A free and independent Republic of Texas was declared 181 years ago today, officially severing ties between what would become the Lone Star State and Mexico. And Saturday at Terminal 5 is the ninth anniversary of us celebrating it in style with an all-star lineup of Texas musicians. According to AllMusic, “indebted as much to Pearl Jam as Merle Haggard, the Randy Rogers Band has been slugging away in the country trenches since the early 2000s.” The group’s eighth studio album, Nothing Shines Like Neon (stream it below), came out last winter to some rave reviews. AllMusic called it “simple and direct, never bothering to disguise how this is a Texas band through and through, one that savors brokenhearted poetry as much as hardwood barroom boogie.” But the Randy Rogers Band (above, performing “Neon Blues” for Texas Music Scene) won’t being going it alone. Instead, they’ll be joined by the like-minded Casey Donahew Band, bringing country with a rock and roll swagger, and singer-songwriters Stoney Larue and William Clark Green, offering a healthy dose of roots-y, Americana-infused country. And as an added bonus, any patron at least 21 years old with a Texas-related tattoo or wearing an article of clothing with a logo from a Texas college on it will receive one complimentary drink.
Tag Archives: Pearl Jam
Photos courtesy of Joe Papeo | www.irocktheshot.com
Tags: Andy Wood, Chris Cornell, Jeff Ament, Joe Papeo, Live Music, Madison Square Garden, Matt Cameron, Mike McCready, Mother Love Bone, Music, New York City, Pearl Jam, Photos, Soundgarden, Stone Gossard, Temple of the Dog
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Lucius return to New York City to play SummerStage in Central Park on Friday night, and Holly Laessig, one half of the band’s lead-vocals tandem, rang up The House List, from Oklahoma where she and Jess Wolfe were rehearsing for singing background for Roger Waters at Desert Trip, to answer Five Questions.
Plenty of musicians change their sound from album to album. Was that a clear intention in moving from the folkier Wildewoman to the poppier Good Grief? Or was that just how your sound evolved? It’s funny. People comment on how different the two are. But Wildewoman was recorded over a few years, and we were in no rush at the beginning because we didn’t have anything to be rushing for—we were just starting out. And we took our time and made it right. We came out with Wildewoman and we had kind of put the band together throughout and after making that record. So when we toured on it, things started to change, and the sound started to change. And the show got a lot more energetic, and the audience was reacting a lot more to the show than the record. People commented a lot how the live show and the record sounded so different, and that the live shows were so much more energetic. I think by the time we got to the end of that cycle, it was where Good Grief was picking up naturally, but from just listening from a record standpoint, there does seem to be a bigger difference than it felt like.
How was recording Good Grief different than recording Wildewoman? We took a different approach to it. We got off the road—we had been touring for, like, a year-and-a-half straight. And we were exhausted, and we decided to go to L.A. to kind of decompress and start writing. So Jess and I took a few months to write, just the two of us. And we would send the guys rough demos and then they would do their own versions of the same song—and kind of build arrangements around them. So when we went into the studio, we had at least two versions of everything. And we worked with Shawn Everett—he did the Alabama Shakes record with Blake Mills—he’s like this crazy alien angel person [laughing]. He’s one of our really closest friends, and he’s always got these wild ideas. So we were really excited to get into the studio with him. He had an idea to make communication easier with five very strong personalities in the studio. To kind of smooth things over and to get everyone’s voice heard, he thought it would be helpful to come up with a bunch of reference tracks: “For each track that we’re gonna work on, think of a song that you think could influence this.” So it could be “I like the sound of the tone on this Rolling Stones track.” Or “I like the way these vocals were recorded on this West African tune.” And we would all pick one or two songs and put ’em in a box, and he would pick them out one by one—it was all anonymous. And we would listen to everything, like 10 to 15 songs, and write down on a dry erase board everything we like about each one. It could be very specific, as far as a recording technique, or it could be more vague, like a feeling. And once we had this dry erase board of notes, we would then start working on the song. So it was a really interesting way of going about it, and I think we got a lot of good stuff we would’ve normally not even considered.
How did your appearance on Roadies come about? And any chance you’ll be adding “Willin’” to your set list? I mean, I don’t think we could top singing that with Jackson Browne, so probably not. Fair. Rafe Spall, who is one of the actors on Roadies—so the story goes: Rafe’s friend Rafe, which is hilarious to me. The first Rafe I ever met, and I met two of them in one day. His friend recommended our music to him, and he was playing it one day on set. And Cameron was like, “Who’s this?” And Rafe said, “This band Lucius.” And he said, “Well, let’s get ’em in here. See if they want to do an episode.” So we met him, and he’s the nicest guy ever. And we said, “Yeah, absolutely, we’d love to do this.” It was a really cool experience. It was really inspiring to see Cameron Crowe as a director and a leader. Everybody who was there, from the actors to the makeup people to the crew people to catering—everybody—was like, “Yeah, we work really hard, sometimes we work late hours, but we’re happy to do it because Cameron’s the man.” And he really was. We had some lines, and I was incredibly nervous about it because it’s not what we do normally. So there was this one line, and I was like, “This isn’t how I’d normally phrase this.” And I was trying to get my head inside it so I could say it the right way. And I asked him, and he said, “Let’s go over it.” And he dropped everything and took me aside, and he would’ve gone over this, like, one line with me for as long as I wanted—very, very patient. It was great, and we got to sing with Jackson Browne, and Jim James was on the set. It was cool.
For some bands, live shows are like a theater piece in that the set doesn’t change much, but the performers are aware of the subtle nuances each night. And for others, every night’s show is different than the one before. Where do you land on that spectrum? Like as far as each night being different? Yeah, I mean, a band like U2, they play pretty much the same set most nights, but it’s not the same show obviously. But someone like Bruce Springsteen or Pearl Jam, they change their set every night. I guess for each leg of a tour, we tend to stick generally to the same set. Some songs we change a little bit, but it’s nice once you get into a groove to stick with it, the transitions go more easily. But every show’s different regardless, especially because of the audience—not to put it all on the audience—but the vibe and the venue and the city, everything can really make a break a show for the performer. If your audience is really giving back to you, and you’re bouncing off of that, sometimes we have funny banter or things can change, or we’ll decide let’s do this song instead because they’re liking the up-tempo ones. So occasionally, it’s just, like, fly by the seat of your pants. But it’s definitely nice to get into a groove.
What new music have you been listening to? We’ve been listening to the new Angel Olsen record a lot. It only came out a couple weeks ago, I think. We’re excited to be playing with Big Thief in Central Park. And I’m stoked to see them ’cause I love that record. I love Alabama Shakes. We went to see that show at the Greek, and it was so good. That’s a good one to groove to, for sure. Was that with Kurt Vile? Yeah, and I love that record too. And Kurt Vile’s on the bill for One Big Holiday in February. Oh, yeah. That’s gonna be so fun! —R. Zizmor | @Hand_Dog
Tags: Angel Olsen, Big Thief, Blake Mills, Bruce Springsteen, Cameron Crowe, Central Park, Desert Trip, Five Questions, Jackson Browne, Jess Wolfe, Jim James, Kurt Vile, Lucius, My Morning Jacket, One Big Holiday, Pearl Jam, Preview, Rafe Spall, Roadies, Roger Waters, Rolling Stones, Shawn Everett, SummerStage, U2
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Top Five Albums
1. The War on Drugs, Lost in the Dream
2. Total Control, Typical System
3. Run the Jewels, Run the Jewels 2
4. Coldplay, Ghost Stories
5. Parquet Courts, Sunbathing Animal —Charles Steinberg
Top Five Memorable Shows
1. Feist, Tarrytown Music Hall, 4/10
When I heard Feist was doing a tiny solo acoustic tour, I forked over ducats for this one. There were bits of stand-up-like banter with the audience as she stripped down the material. But what really made the night was a mini-reunion with former bandmate (and ex) Kevin Drew as they dueted on the Broken Social Scene classic “Lover’s Spit.”
2. (tie) Rhye, Webster Hall, 2/21
This performance was a bit misleading because although singer Milosh and producer Robin Hannibal are the members in Rhye, the latter member doesn’t tour. But Milosh’s ethereal voice really is the heart and soul of the pair, and it shone greatest for the hit “Open.” His deceptively androgynous voice sounds at times like Sade or even Antony Hegarty.
(tie) Max Richter, The Bowery Ballroom, 12/7
When I saw that the German-British composer was playing Bowery, I had to hop to it. As Richter usually plays symphony concert halls, it was an interesting choice to play such a smaller venue. The Ballroom felt like a recital hall with the audience entranced. What can I say: I’m a sucker for artists playing unorthodox venues.
3. Glass Animals, The Bowery Ballroom, 7/7
I was recently reminded of this concert when my yoga instructor played “Gooey” in class. Pretty fitting, right? In addition to infectious dance melodies, frontman Dave Bayley’s gangly limbs flayed erratically that evening, bringing to mind another dude named Thom Yorke. The two lads have great music and dance moves to boot. Coincidence? I think not.
4. Phox, Knitting Factory, 7/22
The buzz swirling around this Wisconsin band post-SXSW had me tuned into their album all spring and into the summer. Frontwoman Monica Martin was definitely a bit tipsy, but that didn’t detract from her lush vocals or onstage camaraderie. (Check out Schuyler Rooth’s review of their Mercury Lounge gig.)
5. (tie) Mr. Little Jeans, Rough Trade NYC, 5/10
Opening for Sohn, Norwegian singer Monica Birkenes, aka Mr. Little Jeans, overshadowed the headliner for me. It’s rare when that happens, but this lady has a knack for übercatchy dance-pop songs that streamed through my head all summer. She mentioned how she often came here as a child and was really craving a good slice of pizza. What’s not to love?
(tie) Alvvays, Rough Trade NYC, 7/28
New York City summers are packed with free outdoor gigs throughout the boroughs, but this in-store performance with Alvvays stood out amongst the rest. Their infectiously happy songs illuminated the dark back room of Rough Trade but had folks departing into the night with an extra bounce in their step. —Sharlene Chiu
Top Five Just a Man and His Guitar Solo Sets (chronological order)
1. Dustin Wong (opening set), The Bowery Ballroom, 4/21
2. Plankton Wat, Trans Pecos, 5/8
3. Steve Gunn, Mercury Lounge, 5/18
4. Willie Watson, Mercury Lounge, 5/21
5. Leif Vollebekk (opening set) The Bowery Ballroom, 11/21 —A. Stein | @Neddyo
Top Five Memorable Shows
1. Sylvan Esso, Rough Trade NYC, 9/11
Both my favorite album and my most memorable live show of 2014 came from Sylvan Esso. Amelia Meath and Nick Sanborn possess unwavering emotive energy, and every single lyric and beat has sunk into my psyche . I saw the duo perform live twice this year, most recently at their headlining show at Rough Trade NYC. The duo’s erudite electronica boosted the audience as they performed the entirety of their self-titled debut album plus and few clever covers.
2. Broods, Mercury Lounge, 3/3
Comprised of New Zealander siblings Caleb and Georgia Nott, Broods blend melodic melancholia with sparkling synths and glitchy beats. After getting wrapped up in their self-titled debut EP, I simply had to see them live. Broods played their first NYC show to an incredibly enthusiastic sold-out crowd at Mercury Lounge.
3. Hozier, The Bowery Ballroom, 5/13
Hozier’s rich voice and ardent lyrics sit front and center in his compositions. When he headlined The Bowery Ballroom back in May, he was flanked by equally talented musicians who created dazzling harmonies with choral echoes and rock hooks. Hozier and his bandmates mesmerized the audience, including me.
4. Dan Croll, The Bowery Ballroom, 4/17
Dan Croll’s brand of pop is highly addictive, and his live show is equally intoxicating. He fuses lilting pop, wonky electronica and tribal beats and tops it all off with clever lyrics and airy vocals.
5. Kishi Bashi, The Bowery Ballroom, 6/4
Kishi Bashi has what so many musicians seek, and that is an astounding live presence. It’s as if this guy belongs onstage. Kishi Bashi played back-to-back sold-out New York City shows this past June and stunned audiences with his whimsical finesse and astute lyrics. This picture and my review prove that Kishi Bashi’s live performance is one big euphoric dream sequence. —Schuyler Rooth | @Schuylerspeak
Top Five Albums
1. Under the Pressure, the War on Drugs
Channeling Dylan and Springsteen beneath Adam Granduciel’s vocals and personal struggles to stunning effect, this Philly six-piece put out, for me, far and away the top album of the year.
2. Benjamin Booker, Benjamin Booker
From the very first listen, Benjamin Booker’s self-titled debut sounds familiar, not like you’d previously heard its influences, but rather you’d actually already heard this album. The music is lived in and alive and a joy to listen to again and again.
3. 77, Nude Beach
Eighteen songs that sound like the love children of late-’70s Tom Petty and Elvis Costello. You’ll smile the whole time you listen to it.
4. Dancin’ with Wolves, Natural Child
Recording for the first time as a five-piece, and moving away from gritty garage rock to
a more full-band bluesy country sound (with a side of boogie), these Nashville boys took a huge step forward.
5. Morning Phase, Beck
Six years removed from his previous offering, Beck’s slow-building emotional relative of Sea Change captures you from the very first note. —R. Zizmor | @Hand_Dog
Top Five Memorable Shows
1. Pearl Jam, I Wireless Center (Moline, Ill.), 10/17
Playing a small (for them) venue (for the first time) on a Friday night in the middle of nowhere, Pearl Jam put on the best show by any band I’ve seen in the past four years. They performed No Code in its entirety and covered Pink Floyd, John Lennon, Van Halen and Neil Young. Frontman Eddie Vedder put it best, comparing the appearance to a blind date: “You get there and she opens the door, and it’s like, she’s hot!”
2. My Morning Jacket, One Big Holiday (Riviera Maya, Mexico), 1/29
I could’ve chosen any of MMJ’s performances from this run, but the last night was the longest show and it particularly stood out thanks to the perfect weather, the we’re-on-vacation-in-the-middle-of-winter party vibe and carefully chosen covers (including Jim James singing, “Something, something, something” in “Rock the Casbah.”)
3. the War on Drugs, The Bowery Ballroom, 3/20
I absolutely loved, loved, loved Under the Pressure and was extremely excited to hear it live. The War on Drugs did not disappoint, plus they even threw in a stellar rendition of “Mind Games” to boot. (As an added bonus, the night began with Drive-By Truckers at Terminal 5 and closed with green sauce and salt-baked goodness at New York Noodletown.
4. Jonathan Wilson, Music Hall of Williamsburg, 2/14
It was a Friday night and Valentine’s Day. But if you were expecting something quiet and romantic, you’d have been way off. Jonathan Wilson and Co. delivered 16 jammed-out (but not self-indulgently) songs over the course of two-and-a-half hours.
5. Deer Tick, Allen Room, 3/6
As part of the American Songbook series, Deer Tick played an incredibly intimate, seated show in front of a wall of windows revealing Columbus Circle below. It was one of those moments that makes you grateful to live in New York City. —R.Z.
Tags: Adam Granduciel, Alvvays, American Songbook, Antony Hegarty, Beck, Benjamin Booker, Best Coast, Bowery Ballroom, Broken Social Scene, Broods, Bruce Springsteen, Caleb Nott, Dan Croll, Dancin’ with Wolves, Dave Bayley, Deer Tick, Drive-By Truckers, Dustin Wong, Elvis Costello, Feist, Georgia Nott, Glass Animals, Hozier, Jim James, John Lennon, Jonathan Wilson, Kevin Drew, Kishi Bashi, Leif Vollebekk, Max Richter, Mercury Lounge, Milosh, Monica Birkenes, Monica Martin, Morning Phase, Mr. Little Jeans, My Morning Jacket, Natural Child, Neil Young, No Code, One Big Holiday, Pearl Jam, Phox, Pink Floyd, Plankton Wat, Rhye, Robin Hannibal, Sade, SOHN, Steve Gunn, Terminal 5, Thom Yorke, Tom Petty, Under the Pressure, Van Halen, War on Drugs, Webster Hall, Willie Watson
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Positive alternative-rock group Anberlin (above, performing “City Electric” for AXS TV) formed in Central Florida more than a decade ago. They began making a name for themselves by putting out three albums in five years. But things really began to take off with their first major-label release, New Surrender, in 2008, and its follow-up, produced by Brendan O’Brien (Bruce Springsteen, Pearl Jam), Dark Is the Way, Light Is a Place two years later, both out on Universal Republic. The five-piece—Stephen Christian (vocals and keys), Joseph Milligan (guitar and vocals), Deon Rexroat (bass), Nathan Young (drums) and Christian McAlhaney (guitar and vocals)—continue with their prolific ways, releasing their seventh full-length, Devotion (stream it below), just a few weeks ago.
Influenced by ’90s radio rock, the Maine formed in Tempe, Ariz., in early 2007 and released their first full-length, the catchy, pop-punk Can’t Stop Won’t Stop, the following year. And like Anberlin, they’re also a five-piece: John O’Callaghan (vocals, guitar and piano), Kennedy Brock (guitar, vocals), Jared Monaco (guitar), Patrick Kirch (drums) and Garrett Nickelsen. And also like their tour mates, the Maine (above, doing “Whoever She Is” for Daytrotter) are quite prolific. Forever Halloween (stream it below), their fourth LP in just six years, was released earlier this year to a fair bit of acclaim. And you can see Anberlin and the Maine—plus Lydia and From Indian Lakes—tonight at Webster Hall.
Tags: Anberlin, Brendan O’Brien, Bruce Springsteen, Can’t Stop Won’t Stop, Christian McAlhaney, Dark Is the Way Light Is a Place, Deon Rexroat, Devotion, From Indian Lakes, Garrett Nickelsen, Jared Monaco, John O’Callaghan, Joseph Milligan, Kennedy Brock, Lydia, Nathan Young, New Surrender, Patrick Kirch, Pearl Jam, Stephen Christian, the Maine, Universal Republic
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The Long Winters – The Bowery Ballroom – October 18, 2013
John Roderick and Sean Nelson, the two founding members of the lapsed and debatably defunct band the Long Winters, took the stage at a sold-out Bowery Ballroom on Friday night under the auspices of a reunion that maybe was and maybe wasn’t. They had gathered to play their seminal sophomore record, When I Pretend to Fall, just six months past its 10-year anniversary. Roderick was in his usual biting form, cracking sardonic jokes about fans’ online relationship with the band: “Now the fans can go home and express their displeasure on the Internet. Back in the old days, you just had to go home and suck it.” Nelson, an on-again-off-again member of Harvey Danger, nodded approvingly as those in the audience chuckled.
Most revealing was when Roderick paused to answer questions later in the set. As fans yelled for the next Long Winters record, he sarcastically demurred, replying that it was on a hard drive on his desk and “every once in a while I adjust the EQ mix on one of the toms and then I wait another year.” There was no mystery to the set list for the band or the audience. It was When I Pretend to Fall from front to back, beginning with the familiar standard “Blue Diamonds” and running through favorites “Shapes,” “Cinnamon,” “Stupid” and “New Girl.” Roderick stepped in often with his trademark banter, remarking after “Blanket Hog” that he’d written it about a disastrous romance only to later realize “that it was, in fact, I who was the blanket hog.”
Most winning was his story accompanying “Stupid,” one of the band’s most wrenching songs. Roderick relayed the tale of trying to track down a Princeton, N.J., record-store clerk he’d met, only to discover she’d moved to California. So, he wrote “Stupid” for her, about which Sean Nelson sarcastically remarked: “And I’ll play this song at a sold-out Bowery Ballroom 10 years later to show you.” Roderick seemed to respond to this brand of forward and backward reflection in the middle of “Prom Night at Hater High,” asking, “How did I get old?”
But it was Nelson who got the last word during the “New Girl” breakdown, gently ribbing Roderick for unoriginally by singing the chorus from Pearl Jam’s “Better Man” and then the English Beat’s “Save It for Later” over the song’s chord progression. Roderick laughed. It was two older tunes laid over a slightly newer one, all more than a decade behind us—gray hair in Roderick’s beard and on Nelson’s head—near the end of CMJ, a festival about restless, relentless newness. For a night, it was all in the past. —Geoff Nelson
All Boston’s Mission of Burma did in their original early-’80s incarnation was put out two albums, Signals, Calls, and Marches and the seminal Vs., and essentially give birth to the post-punk movement. The quartet—Roger Miller (vocals and guitar), Clint Conley (bass), Peter Prescott (drums) and Martin Swope (tape manipulations and sound engineer)— quickly became known for solid songwriting, a unique punk-tinged sound and extremely loud live shows. But after Miller developed tinnitus, Mission of Burma (above, playing “1, 2, 3, Party!!” for KEXP FM) broke up in 1983. However the band’s legacy carried on, influencing the likes of Fugazi, Sonic Youth, Nirvana and Pearl Jam (who even named their second LP Vs.). And that’s where this story would end, but, seemingly out of nowhere, Mission of Burma reunited in 2002—with Bob Weston replacing Swope—and went on to release four more critically acclaimed albums, including last year’s Unsound. Now they’re back in town to play The Bowery Ballroom on Friday, and last week Roger Miller answered Five Questions for The House List.
What’s the last band you paid to see live?
Do DJs count? DJ Jonathan Toubin was spinning amazing unknown soul and R&B in Boston for a dance-party vibe a few days ago. Went dancing there with my gal. As far as non-DJs, Boston’s Callithumpian Consort performing a John Cage piece (and pieces by some of his cohorts) just before New Year’s Eve.
Where do you like to hang out in NYC? And do you ever feel like you could live here?
I hang near the clubs (The Bowery Ballroom; Lincoln Center) I play, or else at friends’ places I stay, in Tribeca, the East Village and Williamsburg. When I first went to NYC with Burma in 1979, I thought I’d live there eventually. Gradually this wore off as I get to visit NYC all the time (mostly playing shows) and hence have no need for the intense compression of NYC life.
Do you have any crutches when writing a song—are there certain words or styles you feel you lean on too much?
I’ve been told I write about water too much, and that I use the word forget too often. I believe this critique is accurate. If I’m having no inspiration for lyrics, I go to my dream journal. While this is definitely a form of a crutch, it’s not negative in my opinion. It’s always surprising and refreshing.
Do you have to be depressed to write a sad song? Do you have to be in love to write a love song? Is a song better when it really happened to you?
All my songs are, to some degree, first person—even the ones that don’t make sense (or especially those).
After all these years on the road, what have you learned to make touring easier?
In the last five years I started using my laptop (with headphones) for composing scores, and the scoring program plays the scores (rather crassly) to the score I’m writing. This takes me away from my immediate environment, putting me in more of a “head” space than a “van” space. Books are good, too. —R. Zizmor
Tags: and Marches, Bob Weston, Bowery Ballroom, Callithumpian Consort, Calls, Clint Conley, Five Questions, Fugai, John Cage, Jonathan Toubin, Martin Swope, Mission of Burma, Nirvana, Pearl Jam, Peter PRescott, Preview, Roger Miller, Singals, Sonic Youth, Unsound, Video, Vs.
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While best known as the bassist for Pearl Jam, one of the biggest bands in the world, Jeff Ament has always pursued other musical outlets. So he never forgot about the random meeting he had with singer-songwriter Joseph Arthur back in 1999. And when the two finally got together again—this time with drummer Richard Stuverud and Pearl Jam engineer Brett Eliason—they did so with the intention of making an up-temp rock record, the recently released Acts, under the name RNDM. Watch them perform “What You Can’t Control,” recorded live from Music Hall of Williamsburg exclusively for The Bowery Presents Live channel on YouTube.
Check out three more songs from the same set: http://tbp.im/RTy4cg. And subscribe to The Bowery Presents Live to watch more performances and interviews and to get the latest info on our upcoming live-streaming shows.
Tags: Brett Eliason, Jeff Ament, Joseph Arthur, Music Hall of Williamsburg, Pearl Jam, Richard Stuverud, RNDM, The Bowery Presents Live
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Variety is the spice of life, or so the saying goes. But it’s a true story when it comes to
Jeff Ament, who despite being Pearl Jam’s bassist since 1990, still yearns to do something different from time to time. And this time that thing is RNDM. The band name comes from the random meeting he and singer-songwriter Joseph Arthur once had at Wetlands in 1999. It took some time for them to reunite, but when they finally did—with the addition of drummer Richard Stuverud (previously bandmates with Ament in Three Fish)—they intended to make an up-tempo rock album, which was recorded over four days in a Montana studio with Pearl Jam engineer Brett Eliason. That album, Acts, was just released on Tuesday. Stream it below, watch the video for its lead single, “Modern Times,” above, and then go see RNDM live at Music Hall of Williamsburg tonight or next Thursday, 11/8, at The Bowery Ballroom.