Archive for the ‘CLASSIC ALBUMS’ Category

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The string-laden, largely acoustic and Nick Drake-esque track Aspects is a taster for Paul Weller’s hotly anticipated 14th solo studio album True Meanings which will be released later this year and from the sound of this track alone, promises to be a truly special release.

Paul said of Aspects; “I don’t know if it’s indicative of the album, but it’s certainly the cornerstone to the record for me. It’s also where I got the title of the album from…”.Today, Friday May 25th, Paul Weller celebrates his 60th birthday and to mark this momentous occasion, Paul has a special treat in store for his fans with the release of a beautiful new tune Aspects.

Mutual Benefit, the songwriting outlet for multi-instrumentalist and producer Jordan Lee, is pleased to announce details of a new album Thunder Follows The Light on September 21st via Transgressive Records.

Commenting on New History, one of the two first tracks to be taken from the album, which features vocals from Johanne Swanson (of Yohuna), he says:

I think people in power benefit greatly from a general lack of historic memory in the US. I’ve been wondering if the first step to imagining a more just world is to study our history better, not just the linear revisionist one that is oft-repeated but all the unsung champions of equal rights as well as the acts of unthinkable cruelty that humans are also capable of.

Following his last outing, 2016’s acclaimed Skip A Sinking Stone, Lee marks his return with a patient and prismatic collection of songs accrued over the past two years. Lee — who grew up in Ohio and is currently based in New York  has crafted pop experiments for almost a decade, blending orchestral instrumentation and ambient electronic sounds. His new album features an array of friends and many returning collaborators.

New History is the album’s truest folk song, with twangy harmonica and slide guitar. Its inspiration came to him while spending time in the economically depressed area of Ohio where his parents grew up.

The other song shared today, Storm Cellar Heart, is an ode to taking shelter and the fraught impulse to hide from the loudness of the outside world. It’s more of a long question than an answer: “Is it storms that help make the heart grow?” Says Lee: “Writing this provided a reminder that while moments of recharging are important, I didn’t want to get too entrenched in escapism instead of the messiness of living.”

He has also confirmed an all-too-rare solo UK show – playing London’s The Lexington this week (May 24th).

Interdependence Day comes late this year – it won’t be until July 20th that it comes down, and we’re celebrating with a new Ty Segall & White Fence album! Ever since 2012, we’ve been asked when there might be another one from this duo – that was how compelling their Hair album was (and is). If you loved Hair, you’ll definitely be jumping for Joy in late July. Given that Tim Presley aka Mr. White Fence‘s – collaboration with Cate Le Bon, Drinks’ 
Hippo Lite, is still cooling on the sill, this is pure bonus, and we dig it for that, just as we feel great for scoring bonus Ty too – but when we do this, we’re really missing the point. Having made one record together already, Ty and Tim know what it’s like to bring themselves into a project like this. In fact, they’re transcended it. This time, they came to collaboration expecting to find themselves there. And darn if they didn’t – in shared space, as one entity. It’s interesting to see them mingled amoebically, and as a result, Joy has a whole new thing about it that takes it far beyond any “Hair 2”. Come July, you’ll know what we mean by this. For now, just get “Good Boy” on repeat – before you know it, Joy will have arrived!

Wurst Nurse

In addition to fronting the jangly indie-punk band Camp Cope (who recently released a great new album), Georgia Maq also fronts the more driving, aggressive punk band Würst Nürse, who just released their debut single “Dedication Doesn’t Pay The Rent.” Georgia’s voice here is even more snarling than it is in Camp Cope, and she sounds great over this kind of dark, beefed-up, minor key punk. It’s the first taste of an upcoming four-track EP, which was recored by Ben David of Georgia’s collaborators The Hard Aches, and that EP will be out at a later date via Damaged Music.

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They no longer count Camp Cope’s Georgia Maq as a member, but the “five-piece nurse punk from Melbourne, Australia” have responded to our present pandemic with a new single. “Needless to say, things have been a bit shit this past year,” they write. “Between dealing with the realities of pandemic nursing we have been chipping away at writing and recording new music and today we are super grateful that we can share this with the world…”

It’s hard to imagine that Juliana Daugherty’s softness and subtlety could materialize amid the tumult of current-day Charlottesville, VA, to analyse their every word for some hint of the planet altering political turmoil that engulfed the city during last year’s riots, but every mode of being continues in the people of Charlottesville, as it does elsewhere, despite the impressions headlines might give. Despite the societal ills that dominate our screens, private struggles still exist, and Daugherty’s debut Light gives them palatable, manageable, and satisfying form.

“I wrote this record partly to strip mental illness of its power,” Daugherty says. She adds, “There is nothing useful or beautiful to be gleaned from the experience of depression.” Though this statement seems contrary to the romantic tone of Light, it’s refreshing to hear an artist speak of their own depression with objectivity, unwilling to be charmed by the gloom. Daugherty wields her songcraft like a sword, not a diary to be buried in a drawer.

As one listens, it becomes clear that Light was not a title chosen despite the gravity of its subject matter– romantic struggle, abject depression, and throbbing vulnerability– but rather in service of it. Light, so to speak, comes when we give shape to what haunts us.

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Listening to Juliana Daugherty though, you’re reminded of something arguably more important, reminded that as world events occur, the everyday lives of people must carry on. Juliana’s debut album, Light, is a reminder that the private struggle remains. That album will arrive at the start of next month, and ahead of its release, this week Juliana has shared the latest offering from it, new single, Baby Teeth.

Discussing the track Juliana has suggested it is, “essentially a breakup song”, only presented with the clarity of time and distance, it serves largely as a chance to, “get the final word in”. Juliana’s background may be classical music, on Baby Teeth though, any sense of layering and complexity is stripped back, to the rawest, most vital bones. Juliana is, for the most part, accompanied by just a muted, rhythmic guitar, allowing her dancing, pirouetting vocal melodies to shine brightly and beautifully. The wonderful vocal tone is easy to get lost in, yet make no mistake, in the lyrics are some painfully barbed words, as she sings, “when it’s just us two, you fill the room making your righteous pronouncements like someone is counting.” Brutal, beautiful music, a winning combo in our book, Juliana Daughtery is shaping up as one of the year’s most intriguing newcomers.

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From the debut album Light. Available June 1st, 2018 from Western Vinyl.

wooden-shjips

Wooden Shjips’ rise to prominence from the psychedelic underground to the rock and roll overground has been a steady sojourn. With each new release, the band has found new ways of transforming heady psychedelic rock into minimalist masterpieces, bridging the gap between the woozy freeness of Les Rallizes Denudes and Crazy Horse and the simplicity of Suicide and the Velvet Underground

Wooden Shjips, are from the bay-area of San Francisco, the quartet led by Moon Duo’s Ripley Johnson, release their fifth album, V., via the stalwart label Thrill Jockey Records today. As the shadows cast begin to lengthen out here on the east, this new disc’s heavy dose of warm shoegaze psych is a more than welcome companion. Embodying the psychic spectrum of a nighttime desert drive, a lost weekend in the valley of beyond, the band alchemizes atmospheric ripples of ragged glory guitar, sorcerous waves of synth, free jazz skronk, and blissed out boogies. It’s a summer-tinged collection, emitting its freak out transmissions across high noons and blood moons alike

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omni sunset preacher 7 chunklet industries records 2018

Record label Chunklet Industries are on fire, The latest release is from Atlanta garage-pop knee jerkers OMNI and it’s their second single for the label since 2017. It’s a fantastic snapshot of their body of work until now, which also includes two excellent albums to date on Trouble In Mind Records.

What Sunset Preacher brings are two explosively wonky and intricately built jagged-pop gems, cut at obtuse angles and loaded with fractal guitars. Get caught in this tangle and this 3-piece crew will sink its hooks in deep and cleanly with overwhelming finesse. If the guitars don’t getcha the lyrics will, with B-side “Confessional” proving that early and often. “Drinks with your divorce/ feelin’ pleasure and remorse,” spits Philip Frobos – “Steel reinforced/ she was built to stay the course,” he spits again, pairing together a handful of vocal hooks that are downright pleasing.

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However, the spring-loaded bass and guitar combo spearheads their primary attack, delivering this relentlessly crooked sound with the utmost sense of urgency. “Sunset Preacher” displays many sharp angles and twists, provided by Frankie Broyles and his dazzling guitar work. The strings are tight and the reflexes are quick, coming with harsh strumming and finely tuned plucking that masks a glassy rattling hidden in the background. Words don’t really do anything that’s happening on this 7″ piece of vinyl.

Hatchie’s utterly perfect new EP Sugar & Spice might remind you of The Cranberries and Natalie Imbruglia both names are meant as deep compliments. But instead , I’ll go with Cocteau Twins whose Robin Guthrie has already remixed a song from Sugar and The Sundays, but even those fall short in capturing the album’s radiant, sparkling beauty. So let’s forego comparisons altogether and say this instead: that Hatchie  aka Harriette Pillbeam has the kind of graceful knack for pop hooks that artists twice her age would sell their souls for. Step inside her mind; a dreamy landscape where cascading synths, jangling guitars, propulsive rhythms and white noise undulate beneath irresistible pop melodies.

The EP moves from triumph to triumph: in “Sure,” Hatchie’s voice skips through a glistening field of guitars, pausing only to ricochet her voice up and up and up the octave on the chorus. She see-saws up and down, from high register to deep alto, on the verses to the title track, the chorus of which is as sticky-sweet and elastic as pulled taffy. But the runaway winner on an EP full of stunners comes at the end; on “Bad Guy,” Hatchie modulates her voice so it lands somewhere between pained longing and calm resolution, and the way the chorus spills from her lips short, breathless syllable after short, breathless syllable adds to the song’s nervous momentum. That the album runs a short 20 minutes is Sugar & Spice’s only drawback as you want more, but that’s a minor quibble; Hatchie could write an album three times as long, and it would still feel like it was over too soon.

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Released May 25th, 2018

S.O.R.E. is our first true encounter with Leroy Francis, a multi-instrumentalist and known insomniac originally from Sydney, Australia. Considering those facts, the story goes that Francis has spent countless sleepless nights, resulting in a rather large library of self-made tape recordings at home from his bedroom. This new EP includes 6 tracks from those bleary-eyed, wee-morning-hour sessions, and you certainly get that sense while listening.

S.O.R.E. (or Songs On Repeat Every Day) is a dazzling mixture of brooding pop and shredded guitar crunches, all blended together into a swirling, psych-tinged landscape. There’s a cool serving of fizzy electronics stretched through a couple of tracks, lending their sounds perfectly to titles “Intoxicated Dreams” and “Comatose.” “Intoxicated Dreams” is built up with dazed guitar leads and steady electronic percussion. You’ll find Francis using his peculiar voice as a tool in certain moments, adding a sense of depth to songs that would otherwise not be present, citing the interlude in track 3 “For What’s To Come.” During some moments I’m reminded of King Tuff, because of his tone, but because of the way he delivers his voice.

“Carry Me” is constructed with sharp, buzz-saw guitars, with Francis’ gritty vocals soaring through the buzzy atmosphere. “Comatose” has its throbbing basses and icy synth beams. Francis is at his best in the brutally honest “Sleeping Ain’t Easy,” singing a lullaby of sorts with his impeccably breathy and unique tone. His voice falls right into place as the instrumentation flows in like a refreshing wave in an endless ocean. It’s a dreamy affair, with a floating atmosphere that’s streamed with warbled guitars and a buoyant bassline that flows against the grain.

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Released May 17th, 2018

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Ben Howard returns with the single A Boat to an Island On The Wall suggests he’s keen to continue to push the boundaries with sonic envelope moving further away from the troubadour tag of his early days, the track at over seven minutes long is a sprawling hypnotic track It is the first taste of the June release Noonday Dream, Ben performs Towing The Line on Later… with Jools Holland on BBC Two (Recorded 15th May 2018).

The full length LP is his first since 2014’s ‘I Forget Where We Were’, although he did contribute to last summer’s debut from A Blaze Of Feathers. The new record emerges later this year, and was produced by Ben himself in numerous studios between South West France and South West England, including Sawmills.

Ben Howard also performs Nica Libres At Dusk on Later… with Jools Holland on BBC Two (20th May 2018). ‘Nica Libres at Dusk’ is the opening song from Ben’s forthcoming LP ‘Noonday Dream’.

Ben Howard’s first single from his new album- Noonday Dream A Boat To an Island On The Wall

“A Boat To An Island On The Wall” is a sprawling, mesmerising track that shifts restlessly, rocking back and forth like that small boat on the waves, with the familar sound of Howard’s low, gruff vocals.

Tickets for a new Ben Howard tour go on sale on 13th April, and will include shows in Lisbon, Oslo, Berlin and Paris, plus two dates in London, one in Edinburgh, and one in Cornwall at the Eden project, before he and his band perform at several summer festivals including Rock Werchter in Belgium, Mad Cool Festival in Madrid, and Lollapalooza in Berlin.

Ben Howard: Noonday Dream - Exclusive Double LP