Archive for the ‘CLASSIC ALBUMS’ Category

The soft cavalry 01

The Soft Cavalry are a new duo featuring Rachel Goswell of legendary ’90s shoegazers Slowdive alongside her husband Steve Clarke. They are releasing their self-titled debut album on July 5th via Bella Union Records. This week they shared another song from the album, “Bulletproof,” via a video for the track. The striking black & white video features the band performing the song via sign language.

Goswell had this to say about the video in a press release: “For a long time now I have wanted to do a video that incorporates BSL (British Sign Language) due to my son being Profoundly Deaf with no hearing. He also has additional needs with CHARGE Syndrome that brings many added complications. I live within two worlds both Hearing and Deaf; and have learned a lot in the last nine years about the many barriers Deaf people can face in our society. One of the main points I was taught very quickly is how music is accessible to Deaf people. Of course music can be felt through vibration but visually I feel so much more could be done to enhance the experience. We made this video with the support of Sign Up BSL to translate ‘Bulletproof’ so that the song flows properly in BSL. Sometimes with signing videos – they can be a literal translation of the words (Sign Supported English) which will make little sense to the Deaf viewer. Our hope is that we have achieved this and also that one day as my son gets older and develops his language skills he will be able to understand this song.”

Previously they shared its first single, “Dive,” Then they have shared a video for “Dive.” Hand Held Cine Club directed the video, which fittingly featured a man contemplating taking a high dive into a public swimming pool.

Of the theme of the album, Clarke says: “It’s recovery versus new doubt. I’m there, in the middle. The word that kept coming back to me was ‘resilience.’ With the right mentality and people around you, especially family, we get through, and find a level of hope.”

Clarke’s brother Michael Clarke produced the album, which also features keyboardist Jesse Chandler (Mercury Rev, Midlake), guitarist Tom Livermore, and drummer Stuart Wilkinson.

Slowdive released a new album, a self-titled affair and their first full-length in 22 years, in 2017 via Dead Oceans.

Clarke has been a musician since the late ’90s, playing bass and singing backup vocals with various bands live and in the studio. But The Soft Cavalry is the first album he’s been in creative control of. He’s also been a tour manager, which is how he met Goswell, managing one of Slowdive’s reunion tours in 2014. He had been divorced since 2011 when he met her.

In a press release Clarke sets the scene for when he first met Goswell: “I was hung-over in the back of my van trying to work out how I was going to fit all the band’s gear into this confined space whilst I still had all of mine from the show that I’d played in London the night before. The second of two sold-out shows at Hammersmith Apollo with David Brent!”

A year later, Clarke and Goswell were living together. They got married in 2018. In the press release Clarke says that Goswell inspired him to focus more on his own music.

“I’d always had ideas but never felt that anything I had to say was worthy of anyone’s attention, let alone my own,” he says. “I wish that I could have done this 15 years ago but, in reality, I simply couldn’t have. But I’m not one to overly wallow. I’d rather plough the various levels of confusion into songs.”.

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Joan Shelley recorded “Coming Down For You” in Iceland. Despite this venture away from her native Kentucky, her love of banjo, guitar and bass still ripples, swirls and flows around Shelley’s voice like a river over well-worn stones. “Coming Down For You” is out now on No Quarter Records.

The Louisville singer-songwriter Joan Shelley makes lovely, warm acoustic folk music. Last year, she released the covers EP “Rivers & Vessels”, taking on songs by people like Nick Drake and Dolly Parton. A few months ago, she shared covers of Frank Sinatra’s “I Would Be In Love (Anyway)” and Kate Wolf’s “Here in California.” And now, she’s back with some more new music of her own.

“Coming Down For You,” her first original song in over two years. She travelled to Reykjavik, Iceland to record it with a whole host of kindred spirits from the folk music scene — Bonnie “Prince” Billy, Nathan Salsburg, and James Elkington — and its cover art features a photograph of her mother.

The song “came to me while I was in motion and I couldn’t write it down,” Shelley says. “I was thinking of the rhythm of animals, of work, and of travel; the rhythm of someone riding into chaos to bring a loved one back out again.”

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“Power,” the title track from Shreveport based rock group Seratones‘ upcoming record, is probably this week’s most aptly-named cut. After two-and-a-half minutes of driving, all-out performances from the entire group, almost everything drops out, leaving vocalist AJ Haynes alone with a tremolo string section, before suddenly diving back into the opening groove, fuller and more powerful than before. Power is out August 23rd on New West Records.

A super-compact jam at just over two minutes, “Gotta Get to Know Ya” is based around a fuzzed-out, punk-funk bassline and Haynes’ versatile vocals, which range from sultry purrs to siren wails. Building on the soul and garage-rock elements of their debut album, Haynes and the Seratones keep the pace by laying down a ridiculously tight groove, sprinkling in some spacey synth effects and live-wire guitar skronk along the way. But it’s clear this is Haynes’ show: “Feel the heat of my fire/I gotta gotta gotta gotta get to get to get to know ya,” she sings, switching from smooth, Lenny Kravitz-style layered harmonies

From the new album ‘POWER,’ available August 23rd

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This week (Sandy) Alex G (aka Philadelphia-based singer/songwriter Alex Giannascoli) announced a new album, “House of Sugar”, and shared a video for its first single, “Gretel.” House of Sugar is due out September 13th via Domino Recordings.

House of Sugar is Giannascoli’s ninth album overall and his third for Domino. It’s the follow-up to 2017’s Rocket. Jacob Portrait, who mixed both Rocket and 2015’s Beach Music, also worked on House of Sugar. Zev Magasis directed the “Gretel” video.  Despite the record’s title, the lead single from (Sandy) Alex G’s House of Sugar opens with striking darkness and bitterness before easing into the sweet. In “Gretel,” (Sandy) Alex G weaves two seemingly disparate talents of his — writing beautiful, melodic refrains and creating strange, unsettling soundscapes — into a captivating, fresh take on the Brothers Grimm.

“Gretel” appears on (Sandy) Alex G’s new album ‘House of Sugar’ – out September 13th, 2019 on Domino Recordings.

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Released in September of 2018, Mother of My Children was the debut album from Black Belt Eagle Scout , the recording project of Katherine Paul. Heralded as a favorite new musician of 2018 by the likes of NPR Music, Stereogum , and Paste , the album was also named as a “Best Rock Album of 2018” by Pitchfork , and garnered further end-of-year praise from FADER , Under The Radar and more.

Arriving just a year after that debut record, At the Party With My Brown Friends is a brand new full-length recording from Black Belt Eagle Scout. Where that first record was a snapshot of loss and landscape and of Katherine Paul’s standing as a radical indigenous gay feminist, this new chapter finds its power in love, desire and friendship.

At the Party With My Brown Friends is a profound and understated forward step. The squalling guitar anthems that shaped its predecessor are replaced by delicate vocals and soft keys, sentiments spoken and unspoken, presenting something shadowy and unsettling; a stirring of the waters. The end result presents a captivating about-face that redefines KP’s beautifully singular artistic vision.

Black Belt Eagle Scout – At the Party from the album “At the Party With My Brown Friends” Out August 30th, 2019!.

Hiss Golden Messenger

Critically acclaimed indie band Hiss Golden Messenger just announced their anticipated new album Terms of Surrender, with a newly released single “I Need A Teacher.” The project led by gifted songwriter and storyteller M.C. Taylor, seamlessly fuses indie, gospel, and Americana sounds, and his catalogue has grown into a deep well of thoughtful, good-time folk to pull from.

“I Need A Teacher” continues this trend, with sharp lyricism, infectious melodies and harmonies, and a driving guitar line that steers the song along. According to a press release, ‘the video was shot during the statewide North Carolina Association of Educators’ Day of Action demonstration and features a glance into the eyes and faces of real teachers, children, and families that illustrate the humanity and what is at stake for our future.’

The new album features guest appearances by Jenny Lewis, Josh Kaufman and Aaron Dessner of The National, and was recorded at Dessner’s famed Long Pond studio in upstate New York.

Terms of Surrender will be released on Merge Records, September 20th,

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British psychedelic pop trio Temples announced a new album, Hot Motion, and shared a video for its title track (also its opening track). Hot Motion is the band’s third album and is due out September 27th via ATO Records (their first for the label).

Hot Motion follows 2014’s debut album, Sun Structures, and 2017’s sophomore album, Volcano. The band now consists of James Bagshaw (lead vocals/guitar), Thomas Walmsley (bass/vocals), and Adam Smith (keyboards/guitar/vocals). The album was recorded in a studio set up in an outbuilding of Bagshaw’s house in the midlands of England.

“We’ve gone from bedroom to living room to a dedicated space. We could all set up in the same room and allow things to play out a lot more like a band. That played a huge part in the sound of the record,” said Walmsley in a press release.

In terms of Hot Motion’s sound, Walmsley had this to say: “It felt like there was a darker edge to what we were coming up with and we wanted to make sure that carried through the whole record. It’s not a 10 track, relentless rock record from start to finish, it’s got a lot of light and shade and more tender moments, but that heavier, darker sound is something we wanted to explore further.”

Of the lyrics, Bagshaw had this to say: “I’m really proud of ‘You’re Either On Something’ lyrically. On that track, I can hear influences of stuff that I listened to when I was growing up. There’s almost a nostalgia to that track, even though it’s very forward-looking. Equally, while the words on [album closer] ‘Monuments’ are a little cryptic, it’s very much about the time we live in. I wouldn’t say it’s a political song but you can’t help but write about the things that are happening.”

Temple’s new studio album ‘Hot Motion‘ is out worldwide on September 27th, 2019.

Whitney (Photo by Olivia Bee).

Whitney have announced their new record “Forever Turned Around”. It’s out August 30th via Secretly Canadian. They’ve also shared “Giving Up” from the LP. Listen below.

Forever Turned Around follows the band’s debut, 2016’s Light Upon the Lake. The new album features production from Brad Cook (Bon Iver, Hand Habits) and Foxygen’s Jonathan Rado (who’s worked with Weyes Blood and Father John Misty). Whitney shared “FTA” earlier this month along with a Josiah Marshall-directed video.

Last year, the Chicago duo shared an album of Light Upon the Lake demo recordings, which included the previously unreleased tracks “You and Me” and a cover of Allen Toussaint’s “Southern Nights.”

Whitney (Julien Ehrlich and Max Kakacek) Forever Turned Aroundis due out August 30th via Secretly Canadian.

Forever Turned Around is Whitney’s second album, the follow-up to 2016’s debut album, this week they also shared a teaser video entitled “FTA,” which we now know stands for Forever Turned Around (the phrase “forever turned around” was repeated towards the end of the video). At one point they reunited with original rhythm guitarist Ziyad Asrar in his basement studio in Chicago, which is where much of Light Upon the Lake came together. Chicago musicians Lia Kohland and OHMME’s Macie Stewart contribute strings to the album.

Whitney’s live band also features keyboardist Malcolm Brow, guitarist Print Chouteau, bassist Josiah Marshall, and trumpeter Will Miller, with Asrar also returning to the live band.

A press release describes Forever Turned Around this way: “On the follow up to their much-beloved debut, 2016’s Light Upon the Lake, Ehrlich and Kakacek grapple with the anxiety and acceptance that time is limited and navigate questions of mortality, doubt, love, and friendship. It’s an album about partnership – romantic, familial, and communal, but most importantly a love in friendship: the bonds between two best friends and creative partners and the joy and stress that comes with it.”

“Giving Up” is described in the press release as “a heart-rending and relatable song about the ups and downs of long-term relationships.”

“Giving Up” from ‘Forever Turned Around’ by Whitney, out 8/30 on Secretly Canadian.

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The Divine Comedy, the orchestral-pop project of Northern Irish singer/songwriter/composer Neil Hannon, has released a new album, “Office Politics”, friday . Only two singles were shared prior to the album’s release and they are not even the most interesting songs on Office Politics, It was very hard to pick a favorite, but we’ve settled on “Philip and Steve’s Furniture Removal Company.” The song imagines a theme for a sitcom about a young Philip Glass and Steve Reich in New York City in the early 1960s, with the iconic minimalist composers running a furniture moving business. It starts with an intro seemingly recorded on Hannon’s phone when he was out and about somewhere, before building to a section that could be considered a musical homage to the composers and then culminating with a male choir.

Previously Hannon shared Office Politics‘ first single, “Queuejumper.” Then this week he shared a video for “Norman and Norma,” the album’s second single (the audio for which was shared last month). The song is about the challenges of keeping the marriage spark alive as you get older and the black & white video illustrated the lyrics while also featuring images of Hannon performing the song on the piano.

The Divine Comedy – Norman and Norma (Official Video) Taken from the album Office Politics Out 7th June

Office Politics is the twelfth Divine Comedy album and the follow-up to 2016’s Foreverland. It’s billed as a double album. The deluxe edition includes Hannon’s original piano demos from the stage adaptation of Swallows and Amazons.

Though it lasted only a few months in 1975 and 1976 and played mostly in tertiary-market venues, Bob Dylan’s Rolling Thunder Revue occupies a mythic place in the history of rock tours. Featuring 148 tracks (more than 100 of those previously unreleased), Bob Dylan’s The Rolling Thunder Review: The 1975 Live Recordings is a foray into the iconic first leg of Dylan’s Rolling Thunder Revue tour. With live rehearsals and dynamic live performances of favorites like “Knockin’ on Heaven’s Door” and “It Ain’t Me Babe,” the album showcases the artistry and poetic lyricism that made Dylan the legend he is today. The live album also accompanies the Martin Scorsese Netflix documentary about Dylan.

Bob Dylan, The Rolling Thunder Revue: The 1975 Live Recordings

The 14-CD disc box set The Rolling Thunder Revue: The 1975 Live Recordings comes out June 7 viaLegacy Recordings.

It was an experiment on a conceptually grand scale to create music on an intimate scale – in spaces far smaller than those Dylan customarily played. It was a wildcat reboot of the rock concert ritual, with shows announced days before they happened, and cameramen darting around to document every smidgen of the (miraculously casual) experience. It involved a caravan of 70 artists including beloved longtime collaborators (Joan Baez), poets (Allen Ginsberg), prophets (Joni Mitchell), a playwright (Sam Shepard) and a former Spider from Mars (the entrancing guitarist Mick Ronson).

Billed as a Revue, the tour featured Dylan as ringmaster-troubadour in mime-style white face paint and a gaucho hat, leading his ad-hoc accidental masterpiece of a band through rousing, irreverent versions of songs from his catalog. These were followed by ferocious dramatic renditions of songs that likely few in his audience knew – yarns like “Joey” and “Isis” from Desire, which was released after the first leg of the tour. Listen to the audience react during any of the unfamiliar selections; it’s clear that Dylan has the whole house with him, they’re following his gestures. And they stay on the train as it swerves and rattles and nearly jumps the tracks.

This 14-disc trove of music from the first leg of Rolling Thunder offers several entire discs of intermittently revealing rehearsal snippets (among them a gorgeous “Tonight I’ll Be Staying Here With You”), full audio from the six shows that were professionally recorded, and another disc of “rare” material, including a cover of Smokey Robinson’s “The Tracks of My Tears.” Coming right behind that is a Netflix-distributed Martin Scorsese film – described in a press release as part documentary, part concert movie, and part “fever dream.” (The film has new interviews, but is built around the 80 hours of footage shot in 1975, some of it seen previously in Dylan’s film Renaldo and Clara.)

Together, the two releases make it possible to undertake a deep binge-dive into a singularly radiant moment of Dylan legend – a time when he took his thoughtful and philosophical songs for wild, impulsive cliff-diving lunges. Just to see what might ring true under experiential scrutiny.

Check Dylan getting breathless and swept up as he recounts the hard life of Hattie Carroll, or tells the story of Rubin “Hurricane” Carter, the boxer who was framed for murder. He tells the stories in sweeping gestures, and the musicians, particularly violinist Scarlet Rivera, respond to his energy with furtive jabs and evasive dancing maneuvers. At a show in Montreal, Dylan ramps up the intensity of the final verse of “Isis” line by blistering line – his voice tightening with each shout in a conversational volley. By the end of the story, Dylan is full-out bellowing, and the band matches his urgency with a deliciously destabilized weather system conjured completely out of guitar chords.

Of course, lots of Dylan tours are remembered for wild, peaking, high-intensity musical moments like these. Few, though, capture the man at stage center working in such an overtly theatrical way. Those who’ve seen him in his taciturn recent years, at shows where he never interacts with his audience, will be surprised by his gregariousness, his openness, his desire to connect. The masks and other visual devices are one thing; he was also singing with precision, in clear and resolute tones. These things suggest he was thinking differently about how to engage listeners, how to involve an audience in a “happening” that held elements of a carnival and elements of a church service.

The lyricist and theater director Jacques Levy, who co-wrote “Isis” and several other songs during this period, believes that Dylan’s embrace of showmanship during Rolling Thunder is related to the material. In Larry “Ratso” Sloman’s book On the Road with Bob Dylan, he observes: “One of the things about [these songs] that’s so wonderful is that they give [Dylan] a chance to do some acting.” That required more than just hamming for the camera – throughout these performances, Dylan pulls the songs apart by putting some of himself in them, phrasing to convey real sensitivity, even vulnerability. He’s expansive, and generous in ways he hasn’t always been since.

It’s folly to speculate on exactly what Bob Dylan’s intentions are for anything – especially something like this tour. In Scorsese’s film, Dylan jokes that the tour “happened so long ago I wasn’t even born.” The tapes, nicely cleaned up for this release, suggest otherwise. He was there. Presiding. Possibly even having fun. Discovering, and then discarding, all kinds of ways to engage innocent bystanders in his grand, abstract, truth-telling tales.