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ABOUT SUN KIL MOON 

Sun Ki Moon Welcome to Sparks, Nevada, was released January 7, 2021. The album is about Mark's life and times throughout the first half of 2020. Shortly after, Mark released, Lunch in the Park. The album picks up where "Sparks" left off, detailing his summer, fall and winter of 2020.

In December of 2019, Mark Kozelek and actor Kevin Corrigan released a Christmas EP entitled, The Christmas EP. Kevin and Mark also released the two collaborative books The Panther and The Honey Badger and Zhao Tao. Mark also released a book of photography in late 2019 called 500 Payphones. The book has eight-years' worth of photos taken by Mark between the years of 2012 and 2019 and captures the decline of the payphone.

In April 4, 2020, Mark released a spoken word album entitled All the Best Isaac Hayes - a concept album about his September 2019 tour throughout Canada and The United States.

On January 20, 2020, Mark Kozekek with Ben Boye and Jim White 2 was released. Gia Margaret interviewed Mark about the album at sunkilmoon.com. The album was reviewed favorably by Needledrop.

On October 11, 2019, Caldo Verde Records released the collaborative album Mark Kozelek and Petra Haden, Joey Always Smiled. Longtime friend and collaborator Alan Sparhawk interviewed Mark about the album for Talkhouse.

Sun Kil Moon's I Also Want To Die In New Orleans, was released March 1, 2019, on Caldo Verde Records. The album features Mark on guitar and vocals, Donny McCaslin on Saxophone, and Jim White on drums. An interview with Mark about the album by director Josh Boone and can be found at Talkhouse. Mark will be touring in support of the album throughout 2019, both solo and with Sun Kil Moon, in the USA, Japan, Australia, and New Zealand.

On November 1, 2018, Mark released Sun Kil Moon's This Is My Dinner, an album written during a November 2017 European tour. The album details Mark's experiences during that tour and his history with touring Europe since the early 1990s. Actor Aidan Gillen interviewed Mark about the album for www.sunkilmoon.com.

On May 11, 2018, Mark Kozelek released his self titled album, Mark Kozelek, on Caldo Verde/Rough Trade. The 88- minute, double CD was recorded in San Francisco hotels and studios between May 2017 and January 2018.

On October 6, 2017, Caldo Verde Records released Mark Kozelek's collaborative album Mark Kozelek with Ben Boye and Jim White. The album was streamed on Kozelek's website before its release date, accompanied by an interview with Mark by Tony Visconti. Other collaborations released in 2017 have included Jesu/Sun Kil Moon 30 Seconds To The Decline Of Planet Earth, and Yellow Kitchen, Mark's collaboration with Parquet Court's Sean Yeaton.

Common As Light And Love Are Red Valleys of Blood was released by Mark Kozelek's Sun Kil Moon on February 24, 2017. The double album was recorded in 2016 with drummer Steve Shelley. Sun Kil Moon has supported the album this year with a tour in Australia and New Zealand and will also tour Europe and The USA. The album received positive reviews world wide including Rolling Stone, The London Sunday Times and Rockdelux.

In addition to these releases, Mark also released the Night Talks solo EP as a free giveaway for direct purchases through Caldo Verde Records.

On May 27, 2016, Mark Kozelek Sings Favorites was released through Caldo Verde Records. The album features guest singers Mimi Parker, Minnie Driver, Mike Patton, Will Oldham, and Rachel Goswell. The album includes favorite songs of Mark's friends and loved ones.

On January 2016, Mark's collaboration with Justin Broadrick entitled Jesu/Sun Kil Moon was released via Caldo Verde/Rough Trade Records, to positive reviews. The band promoted the album with live shows in Europe, USA and Japan and will tour again in September and November of this year.

Universal Themes was the 7th full length Sun Kil Moon Album, released in 2015. The album received some of Kozelek's best reviews including a 9 out of 10 in Uncut Magazine and an A- at Consequence Of Sound. In 2015 Mark also released a free EP entitled Down In The Willow Garden as well as a spoken word album entitled Dreams Of Childhood with Argentine actor Nicolas Pauls. Kozelek's music is also featured extensively in the Paulo Sorrentino film Youth.

Benji was the sixth full length record by Mark Kozelek's Sun Kil Moon. The album was released February 11, 2014 and features guest musicians Steve Shelley, Will Oldham and Owen Ashworth. On August 20 of 2013, Mark Kozelek's Caldo Verde Records released Mark Kozelek & Desertshore, the third record from Mark Kozelek and Phil Carney's side project, Desertshore. 2013 also saw the release of Mark Kozelek Like Rats, 2 live albums, and the Mark Kozelek and Jimmy Lavalle's collaboration, Perils From The Sea. Both Mark Kozelek & Desertshore and Perils From The Sea made Uncut's top 100 best albums of the year. In 2012, Mark Kozelek released an 18 track album under his Sun Kil Moon moniker, entitled Among The Leaves. Mark toured solo in support of the album and made his debit TV appearance on Fallon performing with The Roots.

In August of 2011, the film Mark Kozelek: On Tour was released via Caldo Verde Records. The film follows Mark on two different tours in support of the Sun Kil Moon release, Admiral Fell Promises, released in 2010. The album was played entirely by Mark Kozelek on nylon string guitar and includes 10 original songs. A limited EP entitled I’ll Be There coincided with the release. The 4 song EP includes 1 out-take and 3 covers, including the Jackson's ‘I’ll Be There.’ On November 22, 2011, Desertshore’s second album was released. Mark Kozelek contributed vocals to 6 of the album's 10 tracks.

In May of 2009 Caldo Verde released Mark Kozelek: Lost Verses – Live. The album was recorded in intimate, seated venues throughout the US and Europe in 2007 and 2008. This 14 song ‘best of’ collection features Red House Painters classic ‘Katy Song’ as well as several picks from the Sun Kil Moon catalog including ‘Carry Me Ohio’, ‘Lucky Man,’ and ‘Lost Verses.’

A 13 song live CD entitled Mark Kozelek: Live in Spain was released simultaneously as a free bonus CD.

Mark Kozelek’s third album with Sun Kil Moon, April, was released through Caldo Verde on April 1, 2008.

A hardback edition of Nights of Passed Over, a collection of Mark's lyrics originally published in a limited edition in Portugal in 2002, was also released in 2008. The book includes a preface by Mark and a 12-song rarities CD entitled Nights LP. The book is out of print.

In December of 2008, Mark released The Finally LP, a rarities collection featuring covers of Husker Du, Stephen Sondheim, Kath Bloom, Low, and others.

Mark’s music has been licensed to numerous television shows including The O.C., The Big C, Revenge, Brothers and Sisters, Friday Night Lights,and Sons of Anarchy as well as several films including Tarnation, Against The Current, The Elephant In The Livingroom, Excess Baggage, Vanilla Sky and The Fault In Our Stars. Mark scored original music for the films Farewell Bender, Last Ball, and Lorena Ochoa: el Camino a la Cima.

In 2005, Mark started his own label, Caldo Verde Records. Releases other than his own include Alan Sparhawk of Low’s self-titled Retribution Gospel Choir debut album, for which Mark worked as producer. Caldo Verde has also released albums by Jesu, Kath Bloom, and Advance Base.

Between 1992 and 1999 Mark released six full length studio albums with Red House Painters.

Little Drummer Boy – Live, released on November 28, 2006, contains live recordings from various shows in Europe and North America. The double CD covers a broad range of Mark Kozelek material, including Red House Painters, Sun Kil Moon and personalized covers of Modest Mouse, The Cars and AC/DC.

In 2007, Drummer Boy was released on vinyl as White Christmas & Little Drummer Boy Live as a 4 LP set. The album was coupled with Mark’s 2001 release White Christmas Live, recorded in Scandinavia.

On January 23, 2007, Caldo Verde Records re-released the first Sun Kil Moon album Ghosts of the Great Highway with reworked packaging and a six song bonus CD featuring two versions of Leonard Bernstein’s ‘Somewhere’, alternate versions of ‘Carry Me Ohio’ and ‘Salvador Sanchez’, a radio performance of ‘Gentle Moon’ recorded in Portugal and the previously unreleased instrumental, ‘Arrival’, recorded for the movie The Girl Next Door. Originally released on November 3, 2003, Ghosts of the Great Highway received superlative reviews, moved quickly to the #1 on college radio and has become one of singer-songwriter Mark Kozelek’s most loved and best-selling albums of his 14 year career.

Ghosts tracks ‘Carry Me Ohio’ and ‘Lily and Parrots’ were featured in the Steve Martin film Shopgirl, in which Mark plays the role of a lead singer in a fictitious rock band. Mark also contributed several tracks to several compilations. His version of Will Oldham’s ‘New Partner’ is included on a CD entitled I Am A Cold Rock, I Am Dull Grass. Sun Kil Moon’s version of Neil Diamond’s ‘Kentucky Woman’ is featured on Songs from the Brown Hotel which also features Elvis Presley and Nancy Wilson, the original composition ‘Leo and Luna’ appears on a Canadian Compilation from Paperbag Records, and an exclusive, live version of ‘Have You Forgotten’ appears on the soundtrack to the HBO documentary film The Trials of Darryl Hunt.

Other highlights include producing Take Me Home: A Tribute to John Denver; Retrospective, a two-CD collection featuring various rarities and live tracks alongside favorite RHP material; and appearing as an actor in Cameron Crowe’s critically acclaimed Almost Famous and Vanilla Sky.

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ABOUT ZOSO 

Over the 28 years and over 4500 shows since ZOSO came together as a group in the mid-‘90s, the seemingly tireless quartet continues to earn its well-deserved reputation as being, in the words of The L.A. Times, “head and shoulders above all other Led Zeppelin tributes.” The reasons for that are manifest. For starters, surely no singer has ever captured the distinctive timbre, range, power, and seductive force of Robert Plant’s vocal delivery as adroitly as ZOSO’s lead vocalist and founder, Matt Jernigan, whose flowing, corkscrew blonde locks and leonine stage moves evoke the Plant persona perfectly. ZOSO co-founder Adam Sandling, the band’s multi-instrumental master of electric bass, keyboards, and mandolin, likewise echoes John Paul Jones’ myriad gifts to a tee, allowing the four-piece ZOSO to perform fully fleshed-out versions of classics like “Kashmir,” “Trampled Under Foot,” and “Stairway to Heaven” that demand up to six members or more to execute in other Zep-inspired ensembles. That’s not the ZOSO way; instead, the band draws liberally and meticulously from Led Zeppelin’s recorded live output to present a vivid performance picture of the classic live Zeppelin of 1970-1977. No wonder the St. Petersburg Times noted that, in addition to their virtuosity and spot-on visual presentation, ZOSO was also “the most exacting of all the Led Zeppelin tributes.” Meanwhile, the band’s new blood has turbo-charged the ZOSO formula even more. Drummer Bevan

Davies, the band’s burly, black-haired batteur since 2015, flattens the band’s fans nightly with his Bonham- approved triplet blasts, tympani thunder, and fat, lumbering grooves. Davies boasts an impressive pedigree that includes touring tenures with the likes of Danzig, Jerry Cantrell of Alice In Chains, Static X, and regular gigs with The Cult’s Billy Duffy. Taking on the demanding Jimmy Page chair for ZOSO in May of 2021, new lead guitarist James Volpe Rotondi (aka “Jimmy”) brings an equally high-level CV to the table, as a former member of Humble Pie, Mike Patton’s Mr. Bungle, and French superstars AIR. Decked out in Page’s iconic dragon matador jacket, two-tone shoes, and cascading black hair, Rotondi wields his Gibson Les Paul and double-neck guitars like he was born to it, with a huge, crafted tone and a stunning technique that weaves together Page’s roots in blues, country, funk, and fingerstyle.

Still, while the players’ provenance, and the band’s deep history, speak for themselves, it’s that high- wire musicianship combined with ZOSO’s spot-on recreation of the mythic presence of Led Zeppelin onstage that keeps their dedicated longtime fans coming back for more year after year. What’s more, new generations of ZOSO devotees in their teens and Twenties are likewise lining up to experience for themselves the power and majesty—and yes, the alluring combination of danger, spontaneity, skill, and sexuality—that define a world-class Led Zeppelin concert. “[ZOSO is] the closest to the original of any Led Zeppelin tribute,” proclaims the Chicago Sun-Times, and they are not wrong. ZOSO’s ongoing invitation to all generations, all ages, all backgrounds of Led Zeppelin fans, then, is a very simple one: Relive it . . . LIVE.

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ABOUT ROBBIE FULKS

Robbie Fulks is a singer, recording artist, instrumentalist, composer, and songwriter. His current release, Bluegrass Vacation on Compass Records, returns him to his bluegrass roots, with a large group of masterful musicians including Sam Bush, Jerry Douglas, Justin Moses, Ronnie McCoury, Alison Brown, David Grier, Tim O’Brien, Todd Phillips, John Cowan, Brennen Leigh, Randy Kohrs, Sierra Hull, Stuart Duncan, Shad Cobb, and Chris Eldridge. Across 11 new original songs (and one freewheeling interpretation of the Delmore Brothers), Robbie covers themes like small-town blues, the endurance of childhood memory, inebriation, love, divorce, the role of music in strengthening family bonds, losing a loved one to Alzheimer’s, and bluegrass itself.

His most recent release, 2017’s Upland Stories, earned year’s-best recognition from NPR and Rolling Stone among many others, as well as two Grammy® nominations, for folk album and American roots song (“Alabama At Night”). Fulks was born in York, Pennsylvania, and grew up in a half-dozen small towns in southeast Pennsylvania, the North Carolina Piedmont, and the Blue Ridge area of Virginia. He learned guitar from his dad, banjo from Earl Scruggs and John Hartford records. He attended Columbia College in New York City.

In 1983 he moved to Chicago and joined Greg Cahill’s Special Consensus Bluegrass Band. He taught music at Old Town School of Folk Music from 1984 to 1996, and worked as a staff songwriter on Music Row in Nashville from 1993 to 1998.

His early solo work — Country Love Songs (1996) and South Mouth (1997) — helped define the “alternative country” movement of the 1990s. For most of the present century, Robbie has been playing acoustic music through microphones, which lets him give more attention to his flatpicking and banjo playing, and complements his more sepia-toned subject matter — the slings of time, the troubles of common people. His repertory of traveling players includes folks like Shad Cobb, Missy Raines, Robbie Gjersoe, Jenny Scheinman, Matt Flinner, Don Stiernberg, and Jesse Cobb. However, two non-acoustic recent side projects are his 2018 duo record with Linda Gail Lewis, Wild! Wild! Wild!, an NPR favorite which leans to rock-and-roll and classic country-and-western, and his double-vinyl reinterpretation of the Bob Dylan record Street-Legal, which is titled 16, is musically unbounded and is no one’s favorite.

Radio: multiple appearances on WSM’s “Grand Ole Opry”; PRI’s “Whadd’ya Know”; NPR’s “Fresh Air,” “Mountain Stage,” and “World Cafe”; and the syndicated “Acoustic Cafe” and “Laura Ingraham Show.” TV: PBS’s Austin City Limits; NBC’s Today, Late Night with Conan O’Brien, Later with Carson Daly, and 30 Rock. From 2004 to 2008 he hosted an hourlong performance/interview program for XM satellite radio, “Robbie’s Secret Country.” Artists who have covered his songs include Sam Bush, Kelly Hogan, Andrew Bird, Mollie O’Brien, Rosie Flores, John Cowan, and Old 97s.

Robbie’s writing on music and life have appeared in GQ, Blender, the Chicago Reader, DaCapo

Press’s Best Music Writing anthologies for 2001 and 2004, Amplified: Fiction from Leading Alt-Country, Indie Rock, Blues and Folk Musicians, and A Guitar and A Pen: Stories by Country Music’s Greatest Songwriters. As an instrumentalist, he has accompanied the Irish fiddle master Liz Carroll, the distinguished jazz violinist Jenny Scheinman, and the New Orleans pianist Dr. John. As a producer his credits include Touch My Heart: A Tribute to Johnny Paycheck (Sugar Hill, 2004) and Big Thinkin’ by Dallas Wayne (Hightone, 2000). Theatrical credits include “Woody Guthrie’s American Song” and Harry Chapin’s “Cottonpatch Gospel.” He served twice as judge for the Winfield National Flatpicking Guitar competition. He tours yearlong with various configurations.

Besides country and bluegrass music, Robbie is fiercely fond of Charles Mingus, P.G. Wodehouse, quantum mechanics, his wife Donna, comedy in almost all forms, cooking, swimming laps, the past, Arthur Schopenhauer, Universal horror movies, his grandson and even his sons, coastal towns in the off-season, and rye whiskey, though in nothing like that order.

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ABOUT RIO ROMEO 

Rio romeo is a 23 year old non-binary butch lesbian interdisciplinary artist based in Los Angeles. Rio writes music from the heart and from experience- most of the songs are completely based on true events. Storytelling and theatricality runs deep in rio's background, as they grew up in theatre and were performing since a very young age. Rio started playing around on the piano when they were 17, and eventually got their first acoustic piano in the summer of 2020. This piano led rio to start creating content online, sharing their music on tiktok to over 450,000- but empowered them to start sharing their story and day to day as a non-binary butch in America. They now create content about the day-to-day of their life as well as addressing bigger issues such as discrimination in medicine against LGBTQ+ people and queer activism. Rio hopes to empower young queer people to explore their identities and find home within themselves through music.
 Have a great day! Be gay!

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ABOUT DAVE HAUSE

Since releasing his debut album, Resolutions, in 2011, the Philadelphia-born songwriter has poured his whole heart, soul and life into his music. That’s no different on Drive It Like It’s Stolen, his sixth full-length. Its 10 songs overflow with Hause’s trademark urgency and passion, shimmering with a truth that reflects the harsh realities of life in this day and age, as well the intermittent jolts of joy that punctuate it. After all, his songs have always detailed his own personal traumas and triumphs within the setting of an unforgiving capitalist backdrop, tethering those personal experiences to ineluctable external forces. 2013’s second album, Devour, for example, was a response to his divorce from his first wife, while 2019’s Kick saw him tackle hope, depression, global warming and a crumbling American democracy with the news that he was to become a father. Most recently, on 2021’s Blood Harmony, Hause wrote and sang about the positive impact of having twins, and of the joy and excitement of being able to be at home with them for the first couple of years of the pandemic.

Drive It Like It’s Stolen is just as earnest and heartfelt, raw and real as anything he’s ever written before. Yet there’s also a subtle yet significant difference—here he’s delving into a more fictional type of storytelling to create what he terms "post-apocalyptic Americana.” That’s clear from the title of this album’s haunting and ominous opening song, “Cheap Seats (New Year’s Day, NYC, 2042)”. Set two decades in the future, it’s obviously not about anything that’s actually happened, but is still very much inspired by life. At the start of 2022, Hause was in a good place. He’d changed his diet and had maintained a strenuous workout regimen resulting in improved physical and mental health. Feeling great, he’d decided to go off Lexapro and left to go out on the Blood Harmony band touring.

“I was feeling great,” he recalls. “I came back to work, didn’t have my meds. But then I’m on tour, I’m not working out, I’m not eating that way anymore. And I’m really faced with the American city, the American experiment post-pandemic. We’re going places and being like, ‘Oh, my God, this is what Portland and San Francisco and Los Angeles look like.’ And it looked terrifying. Whenever I went anywhere, I felt like I was watching the prequel to 12 Monkeys, except I was also living it and just wondering what the fuck was going on. The tour was doing well, but it just felt like my mental health was falling down stairs. A few months later, when we were finishing the tour, we heard stories that people were siphoning gas out of tour buses. So, a lot of the record was kind of born of and trying to wrestle with that.”

To that extent, the future dystopia of “Cheap Seats” is very real—a vivid depiction of a society on the verge of collapse based on Hause’s experience as a touring musician and then filtered through his imagination. If “Cheap Seats” sets the tone with its dream of escape from a ravaged New York City, then song “Pedal Down” starts that road trip. It’s a gloomy, glowering, dark early morning ride through desolate, post-apocalyptic streets, whose atmosphere really places you inside that car. A moody and monochrome song full of portent and hope in equal measure, it’s both a literal journey—captured by the album’s striking cover, which replicates the view of one of his twins in the back seat as the family drives away—and a metaphorical exploration of Hause’s fears and anxiety of being a parent in modern day America. ‘But we lead our lambs to slaughter,” he sings. ‘It’s profit, boot straps, and guns/Every god needs a sacrifice/Honey, what have we done?’ On one level it’s a simple question directed at his wife about having kids. On another, it’s tackling the whole American system.

“Having children sounds like a great idea,” he explains, “and then you realize that they’re grist for the mill. They’re grist to be sold to, they’re to be exploited, and they’re potentially fodder for our passion for guns. If your god in America is the gun, the idea that we must have these guns, then gods need sacrifices and our children are those sacrifices. And you wonder, ‘Did we bring children in this world to sacrifice them to the various American gods?’ That’s another thing we’re kind of grieving. We’re all complicit in this, and we’re all potentially going to have to pay.”

The disturbing, apocalyptic quasi-reality of the album’s lyrics is matched and amplified by the music. Written by Hause with his younger brother Tim, Drive It Like It’s Stolen—just like the three that preceded it, as well as Tim’s 2022 debut full-length—is the distinct next phase of their creative partnership. The third release on the brothers’ own Blood Harmony record label, it shakes up expectations while at the same time building off the sound and reputation Hause has established for himself over the past decade or so. “Damn Personal”, for example, is a boisterous blue collar anthem about lost friends that’s charged with electric emotion, while the uplifting, Petty-esque “Hazard Lights” ruminates on Hause’s sobriety and the temptation that exists when he’s around friends who still imbibe. Yet though there’s a specificity to those lyrics, they’re easily applicable to other situations, too.

“That feeling of having the hazard lights on,” says Hause, “it’s just uncertainty. I’m kind of just pulled over here—I don’t know where I’m going, I know where I’ve been, the hazard lights are blinking, so please don’t hit me because I’ve got to figure out what to do next.”

Elsewhere, there’s “chainsaweyes” and “lashingout”, two very halves of the same whole that once again merge personal anxieties with universal horrors. Both ask important questions about identity and parenthood and responsibility and the difficulties of raising children in America. The former is backed by dramatic strings that emphasize the importance of the subject matter, while the latter begins as a beautifully poignant acoustic tune before descending into a marvelously unexpected piano breakdown that wouldn’t be out of place in a saloon sometime in the 1800s. Don’t be deceived by what Hause calls the “sugar” of that part, though—there’s still an important message underpinning it.

“Both those songs are trying to assess that angry, always devouring, youthful, testosterone-fueled American boy thing,” explains Hause. “Raising boys in America, you don’t want to fall on the wrong side of history with that. In “lashingout”, that person who sings ‘I want to be God for a day’ at the end could be a school shooter. That wish could be something that would prompt someone to do something terrible. Why would you want that power? You could really hurt people. But here’s the thing—we all feel like lashing out like that at points. But what is it that’s prompting this feeling that you want to change everything, and do you have it right? Are you righteous in that anger of wanting to lash out?”

Drive It Like It’s Stolen was engineered and mixed by David Axelrod, and—like Blood Harmony—produced by Will Hoge and recorded at Santi Sound in Nashville, though with a different set of musicians than that album’s all-star cast. Yet that’s not to the record’s detriment at all. On penultimate song “Tarnish”, a song about both a life lived and one still being lived—past and present coalescing in a beautiful mesh of wistful self-reflection, Hause sings ‘I never got a golden record/I guess the melodies were wrong.’ The performance and production of not just that song, but this whole record, proves that sentiment entirely wrong. It’s followed by “The Vulture”, a song that harks back to the defiance that dominated Kick but which is recast with his children in mind. It feels, too, like the cementing of the thematic shift he’s making on this record. These songs may still be for Hause, but they’re increasingly less about him.

“My life is getting increasingly less interesting,” he smiles. “And that’s by design. You want to be steady, you want to be at a baseball practice or taking your kids to gymnastics or whatever it is. You don’t want to necessarily be staring into the abyss all the time and trying to determine your existential weight. I don’t want my life to become fodder for songs—I want my creativity to be the fodder for songs.”

With this particular car ride, then, Hause is en route to a whole new world. Whether real or imagined or a combination of both, it’s time to buckle up for the ride.

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ABOUT JESSE MALIN

Jesse Malin hits the US to tour behind the 20th anniversary expanded edition of THE FINE ART OF SELF DESTRUCTION

“Malin writes vivid songs with killer tunes and sings them with scary conviction.There is simply nothing more you can demand from a great rock record *****”

THE TIMES

Released in 2003, ‘The Fine Art Of Self Destruction’ was the debut album by New York based singer-songwriter Jesse Malin. “It wasn’t named for drug or alcohol abuse,” he states. “It was more about a personal wreckage when I looked back on my life, from my parents' divorce to failed relationships, broken up bands, dropping out of school, crashing cars, breaking things. It was more of a spiritual journey in some sense. This record is definitely one of my favourites.”

To celebrate its 20th anniversary, ‘The Fine Art Of Self Destruction’ was reissued on 17th February 2023 in expanded form with a bonus disc of the album reimagined and re-recorded with Malin’s longtime band. The bonus material was produced by Derek Cruz and engineered by Geoff Sanoff, who worked on Jesse’s recent ‘Sunset Kids’ and ‘Sad And Beautiful World’ releases.

A video for a new version of the album song ‘Brooklyn’ entitled ‘Brooklyn (Walt Whitman in the Trash)’ that honours New York in days of yore has been directed by Catherine Popper and Vivian Wang. “Cat and Vivian have a great sense of beauty, art and decay,” Malin adds. “‘Brooklyn’ is about beginnings, those early days of innocence and big dreams that often collide with irreversible mistakes and regret. We try to find ways to accept the mistakes and look back with laughter, forgiveness and love.”

Following his teenage years in the pioneering hardcore band Heart Attack and his 20s fronting the wild and beloved D Generation, Malin took a cue from his songwriting heroes and was ready for a chance to stand alone. His solo debut was recorded over six days in New York City, live and raw.

“I was still learning how to sing and tell stories. These songs were written in a little apartment downtown, without a record deal, a manager, or any expectation of anything coming of it - just a need to write them.”

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ABOUT THE BROS. LANDRETH

The Bros. Landreth welcome a new day with Come Morning, an album that marks both a rebirth and refinement of the JUNO-winning band's blend of North American roots music and harmony-heavy soul.

The most immersive, emotive record of the Landreths' career, Come Morning finds brothers Joey and Dave lacing their melody-driven songs with layers of atmospheric synth, organ, and textured guitar. The group's previous albums shone a light on their strength as a live act, capturing the spontaneity and sonic stomp of a band of hard-touring road warriors. If those records unfolded like snapshots of The Bros. Landreth's nighttime shows, then Come Morning sketches a markedly different picture, showcasing the introspection and clarity that comes with a long period of rest. 

For Joey and Dave, rest wasn't always an easy thing to find. After pursuing separate careers as sidemen, they launched The Bros. Landreth with 2013's Let It Lie, a debut album that drew upon the shared soundtrack of their childhood — Bonnie Raitt's blues, Little Feat's funky country-rock, Ry Cooder's eclectic instrumentals, Lyle Lovett's twangy traditionalism — for a sound that saluted the past while planting its flag firmly in the present. Let It Lie was a hit on both sides of the Atlantic, winning the 2015 JUNO Award for "Roots & Traditional Album Of The Year - Group," earning The Bros. Landreth a nomination for "International Artist of the Year" at the 2016 UK Americana Music Awards, and receiving praise from heroes like Bonnie Raitt. Years of near-constant touring in support of its release left the brothers exhausted, however, and the band took a three-year break before regrouping for 2019's '87.

When the Covid-19 pandemic brought '87's accompanying tour to a halt, Joey and Dave began recording a new batch of songs in near-seclusion, pulling long hours in the studio and building songs one instrument at a time. They layered, experimented, and twisted sounds into something new, working alongside longtime co-producer Murray Pulver and a small group of guests. What emerged from those sessions was Come Morning: a transportive album built for the heart, the head, and the headphones.

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ABOUT JACK BOTTS

Jack Botts is currently on Vance Joy’s North American tour ahead of the release of his debut album ‘Sucker For Sunsets’.

His Australian album tour in April will be a culmination of a few tireless years on the road,where Jack found his audience in pubs, bars and bowlos and organically continued building and growing with strings of back-to-back shows up and down the Australian coastline. Jack will be playing some of his biggest headline shows to date. Brisbane raised and currently Northern Rivers based, Jack Botts has quickly made the transition from busking the streets to a full-time touring musician, selling outrooms around the country.

His easy-listening style is a breath of fresh air and has won over audiences as a support act for the likes of Tash Sultana, Ocean Alley and Boy & Bear, also while gracing festival stages such as Land of Plenty, Big Pineapple and NYE On The Hill.

Jack’s fervent following has exploded over the pastfour years; his chilled catalogue of surf-folk across the Summer Nights (2018) and Northern Rivers (2019) EPs connecting with fans in over 150 countries to exceed 80 million streams and a monthly Spotify listenership over 388k.

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ABOUT JOHN COOPER CLARKE 

John Cooper Clarke shot to prominence in the 1970s as the original ‘people’s poet’.
His unique poetry and delivery style was recorded and put to music by legendary producer
Martin Hannett and a band of Mancunian stars, including Buzzcocks Peter Shelley and The
Durutti Column’s Vini Reilly, masquerading as The Invisible Girls.

Seminal tracks such as Beasley St and Evidently Chickentown featured on the hit album Snap
Crackle and Bop, one of 4 big selling original album releases in the late 70s and early 80s.They established John as one of the most prolific artists of the Punk years. The albums were big sellers worldwide and firmly placed John as a major talent. In 2015 Sony honoured JCC with a

Book set, Anthologia, a CD and DVD collection of his entire live and recorded history, with
tributes from amongst others Sir Paul McCartney and Kate Moss.

JCC’s early live shows were renowned occasions. He headlined gigs with support from many
soon to be superstars, including Joy Division, New Order and Duran Duran. He himself featured
as special guest on many shows by the Sex Pistols, Buzzcocks and The Clash, as well as
carving his own unique niche as a stand up poet.

His first poetry collection 10 Years in An Open Necked Shirt came out in the early 80s on
Random House, featuring the lyrics to classic tracks from his albums and more original material.
It is one of the biggest selling poetry books ever in the UK, Canada and Australasia.

Since then his career has spanned cultures, audiences, art forms and continents.
These days he performs purely as a stand up solo poet. His unique poetry show has been
running in theatres and festivals worldwide for over 15 years.

John's 2018 poetry collection The Luckiest Guy Alive (Picador/Macmillan). Features 30 new
poems, including live favourites such as; I've Fallen In Love With My Wife, Beasley Boulevard
and Get Back on Drugs you Fat F*ck.

Dr John Cooper Clarke's long-awaited 2020 autobiography, named after his most famous poem
I Wanna Be Yours, published in Hardback by Macmillan, is a groundbreaking piece of
literature. JCC goes into fascinating detail about his early life in Manchester leading up to punk
superstardom, drug addiction and then the massive comeback as major poet he enjoys today.
It will soon be reprinted for the 4th time and has just been re-published in paperback.

JCC is as relevant and vibrant as ever and his influence is just as visible in today's pop culture.
Aside from his trademark ‘look’ continuing to resonate with fashionistas young and old, and his
poetry included on national curriculum syllabus, his effect on modern music has been huge.
His influence can be heard within the keen social observations of the Arctic Monkeys, amongst
many others. The Monkeys put the lyrics to Johns I Wanna Be Yours to their own music, on
their worldwide smash, the genius A:M. JCC's collaboration with Plan B, Ill Manors spawned a
best selling soundtrack album and a hard hitting movie.The list of people who cite him as a
major influence is endless.

John's track, Evidently Chickentown, was used as the soundtrack over the credits of the
penultimate episode of the hit TV show, and best selling ever DVD box set worldwide The
Sopranos. He continues to feature on many British TV shows, with frequent appearances on 8
out of 10 Cats, Would I Lie To You, Pointless Celebs and Have I Got News For You, being
particularly well received. Alongside his frequent BBC 6 Music shows they have opened up a
whole new audience for him.

John’s own film company produced the hilarious documentary EVIDENTLY JOHN COOPER CLARKE which records and celebrates his life as a poet, revealing his significant influence on contemporary culture over four decades. With a bevy of household names including Bill Bailey, Plan B, Steve Coogan,Kate Nash, Arctic Monkeys frontman Alex Turner and cultural commentators Miranda Sawyer and Paul Morley, the film “Exposes the life behind one of Britain's sharpest and most witty poets”. It was shown on The BBC many times and is still available on Johns online shop as a DVD. His other film and TV shows include appearing as himself in the Joy Division Biopic Control, presenting a documentary on Thomas De Quincey's Confessions of an English Opium-Eater in the BBC's second series of The Secret Life of Books.

In July 2019 John was the well received guest on BBC Radio 4's Desert Island Discs. A fan of
the show for 60 years, he described it as having "all the finality of a suicide note, without the
actual obligation of topping yourself". His book choice was Against Nature by Joris-Karl
Huysmans, his luxury item was a boulder of opium twice the size of his head and his favourite
track was "How Great Thou Art" by Elvis Presley.

John was recently a participant in BBC's Celebrity Antiques Road Trip and has featured a Number of times on Would I lie to You and 8 Out of 10 Cats.

In July 2013, John was awarded an honorary doctorate of arts by Salford Uni, in
"acknowledgement of a career which has spanned five decades, bringing poetry to non-
traditional audiences and influencing musicians and comedians" Upon receipt, Dr JCC
commented "Now I'm a doctor, finally my dream of opening a cosmetic surgery business can
become a reality".

His latest live show, touring across the UK, Europe, USA, and Canada, is a mix of classic verse, extraordinary new material, hilarious ponderings on modern life, good honest gags, riffs and
chat - a chance to witness a living legend at the top of this game.

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ABOUT THE BRUMMIES

Independent artists, The Brummies, made up of vocalists and multi-instrumentalists John Davidson and Jacob Bryant, and drummer Trevor Davis, have been playing together in various incarnations since high school, growing up together outside of Birmingham, AL. The members count the Beatles, Elton John, ELO, Blitzen Trapper and My Morning Jacket among their influences, but also have an affinity for sweeping film soundtracks. Their trademark sound evokes the psych-rock vibe of the Sixties and the soft indie-folk of the Nineties, yet possesses a timeless quality all its own.

The band has toured domestically and internationally playing with St. Paul & the Broken Bones, Kacey Musgraves, the Wild Feathers, NEEDTOBREATHE, and BANNERS among others. They have played festivals such as Governors Ball, Austin City Limits Fest, Electric Picnic, Bonnaroo, Sloss, MOTM, and Hangout and to date have logged over 30 million streams organically as independent artists.

The Brummies debut album Eternal Reach was recorded at Battle Tapes Recording in Nashville with Grammy award-winning engineer Jeremy Ferguson (Cage The Elephant) and co-producer David Hopkins. The album which Billboard magazine states as “gorgeous,” “lush,” and “…an album to be listened to from start to finish,” includes single “Drive Away” featuring Grammy-winner Kacey Musgraves.

The Brummies sophomore album, Automatic World was also recorded at Battle Tapes with Jeremy Ferguson engineering and Austin Jenkins (Leone Bridges, Khruangbin, Orville Peck) co producing alongside Jarrad K (Ruston Kelly, ELOHIM) and finished at the Chateau Noire. There are rhythmic guitar riffs straight out the Seventies, hypnotic Moog passages that evoke the electronica of Giorgio Moroder, & even the bright tones of soul music. It exists in those atmospheric notes that soundtrack our subconscious. Automatic World was released on November 13, 2020.

The Brummies are currently in the studio and will be releasing new music in 2022 for the highly anticipated 3rd album that will be a new sonic landscape.

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ABOUT J.R. CARROLL

J.R. Carroll gained his gospel pipes on Sunday mornings, leading the small-town Okie church choir by pianoand voice. After finding a group of friends to sing along with, Carroll adopted the acoustic guitar and wrotewhat became his debut EP, “LongStory Short.” The set of songs resonated with fans of Tyler Childers,Jason Isbell, John Moreland, and Carroll’s close friend Zach Bryan.Since the EP’s release, Carroll has been playing shows of all sizes. He currently accompanies Zach Bryan asBryan’s touring keyboardist. When he isn’t on tour with Bryan, Carroll is writing at home in Tulsa,Oklahoma or playing his own shows around the United States.Carroll's latest release, "Raging in the Dark," reflects an indie-rock influence, while holding dear thetender, honest, and heart-felt lyricism that fans expect from Carroll. This latest release draws influencefrom artists like Ryan Adams, Kings of Leon, and the Avett Brothers. Upon release, singles from Raging inthe Dark havebecome staples on editorial playlists such as Spotify's own "Indigo."

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ABOUT MAN OR ASTRO-MAN?

Some years ago, a young collective of extraterrestrials arrived on this planet and happened upon a small college town in Alabama. Home to both otherworldly jazz guru Sun Ra and rocket scientist Wernher von Braun, it is clear that Alabama is a direct linkage to outer space. In order to integrate into human society, these aliens would disguise themselves as a rock band, the perfect vehicle in which to traverse the globe and further their research. They would soon be known to the people of Earth as Man or Astro-Man?.

Unearthing thrift store records by the likes of Link Wray, The Ventures, Dick Dale, Duane Eddy, The Marketts & The Safaris – Man or Astro-Man? began to formulate their own blend of the retro-futuristic inspired by their offbeat musical discoveries. Innovative stage sets and designs by Kraftwerk, The Spotniks, The Residents, Devo, Sun Ra, and The B-52s also had an impact on the emerging ensemble.

Man or Astro-Man? began playing countless shows in the Southeast with bands like Southern Culture on the Skids, The Woggles, Hillbilly Frankenstein, The Subsonics, and The Flat Duo Jets. The group soon caught the attention of Estrus Records’ owner Dave Crider who released their full-length debut, Is it…Man or Astro-Man? (1993).

The label’s design aesthetic revolved around the other-wordly concepts of designer Art Chantry whose works melded perfectly with the Astro-minds. Destroy All Astro- Men (1994), Project Infinity (1995), and several EP’s were also released by Estrus.

Touch and Go Records released all later Astro-transmissions. Experiment Zero (1996) was recorded in three days with engineer Steve Albini at Zero Return Studios in Alabama. Now drawing influences from the future (as well as the past), the band began to extend their use of samples, computer programming, homemade instruments, electronic gadgetry, tape splicing, and other bits of Earth technology. Both the 1000X EP (1997) and Made From Technetium (1997) were darker steps into the futuristic soundtrack realm.

Now, Man or Astro-man? have returned to Earth and unveiled their finest recorded work to date. Defcon 5…4…3…2…1 is here now with a striking validity that the band is unquestionably as both tuneful and energetic as they ever have been. The record combines ever-familiar Astro audio tones and the well-established playing ferocity that the band is known for, but yet now, there is an undeniably evolution to the band that is both intuitive, logical and well crafted. Man or Astro-man? has arrived in the present (and future, of course) with imminent purpose. And of course, they still bring an over-the-top, sensory overloaded show, which has always gained them a reputation for always being an undisputedly amazing band to see live.

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ABOUT ONDARA

Ondara’s new album, Spanish Villager No: 3, was predominately produced by Ondara and Mike Viola (Jenny Lewis, Dan Wilson) with contributions from Taylor Goldsmith and Griffin Goldsmith of Dawes, Sebastian Steinberg, Tim Kuhl and Jeremy Stacey. The new collection of songs features a much more full, electric sound.

Of the album, Ondara states, “This collection of work and the work that lies ahead in presenting it to the world, is a metaphor for my spiritual path. There is death and resurrection in it, a peeling of layers, a pursuit of the truest form of the self in the universe. Ironically, the adaptation of the Spanish Villager character has made me more acquainted with myself. By creating an obvious demarcation between the art and the artist, I have charted two paths of maturation. One path is the maturation of the Spanish Villager as a work of art, as a character in a narrative, as a commodity partaking in the mandatory sport of capitalism; The other is my own personal maturation into a spiritual, integrated, and useful member of society.”

The namesake behind the new album is The Spanish Villager: a mysterious man with a potent message who has proven to be a versatile guy: he’s the subject of a short story Ondara wrote and turned into a graphic novel, and now a new album.

Spanish Villager No: 3 follows his 2020 sophomore album, Folk N’ Roll Vol 1: Tales of Isolation, and his 2019 debut album, Tales of America, which received a nomination for Best Americana Album at the 62nd Grammy Awards. Ondara also received a nod for Best Emerging Act at the 2019 Americana Awards.

Ondara grew up in Nairobi, Kenya listening to American alt-rock and making up his own songs for as long as he can remember. At an early age he fell in love with the music of Bob Dylan and was granted a visa through the immigration lottery system. He chose Minneapolis as his home to pursue a career as a singer and songwriter with Dylan in mind. He began making his way in the local music scene, continually writing songs about what he saw, felt and experienced in a place far different from home.

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ABOUT ROBYN HITCHCOCK

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ABOUT JOHN PAUL WHITE
Formerly of The Civil Wars 

With The Hurting Kind, John Paul White has crafted a stunning album that draws on the lush, orchestrated music made in Nashville in the early 1960s. Yet these songs retain a modern feel, whether he’s writing about overwhelming love, unraveling relationships, or fading memory of a loved one.

White grew up in tiny Loretto, Tennessee, and now lives in Florence, Alabama, not far from Muscle Shoals. He has cultivated a music career in Nashville for two decades, first as a songwriter for a major publisher, then half of The Civil Wars – a groundbreaking duo that won four Grammy Awards before disbanding in 2012.

Because The Civil Wars were so hard to categorize, White has earned a fanbase among indie rock listeners, folk audiences, Americana outlets and AAA radio. So, what will happen if people hear The Hurting Kind and call it country? “Well that doesn’t scare me in the least,” he says. “As a matter of fact, it kind of thrills me.”

What was on your mind leading up to the sessions for The Hurting Kind?
I wanted The Hurting Kind to be a much more complex record than I’ve made before. I wanted it to be a more thought-about, arranged record. I had been burying my head in ‘countrypolitan’ stuff like Jim Reeves and Patsy Cline and early Roy Orbison, and a lot of Chet Atkins and Bill Porter records. I think I was doing that because I was looking for that style of music in today’s world, and for any artist doing that type of thing. Then I decided to make the kind of record that I wanted to sit down and listen to – one that I’ve been looking for and can’t find.

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