The older I get, the harder it gets to put together a year-end list. Not because I’m becoming more musically discriminating in my dotage. Quite the opposite. Every year, I find countless new (and old) artists, albums and genres to add to my ever-expanding playlist — and it becomes increasingly difficult to narrow down my choices to anything approaching a reasonable number. This massive, multi-part list of 123 albums is as close as I could get this year. It’s far from definitive, but it’s the best I can do. To read more about these albums, click on the cover art or check out the Tinnitist TV page, where I interviewed plenty of these acts. See you in 2024.
Quasi
Breaking the Balls of History
THE EDITED PRESS RELEASE: “Breaking The Balls Of History is Quasi’s 10th record, landing 10 years after their last record, on Feb. 10. That’s three 10s — which equals the 30 years they’ve played together. Sam Coomes and Janet Weiss have become Pacific Northwest icons, and Quasi have always felt so steadfast — their enduring friendship so generative, their energy infinite, each album more raucous and catchy and ferocious and funny than the last. But we were wrong to ever take Quasi for granted. For a while, they thought 2013’s intricate Mole City might be their last record. They’d go out on a great one and move on. But in August 2019, a car smashed into Janet’s and broke both legs and her collarbone. Then a deadly virus collided with all of us, and no one knew when or if live music as we knew it — the touring, the communal crowds, the sonic church of the dark club — would ever happen again. “There’s no investing in the future anymore,” Janet realized. “The future is now. Do it now if you want to do it. Don’t put it off. All those things you only realize when it’s almost too late. It could be gone in a second.”
Queens Of The Stone Age
In Times New Roman…
THE EDITED PRESS RELEASE: “In Times New Roman… is raw, at times brutal and not recommended for the faint of heart. And yet, it’s perhaps the most beautiful and definitely the most rewarding album in Queens Of The Stone Age’s discography. Founder Joshua Homme’s most acerbic lyrics to date are buoyed by the instantly identifiable QOTSA sonic signature, expanded and embellished with new and unprecedented twists in virtually every song. With In Times New Roman… we see that sometimes one needs to look beneath scars and scabs to see beauty, and sometimes the scabs and scars are the beauty. Feeling a bit out of place, and having difficulty finding music they could relate to, the members of QOTSA did as they are wont to do: In Times New Roman… is the sound of a band creating the music its own members want to hear, while giving the rest of us a sonic forum in which to congregate. “The world’s gonna end in a month or two,” sings Homme, begging the question: What do you want to do with the time you’ve got left? Homme, Troy Van Leeuwen, Dean Fertita, Michael Shuman and Jon Theodore may not be able to save us, but they’re giving us a place to ride it out.”
Rancid
Tomorrow Never Comes
THE EDITED PRESS RELEASE: “Rancid — the legendary Bay Area punk rockers are back with their 10th studio album, Tomorrow Never Comes. Their first new music since 2017’s Trouble Maker, the California punk stalwarts’ latest full-length serves up 16 songs in 29 hard-hitting, fast-paced minutes — all produced by longtime collaborator, Bad Religion guitarist and Epitaph founder Brett Gurewitz. Highlighting their collective ear for melodic rock hooks and catchy singalong choruses, the album is replete with the familiar wailing guitars and punishing punk rock rhythms that have solidified Rancid as the legends they are.”
Eli “Paperboy” Reed
Hits And Misses: The Singles
THE EDITED PRESS RELEASE: “Every time an artist records an album, they end up with just a little bit more than they need. Songs that, for one reason or another, don’t make it on to the full-length. People call them all sorts of things: Bonus tracks. Non-LP B-sides. Extras. Whatever you choose to call them, these songs are never purposely relegated to the dustbin of history. Whatever happens throughout the record-making process, the music that is left on the proverbial cutting room floor was made with the same care, emotion, dedication and commitment as the stuff that got labeled “master.” These songs do not deserve to be forgotten! Enter Hits And Misses, a new collection from that venerated progenitor of all things soul, R&B and Americana, Eli “Paperboy” Reed. The Paperboy is eight albums deep in to a career that spans close to two decades. His bonus tracks could easily be another’s hits singles. From vividly reimagined covers spanning every genre to his own dance-or-cry originals, leftovers these are not.”
Watch my interview with Eli “Paperboy” Reed HERE.
Raze Regal & White Denim Inc.
Raze Regal & White Denim Inc.
THE EDITED PRESS RELEASE: “Sometimes, even amidst the most chaotic moments of our lives, things have a way of coming together. Prolific guitarist Raze Regal and James Petralli — founding member and vocalist of Austin, Texas indie-rock legends White Denim — met during a West Coast tour in 2019, and quickly formed a friendship over their mutual love of ’60s and ’70s rock, the jazz saxophone innovations of Eddie Harris, Joe Henderson and Wayne Shorter, ’80s R&B production and New Wave energy. In another world, their rapport might have remained casual; two music fans meeting occasionally in loud venues to share a drink and catch up on their respective projects. Luckily for music lovers, that’s not what happened. What followed was a period of intense personal change, growth, and transformation — a period reflected in the creation of Raze Regal & White Denim Inc., a collaborative album that saw both musicians pour blood, sweat, and tears into some of the most soul-affirming music of their careers.”
The Replacements
Tim: Let It Bleed Edition
THE EDITED PRESS RELEASE: “Released in the fall of 1985, The Replacements’ major-label debut Tim peaked at No. 192 on the Billboard charts, selling just 75,000 copies. Over time, however, the record would find a mass audience among successive generations thanks to the enduring appeal of anthems like Bastards Of Young and Left Of The Dial and ballads like Swingin Party and Here Comes A Regular. Even with Tim’s evolving status as an all-time classic, The Replacements remained unsatisfied with the sound of the record, largely centered on the mix done by the album’s producer, Rock ’n’ Roll Hall of Famer Tommy Erdelyi, aka Tommy Ramone. Now, after four decades, the LP has finally been given a long overdue sonic overhaul as part of Tim: Let It Bleed Edition. The four-CD / one-LP deluxe boxed set is built around a stunning new mix of Tim by legendary producer/engineer Ed Stasium (Ramones, Talking Heads) and features a collection of previously unheard tracks (Sons of No One: Rare & Unreleased) and a classic concert from 1986 (Not Ready For Prime Time). In total, the box includes 65 tracks — 50 of which have never been heard before.”
Dex Romweber
Good Thing Goin’
THE EDITED PRESS RELEASE: “Good Thing Goin’ is the first new studio album in seven years from the punkabilly guitar legend. On this album, Dex Romweber finds a balance between battered guitars, piano ballads, and reverb-drenched vibes while powered by the inspiration of classic gospel and soulful R&B. Good Thing Goin’ is a solid collection of new original songs and covers that work as a genre-blending playlist of his entire career. Sounds shift from primitive rockabilly to swinging instrumentals to surf rock to crooning ballads.”
Jeff Rosenstock
Hellmode
THE EDITED PRESS RELEASE: “Jeff Rosenstock makes increasingly chaotic albums for an increasingly chaotic world. With each passing year, it feels like the temperature of the universe boils 5° hotter, and with each new album, Rosenstock’s music grows more unwieldy and lawless. Louder, faster, more feral. Which brings us to 2023 — a planet on fire, a mere 90 seconds to midnight on the doomsday clock, and the release of Rosenstock’s appropriately titled, anarchic record, Hellmode. “To me, the album feels like the chaos of being alive right now,” Rosenstock says of Hellmode. “We’re experiencing all these things at the same time that trigger our senses, and emotions that make us feel terrible. We’re just feeling way too much all at once!” But for all its textured turmoil, there are also surprising glimpses of clarity and grace to be found in Hellmode, when Rosenstock deliberately slows things down in places that are prettier and more delicate, rare moments of shelter in the storm. Which only makes it more rewarding when these moments unexpectedly unravel and spiral back into extreme, manic chaos, like being flung into a Nintendo game on level 99.”
Allison Russell
The Returner
THE EDITED PRESS RELEASE: “Four-time Grammy-nominated singer, songwriter, poet and multi-instrumentalist Allison Russell’s new album The Returner was written and co-produced by Allison along with dim star (her partner JT Nero and Drew Lindsay) and recorded over Solstice week in December 2022 at Henson Recording Studios in Los Angeles. It features Russell’s Rainbow Coalition band of all female musicians along with special guest appearances from the legendary Wendy & Lisa, Brandi Carlile, Brandy Clark and Hozier. “My goal with The Returner — sonically, poetically, and spiritually — is a radical reclamation of the present tense, a real time union of body, mind, and soul,” Russell says. “This album is a much deeper articulation of rhythm, groove, and syncopation. Groove as it heralds the self back into the body, groove as it celebrates sensual and sexual agency and flowering, groove as an urgent call to action and political activism. In just a word, it’s funkier. But as is the history of anything funky, it’s never just a party. It is a multiverse of energies that merges the celebration and the battle cry. For while an embrace of the present tense is a celebration, it is equally an unquestioning leap into battle — cultural, political, environmental.”
Watch my interview with Alison Russell HERE.
St. Paul & The Broken Bones
Angels In Science Fiction
THE EDITED PRESS RELEASE: “When Paul Janeway learned he was going to be a father, he was struck by divine inspiration. Following the tradition of greats like Aristotle, William James and John Steinbeck, who wrote letters to their future sons, the singer decided to scribe his own thoughts — of joy, of fear, of confusion — as messages to his then-unborn daughter. Those letters ultimately became Angels In Science Fiction, the stunning fifth LP from his band of Alabama genre-benders St. Paul & The Broken Bones. “I knew what I wanted to say,” he says of the material. “I like to be a bit more coy at times, but I wanted these lyrics to be more direct. This is a record I would have written whether I did this for a living or not. I don’t know if those records come along all the time.”
Ron Sexsmith
The Vivian Line
THE EDITED PRESS RELEASE: “The Vivian Line is the 17th album entry in Ron Sexsmith’s compelling discography, one matched by very few contemporary singer-songwriters. His catalogue has earned him immense peer respect and a loyal international following, and this new release captures Ron at the top of his creative game. With one exception, these new songs all flowed from Sexsmith’s fertile musical and lyrical imagination in a short period of 2021 during covid. “The songs came out of nowhere,” Ron explains. “I wasn’t really writing after the (2020) release of my previous album Hermitage. The older I get, the more I think ‘maybe this is it,’ but then I found myself with new ideas again and got excited.” Reflecting upon the songs on the new album now, Sexsmith notes that “initially I thought they were an extension of Hermitage, which was very much about domestic bliss and my new life here in Stratford, Ont. After the fact, I see them as a little weightier than Hermitage, which was very playful. There is more of a wistful feel to these songs.”
Watch my interview with Ron Sexsmith HERE.
Andy Shauf
Norm
THE EDITED PRESS RELEASE: “Hailed as a gifted storyteller for 2016’s The Party and 2020’s The Neon Skyline, Canadian singer-songwriter and multi-instrumentalist Andy Shauf writes albums that unfold like short fiction, full of colorful characters, fine details and a rich emotional depth. With his new LP Norm, however, Shauf has slyly deconstructed and reshaped the style for which he’s been celebrated, elevating his songwriting with intricate layers and perspectives, challenging himself to find a new direction. Under the guise of an intoxicating collection of jazz-inflected romantic ballads, his storytelling has become decidedly more oblique, hinting at ominous situations and dark motivations. Shauf had planned to be touring around The Neon Skyline but, like many of us in the early days of the pandemic, he spent a lot of time alone instead. He sequestered himself in his garage studio, self-producing and playing every instrument on Norm, a collection of more conventional songs written predominantly on guitar, piano and synths. The latter was essential to creating the more spacious and tactile sounds he sought. Shauf’s goals were uncomplicated: Create something melody-driven rather than chord-driven, and make it modern. Shauf recruited Neal Pogue (Tyler, the Creator, Janelle Monae, Outkast), a prodigious shaper of genre-and-time-defying tracks, to mix the album, further building on the gently levitating, synth-laden atmospherics.”
Watch my inteview with Andy Shauf HERE.
’68
Yes, and...
THE EDITED PRESS RELEASE: “The raucous duo Josh Scogin demurely undersells as “rock ’n’ roll with a kick in the pants” is named ’68, after the Camaro the Atlanta native grew up working on with his dad. ’68 are a ride for everyone on both sides of the speakers as the hurricane swirls around the frenzied duo. The obstacle is the goal. Armed with his guitar, copious pedals, and percussive partner-in-crime Nikko Yamada, the former frontman for The Chariot conjures a spirited sound of ambitious raw nerve. The kinetic conversation continues with the appropriately titled Yes, and…, a densely packed and diverse indie rock romp in which Scogin and Yamada crib cues from improvisational ideology. ’68 fill album No. 4 with howling exposition, tangential dirges and unbridled honesty. Grammy-winning producer Nick Raskulinecz (Foo Fighters, Rush, Code Orange) became a believer after just a few songs of a ’68 set and captured ‘68’s high-intensity bombast on Give One Take One and once again on Yes, and…, a new chapter in an unstoppably exciting exploration of energy.”
Sleaford Mods
UK Grim
THE EDITED PRESS RELEASE: “War, rising energy costs, inflation. A sclerotic political class and a divided country. The post-Brexit malaise, acts of national self-harm and other doomed flights from reality. Despair, anger and alienation. Has it ever been worse out there? “The rot’s set in,” says Sleaford Mods’ soulful ranter-inquisitor Jason Williamson. “So much it’s trampled into our consciousness to the point where we have become as one with the Conservative Party. We’re all Conservative MPs now … servants of this really bleak sort of Aldi nationalism.” Welcome to UK Grim. Building on the unique, insurrectionary strengths of previous records while refining them in gripping new ways, Sleaford Mods’ 12h album is a stunning step up. This is nothing less than a defining band and voice of their generation — like The Jam, The Clash or Public Enemy before them — more fully realised than ever before. At a musical moment where so much seems to exist simply to melt into air, it is, unmistakably, the real deal.”
Joan Smith & The Jane Does
Do Me Some Harm
THE EDITED PRESS RELEASE: “Joan Smith, she of the towering pipes and dirty guitar tone, has teamed with guitarist and producer Tom Juhas to form the Jane Does — a female-fronted dance-rock machine with pulsing rock beats, relentless guitars and cutting vocals that amp up to the edge of sanity. They are set to kick down the doors with their debut Do Me Some Harm, recorded at Marquee Sound in their hometown of Toronto. Smith spent the past decade fronting guitar/organ rock trio Little Foot Long Foot — playing Canadian stages eager to handle their volume, and garnering international reach with sync placements in soundtracks including Orange Is The New Black. Since 2016, Smith has been taking her guitar and backing vocal chops on the road with Juno-award winner Serena Ryder. Juhas, meanwhile, is an accomplished touring and studio guitarist, producer and soundmaker known for his eclectic work alongside Justin Rutledge, Bret Higgins’ Atlas Revolt, Jadea Kelly and Ryan O’Reilly.”
Todd Snider
Crank It, We’re Doomed
THE EDITED PRESS RELEASE: “Sometimes an artist makes a record and then decides not to release it. Neil Young and Prince did it multiple times. Todd Snider is also in that club — he’s left three albums on the shelf over an equal number of decades. But now Snider has decided to take one of those albums off the shelf. Some 16 years after it was recorded, Crank It, We’re Doomed has finally seen the light of day. Snider was in the midst of one of the most creative periods of his career when he recorded Crank It, We’re Doomed in 2007. He was writing at a frenetic pace and experimenting with musical ideas he would develop more fully on later releases. He not only finished and recorded the 15 songs on Crank It that year, he also wrote and recorded the seven songs that appeared on Shit Sandwich, the digital-only EP released in 2010 by his alter ego Elmo Buzz & the Eastside Bulldogs. “It was very much a blur,” he says, looking back on that year. “A blur not because of the party going on, but because of how many songs I was coming up with. It was probably the pinnacle of my time making up songs. Like they were really coming at me, and I didn’t know what to do with them all.”
Snõõper
Super Snōōper
THE EDITED PRESS RELEASE: “Nashville DIY punk outfit Snõõper are a band who make 45 RPM music in a 33 ⅓ RPM world — and then play it at 78 RPM. They maintain super-precise instrumentals and skillfully melodic vocals, even though they’re flooring it almost the entire time. Snõõper don’t play fast; they play at the speed of Snõõper. Formed in 2020 by vocalist/visual artist Blair Tramel and guitarist Connor Cummins, Snõõper’s initial recordings were released on DIY labels. Although not originally intended as a performance project, the duo brought these recordings to life with the additions of Cam Sarrett (drums), Happy Haugen (bass) and Ian Teeple (guitar). Snõõper are known for their raucous live show which integrates many different artistic mediums — music, video art, puppetry, assemblages, and more — to create a unique experience for each performance.”
Son Volt
Day Of The Doug
THE EDITED PRESS RELEASE: “Revered band Son Volt pay homage to the legendary Doug Sahm on the new album Day Of The Doug. Son Volt founder Jay Farrar’s goal with this 12-song collection was not only to pay tribute to Sahm’s music and influence, but to also highlight some of the deeper tracks in his heralded canon, specifically from a prolific period during the late 1960s and 1970s. “My mode of picking the songs was primarily to celebrate the ones that I thought were overlooked,” says Farrar. Over the course of a 50-year career, Doug Sahm blazed trails across genres, churning together key elements of rock, R&B, country, folk, Tex-Mex and psychedelia into something that existed in its own unique space. He shared a stage playing steel with Hank Williams as a kid before making three Top 40 hits with the Sir Douglas Quintet and recording a heralded body of solo work. He never stopped evolving and consistently obliterating musical boundaries. “He’s a larger-than-life character,” says Farrar. “He reminds me of Neal Cassady from On The Road. His life was epic.” Sahm’s impact on American music is immeasurable and still reverberates today as strong as ever.”
Sparklehorse
Bird Machine
THE EDITED PRESS RELEASE: “Music had always been a shared language between Mark Linkous and his younger brother Matt, and as Mark began work on what he planned to be the fifth Sparklehorse album in 2009, the two of them would talk through his plans for the record. Matt can clearly recall their conversations; Mark’s excitement about the influences feeding into it and the way the songs were starting to take shape. It was these conversations that Matt and Melissa — Mark’s sister-in-law, who also worked with Sparklehorse — returned to years later as they began to sift through boxes of tapes to catalogue and preserve Mark’s unreleased recordings and bring his posthumous album, entitled Bird Machine, to life.”
Sparks
The Girl Is Crying In Her Latte
THE EDITED PRESS RELEASE: “The Girl Is Crying In Her Latte marks Sparks’ first release on the venerable Island Records label in close to five decades, following such classics as 1974’s landmark Kimono My House, highlighted of course by the indelible hit single This Town Ain’t Big Enough For Both Of Us. The new album is described by Ron and Russell Mael as a record that is “as bold and uncompromising as anything we did back then or, for that matter, anytime throughout our career.” The album includes such instantly intriguing new musical vignettes as Mona Lisa’s Packing, Leaving Late Tonight and Nothing Is As Good As They Say It Is, songs which once again display Sparks’ seemingly ceaseless ability to craft complete, intricately detailed stories within perfect three-and-a-half minute pop masterpieces.”
Speedy Ortiz
Rabbit Rabbit
THE EDITED PRESS RELEASE: “Rabbit Rabbit is a superstitious incantation repeated on the first of each month to bring good fortune — a belief practised by Sadie Dupuis, the guitarist, singer and songwriter of the Philadelphia rock quartet Speedy Ortiz. As a child with OCD, she followed arbitrary rituals, a coping mechanism commonly triggered by early trauma, and “rabbit rabbit” was one that stuck. When Dupuis began to parse difficult memories for the first time in her songwriting, it felt like kismet to name her band’s resultant fourth record after her expression of luck and repetition. Instead of re-treading old routines, the record finds Speedy Ortiz interrogating conventions, grappling with cycles of violence and destructive power dynamics with singular wit and riffs. Rabbit Rabbit finds Speedy Ortiz at its most potent: melodically fierce, sonically mountainous, scorching the earth and beginning anew.”
Marnie Stern
The Comeback Kid
THE EDITED PRESS RELEASE: “It’s been a decade since we last heard new music from Marnie Stern, but when her guitar bursts in like a shower of stardust on The Comeback Kid, the followup to 2013’s The Chronicles of Marnia, it’s like no time has passed. The Comeback Kid is a statement of intent: “I can’t keep on moving backwards,” Stern repeats on the anthemic lead single Plain Speak, her fingers furiously tapping the fretboard as the song joyfully zips forward like a rocket hitting warp speed. Where has Stern been? She cops to having been lulled by the gentle rhythm of a nine-to-five job as the guitarist in The 8G Band on The Late Show with Seth Meyers; she’s also been raising two kids. But when it came time to start working on a new record, the ease with which she picked up right where she left off was surprising even to her. “I expected that all those years of playing other kinds of stuff would have influenced me — and it didn’t at all! I was fully back where I was before.”
Marty Stuart And His Fabulous Superlatives
Altitude
THE EDITED PRESS RELEASE: “Altitude is the 19th studio album from five-time Grammy winner, Country Music Hall of Famer and AMA Lifetime Achievement Award recipient Marty Stuart and his longtime band of Fabulous Superlatives — Kenny Vaughan, Harry Stinson and Chris Scruggs. Recorded in Nashville, the collection finds Stuart picking up where he left off on 2017’s Way Out West, exploring a cosmic country landscape populated by dreamers and drifters, misfits and angels, honky-tonk heroes and lonesome lovers. Written primarily on the road, the collection was inspired in large part by Stuart’s 2018 tour supporting Byrds co-founders Roger McGuinn and Chris Hillman, who reunited for the 50th anniversary of their seminal Sweetheart Of The Rodeo album. “I bought my first copy of Sweetheart Of The Rodeo for $2.99 at the discount bin in a shopping mall record store in Goodlettsville, Tennessee, and it became the blueprint for my musical life,” Stuart recalls. “Revisiting it on the road with Roger and Chris put me back under its spell all over again. I was writing songs in dressing rooms and soundchecks and on the bus, and then one day, I looked up and there was enough to make an album.”
Watch my interview with Marty Stuart HERE:
Super Duty Tough Work
Paradigm Shift
THE EDITED PRESS RELEASE: “A mission statement work of sorts, Paradigm Shift is a marker in time, a testament to Super Duty Tough Work’s evolving worldview and assertion of commitment to their art and the traditions from which they’re born. Despite being only 10 tracks, this record can be boiled down to having two distinct sides: Party and revolution. On one hand, Paradigm Shift has a heavy dose of the usual witty, provocative, carefree lyricism we’ve come to expect from frontman Brendan Grey, mixed with some catchy hooks and melodic choruses sure to become ear-worms. On the other hand, the underlying themes of anti-imperialism, anti-capitalism, celebrity/idol worship and climate catastrophe can only be made to be so fun, making for an interesting dichotomy as the listener is pushed and pulled in a few very different directions throughout. The content can get pretty heavy, but in the same breath, it’s composed and presented in such a stylish and effortless manner, proving that a spoonful of honey (and a couple zoots) really does help the medicine go down.”
Swampmeat Family Band
Polish Your Old Halo
THE EDITED PRESS RELEASE: “The evolution of Swampmeat Family Band continues apace. When the Birmingham outfit released their incendiary third album, Muck, three years ago, it marked the culmination of the kind of vision that frontman Dan Finnemore had always had for them; having returned from the U.S. after a spell as a key member of Philadelphia rockers Low Cut Connie, he was burning with ideas and inspiration, channeling a renewed creative energy into a new-look version of the garage band he’d formed, as simply Swampmeat, with drummer T-Bird Jones in 2006. Muck certainly felt like a family affair, one that saw the group expand to a five-piece and broaden their musical palette, boldening their bolshier side with brass, lending their forays into country some authenticity with the addition of pedal steel and, by welcoming vocalist Joni Coyne into the fold, providing Finnemore with a new foil. The new accoutrements came together to form the basis of Swampmeat 2.0, a slicker, sharper band anchored by Finnemore’s handsome arrangements and melodic sensibilities. “The response to Muck was really cool,” he reflects, “and that opened the door for us to step things up a little bit. Make a different, more textured record, where I’d think about what we could add, but also what we could take away.”
Swans
The Beggar
THE EDITED PRESS RELEASE: “The Beggar was recorded and mixed at Candy Bomber Studio in Berlin, engineered by Ingo Krauss and mastered by Doug Henderson at Micro-Moose, Berlin. The album was written and produced by Michael Gira and features contributions from recent and former Swans, members of Angels of Light and Guest Swan Ben Frost. “After numerous pandemic-induced cancellations of tours for the previous Swans album Leaving Meaning, and an apparent bottomless pit of waiting, waiting, waiting, and the strange disorientation that came with this sudden but interminable forced isolation I decided it was time to write songs for a new Swans album and forget about everything else,” Gira says. “They came relatively easily, always informed by the suspicion that these could be my last. When I finally was able to travel, songs in hand, to Berlin to work with my friends recording this record, the feeling was akin to the moment in The Wizard of Oz when the film changes from black and white to color. Now I’m feeling quite optimistic. My favourite color is pink. I hope you enjoy the album.”
