Against the odds, he returned in 2017 with an Oz-rock all-stars line-up featuring bassist Mark Evans (AC/DC) and guitarist Bob Spencer (The Angels) alongside Wells’s hand-picked replacement, Dai Pritchard. Another decade has arrived, and with it another round of speculation regarding the music that’ll make an impression over the next ten years.

Mainly, this isn’t music intended to inspire soul-searching. ... Southern California. The songs on LP5, Teamwork, find Futurebirds leaning into the psychedelic side of things, yet they’re as twangy as ever. More recently they’ve been nominated for a Grammy, and announced a UK/EU tour for 2020. The blend of metallic muscle, melodic hooks and grungey turbo-complaining is familiar, but it’s working as well as ever on Full Circle, and has a gut-level incision on heavier tracks such as Bottom Of The Top. during the “rural purge” of television in the 1970’s. Thank you for signing up to Classic Rock. But if history has taught us anything, it’s to never write him off.

Bath

By Polly Glass, Fraser Lewry (Classic Rock) 03 January 2020.

There’s a cinematic atmosphere in places too; like the title track’s distorted refrain of ‘the bodies lined up, the bodies lined up'. Their earnest brand of country-tinged, sultry singsong fits right in alongside all your favorite indie-folk and Americana records. The southern rock tradition lives on. Please enjoy this list of 13 artists, some new and some already familiar, who are making really excellent southern rock right now. Songs with a political point of view are as American as apple pie.

As he reaches the status of elder statesman, here he takes the mantle with the utmost grace. But in 2020, that definition can look a little different. Opener Who Ever Said is a by-the-book Pearl Jam rocker, its chorus a plea to check ourselves and not give up – ‘Whoever said: “It’s all been said”, gave up on satisfaction’ – and offers a solution that: ‘All the answers will be found/In the mistakes that we have made…’. We have artists, like The Wood Brothers and Marcus King, who take after those country rockers of old, but we also have artists like Brittany Howard and Adia Victoria, who are little more difficult to pin down. Design por @narcosduda e desenvolvido por @fernahh, Sargaço Nightclub – Istmo (2020) #IndiePop Louder is part of Future plc, an international media group and leading digital publisher. They're trouble, and they know it. Some touch on the blues and soul, while others are more comfortably country. Today Is The End kicks off like Enter Sandman’s maladjusted cousin, before Ozzy’s melodic instincts sugar the pill. Doves – The Universal Want (2020) #AlternativeRo

Austin, Texas. Simply put, these guys rock. When he’s not letting loose with some typically emotive soloing on this mix of covers and originals, his voice is still every bit its equal.

Alas their actual sound hasn’t always delivered, and too often they’ve surrendered to stodge.

The Budos Band – Long in the Tooth (2020) #Instr

What’s striking is how many bands here go beyond the usual suspects influence-wise. In contrast to the overly bluesy direction of their latter-day albums, Coat Of Arms has pleasing, prominent overtones of their classic sound. Pigs X 7 have reined in some of their more digressive tendencies of late, and this follow-up to 2018’s King Of Cowards does away with the superfluous fat to deliver a trimmer, more focused set of songs that, if anything, punch a little harder. NEW MUSIC 2020: Daily Fresh Finds / 10 New Tracks Every Day Indie Rock / Alternative Rock (by DAILY FRESH FINDS) Psychedelic Rock / Neo Psychedelia (by DAILY FRESH FINDS) Drive-By Truckers – The New OK (2020) #AltCountr Fans of his rockier side will particularly appreciate the dark, prowling funk rock of This Man and the nuggety edge to his take on Don Gardner’s My Baby Likes To Boogaloo.

Do, Fleet Foxes – Shore (2020) #IndieFolk Their self-titled EP is full of more retro-but-fresh belters like this, and this year they’re planning to come to this side of the pond, so watch this space. Tasjan’s 2018 album, Karma For Cheap, is for the Americana fan who seeks a classic rock edge. Plus a plethora of releases from rock's rising stars. The classic 70s and 80s rock is complemented by cheeky nods to ABBA (If Tonight Is Our Only Chance and This Boy’s Last Summer), Elton John (the fabulous title track), throbbing disco (Transmissions) and smooth 70s soul (Curves). Characterised by tar-thick riffing and grooves that ensure as much rolling as rocking, the band are both conscious of the world around them (She Is So) and, as evidenced on bong-loaded centrepiece Blue Desert, keen to expand consciousness. Do The Archway Of Tears builds gradually with harmonious layers of keyboards and guitars to deliver a 10-storey chorus, retaining the orchestral flourishes of previous album Lost On The Road To Eternity, and strings also enliven opening rocker Where Are You Eden? The sister duo are originally from Georgia but based in Nashville, older sister Megan plays dobro and lap steel, Rebecca sings and plays guitar (she also happens to be married to Tyler Bryant; yes, as in ‘& The Shakedown’). But of course lists like these only tell part of the story, and they certainly don’t fully account for a world that contains so many different listeners, with completely different listening habits and levels of engagement. It hasn't quite happened like that. The Unraveling (recorded at Sam Phillips’s place in Memphis) sees their righteous anger complemented by a musical surge, where the Steve Forbert-esque 21st Century USA is propelled by strings, and the spartan, atmospheric near-nine-minute Awaiting Resurrection is a slower, spooked state-of-the-nation address which evokes major-label-era Butthole Surfers. In fact Killing Joke are as much a reference point as Black Sabbath on Viscerals, especially on the brutal World Crust. Oh yeah, and there's lots of flute. Death Valley Girls – Under the Spell of Joy (202 Think again. But, ultimately, in these uncertain times, Pearl Jam have given us an unexpected album of hope. Having come up through the grunge era but never really fitting in with the sound of the time, it’s fitting that his first solo album is a master class in mining the musical spectrum, taking in everything from Prince’s carnal yelps on Scorpio to a sparse, desert-bound echo of Nick Cave’s devil-baiting gothic drama on A Ghost, somehow combining it with a backbone of Dr John hoodoo in a manner that seems entirely natural. New country.

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