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.

“A painter paints pictures on canvas. But musicians paint their pictures on silence.”— Leopold Stokowski





Let us begin NEXT week 799 with Courtney Barnett as she bids a gentle goodbye on this tune. Indie-rock singer-songwriter Courtney Barnett has returned with the new song “Before You Gotta Go.” A track from her upcoming album Things Take Time, Take Time. Whenever an argument with a significant other ends, there’s a specific kind of warm light that breaks through the clouds while still catching the gloom of the fight. That’s the color of “Before You Gotta Go;” it starts tentative and grows in warmth, Barnett’s voice gloriously front and center in the windswept track. Barnett recently described Things Take Time, Take Time as “some sort of joy and gratitude, out of some sort of pain and sadness.”

Black Pistol Fire – the duo grew up in Toronto and now call Austin home. They would play Lollapalooza to rave reviews. Selena Fragassi of the Chicago Sun-Times praised their performance, noting that drummer Eric Owen “beat his kit so furiously … it might’ve broken some laws,” and guitarist and vocalist Kevin McKeown’s “guitar gymnastics … could be their own sport in Tokyo.” “The heartbeat of our band is the live shows,” McKeown of Black Pistol Fire says. “And not being able to do them for so long was crazy. To go from no playing and no shows to going into your festival of 100,000 people was kind of overwhelming at first, but everybody’s incredibly hungry and stoked for live music again, so the energy was pretty wild.” McKeown of Black Pistol Fire and Owen grew up in Toronto, where they first met in kindergarten. They began playing music together around their time in high school, when they formed a band. Various band members would come and go, but the two always remained, and Owen’s parents’ basement, which served as their rehearsal space in their early days, became a second home for the duo. “It’s kind of like when an actor moves to Hollywood,” McKeown of Black Pistol Fire says. “Nashville and Austin were two hot spots that we definitely wanted to just immerse ourselves in and try music full time.” When Black Pistol Fire first arrived in Austin, the two took on various gigs to make ends meet. In their free time, Black Pistol Fire would practice in garages, rehearsal spaces and “other really dirty places.” “At the end of the day, we just loved playing music,” McKeown of Black Pistol Fire says, “whether it was for three people or 300 people.”

New ‘All Things Must Pass’ Reissue Shows the Communal Depth Behind George Harrison’s Masterpiece The visionary triple album comes with a fresh new mix and loads of must-hear bonus material. All Things Must Pass is now available in a massive, 50th-anniversary reissue, complete with a revelatory remix and tricked out with 47(!) demos and outtakes. George Harrison was all of 27 years old when he started making what became All Things Must Pass, in May 1970. The Beatles, the band to which he had dedicated his musical life since he was 15, were over, and Harrison spent the summer and fall in the studio, hammering out songs he had been sitting on and building new ones. He assembled an all-star cast of peers, from pal Eric Clapton and future Domino Bobby Whitlock to semi-Beatles Klaus Voormann and Billy Preston to actual Beatles Ringo Starr and John Lennon and a dozen more. Produced with his usual, sound-stacking excess by Phil Spector, Harrison famously emerged in the fall with a triple-album doorstopper, proof positive that the Quiet One, once given time and space, had a ton to say. Listening to All Things Must Pass for the first time is like finding out your younger cousin was smart and funny after the older ones, never letting their kid brother get a word in edgewise, moved out of the house. You can all but hear Harrison inventing the indie rock that would dominate college airwaves in the 1980s and Nineties, from friendly, folky tunes (“Behind That Locked Door,” “What Is Life”) to spiritual exploration (the surprise hit “My Sweet Lord”) to blowout jams (“Out of the Blue”). 

Ready for album number 3? “I just continue to try to write from a place of hope” ‘The Future’ will be the eight-piece party band’s third studio record, and follows the frontman’s 2020 solo album ‘And It’s Still Alright’. Recorded at Rateliff’s studio just outside of Denver. The album was written during lockdown and finds Rateliff looking deep within himself, using the time in quarantine to reflect. “I look at the album overall as a big question,” Rateliff said of his upcoming LP. “When I was writing the Nathaniel Rateliff And The Night Sweats record we were in the middle of a pandemic and our future looked pretty bleak. I just continue to try to write from a place of hope.” Nathaniel Rateliff And The Night Sweats: “Then my own neurosis, and maybe being a libra gets in the way, and I can’t make up my mind. There is this constant back and forth battle in me personally and I am sure that comes out in my writing.” Rateliff recount the struggles he goes through while the public perception is that he’s always ok. â€œI’m afraid that the weight of the world is catching up to you/ I’m afraid to admit that it’s catching up to me too/ Does the weight continue to grow until it finally buries you?” he sings.

Nashville band Rainbow Kitten Surprise has surprised us with the release of their first-ever live album. RKS! Live from Athens Georgia is a 25-song collection recorded over two nights from the Georgia Theatre in Athens, GA amidst their 2019 Friend, Love, Freefall tour. The album is a remarkable experience, allowing for fans to feel the live energy that this band brings in the stead of a tour this year. Nashville-based quintet Rainbow Kitten Surprise have announced their first official live album, RKS! Live From Athens Georgia, set for release on August 13. The 25-song collection – recorded during a two-night stand at The Georgia Theatre in Athens, GA, on the band’s 2019 sold out North American tour – will be available on all streaming platforms and as a limited-edition 3-LP vinyl featuring five sides of music and special artist’s etching on the sixth side. In tandem with the release, the band engaged fans to support the Louisville Pride Foundation, who are raising funds to open an ADA-compliant LGBTQ+ Community Center in Louisville, KY. The Center will be a home for events, programming, and connection to services/resources ranging from substance abuse to intimate partner violence to housing. They will provide backbone support to the city’s LGBTQ+ community and the organizations who support it. The Center is especially close to the bands’ hearts as it will serve as a tangible space for queer individuals living in the South to feel safe. To help meet the Foundation’s fundraising goal of $20k to open their doors during Louisville Pride this September, RKS has launched exclusive pride merch items including a t-shirt, socks, and a vinyl slipmat [available here]. The band has partnered with PLUS1 so that 100% of the proceeds will go to support the Foundation

A new live album from RI band and Newport Folk favorites Deer Tick, recorded last summer during the pandemic. The album was recorded during the pandemic at Fort Adams in Newport, Rhode Island on August 1, 2020. The album was recorded as part of the virtual Newport Folk Festival 2020. Deer Tick will return to Fort Adams on July 28 to perform at the Newport Folk Festival’s Folk On event. In addition to performing at Folk On, Deer Tick will embark on a co-headlining tour this summer with Delta Spirit. A global pandemic couldn’t stop Deer Tick from playing Fort Adams State Park in Newport, Rhode Island last year as part of the Newport Folk Festival’s virtual 2020 event. The Newport regulars shared their live performance, Live From Fort Adams, a 12-track set featuring live renditions of longtime favorites as well as the new song, “If She Could Only See Me Now.” “This time last year, we had no idea if or when concerts would ever return,” Deer Tick stated. “Gathering to perform at Fort Adams with one another, among family, friends and a small crew, was a meaningful respite from such a defeating year. This album will likely dredge memories of both joy and pain for years to come, but it will remain a true artifact of a strange time for all of us (it’s also living proof that “Deer Tick Day” exists in the city of Newport, Rhode Island, and that in itself puts a grin on our faces). Enjoy and please support live music as we all venture back out into each other’s lives!”

Parquet Courts have announced a new album. “Most of the songs were created by taking long improvisations and moulding them through our own editing,” says the Parquet Courts’s Austin Brown. “The biggest asset we have as artists is the band. After 10 years together, our greatest instrument is each other. The purest expression of Parquet Courts is when we are improvising.” “Wide Awake! was a record you could put on at a party,” says co-frontman Austin Brown of Parquet Courts. “Sympathy For Life is influenced by the party itself. Historically, some amazing rock records have been made from mingling in dance music culture—from Talking Heads to [Primal Scream’s] Screamadelica. Our goal was to bring that into our own music. Each of us, in our personal lives, has been going to more dance parties. Or rather, we were pre-pandemic, which is when this record was made.”

Local H – Scott Lucas and Ryan Harding – announced that they are set to release a new cover LP, Local H’s Awesome Quarantine Mix-Tape #3, on Oct. 8 via Brutal Panda Records. The duo also shared a new single “Brandy (You’re a Fine Girl)” “Started doing this near daily streaming thing on Facebook during quarantine–because what the f*ck else was I gonna do?–and it was basically just a bunch of oddball covers. I was watching Ozark on Netflix and they had this episode that featured ‘Brandy.’ My girlfriend turned to me and said, ‘You gotta cover this song!’ So that’s what we did,” said Lucas in a statement. Prince, Blondie, Fountains of Wayne and Mark Lanegan are among the artists Local H cover on their Awesome Quarantine Mix-Tape. Local H also has a pair of tours in the works as they are hitting the road with Soul Asylum, then Juliana Hatfield, before heading out on their own headlining tour.

Along with the improbable success of the soundtrack to the Coen Brothers movie O Brother Where Art Thou? in 2000—which went on to win all kinds of awards, sell millions of copies, and helped renew interest in bluegrass—the 2007 album pairing up Led Zeppelin frontman Robert Plant with singer and bluegrass maestro Alison Krauss called Raising Sand also pulled off the improbable, landing all sorts of accolades, including the all-genre Album of the Year at the Grammy Awards in 2009, and six Grammy trophies overall. Plant and Krauss originally met and collaborated at a 2004 Lead Belly tribute concert at the Rock & Roll Hall of Fame singing the Lead Belly song “Black Girl.” They struck up a friendship over their mutual love for Ralph Stanley, and the rest was history. Ever since the success of Raising Sand, there’s been talk of a follow up, and apparently they tried to record one at some point with producer Daniel Lanois that never fully materialized. But apparently Robert and Alison’s mutual love for the song “Quattro (World Drifts In)” by Calexico inspired new sessions, with a new album is on the way. “[That] was the moment I knew we’d make another album,” Krauss says. “We wanted it to move. We brought other people in, other personalities within the band, and coming back together again in the studio brought a new intimacy to the harmonies.” Plant says, â€œYou hear something and you go ‘Man, listen to that song, we got to sing that song! It’s a vacation, really — the perfect place to go that you least expected to find.” “Can’t Let Go” by Randy Weeks, popularized by Lucinda Williams

Billy Idol – Bitter Taste The Roadside, his first new music in seven years, with the first single from the EP, “Bitter Taste.” The track, recorded during the Covid-19 pandemic, finds Idol looking back at his near-fatal 1990 motorcycle accident, a crash that almost resulted in Idol losing a leg and left him unable to walk for nearly a year. “I think everyone has been feeling more reflective (during the pandemic). So, it seemed quite logical and natural to write something about my motorcycle accident,” Idol said in a statement. “Certainly, the motorcycle accident was the catharsis, the wake-up moment. A little bit of me got left on that roadside. But it wasn’t necessarily a bad thing in the end; it was a wake-up call. Maybe on that roadside I left behind the irreverent youthful Billy and opened the door for a more attentive father and a more sensitive musician.” marks Idol’s first release on George Harrison’s Dark Horse Records, recently revitalized by his son Dhani. “I couldn’t be more excited to welcome Billy Idol to the Dark Horse Records family,” Dhani Harrison said in a statement. “Billy is a legend, and his music couldn’t fit the Dark Horse persona any better. I’ve loved his music throughout my whole life, so to be able to give this new music a home on our historic label is a massive honor.” “Bitter Taste” is Billy Idol‘s first new music in seven years, and a glimpse into his upcoming EP The Roadside, out Sept. 17.  Produced by Butch Walker (Green Day, Weezer) and featuring Idol’s longtime guitarist and co-writer Steve Stevens, The Roadside is a follow up to his eighth album Kings & Queens of the Underground in 2014 and was conceived, recorded, and mixed predominantly during the pandemic in 2020. Released on Dark Horse Records—the label initially founded by George Harrison and now led by son Dhani Harrison and David Zonshine—the four tracks of The Roadside explore more revealing themes of mortality and rebirth, all inspired by Idol’s near-fatal motorcycle crash 31 years ago, beginning with “Bitter Taste.”

LA-via-Portland singer-songwriter Lauren Luiz. The LA artist, best known for her work as part of folk-pop trio WILD, has been steadily carving out a space for herself in the indie folk/rock world over the past year, spellbinding with a distinct sound that arrests the ears and softens the heart. “Fragile yet bold, effervescent yet muted, girlhouse’s music swells with emotion and intimacy – but equally important to Luiz’s solo artistry is a sense of unbridled, uncompromising energy.” That journey now comes to its incredible crescendo through a debut EP brimming with heat: Raw, visceral, and musically irresistible, the girlhouse EP marks a stirring, definitive introduction to Lauren Luiz’s dynamic solo project. “This EP follows my story of landing in LA and finding out exactly how ignorant I was to the real world.” “Whether that be relationships, men in general, career, sex, friendships, or battling mental illness and dealing with trauma, it all felt new to me. I wrote this while I was thinking about moving away from LA; I love LA, but I think I got to a point where I was ready to move on and grow in a different way. [It] felt like a breakup, so this EP became my breakup text to LA.” “I didn’t have many expectations going into this project, to be honest,” Luiz adds. “I just kept making songs and then I felt like I should put it out.”

From: Mothatung: Almost 19 years ago, I sat down at our family’s Dell PC and recorded the first songs I had ever written using Windows Sound Recorder, culminating in a 10 minute, 7 “song” EP called “Welcome to The Woodlands” – it did not win a Grammy, I’m sad to say. Fast-forward to this morning, where my band’s newest EP is finally out on Spotify and Apple Music. These are my first written records to ever receive an official release on the major streaming services, and my first public music release in almost 6 years. It felt like paralysis as I wrote and filed away dozens of songs that never saw the light of day, and after 18 months of writing and recording with MOTHATUNG, we have finally broken the silence that has plagued me for years. While I don’t expect to win a Grammy with any of these either, they do represent a milestone I have been working towards my entire life and I am so thankful to be able to direct people to Spotify when they ask “what kind of music do you write?” We consider ourselves “Funk Rock n Roll Hip Hop” so if that seems like it might be up your alley, take a listen on your preferred streaming service below. If you happen to live in Denver, we have shows booked out basically once a week for the next month and we’d love to see your face in the crowd. Otherwise, just enjoy the jams.

Unknown Mortal Orchestra released their first new single since their 2018 album Sex & Food, and today ushers in “That Life,” a song that’s immediately recognizable as the Auckland-founded, Portland-based outfit. Equal parts fuzzy and shiny, the track comes accompanied by a video directed by Lydia Fine and Tony Blahd. Artist and fabricator Laura Manns (who works frequently with the Jim Henson Company) created the puppets and set. Unknown Mortal Orchestra frontman and mastermind Ruban Nielson says, “I saw this painting by Hieronymus Bosch called ‘The Garden of Earthly Delights’ and in the painting there was a mixture of crazy stuff going on, representing heaven, earth and hell. When I was writing this song, ‘That Life,’ I was imaging the same kind of ‘Where’s Waldo’ (or ‘Where’s Wally’ as we call it in New Zealand, Australia and the UK) of contrasting scenes and multiple characters all engaged in that same perverse mixture of luxury, reverie, damnation, in the landscape of America. Somewhere on holiday under a vengeful sun.”

They Might Be Giants have dropped “I Can’t Remember the Dream,” off their upcoming album Book. The track opens with a guitar riff reminiscent of the Kingsmen’s “Louie Louie” as the duo struggle to recall a dream. The video depicts a figure in a costume doing laundry and washing the dishes, before drilling into a guitar and shattering a “Best Rock Video” award. Book contains 15 songs — which John Linnell described as “humorously germane to the catastrophe going on around us.” The album will be released alongside a literal 144-page book, designed by Paul Sahre with images by Brooklyn street photographer Brian Karlsson. Arriving alongside the album is — who would’ve guessed? — an accompanying art book

McFarland founded Jungle with Lloyd-Watson, his friend and childhood next door neighbour, in 2013. Both are from Shepherd’s Bush in London, a place where they were “overexposed to live music culture from quite an early age,” McFarland says. When he was much younger, he daydreamed about being in The Strokes or Kings of Leon, on stage with long hair, skinny jeans, and Converse, but ultimately, what drew him and Lloyd-Watson to becoming the musicians they are, was the energy of a crowd in a room, “and watching the people on stage soaking that up and giving it back to you during the next song. I think that’s what really grabbed us, that cycle of energy that is recycled and repurposed in the room on a minute-by-minute, song-by-song basis.” “I wouldn’t sign to a major label literally if you paid me, because you’re just beholden to a machine,” McFarland says, “I think being able to have such a singular vision as we do and follow that through to the end, that’s really precious to us. That’s essentially what drives us to it. We’re not making music for anybody apart from ourselves and our fans. That’s the way it should be with everyone. the pair are in a reflective mood and feeling particularly philosophical about the gnarly rock heater ‘Truth’, the fiercest track on their upcoming third album ‘Loving In Stereo’. It zips along at the same whiplash pace of The Strokes’ debut ‘Is This It’, but with the production trickery of their 2011 album ‘Angles’. It’s one of the best things Jungle have ever done. “I think that song is a return to the roots of our friendship – that that song isn’t far from a Strokes song at all” says Joshua Lloyd-Watson, the chattier of the pair. “That song came together in 10 minutes – I think it’s testament to how we were writing and recording this record. With our second album [2018’s ‘For Ever’], we took six-months-to-a-year to write a single track, and these tracks… were just waiting there for us. It’s like trying to paint a masterpiece; the more you try and perfect it, the shitter it becomes.” ‘Loving In Stereo’ is a superb return for the band; looser, smarter and fully realizing their sonic palette. “The older we get, the more we stop giving a fuck,” Lloyd-Watson says. “The more you can release your fears of what you think you can be or what you can do, you’re just in this creative freedom. It’s why Jungle is reaching where it is and why, in our view, Jungle is reaching its creative pinnacle.”


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:

  • Courtney Barnett – Before You Gotta Go
  • Black Pistol Fire – Look Alive
  • George Harrison – My Sweet Lord (2020 Mix)
  • Nathaniel Rateliff And The Night Sweats – Survival
  • Rainbow Kitten Surprise – Heart (Live)
  • Deer Tick – Jumpstarting (Live)
  • Parquet Courts – Walking At A Downtown Pace
  • Local H – Brandy You’re a Fine Girl (Cover)
  • Robert Plant and Alison Krauss – Can’t Let Go (Cover)
  • Billy Idol – Bitter Taste
  • girlhouse – Happy Now
  • MothaTung – Far From Sober
  • Unknown Mortal Orchestra – That Life
  • They Might Be Giants – I Can’t Remember The Dream
  • Jungle – Truth



and remember if you love someone hug them right now

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