Categories :

Similar artists

Albums

CD$10.99

Country - Released February 7, 2017 | New West Records

HI-RES$16.49
CD$11.49

Alternative & Indie - Released May 4, 2015 | New West Records

Hi-Res
CD$8.99

Rock - Released September 27, 2011 | IAMSOUND

HI-RES$14.99
CD$10.99

Alternative & Indie - Released May 6, 2014 | New West Records

Hi-Res
HI-RES$14.99
CD$10.99

Country - Released February 7, 2017 | New West Records

Hi-Res
CD$8.99

Rock - Released July 19, 2011 | IAMSOUND

CD$8.99

Country - Released September 27, 2011 | IAMSOUND

CD$0.99

Alternative & Indie - Released May 6, 2014 | New West Records

Country - Released February 17, 2017 | New West Records

Download not available
CD$11.49

Alternative & Indie - Released May 6, 2014 | New West Records

CD$0.99

Folk/Americana - Released January 27, 2017 | New West Records

Country - Released November 18, 2016 | New West Records

Download not available
Nikki Lane's 2014 album for New West Records was a splashy affair, coming with an endorsement from Dan Auerbach, the leader of the Black Keys, who produced the album. As excellent as All or Nothin' was -- and it was a sharp, smart record, walking the fine line separating retro-Americana and modern country -- it was also somewhat hampered by its association with Auerbach, suggesting that Lane may be a hipster roots act. Highway Queen, Lane's 2017 sequel co-produced by Lane and Jonathan Tyler, dismisses any of these notions, thanks to its stripped-down noir-ish production. Alternating between immediacy and mud, Highway Queen has a distinct, dusky vibe that's alluring, drawing listeners into its hidden recesses. Lane favors old-fashioned forms -- there are hints of girl group, honky tonk, rock & roll boogie, and outlaw country percolating beneath the album's surface -- but when the tempo slows down and the vistas stretch out, she holds her own with Neko Case, assaying moody journeys into the dark corners of the soul. The key to Lane's appeal is that she's not an art-pop vocalist, she's a country singer, keeping her wounded emotions and kicking rhythms in the forefront; the hidden emotions certainly matter but the gut-level impact matters more. That's what gives Highway Queen its edge. As impressionistic as the smeary sounds can be, it's an album that rests on its sturdy songs and Lane's powerful performance, two elements that keep Highway Queen as engaging on repeated listens as it is on its first. ~ Stephen Thomas Erlewine
CD$0.99

Alternative & Indie - Released May 6, 2014 | New West Records

CD$0.99

Country - Released January 20, 2017 | New West Records

Country - Released February 13, 2017 | New West Records

Download not available
Nikki Lane's 2014 album for New West Records was a splashy affair, coming with an endorsement from Dan Auerbach, the leader of the Black Keys, who produced the album. As excellent as All or Nothin' was -- and it was a sharp, smart record, walking the fine line separating retro-Americana and modern country -- it was also somewhat hampered by its association with Auerbach, suggesting that Lane may be a hipster roots act. Highway Queen, Lane's 2017 sequel co-produced by Lane and Jonathan Tyler, dismisses any of these notions, thanks to its stripped-down noir-ish production. Alternating between immediacy and mud, Highway Queen has a distinct, dusky vibe that's alluring, drawing listeners into its hidden recesses. Lane favors old-fashioned forms -- there are hints of girl group, honky tonk, rock & roll boogie, and outlaw country percolating beneath the album's surface -- but when the tempo slows down and the vistas stretch out, she holds her own with Neko Case, assaying moody journeys into the dark corners of the soul. The key to Lane's appeal is that she's not an art-pop vocalist, she's a country singer, keeping her wounded emotions and kicking rhythms in the forefront; the hidden emotions certainly matter but the gut-level impact matters more. That's what gives Highway Queen its edge. As impressionistic as the smeary sounds can be, it's an album that rests on its sturdy songs and Lane's powerful performance, two elements that keep Highway Queen as engaging on repeated listens as it is on its first. ~ Stephen Thomas Erlewine
CD$0.99

Rock - Released December 9, 2014 | New West Records

CD$10.99

Alternative & Indie - Released May 6, 2014 | New West Records

CD$0.99

Country - Released November 18, 2016 | New West Records

Rock - Released May 8, 2015 | New West Records

Booklet
Download not available

Rock - Released May 8, 2015 | New West Records

Booklet
Download not available
On her sophomore full-length and debut for New West, singer and songwriter Nikki Lane teams with producer Dan Auerbach and an all-star cast of players to turn in a spirited offering of rock & roll Americana. Lane wrote or co-wrote everything on the date. While she never strays too far from upstart country, there are some startling textures and backdrops in most of these songs that expand their reach into other genres. Despite its Waylon Jennings-esque two-four strut, opener "Right Time" is bathed in reverb, a distorted bassline, and a psychedelic pedal steel. While she has openly acknowledged Lucinda Williams as one of her major influences, it has never been more keenly felt than in Lane's delivery on "Good Man" with its saturated, broken-hearted, American Gothic romanticism. Auerbach paints her yearning vocal with glockenspiels, a honky tonk piano filtered through an echo chamber, layered pedal steel, and cracking snares. The slow, confessional narrative in "You Can't Talk to Me Like That" is a simple old-school country song with a twist: its backing vocal by the McCrary Sisters is modeled on classic girl group charts, and the B-3 comes right out of Bob Dylan's mid-'60s albums. Lead single "Seeing Double" is drenched in urgent surf guitars, reverbed snares, and whining pedal steel. Despite its quick tempo, Lane's vocal is unhurried; her South Carolina drawl slips through syllables, bleeding one line into the next. Auerbach is her vocal duet partner on "Love's on Fire." Though it begins as an acoustic country song, it unfolds into a full-blown epic with gorgeous fiddle, steel, and brushed snares and tom-toms. Their voices entwine perfectly in the verses and choruses. Lane co-wrote the honky tonk waltz "Out of My Mind" with J. Spaceman of Spiritualized. Saturated in acoustic guitars and upright piano, its soaring pedal steel recalls the production of a young Billy Sherrill. Carey Kotsionis' backing vocal underscores Lane's as the ache in its narrative is laid bare. The Hammond organ in "Wild One" fuels a sassy kiss-off song. Lane's songs and delivery are strong throughout All or Nothin'; they're more polished and crafted than those on Walk of Shame. With Auerbach as a partner, her vocals and arrangements co-exist to wed past to present both simultaneously and effortlessly. © Thom Jurek /TiVo