Archive for the ‘CLASSIC ALBUMS’ Category

From the makers of the Junkshop Glam genre defining Velvet Tinmine, Glitterbest and Boobs compilations… comes this book ending box set.

60 tracks of the finest slices of JSG in its various guises, as established by collectors around the world over the past decade. Including tracks from the USA, New Zealand, Netherlands, Sweden, Iceland, Australia as well as homegrown UK. Some previously unreleased, many first time on CD.

Themed by arch JSG collector and musician Phil King into three groups; Rock Off! for the heads down boogie sounds; Tubthumpers & Hellraisers for the footstomping hand clapping pop pounders; Elegance & Decadence for the mascara masquerading gender bending weird and wonderful.

The box set sweeps up a colourful array of musical renegades and nomads as they moved and shook the scene, such as: first Juicy Lucy vocalist Ray Moon, ex-New York Dolls Rick Rivets band The Brats, Baby Grande the forerunners of The Church, TV Smith pre-Adverts in Sleaze , Jimmy Edwards a cohort of Jimmy Pursey in Sham 69 in earlier solo mode and, as in house producer of Steve Elgin at Dawn, ex- Spider From Mars Woody Woodmansey, 60’s northern soul chanteuse Glo Macari backed by Slowload who get their own track as produced by Vic Maile, actor Richard Strange as Kid Strange in Doctors of Madness, Angel produced by Mick and Andy from The Sweet. Plus stalwart pop auteurs Jonathan King and Mike Berry.

Some further context comes from inclusion of relevant cuts by Mott The Hoople, Hello, Iggy & The Stooges, Be Bop Deluxe, Third World War.

Three discs in individual wallets, housed in a clam shell box, which also includes a 36 page booklet.

The booklet contains a fascinating and highly-informative 2000 word essay from an authority on the genre – Tony Barber – the bassist with the Buzzcocks.

Cherry Red Records will follow up its recent geographically flavored box sets that focused on Manchester and Liverpool next month with a new five-disc, 115-song collection spotlighting the Scottish independent-music scene between 1977 and 1989.

Titled Big Gold Dreams: A Story of Scottish Independent Music 1977-1989 and due out February. 22nd, the box set will feature music from Simple Minds, The Jesus and Mary Chain, Altered Images, The Skids, Primal Scream, The Waterboys, Cocteau Twins, Aztec Camera, Soup Dragons, The Vaselines and Josef K.

The set — which follows 2017’s Manchester North Of England: A Story Of Independent Music | Greater Manchester 1977-1993 and 2018’s Revolutionary Spirit: The Sound of Liverpool 1976-1988 — will include new essays and band histories by Grant McPhee, Neil Cooper and Tim Barr in a 70-page booklet.

Foals Release First Single from <i>Everything Not Saved Will Be Lost</i>

It’s been four years since Foals put out their last album—2015’s What Went Down and with a string of 2019 dates already announced, the Oxford indie-rock crew is set for a big year. With their label confirming the release of their next album, the band has further hyped the record by sharing footage from the studio on their Instagram story. Their original bassist, Walter Gervers, departed Foals earlier this year, so we’re not sure how that will affect their band dynamic, but in a statement on Twitter, the band assured fans that their next record will be “the best yet.”

Foals have released the lead single from the first of two forthcoming albums, both titled Everything Not Saved Will Be Lost.
The new single, titled “Exits,” will be among the 10 songs of Part 1, set for release on March 8th. With Part 2, containing another 10 songs, is slated for a fall 2019 release. A press release (rather unhelpfully, we might add) describes the albums as “separate but related.”

The video for “Exits” stars Game Of Thrones actor Isaac Hempstead-Wright, and establishes the themes of dread and isolation that will tie Foals’ cohesive new project together.
“There’s a definite idea about the world being no longer habitable in the way that it was,” frontman Yannis Philippakis said of the new single in a statement. “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?”
Everything Not Saved Will Be Lost – Part 1 and 2 are “two halves of the same locket,” Philippakis adds. “They can be listened to and appreciated individually, but fundamentally, they are companion pieces.”

Watch the video for “Exits” . “Everything Not Saved Will Be Lost Part 1” is available to pre-order now:

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The Boston rock veterans of Guster are back after a four-year break with a new album titled Look Alive. The band appears to have been restless in the interim, as this new album incorporates everything from grand, arena-style pop hooks to the whimsical balladry of ‘60s groups like the Kinks.

In case you quit the internet last week, our new album Look Alive comes out on January 18th and you can head on over to www.guster.com this very second to hear a whole third of our new record, check out the full track listing, and pre-order or pre-save how you see fit. The bands 8th studio album is out today. Look Alive is an inspired and fulfilling place to have arrived after 27 years of creativity.

Now, also feast your eyes on the album cover! It was embroidered by a fabulous artist named Nikki Virbitsky.

“Overexcited” is from Guster’s new album, Look Alive, out now on Nettwerk Music Group & Ocho Mule Records.

ATO Records is thrilled to announce Nilüfer Yanya’s debut album “Miss Universe”, due out March 22nd. Nilufer uniquely blends elements of soul and jazz into intimate pop songs with electronic flourishes and a newly expressed grungy guitar sound. Miss Universe was largely recorded in the same remote Penzance studio she used to jam in with her uncle Joe – a former musician himself – and features co-productions with both her former school guitar teacher The Invisible’s Dave Okumu and her live bandmates Jazzi Bobbi and Luke Bower, as well as producers John Congleton and others.

2019 is starting in whirlwind fashion with Nilufer touring throughout February with Sharon Van Etten across North America.

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This is a lovely taster from Rozi Plain’s upcoming new album ‘What a Boost’. Distinctive guitar tones hover and bounce off a rhythmic drum beat in a languid fashion whilst Rozi’s voice is calm and restrained. There is an alluring pattern with the guitar playing and this enables the song to build a subtle but strong foundation to the proceedings. This lets the music breathe and allows the listener to nestle into a happy corner and appreciate the seamless layers this song offers up.

‘Symmetrical’ seems to unearth little and satisfying discoveries with each listen and with this in mind, I cannot see anyone wanting to refrain from the former. To see her put this together on stage at an intimate venue will surely be more than the usual treat!

Catch Rozi Plain at her upcoming UK tour, Her upcoming album could well be amongst the critic’s choices of 2019

Taken from Rozi Plain’s upcoming album “What a Boost”.

 

Ryan Adams Spring Tour 2019

Ryan Adams has announced ambitious plans to release three albums this year. He disseminated the info about two of the albums, called “Big Colors” and “Wednesday”, via some political journalists’ Twitter feeds.

The first of those albums to be released is “Big Colors” — it’s due out in April via Pax-Am/Blue Note/Capitol Records — and he debuted the first song from it on the Philadelphia radio station WXPN. Its choice of premiere locale seems intentional: The song is called “Doylestown Girl,” named after a nearby Pennsylvania town in Bucks County.

Adams announced that he plans on releasing three new albums at some point in 2019, which he’d previously done back in 2005. One of those albums is expected to be titled, Big Colors, and will presumably include a pair of new singles titled “Anybody Evil”, and “Fuck The Rain”. According to some of the posts shared to Adams’ Twitter account earlier this week and again on Thursday, both Mayer and Weir will be making a musical appearance on at least one of those projects.

In a press release, Ryan Adams announced his new track “Fuck The Rain” with the words “Check out this song it’s cool.” Or don’t- we all might the trump is president. I love you, sincerely Ryan Adams.

In a series of tweets posted by Adams, the rock musician informed fans that Mayer provided the solo on “Fuck The Rain”, which is scheduled to arrive on all platforms this coming Wednesday, January 23rd. The confirmation on Thursday comes a day after Adams shared a trio of photographs of himself, Mayer, and Blue Note Records President/Wolf Bros bassist Don Was working together in the studio. Was also accompanied Adams on stage during his brief performance at the Chris Cornell Tribute Concert in Los Angeles on Wednesday. Adams made sure to tag Blue Note Records, along with Capitol Records, in the social posts, leading fans to assume the upcoming projects will arrive through the historic record label.

Earlier Ryan had shared a photo alongside Weir, stating the two were working on a “secret thing” at Adams’ Pax-Am Studios.

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After the colourful detour of Deep Heat (2012), Oh Mercy’s ARIA-winning singer Alexander Gow relocated to the USA, where things didn’t go necessarily as planned. Recorded across three cities, “When We Talk About Love” is rife with homesickness, lovesickness and nods to Gow’s heroes – from Raymond Carver, to Burt Bacharach, the Triffids to the Go-Betweens. Opener “Without You” is expansive and evocative, with sweeping string arrangements and the kind of honest vocal delivery that pours out like an open wound. “I’m always thinking of you with some other guy,” he deadpans. Songs like “I Don’t Really Want To Know” and “Sandy” pull off that great songwriter’s trick of pairing a melancholic lyric with an optimistic melody, but it all comes to a head on Lady Eucalyptus, a lush finger-picked take on Ovid’s Metamorphoses. “My cards are all dealt and done,” he sings like a man who’s burned everything to the ground just to start again.

After the swaggering glam of the Portland-recorded ‘Deep Heat’, Alex Gow holed up in the NSW coast with producer Scott Horscroft to craft a breakup record for the ages. Largely eschewing the characters he filtered his emotional point of view through on the last record, Alex (playing almost every instrument here) marries a lyrical vocabulary tied to the mature pop of the sixties and early 70s (Bacharach/David, Carole King) with a timeless sonic approach that gives his tender melodies room to breath. The vividness of ‘Lady Ecalyptus’ and ‘I Don’t Really Wanna Know’ is devastating, but the album is never a depressing or unpleasant listen, just a collection of great pop tunes.

Exploded View, the international music project of Annika Henderson, Hugo Quezada, and Martin Thulin has returned and taken flight with their second full length, “Obey”. The album was recorded at Hugo’s and Martin’s studios in Mexico City with Annika visiting from Berlin. Leaving behind their raw, live recording process, and embracing overdubs and multi-instrumentalism, the band has crafted their most ambitious work to date. The four-piece that recorded the band’s self-titled debut album and Summer Came Early EP became three to create a more concise collection of songs. Their motivation for creating together remains purely passionate and the improvisational spark the band is known for has morphed into the emotional flames of being close friends with a deep desire to make music with each other.

This passion serves as the main conceptual thread throughout the album and the result is an almost hypnotic dream sequence that lulls the listener into a lucid state. Once in this state you become free to experience all of the classic dream motifs that the band has in store: intrigue, danger, ecstasy, visions that are hard to place but feel primordial, and a constant sense of movement. From the aptly titled opener “Lullaby” the record weaves you through 10 apocalyptic yet soothing songs. By the time you reach the song “Obey,” you are firmly in the band’s palm. And the titular track delivers, bringing you on a hypnotic voyage with a shuffle 3/4 rhythm, where singer Annika Henderson’s voice is caught in a rotating, inescapable rabbit hole tale, accompanied by the high-pitched modular bleeping sounds of the Moog and eerie landscape of the Solina.

When asked about the title of the record, singer Annika said “this is in reference to so many things. We live in a society where we must obey or risk punishment. This can be social punishment, legal punishment, emotional punishment – if you dare to step outside, you will reap the reward. We live in a time when we are self-certifying a lot. Whether it’s how we present ourselves on social media or our diet or our job – we obey the social norms. Our fears are used against us by advertisers. Our fears of growing old or being excluded – we must conform or pay the high price – buy this and you will be accepted. We must obey.” She adds musingly at the end “It’s also funny because in the band we often feel like we are all compromising, so we must all obey each other’s wishes to some extent too.” The meta nature of this sentiment, wanting to break free and also recognizing necessary emotional compromises, is just one of many juxtapositions in this record. The band recognizes that some of the freedoms they advocate for are only attainable in sleep and have thus created this dream state record to help release us all.

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Striking the balance between precise and wild, between unshackled and grounded, grooving and unhinged, has always been Exploded View’s specialty. The have a special knack for making the esoteric feel accessible and crafting pop music out of seemingly raw consciousness. This unique ability to make beautiful music that feels written beyond the veil is at the heart of what makes the band so captivating and powerful, and it’s on full display all over Obey.

released September 28th, 2018

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Based out of New Zealand, Alanna Eileen first emerged back in 2015, with a debut EP, Absence. That was followed two years later by Keepsake, and maintaining the theme of a new EP every two years, is set to return next month with a brand new eight-track offering. Alanna’s new single, Faded Image is the latest taste of Alanna’s recording sessions in America with producer Alan Weatherhead, known for his work with Sparklehore & Magnolia Electric Co. This fledgling partnership already seems to bearing a multitude of fruits; the production bringing out all the twanging, intimate beauty of Alanna’s songwriting.

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Atop a backing of easy-paced drums, piano flourishes and warm glides of slide guitar Alanna’s vocal is given plentiful space to shine. Despite her New Zealand roots, Alanna’s is a classic Americana-vocal, pitched somewhere between Marissa Nadler and Tiny Ruins’ Hollie Fullbrook.  Lyrically, it’s a classic piece of country, all lovelorn longing and subtle questioning of where and why things didn’t quite work out. We find Alanna falling back to the comfort of a lovers arms, but knowing she can’t bare to hear them speak another word. Ultimately though, it’s a song about moving on, or at least trying to, “will I ever have you in my life?”, she repeats, seemingly not only unsure of the answer but also whether that’s a good thing. Faded Image is a beautiful track, in some ways almost old fashioned, classic songwriting, which oddly with so little of it about in the mainstream, now sounds quite fresh and exciting: a quiet triumph.

Thanks FortheRabbits