The Sword return with new album Used Future: Stream

Austin metal outfit The Sword return today with their new album, Used Future. Apple Music and Spotify users can now stream it in full.

The 13-track collection follows 2015’s High Country and was recorded in Portland, Oregon alongside producer Tucker Martine (My Morning Jacket, First Aid Kit). In an interview with Billboard, lead singer and guitarist J.D. Cronise revealed the band’s sound has evolved away from doom metal and now incorporates elements of Led Zeppelin, Thin Lizzy, and Blackfoot.

“We have to do something that we find interesting and enjoyable,” Cronise stated. “And for me, the same old thing all the time just gets boring after a while. Our tastes have changed and evolved and matured over the years, and to me, everything we’ve done feels totally natural.”

He added, “I think what’s weird is people’s reactions of not really knowing what to make of [the new sound]. Which, in a way, I get, because it’s just not a thing that’s done very commonly these days. But for me, I can’t imagine it having gone any other way.”

Used Future Artwork:

used ftr final The Sword return with new album Used Future: Stream

Used Future Tracklist:
01. Prelude
02. Deadly Nightshade
03. Twilight Sunrise
04. The Wild Sky
05. Intermezzo
06. Sea of Green
07. Nocturne
08. Don’t Get Too Comfortable
09. Used Future
10. Come and Gone
11. Book of Thoth
12. Brown Mountain
13. Reprise

The Sword have mapped out a North American tour behind Use Future. Check out the complete itinerary below.

The Sword 2018 Tour Dates:
03/23 – El Paso, TX @ Tricky Falls *
03/24 – Phoenix, AZ @ Rebel Lounge *
03/25 – Los Angeles, CA @ El Rey *
03/26 – San Francisco, CA @ Fillmore *
03/27 – Sacramento, CA @ Ace of Spades *
03/29 – Seattle, WA @ Neumos *
03/30 – Spokane, WA @ The Pin *
03/31 – Boise, ID @ Neurolux *
04/02 – Salt Lake City, UT @ Metro Music Hall *
04/03 – Grand Junction, CO @ The Mesa Theater #
04/04 – Denver, CO @ Gothic Theatre *
04/06 – Lincoln, NE @ The Bourbon Theatre *
04/07 – Minneapolis, MN @ Skyway Theatre *
04/08 – Milwaukee, WI @ The Rave II *
04/09 – Louisville, KY @ Mercury Ballroom *
04/10 – Memphis, TN @ Minglewood Hall/Lounge 1884 *
04/11 – Baton Rouge, LA @ Varsity Theatre *
04/12 – Houston, TX @ White Oak Music Hall *
04/25 – New Orleans, LA @ Parish @ House of Blues ^
04/26 – Birmingham, AL @ Zydeco ^
04/27 – Knoxville, TN @ The International ^
04/30 – Atlanta, GA @ Masquerade ^
05/02 – Philadelphia, PA @ Theatre of Living Arts
05/03 – Brooklyn, NY @ Music Hall of Williamsburg ^
05/04 – Richmond, VA @ Canal Club ^
05/07 – Baltimore, MD @ Soundstage ^
05/08 – Boston, MA @ Paradise Rock Club
05/10 – Toronto, ON @ The Opera House ^
05/11 – Montreal, QC @ Foufounes Electriques ^
05/12 – Rochester, NY @ Anthology ^
05/13 – Cleveland, OH @ Grog Shop ^
05/14 – Detroit, MI @ Saint Andrews ^
05/15 – Columbus, OH @ Skully’s Music Diner ^
05/17 – Tulsa, OK @ Cain’s Ballroom ^
05/18 – Dallas, TX @ Gas Monkey Gar N’ Grill ^

* = w/ King Buffalo
# = w/ King Buffalo and Shawn James
^ = w/ The Shelter People

from Consequence of Sound


Jack White returns with new album Boarding House Reach: Stream

Today marks the release of Boarding House Reach, the new album from Jack White. Apple Music and Spotify users can stream it in full below.

The 13-track collection is White’s third solo full-length and follow-up to 2014’s Lazaretto. It was initially begun in a small apartment in Tennessee, but was eventually produced and recorded in three proper studios: Sear Sound in New York City, Capitol Studios in Los Angeles, and his own Third Man Records Studio in Nashville. White also gave in and finally began using Pro Tools during his sessions — all thanks to Chris Rock.

(Read: Jack White in 10 Songs)

For the sessions, the Detroit-born rocker recruited an entirely new group of musicians, including drummer Louis Cato (Beyoncé/Q-Tip/John Legend); bassist Charlotte Kemp Muhl (The Ghost Of A Saber Tooth Tiger); bassist NeonPhoenix (Kanye West); synth players DJ Harrison and Anthony “Brew” Brewster (Fishbone, The Untouchables); keyboardist Neal Evans (Soulive/Talib Kweli/John Scofield); keyboardist Quincy McCrary (Unknown Mortal Orchestra); percussionist Bobby Allende (David Byrne); percussionist Justin Poree (Ozomotali); as well as backing vocalists Ann and Regina McCrary of gospel trio The McCrary Sisters and C.W. Stoneking, who contributes a spoken word performance on the album track “Abulia and Akrasia”. Past collaborators including drummers Daru Jones (Nas, Talib Kweli) and Carla Azar (Autolux, Depeche Mode) also appear on the album.

Boarding House Reach contains a pair of songs whose origins date back many years. “Ice Station Zebra” is a track taken from his scrapped collaborative album with JAY-Z, while “Over and Over and Over”, goes back 13 years and was originally written for The White Stripes. Other early singles include “Connected By Love” and “Corporation”.

Next month, White will launch an extensive tour in support of Boarding House Reach, and you can grab tickets here.

Boarding House Reach Artwork:

boarding house reach Jack White returns with new album Boarding House Reach: Stream

Boarding House Reach Tracklist:
01. Connected By Love
02. Why Walk A Dog?
03. Corporation
04. Abulia and Akrasia
05. Hypermisophoniac
06. Ice Station Zebra
07. Over and Over and Over
08.Everything You’ve Ever Learned
09. Respect Commander
10. Ezmerelda Steals The Show
11. Get In The Mind Shaft
12. What’s Done Is Done
13. Humoresque

from Consequence of Sound

Neil Young shares original soundtrack for fantasy western Paradox: Stream

Today marks the release of Paradox, the new film written and directed by Daryl Hannah and starring Neil Young. The film is now streaming on Netflix. Young also helmed the film’s soundtrack, which you can stream, which you can stream below via Apple Music, Spotify, or on Young’s archival site.

Young’s “fantasy western” is part film, part concert, and the soundtrack is comprised of studio and live performances from Young and his band, The Promise of the Real, as well as session players Jim Keltner and Paul Bushnell and an orchestra recorded on the MGM Soundstage. Narration from Willie Nelson, who appears in the film alongside his sons Lukas and Micah, provides some opening narration, as well as his own “Angel Flying Too Close To The Ground” for the gang to cover. Young and his cohorts also try their hands at songs by blues legends Jimmy Reed and Lead Belly, and, for the first time, Promise of the Real joins Young for a performance of “Peace Trail”. A press release notes that all the music was recorded spontaneously with no overdubs.

We weren’t the biggest fans of Paradox as a film, though Young and Hannah themselves described it as having “more pot than plot” during a talkback at its SXSW premiere. “This is us. We are making this for our peeps. We’re not trying to impress anybody,” Young told Rolling Stone last week. Our own review does call out the film’s music as a highlight, however. “The film is a bit foggy regarding how any of the musical sequences tie into the bigger picture, but Promise of the Real are much more comfortable backing Young on an exceptionally fired-up ‘Cowgirl In the Sand’ from Desert Trip 2016 than they are when pretending to be shit-kickers,’ writes Dan Caffrey. “The same goes for an impromptu campfire huddle where Lukas Nelson delicately sings his father’s ‘Angel Flying Too Close to the Ground’ — made even more poignant for reasons I won’t spoil here. Earlier on, Young gets all stripped-down himself for a rendition of “Pocahontas” played on his 1885 Estey reed organ.”

Paradox Artwork:

neil young paradox 11 Neil Young shares original soundtrack for fantasy western Paradox: Stream


Paradox Tracklist:

Side 1:
01. Many Moons Ago In The Future (Narration by Willie Nelson)
02. Show Me
03. Paradox Passage 1
04. Hey
05. Paradox Passage 2
06. Diggin’ In The Dirt – Chorus (written by Neil Young, Lukas Nelson &
Micah Nelson)
07. Paradox Passage 3
08. Peace Trail (Engineered and Mixed by Tim Mulligan and Dave Lohr)

Side 2:
01. Pocahontas (Engineered and Mixed by Tim Mulligan and Dave Lohr)
02. Cowgirl Jam ((Engineered and Mixed by Tim Mulligan and Dave Lohr)
03. Angel Flying Too Close To The Ground (written by Willie Nelson)

Side 3:
01. Paradox Passage 4
02. Diggin’ In The Dirt (written by Neil Young, Lukas Nelson & Micah Nelson)
03. Paradox Passage 5
04. Running To The Silver Eagle (written by Neil Young + POTR)
05. Baby What You Want Me To Do? (written by Jimmy Reed)
06. Paradox Passage 6
07. Offerings
08. How Long? (written by Huddie Ledbetter)

Side 4:
Etched artwork

from Consequence of Sound

Pink Floyd announce remastered vinyl reissue of live album Pulse

Just a few weeks after it was revealed that a mono reissue of Pink Floyd’sThe Piper At The Gates of Dawn would be one of Record Store Day’s exclusive releases, the legendary rock outfit have announced yet another vinyl reissue. On May 18th, a remastered edition of live album Pulse will be available as a 4-LP box set, making it the album’s first vinyl reissue since it was first released in 1995.

(Dissected: Pink Floyd)

Featuring audio remastered from the original tapes by James Guthrie, Joel Plante and Bernie Grundman, the songs will be pressed on 180-gram wax and ensconced in individual inner and outer sleeves. As on the live recording’s original cassette release, this edition will also include “One Of These Days”, which wasn’t included on the CD version. There’s also a 52-page hardback photo book, as well as artwork that’s been recreated by Hipgnosis’ Aubrey Powell and Peter Curzon. Curzon, it should be noted, worked on the original packaging with late Hipgnosis cofounder Storm Thorgerson.

Pulse is comprised of audio culled from Pink Floyd’s 1994 tour in support of The Division Bell, with David Gilmour, Nick Mason, and Richard Wright cycling through cuts from that album in addition to a full performance of The Dark Side of the Moon.

pink floyd pulse Pink Floyd announce remastered vinyl reissue of live album Pulse

from Consequence of Sound

RZA announces new live-score screenings of classic kung fu film The 36th Chamber of Shaolin

The inspiration behind much of Wu-Tang Clan’s catalog and aesthetic can be traced back to Lau Kar-Leung’s classic 1978 kung fu film The 36th Chamber of Shaolin. RZA, founding member of the hip-hop collective, was especially drawn to the movie’s portrayal of oppressed Chinese villagers, a feeling he could relate to as a minority growing up in America.

(Read: Enter The Wu-Tang (36 Chambers): A Roundtable Retrospective)

“Beyond the kung-fu, it was the reality of the situation that hit me,” RZA shared in a press statement. “Growing up as a black kid in America, I didn’t know that that kind of story had existed anywhere else.”

As a tribute to the influential film, last year RZA launched Live From The 36th Chamber of Shaolin, an audio visual concert experience in which he re-scored the film live from beginning to end using Wu-Tang’s discography. Today, the rapper has announced he will bring back that same concept for a new run of US dates in April. Denver, Miami, and Los Angeles are among the cities on his itinerary.

Find all the upcoming dates below.

RZA: Live From The 36th Chamber of Shaolin 2018 Tour Dates:
04/17 – Denver, CO @ Paramount Theatre
04/18 – Washington, DC @ Warner Theatre
04/20 – Miami, FL @ Lemon City Studios
04/24 – Los Angeles, CA @ Palace Theater
04/26 – San Francisco, CA @ Castro Theatre

Revisit a trailer for The 36th Chamber of Shaolin:

from Consequence of Sound

Alone Together, Finally: Esther Povitsky on Her Freeform Show’s Post-Adolescent Characters, Adult Sleepovers, and Costume-Laden Finale

In a world of cutesy teen shows and formulaic sitcoms with a big, beating heart in the middle, Freeform’s caustically hilarious Alone Together stands out from the pack. Over the course of its first season, aimless forever-friends Esther and Benji (played by co-creators Esther Povitsky and Benji Aflalo, who created the show with Eben Russell) tear each other down as much as they build each other up – all while trying to shortcut and manipulate their way to fame amidst the superficiality of Los Angeles. Whether they’re at forced sleepovers, in long lines at pop-up stores, or in ska-inspired music videos, Alone Together celebrates its protagonists’ flighty selfishness, with quick-witted dialogue and brilliantly deadpan performances from both Povitsky and Aflalo.

In a review of the show’s premiere, our very own Allison Shoemaker admiringly called Alone Together “as warm and cuddly as a canker sore.” If the rest of the first season’s gut-busting sociopathy is any indicator, tonight’s season finale will be even more acidic. Consequence of Sound spoke with star/creator/writer Esther Povitsky last week about Esther and Benji’s ‘won’t-they’ friendship, the perils of alcohol-based friendships, and how many fancy costumes we can expect to see in tonight’s finale.

On the Esther/Benji dynamic

“It was important in the sense that people just need to get who we are. When you’re starting on a series, the most important thing in the first episode, or even the first scene, is to very quickly educate an audience on who you are, so they can get to know you and get on board with you.

For us, so much of our relationship is the fact that we’re not together like that. So yeah, right out of the gate we wanted to make that clear.”

Alone Together, Photo by Eric McCandless

On the person named Esther writing for the character named Esther

“I just try to always stay true to what’s honest to me, what’s real to me – but within reason… Obviously, personally, I don’t think I’m as crazy as Esther – I have more of a direction to my life than this character. It’s about taking those things deep within me that I don’t always let out and putting it into [her].”

Of course, in a show as actively caustic and cynical as Alone Together, it’s crucial to not pull punches when it comes to the selfish things the characters do to one another. Take the episode “Pop-Up”, in which Esther clearly uses her paramedic boyfriend (played by Jon Barinholtz) to protect her place in line for a pop-up store. For Povitsky, there’s never an impulse to shy away from the joke for the sake of going too far in Esther and Benji’s treatment of one another.

“I feel we just go for it! Our friendship is more akin to a sibling relationship. We fight and we don’t like to hold back on that. Because I think that’s real, you know? You see friendships on TV where everything’s perfect, and they make up at the end of the day.”

For the lost kids of Alone Together, that’s a far cry from reality. While there’s an essential core of affection at the heart of Esther and Benji’s relationship (they’re both self-centered in similar enough ways that draw them together), they never miss a chance for a brutally honest verbal jab.

On “Sleepover” and adult friendships

For a prime example of how the characters of Alone Together struggle to tackle the responsibilities of the everyday world, look no further than the eighth episode of the series, the aptly titled “Sleepover”. Co-written by Povitsky, “Sleepover” sees Esther desperately attempt to calcify some bachelorette-party acquaintances into life-long friends through an old-fashioned slumber party — complete with Clueless-themed T-shirts that say “Esther Club” and coordinated party dancing.

“[My approach was] feeling how hard it is to make new friends as an adult – that’s a really common experience for people,” Povitsky said. “Oftentimes, people will just stay friends with their old friends from high school, middle school, or even college.”

“You don’t know how to make friends as a grown-up. You just know how [you did it] when you were young. That was the message behind the madness there: we’ll get these girls to feel like they were young again, and we’re all in the mode of friendship. Of course, it doesn’t work — grown-ups like to drink alcohol and do grown-up things; they don’t necessarily like Puffy Paint. But for this character and me, that’s all she wanted to do — try to force it on people and make it work.”

Part of Esther’s desperation to be liked is a fear of a lack of authenticity in her relationships; in that same sleepover, she insists on serving Stevia lemonade instead of booze because she wants to make sure the connection they make is real instead of fueled by alcohol. It’s a comically elevated premise, to be sure, but one rooted in Povitsky’s own anxieties about the realness of her own interactions with people.

“I’ve had that happen before — not even in the context of a hookup, but even for friendships. You have a really intense night with someone, you talk a lot, you get to know each other really well. Then the next day, you’re like, ‘Wait, we were drunk – did it really mean as much to them as it did to me?’ And sometimes the answer is no. I just felt like that was interesting, and it happens in a lot of situations that aren’t just sexual situations.”

Alone Together, Photo by Ron Tom

On the finale and season two (already in the works!)

Povitsky says there won’t necessarily be any big revelations or culmination of major plot threads, since this season was relatively episodic. “But… things happen, you know?” she admits with a laugh. “Esther and Benji both set out to better themselves in the workplace and take different paths. We’ve got some big guest stars; there’s a lot of good costumes. That’s all I’ll say. The finale, I think, is going to be a really fun episode.”

Alone Together’s inaugural season has been a welcome home for the kind of dry, venomous double-act we’ve been missing since Hulu tragically ripped Difficult People off the air. As for season two (ordered even before the show’s premiere), Povitsky teases a bit more complexity in the strange, compelling dynamic between Esther and Benji: “We really want to explore the realities of that friendship.” They’re also toying around with the idea of including more of an overarching story to the second season as well.

Alone Together stands to finish its first season with a strong sense of identity, which can only grow in future seasons — something it has in common with some of Freeform’s other standouts, including Grown-ish and The Bold Type. By definition, it’ll be hard to give Esther and Benji much growth beyond their self-obsessed millennial trappings – after all, their stunted development and obsession with escaping their loser status is the glue that binds them together. Even so, Alone Together’s charms lie squarely with Povitsky, Aflalo, and producers The Lonely Island’s dedication to never letting its characters get too comfortable, too successful. If they keep that up, and maintain the caustic, codependent friendship between Esther and Benji that is the core of the show’s appeal, they’ll be just fine.

You can hear more of our conversation with Esther Povitsky later this week when TV Party will be releasing an episode about the best teens in TV history.

from Consequence of Sound

TV Party: “Rank and File: The 25 Best Teens in TV History”

Whether they’re counterculture iconoclasts or hilariously uptight, heroes or villains, teenagers have had a long history as some of television’s most important and indelible characters. But who stands out among the crowd?

For this special, extra-long episode, Allison and Clint (along with Film Editor Dominick Suzanne-Mayer and The A.V. Club’s Caroline Siede) lock themselves in their rooms with nothing but a telephone and a Lisa Frank binder to figure out who the greatest teenagers in TV history may be.

Along the way, we also hear from Alone Together‘s Esther Povitsky on the characteristics of on-screen teens, and a few words from One Day at a Time‘s Isabella Gomez on her character’s inclusion on the list!

(Special thanks to writers Kate Kulzick and LaToya Ferguson for helping curate this list!)

To download, click “Share” and right-click the download icon  |   iTunes  |  Podchaser

3:33 – What Makes a Great TV Teen?
6:03 – Interview with Alone Together’s Esther Povitsky on TV Teens
15:33 – Who Did We Leave Off the List?
25:46 – Honorable Mentions

The List:
31:02 – 25. Sally Draper (Kiernan Shipka), Mad Men
24:38 – 24. Steve Harrington (Joe Keery), Stranger Things
37:39 – 23. Paris Gellar (Liza Weil), Gilmore Girls
40:41 – 22. Jan Brady (Eve Plumb), The Brady Bunch
43:40 – 21. Elena Alvarez (Isabella Gomez), One Day at a Time (featuring interview excerpt with Gomez)
50:43 – 20. Ryan Atwood (Ben McKenzie), The OC
53:21 – 19. Zoey Johnson (Yara Shahidi), Black-ish and Grown-ish
55:25 – 18. Carlton Banks (Alfonso Ribiero), The Fresh Prince of Bel-Air
58:50 – 17. Korra (Janet Varney), The Legend of Korra
1:01:54 – 16. Shawn Hunter (Rider Strong), Boy Meets World
1:06:11 – 15. Jake Sisko (Cirroc Lofton), Star Trek: Deep Space Nine
1:11:57 – 14. Daria Morgendorffer (Tracy Grandstaff), Daria
1:15:16 – 13. Eddie Haskell (Ken Osmond), Leave It to Beaver
1:18:55 – 12. Matt Saracen (Zach Gilford), Friday Night Lights
1:23:32 – 11. Angela Chase (Claire Danes), My So-Called Life
1:27:32 – 10. Arthur “The Fonz” Fonzarelli (Henry Winkler), Happy Days
1:32:32 – 09. Audrey Horne (Sherilynn Fenn), Twin Peaks
1:35:39 – 08. Alex P. Keaton (Michael J. Fox), Family Ties
1:39:39 – 07. Lindsey Weir (Linda Carellini), Freaks and Geeks
1:45:01 – 06. Arya Stark (Maisie Williams), Game of Thrones

The Top Five:
1:52:22 – 05. Finn the Human (Jeremy Shada), Adventure Time
1:55:15 – 04. Buffy Summers (Sarah Michelle Gellar), Buffy the Vampire Slayer
1:58:36 – 03. Boadie Broadus (J.D. Williams), The Wire
2:01:07 – 02. Kevin Arnold (Fred Savage), The Wonder Years
2:04:06 – 01. Veronica Mars (Kristen Bell), Veronica Mars

from Consequence of Sound

Tom Waits curates 76-song career-spanning playlist: Stream

Tom Waits’ first seven studio albums were reissued in digital formats earlier this month, with CD versions available starting tomorrow. To coincide with their release, Waits has personally curated a 76-song playlist spanning his entire career. Take a listen below via Spotify. The playlist is also available on Apple Music.

The reissues cover 1973’s Closing Time; 1974’s Heart of Saturday Night; 1975’s Nighthawks at the Diner; 1976’s Small Change; 1977’s Foreign Affairs; 1978’s Blue Valentine; and 1980’s Heartattack & Vine. All seven titles — many of which have been long out of print — have been remastered under the supervision of Waits and will also be reissued on hi-quality 180-gram vinyl throughout 2018.

 Additionally, for Record Store Day (April 21st) Waits will release his 2006 album Orphans: Brawlers, Bawlers and Bastards will be available as individual vinyl pieces for the first time ever.

from Consequence of Sound

Coach Hop shares thunderous power-pop debut single, “I Like Taylor Swift”: Stream

How well do you know Charlie Honderick? Those of you who were unlucky enough to grow up around Northern and Central Florida around the mid-aughts — in other words, those of you who attended either Tallahassee’s Florida State University, Gainesville’s University of Florida, or Orlando’s University of Central Florida — were likely delighted by his outstanding indie rock outfit, The Most. Whenever they rolled into town, there was no ifs, ands, or buts about it: You went, you had fun, and you waited impatiently for the next time for them to come around.

Well, the guy’s never stopped making music. After fleeing overseas to London, Honderick’s flexed his muscles either solo bolo or with eyebrow-raising bands like The Hamptons, and now he’s back with Coach Hop. Once more, his throaty vocals — think: Eric Burdon meets Bruce Campbell — are leading the charge of another power-pop collective, one that makes the kind of music you need when the world starts spinning too slow. Their first offering is a decidedly poppy anthem dubbed, “I Like Taylor Swift”, which they’re releasing as an exclusive Record Store Day single.

Listen below:

“I like Taylor Swift and I don’t care who knows it, it’s not a guilty pleasure, it’s just a normal pleasure,” Honderick sings over pummeling distortion and poolside rhythms that should recall Weezer, Fountains of Wayne, and Lit. Yes, close your eyes hard enough and you might think it’s an FM jam from your Summer 2001 playlist. So, what’s it about? As Honderick says, “In the song I admit I haven’t really listened to much of her music, but I’m inundated with images and stories about her.” Essentially, it’s about the average naive music listener and how context triumphs sound.

Those of you who’d like to pick up the exclusive Record Store Day 7” single, which includes rousing B-side “Everything’s Fine”, would be wise to visit this link. The whole thing comes pressed on pink vinyl via Scratchy Records and will be available Saturday, April 21st. In anticipation, Coach Hop will celebrate the occasion with a record release show the night before at London’s own Hope and Anchor. Here’s a link to RSVP if you find yourself in the UK. If you do, feel free to stop and chat with Mr. Honderick, who can regale you with stories of being shipwrecked.

No, we’re not kidding.

from Consequence of Sound