Archive for the ‘CLASSIC ALBUMS’ Category

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An album of self-discovery and a call to self-realisation Love Is The Currency is epitomised by lead track Cut The Cord,  A song written about Alessi’s own experience, unearthing fear and breaking free, to seek redemption in mu-sic, art and beauty, Cut The Cord motors on a breezy groove with a host of hooks and enchanting vocals.

“The core theme of ‘Love is the Currency’ is our limitless ability to heal one another though music, healthy love, healing frequen-cies and working through previously unprocessed grief.” says Alessi, explaining the driving force of her new album. “With Cut The Cord, I wanted to make a song that could encourage people to save themselves from fear and the grip of toxicity’s many guises.”

Produced by long term Maccabees engineer Jago Jago, and written in large part with Will White (brother of Maccabees’ Felix and Hugo), Alessi describes her new album as a “family affair”, blessed with the care of many friends and brothers. Jago Jago’s brother Memby appears on drums throughout the album, and Felix White – who’s recommendation brought Alessi, Jag and Will together – plays guitar on the single Wives.

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A first taste of her new album released earlier this year, Wives premiered and hinted at an evolution from the folk pop of her early releases, to the more ambitious and abstract palettes of the Cocteau Twins or Charlotte Gains-bourg. From uploading home recordings to Myspace to working with Bright Eyes in Nebraska and touring the U.K. with Jenny Lewis and M.Ward it’s been a long and winding road for Alessi which has no doubt shaped her songs. Her new album is full of very personal tales, self discovery and shared experience, told in a mixture of sonic settings; the California desert, alpine air, ocean sprays and the highland bothies all evoked in unfussy yet expansive production.

A beautifully produced and expertly executed record to excite old fans and new.

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Alessi’s Ark will be Live in-store at Rough Trade Nottingham to perform tracks from her latest album ‘Love is the Currency’, out now on Zooey.

3.00pm Live Performance starts // 3.40pm Signing // FREE ENTRY

NY The Visitor Album artwork

Neil Young will issue, The Visitor, his 39th studio album in December.

The album has been recorded with his current road band Promise of the Real, the group fronted by Willie Nelson’s son Lukas. Young worked with them on 2015’s The Monsanto Years.

The satisfyingly grungy and rather splendid Already Great has been made available for our listening pleasure and surely bodes well for the rest of the album. Another track from the new album, the patriotic anthem Children of Destiny, was issued on 4th July this year. That track was recorded with a 56-piece orchestra at Capitol Studios

Cherry Red Records will follow up this year’s Manchester-centric box set with one that examines the legacy of Liverpool’s scene from 1976 to 1988, a 5-disc, 100-song collection that will feature music by Echo & The Bunnmen, The Teardrop Explodes, Orchestral Manoeuvres in the Dark, A Flock of Seagulls, The Wild Swans, Icicle Works, The La’s and more.

The box set — titled Revolutionary Spirit: The Sound of Liverpool 1976-1988 — is due out in January, and though a full tracklist won’t be revealed until next month, the Facebook page for the collection does include a disc-by-disc list of the featured artists, which you can peruse below.

The label promises the set will include “familiar names, key tracks, unreleased material, demos, rare and obscure releases, artist sleevenotes and unseen imagery.”

It follows this year’s release of the 7-disc Manchester North of England box set, which brought together songs from Joy Divison, New Order, The Stone Roses, Morrissey, The Fall and Oasis from 1977 to 1993.

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The newly shorn Oh Sees waste no time in racing headlong into nightmarish battle with the mighty ORC, and wouldn’t ya know it, they’ve clawed even farther up the ghastly peak last year’s A Weird Exits stormed so satisfyingly. The band is in tour-greased, anvil on a balance beam, gut-pleasingly heavy form, nimbly braining with equal dashes of abandon and menace on this fresh batch of bruisers and brooders, hypnotically stirred into to the cauldron of chaos you’ve come to expect from, ahem, Oh Sees. Fresh blood Paul Quattrone joins Dan Rincon to form a phalanx of interlocking double drums, alternately propelling and fleet footing shifting ground to pinion Dwyer’s cliff-face guitars to the boogie. Tim Hellman keeps it swinging like a battle-axe to the eyebrows.

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The tunes veer towards the violence of their live shows, with a few tasty swerves into other lanes…heavy to lush, groovy to stately…throughout it remains sinister in its swaggering skulk, manic in its fuzz-fried fugues…they hit all the sweet spots the heads foggily remember, and there’s plenty to sweat over if you just hopped into the sauna. Ew. More evil….more complex…more narcotic…more screech….more roar….more whisper…there’s even more Brigid. Less “Thee”, but more of everything else, it’s out on Castle Face Records

Directed and animated by Alex Theodoropulos. “Nite Expo” appears on Orc, by Oh Sees, out on Castle Face Records now.

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They Might Be Giants will release their 15th studio album — the 15-song “rock album” I Like Fun to be released in January, and they will embark on a marathon 50-date U.S. tour that will take the two Johns from coast to coast while on the road from January through April.

The album is due out January. 19th, and is preceded by the single “I Left My Body,” which you can hear below.

They Might Be Giants  co-founders John Linnell and John Flansburgh have been working on the new album for more than a year, delivering what’s being described as “fresh and sonically adventurous” new music. The two songwriters, according to the announcement of the new album, “draw on themes of dread, death, and disappointment and set them to their driving, hyper-melodic music.”

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Faye Webster is quite an established 19-year-old. She’s a folk singer with deep Americana roots (her mom played guitar and fiddle, and her grandfather is a bluegrass artist), and she’s also a noted photographer. Her portraits of fellow Atlanta artists like Lil Yachty and D.R.A.M. are vivid yet understated: Her subjects stare straight at the camera in a sea of bold primary colors and patterns, the distinction between the background and her subjects purposefully blurred.

In the video, Webster reclines with an actual snake around her neck, awkwardly dances ’80’s aerobics style before a red backdrop, and rides the streets of Atlanta in a patterned two piece. “I won that on Ebay,” she says excitedly. Webster’s eclectic fashion sense comes from her second-hand habit. “I travel a lot and when I’m just driving road trips, I stop every time I see a Goodwill,” she explains. “I wear a lot of my mom’s clothes, too.” . Her voice hits a sweet spot somewhere between bluegrass powerhouse Alison Krauss, Natalie Prass, and Tennis’s Alaina Moore, whose light vocals glide across any melody.

When it comes to her future with Awful Records, Webster is excited for artistic growth. “There’s so many artists and I feel like everyone influences each other,” she says. “I think I’ve finally settled into a good spot, but I’m down to try anything.” Watch the official music video for “She Won’t Go Away” by Faye Webster.

“Remember When,” a highlight off her eponymous Awful Records debut, translates her photography’s bright and focused visual principles into sound. The instrumentation is lush, with flourishes of strings and languid guitar filling the silence between Webster’s plainspoken verses. She sounds nostalgic and slightly weary, waxing poetic about lost moments with a potential lover (“I remember every song you wrote me/And how it touched my heart”), ambling over unhurried guitar strums and muffled drums. It’s a photorealistic rumination on a relationship.

American punk band Hüsker Dü’s early music is being remastered from the original analogue tapes, and released on vinyl in a new retrospective called Savage Young Dü.

Experience the punishing sonic origins of a punk icon. Collected here for the first time, and skillfully remastered from original board tapes, demos, and session masters, this collection is an authoritative chronicling of the wellspring and maturation of Grant Hart, Greg Norton and Bob Mould—three St. Paul teenagers who’d go on to become the most heralded trio of the American punk underground. Follow the Hüskers to their earliest gigs in 1979, through extensive road dog touring, and to the start of their partnership with West Coast tastemaker SST in 1983.

This primitive stage in the fabled career of Hüsker Dü is presented as a deluxe box set and packaged with a hardbound book crammed full of never before seen photos, flyers, and a sprawling essay with participation from the band. Spread across four LPs 47 of the 69 songs compiled here are previously unissued. Also included are Statues/Amusement, In A Free Land, Everything Falls Apart, and an alternate recording of the Land Speed Record set.

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Muddy Waters’ album “Electric Mud”, which Chess Records originally released in 1968, has not seen a legitimate domestic vinyl release since 2002, despite its enormous influence on generations of blues rockers. It features members of Rotary Connection as Muddy’s backing band and was very controversial upon its release for its fusion of electric blues with psychedelic elements. The album is now recognized as a forward-thinking classic, sampled extensively and widely admired.

Pre-order the reissue, pressed at the highest quality at Third Man Pressing, now:

Country star Margo Price has always toed the line between diving backward into country music’s canon and ushering an innovative future for the genre. Luckily, she’s able to do both on her don’t-you-dare-call-it-a-slump sophomore release. All American Made. Vocally, she still pays homage to the country fore mothers to whom she’s oft compared, like Dolly Parton and Loretta Lynn. Looking ahead, however, Price expands her musical horizons past the cliché of three-chords and the truth. Her voice sounds stronger, more confident than on her wily, ragged debut, and her backing musicians help build a versatile foundation for her croons and screams.