The cliché that circulated after the 2016 election foretold a new artistic golden age: Artists would transform their anger and anxiety into era-defining works of dissent in the face of authoritarianism. Yet Bob Mould calls his new album Sunshine Rock. It’s not because Mould-whose face belongs on the Mount Rushmore of alternative music-likes the current administration. His decision to “write to the sunshine,” as he describes it, comes from a more personal place – a place found in Berlin, Germany, where he’s spent the majority of the last three years. Here Mould would draw inspiration from the new environments. “Almost four years ago, I made plans for an extended break,” Mould explains. “I started spending time in Berlin in 2015, found an apartment in 2016, and became a resident in 2017. My time in Berlin has been a life changing experience. The winter days are long and dark, but when the sun comes back, all spirits lift.” These three years in Berlin would quite literally shed new light on Mould’s everyday mindset. “To go from See a Little Light to the last three albums, two of which were informed by loss of each parent, respectively, at some point I had to put a Post-It note on my work station and say, ‘Try to think about good things.’ Otherwise I could really go down a long, dark hole,” he says. “I’m trying to keep things brighter these days as a way to stay alive.” That makes Sunshine Rock as logical a product of the current climate as any rage-fueled agit-rock. Variations on the word “sun” appear 27 times in five different songs over the course of the album’s 37 minutes. To hear Mould tell it, the theme developed early. “‘Sunshine Rock’ was such a bright, optimistic song, and once that came together, I knew that would be the title track, and that really set the tone for the direction of the al-bum,” Mould says. “It was funny, because writing with that as the opener in mind, it was like, ‘This is not Black Sheets of Rain.'” Mould’s famously dour 1990 solo album still serves as a point of reference: a title track that sets the tone for the album, though on Sunshine Rock, it’s the opposite of Rain. This being Bob Mould, Sunshine Rock still has darker moments. “Lost Faith,” for ex-ample, has him quietly lamenting, “I’ve lost faith in everything / Everything, everything.” The Mould of 1990 may have wallowed in the feeling, but the Mould of 2018 jumps in-to a hooky, bombastic chorus where he sings, “Really gotta stop this now, this is your / Last chance to turn around, I know we / All lose faith from time to time, you / Better find your way back home.” Those cathartic moments in “Lost Faith” foreground a surprising element of Sunshine Rock: Mould’s rawest vocals since his throat-shredding days in Hüsker Dü. It started when Mould and the band-drummer Jon Wurster and bassist Jason Narducy-had extra time in the studio with Mould’s longtime engineer, Beau Sorenson. They settled on a cover of Shocking Blue’s “Send Me a Postcard,” and Mould decided to lay down vocals right there. “This was the first real vocal take during the session. I walked to the mic, not knowing how I would sing these words. Three minutes later, I went back into the control room and everyone was like, ‘What the fuck, that was wild!’ I was like, ‘Yeah, it’s pretty good!’ That was the only take, and that’s what you hear on the album.” Links: Website | Facebook | Instagram | Twitter

Solo Piano Interpretations of Phish & The Grateful Dead Texture, nuance, and a gift for dexterous high-wire improvisation are the hallmarks of San Francisco-based classically trained pianist Holly Bowling, who infuses jam band music with a technically advanced, emotionally rich style. After studying piano performance at SF State University, Bowling has turned her agile mind and interpretive prowess to the works of Phish on 2013’s Distillation Of A Dream album and the Grateful Dead focused Better Left Unsung (released December 9, 2016 through The Royal Potato Family). Her instantly compelling playing and unerring ability to successfully collaborate with other musicians in an impressive array of styles has brought her to the attention of Bob Weir, Phil Lesh, Gov’t Mule’s Warren Haynes, and other luminaries who’ve asked Bowling to perform with them. Already a rising star on the festival circuit, Bowling plans to continue to expand her solo touring, and recently formed a new band Ghost Light with Tom Hamilton, Steve Lyons, Raina Mullen and Scotty Zwang. Links: Website | Facebook | Instagram | Twitter | YouTube