Archive for the ‘CLASSIC ALBUMS’ Category

SOUNDGARDEN – ” Badmotorfinger ” Reissue

Posted: October 14, 2016 in CLASSIC ALBUMS, MUSIC
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Soundgarden’s Badmotorfinger is being expanded into a massive 7-disc edition.

The new version of the Soundgarden classic album release will feature 109 tracks total: 79 tracks, videos & mixes are previously unreleased. The CD audio content includes the original album newly remastered; 15 previously unreleased studio outtakes newly mixed from the original analog multi-tracks plus the track New Damage featuring Brian May from Queen; and Live at the Paramount: Soundgarden’s first-ever complete concert album newly mixed from the original analog multi-tracks and recorded at the Paramount Theatre in Seattle on March 6th,1992. The newly edited DVD is from the original camera masters and newly mixed in 5.1 surround sound and stereo from the original analog multi-tracks.

The second DVD is Motorvision + More: Soundgarden’s 1992 Motorvision home video, also released on DVD for the first time ever, showcases live selections from the two nights shot at the Paramount Theatre in March 1992 along with interviews from the band and friends.

Bonus videos include 11 unreleased archival live performances from various shows and festivals in 1992 and the three official music videos from the album.

The Blu-ray Audio disc contains the original Badmotorfinger album, three B-sides, and the three official music videos, newly mixed from original analog multi-tracks in audiophile 96kHz 24-bit 5.1 surround sound.

The original album and three B-sides feature newly designed visuals directed by Josh Graham.
Soundgarden Badmotorfinger. Already with the grunge explosion celebrated heavily in the Soundgarden-adjacent camp (box sets devoted of Mother Love Bone and Temple of the Dog are among 2016’s bigger collections)

The late summer and early fall of 1991 effectively witnessed the birth of grunge , within just a few weeks, of Nirvana‘s Nevermind , Pearl Jam‘s Ten and, Soundgarden‘s Badmotorfinger. Alice in Chains‘ Facelift  had arrived earlier, in 1990.

All of these albums were crucial in that, together, they helped usher in a sea change across the music industry. Yet Soundgarden, who had been first to the table, forming all the way back in 1984, would be the last of these so-called “big four” to enjoy their just desserts: not enjoying truly massive hit singles at radio or multi-platinum sales until 1994’s Superunknown because they did it their own way, 

Unlike Nirvana, which led the charge by breaking punk rock and college rock to the masses via “Smells Like Teen Spirit,” Alice in Chains, which essentially made heavy metal palatable for the flannel-wearing hordes, and Pearl Jam, which did the same for classic rock in the eyes of born again “alternative rockers,” Soundgarden’s music on Badmotorfinger put willing listeners to the test with its sinister, oblique lyrics, drop-tuned guitars, unusual time signatures, thorny arrangements and unrepentant heaviness. Sure, the band scored decent MTV coverage for the album’s most linear, if boring, doom riff in “Outshined,” but most of the remaining cuts refused to take it easy on would-be fans and critics, many of whom weren’t quite sure what to make of the band, either.

Recalled lead guitarist Kim Thayil said ” I remember Mark [Arm] from Muhoney He said, “Hey man, I just heard Badmotorfinger.” I’m all, “What do you think?” [Laughs] And he’s like, “F—, it sounds like Rush!”

He elaborated, “At the time, if people didn’t like us, they’d say they it was because we were these scruffy, punk-rock a——s, or because we sounded too much like some kind of metal band. And if they did like us, it was the same argument [laughs], ‘Oh, it’s cool because they’re metal, or it’s cool because they come from this punk scene.’ any specific label onto Soundgarden has always been an exercise in futility.

All four musicians — Thayil, Shepard, singer Chris Cornell and drummer Matt Cameron — contributed strong songwriting efforts to the album, led by Cornell’s serpentine “Rusty Cage” , the aforementioned “Outshined,” quite surreal “Searching with My Good Eye Closed,” hypnotic “Mind Riot” and less distinctive “Holy Water.” For his part, drummer Cameron delivered the driving, sax-enhanced “Drawing Flies” and, in unison with Thayil, the monstrous doom-riffing of “Room a Thousand Years Wide” and the ominous “New Damage,” one of many songs boasting unorthodox time signatures, in this case 9/8.

Then there was newcomer Shepherd, whom Cornell said he had brought a “fresh and creative” approach to the band’s recording process, with Thayil also saying that Shepherd’s contributions helped make the album “faster” and “weirder.” By this they were referring to Ben’s two-minute punk rock hyper-blast “Face Pollution,” the more deliberate, yet surprisingly infectious “Somewhere” and, working with Cornell, the ultra-doomy “Slaves and Bulldozers .

But Badmotorfinger‘s sheer highlight was a four-way band collaboration called “Jesus Christ Pose,” which rose from Cameron’s mind-boggling percussive assault to boast dissonant six-string strangling over a relentless charging main riff, all topped by Cornell’s inimitable wails.

KYLE MORTON ( TYPHOON ) – ” What Will Destroy You “

Posted: October 14, 2016 in CLASSIC ALBUMS, MUSIC
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The debut solo album by Typhoon frontman Kyle Morton available everywhere now and on vinyl via Bug Hunt.
Typhoon is an band from Portland, OR. They’ve released three albums and will be releasing their fourth in 2017.

Kyle will embark on his first solo US tour in January 2017 in support of What Will Destroy You. Sets will feature music from the album, as well as Typhoon fan favorites and songs from the band’s forthcoming full length album, which is set for release in 2017. The solo tour sees Kyle trading in the expansive venues that generally house Typhoon’s concerts, like New York’s Webster Hall and DC’s 9:30 Club, for the intimate environs of Rough Trade NYC and DC’s Sixth & I Synagogue, creating a special evening for those in attendance.

Of the album, Kyle says, “Most of these songs were written in about a day, many of them while walking aimlessly around Portland, others wrote themselves in the moments just before sleep. They were recorded and mixed with the invaluable help of Paul Laxer from the inviolate comfort of his living room, mostly in the evenings during the winter and early spring of 2015. At the outset there was no deliberate attempt at an overarching concept, though once finished and lined up together the theme of my subconscious was revealed to me: this was a record about love, more specifically (not devolving into platitudes just yet), the ambivalence of erotic love.”

“With a couple exceptions these songs are about kinds of love, from old fashioned heartache to acute sadomasochism; some drawn from personal experience and others extrapolated from years of keen observation on the subject.”

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Written and Performed by:
Kyle Morton
Gestalt cowritten by Casey O’Brien

THIS WEEKS ESSENTIAL NEW RELEASES Friday 14th October

Posted: October 14, 2016 in CLASSIC ALBUMS, MUSIC, THIS WEEKS ESSENTIAL PURCHASES
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Kings Of Leon  – Walls

Multi-platinum selling rock band Kings of Leon return with their hugely anticipated seventh studio album Walls. The Grammy Award winning group decided to return to their recording roots in Los Angeles and worked with famed producer Markus Dravs (Arcade Fire, Coldplay, Florence and the Machine). Lyrically, the album touches on band members’ personal stories.

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Public Access TV –  Rebounder EP

The debut four track EP from New York’s most hyped and most loved band Public Access TV. Limited to just 500 copies and exclusive from Rough Trade Shops. Stand out track is ‘Middle Child’ which opens with a drum beat which cheekily apes The Stone Roses’ ‘I Am The Resurrection’ before settling in a noisy garage punk groove with a pop edge. In under three minutes Public Access TV prove they are a band waiting to cross into the mainstream.

Crocodiles  –  Dreamless

Moving both geographically (from San Diego to Mexico City in the case of vocalist Brandon Welchez) and stylistically (eschewing the more post-punk tinged origins of yore for a broader sweep of sound) the electronically-augmented sound of this sixth album may still be rooted in the ’80s, but it’s more akin to New Order in its melancholia and bold primary colours. Nonetheless he glam-tinged exuberance of this duo may still be present even if the Bunnymen-esque raincoat-brigade guitars aren’t. Ironically enough given it was an album inspired by insomnia, ‘Dreamless’ sounds for all the world like a bold new dawn for the band.

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Jagwar Ma –  Every Now and Then

Since the release of 2013’s ‘Howlin’ Jagwar Ma have played sold out shows across the world and supported the likes of Tame Impala, The xx and Foals, filling festival tents and clubs alike with their explosive, hypnotic live performances, not to mention legendary DJ sets – most recently illustrated through their televised Park Stage performance at Glastonbury, and a raucous closing DJ set at the Crows Nest the same weekend. Now the song-writing duo of multi-instrumentalist and producer Jono Ma, singer and guitarist Gabriel Winterfield return with their second album ‘Every Now and Then’. The new record returns to the melody soaked nods to club culture and instantaneous vocal hooks they’ve become well known for, but has also seen them employ their passion for the Beastie Boys, citing this eclectic album as their ‘Paul’s Boutique’. Overall this stunning record encapsulates the band at their most entrancing and anthemic – a wig out of oscillating acid bassline, ricocheting dub-fused guitars and heady pop psychedelia bathed in strobe-lit sonics. It was self-produced and recorded in the United Kingdom, Australia and France, then tweaked and mixed with the assistance of some of their brightest contemporaries, James Ford (Florence and The Machine, Arctic Monkeys), Blue May (Kwes, Kindness), Ewan Pearson (LCD Soundsystem, Chemical Brothers) and David Wrench (Caribou, FKA Twigs, Glass Animals).

Big Star –  Complete Third

Omnivore does an in-depth vault dive into the creation of Big Star’s Third for a new 3-CD box set.  Complete Third includes every demo, rough mix, outtake, alternate take and final master from the Third sessions known to exist. The 69 tracks on this set represent the culmination of a decade-long search to assemble all extant recordings for the album originally released in 1978.  Some alternates and demos have appeared on various compilations over the years, but this first-of-its-kind collection presents every track in context – including 29 never-before-released tracks captured by producer Jim Dickinson and engineer John Fry.

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The Growlers – City Club

The Growlers are an American band formed in Southern California who’s sound has been described as a trademark style of music, effortlessly managing to combine eclectic elements of country, lo-fi punk, surf/psych/garage rock, Tex-Mex, and slacker/stoner/skate culture into something that is uniquely their own. Known for their relentless touring schedule and DIY work ethic, the band is one of the most exciting independent success stories of recent years. The band has toured with The Black Keyes, Dr. Dogg, Devendra Banhart, and Jonathan Richman, among others. The album is produced by Julian Casablancas the first he has produced).

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Gurr  –  In My Head

When two best friends start a band, songs get filled with inside jokes. In My Head takes the listener on a journey of Andreya Casablanca and Laura Lee’s friendship, their life, and a step further into the world of GURR. Having met in an American Studies class in Berlin, and after spending time in the US together, the US West coast sound was an obvious influence on their music, but Andreya and Laura draw from a wide set of pop culture references and personal experiences for their debut album. First Wave Gurrlcore they call their own genre, always with a slight and acknowledging nod to riot girl culture and yet stressing that they want to invent their own style – they pair straightforward garage rock tunes with more psychedelic and wave elements on their debut album. “We didn’t start making music because of Kathleen Hanna,” explains singer Andreya Casablanca. “Musically we were more influenced by bands like Gun Club, Echo & the Bunnymen, the B52s or classics like the Ramones and Beatles.”

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La Femme – Mystere

Direct from the Parisian overground, French pop connoisseurs La Femme will release their second album Mystère this week. La Femme have made a huge mark on modern Paris’s cultural landscape, by engraining in their music the two sides of the city : the glamour and the grit. Returning with a more psychedelic sound and numerous female guest vocalists that slice through the starkest of electro beats, La Femme celebrates their wonderful city and tackles the enigmatic questioning of falling in and out of love. Mystère is indeed a compendium of short stories describing loves and losses and each song breaks down language barriers through an inventive and astute knack for melody. The band’s chic retro-futurist surf-pop sound possesses the same dose of glamorous punk stomp as before, but this time around it’s layered with an elegant fusion of influences from Ennio Morricone, Marie Et Les Garcons’s disco-rock touch and the lysergic romanticism of The Velvet Underground. Through increased use of strings and further exploration of sound, Mystère also incorporates the band’s new love of oriental sounds, Turkish disco, Tuareg blues, medieval psychedelia to mainstays Brian Eno and Pink Floyd.

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Las Kellies  –  Friends And Lovers

Following the release of ‘Total Exposure’ the fiery Argentinian Riot grrl group Las Kellies return with new album ‘Friends & Lovers’. Inflected new wave post-punk blends garage-psych with infectiously deft dance beats and melodic pop. ‘Friends & Lovers’ fuzzed-up gems sees them move away from the heavier dub sounds of their last record instead sinking their teeth into a groove like Thee Oh Sees with the spirit of ESG and Delta 5. Rupturing with dance floor classics like ‘Sugar Beat’ and ‘I Don’t Care’, they effortlessly move into sun-soaked psych-pop tunes (‘Summer Breeze’, ‘Sun Goes Down’) with slow grooving honeyed tones, shimmering guitars and propulsive percussion. Produced by Iván Diaz Mathé (credits include Lee “Scratch” Perry & Mad Professor), who’s worked on their previous records.

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Josefin Ohrn + The Liberation –  Mirage

Having already been nominated for a Swedish Grammy with their debut EP, Diamond Waves, their full-length 2015 debut on Rocket Recordings, Horse Dance, marked out a territory in which beguiling repetition could sashay with sweet pop suss, melodic flourishes with experimental intensity, and it was summarily rapturously received on arrival, making new fans and earning them appearances at Roskilde Festival and Eindhoven Psych Lab. Their second effort Mirage, which follows a mere year after its predecessor, sees the band sculpting sprawling, hypnotic jams into elegant nocturnal serenades. “We agree on not remembering very much about how these tracks came about, that all of them were written on the road and that most of them came fully formed” note the band. “Most were really long to begin with, but we found it relieving to break away a bit from the mandatory psych jams a little bit. We also just realised that none of them were written in daylight, which might be why memory is so elusive.” Indeed, this hypnagogic approach seems to fit well with the primary inspiration for the five-piece, which centred on ‘the state where dreams, visions and the present are entwined’ .Mirage sees the band taking a chic tradition of avant-pop that extends all the way from Serge Gainsbourg and Françoise Hardy to Broadcast and Saint Etienne, and warping it mercilessly to their own darker ends. Whilst the brooding yet sultry ‘Sister Green Eyes’ is no less than a sharp slice of velveteen motorik-pop and ‘Looking For You’ reinvents three-chord garage-rock attack with mighty finesse, The Liberation are just as comfortable dealing out the heavy-lidded and electronically-driven ‘In Madrid’ or the dive in the hallucinatory deep end of ‘Circular Motion’, on which they’re aided and abetted by Lay Llamas’ Nicola Guinta. The seductive splendour of these ten songs åmake manifest a parallel world of disorientation and deliverance in which one would be a fool not to want to languish adrift . Fresh excitement for the band lies in wait, courtesy of a UK tour with Goat and an appearance at Liverpool International Festival Of Psychedelia. Limited holographic mirrorboard sleeves.

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Thurston Moore  -Chelsea’s Kiss

Cassette Store Day 2016 Release. 2 Tracks / 16 Minutes. Double sided printed extended j card.
Edition of 1000. Sonic Youth’s Thurston Moore and Brooklyn-based drummer Ryan Sawyer along with UK-based members of Thurston Moore Group: bass player Deb Googe (also of My Bloody Valentine) and guitarist James Sedwards (also of Nøught) met up in the studio to record these songs offered here to support the campaign to Free Chelsea Manning. Partial proceeds of the sales of this cassette will support the Chelsea Manning Support Network (chelseamanning.org), and will be earmarked for the defence of Army Pvt. Chelsea (formerly Bradley) Manning. Former Private Manning was sentenced to thirty years in military prison for sharing the video of a US helicopter attack that killed a dozen Iraqis, exposing US State Dept. cables, the “Iraq War Logs”, and the “Afghan War Diaries” with the WikiLeaks website.

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Josienne Clarke and Ben Walker – Overnight

British Folk duo Josienne Clarke and Ben Walker have risen to star status lately on the English acoustic scene, earning last year’s Best Duo award from the BBC Folk Awards and across-the- board praise for two self-released albums, most recently ‘Nothing Can Bring Back The Hour’, with its lush single ‘Silverline’. While The Guardian anointed them “chamber folk” (they certainly cut their teeth in that thriving part of the UK music scene), Clarke is an unusually compelling singer, sharing more in common with Sandy Denny, Gillian Welch, or even Nina Nastasia and Laura Marling, than your usual staid folk artist. Walker is a prodigiously talented guitarist and arranger and the two of them are engaging and often funny in a live setting where, in addition to their own songs, they choose covers brilliantly, from Denny, to Jackson C Frank, to Nina Simone, to death-obsessed traditional ballads. Clarke and Walker Rough Trade debut album brings bigger, more modern arrangements and production to their beautifully-wrought songs and Clarke’s tremendous voice.

C DUNCAN – ” On Course “

Posted: October 9, 2016 in CLASSIC ALBUMS, MUSIC
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It’s only just over a year since C Duncan released his swooning, Mercury-nominated debut ‘Architect’. The Glaswegian folk artist’s second album sounds more experimental: on lead single ‘Wanted To Want It Too’ he’s delving into synth territory. The Glaswegian sound architect may be inspired by ’60s sci-fi TV classic “The Twilight Zone”, but the sleeve art depicts the stairway from the flat in which he both lives and records. These however both seem peculiarly apt, as ‘The Midnight Sun’ has an uncanny knack for summoning the otherworldly in the everyday. Whilst his choral vocal passages and electronic soundscapes may summon a pastoral kind of chill, his melodic nous and songwriting skill memorably anchor the moody atmospherics, offering an eerie and affecting work likely to offer succour to fans of James Blake and The Blue Nile both.

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SPRINGTIME CARNIVORE – ” Midnight Room “

Posted: October 8, 2016 in CLASSIC ALBUMS, MUSIC
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Springtime Carnivore - Midnight Room

Greta Morgan is asking a lot of questions on Springtime Carnivore’s sophomore album Midnight Room: “Calling to the dark, is anybody out there?” she ponders on “Face In The Moon.” “Can I ever, ever let you in? Can I ever let you close to me?” she asks on “Raised By Wolves.” Morgan reveals that this web of curiosity spun from a splintering breakup: “I feel like I was asking a lot of questions during the making of the record that I still don’t really have answers to, but at least some of the songs were exploring that territory.”

She does so via a brew of spectral vocals, shadowy piano riffs, wind chimes, wildflowers, and cattails. “Double Infinity” distinctly bears the influence of Beach House/Future Islands producer Chris Coady, which Morgan seems to draw from vocally. “Under The Spell” is a dismally pleasant track that mixes funk inflections with ’80s synth-pop to speak of love’s bewitching cliché: “All the black roses that grow in your heart/ I keep them like a calling card.” The album feels like an hour’s worth of lucid dreaming with images of crushed flowers and shimmering sea glass.

Morgan further explains her mystical vision for Midnight Room: “I wanted the whole thing to feel like you’re looking through a cobalt blue glass, and to get textures that almost feel like being able to see stars in the sky. I wanted it to have this very velvety midnight blue purity to the sound, and I feel like the synthesizers that we used and a lot of the guitar tones we used evoked that kind of visual texture.” The result of her efforts is a dignified and mystically verbose articulation of failed love.

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“Midnight Room”
When Chris Coady and I were nearing the end of our studio time, we tried to sequence the 10 songs we’d recorded and realized that none made sense as an opening track. He told me to go home that night and write the opener. I stayed up very late writing in my bedroom, which is decorated with various shades of midnight and baby blue, so the bridge lyrics, “I see you now/blue on blue/my illusion,” was a direct result of looking around the room while singing. A “Midnight Room” is the metaphorical place that the whole record came from—it represents the feeling of waking up alone in the middle of the night and hearing nothing but your own thoughts. 

“Face in the Moon”
I wrote this song in a 15-minute flash after a week of sleepless nights watching space conspiracy documentaries and listening to Bruce Springsteen’s Nebraska and REM’s Murmur. I’ve had recurring dreams about a man who would sleep on a lawn chair outside my house and wake up with comets stuck to his clothes, so the lyric “You’re standing there brushing the comets out of your hair” was a direct result of that. 

“Into The Avalanche”
To me, it’s a statement for how I want to be treated by someone I love: “Don’t control me/ Don’t try to own me/ Don’t keep score/ And I’ll be waiting every night at your door.” It’s about the freedom required within devotion and also about the willingness to step into a stage of uncertainty with another person. 

“Double Infinity”
This song was a direct result of my “poem party” method of songwriting: I write phrases on index cards, cut them up, and then lay them on the floor in a random order. (I usually call this a “poem party” because it feels sort of ceremonial and I often drink some tequila or red wine while doing so.) I start to see patterns and pick out phrases that make sense together. From a production standpoint, this feels the most like a Chris Coady production to me… It makes the most sense sonically in a continuum of his work with Beach House and Future Islands. 

“Raised By Wolves”
This song changed the most from demo to final version. The demo was more of a loose rock and roll tune, but Chris suggested we do a total rearrangement and make it feel mechanical and drum-machine heavy.  He also really pushed for that guitar lead sound, which felt to me like a toy shop exploding and all the toys starting to chime at once. I was a little timid about the direction at first, but it came to be one of my favorite recordings we did together. Playing this one with the live band feels especially great because we blend the feel of the original demo version and the final album version. 

“Nude Polaroids”
This is the most personal song on the record. I narrate it directly to the person it’s about: “You can keep the polaroids where I am posing nude/ Even though I’m leavin’/ I’ll always trust you.” It feels to me like a letter I would write that feels too personal to actually mail. 

“Under the Spell”
I’ve had a series of recurring dreams where members of Fleetwood Mac whisper unreleased songs into my ear. Usually, I just wake up with a vague idea or one lyric of the song as a residual from the dream, but this was a Stevie song that I woke up from and remembered the entire chorus. Chris and I used a Linn drum and Eurorack synth bass to build this one from the ground up. (Sidenote: There is another song that Christine McVie whispered to me years ago that I’ve never finished… Maybe for the next Springtime Carnivore record?) 

“Wires Crossing”
I wrote this song after night of recording with Katy Goodman for our “Take It, It’s Yours” record last fall. The biggest takeaway from recording a covers record of punk covers was my sense of awe about the simplicity of those tunes. We had just tracked Gun Club’s “Sex Beat,” which has the same chords the entire way through and I wanted to write a song that did the same thing and accompany it with simple, clear lyrics. Ta-da: “Wires Crossing” was born. 

“Bad Dream Baby”
This is the only co-write on the record, and I wrote it with my friend Tommy English. Tommy and I had spent eight hours slogging away on an idea that wasn’t working, and when he left the room to grab a cup of coffee, I started goofing around on the piano and humming the lyric, “Don’t even say you’re turning around again…” He walked back in the room and heard what I was playing, and we finished this song entirely in less than 20 minutes. 

“Rough Magic”
One of the opening lyrics of the song is, “Every time I said your name/a field of roses blew up,” which came to me because I had been taking a meditation class last fall that used creative visualization as a way of clearing energy. One thing they do is create symbols with which you gather emotion and energy, then visualize destroying them. A rose is a very pure symbol that was used often in the class, so this lyric to me was about the creation and destruction of emotional energy. 

 

GANG OF FOUR – ” Entertainment ” Released 8th October 1979

Posted: October 8, 2016 in CLASSIC ALBUMS, MUSIC
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On this day (October. 8th) in 1979: influential Leeds, UK post-punk band Gang Of Four (singer Jon King, guitarist Andy Gill, bassist Dave Allen & drummer Hugo Burnham) released their groundbreaking debut album, ‘Entertainment!’, on EMI Records (UK)/Warner Bros. (US); it featured the tight, sparse playing & driving rhythms that made such tracks as “Natural’s Not In It”, “I Found That Essence Rare”, “At Home He’s A Tourist” & previous single “Damaged Goods” live favorites; it reached UK #45 & Australia #39 on the album charts;’Entertainment!’ was an important release and voted the #8th best album of the 1970s; Rolling Stone ranked it #483 on their list of ‘The 500 Greatest Albums of All Time’…

Tracklist:

01. Ether (00:00)
02. Natural’s Not In It (03:50)
03. Not Great Men (06:57)
04. Damaged Goods (10:03)
05. Return The Gift (13:30)
06. Guns Before Butter (16:36)
07. I Found That Essence Rare (20:22)
08. Glass (23:37)
09. Contract (26:06)
10. At Home He’s A Tourist (28:47)
11. 5.45 (32:17)
12. Anthrax (36:01)
13. Outside The Trains Don’t Run On Time (40:26)
14. He’d Send In The Army (43:42)
15. It’s Her Factory (47:24)
16. Armalite Rifle (50:34)

Here is a clip of the band performing the most well known track LIVE NYC 1980

The AQUADOLLS – ” We Are Free ” EP

Posted: October 7, 2016 in CLASSIC ALBUMS, MUSIC
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The Aquadolls were founded in Janurary 2012 by Melissa Brooks, the lead singer and writer of the band. Melissa began recording bedroom demos of her songs with guitarist Ryan Frailich and eventually formed a relationship with Southern-California based indie label Burger Records who released The Aquadolls We Are Free EP in early 2013, and their debut album Stoked On You in December 2014.

The Aquadolls are among my favorite bands right now. Their We Are Free EP is excellent. The EP was released on Burger Records last January containing 8 tracks. My favorite song on the album is “We Are Free”. This song is really catchy and relaxing. Also, not a lot of other bands will put Napoleon Dynamite quotes in the middle of their songs, so look out for that.

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I have a sexy Danelectro named Danny. She has amazing vintage tone. Both guitars are played out of vintage Fender Twin Reverbs from the 60s. We love to play loud live and blow out our amps. We know if our amps don’t blow out, it didn’t get crackin enough.

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THIS WEEKS ESSENTIAL NEW RELEASES – 7th October 2016

Posted: October 7, 2016 in CLASSIC ALBUMS, MUSIC, THIS WEEKS ESSENTIAL PURCHASES
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Julia Jacklin –  Don’t Let The Kids Win

Julia Jacklin highly anticipated debut album, ‘Don’t Let The Kids Win’, is released via Transgressive Records. Hailing from the Australian Blue Mountains, Julia Jacklin is a guitarist and singer like no other. Her music courses with the aching current of alt-country and indie-folk, augmented by her undeniable calling cards: her rich, distinctive voice, and her playful, observational wit. For the past several years Jacklin has lived in a garage in Glebe (a suburb of Sydney), working a day job on a factory production line making essential oils, all the while finding time to hone her craft – to examine her turns of phrase, to observe the stretching of her friendship circles, to wonder who she was and who she might become. And now, as Jacklin quits her factory job to focus solely on a music career, the future she had once imagined is becoming her present day reality. For fans of Margo Price, Mazzy Star and Lana Del Ray.

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Hiss Golden Messenger  –  Heart Like A Levee

The writing of the songs that became ‘Heart Like a Levee’ started in a hotel room in Washington DC in January of 2015 during a powerful storm that darkened the East Coast. At that time I was feeling – more acutely than I had ever felt before – wrenched apart by my responsibilities to my family and to my music. Forgetting, momentarily, that for me, each exists only with the other. How could I forget? Though maybe my lapse was reasonable: I had just quit my job, the most recent and last, in a series of dead-end gigs stretching back 20 years, with the vow that my children would understand their father as a man in love with his world and the inventor of his own days. They would be rare in that regard. And then – driven by monthly bills and pure fear – I left for another tour, carrying a load of guilt that I could just barely lift. But in that snowy hotel room I found the refrain that became my compass: I was a dreamer, babe, when I set out on the road; but did I say I could find my way home? M.C. Taylor Available CD – Digipak with poster style insert. 11 Tracks.2CD – Deluxe 2CD is Digipak / Softpak with obi wrap and poster style insert. Includes the 8 Track ‘Vestapol’. 19 Tracks total.LP – 11 Tracks with Download.2LP – Deluxe 2LP in Gatefold Sleeve poster plus obi wrap and Download. Includes the 8 Track ‘Vestapol‘. 19 Tracks total.

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Goat Girl  –  Country Sleaze / Scum

Limited to just 500 Copies on Rough Trade Records. The debut single by teenage South London four piece Goat Girl. Goat Girl head up an emerging set of groups from South London who have been inspired by the burgeoning local circuit there. Goat Girl are a special band. Songs that use subtlety as their main ingredient while remaining disarmingly fierce at every turn. Lyrics that mean everything despite being written down in the most simplistic and non-aggressive way possible… they are an anomaly in the UK music scene as 2016 draws to a draggy close: four people playing guitars, bass and drums who have the ability to make you feel //alive// again. Goat Girl release two songs on Rough Trade, each one a caustic commentary on the England they’ve grown up in: Country Sleaze is a brooding two-chord time capsule that sounds like it’s been beamed over from a Seattle divebar in 1989. Both tracks were recorded purposefully quickly in a no-nonsense north London studio a few weeks ago with fast-rising producer Margo Broom

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C Duncan – The Midnight Sun

Glasgow’s prodigious talent C Duncan released his critically acclaimed and Mercury Prize nominated debut full-length ‘Architect’ last July, wrapping up an extremely successful first year with a headline tour and stunning sell-out performance at Union Chapel. Follow up ‘The Midnight Sun’ sees the bedroom producer return with a more expansive and experimental second offering, blending electronic elements and sweeping synth sounds with his signature layered vocals and dreamy instrumentation.

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Babeheaven  –  Moving On

Babeheaven return with their second single on Handsome Dad and limited to just 250 Copies. It’s a beautifully immersive slice of ethereal trip-hop. Pinned together with lead vocalist Nancy Andersen’s shimmering voice, it’s another smooth triumph for the London based five piece. As time passes, it feels kinda like they’re morphing into this generation’s Portishead.

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White Lies  – Friends

After three consecutive Top 5 albums, White Lies release their fourth album ‘Friends’. With ‘Friends’, White Lies haven’t so much abandoned their trademark synth-rock sound as given it a spring clean by exploring new sounds. For many reasons, it felt like a fresh start. The trio were temporarily without a label after a bout of record company reorganisation. Rather than re-sign straight away, they decided to start ‘Friends’ under their own steam without the pressure of a deadline or a budget, or even the guidance of a producer. Whatever sound each song suggested, White Lies went with it. Hence, when ‘Hold Back Your Love’ and ‘Is My Love Enough’ sparkled with disco grooves, they embraced it. When the beautiful ballad ‘Don’t Fall’ jettisoned their signature sound entirely, leaving only frontman Harry McVeigh’s sumptuous, sonorous vocals to connect it to White Lies of old, they stuck with it. Similarly, when the triumphant ‘Summer Didn’t Change A Thing’ harked back to the arena-ready rock of their debut, they didn’t mind. The changing nature of relationships is a recurring theme throughout the album. ‘Friends’ was recorded in Bryan Ferry’s private studio in London’s Olympia and was self-produced by the band. White Lies enlisted the help of an expert team including Grammy Award-winning engineer James Brown (Foo Fighters, Arctic Monkeys), David Wrench (Caribou, FKA twigs) on mixing duties and long-term collaborator Ed Buller who contributed additional production.

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Happyness – Tunnel Vision On Your Part

The harmony-packed single Anna, Lisa Calls appears here as the opener to Happyness’ Tunnel Vision On Your Part EP, with the band saying; “This is our first phone call song and our 5th song in E major. We wrote it one day in the studio in June and recorded it straight away – I think we were going for a kind of Traveling Wilburys thing. Also we felt like we hadn’t put a synth in a song for a while, so there’s a synth.” The EP, which also includes single SB’s Truck – a track penned by the band in homage to Samuel Beckett, who famously used to give the beloved, late, 80’s wrestler André The Giant lifts to school in his truck, owing to him being too large for his dad’s car – also provides a rare direct glimpse into the band’s influences as they offer their own interpretation of Club Gaga’s Friend Of The Revolution. Originally featuring on their Suburban Lake album, it’s a record that Happyness hold up as one of their favourites of all time, saying “Most (if not the whole) of the record is findable on YouTube. There were a few different songwriters in the band – but this one’s by the great Peter Fancher.”

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Lush – Lollapalooza Festival, Miami Fl August 22, 1992

Numbered Limited edition of 349 copies on White and Red splatter vinyl. Following the release of 1992’s Spooky, produced by Robin Guthrie of Cocteau Twins fame, Lush brought their first wave shoegaze sound to the US for their second stateside tour, as part of the Lollapalooza tour, which that year included Red Hot Chili Peppers Ministry, Ice Cube, Soundgarden, The Jesus and Mary Chain, and Pearl Jam

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Lou Reed – The RCA / Arista Albums Collection

A limited edition 12″x12″ deluxe box set library, Lou Reed – The RCA and Arista Album Collection is the ultimate tribute to an essential epoch in Lou Reed’s career as a transformative figure in American music. This definitive anthology contains 16 full-length albums on 17 compact discs in addition to an 80-page hard-bound book featuring memorabilia from Lou Reed’s personal archives, rarely seen photos and artwork, interviews with Lou conducted during his years as a recording artist for RCA and Arista and evocative in- depth liner notes – written by Lou’s longtime friend and the collection’s co- producer Hal Willner – chronicling Lou Reed’s involvement with the making of Lou Reed – The RCA and Arista Album Collection. The collectible deluxe box set also contains – suitable for framing – five 8″x10″ prints and a facsimile reproduction of a rare RCA promotional poster (598mm x 572mm, folds to 299mm x 286mm). The set includes

1. Lou Reed (April 1972)
2. Transformer (November 1972)
3. Berlin (July 1973)
4. Rock n Roll Animal (live – February 1974)
5. Sally Can’t Dance (August 1974)
6. Metal Machine Music (July 1975)
7. Coney Island Baby (December 1975)
8. Rock and Roll Heart (October 1976)
9. Street Hassle (February 1978)
10. Lou Reed Live Take No Prisoners (2 CDs – November 1978) 11. The Bells (April 1979)
12. Growing Up in Public (April 1980)
13. The Blue Mask (February 1982)
14. Legendary Hearts (March 1983)
15. New Sensations (April 1984)
16. Mistrial (June 1986

BRUCE SPRINGSTEEN – ” Chapter And Verse ” The Book

Posted: October 7, 2016 in CLASSIC ALBUMS, MUSIC
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“Writing about yourself is a funny business…But in a project like this, the writer has made one promise, to show the reader his mind. In these pages, I’ve tried to do this.” —Bruce Springsteen, from the pages of Born to Run

In 2009, Bruce Springsteen and the E Street Band performed at the Super Bowl’s halftime show. The experience was so exhilarating that Bruce decided to write about it. That’s how this extraordinary autobiography began.

Over the past seven years, Bruce Springsteen has privately devoted himself to writing the story of his life, bringing to these pages the same honesty, humor, and originality found in his songs.

He describes growing up Catholic in Freehold, New Jersey, amid the poetry, danger, and darkness that fueled his imagination, leading up to the moment he refers to as “The Big Bang”: seeing Elvis Presley’s debut on The Ed Sullivan Show. He vividly recounts his relentless drive to become a musician, his early days as a bar band king in Asbury Park, and the rise of the E Street Band. With disarming candor, he also tells for the first time the story of the personal struggles that inspired his best work, and shows us why the song “Born to Run” reveals more than we previously realized.

Rarely has a performer told his own story with such force and sweep. Like many of his songs (“Thunder Road,” “Badlands,” “Darkness on the Edge of Town,” “The River,” “Born in the U.S.A.,” “The Rising,” and “The Ghost of Tom Joad,” to name just a few), Bruce Springsteen’s autobiography is written with the lyricism of a singular songwriter and the wisdom of a man who has thought deeply about his experiences.

 

Born to Run will be revelatory for anyone who has ever enjoyed Springsteen, but this book is much more than a legendary rock star’s memoir. This is a book for workers and dreamers, parents and children, lovers and loners, artists, freaks, or anyone who has ever wanted to be baptized in the holy river of rock and roll.

Rarely has a performer told his own story with such force and sweep. Like many of his songs, Springsteen’s autobiography is written with the lyricism of a singular songwriter and the wisdom of a man who has thought deeply about his experiences.

INFINITY CRUSH – ” Warmth Equation “

Posted: October 6, 2016 in CLASSIC ALBUMS, MUSIC
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Although Infinity Crush’s Derrick Brandon and Caroline White only met about two years ago, they hit it off almost immediately. They became best friends quickly, and it wasn’t long before White began to integrate Brandon into her music. White wrote the majority of Warmth Equation – the first Infinity Crush release for Joy Void Recordings – solo before bringing in Brandon for guitar and keys to compliment White’s melodies, as well as Sam Ray (Teen Suicide, Ricky Eat Acid, Julia Brown) to contribute vocals and keyboards. In addition to taking immense influence from friends like Ray and Elvis Depressedly, White also credits Angel Olsen as an inspiration in the arrangement of her songs, and Alex G as a major player in making her think differently about crafting a melody.

Warmth Equation is a collection of twelve short songs that work toward interpreting loss and grief through different lenses. It tries to take a realistic, all-encompassing perspective of grief, a view that includes the expected feelings of overwhelming devastation, but also moments of happiness or love or sexuality.

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Official Music Video for the track ‘wipe down’ from Infinity Crush’s debut album ‘warmth equation’ out September 30th, 2016 on Joy Void Recordings.

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