Archive for the ‘CLASSIC ALBUMS’ Category

In 1993, the BBC documentary series Arena devoted four episodes to “Tales of Rock ‘n’ Roll.” The third of this series focused entirely on the real-life figures in Lou Reed’s most famous song, “Walk on the Wild Side,” collecting footage of and fascinating biographical detail about each superstar sketched in the song’s verses—Holly Woodlawn, Candy Darling, “Little” Joe Dallesandro, Sugar Plum Fairy and Jackie Curtis.

I don’t know how the producers managed to keep Bono out of this documentary, but somehow they were able to limit the show’s interview subjects to people who actually had some business talking about this scene, such as Factory resident Billy Name, photographer Lee Black Childers and Reed/Warhol biographer Victor Bockris. Their perspectives are interesting. For instance, where many sources now identify the Sugar Plum Fairy as Joe Campbell, the former boyfriend of Harvey Milk whose character in My Hustler was called the Sugar Plum Fairy, Billy Name says this is too narrow an interpretation:

If you’re in the world of music or drugs, there is always a Sugar Plum Fairy: the one who delivers, who brings the stuff to you. Now, during this time, from ‘64 to ‘70, there were two individuals I knew who were called the Sugar Plum Fairy, as a nickname. Neither of the individuals who were the Sugar Plum Fairy were important to remember. Their only significance is that they became that character at that point. Lou, in “Walk on the Wild Side,” took poetic license. The Sugar Plum Fairy. The man, like in “Heroin” or “I’m Waiting for the Man” The guy who delivers to you, the Sugar Plum Fairy.

Certainly there are worse ways to spend the holidays than lounging in bed with Holly Woodlawn and Andy Warhol.

The Warhol Superstars were a clique of New York City personalities promoted by Andy Warhol during the 1960s and early 1970s. The Superstars appeared in Warhol’s artworks and accompanied him in his social life. They epitomized Warhol’s famous dictum: “In the future everyone will be famous for fifteen minutes.” The Lôu Rëed song ‘Take A Walk On The Wild Side’ (1972) offers insight into a few of the Warhol Superstars – Holly Woodlawn, Candy Darling, Joe Dallesandro, Jackie Curtis and Joe Campbell (referred to in the song by his nickname Sugar Plum Fairy).

Posse’s “Kismet” as the inaugural release in their Document series! ,
Taking inspiration from the original concept behind the founding of the label’s attempt to document our home city of Omaha through music and art, each release featured in the Document series will comprise of an exclusive 7-inch record featuring unreleased music from various artists outside of the label’s roster and a specially curated zine highlighting the artist’s hometown / music scene.  This Seattle indie rock band had a poet laureate, Posse would since 2010, across two previous albums, the trio chronicled the banality and disappointments of life in their Northwest city with wit and sadness and hilarity. The sound they crafted to accompany their stories  were beautifully spartan; just two guitars and a drum chugging along in a haze. Check out the bands EP “Horse Blanket” it is the band’s final record having decided to call it time up. I really hope we hear somethinhg soon from its members.

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Band Members
Sacha Maxim
Paul Wittmann-Todd,
Jon Salzman
“Saddle Creek started up as a way to spotlight and document what was happening in the music and art community of Omaha, NE. We know there are a lot of great music scenes all around the world that don’t have the spotlight they deserve, so with that in mind we thought creating this series would be a cool and unique way to reference our past while at the same time reaching out to bands that we aren’t currently working with and allowing them to shine a light on the art and music of their own communities. It’s our way to try to capture a band and a city in a specific place at a specific time.”

Anna Tivel’s songwriting crushed me with this album. She has two songs that are absolutely incredible on this album, “Dark Chandelier” and the song “Illinois.” Tivel is adding her name to a legacy of singer songwriters that includes the likes of Bonnie Raitt and Allison Krauss. She’s that good. If you think I’m exaggerating, just listen to this album. Set yourself aside an hour and listen to every song on this track. You will be a believer by halfway through the first song, trust me.

The poetic lyrics carry a ton of weight, speaking for common people. This is not the kind of music that will fly over your heard about life in fast places with fast people. This is complicated music about simple people, deeply satisfying in the truth and the grit and the mire. Tivel’s vocal tone is perfect for the kind of music she sings. She demands your attention.

Small Believer is Anna Tivel’s fourth studio album Its an amazing collection of patchwork stories drawn from conversations with strangers, on the road, in restaurants, bars, and rest stops. Produced by guitar mastermind Austin Nevins (Josh Ritter, Anais Mitchell), the songs float on a raft of electric guitar, pump organ, and sparse bass and drums. ‘Small Believer’ is spacious and honest, a lyric-driven exploration of the things that move within us. Tivel takes great care with every syllable and every story, chipping away until what remains is blindingly true and deeply affecting. This album came out late September on Fluff & Gravy Records.

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The alt-pop band’s new video is a beautiful, “uncomfortable, voyeuristic experience,” the track is taken from their forthcoming New Year’s Eve EP.

Pale Waves new video for ‘My Obsession’, and drenched in gloom, it’s a shadowy visual fitting the song’s plunge into infatuation. The video shows the band’s Heather in the bath with a mannequin – as you do – and to be honest the whole thing is creepy as fuck. “I wanted to create an uncomfortable, voyeuristic experience for the viewer,” she said. “To make them feel they are intruding on a world they shouldn’t be a part of. Ultimately, it is a representation of desperation, loneliness and grief.”

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They’re one of the only bands releasing new music (almost five albums to be exact this year, including Polygondwanaland, with several tracks released in the last several months). “Sketches of Brunswick East” has already made most Top 50 best albums lists of 2017. We could be done here, but we’re not.

After singles “All Is Known,” “Beginner’s Luck” and “Greenhouse Heat Death,” the band have released “The Last Oasis.” Since we only remember things in short spurts here on the internet, “All Is Known” is every guitar riff ever used in rock ‘n’ roll, “Beginner’s Luck” is a smooth, cheeky gambling crooner, “Greenhouse Heat Death” is psych-meets-goth death inside of a greenhouse (this is literally what the song is about) and “The Last Oasis” is low-key and lovely, even upbeat at times, proving that you can lead a horse to water but you cannot make him drink the optical illusion.

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The Citradels are an Anti-psych Industrial Wimp rock band from Melbourne, Australia.
We hope you enjoy what we have worked hard to create.  The Citradels are self-releasing their eighth album, “God Bless”. God Bless is a concept album of sorts. It abstractly explores themes of influence, religion and morality through characters from a small town gradually falling out of touch with its surrounds.

Recorded, mixed and mastered by the band from mid 2016 to early 2017, the album is a progression of the sound that the Citradels have developed since their inception five years ago. God Bless is a honing of the 60’s pop writing treated with elements ranging from doo-wop to dream pop, krautrock to country and Gregorian chant to shoegaze. The early Citradel’s sound remains but has been refined and God Bless represents a maturing of the creative concept.

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How to follow a debut album about cancer, which established your band as one of Australia’s most important? By crafting a near-80 minute opus split into three parts, each separated by grand orchestral interludes that take their titles from the psychoanalytic concepts of French psychoanalyst and psychiatrist Jacques Lacan, that’s how. Frontman and songwriter David Le’aupepe has never been one to shy away from the grandiose, and so it is that Gangs’ second album wears its heart well and truly on its sleeve, moving from the widescreen Springsteen-esque storytelling of opener “Fear and Trembling” to the dense, string-laden ruminations of “Achilles Come Down” and the heartbreaking “Persevere”. It’s the ARIA Album of the Year for a reason.

Go Farther In Lightness deserves to be ranked with the very finest rock albums of 2017, no matter the country. Released in August — in the midst of ho-hum duds by North American arena-rock acts such as Arcade Fire and Foo Fighters  Go Farther In Lightness stands as one of the year’s most exhilarating “big” guitar-rock albums, delivering anthem after heart-busting anthem with a potent combination of instrumental muscle, lyrical insight, and Le’aupepe’s impassioned vocals.

Go Farther In Lightness extends beyond just the expansive tracklist, which clocks in at nearly 80 minutes over 16 songs. It is also baked directly into Gang Of Youth’s aesthetic, which balances furiously uplifting basement-show ragers like “What Can I Do If A Fire Goes Out?,” one of the year’s best and most immediate rock singles, with orchestral flourishes like “Achilles Comes Down,” a stunning “Eleanor Rigby”-style ballad scored for a string quartet by Le’aupepe himself.

The grand music suits Le’aupepe’s sweeping lyrics, which weigh heavy philosophical questions about the meaning of life, death, and conservative icon Ayn Rand, whom he despises, among other topics. When asked about the influences on Go Farther In Lightness in a recent interview, Le’aupepe listed a virtual syllabus: Martin Heidegger’s Being And Time, The Unbearable Lightness Of Being by Milan Kundera, lots of Nietzsche.

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Holly Throsby’s “After a Time” tour kicked off in Katoomba at the Clarendon  Also just commencing a large tour is the support Shining Bird, Holly Throsby is a songwriter, musician and novelist from Sydney, Australia. She has released four critically acclaimed solo albums, a collection of original children’s songs, and an album as part of the band, Seeker Lover Keeper (with Sarah Blasko and Sally Seltmann).

This cracking  album release “After A Time” which was released this year. The title was fitting, the album arriving six long years after it’s predecessor Team. Plus a stunning duet with Mark Kozelek on “What Do You Say?” is but one of the album’s many blissful treasures.

Rich with emotional insight, touched by grace and buoyed by trust, it sounds and reads, and most importantly feels, like just what she needed to do and what we needed to have.
“Even though After A Time has much more of a full-band energy than Throsby’s previous releases Team and A Loud Call, there’s a peacefulness to this album. It feels raw, honest and is easy to get lost in… Some critics have been calling this Throsby’s strongest album yet, and they might just be right.

Dear Milk! Records followers and fans,
To thank you for another year of supporting what we do, we’d like to give you a free compilation of some of the songs we’ve released in 2017 from Courtney Barnett, Jen Cloher, Jade Imagine and many more.

Happy 2017 everyone, we love ya XO

Jen Cloher – Strong Woman -from Jen Cloher “Self-Titled” 2017
Hachiku – Moonface – from Hachiku “Self-Titled” 2017
Courtney Barnett – How To Boil An Egg – from “Split Singles Club” 2017  www.splitsingles.club
Jade Imagine – Tell Her She’s Dreamin’ – from Jade Imagine “What The Fuck Was I Thinking” 2017
The Finks – Good Intentions – from The Finks “Middling” 2016
Loose Tooth – Everything Changes – from Loose Tooth “Saturn Returns” 2016
East Brunswick All Girls Choir – 14 Clay Gully Court – from East Brunswick All Girls Choir “Seven Drummers” 2014
Fraser A. Gorman – Blossom & Snow -from Fraser A. Gorman “Slow Gum” 2015
Ouch My Face – The Hammer – from Ouch My Face “Bunyip” 2015

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Buffalo three-piece The Tins have come far since their early days in an underground practice space at New York State’s Binghamton University. Praised by the New Musical Express, Magnet, and Paste Magazine and a staple of entrepreneur Sean Parker’s Hipster International Playlist on Spotify, the band melds flecks of art rock, new wave, and post-punk with massively catchy alternative rock foundations. While Modest Mouse producer Joe Blaney helmed their 2012 full-length album, Life’s a Gas, The Tins return to self-production for their latest EP, Young Blame. Young Blame explores themes of movement, says the band: “moving forward, moving on, moving into the unknown, regardless of the consequences.”

Describing the influences behind the song, The Tins suggest “Clearly Not Zen” is, “a song about not getting over the past.  It’s the “what if” apology that you’re too stubborn to make… yet as long as you keep it inside you’re kind of trapped in your thoughts… and you’re clearly not zen”. Featuring the vocal debut of drummer Dave Muntner, musically, “Clearly Not Zen” is a slinky beast, all reverberating bass and bright, meandering guitar flourishes. A fitting way to sign off a triumphant 2017 for the band, many years into their musical careers, The Tins have never sounded better.

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