Don’t Miss New Albums From Lucinda Williams, White Denim, Angel Olsen & Others

Acclaimed singer-songwriter Lucinda Williams issued the latest edition of her Lu’s Jukebox covers series, Lucinda Williams Sings The Beatles From Abbey Road, through Highway 20 Records/Thirty Tigers. Williams began her Lu’s Jukebox series in 2020 during the pandemic to aid independent music venues when there were no live performances. Williams previously released covers collections of songs by Bob Dylan, The Rolling Stones and Tom Petty. For her first Lu’s Jukebox in four years, Williams takes aim at The Beatles catalog, which she recorded at the studio The Fab Four made famous, London’s Abbey Road. Williams tackles both Beatles classics (“While My Guitar Gently Weeps,” “Can’t Buy Me Love,” “With A Little Help From My Friends,” “Something”) and deeper cuts (“I’m So Tired,” “I’ve Got A Feeling,” “Yer Blues”) on the 12-track record.

With the release, Williams also becomes the first major artist to record The Beatles songs in the space where John Lennon, Paul McCartney, George Harrison and Ringo Starr recorded nearly all of their albums, then called EMI Studios. The Beatles named their final recorded album after the street EMI was on, Abbey Road, and shot the record’s iconic cover on the Abbey Road crossing. The name of the recording facility was changed to Abbey Road in 1976.

The new White Denim album arriving today via Bella Union is aptly titled 12 for dual reasons. The 12-track album is also the 12th album released by the project helmed by multi-instrumentalist James Petralli. The album grew out of a transitional period for Petralli. While still living in Austin, where he founded White Denim, he and his partner Elaine cared for her father before his death in spring of 2021. James and his family relocated to Los Angeles where he continued to balance the role of being a father with that of a musician. The album includes contributions from vocalists Tameca Jones and Jessie Payo, Jesse Chandler (Mercury Rev/Midlake) on flute and others. The first White Denim album entirely produced by Petralli, who was influenced by Nick Lowe, Jonathan Richman, Doug Sahm and Joe Jackson while writing the record.

“These guys who make very energetic, intentional music that’s sophisticated but also willing to have a good time,” Petralli said.

Angel Olsen took an innovative and collaborative approach to recording her new album, Cosmic Waves Volume 1, which came out today on her somethingscosmic imprint. Olsen recorded new original songs by five different artists and covers of songs by those same artists. Side A consists of Olsen-curated songs written by Poppy Jean Crawford, Coffin Prick, Sarah Grace White, Maxim Ludwig and Camp Saint Helene. Side B consists of Olsen’s covers of previously recorded songs by those musicians. Regarding the project, Olsen stated:

“As someone that emerged into the music scene through a small tape label, I’ve wanted to continue the spirit of discovery and of my debut release, Strange Cacti, while supporting and collaborating with artists and friends whose music I have been moved by. I feel there is something unique and special about covering another artist’s song.

“We all make it our own, or we try to, but I personally always learn something new about the process when I’m engaging someone else’s words and melodies in such a close way. It’s fun to write and make my own stuff, but listening to and putting myself into various different styles of songs can lead to new ways of thinking and creating.”

Multi-instrumentalist Shabaka released Possession, a five-song companion EP accompanying his excellent 2024 album, Perceive Its Beauty, Acknowledge its Grace, both of which were issued by jazz label Impulse! Records. Like the album that was recorded at the historic New Jersey studio founded by legendary late jazz engineer Rudy Van Gelder, the British-born, Barbados-raised Shabaka enlisted many special guests for the EP. André 3000, Esperanza Spalding, Charles Overton, Nduduzo Makhathini, Brandee Younger, Carlos Niño, Jason Moran, Chris Sholar, Dave Okumu, Nduduzo Makhathini, Surya Botofasina and on separate tracks, Armand Hammer’s billy woods and ELUCID.

“My original plan for my album Perceive Its Beauty, Acknowledge Its Grace was to present the acoustic music as recorded in the Van Gelder and London studios, but also dissect and sample the material to produce an accompanying beats segment to the album,” said Shabaka. “Possession is the exploration of the free-floating liminal space which characterizes the transition from one-dimensional sphere of awareness to another.”

CHVRCHES frontwoman Lauren Mayberry released her debut full-length solo album, Vicious Creature through Island Records. Mayberry recorded the 12-track effort with producers Greg Kurstin, Matthew Korma, Tobias Jesso Jr., Ethan Gruska and Dan McDougall.

“So much of this process has been an exercise in empowering myself to listen to my own intuition – something I really trained myself out of,” Mayberry said. “That’s ultimately why you start making things – because you felt a feeling, and you wanted to articulate that somehow. I think it was important for me to relearn that kind of independence, and recognize what I bring to any table I choose to sit at.”

“There’s things I’ve never been comfortable performing or sharing with a band of men. As much as my time with the band has always had this feminist narrative underpinning it, a lot of my role felt like it was more about me trying to fit in than leading the conversation, and I wondered what it would look like for me to create under different circumstances.”

Geese frontman Cameron Winter released his debut solo album, Heavy Metal, through Partisan Records. Winter took an unorthodox approach to recording Heavy Metal, which was produced by Loren Humphrey. Guest musicians were primarily sourced through Craigslist. The New York City native also recorded improvised parts at Guitar Centers across the New York tri-state area, using in-store gear until being asked to leave. “It was actually a great way to work,” Winter said. “I had no time to overthink anything, I just played straight from the heart and recorded everything. After a day or two I’d inevitably get kicked out and I’d move on to the nearest franchise and keep working.” Winter further detailed the album in the statement below:

“A year ago, I was inspired to make an album outside of my band Geese; unfortunately for Geese fans, I thought it would take four months and it took a year and a half. I got a lot of advice that it was too early to ‘go solo,’ probably because most people feel that ‘solo albums’ come once a band is basically over the hill and that they’re usually uninspired cash grabs, but rest assured, my solo album is unique, because barely anybody knows who my band is, I’m young and not afraid of living with my parents and I’m free to chase whatever ideas I want.”

Compersion Quartet, a new supergroup established by saxophonist Skerik and featuring pianist Brian Haas, bassist James Singleton and drummer Simon Lott, released their self-titled debut album through Royal Potato Family. “Compersion” is defined as “the feeling of joy or happiness for someone else’s positive experiences, even if they don’t directly benefit you. It’s often described as the opposite of jealousy or possessiveness.” Compersion Quartet traces its roots back to the Skerik-founded and curated Saucefest, which takes place on the middle Tuesday of New Orleans Jazz Fest. Saucefest sees an eclectic mix of musicians coming together in different configurations, which served as a template for Compersion Quartet.

“The history between the four of us goes way back, but this specific quartet would eventually come together through Saucefest,” Skerik stated. “I met Brian Haas in the early years of his trio Jacob Jazz Odyssey after he heard me in Critters Buggin. I used to play with Simon Lott in Maelstrom Trio along with Brian Coogan. They were both part of the early Saucefest events. I started playing with James Singleton on Johnny Vidacovich gigs and in other combinations. He also did some early Saucefest performances. We share a related collective history. We all are from the same mother of music, siblings without rivalry.”