Archive for the ‘CLASSIC ALBUMS’ Category

Tomberlin, the Los Angeles via Lousiville, KY artist, has announced a new EP titled “Projections” with a Busy Philipps-directed video for its lead single “Wasted.” The EP, which was produced by Alex G (Alex Giannascoli) and his bandmate Sam Acchione, continues the arc of her critically acclaimed 2018 debut, At Weddings. The rich vocal harmonies and guitar lines that made At Weddings so riveting still provide the EP’s foundation, but new percussive backing and instrumental flourishes open the path forward for Tomberlin.

What hides in the fog that keeps people apart, and what does it take to cut through it? These questions hang heavily over Sarah Beth Tomberlin’s music, whose hushed and intimate tones orbit answers as much as they savour the unanswerable. To be in relation to another human being is to engage with a deep mystery: We are all fundamentally alone, siloed into confusing bodies, and yet occasionally we find someone who lets us feel as if we weren’t. Tomberlin, the Louisville native who recently relocated to Los Angeles, delights in articulating and amplifying that mystery, picking out its details and marveling at its scale. In singing her aloneness she soothes it, and extends a hand to others reckoning with their own solitude–a paradox that warms her spectral songs.

Tomberlin’s new Projections EP continues the arc of her critically acclaimed 2018 debut At Weddings, weaving new collaborators and new techniques into her signature dusky milieu. Since the LP’s release, Tomberlin has toured with Pedro the Lion, Andy Shauf, American Football, and Alex G, played a Tiny Desk concert for NPR, and given a riveting performance on Jimmy Kimmel Live! The five-song EP, capped with a cover of Casiotone for the Painfully Alone’s stunning “Natural Light,” reflects this period of intensive growth and self-discovery. “I wrote these songs while getting to know myself outside of people’s perceived notions of who I was,” says Tomberlin. “I just started being like, What am I interested in? What do I want out of relationships and friendships? What am I looking for that I don’t have in myself already?”

The rich vocal harmonies and guitar lines that made At Weddings so riveting still provide the EP’s foundation, but new percussive backing and instrumental flourishes open the path forward for Tomberlin. After touring the US with Alex G and playing new songs for the band in their shared green room, Tomberlin reached out to Alex Giannascoli and bandmate Sam Acchione to produce the EP’s four original tracks. She recorded her new songs in Giannascoli’s Philadelphia apartment alongside Acchione and frequent collaborator Molly Germer. The fleshed out sound lends a sense of urgency to tracks like “Wasted,” an uptempo romp across the kind of thorny relationship that withholds as much as it gives, and “Sin,” a song that applies reclaimed Christian imagery to an unorthodox romantic partnership. “I don’t mind sinning if it’s with you,” Tomberlin sings against washes of violin and brushed cymbals. “Say a prayer/Lay your hands on me/I just wanna be clean.”

“I wrote ‘Sin’ while living at my parents’ home and exploring my queerness, but afraid to make it too obvious,” Tomberlin says. “It’s definitely using imagery that gets used against queer people, but making a joke out of it. That’s a thing with queer people. We all use humour to deflect our pain.”

Tomberlin’s ability to pan across the general disaster of human relationality and then zoom in on an effervescent moment of pure intimacy is one of her greatest strengths as a songwriter. Queer people get shuttered under the label of sin by the wider world, and yet despite that brand they steal moments of love and healing for themselves. Love is, generally speaking, a wellspring of pain and dysfunction, but look at the moments where it works. “It’s all sacrifice and violence, the history of love,” Tomberlin sings on EP opener “Hours,” “But remember when we stayed up/And took turns playing songs?” The camera zooms in, and magic alights on the people who suddenly take up the whole frame.

You can refuse the mystery of how people manage to be among each other, or you can delight in what it offers, no matter how fleeting. Tomberlin opts for delight every time. Hers are songs for people who, despite the turmoil of the world at large, despite the weight of its sadness, unshield themselves and fall into wonder.

New EP out October 16th. Produced by Alex G and bandmate Sam Acchione.

“£Projections” comes out digitally on October 16th, with a picture disc vinyl pressing following on November 13th. You can pre-order the limited run picture disc today at the Saddle Creek Records Store.

We are incredibly, Incredibly pleased to announce to you this morning, our new single, “Impossible Weight” is out. I could not be prouder to present this song that means the world to me— and features one of my favourite artists in the world, Sharon Van Etten. It was such an absolute pleasure to work with someone that has been a true inspiration to me and specifically while writing and recording this song.

Along with it, we are releasing a music video that is one of my proudest moments as an artist. A moment where we can present visuals that speak to this season—a time of loneliness, of desolation, but also of beauty. I wanted to create something very triumphant and beautiful in a year that has been the opposite of those things.

I want to ask you, if you are willing, to come alongside of us today. This is a terribly difficult season for musicians. Without touring, it is almost impossible to get our music out into the world. Like all bands, shows have always been the way in which we sell the majority of records and promote our albums. Right now, that is simply not an option for us. SO.. we humbly ask of you…. If you would like to help us succeed and you believe in us—SPREAD THE WORD. Post about our song / music video today. Word of mouth is Always the best way forward for us. Follow us on Spotify, Youtube, etc.. Like our comments and comment yourself on our posts—as that alters the algorithm that can enable our music to get out to more and more people. The more people that hear and enjoy our music, the more sustainable this can be for us.

We love you and have been excited about this day for so long. This song is one of my favourites, and the video is so badass. Hope you enjoy it and we truly hope to see you soon. XO

Jessica and Deep Sea Diver

Dobson’s Deep Sea Diver bandmates include her husband Peter Mansen (drums), Garrett Gue (bass), and Elliot Jackson (guitar, synth). Impossible Weight is the band’s third album. The band entered the studio not long after the touring cycle for their sophomore album, 2016’s Secrets.

“We went into the studio pretty quickly after the tour ended, and I sort of hit a wall where I was feeling very detached from making music, and unable to find joy in it,” Dobson reveals. “I realized I had to try to rediscover my voice as a songwriter, and figure out the vocabulary for what I needed to say on this album.”

Deep Sea Diver is Jessica Dobson Peter Mansen Garrett Gue & Elliot Jackson. Just when I thought I couldn’t love this band any more than I do, they totally proved me wrong.

Releases October 16th, 2020

Danish quartet Yung have shared a new track “New Fast Song,” taken from their forthcoming seven-inch single titled “Progress”, due out on September. 11th via PNKSLM Recordings. It’s their first release since their 2016 debut LP A Youthful Dream, released on Fat Possum. “New Fast Song,” the b-side to the seven-inch title track, is a return to the melodic indie of their debut LP, but there’s less distortion and more warmth this time around. “We keep falling / but I really never see it that way,” they sing with passion over the closing guitar throttle. There’s a sense of poignant restlessness, but a satisfying vigour underpins it all.

Mikkel on the lyrics of the song:
“The lyrics for this one were written in the backseat of a tour van, at the end of a two-week tour of Europe. The last show of that tour was in Madrid and somehow we’d decided that doing the Madrid-Denmark drive without a layover was a reasonable idea.
We got up very early in the morning, packed the van and drove out of Madrid. Did a quick stop to fuel up and stock up on essentials. We had breakfast and I had a lot of coffee. As we hit the road I was hit by an overwhelming amount of emotions. Post-tour blues, joy of returning home, frustration from realising a normal everyday routine would appear in life, a private economy which was barely existing, the beauty of Madrid and all its small and narrow streets and beautiful balconies, an unbelievably hot day and the prospects of being confined in an upright position in the backseat of a tour van the next 2.500 kilometres: All thoughts and sensations that passed through my mind all the while an absurd amount of caffeine rushed through my veins. I can’t really say exactly what these lyrics are about, but all of the emotions above somehow made their way into the song. Maybe it’s a song about the beauty of frustration and hardship. Maybe it was just me trying to make sense out of something which did not make sense at the time.”
XX Yung

“New Fast Song” · Yung PNKSLM Recordings Released on: 2020-08-26

This week, singer songwriter Fenne Lily released a new single “Solipsism” it’s from her forthcoming album “Breach”, out September. 18th via Dead Oceans Records. The new track follows the release of previous singles “Berlin” and “Alapathy” and standalone tracks “To Be a Woman Pt. 2” and “Hypochondriac.” “A lot of situations make me uncomfortable — some parties, most dates, every time I’m stoned in the supermarket,” Lily says. “‘Solipsism’ is a song about being comfortable with being uncomfortable and the freedom that comes with that. If you feel weird for long enough it becomes normal, and feeling anything is better than feeling nothing. I wanted this video to be a reflection of the scary thought that I’ll have to live with myself forever. It’s surreal to realise you’ll never live apart from someone you sometimes hate. Dad, if you’re reading this you killed it as shopper number 2.”

The new single ‘Solipsism’ is now in the world (via Dead Oceans) alongside a bonkers video ft. my dad and Willie J Healey. It’s for anyone who has been or still is scared of everything — for anyone who feels like Louis Theroux at parties — for myself looking back on 21 as a weird time, not the end of the world.

Thank you to Joe Sherrin on bass and guitars, Josh Sparks on drums, Brian Deck and Ali Chant for producing and mixing, Tom Clover for directing and the 40+ shoot day team who worked tirelessly to bring my dumb ideas to life

“Solipsism” the new song by Fenne Lily off ‘Breach’, out September 18 on Dead Oceans Records.

Like everyone, I’ve been thinking a lot about the times we’re in. Sometimes those thoughts come to me as lyrics:

“These days have made a change in me”

I had written a song with that line in it a while back, and recently, I listened back and I realized that it felt very relevant to me now. “Time is Wasting” became the nucleus around which I imagined a mini-album / EP / whatever that brought together several recordings and a few live performances from the last several years that I was proud of but hadn’t found a recorded home for. See Here, I Have Built You A Mansion is a collection of eight of those songs.

http://

There is a lot of time and distance and farewell on these recordings. “Miles Away” is all about physical and emotional distance. “Brothers In Arms,” one of my favourite Mark Knopfler songs, is a pathos-filled, Shakespearian rumination on battle and memory; this version was recorded during a soundcheck. I initially wrote “Be of Good Heart” for Joan Baez’s final album, but I loved it so much that I wanted to do a recording with my band as well. “Haunt,” “Heaven Knows,” and “Waiting on You” were recorded with the Royal City Band during the Gathering sessions. And “Lawrence, Kansas,” which was recorded live in Lawrence, Kansas, is one of my earliest compositions and a reminder of how much I miss playing live with my incredible band.

http://

I am indebted to the phenomenal musicians and producers that I am lucky enough to work with and call my friends. I am also very grateful to you for listening and giving me the opportunity to continue making music. Finally, a huge thank you to my incredible family! Be of good heart everyone. – Josh

Athens, GA cult legends get their snakey, jangly debut reissued, remixed by R.E.M.’s Bill Berry and Sugar’s David Barbe

It’s a good week for ’80s janglepop and Southern post-punk. Pylon are getting a box set and their essential first two albums reissued in November and, also just announced, their Athens, GA neighbours (and DB Recs labelmates) Love Tractor are getting their debut album reissued via Happy Happy Birthday to Me Records.

Coming up at the same time as R.E.M., Pylon and The B-52’s, Love Tractor share a little of those group’s DNA but were unique in the Athens scene in that they were an instrumental band, making jangly, danceable rock that didn’t need vocals to grab you. The band would start singing eventually, but early records were driven by the inventive guitar interplay between Mark Cline and Mike Richmond. Bassist Armistead Wellford added groove and R.E.M.’s Bill Berry was among the group’s early drummers for the band before Andrew Carter joined full-time.

Love Tractor’s debut album is catchy and atmospheric, and does it while mostly avoiding surf rock cliches you associate with instrumental rock. “When I hear it, I love it. It sounds like nothing else, like nobody else,” says Cline of the album, and I have to agree. The reissue has been remixed from the original tapes by Sugar’s David Barbe and Bill Berry, and features liner-notes from R.E.M.’s Mike Mills, The B-52’s Kate Pierson, and esteemed rock journalist Anthony DeCurtis. and the album’s artwork has been reimagined by the band (Cline, Richmond and Wellford are all visual artists.)

http://

 

The reissue is out November 4th (pre-order), but before that, Love Tractor will release a 7″ for the October Record Store Day “Drop” (10/24) featuring two newly recorded, re-imagined songs from their debut: “60 Degrees and Sunny” b/w “FESTI-vals.” They’ve also re-recorded “Seventeen Days” as a digital bonus track and you can listen to that, and stream the original album,

With a name that sounds like a remote village in Sweden, Westelaken are actually a quartet from Toronto, Ontario. Having first emerged back in 2018, with their self-titled debut, the band have had a productive 2020, releasing a split-EP with fellow Torontonians Hobby, as well as one of their own, The Pool of Blood. While that record only arrived last month, the band have wasted no time in following up with their most impressive step to date, brand-new album, The Golden Days are Hard, ten songs that show both the variety and quality of Westelaken’s songwriting.

In some ways, Westelaken could be pinned as an alt-country band, yet they’re not one that fall neatly into any particular box. Across the ten tracks they span influences and genres, from the Neutral Milk Hotel-like opening track, The January Song, through to the title track, a 10-minute opus, which combines the emotional vocals of Daniel Johnston with the bar-room balladry of Kyle Craft. Lyrically too, The Golden Days are Hard is a record that explores the layered emotions of modern living, an album laced with fear, resignation and just a touch of hope, it muses on topics of death, friendship, and finding the kindness that’s still left in humanity. While it could have been a heavy record, The Golden Days are Hard manages to portray a brightness that’s beyond its themes, it sounds like a bold next step, from a band whose talent could take them anywhere.

here’s an album what’s got ten types of songs.
The January Song, that’s a country-lobster city-lobster type song.
The April Song, dying type of song.
Grace, that’s a dying and living type song.
Mercy, “milk-of-human-kindness”, that’s an eye-of-the-dog, three-types-of-souls type song.
The Pool of Blood is a two paths type of song and The August Song is a one path type of song.
White Lichen, that’s a “you break it you buy it” type song.
The October Song, that’s a “you bought a ghost story and there are no refunds” type song.
Ghosts Explode, that’s a living and dying and worship the sun type song.
The Golden Days are Hard, now that’s a you-know-me-better-than-I-know-myself type of reckoning type song.

there are several additional type songs that these ten pick up here and there like stray radio signals ricocheting off street lamps and open palms and little rocks collected between the sidewalk and the yard. feel free to take note of ’em but a comprehensive list won’t be much more useful than the one we’ve got here anyhow.

Westelaken is
Alex Baigent – electric bass, upright bass, synth on track 1, backing vocals (all over the place but most prominently in tracks 1 and 9)
Rob McLay – percussion, synth on track 10, backing vocals (including harmonies on tracks 1 and 8)
Jordan Seccareccia – guitars, vocals
Lucas Temor – piano, banjo, backing vocals
with
Paul Vroom – “organ” on track 3, backing vocals
Rachel Bellone – vocals on track 3
and Slurry (Rachel Bellone, Tago Mago, Patrick McKenna, Steven Lourenco) on group vocals
Released August 21st, 2020

Based out of Brooklyn, Caitlin Pasko is a songwriter, pianist and, “weaver of dreamy, elegiac meditations”. Caitlin first emerged back in 2017 with the beautiful Glass Period, “a small chapel to personal grief”. After three years, this week Caitlin has released the much anticipated follow-up, “Greenhouse”, named in tribute to the, “structures that protect plant life from unfavorable external conditions, and from environments in which flora adapt in order to survive and sustain other life forms”.

Caitlin Pasko’s songs are rooms where silence and language are granted equal weight. Her singing is precise, but soft and reserved, and her piano-playing drifts and floats. Caitlin talks openly of how the album emerged from an emotionally abusive partnership, and the record chronicles the wider themes of relationships failing, be they romantic, familial or otherwise. Working with producer Henry Terepka, Caitlin sets these ideas into a stunning musical landscape; a world of spacious, elegant piano lines, intricate, deliberate vocals and swirling electronics. It’s a sound entirely Caitlin’s own, equally nodding to classical composers as it does to Caitlin’s contemporaries from Cross Record to Tenci. Particularly jarring and wonderful is the album’s centrepiece Horrible Person, a fusion of gorgeous vocal melodies with unnerving electronics and a lyric that seeks to flip the tables on an abuser who has always dragged you down; “you know you are a horrible person, and I could never really be fully at ease around you, like a cat on a hot tin roof wondering when it should move”. While this is undeniably a record that walks the darker streets, at its close it does offer a certain resolution, in the shape of final track, Intimate Distance. The track finds Caitlin at her piano, picking out bold piano chords and singing to herself of fresh growth and progress, “it took a fallen snow to feel that growth and letting go are so complexly intertwined”. Few albums live up to their title like Greenhouse does, it is a record that exists like a bubble, a place where emotions are laid raw and protected from the toxicity and harshness of the world at large, a place where against the odds, new shoots of life, love and hope will find a way.

http://

Piano, Vocals, & Synths (Dave Smith Tetra, Moog Minitaur)
by Caitlin Pasko
Guitar, Percussion, & Synths (Dave Smith Tetra, Moog Sub 37, Yamaha TX7)
& Additional Piano on “Horrible Person” & “Mother” by Henry Terepka

Released August 28th, 2020

All songs written by Caitlin Pasko

After releasing the critically-acclaimed album The Big Freeze in 2019, a recent performance at NPR’s Tiny Desk, and giving birth to her first child mid-pandemic, Laura Stevenson has announced that her long out-of-print sophomore album “Sit Resist” is receiving the deluxe reissue treatment with a special edition double LP gatefold vinyl packaging, to be released on September 4th, 2020. The collection is available for a limited pre-order now. Sit Resist, is remarkable. It is unafraid of the darkness, and allows itself to be playful– the lyrics are tender, honest, inviting you into a vulnerable place but quelling the vulnerability with candid, gentle testaments of living drawn from a deep well of experience.” – Julien Baker

Laura’s records are full of the sensitivity and awareness that are her particular magic… She is one of my favourite writers because she is clearly a listener, listening to herself and clearing a path for the songs to go where they want to go.” – Lucy Dacus

“This record is a great document of a bunch of scrappy weird kids laughing through the terror of an uncertain future together. Sit Resist would be THE ONE if Laura didn’t continue to put out records that feel like THE ONE.” – Jeff Rosenstock

The thirteen song album has been remastered by Miles Showell at the hallowed Abbey Road Studios in London from the original 1/4” analog master tapes, with a new half-speed processing to ensure that the vinyl represents the highest quality audio possible. The bonus LP is a collection of outtakes of nearly every album track, including never before heard pre-production demo recordings, alternate mixes and arrangements, live material, an Archers of Loaf cover, as well as a newly recorded version of the album track “Caretaker” that was recorded in 2019 on the literal last night in the house Stevenson grew up in, ten years after the song was originally written there.

The album features liner note essays written by musicians Julien Baker and Lucy Dacus who drew early inspiration for their own music and song writing from the album. Also contributing liner notes are Pitchfork, NPR and Stereogum writer Nina Corcoran, as well as long time friend and collaborator Jeff Rosenstock who produced and played guitar on some of the bonus demo material contained in the collection.

The packaging also features many never before seen studio photos and tour photography from the era in which the album was written, produced and released, and outtakes from the photo session at which the album’s iconic cover artwork was shot by photographer Orlando Perez.

Don Giovanni and Better Yet Podcasts are co-producing a limited episodic podcast series chronicling the making of, and lasting influence of the album. Episode One is out now, available wherever podcasts are found, and new episodes will be released every Wednesday until the reissue is released on September 4th. The podcast features interviews with Stevenson, album engineer Eric Bennet, as well as long time collaborators Mike Campbell, Jeff Rosenstock and Don Giovanni owner Joe Steinhardt. Musicians Lucy Dacus and Adult Mom’s Stevie Knipe are interviewed about Stevenson’s song writing, and how it has influenced their own careers. Also interviewed is comedian Chris Gethard who stated “the album was a game-changer for me.”

The limited Remastered Deluxe 2xLP of Sit Resist is available via Don Giovanni Records. It will be released digitally on all streaming platforms and Bandcamp.  Vinyl will ship on or around November 13th.

“‘Gush’ was written back in 2016 at a particularly hard time in my life as I was going through the most significant loss I have endured. I remember coming home from work one day and luckily my brother Jordan (bass) was staying over at mine that evening so we just set the equipment up, which at this time was just a laptop, a DI and my iPhone which I used for vocals. We smashed the demo out in about two hours and that was that, it was just a track, a track I never expected to be our most played to this date.

We had always played it live, but I never thought that it would end up being on the album, simply because of the amount we played it, it was just a filler in the set, well, it felt like that to me anyways. Joe (guitar) always had a soft spot for it. When we went in to record the album, I wouldn’t say reluctantly, but definitely with the least confidence of its place on the album, we decided to include it, and I am so glad we did. It was the track that we finished last, as it always felt something was lacking on it. The last day of recording, I was just playing around over the last minute of the ‘for that mistake i’m sorry’ change in the track, and that’s where the final guitar run came from, it almost fit too perfectly and went from it being the most underrated track on the record, to arguably everybody’s favourite.

I am so glad it’s got the recognition that it has, purely because the more I see people enjoying it, the more it reminds me of the main message of the track: ‘You have to go through shit, to realise it gets better’” – Ryan Smith

bdrmm have shared a brand new short film to accompany their single, ‘Gush’, which is released on all digital platforms today.

“Gush” – A Short Film is available to watch on YouTube and the band’s Instagram TV account now. It was filmed by Sam Joyce at Gorilla Studios in Hull, and features a performance of the single as well as candid interviews with the band about the genesis of the song.

“‘Gush’ is an honest track, so I wanted a video to reflect that by understanding the interpretations of the people who helped create it,” explains singer/guitarist Ryan Smith.

He continues: “It’s a very personal track, probably the most I’ve ever delved into my own life. As much as I would love to share this topic, I feel it’s too much. I shared something very special with somebody which we lost. It was a very upsetting couple of months for us, but we got through it. The track is filled with optimism because things do get better, no matter how bad they get. Be there for your loved ones, always.”

To coincide with the single release, a new limited-edition red vinyl version of the band’s debut album, Bedroom, is available now from selected indie shops: buy a copy now. bdrmm have rearranged their UK tour dates for 2021. Tickets for the original dates remain valid, and further shows will be announced soon.

April 2nd – Nottingham – Chameleon Arts Cafe