Partners in music and in life, Jeremy Ivey has released a lighthearted love song with his wife Margo Price today titled “All Kinds Of Blue”. Filmed by Curtis Wayne and edited by Sarah Sheikh Bridge, the track’s video features footage of Jeremy and Margo in the studio recording the song.

“I wrote this very fast,” Ivey explained. “As I remember I was sitting at the kitchen table and I was calling lines out to Margo in the other room. I was just trying to get a chuckle out of her. “You know how many times I’ve dreamt of you?”… “No, how many?”“5,200,562”. It’s basically an 'I love you' song.”

Ivey recently acquired a black eye playing a basketball game which is visible in the track’s single art. “He had the shiner during the recording too and I couldn’t keep a straight face while we were singing because he was so pitiful and beat up looking,” Price said. “It was perfect actually.”

Margo also added: “I have always loved this song of Jeremy’s so much. In fact, I once put him on the spot and begged him to play it for John Prine and he loved it too. That was a really special moment to witness because I know Jeremy’s songs are quirky but I think that’s what makes them brilliant. I know John would like it because it’s colorful, detailed and funny and has that certain thing you can’t pin down. When Jeremy sang the “if Jesus Christ were here today he’d probably get a face tattoo” line, John lit up like a Christmas tree and let out an audible chuckle.”

www.jeremyivey.net
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The Beauty Of Human Connection – ELOHIM

31st August 2021

Music News

Los Angeles-based artist Elohim unveils her latest EP entitled ‘Journey to the Center of Myself Vol.2’ alongside a music video for her bold focus track “Go Through It,” directed by Chase O’Black.

An uplifting dance beat and music video juxtaposed with the reality of one’s mental health, focus track “Go Through It” is the bold and candid opener to Volume 2 of Elohim’s intricate four-part EP series.

Speaking about “Go Through It,” Elohim reveals, “I always tell people "you gotta go through it to get through it" so I turned it into a song. This sentiment is in regards to our human struggles with our own brain. This is a fun anthemic way of saying f**k everyone I’m going to go through this until I get through it and until I’m ok to move on with my day and or life.”

Earlier this year, Elohim announced her four-part ‘Journey to the Center of Myself’ project, the first volume of which was released in July. The project came as a result of setting up a home studio during lockdown, which provided a creative period of inspiration reminiscent of her early years spent learning her craft; without rules, expectations, or schedules.

Listen to ‘Journey to the Center of Myself Vol. 2 HERE

While Volume 1 is seen as the beginning of Elohim’s passage to self-discovery, Volume 2 shows Elohim searching for a state of optimum happiness; stepping into a self-made dream world to find the confidence to handle any situation. She wants to do the work so you don’t have to, hearing your struggles in her lyrics and then finding respite in the shared experience. From the catchy groove of opener “Go Through It,” to the piano riffs of “Higher” and the future garage-leaning production on “Treat You Better,” Volume 2 is a step further into Elohim’s dance-focused territory.

Talking about the new EP, Elohim says: "I am a Pisces through and through. I am emotional and I am strong, I am anxious but I am full of love and authenticity. Volume 2 explores the dreamer in me, the fantasy before the harsh reality hits in Volume 3."

With multifarious production styles and a voice that lends itself as well to an EDM banger as it does a delicate piano ballad, the Elohimsound is hard to pin down. Last month, ‘Journey to the Center of Myself Vol.1’ was heralded by a variety of sounds, including the title track “Journey to the Center of Myself,” a summer-ready anthem that adds to the EP’s kaleidoscopic palette, bouncing from classic house to experimental and indie alternative. Other highlights include the amour-propre of “I Am The Greatest,” the Scandi-flavored pop banger “Nice,” the chiming and ethereal melodies of “Creatures” and lead single “Strut ft. Big Freedia” – a surefire cut for the catwalk, hailed by MTV as “an instant classic,” with PAPER Magazine labeling it “an undeniable scorcher.

Elohim recently made her grand return to the live stage, with immaculate performances at Lollapalooza in Chicago and Hard Summer Festival in California. She is also confirmed to support Australian DJ and producer, Alison Wonderland with two performances at Red Rocks Amphitheatre in Morrison, CO on September 14^th and 15^th, followed by an appearance at Firefly Festival in Dover, DE on Saturday, September 25^th.

For a full list of tour dates and ticket information, please visit elohimxelohim.com.

With over 1.5 million monthly listeners on Spotify and more than 300M+ combined global streams, an ever growing international fan-base and a soon to be released collection of EP’s, Elohim’s music explores the beauty of human connection. Her musical styles span the gamut from inventive electronic and indie alternative to unabashed pop with her stunning one-woman live shows set against a backdrop of breathtaking visuals that create an extrasensory experience.

She describes the beginning of Elohim as “fight or flight”; either her anxiety would get the better of her, or she would use writing as therapy and bravely introduce herself to the world. In 2015 “She Talks Too Much” dropped, a debut single which positioned Elohim as an edgy pop newcomer with an ear for a catchy riff. Later single “Xanax” struck an instant chord with people battling their own anxieties, as the track was the first of many honest explorations of her mental health.

Elohim released her first body of work in 2016, which was followed by a number of collaborations with the likes of Louis The Child, Skrillex, and Marshmello. Her self-titled album followed in 2018, which included hit singles “Sleepy Eyes,” “Half Love” and “Hallucinating.” Her next release, 2019’s ‘Braindead’ EP included some of her most personal material to date, dealing with the struggles of mental illness. Sales from the project were donated to initiatives in commemoration of Mental Health Awareness Month. Elohim continues her activism in this space through her involvement with The JED Foundation, a nonprofit that protects emotional health and prevents suicide for the nation’s teens and young adults. Since then, Elohim has collaborated with electronic music titans like GRiZ, The Glitch Mob, and most recently with Flux Pavilion and Ookay.

OFFICIAL WEBSITE | INSTAGRAM | FACEBOOK | TWITTER | YOUTUBE

A Violent Hunger – PATHOLOGY

31st August 2021

Mainly Metal

Gore fueled death metallers PATHOLOGY return with their 11th studio album The Everlasting Plague which will be released on November 19th via Nuclear Blast.

Recently signed to Nuclear Blast Records, the band is charged with a violent hunger to return to the road, and unleash their latest monstrous music to the masses. They have now released a music video for the first single “Engaging In Homicide”. Watch the video directed by Jeff Forrest here: https://youtu.be/-RaBrAy4UgY

PATHOLOGY's Dave Astor comments, "The band is very excited and honored to sign with one of the biggest metal labels on the planet. We are happy to call Nuclear Blast our new home! Thanks to Gerardo, Oscar, and the entire Nuclear Blast team for making this a reality. We’re taking things to the next level with the new Pathology album… Get ready!”

Pre-order your copy of The Everlasting Plague, here: www.nuclearblast.com/pathology-theeverlastingplague
Pre-save the album, here: https://bfan.link/pathology-theeverlastingplague

The Everlasting Plague was recorded earlier this year at Sharkbite Studios. The album was produced by Zack Ohren who also handled engineering and mixing. The demented priest sometimes seen gracing the cover of other PATHOLOGY albums makes a reappearance here as an apex zombie ripping the flesh from his fellow dead man as he ascends to the top of a demolished city. Long-time artist companion Par Olofsson returned to the PATHOLOGY fold to design the piece.

The Everlasting Plague, tracklist:

A Pound Of Flesh

Perpetual Torment

Engaging In Homicide

Procession Of Mangled Humans

Viciously Defiled

Diseased Morality

Submerged In Eviscerated Carnage

Corrosive Cranial Affliction

As The Entrails Wither

Dirge For The Infected

Death Ritual Deciphered

Decomposition Of Millions

pathologyband.com

Raising PIMA Pride – BEAR’S SONIC JOURNALS: JOHNNY CASH

30th August 2021

Country News, Music News

On its surface Johnny Cash’s visit to the heart of hippie San Francisco in April 1968 might have seemed unexpected, but with a rare performance of “The Ballad Of Ira Hayes” the deep kinship between performer and audience that evening comes into full focus.

Telling the tale of the famed Native American war hero at Iwo Jima, who gave everything to his country and received nothing in return, “The Ballad Of Ira Hayes” is the ultimate song for the systematically oppressed, the underserved, the overlooked and marginalised; an anthem for those who, with another war raging, felt disillusioned with their country all over again. In conjunction with legendary live records of the era, including At Folsom Prison and At San Quentin, “The Ballad Of Ira Hayes” cements At The Carousel Ballroom as a wholly unique example of Cash’s ability to give voice to the downtrodden and voiceless.

Listen to this live version of “The Ballad Of Ira Hayes,” released yesterday (26/8) to commemorate the 79th anniversary of Ira Hayes first enlisting in the United States Marine Corps on August 26th, 1942, and read more via Garden & Gun. Additionally, the song was given an exclusive first play on BBC Radio 2 , listen here.

Recorded by innovative sound wizard Owsley “Bear” Stanley, the entirety of this historic concert will be available for the first time on October 29th 2021 as ‘Bear’s Sonic Journals: Johnny Cash, At The Carousel Ballroom, April 24th, 1968’ from the Owsley Stanley Foundation and Renew Records/BMG. Considered a sonic pioneer and unconventional genius, Stanley’s mix captures Cash’s unadorned voice entirely on the right channel and the Tennessee Three all on the left; setting the listener right between Johnny and his band as if they were center stage at the Carousel. It’s been deemed “probably the closest to what it actually sounded like to be in the audience for a Johnny Cash show in 1968” and proves once again why the avant garde techniques of Stanley (also the architect of The Grateful Dead’s “Wall of Sound”) are accepted as gospel today.

At The Carousel Ballroom will be released widely on all digital formats by Legacy Recordings, the catalog division of Sony Music Entertainment, on October 29th. It will also be available on CD/2LP from Renew Records/BMG with new essays by Johnny and June Carter Cash’s son John Carter Cash, Starfinder Stanley, The Grateful Dead’s Bob Weir, and Widespread Panic’s Dave Schools, as well as new art by Susan Archie, and a reproduction of the original Carousel Ballroom concert poster by Steve Catron. This release marks the latest entry in the Owsley Stanley Foundation’s ‘Bear’s Sonic Journals’ series, which has previously included Stanley’s live recordings of The Allman Brothers Band, Tim Buckley, Doc & Merle Watson and many more.

For more information

JohnnyCash.com

Sinister Pleasure – MATTE BLVCK

30th August 2021

Music News

MATTE BLVCK is an electronic group out of San Diego CA. Producing sounds of sinister pleasures, visual arts and mechanical tinged dance music.

The group captures lush dark-synth stylings complimented by gritty industrial anthems, while embodying their affinity for underground techno. Alex Gonzales, Bidi Cobra, and Daniel Corrales serve as the three-piece ensemble. Coming from various influences the trio come together to compliment their vast and scattered ideas to now form their own brand of club aesthetic.

The debut album I’m Waving, Not Drowning is set to release this Autumn following their forthcoming singles “Pure”, and their ageless rendition of “Stripped” from standout titans Depeche Mode.

The record was mostly written during the global-wide shutdown due to Covid-19, and has spawned an introverted yet relatable sound. An album created in isolation touching on topics such as pain, panic and suffering yet conceiving a light at the end of the tunnel. Hence the title of the album, I’m Waving, Not Drowning.

https://www.facebook.com/matteblackus/

Road Tripping’ Tunes – Betcha

30th August 2021

Music News

Nashville-based alternative rock band Betcha released their brand new single “GREY SKIES” to all major platforms along with the official music video.

The band is made up of four college best friends. What started as casual late night jams, has turned into tours all over the country with acts like The Band CAMINO, Kaleo, Matt Maeson, Judah & the Lion and more.

Heard on SiriusXM’s AltNation, their recent string of impressive singles, released over the course of 2020’s quarantine, “If That’s Alright,” “July,” “Closer to the Sun,” and “Deja Vu,” have proved them to be a rapidly emerging band with a distinctive fusion of sweetly stoned rock, alternative electronica, and punchy pop anthems. With features on Alt Press, SPIN, American Songwriter, and more, the recent tracks have garnered widespread acclaim from critics including Billboardwho dubbed the band “your new favorite alt-rockers”Ones To Watch added to the praise and stated, “If you have any concerns about the softening presence of rock in today’s music landscape, Betcha is here to remind you that rock is healthy, thriving, and here to stay.”

Catch them on their Midwest 2021 summer tour fresh off their latest release “GREY SKIES” out NOW!

"After spending most of 2020 writing hunkered down in our basement studio, we knew we needed a change of scene. Grey Skies was born out of a cross country road trip out west collaborating with writer/producer Nick Furlong (Papa Roach, Avicii, 5SOS, All Time Low). We built the track over sampled synthesizers with intrusive rock guitars and anthemic vocals to create what we think is very uniquely “Betcha”. The song and music video drops the day before our first headlining tour in over a year and a half. It is our first independent release after parting ways from Atlantic records back in February" says the band.

BETCHA is Charlie Greene (vocals)

Ben Booth (Electric Guitar )

Taylor Dubray (Bass)

Chase Wofford on Drums.

Live Dates

Wednesday, Sep 1 @ Come and Take It Live @ 7:00pm
Austin, TX

Thursday, Sep 2 @ Warehouse Live @ 8:00pm
Houston, TX

Friday, Sep 3 @ Ruins @ 7:00pm
Dallas, TX

Sunday, Sep 5 @ Stickyz @ 7:00am
Little Rock, AR

Friday, Sep 17 @ Shipyard Festival 2021 @ 5:00pm
Cape Girardeau, MO

Punchy Pennsylvania Pop – Don’t Panic

30th August 2021

Music News

Formed in 2019 and named after the Douglas Adams’ favorite novel of founding vocalist/guitarist Ted Felicetti, Don’t Panic began as an endeavor where making genuine, fun rock and roll music came first and everything else second.

Joining Ted were Keith Slader (bass), AJ Larsen (guitar), and Anthony Paesano (drums). Based out of the Poconos in Northeast Pennsylvania the band quickly began recording their debut full length album ‘See Through it All’ which was self-released on Nov 27th, 2020 and was followed by tour dates supporting bands like Bowling for Soup, Face to Face, and Bigwig.

After a year of the world being locked at home Don’t Panic is now releasing their follow up and second full length album, ‘Dark Horse’ on Sept 3rd, 2021 which draws heavily on the bands combined influences including Foo Fighters, Bayside, Lit, White Reaper, Motion City Soundtrack, Millencolin, Face to Face and many others.

https://www.facebook.com/DontPanicOfficial
https://twitter.com/DontpanicPA
https://www.instagram.com/dontpanicjustrock
https://www.youtube.com/DontPanicofficial
https://dontpanic.bigcartel.com

A Slight Hometurf Return – SLEEPER + The Bluetones

30th August 2021

Music News, Music Reviews

Back in the mid-1990s, the London Borough of Camden was the stomping ground of Britpop. This marked the move of indie guitar music from the preserve of lonely, skinny white boys from Northern English towns to a slightly more diverse, though arguably more privileged, selection of participants, notably a sprinkling of female fronted groups, including Elastica, Echobelly, Lush and tonight’s Sleeper.

Suddenly indie stopped being shorthand for being signed to an independent label, and become code for a particular brand of catchy guitar pop. Indie kids switched from crying into their beer to drinking it. By the time that the Euros came to London in 1996, and Blair was elected in 1997, Britpop fever was in full lager-swilling swing.

For most, this was the first post-lockdown gig and they were ready to sing, shout and applaud.

Returning to indie home turf, (‘this song was written in Kentish Town, just down the road from here,’ said Louise Wener in introduction to one number), there was no popstar attitude from Sleeper. As Louise posed for the cameras, wished a fan happy birthday and applauded the audience, this was a band who were just happy to be on stage and slightly overwhelmed by the positive response from the crowd.

Louise’s voice was as strong, solid and delicately nuanced as ever.

While the heaving masses were predominantly the indie crowd of old, with some digging out the old zip-up tops and Converse one-star sneakers, there was a sizable contingency young enough to be their children who no doubt joined the party on the strength of 2019’s The Modern Age album. For most, this was the first post-lockdown gig and they were ready to sing, shout and applaud. The dancing took a while to get going but once Twisted kicked in, it was game on.

The first part of the set consisting of debut album, Smart in full running order. The one downside was that the two standout tracks, Inbetweener and Delicious, were dispatched far too early. Following a quick break, they played some later hits, mainly from The It Girl, with the set culminating in Blondie cover Atomic, recorded for the Trainspotting soundtrack, curiously mashed-up with Joy Division’s Love Will Tear Us Apart, followed by Sale of the Century. By the end, the crowd were euphoric, with the prolonged applause as the band linked arms for a collective bow. Alas, there was no time for an encore as they had to make way for The Bluetones, but nobody could complain after an hour and a half. Louise’s voice was as strong, solid and delicately nuanced as ever, with as much energy as a quarter of a century ago. Indeed, it appeared as if time had barely touched her at all.

Sadly, world troubles have remained constant too. Prior to Poor Flying Man, Louise commented that this song about a refugee on a plane desperate to leave their home country had particular resonance given current events in Afghanistan. There were also the inevitable Covid references, with the band obviously rapturous about finally getting to play a tour that had been postponed twice.

As far as The Bluetones went, Expecting to Fly was always a pleasant jangly album with some lovely chord changes, but the issue was that the vocals never quite matched up to the music.

At the time of its release, one couldn’t help wondering how magnificent some of the songs would have been with a stronger vocal, male or female. Unfortunately time hadn’t changed this and Mark Morris’s pipes remained quite weak and whiney.

Never mind, they were drowned out by the crowd singing along, making it more of a mass karaoke session than a gig, and the faithful most certainly enjoyed it nonetheless.

SLEEPER + THE BLUETONES PLAYED THE O2 FORUM, KENTISH TOWN, LONDON, SATURDAY 28 AUGUST 2021

Keep Up With SLEEPER HERE

THE BLUETONES news HERE

Words Copyright – 1st 3 Magazine

Live Images Copyright – 1st 3 Magazine

Not to be used in any form without prior permission

Heartfelt Country Soul – Larry Fleet

28th August 2021

Country News

Big Loud Records breakout artist Larry Fleet is set to drop the needle on his full-length album, announcing September 24th for the release of STACK OF RECORDS.

Produced by Joey Moi and steeped in Fleet’s organic Country, Southern Rock and Soul influence, the album follows 2019’s WORKIN’ HARD and the success of his “Where I Find God” single, further revealing a classic Country star for the modern era. The vocal stunner credits his eclectic taste to his parents’ record collection, and with STACK OF RECORDS, creates his own artistic style.

STACK OF RECORDS

Pre-order/pre-save here now.

“My mom and dad had one of those big record players with the big speakers and they had a little cabinet with all the records in it. I just loved Willie Nelson and dad loved Merle Haggard, the Marshall Tucker Band, Waylon and Hank and all those guys.”says Fleet. “My mom would listen to soul stuff,”he adds,“and then she’d have Ozzy Osbourne and Pink Floyd so I grew up listening to a lot of different artists. My influences were all compiled in this stack of records…Every song on this record is based off a stack of records.”

Featuring 14 songs and leaning into Fleet’s roots, STACK OF RECORDS finds the White Bluff, Tennessee, native and former construction worker coming into his own, and collaborating with Jon Pardi, Jamey Johnson and Bryan Sutton.

Offering a new take on gritty-yet-heartfelt Country Soul, Fleet co-wrote each song on the project with top-shelf tunesmiths like Rhett Akins, Brett James, the Warren Brothers and Connie Harrington. Harrington splits credit with Fleet on the uplifting single, “Where I Find God,” which has revealed Fleet as a talented singer-songwriter and family man, raised on the same small-town values as his fans. After its release in 2020, “Where I Find God” has already racked up more than 32 Million on-demand streams, while its official video has been viewed nearly 19 Million times on YouTube.

Fleet’s track “Different Shade of Red” showcases another side of his commanding Country style. Written by the rising star with Lindsay Rimes and Michael Whitworth, the romantic blast of backwoods R&B squeezes every last drop of Soul from Fleet’s voice, all about a country boy changed by love.

“I’m always excited to release music that I think people will like,” Fleet says about the brand-new track. “And this is just a fun one to play that’s about a good ole boy getting his world changed by all those things a woman does.”

Both songs give listeners a taste of the meaningful, lasting connections Fleet hopes to forge with STACK OF RECORDS, and there’s more to come as its release approaches. Fleet is currently on the road for a headlining concert tour, and will also appear at fair and festival dates around the country through November 2021.

LARRY FLEET – STACK OF RECORDS

1. Stack of Records – (Larry Fleet, Ben Hayslip, Eric Paslay)

2. Lifetime Guarantee – (Larry Fleet, Chris Gelbuda, Brett James)

3. Where I Find God – (Larry Fleet, Connie Rae Harrington)

4. Quittin’ Ain’t Workin’ – (Larry Fleet, Rhett Akins, Will Bundy)

5. Different Shade of Red – (Larry Fleet, Lindsay Rimes, Michael Whitworth)

6. A Life Worth Living – (Larry Fleet, Will Bundy, Brett James)

7. Hurt Feelings – (Larry Fleet, Will Bundy, Brad Warren, Brett Warren)

8. Church Parking Lot – (Larry Fleet, Lindsay Rimes, Michael Whitworth)

9. In Love With My Problems – (feat. Jon Pardi) – (Larry Fleet, Jake Mitchell, Josh Thompson)

10. Three Chords and a Lie – (Larry Fleet, Will Bundy, Brett James)

11. Never Wanna Meet Another Woman – (Larry Fleet, Will Bundy, Lydia Vaughan)

12. Heart On My Sleeve – (Larry Fleet, Will Bundy, Jeff Hyde)

13. One For The Road – (Larry Fleet, Emily Fox Landis, Logan Wall)

14. Highway Feet (feat. Jamey Johnson & Bryan Sutton) [Bonus] – (Larry Fleet, Jamey Johnson)**

**Bonus track available on physical album and album download

LarryFleet.com | Instagram | Facebook | Twitter | YouTube

Aggressive, Intense, and Extreme – TRAVERSE THE ABYSS

28th August 2021

Mainly Metal

TRAVERSE THE ABYSS have released their aggressive new single “TRAINWRECK” delivering an intensity that is extreme in nature. The track has a heavy groove, the vocals are harsh, the lyrics are at times vicious, and overall it comes at you like a speeding train.

Heavy and in-your-face, TRAVERSE THE ABYSS fuse elements of metalcore and various metal sub-genres to create something truly unique and intense.

TRAVERSE THE ABYSS TRAINWRECK

"Our new track “Trainwreck” dives into a groove as consistent as the potholes in Pennsylvania and with lines like “with my back full of dagger, I don't trust any human being”, this song has a nature that is aggressive, intense, and extreme."

Eric Abyss, vocalist

The band from Scranton, PA debuted in late 2016 with their album ‘The Gamble of Life’ and followed up with a self-titled EP in 2018. They have played independent shows along the East Coast which has allowed them to make their mark in the underground metal scene while having the opportunity to open for several national touring bands such as Motionless In White, Whitechapel, Miss May I, and Attila.

Following the comical single “Faucet Mouth” which premiered via Metal Injection and the serious tone of “Only Human”, TRAVERSE THE ABYSS have now released their single “TRAINWRECK” that is fueled by searing riffs and aggressive vocals.

Monthly Archives: August 2021

Shining Bright – JEREMY IVEY featuring MARGO PRICE

Partners in music and in life, Jeremy Ivey has released a lighthearted love song with his wife Margo Price today titled “All Kinds Of Blue”. Filmed by Curtis Wayne and edited by Sarah Sheikh Bridge, the track’s video features footage of Jeremy and Margo in the studio recording the song.

The Beauty Of Human Connection – ELOHIM

Los Angeles-based artist Elohim unveils her latest EP entitled ‘Journey to the Center of Myself Vol.2’ alongside a music video for her bold focus track “Go Through It,” directed by Chase O’Black.

A Violent Hunger – PATHOLOGY