The Gonzo memoir from one of the most influential voices in American literature, Kingdom of Fear traces the course of Hunter S. Thompson’s life as a rebel—from a smart-mouthed Kentucky kid flaunting all authority to a convention-defying journalist who came to personify a wild fusion of fact, fiction, and mind-altering substances.
Memories — places, vacancies, allusions — are fundamental characters in Mary Lattimore's evocative craft. Inside her music, wordless narratives, indefinite travelogues, and braided events skew into something enchantingly new. The Los Angeles-based harpist recorded her breakout 2016 album, At The Dam, during stops along a road trip across America, letting the serene landscapes of Joshua Tree and Marfa, Texas color her compositions. In 2017, she presented Collected Pieces, a tape compiling sounds from her past life in Philadelphia: odes to the east coast, burning motels, and beach town convenience stores. In 2018, from a restorative station — a redwood barn, nestled in the hills above San Francisco's Golden Gate Bridge — emanates Hundreds of Days, her second full-length LP with Ghostly International. The record sojourns between silences and speech, between microcosmic daily scenes and macrocosmic universal understandings, between being alien in promising new places and feeling torn from old native havens. It's an expansive new chapter in Lattimore's story, and an expression of mystified gratitude. A study in how ordinary components helix together to create an extraordinary world.
Spanish melodic progressive metal masters LORDS OF BLACK — who feature in their ranks new RAINBOW singer Ronnie Romero — will release their third album, "Icons Of The New Days", on May 11 via Frontiers Music Srl.
On this, their eighth studio album, Blue Rodeo continues, quite frankly, pretty much as they always have. This is not necessarily a bad thing, as they produce fine country-rock music, but some new sounds would not be bad either. Principal writers Greg Keelor and Jim Cuddy both released solo efforts since the group's previous studio release (Tremolo, 1997), and while neither solo albums were classics, they did attempt new sounds, especially Keelor. However, they returned to their tried and trusted formula for Days in Between. The playing is tight and professional, and their remarkable harmonies and strong melodies are all present.
The title Paris Days, Berlin Nights is a little misleading. One might expect French songs about morning-after regrets and German ones about living cynically hedonistically, but this collection goes way beyond that. It includes songs about war, abandonment, the indifference of time to human suffering, and gritty street life, with music by Piazzolla and Polish-Jewish composer Chava Alberstein in addition to the expected Kurt Weill, Hanns Eisler, and Jacques Brel.