Archive for the ‘CLASSIC ALBUMS’ Category

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Vagabon (aka Lætitia Tamko) released a new self-titled album via Nonesuch. Earlier this week she shared one last pre-release single from the album, “Every Woman,” via a video for the track. Lino Asana directed the video, which features Tamko in a clear bubble house and out in nature.

Tamko had this to say about the song and video in a press release: “‘Every Woman’ is the thesis of my album so I wanted the visuals to represent transparency and to create a world for this thesis statement to live inside of. It’s an ode to all those who feel different and who actively search and fight for space. When I was approached by Cameroonian filmmaker, Lino Asana, I was really, really excited to work with an artist from my country. There was this immediate understanding of one another. So many scenes of this video feel reminiscent of my early life in Cameroon, the chores I would do as a kid, the way we lived simply and humbly. The bubble displayed in this video represents an invitation to find yourself in this world.”

Previously the album was titled All the Women in Me and due out September 27th, but in August Tamko announced that the album title and release date were both changing. Also, the album’s first single was originally titled “Flood Hands” but was then changed simply to “Flood” and another track from the album had a title change from “All the Women” to “Every Woman.” The lyrics for both songs were also changed. This was all because a poet wouldn’t give Tamko her blessing to reference her work in the songs.

“My original album title and two lyrics were inspired by and referenced poetry by a writer I greatly admire, Nayyirah Waheed,” Tamko said in a previous press statement about the changes to her album. “When I learned that she preferred I not quote her words, I made changes out of respect for her wishes.”

Vagabon is Vagabon’s second album, the follow-up to her 2017-released debut Infinite Worlds, and is her first for Nonesuch. Tamko wrote and produced the entire album herself. “Flood Hands” (or “Flood” now) Then she shared another song from the album, “Water Me Down”  as well as a stylish video for the song.

In a previous press release Tamko set the scene for where she was at prior to recording the new album: “I was in a pretty tortured headspace when I returned home from touring Infinite Worlds. That album contained some of the first songs I’d ever written, and more people than I could have ever imagined heard it. I was proud to become a full-time musician and recognized how rare of a thing that is, but was also debilitated by the very same fact. Fear overtook me and I couldn’t write. I felt stagnant and unsure of what to do next.”

Unlike Infinite Worlds, Vagabon has less of a straight up indie rock guitar sound, with more electronic textures. “With this album, I wanted to impress myself,” Tamko said in the previous press release. “I wanted to be curious and I wanted to make big leaps as a producer. All I had access to on the road was my computer and Logic, so naturally I started writing songs electronically with what was at hand.”

Tamko added: “The drums and vocal forward approach I took on [Vagabon] is drawn from my love for rap and hip-hop production as well as R&B and folk storytelling. That’s the music that got me excited about writing again.”

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Foals have had a busy year. They released their new album, Everything Not Saved Will Be Lost — Part 1, back in March, were nominated for the coveted Mercury Prize for it and just unleashed its sister album today, Everything Not Saved Will Be Lost — Part 2. A press release describes their brooding lead single, “Black Bull,” as “a bruising expression of conflicted masculinity & delusions of grandeur.” That certainly comes across during the song’s brisk runtime—it’s a bass-driven and reverb-heavy ripper that’s about as harsh as anything the band have ever done.

Previously Foals had shared Everything Not Saved Will Be Lost – Part 2’s first three singles: “Black Bull” (via a video for the track), “The Runner,” and “Into the Surf” . They also released a remix album, Everything Not Saved Will Be Lost – Part 1: Remixes, featuring Metronomy and others. Then they shared a cinematic video for “The Runner” in which frontman Yannis Philippakis fights his doppelganger. Then they shared an animated an animated video for “Into the Surf.”

Everything Not Saved Will Be Lost – Part 1 was nominated for the Mercury Prize (it didn’t win). Previously Foals shared a cinematic video for Part 1’s first single, “Exits” a video for “On the Luna,” and a lyric video for “Sunday”.

Then once the album was released album track “In Degrees” Then the band shared videos for Part 1’s “White Onions,””Cafe D’Athens,””In Degrees,”and“Sunday.”

The albums are the follow-up to 2015’s What Went Down. Philippakis produced the albums, which were recorded at 123 Studios in Peckham, London with the help of engineer Brett Shaw. The band also features Jimmy Smith (guitar), Jack Bevan (drums), and Edwin Congreave (keys).

In a previous press release Philippakis had this to say about releasing two albums: “They’re two halves of the same locket. They can be listened to and appreciated individually, but fundamentally, they are companion pieces.”

Philippakis said that the albums do address the environmental crisis our planet faces. “There’s a definite idea about the world being no longer habitable in the way that it was,” he said. “A kind of perilousness lack of predictability and a feeling of being overwhelmed by the magnitudes of the problems we face. What’s the response? And what’s the purpose of any response that one individual can have?”

Philippakis added: “Lyrically, there are resonances with what’s going on in the world at the moment. I just feel like, what’s the utility of being a musician these days, if you can’t engage with at least some of this stuff? These songs are white flags, or they’re SOSs, or they’re cries for help… each in a different way.”

New album Everything Not Saved Will Be Lost – Part 2 out 18 October.

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23-year-old Australian ambient artist Tim Bettinson has shared his sophomore album as Vancouver Sleep Clinic, “Onwards to Zion”. “In a purposeful departure from his forays into electronically driven song construction, Bettinson wrote much of the album on a $100 nylon guitar bought at one of Bali’s only music stores,” per a press release. “I’d started getting used to making three-and-half-minute songs with a beat and a hook-but the thing is that I don’t really come from making beats,” Bettinson says. “I used to busk: that’s where I came from. The whole direction of this album changed for me once I realized I wanted to put the focus back on guitar again.”

the official video for “Summer ’09”, the second single off the album ‘Onwards to Zion’ by Vancouver Sleep Clinic.

“First Songs” is the sound of someone discovering their talent in real time—a peak into the collage of a wonderful mind that is absorbing their new surroundings and using new tools to put them into the room. Listening to this collection you can feel the sun coming in through the window—St. Louis on the foot of the bed with a guitar on her knee, finding her voice.

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Despite her last name, Anna St. Louis was born and raised in Kansas City. She grew up a painter and singing in punk bands, eventually leaving her hometown to attend art school in Philadelphia. After graduating she made the move to Los Angeles where she began teaching herself guitar, writing songs and recording them on her own in her bedroom. “First Songs” is the sound of someone discovering their talent in real time – a peak into the collage of a wonderful mind that is absorbing their new surroundings and using new tools to put them into the room. Listening to this collection you can feel the sun coming in through the window – Anna on the foot of the bed with a guitar on her knee, finding her voice. St. Louis wears her influences well – think Patsy Cline singing over John Fahey – but has a style all her own. And while you can take the artist out of the midwest, you can’t take the midwest out of the artist – so let this be known; this is Midwestern music ran through a California filter. I believe Anna will have many more releases in her lifetime, but let it all begin here – First Songs.
released November 3rd, 2017

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Pink Floyd have unearthed the in-concert film that appeared on screens during the band’s performance of “Money” on their 1994 tour, one of the many audiovisual oddities featured in the upcoming box set The Later Years.

The quirky clip is like a Hipgnosis-designed album cover come to life, with a bizarre bartering system, a B-movie grade flying saucer and swimming pools full of money somehow weaving together to issue an allegorical warning about inflation and capitalism.

The “Money” film — one of the many made-for-concert visuals Pink Floyd rolled out during their 1994 trek in support of The Division Bell — features within the 16-disc The Later Years, due out November 29th. The box set is packed with the then-trio’s final studio LPs and live albums, plus rarities, concert films, unreleased music videos, two 7″ singles, a remixed A Momentary Lapse of Reason and more.

Pink Floyd previously shared an “early version” of The Division Bell closer “High Hopes,” which resides among the 13 hours of unreleased material stored in The Later Years.

Live At Hammersmith 1973

Featuring a full live set from Mott The Hoople on double vinyl, Live At Hammersmith 1973 is one of the best live recordings in Mott’s archive. Featuring six tracks on vinyl for the first time including the rare 16 minute ‘Medley’ as a bonus track.

A 2LP set on 180gm vinyl in a gatefold featuring photos from the time, printed inner bags with liner notes written by MtH authority Campbell Devine and an 84x56cm 1973 UK Tour replica poster.

Live at Hammersmith 1973 is probably the best live recording in Mott the Hoople’s archive. The group was riding on the crest of a wave at the time, parading their hit singles “All the Young Dudes” and “Roll Away the Stone“, and promoting their critically acclaimed Top 10 album, “MOTT”.

Mott The Hoople played two shows at the Hammersmith Odeon on 14th December 1973 and the second set became famous in rock folklore when theatre staff and stewards grappled with invading fans, while Mott played on and sought to defy the venue’s “curfew.” The British press raved about “The Battle of Hammersmith” and gave the show front-page headlines including – ‘MOTT RIOT’ and ‘ROCK ’N’ ROLL IS HERE TO STAY’! “Sensational; swashbuckling; pandemonium; punches and imprecations thrown on a crowded stage”

SOUNDS review of the Hoople’s Hammersmith extravaganza certainly helped to encapsulate the atmosphere, adrenaline and aggro attached to one of rock music’s most incredible shows.

Released following acclaimed 2018 and 2019 Mott reunion concerts, this vinyl captures the fire and brimstone of the band’s 1973 show and their battling finale, as they conclude a memorable night with a scorching version of “Walkin’ with a Mountain“. Featuring sparkling renditions of “Sweet Jane“, “Sucker” and Mott’s memorable, fifteen-minute “Deadly Medley”, the passion, the power and the glory are all here – six of the nine cuts appearing on vinyl for the first time.

LP 1 A.1. Jupiter (from `The Planets`) A.2. Drivin` Sister A.3. Sucker A.4. Sweet Jane B.1. Sweet Angeline B.2. Rose B.3. Roll Away The Stone LP 2 C.1. All The Young Dudes C.2. Medley: Jerkin` Crocus, One Of The Boys, Rock And Roll Queen, Get Back, Whole Lotta Shakin` Violence D.1. Walkin` With A Mountain D.2. Medley: Jerkin` Crocus, Sucker, Violence

Conceived and recorded as a form of therapy to help cope with adjusting to life post-college, an ensuing break-up and geographic isolation, Mikal Cronin steps away from the rhythm section of Orange County surf-punk bashers The Moonhearts with his eponymous debut solo LP. Fans can take heart, this isn’t a “vanity project” or half-baked endeavor – Mikal’s 2011 solo debut is fully realized, cohesive and beautiful, with themes that are as personal as they are universal; questioning your future, accepting your past and living in the moment.
Taking influences such as late sixties Del Shannon and The Everly Brothers and filtering them through his own mutant California fuzz, Mikal deftly explores his singer/songwriter side that at moments feels like a punk Harry Nilsson or Curt Boettcher that balances sweet melodies & chords with chunky, psychedelic guitar freak-outs. Don’t let the opening Beach Boys-ian harmonies of “Is It Alright?” fool you into thinking this record can be easily pinned down… with long-time friend & collaborator Ty Segall producing, Eric Bauer running the tape machine and guests like John Dwyer of The Oh-Sees, you can be positive you’re in for something special. Once those guitars kick in, and you hit that first transcendent chorus, you’ll be hooked and anxiously awaiting what comes next.
with special guests:
Ty Segall: drums on 2, 3, 7, 10
Charles Moothart: drums on 4, solo on 3
John Dwyer: flute on 1

“… an album of wistful, psychedelic pop that pits lush and layered arrangements against needle-pinning power chords.” ~Pitchfork

released October 18th, 2019

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U2’s second album, “October”, was released in October 1981. The October Tour ran from August 1981 to August 1982 split across five legs encompassing Europe and North America. This stunning performance broadcast from The Ritz, New York took place on 18th March 1982.

This deluxe vinyl edition is limited to 1000 copies only and is presented with a permanent heavy weight glass clear vinyl cover to provide permanent protection for your priceless album. The deluxe limited edition also includes a unique code that unlocks an amazing suite of digital companions to enhance your enjoyment of the music on the CD. Included here, a free 120 page e-book featuring the definitive guide to the lives and music of U2 – We Will Follow, containing QR codes which accesses a series of companion video podcasts to complement and enhance your enjoyment of the music on the album.

Setlist:

01. Gloria 0:00:00 02. Another Time, Another Place 0:04:50 03. I Threw A Brick Through A Window 0:09:03 04. A Day Without Me 0:13:06 05. An Cat Dubh / Into The Heart 0:16:29 06. Rejoice 0:24:08 07. Happy Birthday Adam / The Cry / The Electric Co. 0:27:50 08. I Fall Down 0:34:26 09. October 0:37:54 10. Tomorrow 0:40:13 11. I Will Follow 0:46:46 12. Twilight 0:50:51 13. Out Of Control 0:55:14 14. Fire 1:00:51 15. 11 O’Clock Tick Tock / Give Peace A Chance 1:04:28 16. The Ocean 1:10:22 17. Southern Man 1:14:49 18. A Celebration 1:20:11

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Weeping Icon deliver feverish and gloomy warnings about the state of society. Their messages are buried under acidic scrawl and booms of noise and smears of black, but they still comes through clearly enough. The songs on their debut album are about how we engage with the world through the lens of our screens and how disengaged that makes us with the actual world around us. The trio aren’t heavy-handed, though; instead, they’re tightly-controlled and cutthroat. They make you think twice about picking up the phone.

Listening to Weeping Icon’s debut album is to enter a dim catacomb of psychical catharsis. Urgent yet calculated riffs rip through a thunderous pummel of percussion, an anomalous blend of punk and psychedelic drumming carries the songs with an atmosphere of organized chaos.. Lyrically they are both serious and sarcastic, trading off vocalists to confront issues central to a generation, dosing listeners with a controlled sense of horror and humor like flavors in a dish.The band’s debut record “Weeping Icon” is a collection of 7 songs that archive the metamorphosis into heavier and more provocative territories. In keeping with their live performance, a sequence of dystopian sound interludes complete the album, serving as guided meditations between the candid subversive fury of the main tracks. Recorded and mixed by Uniform’s Ben Greenberg and mastered by Jonathan Schenke in New York City.

From Weeping Icon’s debut self titled album out in September on Fire Talk Records.

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“Singles Too” is a complete collection of Screaming Females’ non-album recordings, gathering the band’s early 7” singles, digital-only b-sides, rarities, and one pretty great remix. The digital version also gathers six cover songs, including the New Jersey trio’s re-works of songs by Neil Young, Taylor Swift, Sheryl Crow, and Patti Smith.

The tracklist — which is arranged chronologically provides a roadmap of the band’s progress through 15+ years, seven albums, and countless tours. “On the first single we ever put out, there were mistakes that I made playing guitar that make me want to crawl in a hole and die,” says guitarist Marissa Paternoster, recalling the sessions for “Arm Over Arm” and “Zoo of Death.” “At the time I didn’t know I was allowed to say, ‘Can I do that again and correct it? I was 19, giving it my all.”

On Singles Too, you can hear Screaming Females lay it down at Milltown, NJ’s post-apocalyptic recording-on-a-budget one-stop, The Hunt tin roof, flammable mixing board, DIY growlab housed in back of Marshall cab and at posh Los Angeles hit-factory, East West Studios, where they convened with members of Garbage to cover “Because the Night.”

The b-sides included here also capture the breadth of the trio’s creativity, with compelling detours and tangents otherwise unrepresented in their catalog — from Sammus and Moor Mother’s re-work of “End of My Bloodline” to the stripped down demo of Rose Mountain’s “Hopeless.” And it doesn’t hurt that Singles Too is also full of hits, even though they’re other people’s hits, though.

Formed in 2005, Screaming Females are Marissa Paternoster (guitar), Mike Abbate (bass), and Jarrett Dougherty (drums). They have released seven full-length albums and toured across the world.