Archive for the ‘CLASSIC ALBUMS’ Category

Primal Scream (Credit: Neil Cooper)

Primal Scream are to release the original ‘Memphis Recordings’ that eventually became their 1994 album Give Out But Don’t Give Upas a 2CD or 2LP vinyl set.

Give Out But Don’t Give Up: The Original Memphis Recordings is a document of the sessions with Tom Dowd and the Muscle Shoals rhythm section (David Hood (bass) and Roger Hawkins (drums)). These took place at Ardent Studios in Memphis and these sessions are said to showcase a more ‘country soul/rock ‘n’ roll’ side to the band. These recordings were apparently found in Andrew Innes’ basement.

“I felt we went down there with such good intent, but somehow we lost our way afterwards,” Bobby Gillespie admits. “There’s definitely a lesson to be learned about how creativity can go down the wrong track.”

“We’re a band that constantly keeps moving and doesn’t look back, but, for years, I felt bad about us going to Memphis and not doing what we set out to do. Hearing these songs after all this time has made everything all right again. I feel redeemed.”

The nine tracks “run the gamut between blues, gospel and brilliant songwriting” and are released over four sides of vinyl. The 2CD version is even better since you get a bonus disc with 15 additional variations (rehearsals, monitor mixes, jams etc.).

Give Out But Don’t Give Up: The Original Memphis Recordings will be released on 12th October 2018. There are some signed options at the band’s store. This is great news. Even as a big admirer of the Scream since their second album I never really ‘got’ “Give Out..”. Despite moments of absolute brilliance it never seemed, to my ears at least, to hang together as a coherent whole. So I’m genuinely excited at the chance to hear these sessions.

Decamping to the deep South, Primal Scream attempted to record with producer Tom Dowd and the Muscle Shoals rhythm section.

On their return, however, the band decided that the results simply weren’t good enough, bringing on board producer George Drakoulias for a hasty re-editing process. Instrumental parts were re-recorded,

‘Give Out But Don’t Give Up: The Original Memphis Recordings’ brings these recordings together, containing two full discs of unreleased material.

Masana Temples

The shifting dimensions of Masana Temples, is the fourth album from psychedelic explorers Kikagaku Moyo,are informed by various experiences the band had with traveling through life together, ranging from the months spent on tour to making a pilgrimage to Lisbon to record the album with jazz musician Bruno Pernadas.

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The band sought out Pernadas both out of admiration for his music and in an intentional move to work with a producer who came from a wildly different background. with Masana Temples, the band wanted to challenge their own concepts of what psychedelic music could be. elements of both the attentive folk and wild-¬‐eyed rocking sides of the band are still intact throughout, but they’re sharper and more defined. more than the literal interpretation of being on a journey, the album’s always changing sonic panorama reflects the spiritual connection of the band moving through this all together. life for a traveling band is a series of constant metamorphoses, with languages, cultures, climates and vibes changing with each new town. the only constant for Kikagaku moyo throughout their travels were the five band members always together moving through it all, but each of them taking everything in from very different perspectives. inspecting the harmonies and disparities between these perspectives, the group reflects the emotional impact of their nomadic paths. the music is the product of time spent in motion and all of the bending mindsets that come with it.

Kikagaku Moyo

 

Hater - Siesta

Hater have a new album ‘Siesta’ due out 28th September and another New single ‘Fall Off’ . Sweden’s Hater know how to sprinkle in the right amount of melancholy. The indie quartet wowed us last year with their debut LP, You Tried. It was a triumph of fuzzed out dream-pop, it earned them a spot on our Best New Bands of 2017 list. While Hater’s songs are typically filled with infectious riffs and easy-going melodies, Caroline Landahl’s bittersweet vocal delivery always keeps things rough around the edges. There’s pain between the soft glow of warm guitar tones and rosy harmonies.

Thet are one of the best, most underappreciated bands “Fall Off” finds Hater at their most softly devastating, wistful and full of hope, and it’s one of our favorite tracks from the group’s beautiful new LP Siesta” .

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I heard their earlier hazy single “It’s So Easy,” which is less gloomy, thanks to some sparkly synth work and crisp production. Even so, Hater maintain their laid-back sound with bright, jangly hooks and characteristically excellent guitar work that reminds me ’80s jangle pop bands like the Feelies or even the college rock sound of early R.E.M. records. Via email, the band explained, “Sometimes one can feel that everything’s fine without really being in touch with your own feelings. It’s so easy is about seeing a close friend ignoring such things.”

“It’s So Easy” is one or two new singles we’re hearing from Hater’s upcoming album, Siesta. Like the title would suggest, the song is nothing short of easy listening, the perfect complement to a summer drive at golden hour — or, nodding to the album title, an afternoon nap after spending your morning at the beach.

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The other new track, “I Wish I Gave You More Time Because I Love You,” serves as the B-side and also directly follows “It’s So Easy” it on the Siesta tracklist. The band calls it “a beautiful song which includes a magnificent saxophone played by Inge Petersson Lindbäck.” They add, “It’s about the strong bonds you can have with a family member, being together, but still not. Also there’s some congas in there somewhere.

boygenius packshot.jpg

The good people at Matador Records have finally pulled back the curtain on their new supergroup made up of songwriters Lucy Dacus, Julien Baker and Phoebe Bridgers. The all-star trio’s self-titled, six-track EP Boygenius is coming out on November. 9th via Matador, but you can hear the project’s first three singles now.

Dacus, Baker and Bridgers’ mysterious and much-anticipated team-up first made waves in early August when Bridgers confirmed its existence at an NPR Music event. Soon after, a media outlet received a photo of the group, accompanied only by the word “boygenius” and the Matador logo. We now know that to be the name of both the trio and their forthcoming release, previewed via lead singles “Me & My Dog,” “Bite The Hand” and “Stay Down.”

Bridgers takes point on the affectionate, yet anxiety-ridden “Me & My Dog,” singing over steady electric guitar strums, “I had a fever / until I met you / Now you make me cool / but sometimes I still do / something embarrassing,” her gossamer vocals giving way to delicate banjo notes and droning synths. Baker’s voice bolsters Bridgers’ as the chorus-less song crescendos, pushing through the fears that obstruct desire. “I dream about it and I wake up from it,” the duo conclude, their voices drowned out by a rising tide of reverb.

Second single “Bite The Hand” is Dacus’ chance to shine, an unflinching declaration of independence that would have fit right in on Historian. What sets it apart from her solo work, however, is its choruses, on which Dacus, Baker and Bridgers harmonize to drop-dead gorgeous and increasingly powerful effect, warning an unwanted partner, “I can’t love you how you want me to.” The song closes on their voices, with nothing but bare conviction against the silence.

The devastating “Stay Down,” meanwhile, is all Baker, her trademark reverb-steeped guitars and emotive vocals expanded upon with scattershot percussion and moving strings. Her lyrics are shot through with heart-rending resignation: “I wasn’t a fighter till somebody told me / I had better learn to lean into the punch / so it don’t hurt as bad when they leave / There you were, turning your cheek,” Baker begins, later demanding, “Push me down into the water like a sinner, roll me under / and I’ll never come up again / I’ll just stay down.” Fuck us up, boygenius.

 

Dacus, Baker and Bridgers head out on tour together this November, though they won’t do so as a trio—rather, they’ll each be performing their own solo sets. But who knows? Judging by the unpredictable way in which their boygenius team-up has come to light, perhaps the collaborators will see their way to delivering some surprises live, as well.

Julien Baker, Phoebe Bridgers, and Lucy Dacus formed Boygenius after booking a tour together, but the trio had subconsciously been in the works for longer than that. Through a series of tours and performances together, and chance encounters that led to friendships – including Bridgers’ and Dacus’ first in-person meeting backstage at a Philadelphia festival, greenroom hangouts that felt instantly comfortable and compatible, a couple of long email chains and even a secret handshake between Baker and Dacus – the lyrically and musically arresting singer-songwriters and kindred spirits got to know each other on their own terms.

“When we met, Lucy and Phoebe and I were in similar places in our lives and our musical endeavors, but also had similar attitudes toward music that engendered an immediate affinity,” Baker explains. “Lucy and Phoebe are incredibly gifted performers, and I am fans of their art outside of being their friends, but they are also both very wise, discerning and kind people whom I look up to in character as much as in talent.”

Listen to boygenius’ EP “Me & My Dog,” “Bite The Hand” and “Stay Down”.

Listen to Whitney Ballen’s “Rainier,” a missing-you gem

“It’s easy to get down on yourself / When you’re surrounded by people who don’t know what goes on in your head,” Whitney Ballen sings on the title track of her latest LP, You’re A Shooting Star, I’m A Sinking Ship. It’s the irony of existing in a world filtered through social media comparing real life to curated ones, and longing for validation that seems further away with every scroll of the touchscreen.

The album’s twelve tracks are set perfectly in Ballen’s Pacific Northwest, a place collectively pictured in a romantic mist that blots out its everyday banalities. Vocally, the Washingtonian shares space with the likes of Mirah, Laura Stevenson, and Jenny O. Describing her sound, “Imagine Joanna Newsom as a ghost, benevolently haunting a cabin in the woods, and you’ll get an idea… I love it. Her voice is so unique, this whispered sort of knife “It didn’t sound exactly like any one thing I had heard before, but still managed to feel comforting and familiar too. I think it was the many contrasts that drew me in and made me want to share this album with everybody else.”

I’m not from the Pacific Northwest and maybe people rhyme “Mount Rainier” and “wish you were here” all the time, but it knocked me over here, on this beautiful track from Whitney Ballen’s You’re A Shooting Star, I’m A Sinking Ship.

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“Mount Rainier tends to show itself on the days we need it most here, at least for me it does,” Whitney, who’s from Washington, says. “It’s a casual reminder of the things that linger in an ever-changing world. Rainier was the view from an ex’s dining room window (before it was sold for condos), where the housemates would sit and drink crafted coffee most mornings. When things go away friends, mothers, fathers, houses, partners — we find and hold onto memories through the most mundane things. Luckily, Rainier is still here.”

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The album is released on August 24th as a co-release between the storied Father/Daughter Records and exciting new Substitute Scene.

Truth is the debut album by Jeff Beck, released in 1968 released on Columbia Records and in the United States on Epic Records. It introduced the talents of his backing band the Jeff Beck Group, who were specifically Rod Stewart and Ronnie Wood, to a larger audience.

After leaving the Yardbirds in late 1966, Jeff Beck had released three commercial singles, two in 1967 featuring Beck on lead vocals, and one without vocals in 1968. All had been hits on the British singles chart, and all were characterized by songs aimed at the pop chart on the A-side at the request of producer Mickie Most. Harder rock and blues-based numbers were featured on the B-sides, and for music on the album, Beck opted to pursue the latter course.

Recording sessions for the album took place over four days, 14th–15th May and 25th–26th May 1968. Nine eclectic tracks were taken from these sessions, including covers of “Ol’ Man River” by Jerome Kern, the Tudor period melody “Greensleeves”, and Bonnie Dobson’s “Morning Dew”, which had been a 1966 hit single for Tim Rose. Beck acknowledged two giants of Chicago blues in songs by Willie Dixon – Muddy Waters’ “You Shook Me” and Howlin’ Wolf’s “I Ain’t Superstitious”.

The album started with a song from Beck’s old band: “Shapes of Things”. Three originals were credited to “Jeffrey Rod”, a pseudonym for Beck and Stewart, all reworkings of previous blues songs: “Let Me Love You” the song of the same title by Buddy Guy; “Rock My Plimsoul” from “Rock Me Baby” by B.B. King; and “Blues Deluxe” similar to another song by B.B. King, “Gambler’s Blues”.”Plimsoul” had already been recorded for the B-side to the 1967 single “Tallyman”, and the tenth track, an instrumental featuring Jimmy Page, John Paul Jones, Keith Moon, and future Beck group pianist Nicky Hopkins, “Beck’s Bolero”, had been edited and remixed for stereo from the earlier B-side to “Hi Ho Silver Lining”. Due to contractual conflicts, Moon had been credited on the original album as “You Know Who”. This album was Rod Stewart’s first-ever album-length lead vocal showcase as an artist, and is regarded, along with ‘Beck-Ola’ as a musical touchstone for hard rockers in the years that followed.

Truth is regarded as a seminal work of heavy metal because of its use of blues toward a hard rock approach.

On 10th October 2006, Legacy Recordings remastered and reissued the album for compact disc with eight bonus tracks. Included were two earlier takes of “You Shook Me” and “Blues Deluxe”, the latter without the overdubbed applause, and the six tracks making up the three singles by Beck. The B-side to the 1968 single “Love Is Blue”, “I’ve Been Drinking”, was another “Jeffrey Rod” special, this time reconfiguring the Johnny Mercer song “Drinking Again”

  • Jeff Beck – electric guitars, acoustic guitar on “Greensleeves”; pedal steel guitar on “Shapes of Things”; bass guitar on “Ol’ Man River”; lead vocals on “Tallyman” and “Hi Ho Silver Lining”,backing vocals on “Let Me Love You”
  • Rod Stewart – lead vocals,
  • Ronnie Wood – bass guitar
  • Micky Waller – drums
  • John Paul Jones – bass guitar on “Hi Ho Silver Lining” and “Beck’s Bolero”; Hammond organ on “Ol’ Man River” and “You Shook Me”; arrangements on “Hi Ho Silver Lining”
  • Nicky Hopkins – piano on “Morning Dew”, “You Shook Me”, “Beck’s Bolero” and “Blues Deluxe”

The Lemon Twigs’ new album, Go To School, is now released on 14th September).

​Go To School is a musical that tells the coming-of-age story of Shane, a pure of heart chimpanzee raised as a human boy.  Conceived by brothers Brian and Michael D’Addario, the 15-track opus was written, recorded, produced and mixed by the pair at their home in Long Island.  Todd Rundgren and D’Addario’s mother Susan Hall play Shane’s parents, with further contributions on the album from Jody Stephens (Big Star) and their father Ronnie D’Addario.
The band will host a Reddit AMA today on the Indieheads sub, head here from 3:30pm EST to join in. They are also confirmed to appear on Jimmy Kimmel Live! on September 4th

‘The Fire’ from The Lemon Twigs‘ new album, ‘Go To School’, out on 24th August.

“Brilliant. A glorious mix of cheerful pop innocence, vaudevillian musical theatre and progressive-rock complexity with a touch of punk attitude thrown in for good measure.”
– The Times (5/5)
“Cherish The Lemon Twigs because they are a rare proposition in today’s conformist pop culture.” – The Independent (4/5)
“Go To School is a blast, a joyous, ridiculous journey that treads a perfect line between silly, funny and heartbreaking.” – Uncut (8/10)
“A once-in-a-generation epic.” – The Line of Best Fit (9/10)
“A rich wall of sound, all intricately arranged orchestration and sublime, multi-layered harmonies, you’re left swooning to a gorgeous swoop of lush instrumentation.” – Q (4/5)
“Brian and Michael D’Addario prove themselves capable of pulling off the preposterous.” Dork (5/5)
“Bright, fast-moving with pysch-pop” – Stereogum
“Playful, addictive” – Consequence of Sound
“A sunny, psych-neighboring tune… exhibits a sort of jangly, jumpy rock, its ties to The Beatles readily discernible” – Paste 

Go To School

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We’ve been fans of Caroline Lazar’s around these parts since her stunning debut single, “Nevermine”, arrived a year ago on My Little Empire Records. With the small matter of a degree to finish we weren’t sure when we’d next hear from the sometimes Florida, sometimes Miami, based songwriter, thankfully this week the wait was over with the surprise release of her new single Georgia.

The first taste of an upcoming EP, Georgia might just be the most mature and nuanced song Caroline has released to date. Described by Caroline as, “a nostalgic song”, the track floats by with an undeniably wistful edge, chirping insects croak in the distance, as Caroline offers vague snapshots of “cracked lips soaked in red wine” and seems to question her own minds workings as she asks, “why am I thinking of you thinking of someone else?”Musically, Georgia is pitched somewhere between the bedroom pop of Soccer Mommy and 29-era Ryan Adams, as gentle drums, echoing electric guitars and buzzing organs create a sophisticated musical backdrop. A perfectly judged next step from a songwriter so clearly on the rise.

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Written by Reed Gaines and Caroline Lazar

One of the most prolific American psychedelic rock and roll bands are back at it on their 7th LP, the City Slang-released Performance. White Denim are an Austin staple and have come to represent the sound of the city over the years through James Petralli’s sleek guitars, Steve Terebecki’s bass groove and Petralli’s seemingly impossible vocal range. The album’s early singles harken back to the band’s finest material, especially “It Might Get Dark,” a bluesy jam with a flawless melody that is just a flat-out fun endeavor for the ears.

The Austin quartet have long pulled hard at the parameters of rock & roll, admitting garage punk, soul, psychedelia, prog, jazz and blues while holding onto its vital goodtime core. Their up-tempo drive has produced a body of work defined as much by stellar musicianship as off-the-chain exhilaration. Energy and adventurism have always been paramount.

Here are nine songs with clarity and renewed purpose as well as a truckload of attitude. A new studio, new collaborators, and new techniques for writing and recording influenced the elastic possibility and liberation felt throughout.
Theirs is music that aims for the whole body, while equally satisfying the mind. While it has morphed, expanded, and even burst apart, White Denim’s sincere, human drive and ability to spark true exhilaration have been unerring constants of the band’s existence. Ever progressing, never content to camp out on a plateau of their creative accomplishments, there is no other band quite like White Denim – unique in talent and legendarily potent as a live band, they are quite simply a very special band.

It’s safe to say when City Slang releases a record everyone listens, with White Denim now the newest Texan contingent filling the ranks of the German label. Following a longplayer this year from Calexico outta Tucson, White Denim bring the sound of Austin to the label by delivering their ninth long player in ten years. Like the artwork of performance, the music is a colourful montage that brings together saxxy jazz, mellow tropicana and distorted garage to psych rock and pop, with melancholic vocals only adding to its unique cross section of colours. A highlight for us is the ’70s Biker rock of “It Might Get Dark” and finger snappin’, vibrato heavy “Moves On”.

The song is a woozy end-of-summer jam, driven by flanged guitar lines and singer Lillie West’s hazy, submerged vocals. The song is thick with that feeling of being submerged, or perhaps teetering on the edge of being overwhelmed. “You think I’m good, well I’m soil in a sifter,” West sings. “A stone won’t fall through, it just keeps getting thicker.” The track is off their forthcoming sophomore album The Lamb, out September. 28th through Hardly Art Records.

“Water Over Sex” from Lala Lala’s 2018 album The Lamb http://www.hardlyart.com/artists/lala_lala/shop