Archive for the ‘CLASSIC ALBUMS’ Category

Widowspeak is back at it with their third studio LP, “All Yours”. The first eponymous single is refreshing to hear given we haven’t heard the soothing vocals of Molly Hamilton since 2013’s The Swamp EP. As with everything Widowspeak has done, there’s nothing lesser to expect than yet another beautifully interweaving dream-pop/slowcore album. based on the description listed below, we’re going to get even new layers to the already honed skills of this duo. The release date for All Yours is September 4th. Widowspeak . This is the band’s third album, titled  All Yours, is one that could only come from Molly Hamilton and Robert Earl Thomas: a honed and elegant interweaving of dream-pop and slowcore rock and roll, easygoing melodies and dusty, snaking guitars. It’s also possibily their best release to date: ten beautiful songs that are refreshingly straightforward yet built from the same well-chosen and deftly-used tools the band has always worked with. It is an ambitious without feeling labored-over, anchored in the strengths of Widowspeak’s consistent influences. guitar passages, moody and american-country-tinged instrumentation, watery tremolo, velvety stacked vocals and  brilliantly economical guitar playing. the duo, have remained constant since 2012.

After releasing the second LP, Almanac, and then The Swamps EP (both in 2013), Molly and Rob left Brooklyn for the greener pastures of the Catskills/Hudson Valley region. They found a house they could play music in. They got a dog.And they took their damn time making All Yours. For one, the conceptual process of writing Almanac and The Swamps had been creatively draining. They focused on other things: Molly went back to school; Rob took a job at a Catskills hotel. They wrote leisurely, from shared voice memos and late night jams in the living room. As a result of writing down what came naturally, without any overarching vision, the lyrics on All Yours are largely unadorned, the songs connected only by the forgivingly vague theme of “moving on.”Appropriately, the band chose to work again with Jarvis Taveniere, who produced their self-titled debut in 2011.  They also enlisted him and drummer Aaron Neveu (both of whom play in Woods) as the studio rhythm section. We finally get to hear Rob sing in the earnestly laid-back “Borrowed World.” Members of psych outfit Quilt contribute harmonies and keys throughout the record, most notably in “My Baby’s Gonna Carry On,” and “Cosmically Aligned.”

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The Oscillation was formed in London in 2006 by Demian Castellanos. The first single “New Way To Feel” was released in January 2006 on Bee And Smoke records as a 7″ single and was picked as single of the week by Rough Trade. This incarnation of The Oscillation was intended as an outlet for more rockier ventures alongside other projects going in different directions. An e.p on Static Caravan surfaced, under the name of Mesma, while on J.Saul Kane’s DC Recordings, yet another project began as The Orichalc Phase. “Respond In Silence” was the first e.p followed by the “Violations” e.p in October 2006, mixed with Tim Holmes at The Contino Rooms. The Orichalc Phase became the main focus, incorporating influences from punk funk disco, krautrock and psychedelia with danceable rhythms, repetitive angular avant guitar noises inspired by Loop, and layers of analogue synthesizers. The Oscillation and Mesma faded into the background for the time being.
The debut album on DC Recordings, “Out Of Phase” was released on 15th October to universally good reviews In 2007 featuring Tim Weller and Matt Scott on studio drum duties, to take a confusing twist, the name was changed to The Oscillation for it’s release.
A live band was formed to coincide with the record with Tom Relleen on bass guitar, Mark Thomas on keys and Jon Abbey on drums, along with Julian Hand providing a retina destroying light show using projectors, slides and oil paints. The band continued playing numerous shows, refining their live sound and building a reputation for inventive re-interpretation of the recorded songs along the way, supporting the likes of Sliver Apples, Beak, Zombie Zombie, Disappears, Wooden Shjps, Dead Skeletons and Deerhunter.

Early 2009 saw a departure from DC Recordings. After a period of flux a new e.p “Future Echo” was released in early 2010 on “All Time Low Productions”, an independent label started by Tom Relleen. “Future Echo” e.p brought together various other influences from the other musical incarnations: tribal krautrock rhythms, pulsating synth bass and white noise guitar feedback, the heavier guitars of 3rd Harmonic and the poppier tones of “See Through You” followed with 7 minutes of pure drone. The 2nd album Veils came out in 2011, branching further out into more complex song-writing and liquid psyche instrumental passages. This was followed by the “Fall” e.p and an exclusive single for record day featuring the psyche-rock of “No Place To Go” and the opiate pop of “Waste The Day”. Around this time the live band were joined by Valentina Magaletti on drums and Chris Wackrow on keys/2nd guitar.

Valentina became the mainstay on drums, both live and in the studio for the 3rd album “From Tomorrow”, recorded over 2012-13. The new album takes another step into new directions, both heavier, spacier and sonically a
bona-fide trip into new realms. Out on 30th September on All Time Low and partnered with french label, Hands In The Dark. The band are currently touring as a finely tuned 3 piece, with a new single a video from the album scheduled for the later in the year..

Chelsea Wolfe

In her forthcoming LP Abyss (out Aug. 7th) these last three months, for singer-songwriter Chelsea Wolfe is slowly becoming one of the years most intriguing releases — and one that’s an follow-up to her 2013 breakout, “Pain Is Beauty”. She continues to entrance with the release of “Grey Days,”  see earlier post .

As with her fourth full-length’s previous releases — “Iron Moon,” “Carrion Flowers” and “After the Fall” and “Grey Days” utilizes its droning, gothic production to dissect the nocturnal mind’s innermost regions. Constructed around a looping drum kick and haunting viola by longtime Chelsea Wolfe collaborators Dylan Fujioka and Ezra Buchla, the track doesn’t bear the same pronounced aggression as the California-based musician’s other fare. More a sorrowful lullaby built on industrialized distortions and wispy, howling vocals, it’s just as captivating.

“For this album I was interested in the subconscious, or unconscious mind, approaching it like a warehouse full of memories and emotions to be confronted,” Wolfe has said, “The title [‘Grey Days’] came from a conversation with someone I met on the road who had been in prison. He called that time his ‘grey days.’ It’s about something holding you back.”

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“I’m drawn to the peace in feeling nothing, but I’m also afraid of feeling nothing,” Wolfe says of this dark dichotomy. It’s one seen throughout her body of work. “The song is a battle.”

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The Reverb Conspiracy Volume II brings together 16 of Europe’s most interesting emerging psych bands in a scene that is quickly gathering momentum around the world.
The album will be released November 23rd. Pre-order now available.
Label: Fuzz Club Records and The Reverberation Appreciation Society.

Chelsea Wolfe - Abyss

Chelsea Wolfe’s last record, Pain Is Beauty, eschewed the cavernous atmospheres and primal instrumentation of her most distinctive output for cold, calculated electronic hums more akin to a record by The Knife. But Abyss, however, serves as the perfect marriage between these two core characteristics of her aesthetic. Tracks like the harrowing “Grey Days” transmit Wolfe’s intimate lyrics through the record’s sonic hollows, gnarling bass and chilling, mutated cries echo and reverberate through Abyss’ massive scope. Wolfe’s music has always appreciated and nurtured the power of cinematic cues and moods to create compelling musical narratives (as evidenced by her vivid music videos, and 2014 Ingmar Bergman-esque short film Lone), and with Abyss, it’s clear that her music has been sized-up for maximum screen potential.

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The visceral personal details and graphic authenticity of the singer-songwriter are characteristics which Wolfe has been adopting more and more into her art as of late. Abyss marks an emotional lull in her career, acting as the tumultuous aftermath of Pain Is Beauty, channelling the viciousness of her early output, but feeling especially singular. As the odd-one-out in her catalogue, Abyss is Wolfe’s most emotionally direct, with unequivocal mourns for lost lovers summoning the titular abyss and beckoning its maw with each overcast delivery. Until finally, you are swallowed, and subjected to the nightmare Wolfe describes in “Simple Death”, where you are screaming, but you can’t wake up.

Placebo are a band like no other – enjoying a greatness that lies only in the ilk of the likes of Depeche Mode, Joy Division, Nirvana and co – they have their own unique sonic, aesthetic and lyrical language. The legions of misfits, others, the disenchanted and the lost know that this is their band – and no one else can do this. This is why they’re still going strong 20 years later. Check out the band’s raw performance of the classic ‘Teenage Angst’ on Later With Jools Holland in 1997

To mark this landmark anniversary, the band will be re-releasing their first five albums on vinyl, releasing their greatest b-sides and rarities on streaming services, as well as revealing rare archive footage, including never-before-seen live performances and interviews, starting with their first album campaign era from this week.

Check out the band’s raw performance of the classic ‘Teenage Angst’ on Later With Jools Holland in 1997

Placebo Teenage Angst on Jools Holland 1997 to celebrate anniversary

Photo: Press

Field Music – Music For Drifters: This specially commissioned instrumental album places Field Music’s unique brand of realist art-pop in a whole new context. As an instrumental score, fans may miss the clever kitchen sink turns of phrase that have populated Field Music lyrics since 2005’s self-titled debut, but ‘Music For Drifters’ breaks down the band’s distinctive sound to its raw DNA.

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Evvol – Eternalism: Dubliner Julie Chance, Sydney native Jon Dark and French drummer Valentin Plessy have been creating dark wave electro pop since 2010, previously as Kool Thing and, since the beginning of this year, as Evvol. Under that moniker comes the refreshing sound of ‘Eternalism’, combining Krautrock melodies with ’80s synth-pop. Next stages in a band’s life are meant to feel like new chapters, but Evvol have pretty much opened a new book.

The Berlin-based duo have reconvened, and a new vitality is sparking. Their debut album ‘Eternalism’ expands on that with moments of both introspection and total release. A new found positive energy radiates from the sounds on this record, with every crack between the synths, drums, vocals and guitar revealing complexities in its minimalism.

Photo: Press

Photo: Press

On July 17, Samantha Crain will unveil her fourth full-length record, “Under Branch & Thorn & Tree”, via Ramseur Records. The all-analog release serves as much more than just another album in our musically saturated world; it’s a significant social statement made by an artist who’s using her craft for the betterment of the world. Needless to say, we can’t wait for the LP to hit the streets, and today (May 21st), “The phrase ‘beyond the pale’ or ‘outside the pale’ has always been of interest to me,” Crain admits. “It, more or less, refers to unacceptable behavior (in its origin, assuming anyone residing outside a particular area to be uncivilized or immoral). Any part of human behavior and life that includes a grey area of distinction, such as the categories included in this medieval situational phrase, catches my attention and thought.”

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Crain doesn’t just focus on the phrase’s ancient meaning, though. “In the modern world, what is ‘acceptable behavior’ or ‘moral behavior,’” she asks. “I find it strange that a small minority of elite people are still capable of controlling the definitions of morality in our society. How do the common, so much larger in number and capable of brimming with passion, still manage to be cast out and downtrodden?”

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On Samantha Crain’s new album, she explores the concerns laid out with “Outside the Pale” as well as issues surrounding the working class and gender equality. She currently has a handful of shows scheduled through May, June and July.

 

To celebrate the 35th anniversary of the release of “Love Will Tear Us Apart,” Rhino has re-issued four iconic Joy Division albums on heavyweight 180-gram vinyl. Each design replicates the original in painstaking detail, including the gatefold covers used for Still and Substance. The music heard on the albums was remastered in 2007 when Rhino introduced expanded versions of the albums.

Joy Division recorded two albums, Unknown Pleasures and Closer, before singer Ian Curtis tragically took his own life in 1980. But what the Manchester quartet lacked in longevity, it more than made up for in quality. The band’s only two studio albums were groundbreaking and helped shape the sound and mood of the alternative music that followed in the band’s wake.

The compilations Still and Substance fill in the missing pieces of the band’s history with non-album singles (“Transmission” and “Love Will Tear Us Apart”), unreleased studio tracks (“Something Must Break” and “Ice Age”), and choice live recordings (“Disorder” and the only performance of “Ceremony.”)