Welcome to NEXT. We are a new music show on the radio with a very simple goal – find you a NEXT, new favorite song.

May NEXT find a song that makes your ears smile. Enjoy it all.

When you make music or write or create, it’s really your job to have mind-blowing, irresponsible, condomless sex with whatever idea it is you’re writing about at the time. ” ― Lady Gaga

Let us begin NEXT week 791 with Beach Bunny. Beach Bunny takes us through the process of teenagers shedding their rose-tinted love — essentially concluding that not all fairytales have happy endings. Beach Bunny has given us a great album that speaks to the hearts of every heartbroken teenager. While sappy, it shines on its relatability, allowing every individual to find something — whether a lyric or a rhyme — to carry as a piece of themselves. Their album narrates the lives of every teenager, speaking on the heartbreak of teenage love. This Beach Bunny album does capture the essence of that time in life, those years as a teen that feels infinite.  The album begins with an unbelievable rhythm that you can’t help but bop your head to and soon transitions to a passionate melody of the guitar. Your interest is automatically piqued by the upbeat and catchy tune with an indie-pop vibe that ties it all together. Waves of nostalgia wash over you as you are immersed in the tune of the song. Beach Bunny vocalist Lili Trifilio sings: “And I’m tired of the world perceiving me/And I’m tired of girls saying, ‘Something here’s gotta change.’ ” Beach Bunny vocalist Lili Trifilio bounces over the twinkling guitars of “Blame Game” – a musical account of the burden women’s bodies bear in a society that views them as objects, spectacles and scapegoats. The track is bittersweet, almost heartbreaking, in the way it emphasizes these comments as barely inescapable. Trifilio stands firm in her position: “I don’t want to smile for anyone.”

Since forming in Los Angeles in 2014, Livingmore have quietly gained steam, amassing two million streams heading into “Take Me,” the group’s second album. That momentum should only pick up with this sophomore release. It opens with the danceable single, “Sharp,” which suggests the band listened to plenty of “Parallel Lines”/”Eat to the Beat”-era Blondie. From there, the songs on “Take Me” branch out to touch on plenty of variations of indie-pop. “Memory Hill” is a classic mid-tempo charmer that feels like it could have been written in any decade since the ’60s. By contrast, some decidedly modern production touches flavor the grittier and edgier “Got Me Feelin’ Like,” while Livingmore’s affection for the band Garbage sneaks through in the serrated tones of the ballad “Energy Taken.” “Bummer” and “I Know It’s A Smile” boast effortless pop melodies within deceptively rocking settings. As these songs suggest, “Take Me” finds Livingmore deftly walking a fine line between classic and modern pop/rock. Remember the name. Livingmore has the goods to enjoy a long career and more than a few hits along the way.

Virginia’s garage-rock improvisers Kendall Street Company return today with a new song “Say Hey!” from the double LP The Year the Earth Stood Still. “Say Hey!” speaks to the stagnant nature of life under lockdown and the psychological effects of social isolation. Written during a series of experimental recording sessions for Kendall Street Company’s most recent album project. “Say Hey!” leads the charge with a driving singalong that voices a universal sentiment. “On day three in the studio, we started exploring a more positive harmonic rhythm to act as a palate cleanser from the dense instrumental tracks that made up Ninurta,” shares KSC bass player and lead vocalist Brian Roy. “Before heading back to our instruments to ink it, Ben [Laderberg: lead guitar/vox] added, ‘I feel like there should be words right here.’ Drawing inspiration from that line, I threw together a couple of verses about how I’d been feeling while stuck inside during the peak of the pandemic, starved of social interaction. Despite the heavy subject matter, the tongue-in-cheek tone of the song allowed us to capture the experience from a humorous lens.” The decision to re-record the track as a single came upon further reflection. “Once Kendall Street Company had left the studio and were listening back to our final takes, ‘Say Hey!’ stood out among a sea of more esoteric tracks from the session. Kendall Street Company felt they could be a bit more clear with the messaging of the song if we embraced its pop-influenced style, which led Kendall Street Company back to the studio to track a new version. By the time Kendall Street Company re-recorded it, we were beginning to see a glimmer of light at the end of the COVID tunnel, which certainly comes through when contrasting both versions.” 

The Rolling Stones are returning to the states this fall to make up for postponed 2020 dates. They are hitting most of the cities they planned on playing in 2020, but the shows in Vancouver, Louisville, Cleveland and Buffalo were canceled due to scheduling difficulties. To make up for that, they’ve added stops in Los Angeles and Las Vegas and will also be playing Jazz Fest in New Orleans. Tickets for the 2020 shows will be honored at these new dates. “I’m so excited to get back on the stage again,” Mick Jagger said: “and want to thank everyone for their patience. See you soon!” “We’re back on the road!” added Keith Richards. “See you there!” During the downtime, the group released the new song “Living In a Ghost Town.” It was largely written before the pandemic, but they changed some of the lyrics to reflect the new reality in the world. They haven’t released an album of new songs since 2005’s A Bigger Bang, but they have spent a lot of time in the studio in recent years. “We’ve got another five or six tracks and there’s a lot of sort of soul feel about it for some reason without anybody intending to,” Keith Richards said last year. “Obviously right now we’ve got nothing else to do but write some more songs, right?”

Brooklyn synth-pop band Nation Of Language are already getting ready to follow up last year’s excellent debut album Introduction, Presence with a new one called A Way Forward. Nation Of Language shared lead single “Across That Fine Line” last month, and now they’re giving us another taste of the record with the spacey “Wounds Of Love.” As frontman Ian Devaney explains: “Wounds Of Love” is a song about getting caught in a mental feedback loop when a relationship ends. It’s an endless inner argument — wanting to move on defiantly, but feeling utterly lost about how to do it when the other person has informed so much about how you see yourself. For every bit of progress there’s just as much retreating, and eventually it seems like this back-and-forth becomes the new root of your identity — still tied to the same person, just without them actually being there. During its creation, the song was really born out of the main riff — I was experimenting with synth sounds and delay pedals, trying to find something that felt kind of like Man Machine-era Kraftwerk, and this simple melody just flowed out. At first the urge was to go very robotic with it, but a laid-back groove fell into place and gave everything a really warm, spacey, stoned feeling, which felt like it amplified the emotional haze that the song deals with.

Chicano Batman returned on Wednesday with a pair of new singles “Dark Star” and “Pastel Sunrise”, these singles mark the first new music from the Los Angeles psychedelic soul outfit since 2020’s Invisible People. On the A-side there’s “Dark Star”, which earns its title with the dark intro as frontman Bardo Martinez hums “The war is here / Spread thy fear,” as he is awash in distorted guitar. Throughout the single, Chicano Batman gradually moves away from the Black Sabbath overtones of doom and overdrive as Martinez and company dive into the dreamy chorus that is more authentically Chicano. “The hardness of the track lended itself to a more ominous meaning,” says Chicano Batman frontman Bardo Martinez. “The lyrics are multidimensional, in America there are so many layers of trauma that we all have to deal with that seep into our everyday behavior and attitudes towards each other. Genocide and slavery is embedded within the dna of American culture and the social strife gripping America today exemplifies this. ‘Dark Star’ is about an honest feeling that seeks to break the status quo, tear down the physical and mental walls that hold us back from simply being ourselves.”

If there’s one common thread in all of Jackson Browne’s work, it’s that willingness to peer within himself and drag those insecurities to the surface. Here it’s no different, and yet one has to wonder why, after all these years, Jackson Browne still sounds so conflicted. To Jackson Browne’s credit, he continues to crusade for the disenfranchised; on songs such as “Until Justice Is Real” and “The Dreamer,” Jackson Browne reasserts the activism that’s found him an outspoken advocate in years past.  Still, it’s Jackson Browne’s own underlying insecurities that appear to pique him most, as if his quest to find contentment is ultimately doomed to fail. Here again, Jackson Browne’s confessional commentary reflects disillusion and despair. I didn’t find much wisdom when time was on my side, he sighs on “A Little Too Soon To Say.” I Took a couple wrong turns — it only takes one to send you down a lifetime. It’s a sad sentiment to be sure. If you’re going downhill in a hurry, there’s hardly any time to look up. Jackson Browne’s purveyed a darker demeanor for much of his career, a troubled troubadour who struggles to make sense of the world around him. Trying to find the upside of the downside.

Leon Bridges Brings Southern Soul Into the 21st Century. Leon Bridges, offers his personalized survival strategy for Southern soul. Bridges sings about its classic topics in songs that take their time and revel in natural, unvarnished singing. He pledges sensual romance in “Magnolias,” does some cheating (with duet vocals from Atia “Ink” Boggs) in “Don’t Worry About Me” and affirms his faith in “Born Again.” Around him, the music uses synthetic textures, programmed beats and surreal layering to carry a decades-old tradition into the 21st century. “Gold-Diggers Sound” — named after the Los Angeles studio where the album was made — is more confidently single-minded. All of its songs are midtempo or slower, often verging on languid. Gently coiling, reverb-laden electric-guitar vamps.

Indigo De Souza’s upcoming album is Any Shape You Take. “Hold U” is a sweet pop-leaning tune that begins with soft vocals and synths, before evolving with swirling guitar and percussion. Of the bright, optimistic song, Indigo De Souza wanted to write about a really simple kind of love that isn’t necessarily romantic, but that is just about holding space for other people to fully express themselves and to feel celebrated. Just simply seeing someone in their humanity and loving them. Indigo De Souza wanted to write about a really simple kind of love that isn’t necessarily romantic, but that is just about holding space for other people to fully express themselves and to feel celebrated. Just simply seeing someone in their humanity and loving them,” Indigo De Souza explains. “We are constantly evolving and we only truly have space to process our lives openly if we feel safe and are encouraged to love ourselves and celebrate our bodies. I am really blessed with the sense of community that I have in my life, and Indigo De Souza wanted to highlight that in this video. Community is the purest kind of magic and can heal so much trauma and pain. We all just want to feel truly held by the people around us!”

Foo Fighters’ new Bee Gees tribute band—yes, this is real—have dropped their debut album, Hail Satin. While the arrival of Dee Gees feels like a fever dream, there’s no denying how well they’re filling these new dancing boots. When Foo Fighters frontman Dave Grohl first announced the new venture, he shocked fans by revealing that his drumming inspirations during his early years in Nirvana were actually disco pioneers. Hail Satin is a full circle moment, featuring four Bee Gees covers, a rework of Andy Gibb’s “Shadow Dancing,” and five live versions of songs from Medicine Midnight, the band’s most recent studio album. In a clip from his new Paramonut+ docuseries From Cradle to Stage, Foo Fighters frontman Dave Grohl tells Pharrell Williams that he ripped off old disco and funk songs when coming up with his drum parts for Nirvana’s Nevermind. And while his hard rock ethos has always been present, Grohl has been outspoken in the past about his appreciation for ‘70s pop, disco, R&B and funk. This time, however, the Foos are taking that appreciation one step further with Hail Satin, their debut EP as the Dee Gees. Hail Satin sees the Foo Fighters taking on five classic Bee Gees songs (“You Should Be Dancing,” “Night Fever,” “Tragedy,” “Shadow Dancing,” and “More Than A Woman”) and bringing a unique Foo spin to them under a disco alter ego. Though there’s certainly some more electric guitar in the mix and a slightly-heavier sound, the band very carefully reconstructs these classic Bee Gees hits without ever taking too many liberties with them. Rather than reimagine these tracks entirely, Grohl and Co. decide to replicate them with as much energy and style as they can.

Tedeschi Trucks Band with Trey Anastasio – LIVE!. So ‘Layla and Other Assorted Love Songs’ was the only album released by Derek and the Dominos, an English-American band that featured Eric Clapton on vocals and guitar and Duane Allman on lead and slide guitar. Originally released in 1970, the album was a critical and commercial flop on its original release but over the years it has gone on to be revered, in large part due to its now iconic title track. In 2019 Tedeschi Trucks Band – led of course by Susan Tedeschi and Derek Trucks – performed the album in its entirety at the LOCKN’ Festival in Arrington, VA with Trey Anastasio and frequent collaborator Doyle Bramhall II. While the live set may seem random to someone who doesn’t know much about Tedeschi Trucks Band, it was anything but. ‘Layla and Other Assorted Love Songs’ was released on the day that Tedeschi was born and Truck’s parents were such a fan of the album that they named him after Derek and the Dominos. During his career, Trucks also toured as a member of The Allman Brothers Band alongside Allman and Clapton. The connection Tedeschi and Trucks have to the record is obvious as you listen to it through. Anyone who has ever seen Tedeschi Trucks Band live knows how incredible they are. There are few bands that could beat them when it comes to chemistry and how in tune with one another they are. That shines through on every single song here. Opener ‘I Looked Away’, one of the shortest tracks, is perhaps one of the most faithful covers on this release and one of the few times the band doesn’t break out into extended jams. By comparison ‘Keep On Growing’ is double the length of the original song and at 12 minutes, it somehow never outstays its welcome. The opening guitar riffs last for almost two minutes before the vocals come in. Few bands can hold your attention while they showcase their musicianship but Tedesechi Trucks Band do it with ease. Highlights on the record include the bluesy soul of ‘It’s Too Late’, the 13-minute jam-fest that is ‘Anyday’ and the classic tune ‘Little Wing’. ‘Layla’ is nestled in the track list as the penultimate song, just as with the original record, and it’s definitely worth the wait. The minute that iconic guitar riff comes in, you get shivers up and down your spine. Then when Tedeschi’s vocals come in, the song jumps to a whole new level. It’s a loving homage that allows the band to put their own twist on the song, making it their own in the process.

Molly Hanmer & The Midnight Tokers are sharing their new lead single, “Sick of Me.” The track’s release has been years in the making, following Molly Hanmer’s last record, the 2018 debut Stuck in a Daydream. While their first album took on more of a bluesy, Americana tone, their new LP embraces the world of riff-drive rock ‘n’ roll. “Sick of Me” was inspired by the isolation experienced by Hammer and her band during lockdown, acting as an important reminder that community growth is essential and that solely living for yourself is often not enough. Molly Hanmer expands on the lead single, written “at a time when it was impossible not to be real. And what was real for us was this loneliness, this longing to connect with others, which felt both vulnerable and even a bit perverse. There was anger, too, which you can hear as the song kicks off with this relentless immediacy.” Molly Hanmer says “Sick of Me” was cathartic and let the band express their feelings without being destructive. “And if you hear a nod to Iggy and the Stooges or the Buzzcocks, well, you wouldn’t be wrong. In sum, ‘Sick of Me’ is an expression of the angst and longing we felt during a profound and painful time in our shared history.”

Music is Life. Thanks again for listening.

NEXT on the radio.

WERB 107.5 Global Radio Monday/Wednesday/Sunday mornings.
River Radio in the UK â€“ Thursday night.
Ocean 98 in Maryland â€“ Sunday nights at 10.
Saturday afternoon on VOBB in Canada

You can listen to NEXT on the radio.

WERB 107.5 Global Radio Monday/Wednesday/Sunday mornings.
River Radio in the UK – Thursday night.
Ocean 98 in Maryland – Sunday nights at 10.
Saturday afternoon on VOBB in Canada

Spotify playlist updates on Thursday(ish). Link to Chris Bro on Spotify.

WARNING may contain bad words. Or may not. Depends.

Artist and Song Title:

  • Beach Bunny – Blame Game
  • Livingmore – Got Me Feelin’ Like
  • Kendal Street Company – Say Hey!
  • The Rolling Stones – Night Time Is The Right Time (Live Cover)
  • Nation Of Language – Across That Fine Line
  • Chicano Batman – Dark Star
  • Jackson Browne – A Little To Soon
  • Leon Bridges featuring Ink – Don’t Worry
  • Indigo De Souza – Hold U
  • Dee Gees – Tragedy (Cover by Foo Fighters)
  • Tedeschi Trucks Band with Trey Anastasio – Why Does Love Got To Be So Sad (Live Cover)
  • Molly Hammer And The Midnight Tokers – Sick Of Me

and remember if you love someone hug them right now

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