Atlanta's beloved sons the Black Lips (Jared, Ian, Cole, and Joe) entered last year through a screaming cloud of sweat, smoke, blood, and beer mist. After a spring and summer of exciting audiences across the world, the Lips embarked on a month-long fall tour of the Middle East. They were tailed by Georgia rock-doc royalty Bill Cody, of Athens, GA - Inside/Out fame, who filmed the band playing for Egypt who had just overthrown their government, kids in Iraq who barely have a government, and kids in Dubai who finally get to see a band that isn't in the top 40. As Cody assembled his footage into the feature Kids Like You and Me, the band returned home from the New Year's maelstrom and began settling into album mode.  Recording for Underneath the Rainbow was split between New York with Thomas Brenneck, who was recommended by Arabia Mountain producer Mark Ronson, and Nashville with the the Black Keys' Patrick Carney, who offered to help produce in a Mexico city hotel room just before dawn.  "It was one of those super-late-night/super-early-morning drunk-talk sort of situations, so we weren't sure if he meant it," explains Jared. "People do that all the time." Early internet conjecture pegged Underneath the Rainbow's sound as a blend of southern rock with throwback C&W and blues, based on the lead single 'Boys in the Wood', which is a weird description for a record containing the first Black Lips' song with a prominent synth ("Funny"), and even less apt for an overall album that owes just as much to the kiwi pop of New Zealand's South Island and the Chicago South Side's Crucial Conflict as it does the standard American South. It never strays far from the traditional roots music that has always found a comfortable home with the Black Lips, but invites enough curiosity with its approach to attract even the most unlikely listener. 'Underneath the Rainbow' can only guarantee one thing; that the kids will be Smiling, Waiting for the Dandelion Dust to make things Funny at the Dorner Party while the Boys in the Wood Make You Mine as they Do the Vibrate. The morning will break and the passenger will say, "Drive-By, Buddy… I don't wanna go home. Damn these dog years…"

Named in homage to Sam Cooke's classic album, Night Beats began as a two-piece in 2009 after both Danny Lee Blackwell and James Traeger moved from Texas to Seattle, Washington and were soon picked up by Chicago’s Trouble in Mind Records (Ty Segall, Fresh and Onlys, Hex Dispensers, etc.) who released their debut album. Cult US West Coast label Burger Records were also on hand, releasing Night Beats’ first two albums via cassette. Having been fans of both records, Heavenly Recordings eventually signed the band in the summer of 2015 and released 'Who Sold My Generation' to much acclaim in 2016. 2018's 'Myth Of A Man' is their fourth studio album. Written during a particularly destructive period of the band, the album is populated by fallen angels, blood-sucking wanderers, and vindictive lovers - sketches of people the band has surely come across during their cosmic roving through the underground - but the character most present is Blackwell, himself. "Myth Of A Man can be summed up as a personal display of vulnerability and guilty conscience," he explains, "Destroying the mythos of what it means to live and function in society." With its bold steps forward, 'Myth Of A Man' serves as both a takedown and reintroduction of the band as we know it - the strongest evidence that you’ll never be able to pin Night Beats down.