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Steve Earle & The Dukes cover Guy Clark on the upcoming tribute album, Guy.

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FEELS Green Room Session

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March 22nd 8pm - Hollywood

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Music We Like

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Sweet Release is keyboard/organ legend Reese Wynans' first solo effort after a long career of playing with everyone from Boz Scaggs to Joe Bonamassa to Duane Allman, not to mention Double Trouble with Stevie Ray Vaughan. Unsurprisingly, the album features many high-profile guest turns, such as Sam Moore who sings on the firey blues single “Crossfire,” to which Kenny Wayne Shepherd also lends his guitar chops. But overall, it is Wynans' versatility and restraint that gives the album its charm and spirit. This is perhaps most apparent on his closing piano version of Paul McCartney's “Blackbird.”

Young Beauties & Fools (CD)

The Glorious Sons

Young Beauties and Fools is the instantly-likable sophomore LP from Canadian sibling duo Glorious Sons (aka Brett and Jay Emmons.) Melding Jack White’s rock ’n’ roll grit with sing-a-long Mumford & Sons style folk, the album manages to sound heartfelt and earnest while still providing a rollickin’, boot-stompin’ good time. It’s a thoughtful, eclectic collection of songs, ranging from introspective, intimate ballads and raucous ragers. Sure to win over fans of Americana-tinged rock with catchy hooks and stadium-ready choruses.

Dead Man [OST] (CD)

Neil Young

When Neil Young improvised the score to Jim Jarmusch's hallucinatory, revisionist-western did he know it would become the revered cult classic it is now? One can hardly bring up the '90s indie film without mentioning its introspective, sparse, sometimes violent guitar and lonely organ rumblings, which create textures both tense and serene. Finally, after over twenty years, Neil Young's Dead Man soundtrack is being reissued on vinyl and CD. Though the score is purely instrumental, interspersed throughout the record are short bits of dialogue from the film's stars, Johnny Depp and Gary Farmer. Let yourself drift off with this moody, pure, one of a kind recording, and keep your ears open for a cameo of Iggy Pop's scene from the film.

Ladytron (CD)

Ladytron

After seven and a half years, icy electro quartet Ladytron makes a triumphant return on this excellent self-titled LP. The band never skips a beat, building on their instantly recognizable sound while updating it for 2019. It perhaps comes as no surprise that the album's thematic elements include claustrophobia and disorientation -- although Ladytron have kindly thrown a bit of hope into the lyrics and the album is never a downer. It's distant, melancholy and chilly at times, but it's also a solid banger, awash with love and yet steeped in tension. In short, Ladytron have come back just in time to give us a lovely zeitgeist-capturing little gem of an LP.

Good Fruit (CD)

TEEN

If TEEN are the lesser known trio of sisters who play under a monosyllabic, 4-letter long moniker, it’s not for lack of originality. Cheeky coincidences aside, TEEN sound almost nothing like HAIM, or really anyone else for the matter. Since 2010, the sisters Lieberman have made music that alternates between the strange and the beautiful; undoubtedly poppy in nature but always a bit deconstructed. On Good Fruit , the band’s 4th LP, glitchy electronics and squelchy synthesizers are draped all over a production that remains ready for the floor. The sample-heavy “Popular Taste” sets the tone early with an insatiable groove. Like a disco track operating on a caffeine overdose, it's uncontrollably jittery and nervous, but moves nonetheless. “Luv 2 Luv” is fittingly named update of Donna Summers-esque Hi-NRG, and “Runner” is awash with acid house klaxons. Yet despite TEEN’s ongoing hyperactive dance party, they also put forth some of the calmest, paired-down material of their career. Case in point: “Pretend,” a piano-led power ballad (replace distorted guitar with some heavy synth action) with angelic cooing elevating the song into an otherworldly place. It stands in stark contrast to the manic movement that TEEN is known for, yet just might be their best song to date.

Get It Out (CD)

Altitudes & Attitude

Anthrax's Frank Bello and Megadeth's David Ellefson team up to deliver melodic hard rock with big riffs and infectious choruses on Get It Out , their debut full-length as Altitudes & Attitude. Diverging from their respective musical roots, Altitudes & Attitudes scratches that riff-heavy, edgy early Foo Fighters itch without losing a moment of urgency or danger. The duo have enlisted an impressive amount of rock heavy-hitters for the LP, with contributions from some of the biggest guitarists in the game, including Ace Frehley (KISS), Gus G (Ozzy Osbourne, Firewind), Jon Donais (Anthrax), Russ Parrish (Steel Panther), Christian Martucci (Stone Sour), and Nita Strauss (Alice Cooper). Produced by Jay Ruston (Stone Sour, Anthrax), Get It Out is pure rock ’n’ roll that ticks all the right boxes.

Heroin And Helicopters (CD)

Citizen Cope

Clarence Greenwood of Citizen Cope returns after a 6-year hiatus with his sixth studio album, Heroin and Helicopters , a set of songs that address the dark nature of society but push for optimism. “The River” is a jangly ballad that showcases Greenwood's sincere, guttural vocals. “Justice” rides along on a shuffling groove and breaks down into a melodic, soulful chorus. With contributions from the likes of James Poyser from The Roots and Michael "Funky Ned" Neal of Rare Essence, the album embraces Greenwood's distinctive mash-up of R&B, folk and soul.

Still On My Mind (CD)

Dido

Dido’s Still on My Mind is a slow burn. After a five year hiatus, Dido returns with a moody, haunting collection of ballads that seamlessly blends her interest in synth beats and trip-hop vibes with her signature folk-inflected downtempo vocals. (The album was created in close collaboration with her longtime production / songwriting partner Rollo, also known as half of the hard-hitting English electronica duo Faithless.) The result is truly a force of nature, a quiet storm roiling beneath the serene surface.

There Will Be No Intermission (CD)

Amanda Palmer

The sheer ambition that imbues all 78 minutes of There Will Be No Intermission , Amanda Palmer’s third solo album since leaving dark cabaret/weirdo pop duo Dresden Dolls, makes the overt theatricality and self-described “Brechtian punk” stylings that defined all her previous career works seem almost quaint in comparison. A statement album if there ever was one, this particular statement entails, among other things, having ukulele-led ballads side by side with 10-minute long vaudeville piano vamps, all full of strikingly personal, stream-of-thought lyrics and buttressed by orchestral mini-movements composed by collaborator Jherek Bischoff. The most straightforward pop moment to be found here (and that’s a very liberal use of “straightforward”) might be “Drowning in the Sound,” which nails the oddly-specific aesthetic of mid-2000s Vegas pop rock, sounding like a direct conduit between The Killers and Panic! At The Disco. What is remarkable about Intermission is that out of all its stylistic idiosyncrasies, the production might be the most striking thing here. Songs jump from an intimate, quiet mix to lavish arrangements draped in booming reverb at a moment’s notice, accentuating the high drama of the emotional peaks and valleys that these often epic songs traverse. On an album that dwells on moments small and individual, it conveys them through absolute maximalism. For a seasoned performer like Amanda Palmer, consider her playing to rafters.

Run It Again (CD)

Criminal Hygiene

L.A. stalwarts Criminal Hygiene boast an upbeat, melodic garage rock sound with bendy distortion and sandy-throated vocals. The strong songwriting of tracks like “Hardly News” and “Dangers of Convenience” should delight fans of The Replacements as well as '90s college rock; both are infectious and familiar in the best way. “Rearrange Me” is moodier but maintains solid riffs and hooks, as well as an uplifting guitar solo on the bridge. “Greetings From a Postcard” is wistful and lovely in a way that calls to mind early Gin Blossoms.

Bahir (LP)

Dexter Story

Dexter Story is a Los Angeles-based multi-instrumentalist, producer, composer, arranger and ethnomusicologist. Don’t let the eclectic rank and title fool you, as Bahir doesn’t require you to have paid attention to that Intro to World Music elective in college you slept through to appreciate its deeply catchy polyrhythmic grooves. Featuring a wealth of guest singers, Bahir is a celebration of multicultural pop music, incorporating elements from the mainstream sphere alongside contemporary sounds from East Africa. Songs like “Gold” build off of a soulful blues/funk base, the kind you might find on a Leon Bridges or Sharon Jones tune, and then adds elements such as Sudan Archives’ modal violin playing to give it an unconventionally rich texture. “Shuruba Song” features renowned Ethiopian singer Hamelmal Abate lending an otherworldly vocal melody, while other tracks on the record opt to have the instrumentation do all the talking. For someone as musically well-versed as Dexter Story, there’s quite a lot to say.

Dusty Notes (CD)

Meat Puppets

The Meat Puppets have created a lively, backwoods hootenanny on Dusty Notes , their first studio LP in six years. The band's signature hybrid of country/punk/folk is enlivened by the addition of organ, banjo, and harpsichord, and bolstered by the welcome return of original drummer Derrick Bostrom. One of the band's more mellow releases, Dusty Notes is big on atmosphere and strong (obviously) on songwriting, while steering clear of some of their rougher, rowdier elements. This is solid American cowpunk craftsmanship at its finest; one listen to this evocative collection of songs should serve as evidence as to why people are still as mad about Meat Puppets' second act as they were during their early '80s/'90s output.