It is a concept album that loosely mirrors SLP’s journey to be artistically liberated against a stifling government regime, and the story unfolds with theatrical grandeur. SLP’s sophomore American release, Pirate Radio / Radio Pirata, is an artistic and personal milestone for the group. For its latest album, Pirate Radio / Radio Pirata (Thirty Tigers), the band collaborated with major songwriters such as Blair Daly, Zac Maloy, and Sam Hollander for a triumphant and empowering collection of rock fused with an accessible pop structure and some of the everyday heart infused by Nashville’s country sound. Along the way, the anthemic rock band earned a prime performance broadcast for PBS’s Havana Time Machine an artist profile on NPR’s “Weekend Edition” and a cover story in the Miami Herald. In just a few years, Cuban-born, Nashville-based quintet Sweet Lizzy Project has gone from its members never having been in an arena, to mesmerizing an audience of 20,000 people opening for their idols, Heart and Joan Jett. We all grew up loving these hip-hop beats, so why not make an album that has the grit of Run DMC or Beastie Boys, along with all the folk instruments that we play? We wanted to make something raw, something with attitude. There's no boundaries, says frontman Judah Akers, who shares the band's lineup with drummer Spencer Cross, mandolin player Brian Macdonald, and banjo wiz Nate Zuercher. It's a wide-ranging sound, with fuzz bass, hip-hop percussion, distorted banjo riffs, and super-sized melodies all stirred into the same mixing pot. With their second full-length album, Folk Hop N Roll, the guys shine a light on the place where their influences overlap. Later, after college brought all four musicians to Tennessee, it only made sense to combine those different backgrounds # and different sounds # together. They loved it all: the twang of folk, the beat of hip-hop, the drive of rock & roll, the punch of pop. ![]() Years before forming one of Nashville's most genre-bending bands, the members of Judah &the Lion grew up in separate corners of the U.S., listening to every type of music that came their way. This hybridized approach allowed the band to harness each song's absolute core, then grace it with texture and depth. And then, as Everett has done on recent albums by The War on Drugs and Kacey Musgraves, he spent an obsessive amount of time alongside Alvvays filling in the cracks, roughing up the surfaces, and mixing the results. On the second day, they ripped through Blue Rev front-to-back twice, pausing only 15 seconds between songs and only 30 minutes between full album takes. The luminous poser kiss-off of "Velveteen," the lovelorn confusion of "Tile by Tile," the panicked but somehow reassuring rush of "After the Earthquake."In October 2021, when they arrived at a Los Angeles studio with fellow Canadian Shawn Everett, he urged them to forget the careful planning they'd done and just play the stuff, straight to tape. There are newly aggressive moments here-the gleeful and snarling guitar solo at the heart of opener "Pharmacist," or the explosive cacophony near the middle of "Many Mirrors." And there are some purely beautiful spans, too-the church- organ fantasia of "Fourth Figure," or the blue-skies bridge of "Belinda Says." But the power and magic of Blue Rev stems from Alvvays' ability to bridge ostensible binaries, to fuse elements that seem antithetical in single songs-cynicism and empathy, anger and play, clatter and melody, the soft and the steely. They have, in part and sum, never been better. Hell Is In Your Head Īlvvays' third album, the nervy joyride that is the compulsively lovable Blue Rev, doesn't simply reassert what's always been great about Alvvays but instead reimagines it. Steve Reich: Runner / Music for Ensemble & Orchestra The Hours (Music From The Original Motion Picture) Older: Remastered įree LSD Įternal Ring ĭear amelia
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