Archive for the ‘CLASSIC ALBUMS’ Category

Moon Duo announce Occult Architecture Vol. 2 and share video for 'Lost in Light'

Following on from Volume 1 of Moon Duo’s two part psychedelic opus, Occult Architecture, Sanae Yamada and Ripley Johnson announce the release of Volume 2 for May 5th on Sacred Bones.

The announcement comes with a new track and video entitled ‘Lost In Light’, created by Micah Buzan as a counter-reaction to his previous animation for ‘Cold Fear’:

“’Lost In Light’ is the yang to ‘Cold Fear’s yin,” Buzan said of the video. “In ‘Cold Fear’ the aliens ruled the planet in their giant skyscrapers and tortured humanoids. ‘Lost In Light’ continues the story of ‘Cold Fear’ a million years into the future, when the aliens have died off after exhausting the planet’s resources, and nature reclaims the land.

“Huge flowers grow out of the dead humanoids, aliens, and their buildings. Moon Duo emerge from an alien’s head as a flower and rainbow, becoming one with the planet as the sun absorbs everything into oblivion.”

Offering a cosmic glimpse into the hidden patterning embedded in everything, Occult Architecture reflects the harmonious duality of these light and dark energies through the Chinese theory of Yin and Yang. Following the Yin represented on Occult Architecture Vol. 1, Vol. 2 presents the Yang.

“In production we referred to Vol. 1 as the fuzz dungeon, and Vol. 2 as the crystal palace,” guitarist Ripley Johnson explains.

“The darkness of Vol. 1 gave birth to the light of Vol. 2. We had to have both elements in order to complete the cycle. We’re releasing them separately to allow them their own space, and to ensure clarity of vision.

“To that end we also mixed Vol. 2 separately, in the height of Portland summer, focusing on its sonic qualities of lightness, air, and sun. Listeners can ultimately use the two volumes individually or together, depending on circumstance or the desired effect.”

From ‘Occult Architecture Vol. 2’ out May 5th, 2017 on Sacred Bones Records.

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Julia Holter, is preparing to release her new live album “In The Same Room” through the new Domino Documents imprint, has shared a live version of ‘Silhouette’.

Domino Documents, a new string to the bow of the already fledgling label, is an irregular series of live studio recordings designed to capture the ever-evolving arrangements of their artists.

Named after a song from Holter’s 2012 album Ekstasis, In The Same Room is the fruit of two days recording by Julia and her tremendous band at RAK Studios in the days after their main stage performance at Green Man Festival in Wales last year.

They began collaborating after meeting at a barbecue held by Green On Red. Rainy Day recorded and released their eponymous, lone compilation album in 1984. It pays tribute to the various psychedelic and folksy rock acts that paved the way for the starting point of their own bands.

This lovely daydream of an album is one of a kind, and like a dream, it’s frustratingly elusive. It came and went in a blur, and the only place you can find it now is in the shadowy alleys of the internet. All of which seems appropriate, because it feels like a rumor, like a secret gig in a small club that you hear about after the fact and takes on a mythic quality: Did you hear that all these musicians got together the other night and played some of their favorite covers? Participants on the LP include members from various bands that made up the Paisley Underground scene in L.A.: The Bangles, the Dream Syndicate, Rain Parade (David Roback from that band is the album’s producer and creative center), the Three O’Clock, Opal.

All of the songs except one (Alex Chilton’s “Holocaust” , a track from the Third Big Star album ) are from the ’60s: there are two Buffalo Springfield songs written by Neil Young, folk songs that were adapted by the Byrds and the Beach Boys, a section of Pete Townshend’s opus “A Quick One While He’s Away”, and songs by Dylan, the Velvet Underground, and Jimi Hendrix, all emerging through a low-fi haze. It starts with Susanna Hoffs purring Dylan’s “I’ll Keep It With Mine” , ends with a psychedelic excursion on Hendrix’s “Rainy Day Dream Away” , and in between the high spots include Kendra Smith of the Dream Syndicate singing “Flying On The Ground Is Wrong”, Hoffs on Lou Reed’s “I’ll Be Your Mirror” , and Roback’s solo version of “On The Way Home” . The whole Paisley Underground world was a mixed bag, some of it utterly engaging, some too precious and quirky for quirk’s sake, too much mood-making and too few memorable songs. At its best though, it was beautifully textured, a relief from all the slick bombast of ’80s rock. It makes sense that one of the more purely likable albums to come out of that community was this intimate and relaxed psych-folk session that looked back with affection at inspirational bands like the Byrds and Buffalo Springfield, guiding spirits of so much Southern California rock.

Released in October 1982, Joni Mitchell s 11th studio album, Wild Things Run Fast was, for some fans, a return to form. What this often meant in reality was that many such Mitchell enthusiasts had been somewhat perplexed by this remarkable composer and performer s output since 1975, when she introduced jazz and classical influences into her work, and even when such tendencies were included on such towering albums as Hissing Of The Summer Lawns and Hejira , a certain quarter longed still for the days of Big Yellow Taxi, The Circle Game and Woodstock. Nothing wrong, of course, with such majestic and beautiful songs, but to dismiss such a challenging and forward thinking artist s moves does appear to be a little stilted. But, when Joni Mitchell hit the road in early 1983 on one of her longest and widest reaching tours – taking in Europe, Asia and Australia in addition to dates in North America – it seems she was out to please all her fans: the sticklers, the modernists and the-somewhere-in-betweens. In fact so diverse and eclectic were the set-lists on this remarkable tour, they not only took in cuts from her classic years and her brace of mid-1970s challengers , she would often give numbers from her most reviled work (amongst the traditionalists), Mingus , a whirl. But she would always appease those disgruntled by a rendition of God Must Be A Boogie Man with a splendid A Case Of You, a well placed Both Sides Now or an encore of Carey. This superb FM radio broadcast, transmitted live from Joni s show at Tokyo s famous Nippon Budokan, is a fine example of such a show, mixing as it does the old, the new, the borrowed and – while the title track from her 1971 meisterwork is inconveniently absent – cuts from Hissing , Hejira and Mingus are all in evidence. Hopefully, therefore, a fine time was had by all those in attendance. For anyone listening today, a fine time is hereby guaranteed.

Let’s get straight to it, the reason you’re reading this review, you want to know what the sound quality is like. You can see the setlist, you know whether you like the songs, you’re already a fan and are familiar with this particular Joni era, but before you fork out for it. what is the recording quality like? Well, I’m pleased to report it is excellent. There are a lot of these old radio broadcasts floating around now and the sound quality varies from awful to excellent, I’ve been quite taken aback by the sound quality of this one, it is only just short of what you’d expect of an officially released live album, it really is that good. So if you’re holding back wondering whether or not this sounds like it was recorded in a tin can, hold back no,longer this is one of the very best of the plethora of old radio broadcasts that are being released now.

Songs On Joni Mitchell A Woman In The East:

1. Free Man in Paris
2. Edith and the Kingpin
3. You Dream Flat Tires
4. Refugee of the Road
5. You’re So Square
6. For Free
7. Big Yellow Taxi
8. A Case of You
9. God Must Be a Boogie Man
10. Wild Things Run Fast
11. Don’t Interrupt the Sorrow
12. Solid Love
13. Chinese Cafe/Unchained Melody
14. Help Me
15. You Turn Me On I’m A Radio
16. Love
17. Both Sides Now
18. Underneath the Streetlight
19. Woodstock
20. Carey

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It’s been less than a year since the Coathangers, the raucous Atlanta garage-punk veterans, released the album “Nosebleed Weekend” , their last album. And they’ve already announced plans to follow it up with a new EP called Parasite, one that calls back to various different eras in the band’s run. The first song they’ve shared from it is called “Captain’s Dead,” and it’s got a whole lot of energy and a great big chorus hook.

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The Atlanta garage punk ensemble and music faves The Coathangers have announced a new EP and tour, the first track from it “Captain’s Dead”, with its sultry verses, triumphant chorus, and a bombastic freak-out of noisy guitar. Best of all the band are playing some live shows in the UK, including the City of Leicester at the Cookie it seems miracles can still happen.

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Nick Cave fans will be delighted with this morning’s news of a career-spanning boxset.

Lovely Creatures: The Best of Nick Cave and the Bad Seeds 1984 – 2014 will be available in numerous formats, the most exciting of which will feature three discs of material, a two-hour DVD filled with interviews, live footage and other bits, and a 256-page hardcover book featuring essays, photos, and other ephemera. The set was compiled by Nick Cave and Mick Harvey.

“There are some people out there who just don’t know where to start with The Bad Seeds”, Cave wrote in a statement announcing the project. “Others know the catalogue better than I do! This release is designed to be a way into three decades of music making. That’s a lot of songs.

“The songs we have chosen are the ones that have stuck around, for whatever reason. Some songs are those that demand to be played live. Others are lesser songs that are personal favourites of ours. Others are just too big and have too much history to leave out.

“And there are those that didn’t make it, poor things. They are the ones you must discover by yourselves.”

Lovely Creatures: The Best Of Nick Cave & The Bad Seeds 1984 -2014 out 5 May 2017.

Album Premiere: Ha Ha Tonka, 'Heart-Shaped Mountain'

Ha Ha Tonka are an adventurous band from Missouri, opens up its sound with its fifth album, “Heart-Shaped Mountain”. As with its past releases, the band’s gift for clear-eyed, intelligent songwriting proves that they’re still a cut above other bands that fuse indie with Americana, while remaining beholden to neither style. A song like “Favor” could fit in as a campfire singalong, “Going That Way” takes on a careening momentum as she comes around the mountain, while a somewhat left field song like “Land Beyond” seems to take its cues from somewhere else entirely, The album is out March 10th on Bloodshot Records.

Over their history, Ha Ha Tonka has recorded four critically acclaimed albums, toured the world, played Lollapalooza and Austin City Limits, and appeared on Anthony Bourdain’s No Reservations. Through it all, these Ozarks natives have made friends, found love, started familes, and grown and matured together.

Heart-Shaped Mountain is a reflection of that development and maturity. Once aptly summed as “Indie-Americana, where Alabama meets Arcade Fire, ” Ha Ha Tonka has expanded their sonic palette, unveiling balanced, sublime, pop radio accessible heights and an emotionally broader, post-punk songwriting range, a la Apache Relay or a less enigmatic Jonsi, while keeping their trademark harmonizing vocals, jangly Southern revelry and crunchy hooks fully in tact. At it’s core, Heart-Shaped Mountain is an album about love and growth. At a time when divisiveness fills the headlines, Ha Ha Tonka is fighting the good fight, building narrative-tributes to friends and loved ones, memories past and prospects of the future.

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please  check out their previous albums , such a good band .

CD - The Hook Up - All 5 CDs

Band Members

Brett Anderson -guitar, mandolin and vocals
James Cleare – absolutely everything
Lucas Long – bass & vocals
Mike Reilly – drums & vocals
Brian Roberts – guitar & vocals

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Reuniting in 2003 for the Coachella Music Festival, the Stooges became an active touring unit again. But it would take a few more years before they ventured back into the studio to complete a full-length effort, manifesting itself in The Weirdness, which came out March 6th, 2007.

Three-quarters of the original band was on board, with frontman Iggy Pop joined by guitarist Ron Asheton, his brother Scott Asheton on drums and ex Minuteman bass player Mike Watt replacing Dave Alexander, who died in 1975. It was their first LP together in 34 years, though they had contributed four songs to Pop’s guest-heavy 2003 solo opus Skull Ring. Recorded at Steve Albini’s Electrical Audio Studios in Chicago, The Weirdness was technically the follow-up to 1973’s proto-punk masterpiece of “Raw Power” .

“I think the big change in the dynamic would be I’ve learned to delegate more,” Pop said shortly after the release of The Weirdness. “I’m not micromanaging as much as I did. The drummer has learned he has the ultimate authority in this group. He sails the ship. Neither Ron or myself will sound like much without that guy backing it up and the same would be true in a street brawl. He has that authority, and he is one of these soft-spoken people who people do listen to when he opens his mouth. He’s kept the group sensible, and he’s been a little more active in the group.”

It may be for that reason alone that The Weirdness isn’t more uneven. Scott Asheton takes the lead and holds it down from the outset, evident on the lead single, “My Idea of Fun.” He’s undeniably driving the Stooges tank, and everyone else follows his cues. Check the rowdy “ATM” or “The End of Christianity,” where even his older brother lets him show the way. That’s not to say Ron isn’t ripping solos left and right; he does a call-and-response with Pop during “Mexican Guy” that’s on fire, and his leads on “Free & Freaking” and album closer “I’m Fried” are dirty and raw. The Weirdness would end up being the finale for Ron, who died less than two years after its release.

Tracklist

1. Trollin’- 0:00
2. You Can’t Have Friends- 3:06
3. ATM- 5:28
4. My Idea Of Fun- 8:43
5. The Weirdness- 12:00
6. Free & Freaky- 15:45
7. Greedy Awful People- 18:29
8. She Took My Money- 20:36
9. End Of Christianity- 24:25
10. Mexican Guy- 28:45
11. Passing Cloud- 32:14
12. I’m Fried- 36:18

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Were Cream really to blame for ushering in the era of unchecked musical overindulgence? And is overindulgence necessarily so heinous? We only ask because, 51 years after the release of their debut album, it’s still the soft option to equate extended jams . It’s a fair point: but the dangerously unstable chemical compound that momentarily bound Jack Bruce, Ginger Baker and Eric Clapton together – star-crossed lovers in a hellbound ménage a trois – produced some startling fireworks before inevitably consuming itself.

December 1966’s Fresh Cream, reappearing here in mono and stereo iterations, and with several unreleased tracks among its booty of alternative versions, outtakes and radio sessions, maintains an edgy entente. Dreaming,“NSU” and the contemporaneous single “I Feel Free” demonstrate the trio’s little-remarked facility for hard pop, while their bewildering opening gambit, “Wrapping Paper”, only makes sense in the context of a long-vanished world wherein Winchester Cathedral could be a breakout hit.

Mindful of their blues-rock billing, Cream also break out a series of torrid R&B homages (Rollin’ And Tumblin’, Cat’s Squirrel, I’m So Glad): but Clapton became daring when Bruce and Baker loosened his purist girdle. The long lunar note that fanfares his solo on Spoonful – a delirious C# over E  is as close to soundgasm as white-boy blues ever got. As you can see from the image above, this comes packaged in a large format book, no doubt with plenty of rare photos and liner notes. Four-disc set to feature outtakes, BBC sessions, Blu-ray audio version of debut LP .Cream, the trio of Eric Clapton, Jack Bruce and Ginger Baker, would release three more albums after Fresh Cream – Disraeli Gears, Wheels of Fire and Goodbye – before splitting up. Bruce embarked on a solo career while Clapton and Baker joined Blind Faith, though over the next several decades all three would partake in an array of different musical projects.

If you’ve have heard any of the songs from “A Crow Looked at Me” already, you’ll know that this is almost certainly the most heartbreaking, harrowing, beautiful album that will be released this year (and quite possibly any other year.) It’s about the loss of Mount Eerie main man Phil Elverum’s wife Geneviève, who died last year of pancreatic cancer, and the long, empty days that followed. Elverum explained the choice to release these songs in a long statement , which concludes thus: “There is an echo of Geneviève that still rings, a reminder of the love and infinity beneath all of this obliteration. That’s why.”

WRITTEN AND RECORDED
August 31st to Dec. 6th, 2016 in the same room where Geneviève died, using mostly her instruments, her guitar, her bass, her pick, her amp, her old family accordion, writing the words on her paper, looking out the same window.
Why share this much? Why open up like this? Why tell you, stranger, about these personal moments, the devastation and the hanging love? Our little family bubble was so sacred for so long. We carefully held it behind a curtain of privacy when we’d go out and do our art and music selves, too special to share, especially in our hyper-shared imbalanced times. Then we had a baby and this barrier felt even more important. (I still don’t want to tell you our daughter’s name.) Then in May 2015 they told us Geneviève had a surprise bad cancer, advanced pancreatic, and the ground opened up. What matters now? we thought. Then on July 9th 2016 she died at home and I belonged to nobody anymore. My internal moments felt like public property. The idea that I could have a self or personal preferences or songs eroded down into an absurd old idea leftover from a more self-indulgent time before I was a hospital-driver, a caregiver, a child-raiser, a griever. I am open now, and these songs poured out quickly in the fall, watching the days grey over and watching the neighbors across the alley tear down and rebuild their house. I make these songs and put them out into the world just to multiply my voice saying that I love her. I want it known.
“Death Is Real” could be the name of this album. These cold mechanics of sickness and loss are real and inescapable, and can bring an alienating, detached sharpness. But it is not the thing I want to remember. A crow did look at me. There is an echo of Geneviève that still rings, a reminder of the love and infinity beneath all of this obliteration. That’s why.