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.

Music is the language of the spirit. It opens the secret of life bringing peace, abolishing strife. – Kahlil Gibran




Let us begin NEXT week 804 with Livingmore. Rising Los Angeles-based female-fronted alternative rock band Livingmore released their sophomore full-length studio album Take Me. The 11-track album, the quartet’s most collaborative and personal body of work.  The overall message of this Livingmore album is following your unique path in life. Take Me is also available physically on CD as well as opaque blue vinyl via Nomad Eel Record’s webstore and a band exclusive clear vinyl with glacial blue and red splatter via Livingmore’s official webstore. Remember the plural of vinyl is vinyl. “We are so excited to release this album,” shares Livingmore. “It is a part of our souls.” Livingmore first came to life in 2014 when Alex and Spencer began collaborating while bonding over a wide swath of influences, including Garbage, The Hives, Roy Orbison, Modest Mouse, Wilco, Radiohead, The Cure, The Smiths, and more. As the duo continued to write, Mike and Rodrigo eventually joined the fold. Between countless packed shows and a performance at SXSW, Livingmore dropped their first full-length album, OK To Land, in 2018, igniting a buzz. We are asked about the band name a lot, and it’s just a spin on our last names combined Livingston and Moore, which also has a cool double meaning when placed together.

“Backhand Deals is a practice in subverting the ideology of rock music as something that needs to be ‘brought back from the dead,’” says Buzzard Buzzard Buzzard frontman Tom Rees. “Rock should be about enjoying yourself honestly, whether that’s washing the dishes, sweeping the yard, or complaining about whoever got elected. Rock is a sweeping power, and is attributed to anyone who performs art honestly, from Lizzo feeling good as hell to AC/DC riding down a highway to hell. The honesty is the same, and the honesty prevails.”Buzzard Buzzard Buzzard’s “’You’ is a particularly sarcastic song,” Rees of Buzzard Buzzard Buzzard continues. “I love how it could be misconstrued as a pro-independence anthem about really taking care of number one, not taking shit from anyone and following your dreams, when in actual fact it’s all a ruse to outline the burden of imposed individual responsibility. I think the sarcasm in this setting can confuse people enough into thinking that I am indeed, an idiot. That’s the goal of this whole thing, to break down all of the know-it-all-rock-and-rollers down to what we all are, just people, with opinions… but that’s all they are, opinions.” “This new Buzzard Buzzard Buzzard record allowed us to discuss the thoughts we have about our lives, the lives of people from Cardiff, the lives of people from Wales, and the lives of people from everywhere whilst openly admitting that we know nothing and we’re just part-time-opinion-havers. The longer we’re a band, I realise that all we ever want to do is effect change in people’s lives and to do that disingenuously would make me feel slimy. So let’s do it honestly in any way possible. Rock isn’t dead, it doesn’t need ‘resurrecting’ or ‘regurgitating’; it needs acknowledging for what it is, and it’s everywhere. If we should ever be considered a band that is ‘bringing rock music back’ I think I would shed a tear — rock should be moving forwards, not backwards.”

From the pounding opening drum rhythm reminiscent of the late Charlie Watts, “Love Don’t” is reminiscent of the classic Nathaniel Rateliff & The Night Sweats sound. The vintage R&B stylings are jolted along by Rateliff’s powerful vocals, which only grow more and more intense as the song chugs along to a fiery conclusion. The Future marks something of a reunion for Rateliff & The Night Sweats. Rateliff & The Night Sweats spent 2020 apart as the frontman toured behind his solo folk album, And It’s Still Alright. The lead single for Rateliff & The Night Sweats off The Futur was  “Survivor“ and showcased the group’s ever-evolving sound. With “Love Don’t” Rateliff & The Night Sweats displays more of The Past. “I look at the album overall as a big question,” Rateliff said of The Future. “When I was writing the 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. 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.”

The LA punks The Regrettes recent material marks a departure from the 50’s influenced riot girl sound that the band became known for when they emerged in 2015. ‘Monday’ sees Night of The Regrettes finally embracing her inner popstar. “If you’d have said that a few years ago, I would have been insulted,” Night of The Regrettes said. “Now though, ‘Fuck yeah it’s a pop song.’ I’m stoked. It’s the first time we fully embraced what we were listening to instead of pulling from things we grew up loving.”“I’ve always known I’d make pop music, but only when it became excusable –I thought maybe it would have been a solo thing or when I’d done enough to make myself cool. I love the punk scene and it helped me gain the confidence I have now but when we signed to Warner, I had so many people telling me not to let them change us. It’s a fair point considering how a lot of major labels treat their artists but it completely disregarded my own voice. I let that get in my head, for sure.  For ages, I was worried about proving something to the 50-year-old dads at the back of the room. But here we are, finally growing up.”says Night of The Regrettes –> “The biggest thing was making music that wasn’t fear-based. Instead of shying away from something that feels very different for us, we ran towards it.”

John Mellencamp’s professional career began in 1976. John Mellencamp’s a member of the Songwriters Hall of Fame and was inducted into the Rock and Roll Hall in 2008. John Mellencamp —> 23 studio albums, two live albums, and four compilation albums. What project does one take on next, after 45 years worth of relevance, 65 singles (many in peak chart positions) and an abundance of stellar music coupled with hefty financial contributions? The answer to this question is…John Mellencamp’s personally sending a musical thank-you note (no pun intended) by providing a series of free, unannounced musical performances in outdoor spaces across the US. Considering Mellencamp’s incredible legacy, we should be the ones sending him “thank you” cards. “This is not a concert. I’m just playing on the street. I’m not promoting anything. I’m not selling anything. I’m just giving back to the people who have been so good to me,” says Mellancamp of his live album The Good Samaritan Tour 2000. He expresses gratitude to ardent fans and honors industry greats who have inspired him to interpret their tunes extemporaneously. The soon to be 70-year old John Mellencamp was smart to come up with something new; an arena-rock band with oodles of swag and that Midwestern thing they keep doing, is hopefully front running a touring trend that other artists will emulate to quench our thirsty ears.

Ayron Jones might be Seattle’s hottest new export. Ayron Jones taps into various different tones on his excellent new album, Child Of The State, from fearsome blues to moody grunge and beyond. It’s a smart record, commanding but packed with interesting blends and subtle twists. The appeal of Ayron Jones’s latest single is dead simple: it’s an all-out rocker, all raunch and swagger with a chorus you can sing back, if you’re not too busy air-guitaring like a wild thang. Nice! Ayron Jones has paid his dues. Over the last decade, the Seattle rocker has become a hometown favorite, his flashy guitar chops and emotionally unrestrained vocals earning support among local clubgoers and Seattle music giants alike. “What I was looking for was a no-holds-barred thing that I fell in love with with Seattle music,” Ayron Jones says. “There was such a chaos about it, but still within a structure that you and I could understand.” “I knew that I had to evolve that sound into what I’d always heard in my head,” Ayron Jones says. “This record for me was all about the guitars, all about being big rock.”

A great new song from E and his band EELS is here and it’s off Extreme Witchcraft. It is Eels fourteenth studio album. EELS have had one of the most consistently acclaimed careers in music. The ever-changing project of principal singer/songwriter E, EELS have released 13 studio albums since their 1996 debut, Beautiful Freak. In 2008, E published his highly acclaimed book Things the Grandchildren Should Know and starred in the award-winning Parallel Worlds, Parallel Lives documentary about the search to understand his quantum physicist father, Hugh Everett III. 

FEET say: “We’re not a post-punk band, we don’t sound like a ‘London band’ whatever that is, but the indie reference in our shared hive mind is related to a major label, squeaky clean sound which isn’t what we want from our band,” FEET. “You either go the mainstream route or the sleazy South London route and we’re slap bang in the middle, so we’re trying to state our spot. We’re pretty comfortable where we are and this is the direction we wanna take it in”. Lead vocalist of FEET – George Haverson explains, “It’s taking the pop music formula – hooky choruses, nothing too self-indulgent – but it’s still got a bit of edge. With Indie music, there’s an element where it can get quite soft and it’s quite easy to go through that phase where you think you sound like The Beach Boys, but we’ve come off the end of that where we want to be a bit grittier.”

2Cellos have racked up a billion-plus audio streams, countless sold-out concerts, and millions of fans across the globe in their ten years together as 2CELLOS, the Croatian duo of Luka Šulić and HAUSER release their sixth full-length album Dedicated.  Celebrating 2Cellos’s momentous 10-year-anniversary, the album’s namesake is an apt nod to 2CELLOS’ dedication to their fans, the instrument, and their signature playing style. In support of the new album, the duo will make their long-awaited return to the stage for their 2022 Dedicated World Tour, their final tour together as 2CELLOS. “When you listen to us, we hope you realize the cello is a versatile and diverse instrument capable of playing the hardest rock, the softest ballad, and the most contemporary of music,” 2CELLOS note. “It moves you in a way that’s equally powerful. It has a whole palette of emotions, ups, and downs. We’re trying to give you an experience you can’t get anywhere else.” 2CELLOS are celebrating their 10th anniversary this year, and are working hard to continue reaching new stratospheres.

Brian Wilson has announced a solo piano album of stripped-back classics from his catalog. Out November 19 via Decca, At My Piano features piano renditions of Beach Boys tunes “Wouldn’t It Be Nice,” “In My Room,” “Don’t Worry Baby,” “California Girls,” “Surf’s Up,” “Good Vibrations,” and more, along with “God Only Knows.”

Brian Wilson: “We had an upright piano in our living room and from the time I was 12 years old I played it each and every day. I never had a lesson, I was completely self-taught. I can’t express how much the piano has played such an important part in my life. It has bought me comfort, joy and security. It has fueled my creativity as well as my competitive nature. I play it when I’m happy or feeling sad. I love playing for people and I love playing alone when no one is listening. Honestly, the piano and the music I create on it has probably saved my life.” Brian Wilson has announced that he’s releasing some stripped-back versions of The Beach Boys classics on a new album.

The reggae-infused folk-rock band Satsang released a new album titled “All. Right. Now.” Inspired by the soundscape of their home state Montana, the album brings nature and soul to each track, telling the story of a long journey to peace and happiness. The opening track “From And I Go” brings a grace of violins and string instruments together to connect meaningful lyrics with the passion in frontman Drew McManus’s voice. From the first note you can sense the power of storytelling that the album will bring to its listeners. Peeling back the layers of sound, each track reroutes you to the roots of what feels like finally being home. “Montana isn’t just where I live. It’s my heart and soul,” McManus of Satsang said. Truly engaged with the nature around them, “From And I Go” was written on a rock in the middle of the Stillwater river, in Montana’s southwest region. “McManus of Satsang hiked up with my wife and baby to hopefully catch some fish while they played. McManus of Satsang sat on this rock and just watched his wife play with their youngest at the bottom of these giant mountains. The song was a love song to all the things that made me feel home. The river, the mountains, my wife and children, and even the time McManus of Satsang spend away from it all on the road, knowing that whenever he’d leave – McManus of Satsang would always come back to those things.” “This Place,” featuring singer/songwriter Trevor Hall. The track captures the lifelong journey of McManus’s growth through trials and tribulations.

Talking about the new song, lead singer and guitarist Joe Newman of Alt J said – “It gathered momentum on it’s own, it was best to just get out of its way. We were just there.” The track was written during sound checks and has gentle, laid back vibe that captures the essence of the song brilliantly. Vocalist and keyboard player Gus Unger-Hamilton of Alt J summed up the song by saying – “It’s about being at a festival with your best friends, having a good time, togetherness, and the feeling in life that nothing could be any better than it is right now.” The first entirely new music from Alt-J in an awfully long time has just arrived in the shape of their latest single release ‘U&ME’. The Mercury Prize winning band, and arbiters of artfully crafted alt-pop, have not delivered anything new since 2017 when Alt J released their third album ‘Relaxer’.

Florida singer, songwriter and multi-instrumentalist Cat Ridgeway takes listeners on a journey from blues to rock to R&B to pop on “Nice to Meet You.” What makes it a trip worth taking is not just that diversity but also the expression and range Cat Ridgeway shows throughout the seven tracks. Ridgeway — who complements her rich vocals with her own guitar, percussion, trumpet, synthesizer and mandolin — is joined by a song-first cast of backing players, laying down soulful, easygoing grooves for Cat Ridgeway to build upon. The opening track, “Giving You Up,” is a warm invitation that closes with a blues-gospel-rock rave-up. “Nobody” is breezy, catchy and upbeat, and horns, as they do throughout the EP, percolate, recalling The Memphis Horns’ contributions to classic Stax Records sides. “Whiskey Lullabies” is a standout, with Cat Ridgeway’s jazz phrasing on the verses balanced with Jackson 5-esque choruses. “Mississippi Sunborn” is wispy, delicate, vulnerable and sublime, while “Sweet Like Candy” takes a pop turn, but its sugariness is real, not saccharine. On “Juliana Money,” Ridgeway depicts a quirky woman dancing in a flapper dress and wishes she had her same lack of self-consciousness: “Oh, to not care to be aware of anything anyone has to say.” The cadence of Lily Allen, the Southern soul of Susan Tedeschi and the jazz-pop restraint of Norah Jones might offer entry points for new listeners on “Nice to Meet You,” but Cat Ridgeway’s creative spark and gift for emoting are what truly make her an artist worth watching.

Why be quiet about your ambition? Last year, ahead of the release of his debut album, Live Forever, Bartees Strange told NPR, “I want something out of this, and I didn’t want to be shy about that.” After high-profile co-signs and buzzed-about virtual late-night TV appearances, the Washington, D.C.-based Bartees Strange  has managed to amass a following. Bartees Strange’s “Weights,” is all kinetic energy. And for those lucky enough to have seen Bartees Strange live, you’ll recognize that’s where his true power lies. Like some of Bartees Strange’s best moments – “Weights” is explosive until the whole thing tumbles to a halt, only to thunder again once more. Bartees Strange wails over revved-up guitars and big synths. Bartees Strange: “This is about the ones that got away. Going back and forth in my head about relationships that could have happened, missing that it didn’t, and finally realizing I gotta let the weight of it all go.”

All these emotions kind of bottle up, so it’s good to — it feels good to yell it out – Music is Life. And ask any singer it’s a release. The Linda Lindas’ new song “Oh!” is not a Sleater-Kinney cover, even if that would’ve fit just fine with The Linda Lindas’s whole style. Instead, “Oh!” is a revved-up anthem with a rigid midtempo beat and a whole lot of sugar-rush chanting. It’s a glammy version of punk in the same way that the Donnas were a glammy version of punk. The lyrics, however, are not glammy; they’re all about feeling like an idiot who can’t change anything. The Linda Linda say: “‘Oh!’ is one of the first songs we collaborated on during the pandemic, masked and distanced on the front porch. It started with the main riff and progression Bela brought to the band. Eloise wrote the verses, and Lucia and Mila wrote the choruses. The song deals with trying to help out someone and having it blow up in your face.” The song is bright and clean and Hell Yes catchy

Alyson and Amanda Michalka have undergone many evolutions: They were young actors, they broke through as music duo Aly & AJ in the mid-2000s, they briefly rebranded as 78Violet, and they returned as Aly & AJ while pursuing separate acting careers as adults—but through it all, there’s been one integral constant: sisterhood. “It’s everything to us; it’s the foundation of our band,” AJ of Aly And AJ says:  “For us, the goal is to really make sure that our friendship as sisters is preserved for years. Beyond the music being an important part of our lives, it’s our friendship.” As Aly And AJ grow out of the child-star molds that defined them early on, the sisters are exploring topics like depression, anxiety, and introspection with increasing transparency, conscious of their ability to inspire conversations around topics once considered taboo. Cool behind the scenes info on Aly And AJ’s “Attack of Panic”.  Aly And AJ played scenes from Labyrinth on loop in the background, hoping that the song’s production would “hold up to a montage of Jennifer Connelly running around a party and David Bowie trying to chase her,” AJ of Aly And AJ said. “And it did.” Both sisters urged me to play the ball scene from Labyrinth on mute, with “Attack of Panic” running over the top. I did, and my brain exploded. The two synced up perfectly. It will never top Pink Floyd and the Wizard of Oz. 

 

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.

and remember if you love someone hug them right now

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