Those Darlins

Those Darlins are carving this legendary country western town (Nashville) a new legacy.” - NME

Those Darlins provide a new standard for what to expect from the best rock and roll Nashville has to offer. - Esquire

Those Darlins are an amazing band, and their songwriting/arranging this masterful elevates Blur The Line to modern-classic status. - BLURT

“Those Darlins come off like the toughest, most dangerous group around. They deliver thrilling song after thrilling song that’ll have you hyping them to all your rock & roll friends as soon the album stops spinning.” - ALL MUSIC GUIDE

“Those Darlins have mouths on them, yes they do. But their mouths are connected to their hearts and minds, and amped by loud guitars” - ROBERT CHRISTGAU A-, NPR’s ALL THING CONSIDERED

Diane Coffee (Shaun Fleming of Foxygen)

Everybody’s A Good Dog is the first true realization of Shaun Fleming’s Little Shop of Horrors -meets-Aladdin Sane vision, recorded in a proper studio with an assortment of guest artists, horn section, and string ensemble (all firsts for Fleming). The resulting 11 tracks are a sky-scraping sound kaleidoscope, touched with euphoric instrumentation and dark lyricism. 

Just as Diane Coffee’s debut LP, 2013’s ‘My Friend Fish,’ was inspired by Fleming’s move from sunny California to New York City, Everybody’s A Good Dog took shape after this former Disney child actor and current drummer for Foxygen uprooted again from NYC to the much smaller town of Bloomington, IN – “spontaneous moves have always helped to inspire my writing” he explains. This downsizing provided Fleming with a blank slate to create – “I missed the quiet. I missed having a fire. I missed the color green.”

The songs on Everybody’s A Good Dog capture this sense of clarity, channeling the New York Dolls or T-Rex at their strutting-est and Meatloaf at his most theatrical, with shades of Motown-worthy soul. The gentle psychedellia on opener “Spring Breathes” gives way to a pounding prog breakdown, “Mayflower” leads with a monster funk-fueled horn riff, while on “Tams Up” Fleming fronts his own one-man doo-wop group.

The songs that Jesus Sons write serve as explicit documentation of living in modern day America. The lyrics are filled with shady characters from the back streets of San Francisco and beyond. The ones lurking in the shady corners of your local watering hole, taking long drags off their cigarettes. Their breath stained of cheap whiskey. The music is the product of each members' geographical origins colliding together. Two hometown buds from Idaho lay down vocals, guitar, harmonica and drums, two boys from Los Angeles bring in the bass and slide guitar and a lone ranger rings in the tasteful lead guitar and harmonica from Iowa. The five boys of Jesus Sons dust each song with their experiences of growing up in a troubled time. There is an uneasiness underneath their youthful, determined soundtrack for the modern day motorcycle riding, fast driving, whiskey and beer drinking, freedom seeking kids of today and tomorrow.



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