Archive for the ‘CLASSIC ALBUMS’ Category

Elvis Costello: Armed Forces: Exclusive Super Deluxe Black Vinyl Box Set

Elvis Costello and The Attractions are releasing a new box set collection of their classic album, “Armed Forces” is the third studio album from Elvis Costello & The Attractions. Originally released January 1979 and produced by Nick Lowe. Key Songs: “(What’s So Funny ‘Bout) Peace, Love & Understanding?”, “Accidents Will Happen”, “Oliver’s Army” and “Green Shirt” Costello was 23 years old when he wrote and recorded the music for the album. After the previous Ryko and Rhino reissues, we now have the complete Armed Forces. This super deluxe edition was personally curated by Elvis Costello. The box fully embraces Barney Bubbles’ epic package art and features 9 pieces of vinyl, 7 custom notebooks containing updated liner notes from Costello (nearly 10,000 words total) and his handwritten lyrics from the era.

The complete Armed Forces explores the album across nine pieces of vinyl, collecting together b-sides, demos, outtakes, alt versions and 23 unreleased live recordings in a lavish box set to provide an illuminating picture of this revered record. Features new 2020 Remaster of original album to match sonic fidelity of 1979 UK pressing. Available November 6th via UMe

“By the time we got to ‘Armed Forces,’ we had the idea we wanted to make an actual studio record,” Costello recalls. “And that was our version of what a studio sounded like. We played cassettes in the station wagon driving around America for the first time, of the same four or five records round and around. Little wonder that became our language for that next record, things that we were listening to in that moment — including ABBA. We put aside the rock ’n’ roll, Small Faces/Rolling Stones references of ‘This Year’s Model’ and into it came the synthesizer, which came from those David Bowie and Iggy Pop records — ‘Station to Station,’ ‘Low,’ ‘Heroes,’ ‘The Idiot,’ ‘Lust for Life.’” Then, considering more stripped-down techno influences, he adds, “I don’t think we thought we were making a Giorgio Moroder record, but we liked the mechanistic sound of Kraftwerk, even if we weren’t going to make records that were that austere. I wanted the emotion in them.”

Guitar music figured in — barely. “Certainly ‘Party Girl’ has a reference to the Beatles, obviously in the arpeggio at the end. There are some Cheap Trick songs that sound like that too, though, and we loved Cheap Trick. So were we ripping off the Beatles, or were we just ‘Hey, Cheap Trick — I like them’?” He hears us chuckle at the idea he might’ve been influenced as much in the moment by Rick Nielsen as George Harrison. “You’re laughing,” he says, “but I’m deadly serious!”

Personally curated by Elvis Costello, The Complete Armed Forces is the definitive statement of the legendary songwriter and musician’s revered and essential 1979 album, featuring the classic hits “Accidents Will Happen,” “Green Shirt,” “Oliver’s Army” and “(What’s So Funny ‘Bout) Peace, Love & Understanding.” Leaving no musical stone unturned, no lyric notebook unrifled through and no detail left out, this new super deluxe edition vinyl box set is a thorough excavation of Costello’s vault from this metamorphic period of his early beginnings, painting as
complete a picture as possible of the events that led to the making of the album, its creation, and the wild success that followed for him, and his band The Attractions, and ignited his career. Armed Forces is explored across nine pieces of vinyl (3 12-inch LPs, 3 10-inch LPs and 3 7-inch singles), including a new 2020 remaster of the album, B-sides, alternate versions and outtakes, demos, and a slew of live recordings – including 23 unreleased live tracks taken from three especially riotous concerts.

 The notebooks offer fascinating insight into Costello’s songwriting process, showing the evolution from idea to finished work, while the liners detail the making of and stories behind the songs. The accompanying photos and memorabilia provide a vivid window into this exciting era. “Most of this record was written in hotel rooms or on a tour bus, scribbled in a notebook which rarely left my side or failing this, from fragments and phrases scrawled on paper cocktail napkins or hotel notepaper,” Costello writes in the liners. The comprehensive set also includes a print of the vintage grenade and gun poster and the four original postcards of each band member. Additionally, Costello commissioned acclaimed artist Todd Alcott to create pulp novel book covers of songs from Armed Forces starring himself as the protagonist in a variety of precarious situations.

Armed Forces has been newly remastered by Costello and mastering engineer Bob Ludwig from the original analogue tapes to match the sonic fidelity of the initial 1979 UK pressing. Striving for the utmost authenticity, they took care to match the feel and intention of the original mastering. “It sounds as close to the way it sounded to us in the studio as we could make it,” Costello recently revealed to MOJO. “That’s a beautiful thing.”

The album’s evolution is documented on the 10-inch, Sketches For Emotional Fascism A.K.A. Armed Forces, which assembles together B-sides, demos and alternate versions, making many of these songs available on vinyl for the first time in decades.

Costello and The Attractions live prowess is fully celebrated with several previously unreleased concert recordings that bookended the recording and release of the album. Along with selections from the band’s legendary 1978 Hollywood High show, the collection shows off what a powerful force of nature the band was with three additional shows including highlights from the notorious Riot At The Regent – Live In Sydney ’78 and a Christmas Eve concert at London’s Dominion Theatre that same year, presented here as Christmas In The Dominion – Live 24th December ’78. “Riot At The Regent is a souvenir from our days Down Under and a second snap-shot of the Attractions in action during six months either side of the recording of Armed Forces,” Costello pens.
Continuing, “We played right up to Christmas Eve and certainly sound full of cheery spirit on ‘Christmas In The Dominion,’ playing a version of ‘No Dancing’ in an apparently spontaneous arrangement that sounds as if we had just heard Blondie’s ‘Heart Of Glass’ on the radio and decided to re-work my song with a similar approach before closing the stand with the same song with which we had opened it: ‘Peace Love & Understanding.’”

Costello’s full set at PinkPop in The Netherlands in 1979, titled Europe ’79 – Live At Pinkpop, is a thrilling concert that showcases the well-oiled band in fine form, exactly one year after their appearance at Hollywood High School, and sees them road testing songs that would end up on their follow up record, 1980’s Get Happy. All of the unreleased live recordings, taken from the original 2” multitracks, have been remixed by Costello’s longtime producer and mixer Sebastian Krys who recently mixed his forthcoming new album, Hey Clockface, and co-produced
his 2018 GRAMMY® Award-winning album, Look Now.

Produced by Nick Lowe, Armed Forces was Elvis Costello’s third album and his second with The Attractions – Steve Nieve (keyboards), Bruce Thomas (bass) and Pete Thomas (drums) – following on from the immense success of their first effort, This Year’s Model. As a result, the songs for the album were written on the road while the band were on a non-stop tour where they were becoming tighter and tighter by the show. Moving away from the punk that inspired the previous record, Armed Forces, as Pitchfork wrote in their nearly perfect review of the album, “is
extravagantly layered with dense instrumentation and rich, effusive textures,” adding “the production works to the record’s advantage, filling the songs out with bombastic power-pop arrangements and giving weight to their urgency.” At just 23 years old, the album cemented Costello’s legacy as one of the most gifted and articulate songwriters of his generation. Since it’s release it has only grown in popularity and stature, continually landing on best albums ever lists and finding
new fans each year.

With The Complete Armed Forces, Costello has provided an exhaustive time capsule that lets us celebrate this timeless album and understand how it came to be.

Elvis Costello  The Attractions

The album receives a brand-new remaster from the original production master tapes with the sonic fidelity matching the original 1979 UK pressing. Along with Live selections from the Hollywood High show, there are 3 more concerts, 23 never released live songs including the full PinkPop Festival 1979 set and highlights from the notorious Riot at The Regent concert and the December 24, 1978 Dominion Theatre.

The set includes the vintage grenade and gun poster and the 4 original postcards of each band member. Costello commissioned acclaimed artist Todd Alcott to recreate pulp novel covers of to represent songs from Armed Forces featuring Costello as the star of the cover in precarious situations.

Back in August, Costello announced his next album ‘Hey Clockface’ which arrives on October 30th via Concord Recordings.

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A seasoned collaborator on high profile projects, former Dirty Projectors bassist Angel Deradoorian’s third full-length solo record infuses lo fi indie rock touched with exotic scales and textures to anchor the direct, transparent mysticism of her lyrics. Highlights: “Saturnine Night,” “Monk’s Robes,” “Sun” 

Vital & constantly transforming into something unexpected, this whole work of art is such an intense journey thru Deradoorian’s latest dreamscape

After zoning in on starry ambience and minimalism on 2017’s Eternal Recurrence, Angel Deradoorian returns to polyglot psych rock on “Find the Sun”. From the motorik chug of “Saturnine Night” to the suave flute-led jazz pop of “Devil’s Market,” she renders familiar sounds with such style, character, and attention to detail that you might as well be hearing them for the first time. Deradoorian is quietly self-possessed, nearly beatific, in her movements through these environs, distinguishing herself with a rare quality among her psychedelic cohort: restraint.

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“a gloomy and intoxicating song that features her soaring vocals on top of a chugging riff that keeps building over the track’s 7-minute length.” – Stereogum on “Saturnine Night”

“Primeval … The track is propulsive and confrontational in a way indie rock rarely is, reminiscent of Natasha Khan’s Sexwitch side project in its psychedelic, multicultural influences and hypnotic chanting.” – Paste on “Saturnine Night”

Deradoorian sings with a hymnal affect over light acoustic strums and regal piano arpeggios, her vocals eventually layering into a majestic choir that evokes the spiritual energy of the song’s lyrics.” – Consequence of Sound on “Monk’s Robes”

Released September 18th, 2020

Produced by Angel Deradoorian with Sonny DiPerri

 

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The now renamed prolific Californian band Thee Oh Sees pulls way back on the prog-metal influences of recent efforts, trading much of that for dynamic, staccato avant-punk in the first half and easing into delicious psych rock in the second. Highlights: “Dreary Nonsense,” “If I Had My Way,” “Gong of Catastrophe” “In the swirling and undulant warm mud of jettisoned reels of magnetic tape, blurps up the fog of reinvention. Every night I would parley with my pilots and run and rerun the recordings. Right up until the moment sleep slips its veil over eyes and ears and you drift back without a sound. Protean Threat dream haze becomes Panther Rotate in the other dimension.

A companion LP of remixes, field recordings, and sonic experiments using all sounds generated by the him and crackle of the desert farm. “A second version of our Protean Threat if you will, but barely conspicuous in its relation. Forward, never straight! Sunrise, sunset. Two lives connected by a cosmic thread, One for your feet and one for your head. For fans of Thee Oh Sees, Oh Sees, OCS, The Oh Sees, Osees…etc etc etcetcetc…be well.” —John Dwyer

Monsters Eating People Eating Monsters...

Bubbling up from the psychedelic tar pits of L.A., Frankie and the Witch Fingers have been a constant source of primordial groove for the better part of the last decade. Formed and incubated in Bloomington, IN before moving west to scrap with Los Angeles’ garage rock rabble, the band evolved from cavern-clawed echo merchants to architects of prog-infected psych epics that evoke a shift in reality. After a stretch on Chicago/LA flagship Permanent Records the band landed at yet another fabled enclave of garage and psychedelia – Brooklyn’s Greenway Records, now working in tandem with psych powerhouse LEVITATION and their label The Reverberation Appreciation Society, the groups latest effort is dually supported by a RAS / Greenway co-release.

After years of searching for the specific alchemy that would tear open the cosmos, they found the formula with the addition of Shaughnessy Starr on drums in the summer of 2018. They began a new cycle and tripped into tip-on double gatefold territory, flesh-ing out their lysergic impulses into a monolith of sound that closes in from all sides. The band reached new levels of grandiosity and utilized every minute to manifest their psych-soul Sabbath in four dimensions, spilling psychic blood on a populace ready and eagerly waiting. Yet, as expansive, inventive, and immersive as any studio album might be, the band is born for the stage. As their live prowess caught the ears of some legends in their own right, the band practically lived on the road last year with stints opening for Oh Sees, Cheap Trick and ZZ Top. Along the way the constant pulpit of the stage would form ZAM into a transformative experience while plotting their next permutation of space and time.

That transformation, Monsters Eating People Eating Monsters… (repeated infinitely,) rises like a Phoenix from the road tar, van exhaust, and ozone crackle of amps in heat. Once off the road it was recorded in just five blistering days. Though, while the tour may have hammered the album into shape and brought about a wind of change, those changes stretched to the band itself as well. In the wake of the tour the band’s longtime bassist Alex Bulli made his exit, with the majority of bass parts on the album being written and played by multi- instrumental magician Josh Menashe with occasional pitch in from songwriter Dylan Sizemore. Stripped to their core the band has created their most ambitious work to date, an album that takes the turbulence of ZAM and crafts it into a beast more insidious and singular than anything in their catalog.

Moving forward, the band has taken on new blood. Completing their lineup, Nikki Pickle (of Death Valley Girls) will join them working the new album out roadside on bass. A new horizon of Frankie and the Witch Fingers draws near and we’re all set to follow them into the unknown.

GULFER – ” Nature Kids “

Posted: October 1, 2020 in CLASSIC ALBUMS, MUSIC
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A few weeks back, Gulfer vocalist Joe Therrieault could be found hanging out in an apartment committing a “Heat Wave” (and all the people from that moment) to memory. The video for “Nature Kids”, the latest preview from the Montreal indie-punk band’s forthcoming eponymous effort, shows how those eternal summer feelings catching up with us here in autumntime weren’t just a fluke happening. It’s a source of energy that powers through the celebration rock riffs and puts Therrieault’s youth and the faces from it behind words he didn’t have back then. “Sun comes up when you’re around / Superstitious when we walk and I don’t wanna talk about it,” he sings.

William Mazzoleni directed its video – A sunlit glint in the forest filled with colour bombs and skateboarders from the Blacklisted brand.

“Nature Kids” is taken from Gulfer’s upcoming self-titled record, out on Topshelf Records and Royal Mountain Records on October 16th, 2020.

Laura Jane Grace – Stay Alive LP/CD

The one and only Laura Jane Grace (Against Me! Laura Jane Grace & the Devouring Mothers) has signed with us and announced her incredible new solo record “Stay Alive” streaming everywhere right now!

There’s so much we want to tell you about the record, but listen now and read what Laura herself has to say…

A short note from Laura Jane…“Hi, my name is Laura Jane Grace. This is my album. This album is about staying alive. Stay alive. Don’t die. Work hard. Fight back.

When the Covid-19 pandemic hit, Laura Jane Grace had a panic attack, quit smoking weed, and decided to put out a record. Thursday, she dropped Stay Alive with little warning or preamble —  a raw, unedited missive from lockdown.

“I just wanted to make a record and I wanted to make a record that was the antithesis of a Zoom call,” she says. “I wanted to record all analogue. I didn’t want to make any edits. I wanted to make something that matters from this period of time because all that shit like livestreams … I don’t mean to bash them, but they don’t create anything lasting, you know?”

This album is an entirely analogue recording. No computers were involved in the making of this album. These recordings were not edited together, these songs are documented performances. This album was written and recorded in Chicago, Illinois. I recorded this album with Steve Albini at Electrical Audio on the two days after the full moon of July 5th, 2020. The album was mixed in another two days time. Steve and I were the only two people in the studio. We both wore face masks and stayed 6 feet apart at all times. I only took my face mask off while singing. Please wear a face mask.

There are songs on this album about haunted swimming pools and burning churches. There are songs about mountains. There are songs about astral seas and dry lakes. There are songs about drinking espressos and eating croissants at the Bora Bora beach club in Marbella, Spain. There are songs about dirty rivers that smell like pee in Glasgow, Scotland. There are songs about Nelson Algren’s Neon Jungle and Simone de Beauvoir’s Mandarines. There are songs about petrified polymorphs and blood and thunder and LSD and laying on the grave of the Marchesa Luisa Casati while day dreaming of fabulous parties thrown 100 years ago and how the world has fallen apart before and how it is falling apart now and how if we’re lucky it will fall apart again someday long from now too. There are songs about all of that and more but really this record is about staying alive. Stay alive. Don’t die. Thank you for listening to my record. –LJG

Grace worked feverishly with Albini on the record; mostly masked, the two never saw each other’s faces. The producer’s reluctance to try too many takes suited Grace fine since she didn’t want anything to sound too over-cooked. The result is a fast-paced 14-song record with the fist-pumping old-school bravado of Against Me! (“So Long, Farewell, Auf Wiedersehen, Fuck Off”) mixed with almost painfully beautiful imagery (“The Swimming Pool Song,” in which Grace describes herself as a haunted pool).

Laura Jane Grace knocks it out of the park with this unexpected solo effort, in a time which we need artists like her. Even though I’ve been listening to her music for years I still find something refreshing in it, such as the track “Ice Cream Song” which has a twing of modern broadway, as well as the demo aesthetic of midi drums and intriguing vocal mastering on “So Long, Farewell, Auf Wiedersehen, fuck off”. A definitive quarantine classic!

PS: this may technically be my first proper solo record but I can’t even tell anymore PSS: if at any point you refer to this album as an “acoustic album” my 6 string strumming ghost will haunt 10 generations of your family every night of their lives with bedroom busking from 11PM to 6AM 🙂 ”

As you’re frantically hitting that link, be sure to pre-order your physical copy on a limited UK/EU Starburst (Black/Blue/Purple) vinyl variant as well as black LP/CD and an exclusive t-shirt too.

Laura Jane Grace’s new album, Stay Alive, is available December 11th, 2020.

Laura Jane Grace

Shoegaze newbies Slow Pulp from Madison, Wisconsin The band are Emily Massey (vocals/guitar), Alexander Leeds (bass), Theodore Mathews (drums), and Henry Stoehr (guitar) – are gearing up to release their self-produced debut album, and have so far shared three standout singles in “At It Again”, “Idaho”, and last month’s “Falling Apart” .

This week they are sharing one more single from the upcoming record prior to its release, the soft and shimmering “Montana”.

Emily Massey says of the track:

“This song is about moving beyond defining myself in terms of my mental health. I’ve been working through this over the last couple of years and this song is a reflection of this process and where I am now. “Montana” was the first song we finished recording for the album.
Henry’s early demo was kind of heavy and distorted, and when we went to play it together for the first time, it came out a lot slower and cleaner. Our friend Willie Christianson wrote and recorded the slide guitar and harmonica parts.”

A testament to hard-fought personal growth, “Moveys” is a remarkable debut album made in remarkable times, as Slow Pulp powered through health challenges, personal upheaval, and a pandemic. The songs on Moveys took shape while on tour with Alex G in 2019, after the band scrapped an album’s-worth of material following Massey’s diagnosis with Lyme disease and chronic Mono. The obstacles only continued from there, as Massey’s parents were soon after in a severe car crash…one week before COVID-19 shut the country down. Full of blistering energy and emotional catharsis, this compelling 10-track collection highlights the band’s resourcefulness and resilience to come together during unthinkable time.

“Montana” is taken from ‘Moveys’ – out October 09th on Winspear Recordings: Slide guitar and harmonica by Willie Christianson

Sadie Dupuis has had a hand in almost every creative aspect of the music industry—between playing in her indie rock band Speedy Ortiz, collaborating with Lizzo, running Wax Nine Records and combining music with advocacy, she’s done it all. Now, Dupuis is back with her first solo album since 2016’s Slugger under the moniker Sad13. The writing process for Dupuis’ new album Haunted Painting started after she witnessed an apparition at a Seattle art gallery, but she dives into ideas larger than her own haunting experiences. “What was it like to come of age in such a cruel place?” Dupuis sings on “The Crow.” The album leans on a loose horror theme, between the vampiric video for early single “Oops….!” and Dupuis presenting as a self-proclaimed “frontdemon.” Despite the concept, lyrics like those on “The Crow” feel aware of their place at this moment amid a tense political climate and months spent in pandemic isolation.

Directed & everything else by Elle Schneider Styled remotely by Lindsey Hartman Shot at Silver Sands Motel, Greenport, NY. Special thanks to Terry Keefe. “Ghost (of a Good Time)” from Haunted Painting, out September 25th, 2020

As long ago as couple years ago, the idiosyncratic UK four-piece Goat Girl released their promising self-titled debut album, and today they’re announcing its follow-up, which will be released next year. They once again teamed up with producer Dan Carey for the album, which is being introduced with lead single “Sad Cowboy,” which starts out as synthy and gliding and builds to something more rickety and off-kilter. “Sad Cowboy centres around the idea of losing a grip on reality and how often this can happen,” the band’s Clottie Cream” said in a statement. “When you’re within a world that constantly makes you feel as though your living out a really bad dream, disillusionment is inevitable.”

The South London outfit return with a brand new single, About the album as a whole, Rough Trade notes that it sees the group “veer away from the confrontational lyricism of their debut and indicates Goat Girl’s maturing perspectives in discussing the world’s injustices and social prejudices, using the music to explore global, humanitarian, environmental and mindful wellbeing.”

Official video by Goat Girl performing ‘Sad Cowboy’ – taken from forthcoming album ‘On All Fours’ the album (out 29th Jan 2021) via Rough Trade Records.

Mountain Man the trio of Amelia Meath, Alexandra Sauser-Monnig, and Molly Sarlé—releases Mountain Man “Sings Simple Gifts”, the latest in its series of cover singles, featuring its version of the 1848 Shaker hymn, today. The digital single follows previous editions in the Mountain Man “Sings” series, which also includes the band’s versions of Kacey Musgraves’ “Slow Burn,” Wilco’s “You and I,” John Denver’s “Take Me Home, Country Roads,” and the Irving Berlin holiday classic “White Christmas.” Last month, Nonesuch released Mountain Man’s live album, Look at Me Don’t Look at Me, recorded in November 2018 at Saint Mark’s Cathedral in Seattle.

“‘Simple Gifts’ is one of those incredible songs that transforms you while you sing it,” says the trio. “It’s like an incantation, and it was a joy to record.”

Our version of the Shaker hymn “Simple Gifts” is out everywhere today. “Simple Gifts” is one of those incredible songs that transforms you while you sing it. It’s like an incantation, and it was a joy to record.