “Sure Shot” and “Sabotage,” as they draw on the band’s two eras: hardcore punk (“Sabotage” is essentially a radio-friendly punk song) and hip-hop (“Sure Shot” has the classic pass-the-mic structure of the best of their songs).
“Sure Shot” features a verse from MCA that still sounds ahead of its time, when the late rapper dropped “I want to say a little something that’s long overdue/The disrespect to women has got to be through/To all the mothers and the sisters and the wives and friends/I want to offer my love and respect to the end,” and seemingly became the first male rapper to embrace feminism. This lyric and MCA as the group’s spiritual leader was well-highlighted in the book and documentary. At a time when a lot of rap lyrics were still leaning heavily into “bitches” and “hoes,” MCA took an important step for rap music as a whole and changed the image of a group much-maligned early for songs like “Girls” (you can Google the lyrics, if you don’t know).
Now, “Sabotage” is “Sabotage” and it will outlive us all. Heck, a joke in the rebooted Star Trek films was Captain James T. Kirk’s love of the song — considered to be an “oldie” in a distant future of routine space exploration. Fun bit of band trivia: “Sabotage” first had life as an instrumental jam inspired by MCA fiddling around on the bass and coming up with the signature bassline. The original recording had no title, and became known as “Chris Rocks” after an overly-enthusiastic studio tech named Chris lost his mind after hearing them record the demo and yelled “this shit rocks!” It lived as “Chris Rocks” until Adrock free-styled the vocals screaming his frustrations at the band’s producer Mario Caldato, resulting in the thinly-veiled but good-natured shots at Mario C, such as: So, so, so, so listen up, ’cause you can’t say nothin’/You’ll shut me down with a push of your button. Though arguments can be made for their greatest track, “Sabotage” is their most well-known song, finally dethroning “(You Gotta) Fight for Your Right (to Party)” for that title and has aged well, now 26 years since it’s original release. That is why it became and remained their set closer for the rest of their existence as a touring group.
The later half of their career, though representing three albums over a 13-year period is relegated to a total of five tracks, with two tracks from 1998’s Hello Nasty, one track from 2004’s To The 5 Boroughs, and two tracks from their 2011 swan song Hot Sauce Committee Part Two. This is the lone weakness of this compilation, as each of those albums deserves more time, but that is time that a single-set greatest hits collection simply cannot afford. Still though, it feels strange that the demands of a reasonable runtime means that Nasty’s “Three MC’s and One DJ,” Boroughs’ “Triple Trouble” or “Open Letter to NYC,” and Hot Sauce’s Nas-duet “Too Many Rappers” are unfairly left off the album. It is recognized, though, that those tracks were singles but not huge hits. Que sera, sera, I suppose.
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While the dream of a Beastie Boys compilation in the same vein as the three-part Beatles Anthology series — filled with outtakes, b-sides, and demos — will hopefully be realized someday, for now we have this solid greatest hits. Though the hardcore Beastie devotees, like myself, will still pick this up and file it next to all the albums its songs are taken from, it is not an album strictly for us. It is an album for the next generation — for kids who are discovering the Beastie Boys through their parents and a family viewing of Beastie Boys Story.
A greatest hits album is meant to crystalize the essence of the artist, and to that degree, Beastie Boys Music does that admirably so. This collection eschews The Meters-inspired jazz-funk tracks that were sprinkled across Check Your Head and Ill Communications, as well as their returns to their hardcore roots on the same albums. (Not many are going to argue that a greatest hits collection should include “Heartattack Man,” no matter how killer of a hardcore track it is). The focus here is on the accepted canon of Beasties hits and the tracks that made them so beloved worldwide.
If this is their final career lap, then it’s a fitting send-off for them; it’s a reminder of everything that made them so great, because more than anything, the Beastie Boys are the soundtrack of fun. With this collection, older fans will revisit those moments in our lives and rekindle those memories with each song. (“So What’cha Want” was the first song I played in my car when I got my license… to drive, not to ill.) However, this collection will serve as a bridge to new fans — the children (or even grandchildren) of those who grew up with Mike, Adam, and Adam.
There is certainly a timelessness to the Beasties’ music that will transcend generations, and as each comes and goes, and even as each of us who remember the first time we saw the 70’s cop-show inspired video when it premiered on MTV are laid to dust, there will still be people with the windows down and “Sabotage” turned loud.
“Released in conjunction with his book How to Write One Song, the Wilco frontman’s response to the pandemic is a mellow, easygoing collection of songs stressing the importance of human connection.” — Pitchfork
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Jeff Tweedy’s New Album is Available Digitally Now
All preorders come with an instant download of the full album.
Vinyl preorders before Jan. 14 in The Wilco Stores (US/EU/AU) will receive a free white 7″ single featuring two bonus tracks: “Susquehanna River” and “I’d Rather Be Alone.” While supplies last.
John Lennon once said his dream would be to write a song one day, record it the next, produce it the following day, press and release it immediately after in an attempt to get art out into the world as fast as possible (he came close as was probably possible with “Give Peace a Chance”, which was written, recorded, produced, pressed, and released in just over a month). While our modern musical landscape may make that dream even more feasible, with musicians able to put music into the world via SoundCloud and other such streaming services as instantaneously as it can be written, it’s still quite the daunting task, and even more so to do it with an entire album.
Drive-By Truckers have come as close as is probably possible for a band in this era to accomplish that task with last Friday’s surprise release of The New Ok, the band’s 13th studio album and second of 2020. For a band that has released that many albums over the course of their 22-year existence, it is still a remarkable feat. They are a band who has set a standard for themselves of releasing an album at least every 2-3 years, with 4 years being their biggest gap between releases (between 2016’s American Band and The Unraveling, released just this past March). In a normal year for the Truckers, as their fans most-often call them, they would release an album, tour the world like crazy, playing epic shows in each city, return home to write and record, and begin the whole process all over again. That is a normal year for the band.
This, however, has been anything but a normal year. Back in March, I was playing The Unraveling on repeat and gearing up to see the band play live for the fifth time, and my first time as an Arizonan. I was loving the new album and could not wait to hear it live with all the furious energy I had come to expect from seeing them those previous times. A Truckers show is an event: a true ROCK SHOW that leaves even the newest of converts pumping their fists, singing along, and riding a rollercoaster of emotions until the moment Patterson Hood says goodnight and the band leaves the stage. A Truckers show is a life-affirming good time. I could not wait to see one of my favorite bands in my new home, and then the pandemic happened. Live shows went away, and my wife and I were left stuck at home, both of us teachers trying to teach in the new reality of a world turned upside-down. I sat in my office and tried to figure out how to do my job all over again, and listened to all their other albums through headphones while adjusting to this new reality.
The Truckers were always one of the hardest-working bands in rock, and not even a pandemic can slow them down. In between playing online live shows, founding members and dual songwriting threats Hood and Mike Cooly managed to write and record The New Ok —an album that speaks as much to our times through its title as it does through its songs.
The opening track “The New Ok” pays homage to that thing we struggle every day to accept and are at the same time so sick of discussing: the idea of our collective “new normal.” Things that were at once so commonplace now seem foreign and strange to think about, like going to a concert or a live sporting event. Even our attempts to adjust and find that semblance of normalcy have gone awry. Hood sings on the track: Deep in my own head drenched from the cups/I thought going downtown might cheer me up/We promised each other we wouldn’t let it get too rough/Said, “Let me know son when you’ve had enough.” While the narrator struggles to adjust, he struggles along with everything that has occurred during this new ok, as the struggles of the pandemic give way to the Black Lives Matter protests and violence that happened in cities across the country. This new ok is anything but ok, and the Truckers are struggling right along with us.
The high-water mark for relevant political songs is Crosby Stills Nash and Young’s “Ohio,” written by Young in the immediate aftermath of the Kent State shootings. It was written and recorded within two weeks of the shootings and released as a single within a month. With “Perilous Night,” the Truckers have their “Ohio.” The song was originally written and released just two months after the “Unite the Right” rally in Charlottesville that saw white supremacist groups descend and duel with anti-racism protestors and resulted in the death of activist Heather Heyer. The song directs its anger not just at the white supremacists but at the politicians who enable them and oftentimes embolden them. While “Ohio” captured a single, tragic moment in our nation’s history, “Perilous Night” is a song I cannot imagine the band could have ever thought that when the single was first released in the fall of 2017 it would still be relevant enough to be included as an album track three years later and feel like it had an immediacy to it. (Literally as I wrote this review, news broke that a member of a white supremacist group shot up a police precinct in Minneapolis during the protests over the death of George Floyd and tried to frame Antifa and Black Lives Matter protestors for the crime.)
“Sarah’s Flame,” released as the b-side to “The Unraveling” on the first Record Store Day drop in August, is a plaintive drum-and-organ-driven ballad from Mike Cooley that may stand as one of his finest songs in the Truckers’ oeuvre. The band has been ever-evolving in their sound since their 1998-debut Gangstabilly (this is a band after all whose third album was a legit rock opera and still stands as one of their finest works), and yet the Memphis-soul vibe of “Sea Island Lonely” proves to be a bold step and one of the album’s true stand-out tracks, with the horns and rhythm section serving as a perfect compliment to Hood’s always-distinct vocals.
The extended political metaphor of “Watching the Orange Clouds” finds Hood, or at least a Hood surrogate, bracing himself for an impending storm and wondering what more he can do to stop it from happening. He worries for his kids who have benefited from their race and position in life, but sees that they are becoming increasingly aware that not everyone shares their privilege. As he stands on his balcony, his mind is awash with how overwhelming the horribleness is that has beset all of our lives: he contends with violence against BIPOC, white nationalists, the pandemic, and the relentless assault of the bleak. As for the titular “orange cloud” he hopes will go away, well, you can probably figure that one out on your own.
While they have never been adverse to cover songs, the Truckers have usually reserved them for live-show surprises in the past (such as their cover of Jim Carroll’s “People Who Died” on their 2000 live album Alabama Ass Whuppin’) or as one-off covers for tributes (their covers of Warren Zevon’s “Play It All Night Long” and Dylan’s “Like a Rolling Stone” were both recorded for tribute albums and included on their 2009 B-Sides and Rarities album The Fine Print [A Collection Of Oddities And Rarities] 2003-2008). But their album-closing take on The Ramones “The KKK Took My Baby Away” is the tonally perfect ending to an album about dealing with new realities. While the song was originally written by Ramones lead singer Joey Ramone as a dig at bandmate and rare punk-rock conservative Johnny Ramone, who teased Joey often for being Jewish and then stole Joey’s girlfriend Linda, here the Truckers put a universal context spin on it, as some of us have seen friends or family reveal alt-right leanings or outright white nationalist proclamations. While to some, the southern Drive-By Truckers covering the prototypical New York punk rock legends may seem surprising, there is more shared DNA between the two bands that might be apparent if you held up pictures of each band side-by-side. The cover serves as the perfect coda on dealing with a reality that is so often unrelentingly horrible, and though Ramone’s protagonist is calling to get help as his girlfriend is literally kidnapped by Klan, helplessly seeing people close to us seduced by racist ideologies is terrifying and just as tragic.
There is an urgency to The New Ok that feels welcomed right now. It is an album that feels the walls closing in and is screaming into the void. If misery loves company, then the Truckers have given us the perfect record to commiserate with. While things are anything but ok right now, The New Ok is what we need to come to terms with not feeling ok.
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