Oh Sees’ frontman John Dwyer pays tribute to cult psych artist Michael Yonkers; Hopefully it’ll make you want to seek out the original artifact
Minneapolis’Michael Yonkers is a cult legend who pushed psych-rock further into the red than many had before on his 1968 album Microminiature Love, which was reissued, some 30 years later, first by Dej Stijl and then Sub Pop Records. On that and other albums, you can hear the seeds of the early ’00s garage rock revival, and Yonkers was a clear influence on groups like Black Lips, Oh Sees and current Minneapolis band The Blind Shake with whom he’s made records.
Oh Sees frontman John Dwyer is an especially big fan and has just released an album of Yonkers covers under his Damaged Bug solo alias, though in this case he’s backed by current Oh See Tom Dolas, and former bandmates Nick Murray and Brigid Dawson. “This record was recorded as a way to reboot and reconnect with some songs that have heavily inspired me over the years,” says Dwyer. “It was hard to pick from his vast catalog, so I just sort of jumped in, and these are the tunes that stuck to the wall.”
I don’t claim to know much about Yonkers, but this record is good. Unlike some of the other Damaged Bug records (which can be on the esoteric side), Bug Out Yonkers is very approachable and could easily pass for an Oh Sees record. You can tell Dwyer is having a blast with this and the production / arrangements are great, with out-there synths and the occasional flute solo alongside wigged out guitar work. Originally a Record Store Day 2020 exclusive, Bug Out Yonkers has been bumped up to a proper release, which is good. If you’re like me, it will send you immediately to the internet to learn more about Yonkers’ wild world.
Wire have never been ones for looking back. When they reformed in the ’80s they got a Wire cover band, Ex Lion Tamers, to open for them on tour so they wouldn’t have to play songs from their first three albums. When they do revist older material, they are prone to transforming it, like on 1989’s IBTABA. Forty-plus years into their existence they’re still doing it. Having already released a new studio album this year, they’re back with new-album “10:20″ that is based on this premise:
When Wire plays live there are, in the main, three classes of piece: new songs, old songs and ‘new old’ songs. The latter often involves taking something that existed on a previous release and re-working it, very often evolving a stage highlight from it. There also pieces that have never seen a major release but for some reason never fitted on an album.
The reworked songs on 10:20 represent Wire from two different eras — one relating to Red Barked Tree and recorded in 2010, and another relating to Mind Hive and released in 2020. The album works both as terrific new record and one that will be especially of interest to fans. This was originally intended as a Record Store Day 2020 exclusive but when COVID-19 messed everything up, they smartly decided to give it a proper release.
The first four songs, from 2010, are from when Margaret Fielder (of Laika) was a member of the group. “Boiling Boy,” originally on 1988’s A Bell is a Cup Until it is Struck, becomes lean and sinewy, slithering like a moray eel along to Graham Lewis’ bassline and Robert Grey’s precision drumming. “German Shepherds,” a b-side from the same era that was already reworked for IBTABA, now becomes a second cousin twice removed to 154’s “Map Ref. 41°N 93°W.”“He Knows,” a song that was a late-’00s live staple that never made it to an album, is Wire in creepy mode; and “Underwater Experiences” is full-on punk, that actually dates from their ’70s era, powered by an ambulance siren guitar riff.
The 2020 side features the Wire line-up that’s been constant for the last 10 years (Newman, Lewis, Grey and former It Hugs Back frontman Matthew Simms). “Over Theirs,” originally on 1986’s great The Ideal Copy, becomes a piledriver; “The Art of Persistence,” which could be the title of Wire’s biography, is another great “lost” song; and “Small Black Reptile” saves a great song from 1990’s uninspired Manscape, giving it a much more immediate arrangement (two two versions might as well be totally different songs.
Despite the two sides being made a decade apart, “10:20″ holds together remarkably well and is another fine entry in one of the most consistent discographies of the last 43 years.
Thurston Moore continues to put out previously-unreleased songs from his vault during quarantine.These previously unreleased songs appear on his Bandcamp page, and he also recently put out a new instrumental and now he announced a proper new album, “By the Fire” its first single, “Hashish” .He made the album with his former Sonic Youth bandmate Steve Shelley on drums, My Bloody Valentine’s Deb Googe on bass and backing vocals, and James Sedwards on guitar (all of whom are also in the Thurston Moore Group), and it also features contributions from Wobbly (aka Jon Leidecker of Negativland) on electronics and Jem Doulton on drums. Thurston calls “Hasish” an ode to the narcotic of love in our shared responsibility to each other during isolation,” and it’s a relaxed yet hypnotic song that sounds like classic Thurston Moore, and is a very promising first taste of this LP.
Thurston also said: “By The Fire” is music in flames. 2020 is our time for radical change and collective awareness and Thurston Moore has written nine songs of enlightenment, released to a world on fire. Taking a cue from Albert Ayler’s “music is the healing force of the universe”, this recording offers songs as flames of rainbow energy, where the power of love becomes our call.
These are love songs in a time where creativity is our dignity, our demonstration against the forces of oppression. By The Fire is a gathering, a party of peace — songs in the heat of the moment.
Strawberry Moon (for three guitars)
Recorded At Daydream Library 3rd June 2020 London
a celebration of the strawberry ( full ) moon vibrations – free energy for change.
released June 3rd, 2020
This next one’s a lovely acoustic instrumental called “The Lords and the Ladies” that Thurston debuted on his 2013 UK tour with legendary folk singer Michael Chapman and recorded in London in 2015.
A midweek offering to greet the summer – this song was written a year or so prior to its recording and was played on the acoustic duo tour I shared with maestro Michael Chapman throughout England. released May 20th, 2020
written and performed by Thurston Moore for eva.
A soundtrack for our usa sisters + brothers to register as voters today, if you still need to – we can change the world – free all political prisoners – insurrection for common decency – rock n roll consciousness – more to come. “By the Fire” comes out September 25th.Thurston’s Daydream Library Series label
released May 1st, 2020 thurston moore group
bass – Deb Googe
drums – Steve Shelley
guitar – James Sedwards
guitar + vocal – Thurston Moore
recorded by paul epworth at the church London
foto / true love – radieaux radio – in the wilds of oz
Thurston Moore born 25th July 1958 Coral Gables Florida , teenage years spent in Bethel Connecticut then moved to NYC 1977, joins The Coachmen plays CBGB’s, Max’s and downtown art-rock dwellings, Joins Sonic Youth 1980-2014, then Chelsea Light Moving, immigrates to great smoke London, foreva love, solo group action, further free scenes, ecstatic peace library, daydream library, animal liberation
Sonic Youth have also been in the process of putting archival material on Bandcamp (their latest, Perspectives Musicales – Live At Cat’s Cradle 2000, came out on Friday timed with Bandcamp’s as has Lee Ranaldo.
“Dark Town” is the second release from Brisbane alt-country outfit, Suicide Country Hour. Their new album expands on the introspective feeling of their first release with a darker, more heartbroken collection of songs which speak to the bitterness and sadness in us all. It’s the epitome of ‘hangover music’ and most importantly…no drummers, no dramas.
The new album expands on the introspective feeling of the sextet’s 2017 self titled debut with an even darker, more heartbroken collection of songs which speak to the bitterness and sadness in us all.
Released June 15th, 2020 The Band:
Coxy – guitar/vox
Simmo – guitar/vox
Sarah – accordion/piano
Simon – bass/vox
Chris – violin
Sian Evans – banjo
Who can argue with something so bleak in these current times? Check out a couple of tracks from the album below, and click through to order via Bandcamp.
singer/songwriter Harry Nilsson who was born on this date June 15th, 1941 in Brooklyn, NY. Nilsson moved to Los Angeles as a teenager to escape his family’s poor financial situation. While working as a computer programmer at a bank, he grew interested in musical composition and close-harmony singing, and was successful in having some of his songs recorded by various artists such as The Monkees.
In 1967, he debuted on RCA Victor with the LP “Pandemonium Shadow Show”, followed by a variety of releases that include a collaboration with Randy Newman (“Nilsson Sings Newman”, 1970) and the original children’s story “The Point!” (1971).
His most commercially successful album, “Nilsson Schmilsson” (1971), produced the international top 10 singles “Without You” and “Coconut”. His other top 10 hit, “Everybody’s Talkin'” (1968), was featured prominently in the 1969 film “Midnight Cowboy”. A version of Nilsson’s “One”, released by Three Dog Night in 1969, also reached the U.S. top 10.
During a 1968 press conference, the Beatles were asked what their favorite American group was and answered “Nilsson”. Sometimes called “the American Beatle”, he soon formed close friendships with John Lennon and Ringo Starr. In the 1970s, Nilsson and Lennon were members of the “Hollywood Vampires” drinking club, embroiling themselves in a number of widely publicized, alcohol-fueled incidents. They produced one collaborative album, “Pussy Cats” (1974).
After 1977, Nilsson left RCA, and his record output diminished. In response to Lennon’s 1980 murder, he took a hiatus from the music industry. For the rest of his life, he recorded only sporadically.
The RIAA certified “Nilsson Schmilsson” and “Son of Schmilsson” (1972) as gold records, indicating over 500,000 units sold each. He earned Grammy Awards for two of his recordings; Best Contemporary Vocal Performance, Male in 1970 for “Everybody’s Talkin'” and Best Pop Vocal Performance, Male in 1973 for “Without You”.
Nilsson passed away January 15th, 1994 at the age of 52.
What do you do when pain blots out joy? How do you learn to take care of yourself? What happens when the things you think are helping end up doing the most harm? ‘Auto-Pain’ is the Sophomore album from Deeper, a record that finds the band embracing open space, using synths to create shadows where bricks of guitars once would’ve blocked out the sun. The group — singer and guitarist Nic Gohl, bassist Drew McBride, and drummer Shiraz Bhatti — were all graduates of Chicago’s rich DIY scene who came together around their love of Wire, Devo, Gang of Four, and Television.
While the new record is still within the Great Lakes post-punk tradition of their debut, the album isn’t as insular as its predecessor; it’s less interested in pile-driving and more willing to dwell in liminal spaces. Guitars enter the picture precisely, locked bass grooves propel things forward. Drummer Shiraz Bhatti, who is half-Pakistani and half-Native American, embraced the drumming patterns he’d heard growing up at pow-wows, channeling the anxieties of his heritage into his playing and keeping the group grounded when they switch into all-out percussive attack. The result is an album both more nuanced and catchy.
A complete triumph–a document of overcoming total loss. one of the most exhilarating records of the year, These guys can put out some stunning music. They do a great job making something exciting and original out of their influences, even when dealing with some heavy and serious subjects.
Deeper is a band based in Chicago, Illinois and consists of Shiraz Bhatti, Nic Gohl, and DrewMcBride.
Everything changed for The Beths when they released their debut album, “Future Me Hates Me”, in 2018. The indie rock band had long been nurtured within Auckland, New Zealand’s tight-knit music scene, working full-time during the day and playing music with friends after hours. Full of uptempo pop rock songs with bright, indelible hooks, the LP garnered them critical acclaim from outlets like Pitchfork and Rolling Stone, and they set out for their first string of shows overseas. They quit their jobs, said goodbye to their hometown, and devoted themselves entirely to performing across North America and Europe. They found themselves playing to crowds of devoted fans and opening for acts like Pixies and Death Cab for Cutie. Almost instantly, The Beths turned from a passion project into a full-time career in music.
Songwriter and lead vocalist Elizabeth Stokes worked on what would become The Beths’ second LP, “Jump Rope Gazers”, in between these intense periods of touring. Like the group’s earlier music, the album tackles themes of anxiety and self-doubt with effervescent power pop choruses and rousing backup vocals, zeroing in on the communality and catharsis that can come from sharing stressful situations with some of your best friends. Stokes’s writing on Jump Rope Gazers grapples with the uneasy proposition of leaving everything and everyone you know behind on another continent, chasing your dreams while struggling to stay close with loved ones back home.
“If you’re at a certain age, all your friends scatter to the four winds,” Stokes says. “We did the same thing. When you’re home, you miss everybody, and when you’re away, you miss everybody. We were just missing people all the time.”
With songs like the rambunctious “Dying To Believe” and the tender, shoegazey “Out of Sight,” The Beths reckon with the distance that life necessarily drives between people over time. People who love each other inevitably fail each other. “I’m sorry for the way that I can’t hold conversations/They’re such a fragile thing to try to support the weight of,” Stokes sings on “Dying to Believe.” The best way to repair that failure, in The Beths’ view, is with abundant and unconditional love, no matter how far it has to travel. On “Out of Sight,” she pledges devotion to a dearly missed friend: “If your world collapses/I’ll be down in the rubble/I’d build you another,” she sings.
“It was a rough year in general, and I found myself saying the words, ‘wish you were here, wish I was there,’ over and over again,” she says of the time period in which the album was written. Touring far from home, The Beths committed themselves to taking care of each other as they were trying at the same time to take care of friends living thousands of miles away. They encouraged each other to communicate whenever things got hard, and to pay forward acts of kindness whenever they could. That care and attention shines through on Jump Rope Gazers, where the quartet sounds more locked in than ever. Their most emotive and heartfelt work to date, Jump Rope Gazers stares down all the hard parts of living in communion with other people, even at a distance, while celebrating the ferocious joy that makes it all worth it–a sentiment we need now more than ever.
Releases July 10th, 2020
The Beths
Guitar: Elizabeth Stokes, Jonathan Pearce
Bass Guitar: Benjamin Sinclair
Drums: Tristan Deck
Vocals, Percussion: All
‘Jump Rope Gazers’ was recorded in Jonathan Pearce’s studio in Auckland, NZ between November 2019 and February 2020
All songs written by Elizabeth Stokes
The filmed version of the acclaimed Broadway show David Byrne’s American Utopia, directed by Academy Award–winning director Spike Lee, will be presented by HBO and will debut on HBO later this year. “David Byrne’s American Utopia is a uniquely transformative experience and a perfect example of how entertainment can bring us together during these challenging times,” said Nina Rosenstein, Executive Vice President, HBO Programming. “Spike’s brilliant direction adds a level of intimacy to this powerful performance, and we’re so thrilled to share this groundbreaking show with our audience.”
“Spike and I have crossed paths many times over the years, obviously I’m a huge fan and now finally here was an opportunity for us to work together,” said David Byrne. “I am absolutely thrilled with the result. The Broadway show was a wonderful challenge as well as an opportunity—it was a joy to perform and, well, best to let the quotes speak for themselves.
Thrilled that this show and the subjects it addresses will now reach a wider audience.”
“It is my honour and privilege that my art brother, Mr. David Byrne, asked me to join him in concert, to invite me into his magnificent world of American Utopia,” Spike Lee said. “And dat’s da ‘once in a lifetime’ truth, Ruth. Ya-dig? Sho-nuff. Peace and love. Be safe.”
The Broadway production of American Utopia featured Byrne, together with eleven musical artists from around the world performing songs from Byrne’s 2018 album of the same name, along with songs from Talking Heads and his solo career for a major cultural milestone in the worlds of music and theater. The original American Utopia album, as well as the Broadway cast recording, were released on Nonesuch Records.
The set list each night included “Once in a Lifetime,” “Burning Down the House,” several selections from Byrne’s American Utopia solo album, and a rendition of Janelle Monáe’s “Hell You Talmbout,” which featured Byrne and the musicians calling out the names of black Americans who have been unjustly killed with the refrains “say his name” or “say her name.”
In a recent interview, Byrne recalled approaching Monáe about permission to use the song. “She loved it,” he said. “I was kind of surprised. There was no hesitation. She’s very generous. So I continue to ask her, ‘We’re doing it on Broadway now. You sure you’re OK with all this?’ ‘Yeah.’ I thought I had to do that; I had to check with her and see what her take was on that, because otherwise, it could seem pretty strange. She’s about getting the message out.”
This one-of-a-kind, dynamic film gives audiences around the world access to Byrne’s electrifying Broadway show that played to sold-out, record-breaking audiences during its run from October 2019 to February 2020 at Broadway’s Hudson Theater. The New York Times called the production “dazzling, jubilant and rapturous,” while the Hollywood Reporter hailed it as “an astonishing knockout.” The Broadway production featured the work of choreographer Annie-B Parson, with Alex Timbers serving as production consultant (both had previously collaborated with Byrne on the acclaimed Imelda Marcos musical Here Lies Love); lighting design by Rob Sinclair and sound design by Pete Keppler; Karl Mansfield and Mauro Refosco are musical directors.
In addition to the partnership of David Byrne and Spike Lee, the feature-length film includes the work of choreographer Annie-B Parson; director of photography, Ellen Kuras (Eternal Sunshine of the Spotless Mind); production consultant Alex Timbers; and editor Adam Gough (Roma). Collaborating with Kuras are eleven camera operators, many of whom are directors of photography in their own right, including Declan Quinn (Leaving Las Vegas) and Sam Levy (Lady Bird).
American Utopia, the album upon which the stage show is based, received a Grammy nomination and was the first by Byrne to reach No. 1 on the Top Current Album Chart. Released by Nonesuch Records in 2018, it was a global hit and the accompanying tour reached more than 27 countries with 150 concert dates.
Believe it or not, Bombay Bicycle Club have been around for quite some time, over 10 years. It’s also been 10 years since the release of their debut album I had the blues but I shook them loose, which set the band off on their musical journey. Since then they have accomplished in releasing five albums, quite the feat wouldn’t you say? So in natural fashion I’ve decided to rank them worst to best (None of them are bad).
I Had the Blues but I Shook them Loose (2009)
This record put Bombay on track and in the minds of future adoring fans. At the time it was released there was a bit of a clamouring for a good indie album for people to take notice of. I Had the Blues but I Shook them Loose hit the spot for a lot of folk, as their unique sound and vocals stood them apart from a lot of the bands. Also the arrangements of the songs were interesting, which driving this point even further home. Songs like ‘Lamplight’, ‘Cancel on me’ and ‘Always like this’ have become pillars in the Bombay setlist, sending the crowd into a frenzy whenever their showcased. Bombay Bicycle Club released their astonishing debut album ‘I Had the Blues But I Shook Them Loose’ (recorded by long-term producer Jim Abbiss) through Island records.
It’s a beautifully literate and ambitious debut. From the dizzying My Bloody Valentine / M83 swoops and morning-after ruefulness of the LP’s opening song to the open-tuned, appalachian folk feel of the record’s closing track, the album thrums with subtle invention and quiet emotional intensity. Fans of Bloc Party, Broken Social Scene and Bon Iver – or any mildly sensitive soul with a fondness for ricocheting guitar chords – will be utterly beguiled. Indie rock rarely gets to enjoy its innocence these days, but Bombay Bicycle Club know that’s exactly what makes it precious. Jamie and Jack formed Bombay Bicycle Club after spending their early teens trying to sneak into 18+ gigs together. they were dissuaded at first by Jamie’s guitar-playing dad, Neill Maccoll (son of Ewan, sister of Kirsty), who once told Jack he should become a plumber rather than a musician if he ever wanted to make a decent living. Then Neill heard the astonishing cache of songs Jack had amassed in his bedroom with garageband and a cheap guitar, and instantly changed his mind, offering to produce Bombay Bicycle Club’s first LP.
Flaws (2010)
Bombay’s acoustic release in flaws is magical. Jack’s gentle voice combined with melodic fingerpicking is something which can only be enjoyed. With an acoustic version of ‘Dust on the Ground’ and title track ‘Flaws’ you get to hear the band at their most calm and mellow. This was an odd release for their second album, with their first being so bold and abrupt. It really took people off the scent of another loud indie band, giving the band some added depth. I always find I need to be in a mood for slow paced acoustic songs which isn’t very often. Flaws’ is the stunningly beautiful, acoustic album by Bombay Bicycle Club. ‘Flaws’ is characterised by a delicate, heart-swelling beauty and lightness of touch throughout. Those that had Bombay Bicycle Club pegged merely as an indie band may need to re-think.
Intricate, finger-picked guitar lines and ethereal melodies pull at the heart strings on new songs such as ‘My God’, the startlingly pretty ‘Leaving Blues’ and title track ‘Flaws’ (a duet with Lucy Rose). On other tracks – ‘Rinse Me Down’ and ‘Many Ways’ – skittering drum rhythms and distant banjo lines drift in, but in the main, it’s a naked intimacy that makes these songs dazzle. the album’s final track, ‘Swansea’, is perhaps the most exciting in terms of where Bombay Bicycle Club will take their sound next.
All the music for ‘Swansea’ was written by Jack, but uses some of the lyrics from a Joanna Newsom track of the same name. A simple folk ballad that opens with plaintive guitar and vocals, swells and morphs into something altogether different, as a synth counter melody slowly floats into reverb-rich vocals and echo chamber drum rhythms.
A Different Kind of Fix (2011)
This album has some of Bombays best work on it without doubt, which is why it deserves to maybe be the album to start with. From the start of the album with the opening to ‘How Can You Swallow So Much Sleep’ you feel as if you’re walking into the clouds as you feel an atmosphere of calm all around you. The duet on ‘Lights Out, Words Gone’ will forever be a favourite of mine on vocals alone, but the simple musicality adds to it. The album doesn’t take on this slow pace as a theme, with Bombay switching it up a few times. Songs like ‘Your Eyes’, ‘Leave It’ and ‘Bad Timing’ are a keen reminder of the bands wilder side.
‘Shuffle’ also features on this album, which will always be among my favourite BBC song. Their joyous sounds built into the track brings an entire audience to life, like putting colour on a blank canvas. A Different Kind of Fix is the bands third album from London’s Bombay Bicycle Club, following the critically acclaimed indie of debut I Had the Blues But I Shook them Loose and the Ivor Novello-nominated sparse folk of Flaws. Recorded in Hamburg, London and Atlanta, A Different Kind of Fix sees the guitars firmly plugged back in for album number three, but added to the mix are synths, sampled loops, layered vocals from all four band members and washes of reverb throughout.
Production-wise, the album reunites BBC with Jim Abbiss–who produced their debut–and also introduces them to Ben Allen (noted for his work with Animal Collective) whilst lead singer, Jack Steadman co-produces throughout. The album Includes first single, “Shuffle”, “How Can You Swallow So Much Sleep” and “Take The Right One”. Towards the end of the song you have the magical call and response of “you gave to me all I know / I will stay here, I will not go’ where Jack lights up the crowd and everything feels perfect. Some may disagree with this choice to make this their best album, but from back to front it’s pretty flawless listen.
So Long, See You Tomorrow (2014)
When this album was released it was 3 years since we heard from the band, so when the release came around it was a major deal. The record saw the band adjust their style slightly, introducing much more musical elements into the songs, operating at one of the highest peaks of their powers. ‘Luna’ was released prior to the record, and I remember it receiving mixed reviews – me included. Yet, when the album was released it was all okay.
The usage of dual vocals and harmonies were beautiful throughout the album, with some perfect vocal contrasted performances on ‘Home by now’, ‘Luna’ and ‘Eyes Off You’. This was released at great time for me, which is probably why it ranks so high, but from start to finish I can semi-confidently say I know all the words and reflects some very special moments . It might seem odd to describe Bombay Bicycle Club as veterans given that nobody in the band is older than 24, but this is their fourth album, which is something of a landmark achievement in today’s blink-and-you’ll-miss-them climate. The Bombay Bicycle Club story is something that isn’t meant to happen any more – a band given the space by their label, Island, to evolve with each release. The album was produced by Jack in the band’s studio in London, making it their most personal record to date. There was always purpose from the beginning to bring everything together for this album, to tell a story from the first track through to the finale with everything interconnecting as a complete body of work.CD – Limited digipack.180 Gram Gatefold vinyl.Boxset – Digipack version of the album on CD, Heavyweight 12″ vinyl, exclusive box-set only 7″, 12×12″ 24-page song and story book.
Everything Else Has Gone Wrong (2020)
From the announcement of the album in late 2019, I already expected a lot and it delivered on most fronts. With some stand out songs like ‘Eat Sleep Wake (nothing but you)’ and ‘Everything Else Has Gone Wrong’ it really defines the sound of the album, as Bombay deviate slightly from their previous record. Yet, there’s a lack of consistency throughout the tracks with some not really hitting, making it feel a little loose. Perhaps this is due to me not having much time with it, but from an early perspective I get the feeling these tracks won’t grow on me as much as their predecessors did. Everything Else Has Gone Wrong is the eagerly anticipated follow-up to the British band’s acclaimed number 1 charting, Mercury Music Prize nominated fourth album, So Long, See You Tomorrow released back in 2014.
The new album was largely recorded out in the US alongside Grammy Award winning producer John Congleton (St. Vincent / Sharon Van Etten / War on Drugs). It features the band’s euphoric new single, “Eat, Sleep, Wake (Nothing But You)”.
Speaking of the record’s title, vocalist/guitarist Jack Steadman explains: “This is an album for anyone who’s ever turned to music in a time of need. It’s about the solace one can get from listening to music or playing music. For me personally it’s about the frustration of not being able to express myself to others, of leaving conversations feeling dissatisfied and misunderstood. Music’s the way I’m able to truly express myself”.
Bombay Bicycle Club have continued to grow, develop and evolve since the release of their debut album, I Had The Blues But I Shook Them Loose, back in 2009 when they signalled their arrival as young teenagers. Rarely in recent years has there been a British guitar band who have the craft and ability to avoid categorisation whilst uniting hundreds of thousands of fans across the globe. With an innate ear for melody and invention, the four-piece are a very welcome return to the fold just as British guitar music makes a timely renaissance.
Overall BBC’s world is at high standard whichever album you choose to listen to.
The Killers‘ sixth studio album will be called “Imploding The Mirage” The ten track album will features contributions from the likes of Lindsey Buckingham, k.d. lang, Weyes Blood and Adam Granduciel (from The War on Drugs) the newest single from their upcoming new album. This one’s called “My Own Soul’s Warning.” The track features and was co-produced by Foxygen’sJonathan Rado. The new song follows “Caution” and “Fire in Bone.”
you can hear the track ‘Caution’ below (this is the one that Buckingham plays on).
The cover art for “My Own Soul’s Warning” features a painting by the artist Thomas Blackshear depicting the Crow Tribe of Indians, who gave the band their blessing to use the painting. “Artists living across the world inspired by our people and way of life, is a total honour and true testament of the knowledge our people share,“ the Crow Tribe said in a statement. “During this unprecedented time due to the COVID-19 Pandemic as well as the injustice of police brutality protests around the world, our people recognise the need to also help keep our spirits positive.”
The Killers originally announced that Imploding the Mirage would arrive in May, but the album has been delayed over “delays in finalizing the album.” They also debuted the new song “Blowback” on CBS This Morning earlier this year. The Killers’ last LP was 2017’s Wonderful Wonderful.
