Archive for the ‘CLASSIC ALBUMS’ Category

Andrew Bird is an internationally acclaimed multi-instrumentalist, vocalist, whistler and songwriter who picked up his first violin at the age of four and spent his formative years soaking up classical repertoire completely by ear. As a teen Bird became interested in a variety of styles including early jazz, country blues and folk music, synthesizing them into his unique brand of pop. Since beginning his recording career in 1997, Bird has released 13 albums and performed extensively worldwide. He has recorded with the Preservation Hall Jazz Band, appeared as “Dr. Stringz” on Jack’s Big Music Show, and headlined concerts at Carnegie Hall, Sydney Opera House, Walt Disney Concert Hall, and festivals worldwide.

This collection of six songs was recorded at home during shelter in place.
Released June 26th, 2020
All songs written, recorded + performed by Andrew Bird

Itching to do his own thing, Jimi Hendrix Experience bassist Noel Redding formed the band Fat Mattress in late 1968. Positioning himself as singer and guitarist, Noel recruited vocalist Neil Landon, drummer Eric Dillion and multi-instrumentalist Jim Leverton into the fold.

Released in August 1969, the British band’s self-titled debut album (Atco Records) fuses whimsical psychedelic pop practices with sunshine-spangled folk rock flourishes, bringing to mind select aspects of acts such as the Byrds, Traffic, the Idle Race and the Strawberry Alarm Clock. Peppered with phased vocals, the dizzy and dreamy “Magic Forest” was issued as a single and received airplay in a smattering of pockets across the globe. Cut of similar spacey seasonings, “Mr. Moonshine” tosses a brief jazzy jam into the pot as an added effect. Beat Club ’68 Noel Redding’s band after Jimi Hendrix Experience. Vocals by Neil Landon.

Mitch Mitchell, who completed the Jimi Hendrix Experience rhythm section with Noel Redding, and Traffic flautist Chris Wood work their mojo on the whirling psychedelic punch of “All Night Drinker,” while “I Don’t Mind” teems to the tone of jangly riffs, cheerful choruses and romping keyboards.

Fat Mattress performs “Naturally” on the TV show Beat Club 1969. Guitarist and vocalist Noel Redding founded this band 1968 during his time as bass player for The Jimi Hendrix Experience. After two albums the band split up in 1970.

At the time of its arrival, Fat Mattress drew mixed reviews. Those expecting the band to recreate the hard-edged intensity and improvisation of Redding had helped create in the Jimi Hendrix Experience were either surprised or disappointed by the dated psychedelic pop rock concepts casing the material. But in hindsight, Fat Mattress stands as an enjoyable effort. Steered by a certain mood, there’s also enough enterprising hooks and arrangements to make the songs memorable.

After a couple of personnel revisions, the band produced a second album, the aptly titled Fat Mattress II, which retained a lot of the same ingredients heard on the first recording. The album attracted little attention, and Noel Redding’s experiment with Fat Mattress ended.

Image may contain: 2 people, people standing

Boston duo Vundabar released their fourth studio album earlier this year, “Either Light”. On the same day, they postponed the majority of their headlining tour in support of the album from March to July. The record comes at a difficult time for everyone, and the music industry taking an especially notable hit. In a world shrouded in darkness, Either Light serves as a beacon of hope, grappling with the existential nihilism on everyone’s mind with the help of twinkling guitars and frontperson Brandon Hagen’s unique vocal delivery.

Many rock bands make the pivot to synth-pop—with varying degrees of success. Though my perception of them is skewed by their scrappy, rambunctious live shows, Boston indie rockers Vundabar were actually the perfect candidate for this pivot, given that their previous albums had hints of surf, new wave and post-punk—all especially danceable forms of music. The band’s latest album, “Either Light”, which dropped earlier this year, sees them dive headfirst into the pop world—drum machines, sequencers, layered vocals, synths and all. When the sassy, melodic promo single “Burned Off,” came out a few months ago, I was blown away, but I hadn’t returned to the rest of the album until now. While “Burned Off” offers wonderfully over-the-top new wave vocals likely Brandon Hagen’s best and most emotive lead vocal performance to date “Petty Crime” is indie-dance-meets-punk-pop gold and “Never Call” has one of the most earworm-y riffs I’ve heard this year. As playful as it is, it’s also particularly wistful and mature in sound and sentiment, recalling Echo and the Bunnymen, Talk Talk and XTC at times—it’s a slick record, but it also has the girth of catchy, dynamic songwriting behind it.

‘Either Light’ out March 13th 2020 on Gawk Records

Image may contain: 1 person, on stage, playing a musical instrument and guitar

There was the shoegaze phase some years back so at some point, after working my way through the staple bands (My Bloody Valentine, Ride, Slowdive, The Jesus and Mary Chain, etc.), I stumbled upon Hum possibly through fellow ’90s Chicago bands Pinebender or Lovesliescrushing. Hum were more aggressive than many of the other shoegaze bands I was listening to, thanks to their post-hardcore and metal roots, and their 1998 album, Downward Is Heavenward, left a big impression on me with its scorching riffs and heavy use of phasers. Two years after that album came out, they got dropped by their label and called it quits, but this week, 22 years after the release of that record, they surprise-released a new LP called Inlet. As expected, there are plenty of thick, driving and flat-out thundering guitar passages (“Waves” and “The Summoning” will blow your head off), and their sensitive, mystical sides come out too (“Desert Rambler,” “Shapeshifter”). It’ll take a while to explore all the nuances of their smouldering soundscapes, but this album is an instant listening winner.

Hum is happy to announce the release of our new album, Inlet. Vinyl (180g double LP), CD, pre-order via Polyvinyl Records “Waves” the first single from  Hum’s new album “Inlet” – Earth Analog Records Released on: 24th June 2020.
The Band:
Matt Talbott,
Tim Lash,
Jeff Dimpsey,
Bryan St. Pere,

The record is also available for consumption at http://humband.bandcamp.com and will ripple out to all digital platforms within the week.

Image may contain: 1 person

Despite being only 22, Samia has a self-awareness beyond her years. The indie singer-songwriter is masterful in her sharp lyrics, which capture common anxieties and frustrations with a poet’s charm. She finds painful moments and leans into their messy, ugly details, transforming them into defiant common touchstones speckled throughout life. One breakup song ends mid-sentence, evoking the discomfort and anticipation of separation, while another is inspired by a high-school memory of boys groping her breasts, using the experience to inspect the politics and power of women’s desirability.

But, the New York singer offers more than poignant confessional lyrics. She also crafts striking compositions, which range from dramatic, wailing folk ballads backed by simple piano or acoustic guitar accompaniments to gritty and grungy rock anthems. Always at the forefront is her crystalline voice, carrying each number with its deft transitions between ranges and its emotional power.

Using this idea of two distinct selves as framework, the indie rocker teamed with director Nick D’agostino to craft a music video that illustrates the disparity.  My first album is called “The Baby” and it’s coming out via Grand Jury on 28th August. made it with my friends caleb hinz, jake luppen, nathan stocker and lars stalfors kramer
2nd single off the record is called Fit n Full and i wrote it with Tom D’Agustino and it’s out now!!

Official music video for Samia’s “Is The Something in the Movies?,” from her debut album The Baby, coming August 28th.

Image may contain: 3 people, people sitting

Haim new album Women in Music Pt III” is available now. Haim are really about to drop one of the best albums of the year with ‎”Women in Music Pt. III”, huh?! Following on from the release of the Stones-esque “The Steps,” the sibling  trio are leaning in a more electronic direction on “I Know Alone” – a shifty, percussive dance piece about loneliness that hits different in our weird new quarantine world: “Been a couple days since I’ve been out/Calling all my friends but they won’t pick up/Found another room in a different place/Sleeping through the day and I dream the same.” This is the American rock/pop trio’s third studio album and it will feature 16 songs, although the full track listing is still to be revealed. You can listen to ‘The Steps’ below. Because of the length of the album, this will be a 2LP vinyl pressing.

Danielle begins the third HAIM LP by bemoaning the city that built them. “Los Angeles, give me a miracle,” she sings after a flurry of saxophone starts the song. “I just want out from this.” She continues into the chorus as her sisters Alana and Este join in on backup, singing “These days I can’t win.” The City of Angels is also the city of sweaty, broken dreams, as any struggling actor, screenwriter or regular-person-stuck-in-traffic can tell you. Even Danielle—primary songwriter for the trio—who was born, raised and primed for rock stardom in the sprawling city clearly can’t stand it some days. Danielle’s depression, which she has attributed to the struggles she and her partner/producer Ariel Rechtshaid faced upon his testicular cancer diagnosis in 2016, informs some of Women in Music Pt III  most specific and heartfelt lyrics. But her sisters’ struggles are just as important. Alana remembers her best friend who passed away at 20, while Este’s life has been full of ups and downs since her Type 1 diabetes diagnosis during her freshman year of high school. They all lean on each other, and that love is perhaps loudest in stirring folk number “Hallelujah.” Though outwardly carefree, Women in Music Pt III  finds HAIM exploring darker and more serious matters than ever before, which is one reason why it’s their most complete and forward-thinking release yet. Many of these songs find Danielle, Alana and Este flat on their backs, but it’s never long before they’ve returned to their default position: upright, strutting confidently through the streets of L.A. and life itself.

Women in Music Pt III was originally due to be issued in April but will now be released on 21st August 2020.

No photo description available.

Bloomington, Minnesota. indie duo Remo Drive have unveiled their third LP A Portrait of An Ugly Man. the first single “Ode to Joy 2,” taken from the album, is an edgy ballad inspired by alcohol, and the accompanying video is the visual representation of that fun drunken Friday night in the backseat of your friend’s car. “The lyrics were inspired by the excess I perceived around me as I transitioned from being a college student into touring full time,” says vocalist Erik Paulson. “Most people who’ve done either can confirm that many social interactions are built around having a drink or smoking weed. Once the honeymoon period of exploration was over for me, I became frustrated with the omnipresence of drugs and alcohol and wanted to write about it.”

The song has the same jaded sound as their last record Natural, Everyday Degradation, which was heavily imbued with nihilism. It seems like the hedonistic days of their debut, Greatest Hits, are already over.

Image may contain: text

Pottery’s debut EP, No. 1, made our mid-year best post-punk list last year thanks to its bluesy, funky take on post-punk. This coming Friday , the Montreal five-piece are unleashing their first full-length, and it’s even more eccentric than we were expecting (or hoping). It’s full of psych-punk jams so surreal and danceable that falling down their wormhole and grooving to the beat are not optional. Make sure you polish off your dancing shoes before diving into its off-the-wall percussion and snappy guitars. Their sky-high dance-punk and witty psychedelia can hardly pack more tightly-coiled zip.

Here’s a jagged new single from Montreal band Pottery’s upcoming debut album, “Welcome to Bobby’s Motel”, which is out in June. It goes from a rigid start into something decidedly more funky. “While there are hints of environmental themes on this one, we mainly wanted to make a disco song with a robotic feeling, something that could be easily chanted,” say Pottery. “Austin was originally really interested in heat as a musical concept/feeling – some of the early album titles we threw around were ‘Hot Hot Hot’ and ‘Sun Fever’ – and there are a bunch of other heat references on the album [see previous single ‘Hot Like Jungle’. In the studio he’d be joking around and yelling stuff at us like ‘let’s make it hot!’ right before a take. A lot of that didn’t end up totally sinking in, but some did…like on this song.”

“Hot Heater” from ‘Welcome to Bobby’s Motel’ out June 26th on Partisan Records and Royal Mountain Records.

Image may contain: 1 person, on stage, playing a musical instrument, night and outdoor

North Carolinian folk-fusion artist Ryan Gustafson (who performs under the alias The Dead Tongues) today releases his latest album Transmigration Blues via the Durham-based label Psychic Hotline. The news arrived last month with the lead single, “Peaceful Ambassador.” Gustafson is thoroughly rooted in the North Carolina music scene, having previously served as guitarist for both Phil Cook and Hiss Golden Messenger. He also counts Mandolin Orange and Mountain Man as friends.

He recorded Transmigration Blues, his fourth album, during summer 2019 in the midst of a bout of depression. But the record doesn’t only promise gloom. ”’Transmigration Blues’ belongs to the moments weaving between uncertainty and discovery,” he says of the release.

From The Dead Tongues album “Transmigration Blues”, out now via Psychic Hotline

When M.C. Taylor moved to North Carolina more than a dozen years ago now, Hiss Golden Messenger was his private enterprise, an outlet for the curious songs he composed quietly at his kitchen table in the country. But soon after Taylor and his budding family moved to a modest home nestled back from busy roads in the gentle Durham hills, he began building a network of local aces, all sympathetic to songs that documented his quest to be a better human being. Hiss Golden Messenger became and remain a community endeavor, an indelible part of North Carolina’s historic and contemporary musical fabric. The 15 songs of Forward, Children: A fundraiser for Durham Public Schools students are an instant illustration of that decade-long arc, a one-night snapshot of Hiss Golden Messenger’s metamorphosis from solitary songwriter fare to full-band jubilee.

Just days into 2020, the quintet—well-rested from a holiday respite after a busy 2019 that included some 60 shows across the United States and the release of the gripping Terms of Surrender—loaded into their home region’s legendary hub, Cat’s Cradle, for a two-night stand. For nearly 90 minutes, they smoke, sorting through the greatest hits of the Hiss Golden Messenger songbook with the intuition of a band that accepts these tunes as gospel but plays them with the verve of five folks delighted to be back on the same stage.

Lifted by trombone and organ, “Highland Grace” sounds here like a prayer for the salvation of love. Buttressed by bounding piano, “Saturday’s Song” feels like a relief anthem for these fraught times, a beaming reminder of celebration and communion. Drifting and then roaring, “When the Wall Comes Down” is an urgent reminder that catastrophe and humanity know no arbitrary borders, that we are all forever bound to one another. During “Jesus Shot Me in the Head,” they unravel into a cleansing 12-minute upheaval, the sound of self-doubt looking for the relief of resolution—and finding it, at last.

http://

The son of two teachers, Taylor taught for a spell at the University of North Carolina-Chapel Hill, arguably the nation’s first public university, after finishing his graduate degree there, joining one of the country’s proudest educational lineages. His wife, Abby, is now an ESL instructor in Durham, and his children, Elijah and Ione, are in the fifth and first grades there, respectively. In mid-March, due to the COVID-19 pandemic, Durham Public Schools closed like most others nationwide, at least through mid-May. The necessary move means that many children throughout the school system don’t know where they’ll get their next meal, a profound failure of our social safety network but a profound opportunity for our collective help. All profits from Forward, Children will benefit the Durham Public Schools Foundation. “It’s my duty as a dad of students and the spouse of a teacher,” Taylor says, “to give what I can.”

Forward, Children is not just the sound of a great band at work, which it surely is. And it is not just the sound of the community that helped create Hiss Golden Messenger coming together to hear what it’s made in a homecoming of hundreds. It is, all told, the sound of communion, blessedly preserved to tape for times like these, when we need any communion we can get. One of the best American bands out there right now.

Released March 27th, 2020
The Band:
M.C. TAYLOR — Guitars & Singing
PHIL COOK — Keys, Guitars & Singing
CHRIS BOERNER — Guitar
ALEX BINGHAM — Bass Guitar & Singing
AL SMITH — Drums & Percussion
EVAN RINGEL — Trombone
BILLIE FEATHER — TambourineMany thanks to all who generously helped in the creation of this album, including Luc Suer, Chris Boerner, Brent Lambert at The Kitchen, Merge Records, the venerable Cat’s Cradle, Grayson Haver Currin, and Darryl Norsen. Love to the amazing Hiss crew for keeping the literal and figurative wheels on the bus: Jocelyn Romo, Ellowyn Kane, Carly Bingham and Billie Feather. Thanks to Brian Schwartz, Rachel Miller, and the whole 7S family, and to Adam Voith.
Hiss Golden Messenger is proud to support the Durham Public Schools Foundation.
All proceeds from this album support students in the Durham Public Schools system.