REVERANCE VALADA FESTIVAL Portugal 2016

Posted: August 25, 2016 in MUSIC

REVERENCE FESTIVAL VALADA IS HELD AT PARQUE DE MERENDAS IN VALADA, CENTRAL PORTUGAL. VALADA IS A SMALL VILLAGE IN THE DISTRICT OF SANTAREM, APPROXIMATELY 45KM INLAND FROM LISBON. THE FESTIVAL SITE IS SMALL PARK ON THE BANKS OF THE RIVER TEJO THAT INCLUDES A LARGE PICNIC AREA, FLUVIAL BEACH, A FOOTBALL FIELD, WITH A LARGE ADJACENT CAMPING SITE.

VALADA IS LOCATED ABOUT 8KM FROM NEAREST TOWN CARTAXO, AND 15KM FROM THE DISTRICT CAPITAL SANTAREM. VALADA IS THE FURTHEST NAVIGABLE POINT FOR SEA-GOING YAGHTS ON THE RIVER TEJO FROM LISBON.

NEAREST AIRPORT TO VALADA IS LISBON PORTELA (LIS). THIS IS A MAJOR INTERNATIONAL AIRPORT SERVED BY MULTIPLE AIRLINES INCLUDING BRITISH AIRWAYS, TAP, EASYJET AND RYANAIR.

AT LISBON AIRPORT THERE ARE MULTIPLE CAR HIRE OPTIONS. IT IS ALSO POSSIBLE TO GET TO VALADA BY TAKING A TRAIN FROM SANTA APOLONIA STATION IN LISBON. REGIONAL TRAINS DEPART HOURLY DURING THE DAY AND TAKE ABOUT 45 MINUTES TO REGUENGO STATION WHERE SHUTTLE BUSES WILL BE AVAILABLE TO COVER THE SHORT DISTANCE TO THE FESTIVAL SITE. REVERENCE TICKET HOLDERS CAN OBTAIN A 30% DISCOUNT ON TRAIN TRAVEL TO THE FESTIVAL.

REVERENCE VALADA 2016
THURSDAY SEPTEMBER 8th
THEE OH SEES // CHAIN AND THE GANG // J.C.SATAN // BLAAK HEAT // FLAVOR CRYSTALS // THE SUNFLOWERS // SUN MAMMUTH // 800 GONDOMAR

FRIDAY SEPTEMBER 9th
THE BRIAN JONESTOWN MASSACRE // THE RAVEONETTES // FAT WHITE FAMILY // A PLACE TO BURY STRANGERS // OZRIC TENTACLES // DEAD MEADOW // SILVER APPLES // YAWNING MAN // LSD & THE SEARCH FOR GOD // THE JAPANESE GIRLS // PAPERMOON SESSIONS // THE BLACK WIZARDS // PIGS PIGS PIGS PIGS PIGS PIGS PIGS // ZONE SIX // CORREIA // FAST EDDIE NELSON // THE DIRTY COAL TRAIN // NICOTINE’S ORCHESTRA // TWIN TRANSISTORS // OSSOS D’OUVIDO // OZRIC TENTACLES SUNRISE SESSION // DJ SETS: JOAO CAVEIRA & LUMI IN THE SKY WITH DIAMONDS // MARIA P // KALEIDOSCOPE DJS // FUZZ CLUB DJS // EVERYBODY KURT // DANNY LONDON

SATURDAY SEPTEMBER 10th
THE SISTERS OF MERCY // KILLING JOKE // THE DAMNED // MECANOSPHERE // NIK TURNER // WITH THE DEAD // MARS RED SKY // THE CULT OF DOM KELLER // STEAK // FARFLUNG // EARTH DRIVE // RADAR MEN FROM THE MOON // PAPIR // ORESUND SPACE COLLECTIVE // FLAK // THE QUARTET OF WOAH! // MISS LAVA // PHANTOM VISION // LA CHANSON NOIRE // MOLOCH // SUNRISE SESSION FT SUMMER OF HATE AND GUESTS // DJ SETS: SEROTONIN & ALPHA // PEDRO CHAU // KALEIDOSCOPE DJS // JAMES BLONDE // NANCE FALECIDA // CHROMATICISM DJS

MAIN STAGES BETWEEN BANDS FUTURE ECHO DJS

Image result for jimmy page and robert plant

Jimmy Page dug up several unheard gems for the recent batch Led Zeppelin reissues. But there’s one song that still remains unreleased “Swan Song”.

The fertile sessions for Led Zeppelin’s Physical Graffiti album produced a number of landmark songs, including In My Time Of Dying and Kashmir. And among them was another track that had the potential to be a Led Zeppelin classic. An ambitious, virtuoso instrumental titled Swan Song, it was sketched out and partially recorded during the album sessions but, frustratingly, never completed – even though, like many of his ideas, Jimmy Page would not quite let it rest.

The seeds of Swan Song were sown in early 1974 when Zeppelin reconvened to begin work on Physical Graffiti at Headley Grange, the 18th-century workhouse in Hampshire where they’d recorded their fourth album.

The band had endured a crisis the previous autumn when John Paul Jones announced that he was fed up with the relentless touring and was planning to quit the band. He even suggested, albeit with his tongue firmly in his cheek, that he was considering becoming choirmaster at Winchester Cathedral. It took all the efforts of manager Peter Grant to talk him out of it.

But by the time the four band members got back together they were once again firing on all cylinders. Reunited, they began pooling ideas. “Some of the tracks we assembled in our old-fashioned way of running through a track and realising before we knew it that we had stumbled on something completely different,” recalled Robert Plant.

By contrast, Page had grand plans for a lengthy new track he was calling Swan Song. The guitarist had already plotted out the instrumental piece at his home studio in Plumpton Place, East Sussex. Even at that early stage, his vision was clear. According to Page, it featured “a number of sections and orchestrated overdubs”.

The track was broken up into sections, two of which were recorded in late February 1974 (and which can be heard on various Zeppelin bootlegs and on YouTube). The first part opens with Page’s drifting acoustic guitar, before the John Paul Jones/John Bonham rhythm section kicks in with the sure-footed syncopation that characterised their greatest work. The second segment commences with Page again leading off, his descending riff hinting at the song’s majestic potential. Tantalisingly, he would later reveal that this epic-in-waiting would not necessarily have remained a purely instrumental track – there were plans to add other sections and even lyrics.

So why did they leave the piece unfinished? The simple truth is that Zeppelin’s creativity was at an all-time high during the Physical Graffiti sessions. At the same time, they had also been working on Ten Years Gone, another lengthy track that incorporated similar guitar orchestration. Faced with an abundance of quality material, they could afford to leave Swan Song for another time. Consequently, it was Ten Years Gone that ended up on Physical Graffiti.

But the Swan Song story didn’t end there. Zeppelin were planning to launch their own label and rumours abounded that it would be called Shag or Slut Records – a lewd reference to their notorious on-the-road antics. Instead, at a press reception in New York on May 7, 1974, it was announced that the new label would be called Swan Song, after their unfinished song. “I’d been recording this long instrumental and somebody shouted: ‘What’s the title?’” revealed Page. “I shouted back: ‘Swan Song’. And everybody stopped and said what a good name that would be for the album. From there it got carried over to being the name for our label.”

Never one to let go of a good idea, Page talked about returning to the incomplete song to finish it off. “I’ve spoken before about a long piece I’d written,” he said in 1976. “I wanted to orchestrate the guitar and put it through various treatments. The original idea was to have four sections coming back to the same theme each time. There would be four separate melody lines dealing with the seasons. Robert will do the lyrics. I know I can work the whole thing out from the trial runs I’ve laid down. It’s a really exciting prospect.”

Page continued to incorporate elements of Swan Song into his live improvisational piece White Summer/Black Mountain Side during Zeppelin’s 1977 tour. It would reappear again during the band’s Knebworth shows in 1979, and even as late as their final European tour, in 1980. Had Led Zeppelin not disbanded following the death of John Bonham on September 25,1980, there’s every chance that Page would have gone back to work on the song in the studio.

But even that wasn’t the end of his great lost opus. Page’s first major live appearance following the dissolution of Zeppelin was as part of an all-star nine-date US tour in 1983 in aid of the ARMS charity to help multiple sclerosis-stricken ex-Small Faces bassist Ronnie Lane. With Paul Rodgers on vocals, Page performed a lengthy song called Bird On A Wing, which featured some chord structures that clearly dated back to Swan Song.

By the time Page and Rodgers formed their blues-rock supergroup The Firm, it had been revisited once again. “It was reworked with Paul Rodgers, who supplied some inspired lyrics, and it became Midnight Moonlight,” said Page, referring to the song which closed The Firm’s self-titled album in 85.

Today, Swan Song has passed into Zep legend as one of the band’s great lost masterpieces – albeit one that has, tantalisingly, filtered into the ether in various incarnations. As with other unfinished Zep treasures such as Sugar Mama and Fire, it’s difficult not to wonder how significant Swan Song would have become had they actually finished it.

Limited Copies come with a bonus 4 track CDEP the ‘Japan’ EP. Public Access TV finally unleash their debut album and it’s wall to wall hits central. It’s a modern new wave album that’s not afraid to take bits of the Strokes, Costello, Joe Jackson and Tom Petty and come up with something that is instant and joyous. The band had a buzz going ever since their first-ever Soundcloud upload and that din is only going to get bigger with the release of album ‘Never Enough’. Public Access TV are the kings of the chorus and this album will get stuck on your turntable.

Public Access T.V. are a band firmly planted in downtown New York City. Before they released their first song, played their first show, or even had a name, Public Access T.V. were a band. Best friends out every night together, sharing clothes, cigarettes, pocket change, and most importantly living together in a dilapidated East Village loft where they could stay up all night playing music… loudly.

“It wasn’t like ‘let’s start a band,'” 24-year-old singer and main songwriter John Eatherly says of the formation. “We already were playing music and hanging out together all the time. We were all doing different things, playing as hired guns for anybody just to pay the rent, and then one day I came in with these songs I wrote and we all just knew this was something we wanted to do for real.”

What followed was a whirlwind of activity; singles “Monaco” and “In the Mirror” along with last years Public Access EP, lead to critical acclaim, and tours in the US and UK supporting acts like Weezer and Gang of Four. Everything was moving on the correct trajectory when in April 2015, while PATV were on tour in California, they flicked on the TV to see live pictures of their Manhattan loft on every single news channel. It was on fire from a gas explosion and then collapsed into rubble.
“We wrote there, rehearsed, recorded, lived, everything,” says John. “It was home…and then it was completely gone.”
Demoralised and thousands of miles from NYC, PATV did the only thing they could think of. As John says: “We told our agent to book as many gigs as possible – because we didn’t want to deal with the reality of the situation. We actually had nowhere to go.”

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But, as things happened, that chain of events was to set PATV on an entirely new and fruitful path. Among those frantic gig bookings were a bunch of festivals in Europe, as well as dates with The Strokes, Fidlar and Palma Violets.

The group released their double A-side single “In Love and Alone” / “Patti Peru” last autumn to critical acclaim. “In Love and Alone” was debuted by Zane Lowe on Apple’s Beats 1 with him exclaiming, “We Love Public Access T.V.” and giving the track his signature stamp of approval by playing it twice in a row. This single as well as their follow up track “On Location” led to Public Access TV being one of the buzziest bands at SXSW this year… with both Entertainment Weekly and NME listing the group as one of the “Top 10 Best Artists” at the festival.
Also check out there Live in NYC session for Spotify

Ulrika Spacek

‘Everything: All The Time”, the lead track from a new self-recorded and produced two-track 7″single  by Ulrika Spacek. The second song is a cover of the Velvet Underground’s ‘Lady Godiva’s Operation’.

Berlin-founded, London-based British rockers Ulrika Spacek caught my attention late last year with “She’s A Cult” a single that tapped into the sound and spirit of early ’90s indie rock better than most. Since then they’ve shared their debut The Album Paranoia and now they’re back with a limited edition 7″ single, their first new music since the album.

A-side “Everything: All The Time” returns to that sound that first turned my eyes into little heart emojis. The song rides a gnarly droning lo-fi current á la Sonic Youth via Times New Viking but often smooths out into eerie calm or gorgeous clean jangle.

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Released on 23rd September, it’s limited to 500 copies, 400 black and 100 red. The red pressing can only be ordered from the Tough Love shop. “Everything: All The Time” will be backed by the band’s cover of the Velvet Underground’s “Lady Godiva’s Operation” on the 7″. Check out Ulrika Spacek’s on their upcoming tour.

Video Premiere: Dog Party – “‘Til You’re Mine”

Dog Party’s new music video for their song ‘Til You’re Mine” . The song is the title track taken from the band’s latest release, available now through Asian Man Records. The video was directed by Andrew Hooper. ‘Til You’re Mine is the band’s fifth full-length album.

The video for “‘Til You’re Mine” is a dizzying spin matching the eclectic punk vibes inherent in the song. Dog Party make sure to take their raw, garage inspired progressions into dizzying chords into an easy to follow beat. It’s simple, moody and hits a home run when put to music. It’s easy to get lost in watching the different colors, patterns or animations take center stage. A feeling of lovesickness, Dog Party make not to give up until they have you right where they want you, in their arms and all theirs for the taking. Feel the daze, haze and beautiful euphoria of Dog Party’s “‘Til You’re Mine.”

poweranimal-pic

Eskimeaux’s “Broken Necks” was written as part of an ongoing musical dialogue with Keith Hampson, who releases music under the name Power Animal.

Power Animal’s “3 Months And A Week” — the song that “Broken Necks” was a response to — will be included on his upcoming full-length, Good Wind Pt. 1. It samples a song from Eskimeaux’s 2011 album Two Mountains, and twists the familiar refrain from one about bending over backwards to support someone else into one about not being able to support yourself at all.

It was written during a week-long hospital stay, and bears the scars of isolation and helplessness, of wanting to get better for the one that you love but having no control over your own body, of feeling simultaneously guilty and frustrated. “My only sustenance from the words you said/ But dying wondering how it fell apart,” Hampson and Smith duet, projecting the inevitable end of their unsustainable romance. “Of course it did: I was trying to fix something that I could not fix/ I was blind from the beginning/ I was fumbling round on the ice so thin, just wondering how I kept falling in.” Hampson places their struggle against a gauzy, shuffling beat that both invites you closer and keeps you at a distance, much like the relationship that inspired it. It’s a powerful and haunting piece of music, made only more so by knowing its protracted lineage

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Ola’ Kool Kitchen is a show on Rock XS Radio, KCLA 99.3 FM in Los Angeles, 107.5 andhow.FM, Primal Radio, Rock Velvet Radio and Maximum Threshold Radio

1. The Voodoo Queens-Supermodel-Superficial-single-Too Pure
2. Corndolly-Sex Kitten-single-Mud
3. Stash-Time Will Tell-Resistor-self release
4. Indoor Voices-See Wish-Auratic-Haxrummet Records
5. Soda Shop-Grow Up-single-Velvet Blue Music
6. Rose of Avalanche-L.A. Rain-First Avalanche-Leeds Independent Label
7. The Screaming Blue Messiahs-President Kennedy’s Mile-Gunshy-W.E.A
8. Mayflower-I’m Not There-single-self release
9. Bat For Lashes-What’s A Girl To Do-Fur and Gold-Echo
10. Los Llopis-La Pachanga-single-Peerless
11. Flash Terry- Cool It-single-Indigo
12. John Holt-Ali Baba-single-Jackpot
13. VAR-Drona Sticks-Behind The Wall-Sharp Attack Records
14. Richard Hawley-The World Looks Down-Hollow Meadows-Parlophone
15. Sambassadur – Between The Lines-Between The Lines-Labrador

The jittery glam pop quartet Terry  comprised of the power couples Amy Hill and Al Montfort, and Xanthe Waite and Zephyr Pavey — was born on a holiday in Mexico, right after one of Zephyr and Al’s other bands, Total Control, wrapped up a tour.

Each Terry-er is a mainstay of Melbourne, Australia’s vibrant music scene in their own right (at last count they’re in 11 bands total, including UV Race and Dick Diver), but this time they sought to wield instruments they didn’t usually play in any of their other groups. “I think it sounds better when someone doesn’t totally know what they’re doing,” Montfort says. Their debut LP, Terry HQ, released last month on the taste-making U.K. label Upset the Rhythm, is full of shambolic country ditties and smart post-punk bangers that feel loose and fun, removed from inhibition and doubt. The Terry operation is firmly rooted in D.I.Y., from the songwriting process to the band’s distinctive swagger-y uniform of Terry-emblazoned denim jackets and fringe shirts. “Me and Al, we always wanted to have nudie suits. And of course we couldn’t afford to do that, so we tried to make our own,” Hill says. “Then it got a bit mutated,” Montfort chimes in.

They Say: “It’s all pretty relaxed. We kind of make demos at home, and then send them off [to each other]. And then we all get together and figure them out,” Hill says. “Zephyr wrote a few songs and wasn’t sure what to do about lyrics, so we said, ‘Just write all about your Uncle Greg who’s a bus driver. Like, who the fuck is Uncle Greg? What was the story?'”

“He always tells these stories about this Uncle Greg and we’re like, ‘Ah yeah, he sounds like such a prick,'” says Montfort. “So [Pavey] wrote all these lyrics, heaps and heaps. Too much for one song. Uncle Greg got in trouble on the bus … but also Zephyr had it in for him because he stole Zephyr’s wah pedal to sell. Zephyr’s got a lot of stories from his childhood about people from the Blue Mountains in Sydney that kind of sound like fictional characters.”

Hear for Yourself: The galloping country ditty “Hot Heads” flexes the band’s talent for deadpan harmonies.

Our record is available now from Trouble In Mind and from all good independent records stores. It’s available everywhere else next week

The sophomore release from London-based band Ultimate Painting. Initially formed as a loose collaboration by Jack Cooper (Mazes) and James Hoare (Veronica Falls) the project quickly turned into a full-fledged band in 2014 with the release of their self-titled debut album. Continuing with the warm 60s influenced pastoral gems that characterized their impressive debut, ‘Green Lanes’ sees the duo conjure up another collection of super cool dreamy pop. “Green Lanes” is the second album from London-based band Ultimate Painting.

With the release of their s/t debut album on Trouble In Mind. That album received praise worldwide from NME, Pitchfork, Consequence of Sound & more & with “Green Lanes” the band is poised for more accolades. The album is focused & cohesive, the result of two voices becoming one and each member’s songs complimenting the other, carving out a distinct & unified voice as Ultimate Painting.

Slinking out of the gate, the first song “Kodiak” is an hummable future-classic with Cooper & Hoare’s guitars dancing around each other with ease. The licks & lyrics conjuring up images of Sixties California & Seventies New York; a picture of dark clouds on a sunny day. The rest of the album follows suit with the airy, lush harmonies of “Sweet Chris” & “Two From The Vault ” and even kicks up some dust with the chooglin’ “(I’ve Got The) Sanctioned Blues” and the manic ”Woken By Noises”. While their self titled debut was all Cooper & Hoare, this time out, they are augmented by the addition of their live drummer Neil Robinson who provides propulsion on all but one of “Green Lanes”s tracks.

The album artwork was once again provided by Portland artist Bradley Kerl, who portrayed Hoare’s London flat and recording space chock full of the equipment used to record both the band’s albums casually tumbling toward the viewer.

2015 sees the band hitting the road again, with appearances at UK & European Festivals as well as a full US Tour in the fall in support of “Green Lanes”

TRACK LISTING

1. Kodiak
2. Sweet Chris
3. (I’ve Got The) Sanctioned Blues
4. The Ocean
5. Two From The Vault
6. The Ocean (reprise)
7. Break The Chain
8. I Was Lost
9. Tee Zee Em
10. Paying The Price
11. Woken By Noises
12. Out In The Cold

With The Green Man Festival a little more than two weeks away it’s time to brush up on those box-fresh bands and singers you know are going to be the next big thing! . With mountains of music and festivities aplenty at this year’s Green Man, we’ve pulled out the top 10 bands to brush up on and get ahead of the crowds.

Meatraffle are a collective from Brixton and have recently been given the title of the greatest band in the country right now by The Fat White Family.  A gnarly, free-spirited attack on dub, jazz, psych, reggae and just about any other genre you could care to mention, the band are a unique and thrilling proposition, and they’re showing no sign of slowing down; join us for a boogie on when they play on the Thursday night!

Margaret Glaspy It’s not often that you’ll find an artist likened to both Elliott Smith and Rage Against The Machine, but there’s something in Margaret Glaspy’s undiluted guitar pop that somehow means both of those comparisons make sense. Come and discover more at the Mountain Stage on Sunday.

Goat Girl One of those mysterious bands that are difficult to pin-down, Goat Girl might keep their cards as close to their chest as possible, but their exciting blend of surf, garage, psych pop means they surely won’t be able to stay anonymous for too much longer.

 Joan Shelley is constantly playing with and tweaking the blueprint of the folk genre she finds herself classified within. So while there is guitar, strings, banjo and her captivating voice at the heart of it all, the music itself tends to go to unexpected places. Shelley is a wonderful songwriter pushing folk music forwards in the 21 st century and you can catch her in the Walled Garden.

 The Oh Hellos ,Sibling duos are a rare commodity but they’re often an intriguing one, and such is the case with The Oh Hellos, the folk-rock project of Tyler and Maggie Heath who discovered their skills when joining forces to pen a song for their mum. Based in San Marcos, Texas, the duo keeps one eye on the tender side of things and one on lovable singalong pop songs.

 Baba Naga It’s probably safe to say that you’ve not seen anything like Baba Naga before. Hailing from Sheffield, this psych, doom trio are apparently inspired by shamanic teachings.

Trevor Sensor Being billed as a “Country-pop troubadour” could go either way but there’s more than enough rustic charm in his soothing sounds to make Illinois’ Trevor Sensor an endlessly compelling proposition.

Formation  Perhaps best known for their remixes this pair of brothers from South London bring the ultimate party with a sound that’s an invigorating blend of disco and funk and perfect for dancing – we’ll meet you on the Far Out dance floor on Saturday!

Image of Amber Arcades - Fading Lines

Amber Arcades, the moniker of Dutch musician Annelotte de Graaf, unveils her debut album, released on Heavenly Recordings.
With motoric rhythms and ethereal vocals, ‘Fading Lines’ was recorded in New York with producer Ben Greenberg (The Men, Beach Fossils, Destruction Unit).

The Green Man Festival takes place over August 18-21


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