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.

“We are the music makers, and we are the dreamers of dreams.” ― Arthur O’Shaughnessy







Let us begin NEXT week 798 with EOB. If there’s one lesson I’ve taken from the last month or so of unprecedented change and self-isolation, it’s that we human beings truly need each other. We have always known that we’re social animals, but suddenly being unable to gather together, it becomes even more obvious how deeply we crave that human connection. While working on his debut solo album, Ed O’Brien was inspired by things like late night raves at music festivals and Brazil’s Carnival. EOB talks about those moments of community, of understanding, of us all being in it together. You may know Ed O’Brien as a guitarist for the band Radiohead. Ed O’Brien’s been playing music with his Radiohead bandmates — Thom Yorke, Jonny Greenwood, Colin Greenwood and Philip Selway — since their school days. Through the years, some of those members have tried their hands at solo projects, and now it’s Ed’s turn. For his new project, he goes by the name EOB. Radiohead guitarist Ed O’Brien is the quintessential team player, a musician who understands the importance of a supporting role. He’s said that he serves as a parental figure in the group, checking in on other members, particularly the band’s frontman Thom Yorke, to make sure they’re taking care of themselves—“I always say that he was like the dad of the band and I’m the mum – My job was to always put my arm around him, and his job was to be Thom.” Mr. O’Brien has made music with the boyhood friends who became Radiohead since 1985. He’s the third guitarist in the five-piece band, alongside Jonny Greenwood (who plays lead) and Mr. Yorke. His backing vocals, especially in concert, are an important part of their sound. But Mr. Yorke writes the bulk of the group’s songs, often in collaboration with Mr. Greenwood, so Mr. O’Brien’s songwriting approach has remained unknown. That changes this Friday with the release of “Earth”, his debut album, which he is releasing under the name EOB.

Harry Teardrop is the project of 19-year-old Harrison Li, who used to live in Los Angeles but is now hanging out in the streets of New York. He released 1000 Backyard Pools, his debut EP, in May, a five-song collection of youthful, and exuberant guitar rock. After releasing his debut EP 1000 Backyard Pools back in 2019, rising Brooklyn-based bedroom rock whizkid Harry Teardrop (a.k.a. Harrison Li) is back with a new double-single titled $2 Bill. “When Harry Teardrop (a.k.a. Harrison Li) was a kid, he face-planted into the cement and broke his tooth,” Li wrote, of the two new tracks. “The next day Harry Teardrop (a.k.a. Harrison Li) woke up with a $2 bill under his pillow that went on to act as a celebration of his failure. This double-sided single, $2 Bill is a stamp in Harry Teardrop (a.k.a. Harrison Li)’s life that reminds myself and the kids who support me that no matter how hard we fall, we get back up and life goes on.”

For half a decade, Secret Machines were the definitive indie-rock power-trio of their generation, creating a monolithic space-rock sound from the primal thud of drummer Josh Garza and the hypnotic instrumental textures of brothers Brandon and Benjamin Curtis. Falling snuggly in that psychedelic space between the jamband and guitar-rock scenes, they played powerful sets at festivals like Bonnaroo and Langerado. And for brief moments on their fourth album, Awake in the Brain Chamber—which was issued in August, seven years after Benjamin’s death and 12 years after their previous LP—they time-travel back to that indelible era. “If you close your eyes, that’s the original Secret Machines for a minute,” Garza says of “Everything Starts.” The road to Brain Chamber began way back in 2002, when the trio ventured from Dallas to Chicago and recorded their debut EP, September 000. The signature ingredients were already there: Brandon’s creaky voice and wide-screen arrangements, Benjamin’s colorful guitar and Garza’s Bonham-sized drums, which thudded like barbells against a sweaty gym floor. 

Tom Morello announces star-studded new solo album, debuts “shredding” Highway to Hell cover with Bruce Springsteen and Eddie Vedder. Tom Morello has announced a brand-new, star-studded solo album, The Atlas Underground Fire. The release follows the Rage Against the Machine firebrand’s 2018 solo effort The Atlas Underground, and promises his “remarkable guitar playing will be on full display”. The record – which will fuse “rock, alternative and electronic music together” – is set to play host to a smorgasbord of musical guests, including Bring Me the Horizon, Chris Stapleton, Phem, Damian Marley, Sama’ Abdulhadi, Mike Posner and more. Kicking off the album’s cycle, Morello has dropped a cover of AC/DC’s Highway to Hell, featuring Bruce Springsteen and Pearl Jam frontman Eddie Vedder

Ayron Jones’ autobiographical songs of pain, suffering, success, and failure are a powerful mix of the ’90s grunge of his native Seattle with a wonderful amount of added soul and spice too. Expect to be moved by the opening salvo of “Boys From the Puget Sound,” “Mercy,” and “Take Me Away.” Jones’ self-taught virtuosic hard-rocking guitar style resonates throughout the record alongside a tight rhythm section, which completes a truly contemporary power trio. A bevvy of co-writers position “Take Your Time,” “Free,” and “My Love Remains” as potential radio singles with true crossover potential but it is when rocking hard on “Supercharged” and “Baptized in Muddy Waters” where the whole thing comes together best. This is a promising debut album from an artist who is realizing his potential after many years of hard graft. From the full-fat riffage and punk-blues vocal of swaggering opener Boys From The Puget Sound to the grunge blast of Killing Season, to the good old-fashioned raunch of Supercharged, this album feels like a showcase of every aspect of Ayron Jones.

Some musicians take a while to build an audience and connect with fans. For the Los Angeles-based quartet Dirty Honey, success came right out of the gate. Released in March 2019, the band’s debut single, “When I’m Gone,” became the first song by an unsigned artist to reach No. 1 on Billboard’s Mainstream Rock chart. Their second single, “Rolling 7s,” went into the Top 5 and was still headed up when COVID changed everything. That same year, Dirty Honey opened for The Who, Guns ’N Roses, Slash, and Alter Bridge and was the “do-not-miss-band” at major rock festivals such as Welcome to Rockville, Rocklahoma, Louder Than Life, Heavy MTL, and Epicenter. On its first U.S. headline tour in January and February 2020, the band sold out every date. When it came time to record its self-titled full-length debut album, the band—vocalist Marc LaBelle, guitarist John Notto, bassist Justin Smolian, and drummer Corey Coverstone—wasn’t about to mess with what was already working. Teaming up with producer Nick DiDia (Rage Against the Machine, Pearl Jam), who also produced the band’s 2019 self-titled EP, Dirty Honey again captured the lightning-in-a-bottle dynamics and energy of their live sound. “As a guitarist, I’m always inspired by the everlasting pursuit of the perfect riff,” says Notto of Dirty Honey. “I also wanted to extend the artistic statement that we had already made. We weren’t looking to sound different, or prove our growth, necessarily. It was more about, ‘Oh, you thought that was good? Hold my beer.’”Although each band member started playing music as kids—at the age of eight, Notto’s parents even bought him a red-and-white Stratocaster—each one brings eclectic influences to Dirty Honey’s sound. For example, drummer Coverstone has studied with jazz and L.A. session drummers but loves heavy metal; Notto grew up listening to ’70s funk and R&B as well as rock ‘n’ roll, and bassist Smolian has a bachelor of music in classical guitar and loves Tom Petty and The Beach Boys. “I think our combination of blues-based riffs, mixed with big choruses, and an overall atmosphere of a party going off the rails gives us a unique sound in today’s music,” Notto of Dirty Honey says. “There just aren’t many bands out there playing and writing the way we do. A lot of rock now is tight, heavily produced and dark in its mood. We are cavalier, fun, uplifting and unapologetic about it.”

The Rentals started mostly as a joke by Matt Sharp bassist for Weezer. Matt Sharp founded the Rentals in early 1994. They released their debut album Return of the Rentals the following year, which featured the radio hit “Friends of P“.The accompanying music video was shot with antiquated equipment, on black and white film stock, with a total budget of less than $1,000. Upon its release, the video was added to MTV‘s playlist in early November 1995. Band members on Return of the Rentals included Patrick Wilson (also of Weezer) on drums, Rod Cervera (guitar), Tom Grimley (keyboards), Petra Haden (violin, vocals), and Cherielynn Westrich (vocals, Moog). Maya Rudolph, of Saturday Night Live fame, also handled keyboard and backing vocals for the group’s first tours in support of its debut album. Sharp reformed The Rentals in 1997 and 1998 to record their second album, Seven More Minutes. And now? Sharp formed a completely new lineup.

Arkells have now announced their sixth studio album, Blink Once. “Arkells began working on this album before the world changed and this title felt right given where we’ve collectively landed,” Kerman of Arkells said in a statement. “Everyday you wake up and you think you know a lot of stuff, then it turns out — you don’t.” Arkells have shared the 11-track effort’s latest offering. Arkells are pumping out the summer jams. “This song is about not being ashamed of who you are and where you come from,” Kerman said of the track. “The best version of yourself lets your colours show — to feel free, weird and unburdened by all the things out of our control.”

The former Walkmen frontman’s second solo effort is a generous collection of narrative-driven Americana. Between his decade of fronting New York City quintet The Walkmen and his subsequent releases, both solo (2014’s Black Hours) and collaborative (2016’s I Had a Dream That You Were Mine, with Rostam Batmanglij), Hamilton Leithauser has proven himself one of the most consistent indie-rock songwriters of the 2000s. Though his former band could never quite top their 2004 breakout Bows + Arrows, they never put out a bad (original) album, either, aging gracefully right up until their “extreme hiatus” in 2013. Leithauser now returns with his second solo effort, The Loves of Your Life, an 11-track collection of warm, nuanced Americana as essential as anything the 41-year-old father of two has released to date.

Rozzi pronounces with great resolve, articulating centuries-worth of sexism and passive-aggression lobbied at women for simply taking up space. Her song “Mad Man” pressurizes the current moment in under four minutes, an emotional pillar to her brand new EP, Hymn for Tomorrow, signaling that the San Francisco-born and raised artist is a relentless tour de force.  “A lot of the time with songs, I will find that the emotion behind the song is ruminating within me for years. There was one specific relationship with somebody I used to work with, who really pushed me over the edge, to write the song. He would get angry, and he would get frustrated. I would respect [those feelings] and give [him] space. But I felt if I was ever frustrated or annoyed or concerned about something that in any way resembled anger, even if it was very subtly resembling anger, his response would be like, ‘You’re intense, you need to relax,’ or ‘you’re being crazy right now.’ “He’s a great person, but I found it to be sexist. I didn’t see him doing that same thing with other men that he worked with. Every woman in my life I think has experienced this at some point─feeling like our emotions are too much. When a man is tough, he’s a pistol or a leader. But when a woman is, she’s intense or hysterical.” Woven across the next five songs, Rozzi paddles from R&B-tweaked pop (“I Can’t Go to the Party”) to indie, guitar-bound wonder (“If I’m Gonna Love You”), smacking right into the title track, a syncopated vocal dance. Finally, with the closer “Idk,” she dips back into a sparse well, retooling funk rhythms for a beautiful lo-fi confession─a lightning rod moment in which she realizes that, perhaps, she can fall in love and feel safe again. Heartbreak leaves indelible scars, and Rozzi certainly has her share, but it appears she’s risen, as a phoenix often does from charred ash

It’s always complicated to assess an album as a fan of the artist rather than coming into it free of expectations. There’s an element of nostalgia or sentimentality that tends to get in the way—perhaps you might be open to change, just as long as it remains in the orbit of that nostalgic place you hold dear. I admit to arriving upon a similar nostalgic place with Twin Shadow, in particular 2015’s Eclipse. It’s not an album that dates back to my high school years, like The Cure or The Smiths, and thus the weight of the connection is not so heavy that it’s a frame of reference that’s difficult to get past—which is important, since George Lewis Jr. makes changes in both sound and mood on his self-titled album.  Not everyone can be David Bowie, so those kinds of shifts don’t necessarily come as gracefully. Twin Shadow has always made pop music that was a little more progressive than the mainstream, however, and on that front he continues to deliver. The mood here is more upbeat, with less of the moody ’80s new wave tone that colored previous albums and reach was at its thickest on Eclipse. But Lewis branches out into new territory, and songs like  “Sugarcane” find Twin Shadow’s grooves approaching those of Lenny Kravitz’s.  It’s not as if Lewis hasn’t undergone other stylistic changes since Eclipse; 2018’s Caer was a darker effort, and one with a druggier haze. But some of the more upbeat moments, like “Johnny and Jonnie” aren’t as immediately satisfying. Yet Lewis balances this mood on the more lyrically melancholy “Get Closer,” which makes the ’60s R&B-flavored chorus more digestible. The new wave influences have been drastically cut back, which make this a more organic, instrument-focused album which I appreciate, with some subtle touches of ’70s prog. Twin Shadow is ultimately a great summertime album. With the world returning to some kind of “normal,” and this album should provide a more stimulating soundtrack for beachgoers and poolside day drinkers. Yet George Lewis Jr.’s knack for songwriting keeps even the most unabashed pop moments from being loaded down with too many empty calories.

Car Seat Headrest have just shared two new EPs related to last year’s Making a Door Less OpenMADLO: Influences features covers of songs by David Bowie (“Golden Years”), The Who (“Substitute”), Nine Inch Nails (“March of the Pigs”), and Kate Bush (“Running Up That Hill”). The covers on Influences are pretty straight-forward but well-done. Car Seat Headrest have surprise released two new EPs under the collective title MADLO: Influences & Remixes. The first, Influences, includes four covers that the band cite as inspiring their latest album Making a Door Less Open. The covers that the band take on are David Bowie’s ageless funk nugget ‘Golden Years’, The Who’s iconic ‘Substitute’, Nine Inch Nails’ aggressively awesome cut ‘March of the Pigs’ and Kate Bush’s seminal single ‘Running Up That Hill’. Each of the four covers are stripped back into the classic Car Seat Headrest sound that the band favored before the electronic makeover that became Making a Door Less Open. Sounding like a teenage garage band taking on their favorite artists, MADLO: Influences harkens back to the scuzzy and spectacularly rock and roll sound of earlier albums like Teens of Denial and Twin Fantasy, whether its the dry disco of ‘Golden Years’ or the fantastic guttural screeching on ‘March of the Pigs’. The sole exception is ‘Running Up That Hill’, which retains the bouncier and more mechanical feel of Making a Door Less Open. What is operatic and highly dramatic in the hands of Kate Bush becomes stark and distant in the hands of Will Toledo and his band.

Tedeschi Trucks Band released Layla Revisited (Live At LOCKN’), a live album documenting their nearly complete performance of Derek & The Dominos’ Layla and Other Assorted Love Songs album with guest guitarists Trey Anastasio of Phish and Doyle Bramhall II at the 2019 LOCKN’ Festival. Official video featuring the ensemble’s version of title track “Layla” from the August 24, 2019 set in Arrington, Virginia has been shared in celebration of the new live album. Layla Revisited (Live At LOCKN’) contains all 13 songs TTB played with Anastasio and Bramhall for their tribute to the album as well as a studio version of “Thorn Tree In The Garden.” Susan Tedeschi and Derek Trucks recorded in the studio. Derek & The Dominos’ original “Thorn Tree In The Garden” aired over the festival’s PA at the end of the historic set. Eric Clapton wrote “Layla” with Jim Gordon for inclusion on Layla And Other Assorted Love Songs, the lone Derek & The Dominos studio album. The song was inspired in part by Clapton’s love for Pattie Boyd, who was married to George Harrison at the time. Both Trey Anastasio and Derek Trucks took fierce solos on “Layla” at LOCKN’ with the latter utilizing a slide in replicating Duane Allman’s iconic licks. Susan Tedeschi handled lead vocals. The Tedeschi Trucks Band has yet to perform “Layla” again.


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


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:

  • EOB – Shangri-La
  • Harry Teardrop – My Funny Girl
  • Secret Machines – Angel Come
  • Tom Morello featuring Bruce Springsteen and Eddie Vedder – Highway To Hell (Cover)
  • Ayron Jones – Supercharged
  • Dirty Honey – The Wire
  • The Rentals – Nowhere Girl
  • Arkells – One Thing I Know
  • Hamilton Leithauser – Here They Come
  • Rozzi – Mad Man
  • Twin Shadow – Get Closer
  • Car Seat Headrest – Substitute (Cover)
  • Tedeshi Trucks Band with Trey Anastasio – Layla (Live Cover)


and remember if you love someone hug them right now

Leave a Reply

Your email address will not be published.

This site uses Akismet to reduce spam. Learn how your comment data is processed.