As Genesis continued the break through in the mid ’70s, Peter Gabriel abruptly stepped off the musical carousel. His decision was driven, in part, by a desire to care for his ill infant daughter. But more than that, Gabriel wanted to start anew creatively , free of the constrictions of being in a band.

“When I left Genesis, I just wanted to be out of the music business,” Gabriel has said. “I felt like I was just in the machinery. We knew what we were going to be doing in 18 months or two years ahead. I just did not enjoy that.”

Genesis did, of course become much bigger and, at least until Gabriel released a self-titled solo debut album on February. 25th, 1977, Gabriel simply vanished. He spent time with his child, and dove into a years-long studies of art, philosophy, world music and religion.

He said in 1977, “I felt that were were just at the point of breaking through to the big time. I just felt that if I’d stayed, I would have got trapped into roles that I was beginning not to enjoy – both within the band and within myself. It would have been much more difficult to let go, once we’d got some material mountain, if you like. But at that point, it didn’t make much difference. If my lifestyle had changed considerably as a result of success, it would have been more difficult for me to let go of all that and leave the band.”

“It’s a funny thing, but when I was the singer, everybody thought I created everything and wrote all of it,” said Gabriel  “Of course, when I left the band, they were way more successful without me. Everybody then assumed, ‘Ah, okay, he did nothing.’”

In truth, he’d never stopped composing. It just took a while for Gabriel to develop any patience with the business side of things again. This time, he pledged to do things differently. Even as “Peter Gabriel” made its way into stores , he was flouting industry convention even refusing, for instance, to release an advance single.

“I kept on with songwriting,” said Gabriel “I knew I wanted to do that, but I really wasn’t that interested in performing again. Then, once the songs came out, I realized that to get them done in a way I liked, I’d have to start recording again. I got back into the recording thing, and started enjoying it. And here, I’m back again.”

Musically, the nervy, lean Peter Gabriel – a Bob Ezrin production which featured King Crimsons Robert Fripp and Tony Levin; Larry Fast; and Steve Hunter of the Alice Cooper band, couldn’t have been a bolder step away from the lengthy prog excursions that had come before. “Well, I tried to do a lot of things to separate me from Genesis,” he admitted . “Sometimes you’d see people leave bands and do watered-down versions of what the band had done. I was determined not to do that. I was keen to get a new audience.” It’s a purposefully eclectic, anything-flies approach to songcraft, venturing from hard-hitting rock (“Modern Love”) to quirky art-rock (the vastly underrated “Moribund The Burgermeister”) to pastoral folk-pop (the lovely “Solsbury Hill,” which serves as a thinly veiled kiss-off to his former band) to, umm, barbershop quartet crooning (“Excuse Me”). No other Gabriel album is quite so gleefully absurd. Unfortunately, the album’s second half is tedious and overwrought, particularly the crawling blues of “Waiting For The Big One” and the thickly orchestrated “Here Comes the Flood” (which later appeared with a more subtle, stark arrangement on Robert Fripp’s 1979 album, Exposure). Overall, Car is a fascinating — if frustrating — first chapter.

Still, the album offered little in the way of narrative insight into his time away, other than the ageless “Solsbury Hill” – an autobiographical turn dealing with Gabriel’s split with Genesis. That too was part of the atmosphere of thrilling risk that surrounded this project. He was, quite simply, unbound – even lyrically. “Climbing up on Solsbury Hill/ I could see the city light/ Wind was blowing, time stood still/ Eagle flew out of the night.” Doesn’t matter if you’ve never been within 500 miles of Somerset with those 28 opening syllables, you’re right there with Gabriel, sharing in his moment of revelation. It’s the first and only time the song’s titular location is mentioned, but the mental image it invokes is burned in your mind

Part of the reason the song’s unusual time signature works is because it’s all in the guitars — that gorgeous spider web of an acoustic riff (played by Lou Reed and Alice Cooper guitarist Steve Hunter) circling the song’s perimeter and providing its pristine, immediately recognizable framework. But if the guitars are undoubtedly the blood pumping through “Solsbury Hill,” it still all stems from the beating heart of the drum thump,

The story of “Solsbury Hill”  of personal epiphany, of hard decision-making, and of breaking free — was unsurprisingly interpreted to be inspired by Gabriel’s split from his old group, and the singer-songwriter has explained, “It’s about being prepared to lose what you have for what you might get, or what you are for what you might be. It’s about letting go.” It makes sense, and it certainly enriches the song to know just why Gabriel was worried about his friends thinking he “was a nut,” for making the risky choice to leave his best-selling group to go his own way.

“I just write down images that interest me. I’ve got an idea of what I’m trying to say, but there’s one part in “Humdrum” which I wasn’t clear about. You know, the words sounded nice when written down. I bought a dictionary, and that’s got hundreds of words. All I’ve got to do now is find out how to put them in the right order.”

“In Genesis, we were all putting in material in a polished band arrangement, whereas now I’m trying, as a writer, to arrange things differently, In a group, it was a compromise. You’d hand over your idea to a band interpretation, but now if I hear some things in my head, it’s possible just to try them and see how they work.”

King Gizzard and the Lizard Wizard are a testament to the liberating power of giving yourself restrictions. Whether making every song on a record the exact same length (2015’s Quarters!), or constructing an entire album to connect into an infinite loop (last years previous release Nonagon Infinity ), this Aussie armada thrive on the symbiotic relationship between governing principles and disorder. The result is psychedelic rock that plays like a pinball game—the action may be confined to an enclosed playing field, but it’s always moving, ping-ponging in unexpected directions and encouraging synapse overload.

The band’s latest—reportedly, the first of five albums they’re planning to pump out this year—is likewise bound to a motif, though this one is as much sonic as structural. Flying Microtonal Banana was the product of Gizzard king Stu Mackenzie acquiring a custom-made guitar modified for microtonal tuning, which allows for intervals smaller than the semitones that govern Western music. And since the new guitar could only be played with similarly tuned instruments, he reportedly paid his bandmates $200 each to also get their gear tricked out with microtonal capabilities. Translation for those who don’t hold a degree in music theory: Australia’s wiggiest band has found a way to hoist its freak flag a few inches higher up the pole.

If the unrelenting Nonagon Infinity turned rock’n’roll into an Iron Man competition, Flying Microtonal Banana is that cool-down grace period your elliptical machine gives you after an hour’s workout. While opener “Rattlesnake” immediately reestablishes the preceding album’s motorik momentum, the pace is tempered—more late-night cruise than rocket to the moon. But even as it maintains a steadier course, the changes in scenery are more dramatic—in between Mackenzie’s chirpy verses about reptilian attacks, the song powers through a fog of stormy synths, staccato guitar pricks, and the brain-scrambling squawks of a Turkish horn-type instrument known as a zurna.  Flying Microtonal Banana’s more relaxed vibe and greater sense of space bring his words into sharper focus. As per psych-rock tradition, Mackenzie deals in surrealist imagery, though in this case, those images aren’t the mere product of a chemically clouded mind. “Melting” combines rhythms from ’70s Nigeria with observations on the present-day Arctic (“Toxic air is/Here to scare us/Fatal fumes from/Melting ferrous”).


This is the 2nd official Flightless pre-order for King Gizzard & The Lizard Wizard’s 9th studio LP “Flying Microtonal Banana”. The album will be released worldwide on February 24th 2017.
This album is available in the Blue Toxic Mustard edition limited to 2000 worldwide (1000 have already been sold through the Flightless web store, this is the remaining 1000). The record comes in a deluxe reflective gold sleeve, printed on thick 350 GSM reverse board. It contains a download card and toxic blue & mustard colour in colour wax.

Flying Microtonal Banana is King Gizzard’s first-ever experience in microtonal tuning, which features intervals smaller than a semitone and not found in customary Western tuning octaves.
King Gizzard & The Lizard Wizard plan to release five studio albums in 2017.

When it comes to our favorite musicians, it often seems like we know them inside and out. We analyze the meanings in their lyrics, pore over their interviews, and connect with their souls while listening to their songs. But what’s illuminated in the limelight never shows the whole picture.

The antics, accidental stage dives, and autobiographical lyrics of singer-songwriter Warren Zevon told fans a story—but certainly not the whole story. Here are seven little-known facts about the Excitable Boy.

Before they got big, Warren lived with Fleetwood Mac stars Stevie Nicks and Lindsay Buckingham in the 1970s. The two also appeared, along with Mick Fleetwood, on Zevon’s 1976 self-titled album.

Warren was diagnosed with pleural mesothelioma, a cancer caused by exposure to asbestos. It’s never been clear where Warren was exposed—it could have been on a job in his younger years, in his dad’s Arizona carpet shop

Warren’s only Grammy awards of his 30-year career came after his death. His final album, The Wind, won best Contemporary Folk Album at the 2004 Grammy awards, and “Disorder in the House,” a duet with Bruce Springsteen from the album, called won Best Rock Performance by a Duo or Rock Group. Warren’s son Jordan received the awards for his father.

The Antlers Peter Silberman’s forthcoming solo debut “Impermanence” promises to be great self-care music previously released single “New York” dealt with Silberman’s sensory overload, while “Ahimsa” touches on his emotional overload. Peter Silberman will release his solo album on February. 24th via Anti- Records. The album, titled “Impermanence”, promises a shift in focus towards Silberman’s personal life and nostalgia.

Impermanence Tracklist
01. Karuna
02. New York
03. Gone Beyond
04. Maya
05. Ahimsa
06. Impermanence

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New York’s experimental dream pop/psychedelic outfit Shana Falana (Shana Falana and Michael Amari) premieres their new video for “Cloudbeats” today, sharing some upcoming tour dates where you can enjoy the live version of this magic in person. The video itself is quite beautiful, beginning with the watercolor palette of a rising sun over the horizon. It basically chronicles a day in the life of Shana, which – yes – does involve some time on the phone before even getting out of bed. Shot by Shana and edited by Michael, the video is very DIY. It brings excitement to every day tasks, and reminds us of the power in our own two hands.

Shot by Shana Falana
Edited by Michael Amari

from the 2016 LP “Here Comes The Wave’ (Team Love Records)

JAY SOM – ” Baybee “

Posted: February 23, 2017 in MUSIC
Tags: ,

Artist To Watch: Jay Som

“Jay Som has always been based around the comfort of solitude,” , The Oakland resident Melina Duterte has been making music for over 10 years — at 22 years old, essentially half her life and her project reflects self-taught and hard-earned experience, largely learned alone. “Being by myself and making music all the time… That’s where the art is. That’s where I’m the most creative, and that’s where my cathartic process for everything is. It’s what makes me feel 100%.”

As an artist, the natural course of progression tends to expand outward, but Duterte seems intent on doing everything on her own, at least for the foreseeable future. (“It’s not that I don’t ever want to collaborate with anyone. It’s just that, for now, I really like working by myself,” she says.) After putting out a steady stream of under-the-radar releases, and an admittedly hastily-assembled collection of demos and incoherent thoughts spontaneously uploaded to Bandcamp  It was reissued by Topshelf Records and then Polyvinyl Records, the latter of which signed her and are releasing what’s billed as her debut full-length.

That album, “Everybody Works”, bears the weight of the trial-and-error that came before it. Recorded entirely by herself in her bedroom last fall after returning from tour, “Everybody Works” is a sparkling testament to Duterte’s skill as both a songwriter and producer. Her self-imposed solitude invites a multiplicity of perspectives — you can sense that in both the variety of sounds explored on the album (no two songs sound alike) and in its lyrics, which focus on the emotional labour that we put into our relationships with others. Jay Som’s music is in constant conversation with itself, playing out imagined situations and precarious interpersonal give-and-takes with the pressure of reality looming behind.

“Baybee,” the album’s third single with a video directed by Charlotte Hornsby and Jesse Ruuttila), is a great example of the way in which Duterte maps out the inner workings of her mind to tangible results. “If I leave you alone when you don’t feel right, I know we’ll sink for sure/ I’ll play your game once more if you don’t feel right,” she sings in the chorus. It’s a song about giving up a part of your own happiness to placate someone you care about in order to preserve something that feels worth saving, and Jay Som presents that predicament in a sunny reverie.

That theme pops up repeatedly in Duterte’s writing, most effectively on “I Think You’re Alright” a devotional slow-burn that was released on a 7″ vinyl last year. On that song, she offers to act as someone’s support system to her own detriment .

Image of Brian Jonestown Massacre - Don't Get Lost

“Don’t Get Lost” was recorded & produced at Anton’s new Cobra Studio in Berlin between March 2016 & October 2016. It is the 16th full length release. With band members Ricky Maymi , Dan Allaire , Collin Hegna & Ryan Van Kriedt .Also Emil Nikolaisen from the Norwegian band Serena-Maneesh & Pete Fraser (The Pogues .New Young Pony Club) on saxophone joins the band on this album , plus vocal performances from Tim Burgess (Charlatans) , Tess Parks and Shaun Rivers .

A new dynamic is heard on this album mixing the shoegaze/psychedelic sound with more experimental twists, on some tracks you might hear PIL (Metalbox) , Primal Scream , or even Ornette Coleman . 14 tracks that will twist and turn through the known and unknown Brian Jonestown Massacre . In 2016 The band released 2 singles and the critically acclaimed Third World Pyramid .

Image of All Them Witches - Sleeping Through The War

Produced by Dave Cobb (Chris Stapleton, Sturgill Simpson, Rival Sons) and mixed / engineered by UK-bred young-gun Eddie Spear, All Them Witches’ ‘Sleeping Through The War’ is the quartet’s most bold and well-crafted record to date.
The album’s creation marks the first time in the band’s history that a record was written before entering the studio. This process allowed for an alignment of the band’s art, desire and time. Convening in Nashville for only six days after a year of relentlessly touring their New West Records debut ‘Dying Surfer Meets Their Maker’, the band’s spirit coalesced in a rhythm of statement and melody that simply needs to be heard… repeatedly.

With the guidance of Cobb and Spear, ‘Sleeping Through The War’ captures the truest energy of the group, full blast, fun and contemplative. The record was made with volume in mind. ‘Sleeping Through The War’ is meant to be played loud, cranked up and without reservation. Feel it live through your stereo system or listen to it speak in tongues through your headphones.
The sounds are nothing without the songs and the songs are nothing without the lyrics. This record is a result of constant touring, world travel, overstimulated / divided humanity and a learning of awareness and compassion.
“They are the real deal – psychedelic blues-rock warriors who pray at the altar of Black Sabbath, space out like Pink Floyd and shred away their bummers like Blue Cheer.”

Image of Eyelids - 854

Principal songwriters John Moen & Chris Slusarenko (BOSTON SPACESHIPS, DECEMBERISTS, ELLIOTT SMITH, STEPHEN MALKMUS, DAMIEN JURADO) have turned inwards to their loves of New Zealand/Flying Nun guitar buzz, their teenage LA Paisley Underground obsessions, haunts of early Athens and all things beautiful, lopsided and rock. Along with members Jonathan Drews (guitar), Jim Talstra (bass) and Paulie Pulvirenti (drums) they push & pull against each other’s songwriting, in a beautiful tension that just works.

Image of Sun Kil Moon - Common As Light And Love Are Red Valleys Of Blood

“‘Common As Light And Love Are Red Valleys Of Blood’, for the most part, captures events from January to August of this year and how I processed it all while traveling.
“[…] I’m blessed to have met the very talented Justin Broadrick and to have made these beautiful albums with him.
“These two new albums capture more than my reactions to mass murders or the passing of beloved heroes like David Bowie or Muhammad Ali. The Sun Kil Moon and Jesu/Sun Kil Moon albums are also full of love, humor, and my gratitude

Image of King Gizzard & The Lizard Wizard - Flying Microtonal Banana

Geelong’s insuppressible King Gizzard & The Lizard Wizard release their new album ‘Flying Microtonal Banana’ on Heavenly Recordings – the first of five albums they are set to release in 2017.

Talking about the making of Flying Microtonal Banana, Eric Moore of the band said: “Earlier this year we started experimenting with a custom microtonal guitar our friend Zak made for Stu. The guitar was modified to play in 24- TET tuning and could only be played with other microtonal instruments. We ended up giving everyone a budget of $200 to buy instruments and turn them microtonal. The record features the modified electric guitars, basses, keyboards and harmonica as well as a Turkish horn called a Zurna.”
Shimmering, hypnotic and propulsive and powered along, as ever, by the metronomic beat of two drummers, ‘Flying Microtonal Banana’ takes a subtle musical shift away from the frazzled freak-beat of its predecessor, ‘Nonagon Infinity’. Trance like, in parts clipped and concise yet deeply psychedelic, it reveals yet another musical side to a band seemingly in perpetual motion.

Perhaps one of the most exciting live bands out there right now, they appeared at both Green Man and End Of The Road festivals over the summer as well as playing sold-out London shows at the Electric Ballroom, Moth Club and The Electric during 2016. The band will bring their unrestrained and free-wheeling live show back to the UK in 2017.

Image of Peter Silberman - Impermanence - Bonus Disc Edition

While Impermanence is Peter Silberman’s first solo album, it could easily be thought of as a continuation of the emotional-spiritual odyssey begun through his work in The Antlers over the past decade. It travels some of the thornier terrain of the trio’s previous albums Hospice, Burst Apart, and Familiars, while carrying the conversation further down the path.
But much of what distinguishes Impermanence from its forebears can be attributed to an unexpected injury, which imposed upon the musician considerable time and space to ponder the finite.
A few years back, Peter Silberman developed a hearing impairment in his left ear that resulted in a temporarily total hearing loss, extraordinarily loud tinnitus, and an excruciating sensitivity to everyday noises. The condition required extensive rest and quiet, and in order to get that, he left his Brooklyn apartment for a more secluded setting in upstate New York.
The six songs have an economy of expression, the spaces between the words as important as the words themselves. Like the infamous Miles Davis quote: “It’s not the notes you play, it’s the notes you don’t play.”

As the writing neared completion, Silberman linked up with his long-time friend and collaborator, Nicholas Principe of Port St. Willow. Over the course of a few winter months, Principe engineered the album in his upstate People Teeth studio, contributing production throughout. Together, they carved out a sacred sonic space, elongating the distance between notes, between chords, utilizing minimal arrangements to allow breathing room.
But the album goes beyond experiments in ambience. It actually traces the stages of healing, as Silberman experienced them.

“The sequence charts a circular course between distress and peace,” he explains. “The final track returns you to the mood of the first by a wormhole through a single breath, split in half across the last and first seconds of the album. It mimics the cyclical nature of facing unexpected obstacles.”
“I hope Impermanence can provide comfort to people grappling with transition, while remaining honest about it. There’s no remedy for the unpredictable, and I want this record to reflect that, to offer an alternative way to think about changing circumstances.”

Image of The Feelies - In Between

New Jersey indie-rock pioneers The Feelies are celebrating their 40th anniversary with the release of “In Between”, their first album of all new material in over 6 years.
Whilst working the post Velvet Underground moves they’re so famous for, In Between brings interesting new ideas into the mix. The twin-guitar attack of songwriters and founders Glenn Mercer and Bill Million is still at the core of the group’s infectious sound, paired with the driving rhythmic team of drummer Stan Demeski and percussionist Dave Weckerman, with Brenda Sauter’s bass guitar proving a rock solid foundation.

“On the new record we did a lot of it at my house in my home studio with extra equipment, explains Mercer. “It’s the same room where we rehearsed. We’ve been here since we reformed and a little bit prior to taking the hiatus in the 90’s. So it’s a room we’re really familiar with and feel comfortable in. We also did some recording at an engineer’s studio, so it was all done very low key. We refer to it as “off the clock” when you’re not paying an hourly rate, so in that sense it was a lot more relaxed. I don’t think anyone would notice a drastic change in the sound or the vibe of the record. I think it sounds a lot more relaxed and laid back.”

“I think all of our albums reflect a certain degree of reaction to the work that we previously did and In Between is no exception,” continues Bill Million. “We liked the sounds and the feel of the demos for this album and we thought it would be difficult to capture that in a recording studio. So that was our starting point and it evolved in a much more relaxed way that loaned itself to more creative interplay. Time wasn’t a component. If you let it, music can take on a life of its own and we wanted to allow the songs to develop with that idea in mind.”

Formed in Haledon NJ in 1976, The Feelies have now released six albums – including their critically acclaimed and influential debut Crazy Rhythms, as well as playing concerts with The Patti Smith Group, REM, and Bob Dylan as well as touring with Lou Reed.
In 2008, The Feelies re-united after a 17 year hiatus to open for long time admirers Sonic Youth at Battery Park and then resurrected their tradition of playing low key gigs at strategic intervals throughout the year rather than doing lengthy tours. They signed with Bar/None the same year, who re-issued The Good Earth and Crazy Rhythms. Here Before was released in 2011 and marked The Feelies first studio album in nearly two decades.

Tiny Engines recently announced their debut album from New York City band Wild Pink ,
You can hear the new single “Wanting Things Makes You Shittier” now . The album will follow up the band’s 4Songs EP from last year,
“Wizard Of Loneliness” is a subdued, somber account of loneliness in the presence of another, but it makes for a wonderfully affecting two-and-a-half minutes regardless. It all serves as a pivot from the raw, driving power of their earlier output to a more taut and atmospheric sound.


Laura Marling

Laura Marling has just released the track “Next Time” – the third song from her upcoming album “Semper Femina” (due to be released on the 10th March) and its the second time Laura Marling has stepped into the directing chair.

“Next Time” has a real Nick Drake quality to it. The video is once again visually arresting and shows off Marling as an accomplished visual storyteller.

Let’s start with this. The Mountain Goats who are releasing a new album. It is, as any fan of the band will expect, a heartbreaking and heart reviving album about imperfect people described perfectly, with melodies that will stay with you for days.  Ever-wonderful Mountain Goats return with a new album Goths, due out on 19th May .

It is a particularly appropriate/nostalgic title for those of us of a certain age who were in the thick of the original Goth movement, all black with purple hints, eyeliner and gloom all pervading and its capital in the heart of the north of England remembering bands like the Mission and Sisters Of Mercy.

It is summed up perfectly by the first single Andrew Eldritch Is Moving Back To Leeds, of which John Darnielle has to say of the undisputed godfather of Goth, “In the lyric, I imagine one of my teenage heroes, Andrew Eldritch, returning to the town where the band worked and played when they were young. His friends give him a hard time about ending up back where he started, but not because they’re mad: it’s good to see an old friend wearing the marks of time on his hands and face like well-loved tattoos. So shall it be in these times: your sons and your daughters will prophesy, your old men will dream dreams, your young men will see visions, and Andrew Eldritch, whose music has reached spirits in every corner of the globe, will move back to Leeds.”


John Darnielle: vocals, piano, Fender Rhodes
Peter Hughes: bass, vocals
Matt Douglas: woodwinds, vocals, additional keys
Jon Wurster: drums and percussion