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On “Red Dog,” the group channels the absolute heaviest shade of early R\u0026amp;B with Jimmy’s crunchy guitar paving the way for both he and Scone to take scorching solos. “Lion’s Mane” shows a slightly more sophisticated side of the trio, with nods to one of Scone’s organ mentors, the incomparable Dr. Lonnie Smith. Not to be outdone by his bandmates, Tim Carman shows off why he plays the best shuffle this side of the Mississippi on “Letter To Brother Ben,” a gospel-tinged shuffler.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eAnd while the results are stronger than ever, the mood of this second cooking session was much different. The first time these three met in Loveland at Colemine’s Portage Lounge studio was marked by a certain freshness. It was new, it was the first time they had all played together. It was exciting, it was unknown territory. The session for \u003c\/span\u003e\u003cspan\u003eEmeralds\u003c\/span\u003e\u003cspan\u003e weighed much heavier on all three members. All three dealing with personal tragedies in their individual lives, the session truly served as a genuine moment of joy for the group. Just three talented musicians, writing and playing music now as friends in a familiar environment. No moment is the weight of the session more obvious than with the album’s closer, “Queen Of My Heart,” a tune Jimmy wrote for his mother shortly after she passed away. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eSo with a heavy and soulful heart, Colemine Records is beyond proud to present the sophomore effort from three maestros. Parlor Greens presents…\u003c\/span\u003e\u003cspan\u003eEmeralds\u003c\/span\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e","brand":"Secretly","offers":[{"title":"Ltd. Ed. 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The band have never sounded this colossal, never felt this intimate, never been this honest. \u003c\/p\u003e\n\u003cp\u003eWith the strongest arsenal in Nothing’s ever-shifting lineup locked in -- guitarist Doyle Martin (Cloakroom), bassist Bobb Bruno (Best Coast), drummer Zachary Jones (MSC, Manslaughter 777), and third guitarist Cam Smith (Ladder To God, also of Cloakroom) -- singer-songwriter Domenic “Nicky” Palermo knew he had the manpower to make the band’s most ambitious record yet. Co-written and produced with Whirr guitarist Nicholas Bassett, and with additional production and mixing work from Sonny Diperri (DIIV, Julie), A Short History of Decay is the most evolved musical statement in Nothing’s catalog. Songs like “Cannibal World” and “Toothless Coal” are cataclysmic lashings of mechanized industrial-gaze that sound like My Bloody Valentine -- except more extreme. \u003c\/p\u003e\n\u003cp\u003eOn the other end of the spectrum, the ornately morose “Purple Strings” boasts a beautiful string arrangement that includes harpist -- and two-time Nothing contributor -- Mary Lattimore. That baroque delicacy permeates other A Short History of Decay highlights, particularly “The Rain Don’t Care,” a lilting ballad that channels the worn-down elegance of Mojave 3, and also “Nerve Scales,” a pattering bop that resembles Radiohead in its marriage of otherworldly atmosphere and mortal precision. Palermo calls the new record “a final chapter.” Not the end of Nothing, but the conclusion of a story that began with Nothing’s 2014 debut, Guilty of Everything -- another album about time, regret, and confronting uncomfortable truths -- and now resolves with A Short History of Decay. 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It's a deliberate departure from Thee Sinseers' lush orchestrations, stripped down to showcase the Jamaican foundations that have always lived beneath Quiñones's work.\u003cbr\u003e\u003cbr\u003eBefore you know it, you've taken off on a sonic soul spaceship with Quiñones at the helm, supported by his two-person crew: Eric Johnson from Thee Sinseers on saxophone and Eleazar from the Brown Boyz on piano, as you cruise across silver-lined clouds and dip your toes into dreamy moonlit grooves found on \"Don't Let Go,\" \"Driftin'\" and \"One More Night.\"\u003cbr\u003e\u003cbr\u003eWhat Quiñones manages to do on this record—with the full support of Colemine Records, the defining label for contemporary soul music happening right now—is prove time and time again that he is an artist willing to take risks and continue to show his prowess when it comes to experimenting with different styles, while still being able to authentically express himself. 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From eclectic jazz guru Sun Ra to German Rocket Scientist Wernher von Braun, Alabama has always had more than an ample share of connection to outer space and matters with extra-terrestrial origin. Such is the case with Man or Astro-Man? arriving\/crash landing in a small college town in Alabama some years ago. Rediscovering record collections long stashed away in forgotten attics or hidden behind racks of magazine back issues at numerous dilapidated thrift stores in Alabama, the entities of Man or Astro-Man? became enamored with the scratched up sounds of Link Wray, The Ventures, Dick Dale, The Shadows and Duane Eddy - namely instrumental guitar and surf music of the late fifties and early sixties. At the same time, bizarre stage designs and performances by Kraftwerk, Sun Ra, Devo, Frank Zappa, The Sputniks and of course the Residents had great impact on the rapidly developing troupe. None-the less, it was a forced existence in a hopelessly conservative small town environment that led Man or Astro-Man? to leave behind the overt and become much more affected by what they hated, than by what actually appealed to them. In essence, you could say that Man or Astro-Man? was far more influenced by college football and muscle-bound fraternity loons than science fiction. The band impelled itself, especially in the live setting, to be as ridiculous as possible, mocking serious \"alternative\" acts and, along with them, the music industry itself. Experiment Zero (1996) was their debut Touch and Go album. Recorded in three days at Man or Astro-man?'s own studio Zero Return in Alabama with Steve Albini, it stands as one of the great modern surf-influenced guitar instrumental records. Wanting Experiment Zero to stand as their masterpiece of the long evolution of surf music, Man or Astro-Man? began to evolve at a greater velocity than ever before. 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