•
𝐇𝐢𝐬𝐬 𝐆𝐨𝐥𝐝𝐞𝐧 𝐌𝐞𝐬𝐬𝐞𝐧𝐠𝐞𝐫
“I’m People”
★
@hissgoldenmessenger
Release; May 1, 2026
@chrysalisrecs
•
Listen up! Full album in BiO!
•
Sometimes you hit play and you know you’ve landed on exactly what you needed. That’s the feeling I got with Hiss Golden Messenger’s latest release – I’m People, the first on Chrysalis Records.

The record plays with a purpose – finding balance between fight & flight.. it wanders through heartbreak, the quiet reckonings of getting older, the weight & wonders of life and the kind of longing that doesn’t always resolve cleanly. There’s disillusionment here too – but it never settles. Instead, the album arrives somewhere harder to come by: a durable, hard-earned sense of persistence – even after everything’s been worn down to the bone.

There’s a subtle mastery in the details. “Mercy Ave.” is a standout track – deceptively simple, yet intricately built. Hand drums pulse beneath saxophone & flute, while background vocals drift in and out like a second thought you can’t quite shake. That aesthetic carries through I’m People – simple complexities, carefully layered textures, & tones that never tip into excess, allowing MC Taylor’s writing to move naturally, his words settling into the rhythms.

Hiss Golden Messenger is the vehicle for North Carolina songwriter MC Taylor – a voice that’s long operated in a space of soulful folk and surrounding areas.

Produced alongside Josh Kaufman at Dreamland Recording Studios – an old church just outside Woodstock – I’m People carries a lived-in warmth. You can envision it in the making: musicians gathered in a circle, light spilling through stained glass windows onto guitars, drums, & upright bass. Nothing rushed, nothing forced.

The all-star cast of collaborators deepens that world.. Bruce Hornsby, Sam Beam, Marcus King, Sara Watkins, Amy Helm, Eric D. Johnson, and members of Dawes all contribute to a sound that feels immediate, human, and fully alive.

What did I do when the final track played through on I’m People? I hit play again.
@meanwhile_in_music …

•
𝐓𝐡𝐞 𝐁𝐮𝐢𝐥𝐝𝐞𝐫𝐬 𝐚𝐧𝐝 𝐓𝐡𝐞 𝐁𝐮𝐭𝐜𝐡𝐞𝐫𝐬
“No Tomorrow“
★
@thebuildersandthebutchers
Release;
@badmanrecordingco
•
Listen up! Full album in BiO!
•
For more than two decades, The Builders and The Butchers have carried a kind of beautifully worn-in urgency – music that feels stitched together from late nights, long roads, and an unshakable need to connect. At the center is Ryan Sollee, whose gravel-edged delivery & restless songwriting continue to anchor a band that’s never sounded overly polished, but always purposeful.

Sollee has called their longevity “an unexpected privilege,” & that sentiment lingers throughout No Tomorrow. Rather than leaning on nostalgia, the record pushes forward, shaped by a world that feels increasingly fractured. It wrestles with the slow erosion of human connection, the ongoing denial of environmental collapse, and the hollow churn of greed-driven leadership.

Still, No Tomorrow refuses to sink under that weight. If anything, it pushes back.

The Builders and The Butchers have long thrived in the space between chaos & catharsis. Sounding equal parts folk revival & back-alley sermon – No Tomorrow is raw with an unvarnished edge.. Where earlier work might have unraveled in a blaze, these songs hold their ground, letting tension build & release. The result is a collection that feels more intentional without sacrificing the band’s grit.

What resonates most is the insistence on joy – not as escape, but as resistance. Creation itself becomes a means of restoring something essential, a way to push back against a culture that often feels intent on stripping that away. That philosophy carries through No Tomorrow.. No Tomorrow leans into endurance, into the quiet power of continuing to make something honest in uncertain times.

The Builders And The Butchers have delivered one of those records in No Tomorrow that bring the masses together. It stretches & blurs genre lines, landing somewhere between Rock ‘n Roll and Americana – with an occasional edge that could even grab the metal heads.
@meanwhile_in_music
•
•
•
#NewMusic #Music #Portland …

•
𝐉𝐨𝐡𝐧 𝐀𝐧𝐝𝐫𝐞𝐰𝐬 & 𝐓𝐡𝐞 𝐘𝐚𝐰𝐧𝐬
“STREETSWEEPER“
★
@johnjandrews
Release; April 3, 2026
@earthlibraries
•
Listen up! Full album in BiO!
•
John Andrews & The Yawns… aptly named and comfortably unhurried; return with STREETSWEEPER. From beginning to end Andrews and company lean into a casual and comfortable nest – delivering a collection of infectious licks, warm melodies, and finely layered details that patiently reveal themselves, rewarding whatever kind of listening you wish to bring to the party..

Previewing Andrews’ fifth album as rain traced slow lines down the window, it felt like the record met the moment perfectly – unintrusive yet deeply present. But that’s the quiet magic of STREETSWEEPER: it doesn’t belong to any one setting. Swap the grey skies for a sunlit afternoon in the park, stretched out on a blanket with puffy white clouds drifting overhead, and again, it’s the ideal soundscape. The record is transportive without actually trying to take you anywhere.

Set for release tomorrow – April 3, 2026 via Earth Libraries, the album was recorded at Luke Temple’s Los Angeles studio. Backed by a trusted cast – including contributions from the Cut Worms rhythm section, Noah Bond and Keven Louis Lareau.. there’s an easy chemistry at play, the kind that comes naturally with years of playing together.
Interestingly, the entirety of STREETSWEEPER was recorded with the personal guitar pick of the late troubadour Jerry Jeff Walker, a keepsake Lareau received from a family friend.

Produced by Temple, STREETSWEEPER leans into a bright, optimistic palette while staying rooted in Andrews’ signature DIY spirit. The tempos rarely rush, but they never stall either – instead settling into that sweet, elusive pocket where everything feels light, steady, and alive.

There’s something increasingly rare about a record like this – one that doesn’t demand attention so much as earn it over time. STREETSWEEPER isn’t here to overwhelm; it’s here to exist alongside you, to soundtrack the in-between moments.
And in doing so, it becomes exactly the kind of album you find yourself returning to without thinking twice. @meanwhile_in_music …

It’s been 10 days since we wrapped up the best damn daytime fun SXSW has to offer! It rolls around once a year at lightning speed – and before you know it, we’re already onto the next.. Here’s a glimpse of SX 2026! Drop into the comments and let us know some of your highlights and who you’re hoping to see next year!
•
Thanks again to all of the incredible sponsors and vendors who help make this event what it is!
@coltonhousehotel
@bighatspirits
@cointreau
@nopallichips
@mijentatequila_ng
@meanwhilebeer
@drinkspiritless
@condesagin
@lataquicardia_atx
@simonasatx
@theseafooddude
@slowpokeatx
•
•
•
•
#sxsw #LiveMusic #music #Austin #texas …

•
𝐋𝐞𝐚𝐡 𝐁𝐥𝐞𝐯𝐢𝐧𝐬
“All Dressed Up“
★
@leahblevinsmusic
Release; March 20, 2026
@easyeyesound
•
Listen up! Full album in BiO!
•
Leah Blevins finally delivers her long-anticipated sophomore album All Dressed Up – arriving five years after her debut. Raised in the hills of eastern Kentucky, Blevins carries that Appalachian spirit with her, but here it’s refracted through something fuller, deeper, and far more expansive.

Recorded at Easy Eye Sound Studios with producer Dan Auerbach, the album leans into contrast. Auerbach is best known for his work with The Black Keys – and he colors the record with textures that feel second nature to him: baritone guitars, Mellotron haze, a thumping bass.. with a warm analog glow. Introduced by mutual friend Marcus King, the collaboration clicked instantly and the chemistry shows. All Dressed Up feels intuitive, and at times, quietly electric.

At its core, the album leans country – but that label only grazes the surface. Blevins’ honeyed Southern voice carries hints of Dolly Parton, yet the record itself drifts around a sepia-toned soundscape reminiscent of the 1970s. You can hear echoes of Fleetwood Mac blending into the laid-back ease of the Eagles, while even brushing up against something more off-center like The Zombies – especially on the opening title track. At moments, it plays like a rediscovered pop record from that era, dressed in country fabric but threaded with rock and soul.

Blevins’ voice is steady, intentional, and emotionally articulate – it moves with direction. As she’s expressed, that evolution isn’t just technical; it’s personal, weathered, and fully formed.

This is an album grounded in reckoning. Faith, love, addiction, self-worth, healing – Blevins explores each with utter honesty, never veering into judgment. There’s empathy in the songwriting, precision in the delivery, and a quiet resilience throughout..

Leah Blevins doesn’t just move forward with All Dressed Up, she has planted her flag.
@meanwhile_in_music
•
•
•
•
•
•
•
•
•
#NewMusic #Music #LiveMusic #Country #Nashville Kentucky …