NOTE: It has been a while since I’ve connected with the StudioDNA crew. We have crossed paths and emails many times over the last couple months, but our schedules haven’t lined up and this particular episode hasn’t (and perhaps won’t ever) make it to the air. That’s fine. They’re busy. I’m busy. Things happen. However, this has been kicking around waiting to go live for a while now (since late June) and I felt like I should release it and move on in whatever direction works best. If you enjoy reading these and there are no more New Music Digest episodes, fear not. I’ll start something else soon. In fact, I have something music related planned for Friday (unless I lose power). If this episode ends up airing, I’ll update it accordingly. Thanks for reading.

This episode features a 90s monster, a debut with a sense of the 90s, and a collaboration between a familiar face and a DJ whose career BEGAN in the 90s. Capping all of that off is a serious track which in part mourns the loss of the lead singer from an iconic 90s band that was in the middle of a comeback. Let’s get to it then.

Album 1: Come Tomorrow, by Dave Matthews Band (6/8/2018)
If you listened to music in the 90s at all, you couldn’t avoid Dave Matthews Band. I think I went back and forth with liking them or not. They certainly gained a cult following as a jam band, in the vein of the Grateful Dead and Phish, with people collecting various bootleg recordings of shows. But at the same time, they were snubbed by many critics as too popular or sell-outs. When a friend of mine introduced me to Coldplay by playing YELLOW, I asked him if it was a Dave Matthews knockoff. I’ll never forget the look of betrayal on his face. I’ll do worse, here, I’m sure. This is their first new album in six years, I believe – first one I’ve listened to in maybe twenty years?

Starting off with a nice stripped down intro and the familiar, raw vocal, SAMURAI COP (OH JOY BEGIN) opens the album as the first I’ve really heard from DMB since the early days. I get the sense that this would be amazing live. I love the drums and just the bare elements. Everything sounds so… open. Like early U2 almost. Now that I’ve thoroughly irritated U2 fans everywhere, I CAN’T STOP there. The addition of the horns adds a thickness to this song, which is when Dave’s falsetto really shines as a contrast. Yeah, this would definitely be great live. Drums are very impressive. HERE ON OUT feels like the new album’s CRASH INTO ME. Acoustic guitar. Ballad. Nice melody. Yeah. Nostalgia. It’s enchanting.
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