London Calling is the showcase festival for new bands in Paradiso, Amsterdam. Twice a year Paradiso hosts the two-day- festival where several bands play in the Main and Small Hall. The first edition took place in july 1992. 2017 marks the 25th anniversary of the festival, which is going to be special. Up to now bands like Bloc Party, Blur, The Libertines, White Lies, Florence & The Machine, Hudson Mohawke and Franz Ferdinand made their dutch debut on stage during London Calling. Also, Tame Impala, Slowdive, Kaiser Chiefs, The Kooks, Two Door Cinema Club and Mac DeMarco played the festival early in their career. The next edition of the London Calling festival in Paradiso takes place on Friday October 27th and Saturday October 28th. Please see the the line-up page on this site for details.
So, we’re chuffed to announce that on Saturday Oct 21st we will bring you SWN2017 a day of musical discovery across Cardiff.
Where we once span this out across a weekend, we’ve this year made it leaner and meaner: one wristband, one day of new music as part of SWN festival. Sŵn will serve as a climactic finish to the festival, and we’ve left Sunday clear for you to nurse hangovers and head home with ears full with ace new sounds.
Tickets are available now for £30 via the website, where you can also check out the first wave of announcements – www.swnfest.com.
Jen Cloher is an indie-folk/rock singer/songwriter from Melbourne. She has released three albums and a couple of EPs and singles, She has been dating indie darling/rising superstar Courtney Barnett for several years, and they’ve collaborated on each other’s records before. On August 11th, she’ll release her fourth album “Jen Cloher on Milk Records which is the label that Cloher and Barnett run together.
The song is about “the sacrifices and difficulties of maintaining a long-distance relationship with a high-profile partner”. They live together, but Barnett spent a long time touring with her brilliant debut “Sometimes I Sit and Think, and Sometimes I Just Sit”, so I guess they’ve spent a lot of time apart from each other.
First single from Jen Cloher’s self-titled album (2017) released through Milk! Records.
Second single from Jen Cloher’s self-titled album out August 2017. The album was recorded in a one-room studio in a rural Australian town, then mixed in Jeff Tweedy’s studio in Chicago. Barnett contributed guitar and vocals to the entire album. Their friend Kurt Vile also played guitar on one track, and Andrew “Bones” Sloane (bass) is a full-time member of the band. Both are also frequent collaborators with Barnett.
Released through Milk! Records / Marathon Artists.
I’m With Her the trio project from American folk favourites Sara Watkins, Sarah Jarosz and Aoife O’Donovan have just released their new video “Little Lies”.
We wrote Little Lies in the hills of Echo Park, CA, on May 5th, 2017. Three days later, we recorded the song at a historic studio on Sunset Blvd. This is the first original song we are releasing as a band.
Despite the trio being around for the last couple of years “Little Lies” is their first original release and was written and recorded over three days back in May.
Cage Tropical, is Frankie Rose’s new follow-up record to 2013’s Herein Wild. She’s also released a new song called “Trouble,” .The former Crystal Stilts, Dum Dum Girls, Vivian Girls and Beverly member is back for a fourth record full of sci-fi references and ’80s influences. “Trouble” is a driving first taste, with a rock-solid motorik underpinning Rose’s wiry synthwork and frayed vocals.
Rose worked with Jorge Elbrecht (Tamaryn, Gang Gang Dance) on the album, which also includes contributions from Dave Harrington (Darkside). The LP was created during an ill-fated stay in LA after departing her Brooklyn base (although she’s since moved back).
“It’s all essentially based on what happened to me in Los Angeles and then a return to Brooklyn,” Rose says of CageTropical. “Misery turned into something good. The whole record to me is a redemption record and it is the most positive one I’ve made.”
“‘Trouble’ came out of the simple realization that you can’t outrun yourself or your problems,” adds Rose of the new track. “Wherever you go they will follow you unless you address them. I tried. Went to Los Angeles after years in New York and nothing much changed. 3000 miles was a long distance on the map, but it didn’t mean anything was going to shift automatically, unless I made the choice to do it internally.”
The visualizer video for “Trouble” features a hotline fans can call that’s based out of Roswell, New Mexico. Callers are encouraged to leave their paranormal and extraterrestrial / UFO encounter stories on the hotline number. All messages will be screened for possible inclusion on the Weird Night with Juan & Frankie podcast, launching later this summer and focused on the connection between music and the paranormal.
Cage Tropical is out August 11th via Slumberland Records.
• The remastered CD versions of the 11 classic original ELP albums (1970-94), with original sleeve artwork reproduced:
• EMERSON, LAKE & PALMER (1970)
• PICTURES AT AN EXHIBITION (1971)
• TARKUS (1971)
• TRILOGY (1972)
• BRAIN SALAD SURGERY (1973)
• WELCOME BACK, MY FRIENDS, TO THE SHOW THAT NEVER ENDS (1974) (2CD)
• WORKS VOLUME 1 (1977) (2CD)
This lavishly packaged, super-deluxe, multi-component rigid box set showcases the immense musical talents of Keith Emerson, Greg Lake and Carl Palmer.
Fanfare contains a wealth of exciting ELP treasure, including: Triple vinyl LP of previously unreleased live audio, all the original album CDs (remastered versions), previously unreleased live CDs and BBC archive material, 5:1 album mixes audio blu ray, 7” singles, deluxe hardback photo-book with rare photos and extensive sleeve notes, reproduced original tour programmes and poster, enamel ELP pin badge.
Each Box will be numbered and every pre-order here will receive an exclusive bonus CD of the previously unreleased BLACK MOON – ROUGH ALBUM MIXES.
Rising up out of the bubbling Leeds DIY music scene, newly-formed three-piece Shadowlark have already graced the speakers of many-a-forlorn-romanced-bedroom. Last month, Shadowlark released their standout track “Control” along with a dystopian-inspired music video featuring a troubled future, a totalitarian regime broken up by a peacefully empowered heroine.
Frontwoman Ellen Smith (vocals, guitar) hosts an unrelenting desire to create raw and honest songs, laid over a foundation of synths. Speaking about the track, Smith says: ‘It’s about trying to figure out what you’re going to do when you don’t quite know yet, you just need a bit of time to get where you’re heading, take the plunge and do your thing…sometimes you need a little help.’
Rounded out by Chris Quick (keys, programming, synths) and James Warrender (drums) the noir pop electrofusion paints brilliant imagery.
Not only do they strike a perfect balance between slow-burning goodness and hard-hitting choruses, but they also attracted the illustrious ears of Dan Austin (Massive Attack, Doves, Biffy Clyro), to add his productions skills to already strong compositions.
Furthermore, Shadowlark packs a political punch with their music, adding an extra layer to their voluptuous instrumentation with feminist-forward lyrics and discussions around democracy and equality in general. Tested by the tryingly competitive waters of the Leeds’ music scene.
The Deer Shed Festival is a truly fantastic, family-friendly festival that somehow manages to retain a quality of music and band choices, Its true to its roots, where other festivals sometimes feel like a compromise. It fills a great gap between a serious festival for music lovers like myself who like to see the newer bands on the gigging circuit and also find that hidden newcomer, plus where else can the kids have fun rather than having to send them to the usual token and half-hearted kids field/tent like you get at other festivals. Where else do you have a whole football sized area for swingball or make cardboard boxes into something from your imagination. From the whole heap of things to make in the science marquees to running around the perimeter of the park for you morning run.
Angel Olsen and her band made it clear they’ll be very comfortable opening for Arcade Fire later this year. They began with “High & Wild” from 2014’s “Burn Your Fire For No Witness”, expanding from a roots-rock ramble to a gnarly climax built around a bluesy power chord riff. From there they launched directly into “Shut Up Kiss Me,” a song that grips you as urgently as its subject matter demands, from its bracing rock ‘n’ roll cadence to Olsen’s howling, bellowing, tour-de-force vocal performance. Two more straight-up rockers followed, with “Acrobat,” the hushed intro from Olsen’s 2012 debut “Half Way Home”, serving as a bridge to the set’s less visceral but even more compelling second half.
Olsen spent her last three songs unfurling three tracks from the back half of My Woman in sequence. There was “Sister,” the eight-minute epic that serves as the album’s centerpiece, building slowly from a low-key Roy Orbison-via-Velvet Underground ballad into the kind of glorious guitar symphony I wish Wilco was still writing. There was “Those Were The Days,” a song that imagines what Bonnie Raitt’s attempt at dream-pop might sound like, extended into a beautiful series of peaks and valleys. And there was “Woman,” another eight-minute swoon that begins as a weepy country ballad before going full Joplin and, ultimately, taking its sweet time descending from the mountaintop. These songs gave the audience a chance to sit back and appreciate what Angel Olsen’s band members bring to the table. It’s one thing to burn through some rock songs with power and fury, and it’s quite another to make such lengthy excursions surge and soar.
Angel Olsen performs in Chicago for Pitchfork Music Festival 2017
Well, I'm dyslexic so writing about something I love: Music, might help but it's most likely just full of mistakes. That title is also lyrics from The Drones song called I Don't Want To Change. Oh, my name is William and thanks for having a look.
