Dead Meadow is an American stoner rock band that formed in Washington, D.C. in 1998. Currently comprising vocalist and guitarist Jason Simon, bassist Steve Kille and drummer Mark Laughlin, the band has released five studio albums, one live album, a Peel Session and a “double live” concert film.
“That Old Temple”, the new video from American heavy rockers Dead Meadow. The clip was helmed by Artificial Army, which has previously worked with THE SWORD, THE MARS VOLTA, COHEED & CAMBRIA
The song and the video provide the first glimpse of “The Three Kings” multimedia project to surface later this year on Xemu Records, which will include new music from the band as well as re-recorded classics from their catalog.
Dead Meadow have released five studio albums, three of which were on Matador Records.
“Benji” is the sixth studio album by American indie folk act Sun Kil Moon, released in February 2014 on CaldoVerde Records. Self-produced by primary recording artist Mark Kozelek, the album shares its name with the 1974 film Benji, and was recorded between March and August 2013 at Hyde Street Studios in San Francisco.
Kozelek’s songs match a mordant sensibility with a wry wit that remains unblunted by the passage of time. The sprawling ‘Among The Leaves’ from 2012 saw him playfully subverting the album format with a 17-track opus that included one song with an 18-word title. This time round, the humour is more subtle but the observations on life, and increasingly death, are no less keen. Kozelek has a novelist’s eye for detail, and right from languid opener ‘Carissa’ – a song about his second cousin – he paints a vivid world and invites you to see it through his eyes.
The ideas come so thick and fast that Kozelek has to speed up his delivery for songs like ‘Richard Ramirez Died Today Of Natural Causes’, a claustrophobic meditation on the death of the serial killer known as the Night Stalker that recalls Modest Mouse at their darkest. The album features contributions from Owen Ashworth, Jen Wood, Will Oldham, and Sonic Youth‘s Steve Shelley. The album was recognized as one of The 100 Best Albums of the year by Rolling Stone,
“Just Enough Hip To Be Woman” is a bold step forward for BRONCHO. Though it certainly bears the hallmarks of their previous work — fuzzy, guitar-driven rock – the production and energy of the record moves into decidedly sleeker and decidedly more new wave directions (think Cheap Trick meets the Drive soundtrack meets every great song from Fast Times at Ridgemont High meets the greatest after-hours party you’ve never been to). Tracks like “Stay Loose,” “NC-17” and “What” are the kind of pop-rock that could have easily been beamed in from the same universe that gave rise to The Cars (or a looser version of The Strokes), while the album’s first single, “ClassHistorian” — with its unstoppable “do do do do” vocal refrain is the kind of song that seems scientifically engineered to stick in your brain forever and is arguably best played loudly over a car stereo with the windows down and your long hair blowing in the breeze. Clocking in at just more than 30 minutes, the eleven tracks on the new record are a potent statement of intent: an effortless sounding rock record that dips its toe into a variety of different styles without ever succumbing to any of them.
Greta Kline’s studio debut as Frankie Cosmos steeps itself in a sort of surface level self-loathing. But despite song titles like “Sad 2” and lyrical assertions that she’s “the kind of girl buses splash with rain,” the true triumph of the album “Zentropy“comes from a sense of wide-eyed innocence and optimism that runs through the record’s brief 17-minute runtime. Similar to the several decades of indie pop antecedents that populate the rosters of Slumberland and K Records, the guitars shimmer and sputter, drums clatter to life with a lighthearted crackle, and Kline’s apparently downcast lyrics turn tongue-in-cheek, offering ways of overcoming in the midst of post-millennial malaise. It’s a surprisingly mature sentiment from a songwriter who was only 19 years old at the time of the album’s release, especially in an era where void-gazing is popular, As she sings on “My I Love You”, sometimes you just have to “do what [you] have to do,” and Kline has uniquely figured out how to soundtrack that process in a sneakily buoyant way.
DEAD HORSE ONE is a band founded by Olivier Debard, Luðóvík Naud, Jerome Simonian and Antoine Pinet in 2011. Their music spans multiple genres including Shoegaze and psychedelia. Dead Horse One hit the ground running in 2012 with the phenomenal Heavenly Choir of Jet Engines EP, which leaned somewhat towards the dark and heavy and immediately established a highly realized sound for the band. The group has performed at the Liverpool psych fest 2013 and has shared the stage with The Telescopes, The Veldt, and French compatriots H-Burns and Sound Sweet Sound.
Dead Horse One’s debut full-length, “Without Love We Perish”, produced by MarkGardener of Ride,
Hailing from southern France,the quintet released the superbly titled ‘Heavenly Choir of Jet Engines’ EP
Inspired by Ride, The Telescopes, Swervedriver and John Barry soundtracks, the group formed in the town of Valence and have won appreciation Stateside with The Austin Town Hall website praising the band’s “early shoegaze” guitar textures. Focusing on the poppier end of the psych spectrum away from thunderous grooves the five-piece create swooning psych pop gems.
‘Their avowed aim is to be a ”Heavenly choir of jet engines” filling the soundscape of the world with an endless extended note, wistful and melancholic….macabre and beautiful…from which will emerge pop songs…and they do.’ – Joe Foster – co-founder of CREATION RECORDS
From a gig at the Florida Coliseum in Jacksonville during summer of 1987, this dynamic show finds Tom Petty and the Heartbreakers (Mike Campbell on lead guitar, Benmont Tench on keyboards, Howie Epstein on bass and mandolin, and Stan Lynch on drums) on tour to promote the April 87 release “Let Me Up (Ive Had Enough)”. This particular show however featured only one cut from the album, “Runaway Trains”, notably omitting the records hit single “Jammin Me”, a song composed by Petty and Campbell with Bob Dylan. The band were in playful mood however and performed a total of five rousing cover versions and a number of old favourites to compliment the one new song. Petty would neither tour nor record with the Heartbreakers again for another four years, in the meantime he became a founding member of the supergroup The Travelling Wilburys following which he recorded and released his first solo album before reuniting with the group in 1991. this is available now from Amazon.
1. Bye Bye Johnny 2. Breakdown 3. King’s Road 4. The Waiting 5. Don’t Come Around Here No More 6. For What It’s Worth 7. The Image of Me 8. Here Comes My Girl 9. Should I Stay or Should I Go 10. You Can’t Judge A Book by Its Cover 11. Anyway You Want It 12. Runaway Trains 13. Refugee.
The Irish blues-rock guitar icon made strong, often great albums in the Seventies. But he was at his best, always, on stage. Rory Gallagher‘s present to the home country, at the turn of ’74, was seven shows in three cities, including Belfast, where sectarian violence had scared off most touring bands. A fantastic 1974 double LP was taken from riotous gigs in Cork, where Gallagher grew up. This boxed set is the tour complete, with similar set lists but vigorously different performances each night by one of rock’s most reliantly electrifying guitarists.
Rory Gallagher was also growing increasingly frustrated at not being able to capture the energy of his live shows in the studio. During one session, he threatened to “chuck the tapes in the dustbin”. It was no ideal threat – he would go on to shelve whole albums in the future.
“He was a live performer,” said keyboard player Lou Martin. “He didn’t like the studio because he was playing to the walls and wasn’t getting any feedback from the audience. But he had to do the albums for the record company.” But onstage, it was another matter entirely, and Gallagher understandably jumped at the chance to record another live album. But this one would be different: it would be recorded in Ireland. Although his previous live album Live In Europe has a more raw, one-take sound,Irish Tour ‘74 showcases Rory’s growth as a songwriter and shines where he explores his then-most recent studio album, the very musically varied Tattoo. Opener Who’s That Coming, Tattoo’d Lady and the lengthy, looser version of AMillion Miles Away show a man who’s enjoying his talent to the fullest musically.
“We were one of the only bands to play Belfast,” says Lou Martin proudly. “Thin Lizzy were not doing it because of the aggravation. But Rory insisted on it. I was from Belfast, Gerry was from Belfast and there was co-operation from ‘The Organisation’ to make sure the concerts went OK.”. “We were taken care of very well,” said drummer Rod de’Ath. “The hotels that we stayed at were carefully chosen, without going into too much detail.” (Neither man was willing to go into more detail about ‘The Organisation’, though we can presume that they’re not talking about the British government).
The resulting album, “Irish Tour ’74”, remains the highlight of Gallagher’s career. Recorded in Belfast, Dublin and Cork, it finally nailed his live performances on vinyl. While the sound quality is variable – partly due to the fact that they couldn’t get insurance for Ronnie Lane’s Mobile Studios in the more troubled areas – the album never loses its primal, raw urgency. It’s the sound of a band leaning out over the precipice – something Gallagher deliberately encouraged, making up the show as he went along.
A DVD of Tony Palmer’s eyewitness film, “Irish Tour ’74”, captures the soft-spoken Gallagher defying the bloodshed in Belfast, determined to play for fans on both sides of the Troubles with no guns drawn except for the one in Blind Boy Fuller’s “Pistol Slapped Blues.” The 40th anniversary expanded deluxe edition release of one of Rory Gallagher’s most celebrated recordings. The most expansive edition to date, of this landmark album. Featured for the first time on record, all three shows. Packaged in a special deluxe edition 8 cd, 10” boxset and including previously unreleased tracks, remastered audio, photos, extensive liner notes, feature length documentary, memorabilia and more.
“Irish Tour captures some of his finest known live recordings and, while it’s impossible to tell which songs were recorded where, across nine in-concert recordings (plus one after-hours jam session, Back on My Stompin’ Ground), the energy crackling from stage to stalls and back again packs an intensity that few live albums – Gallagher’s others among them – can match.” (AllMusic)
“Unlike many other of his contemporaries, he lived long enough to see his legacy and influence take hold and flourish in the musical world. This display of one man’s ability to unite a people and a country in turmoil through his music is an essential listen for all rock fans, young and old, and is a crucial part of Irish musical history as well as the very legacy of blues rock.” (Sputnik Music)
“From the moment the music starts, Rory Gallagher: Irish Tour ’74 more than justifies itself. Gallagher played like his guitar was plugged straight into the universal source, and it probably was. That Gallagher was on his home turf for this tour only increases the sense of some sort of direct connection with his sound. Every note played, every string struck and every song sung vibrates with all the passion and intensity of a spiritual experience, which this surely was.” (Pop Matters)
Urgent yet dreamy, this breathtaking dose of psychedelia mixes ethereal female harmonies, a soaring melody, and surging beats to dazzling effect. Indie-pop duo Beverly is a project comprised of singer/drummer Frankie Rose and Drew Citron of New York pop stylists Avan Lava, the latter of which wrote the songs that make up the project’s debut LP, “Careers” (Rose pitched in on drums and vocal harmonies). So Beverly is less a true duo than a vehicle for Citron’s compositional voice—Rose has since returned her focus to her solo career, and Citron will flesh out Beverly tracks live with the help of an all new band—and the material reflects Citron’s smart choices with respect to genre and style.
Careers Tracklisting
1. Madora 0:00 ,
2. Honey Do 2:35,
3. Planet Birthday 5:43,
4. All The Things 8:55,
5. Yale’s Life 11:53,
6. Ambular 15:06,
7. Out on a Ride 17:24,
8. Hong Kong Hotel 19:35,
9. You Can’t Get It Right 22:27,
10. Black and Grey 25:30,
This is one of those albums that comes out of a songwriter meandering in lo-fi productions for years and finally writing “the album” where all the diamonds in the fuzzy rough from before come through.
While the previous Amen Dunes records have all been largely improvisational first-take affairs, recorded in a matter of weeks at most, this full-length album “Love” is the product of close to a year and a half of continuous work by Damon McMahon. Unlike McMahon’s earlier Amen Dunes recordings, which were almost always a solo affair, the music on Love was performed by a variety of musicians, including his longtime collaborators Jordi Wheeler on guitar and piano, and Parker Kindred on drums.
McMahon chose to hold the main recording sessions for “Love” in Montreal with Dave Bryant and Efrim Menuck of Godspeed You! Black Emperor. In addition to recording the sessions that McMahon produced, members of Godspeed also played on several of the songs. So did saxophonist Colin Stetson and Elias Bender-Ronnenfelt of Iceage, who duets with McMahon on two tracks.
This project has always seen McMahon guided by traditional song and sound, but Love is the first work in which this clearly shines through. The result is definitively the most substantial Amen Dunes record to date. These are elemental songs about time, love and memory, as much about the listener as they are about the writer: pure, open, and beautiful. http://
