Archive for the ‘MUSIC’ Category

The 1969 Isle of Wight Festival was held on 29th–31st August 1969 at Wootton Creek, on the Isle of Wight. The festival attracted an audience of approximately 150,000 to see acts including Bob Dylan, the Band, the Who, Free, Joe Cocker, the Bonzo Dog Band and the Moody Blues. It was the second of three music festivals held on the island between 1968 and 1970. Organised by Rikki Farr, Ronnie and Ray Foulk’s Fiery Creations, it became a legendary event, largely owing to the participation of Dylan, who had spent the previous three years in semi-retirement. 

The Who presented their standard set at that time, which included the rock opera “Tommy”, as they had recently released that album and were touring in support of it. The group had just returned from a tour of the United States, where they had performed at Woodstock about two weeks earlier. They opened with “Heaven and Hell”, followed by “I Can’t Explain”, “Fortune Teller”, “Young Man Blues”, and then performed the opera nearly in full, finishing up with “Summertime Blues”, “Shakin’ All Over”/”Spoonful” and two tracks as the encore: “My Generation” and the finale of “Naked Eye”

Personnel:
Roger Daltrey: Vocals
Pete Townshend: Guitar, Vocals
John Entwistle – bass, Vocals
Keith Moon: Drums

A raucous yet reflective look back at the evolution of the music press and the passionate rock and pop journalists who defined the music of the 20th century.

Totally Wired is the definitive story of the music press on both sides of the Atlantic, tracing the rise and fall of the creatively fertile media sector which grew from humble beginnings nearly 100 years ago to become a multi-billion business which tested the limits of journalistic endeavour.

Covering the music press’s evolution from the 1950s to the 2000s, through rock & roll, Mod, the Summer of Love, Glam, Punk, Pop, Reggae, R&B and Hip Hop, Paul Gorman chronicles the development of individual magazines from Tin Pan Alley beginnings and the countercultural foundation of Rolling Stone , the underground press and the 70s heyday of NME , Melody Maker and Sounds . Illuminated by the author’s first hand interviews, Gorman paints a complete picture of the scene exploring the role played by such writers as Lester Bangs, Charles Shaar Murray and Nick Kent in the development of the careers of the likes of David Bowie, The Clash and Led Zeppelin, and tackling head on the entrenched sexism and racism faced by women and people from marginalized backgrounds by shining a spotlight on those publications and individuals whose contributions have often been unfairly overlooked.

Evoking the music press’s kaleidoscopic visual identities, Totally Wired is illustrated with rare and legendary magazine artwork throughout. What emerges is a compelling narrative containing conflicting stories of unbound talent, blind ambition and sometimes bitter rivalries which make Totally Wired a rollercoaster and riveting read.

DIVORCE – ” Services ” EP

Posted: October 2, 2022 in MUSIC

Divorce is the new alt-country and grunge-fuelled project from Kasper Sandstrom, Felix MackenzieBarrow, Tiger Cohen-Towell and Adam Peter-Smith.

The Nottingham band arrive at the start of 2022 with “Services” – a massively infectious indie-rock road trip punctuated by stops at grey, clinical service stations which explores the shaky borders between adolescence, in all its glorious excess, the weight of early adulthood, and the absurdity of life in a world turned on its head by late stage capitalism.

As Tiger explains, “Both teenage dysphoria and the reluctant ascent into the chaos of my mid-twenties meet each other in this track. I looked back on the suffocating boredom and the pain of being 16, and how I longed for the simplicity of human closeness and car journeys. I wanted to channel a zeitgeist that we all feel in touch with, pain, trauma and cacophonous emotion; summarised in the mundanity of a service station.”

Following explosive and playful alt-country debut “Services”, with acclaim generated across the press landscape (DIY, So Young, The Line Of Best Fit, Clash), the band turn down a shadier fork in the road with their second single, “Pretty”

4-track EP from Divorce, out digitally on December 2nd 2022 and physically in Spring 2023.

“Services” is out now on Hand In Hive Records.

Metric shared a video for their new song, “What Feels Like Eternity.” It is the third single from their album, “Formentera”, which was released on July 8th.

Upon announcement of the album in April, the band shared the album track “All Comes Crashing,” Then they shared its second single, the 10-minute long “Doomscroller,” which we somehow neglected to post about . Their previous album, “Art of Doubt”, came out in 2018 via MMI/Crystal Math Music.

“Formentera” is named for an island off the coast of Spain, near Ibiza. The island was discovered by the band in a travel book sitting on the desk of their recording studio and inspired them in the midst of pandemic lockdowns, when they couldn’t actually travel there. Metrics newest collection of electro-indie drags you from the abyss that is our current day-to-day, acknowledging the fragile fate of life whilst encouraging you to appreciate the here and now. It’s dark and claustrophobic, but dreamy and imaginative with grand, cinematic synth arrangements. 

“We had been living in our imaginations for a long time, because we couldn’t physically go anywhere else,” explains guitarist and co-producer Jimmy Shaw in a press release. “When you listen to the album from beginning to end, you start with this immediate feeling of tension building, of being stuck in a loop, and then there’s this intense release that happens… you’re swept off your feet into the title track ‘Formentera’ and it’s like you escaped.”

Frontwoman Emily Haines continues: “We came to this realization that it wasn’t even about an actual place anymore, it was about creating an escape for yourself in your mind because you’re powerless over so many things.”

“What Feels Like Eternity” by Metric from the forthcoming album “Formentera“:

Julia Kugel of The Coathangers released her debut solo LP “Derealization” under a new moniker, Julia, Julia. The LP includes dreamy and captivating recently released singles: “Do It Or Don’t”“No Hard Feelings”, “Fever In My Heart”.

Recorded at COMA, her and her husband’s home studio in Long Beach, CA, the album was a large part of healing for Kugel, after losing her voice. It also sees Julia playing nearly all the instruments and taking her first stab at engineering.

Derealization” feeling detached from one’s surroundings; a conscious confusion about the “realness” of surrounding people and objects: a feeling of observing oneself outside of one’s body: feeling like one is living in a dream. This is the crucial question at the core of Julia, Julia, the moniker for Julia Kugel, founding member of garage punk icons The Coathangers and the dream pop duo Soft Palms.

On her first solo full-length album “Derealization“, Kugel shifts her focus from collaboration and band dynamics towards a singular artistic vision and private self-discovery. Steeped in the beguiling pop elements of her past work, “Derealization” is a meditative deep dive into the mind of a person struggling to understand a crumbling internal and external world. The album traverses a landscape of ethereal folk, atmospheric deconstructed pop, and dubbedout country ballads, all centered around straightforward and direct lyrics. This juxtaposition of nebulousness and lucidity gives the album a sense of clarity emerging from the haze, an apt reflection of Kugel’s personal growth and journey toward self-acceptance.

This raw and personal approach to the lyrics is present throughout “Derealization“. On the opening track “I Want You,” Kugel creates a woozy sense of space with reverb-soaked drums and spaghetti western guitars while she lists off her desires for a mysterious “you.” Is she actually listing off her desires for herself? For the people around her? As she repeats “do you feel it?” in the song’s chorus, it feels as if she’s conjuring a magical thread by which we are all connected, showing us how our desires are all the same. On “Fever In My Heart” the listener is treated to a lush, acoustic techno track detailing the exhilarating madness of an emotional breakdown. Simple truths percolate to the surface on “Words Don’t Mean Much,” as if clearing away the murk of platitudes and empty gestures. The journey continues on the detached and conflicted “Do It Or Don’t,” an alluring walk through the winding road of lonely choices. The final four tracks on the album originally appeared as limited edition releases under the White Woods moniker and serve as a tether between the present and past.

...the debut solo record from Julia Kugel as Julia, Julia is shaping up to be a meditative—if not downright peaceful—capsule of the songwriter’s more introspective side.” – FLOOD Magazine
“While her previous work rested on the rambunctious and energetic side, she steers in the opposite direction with this new single, offering a more intimate and psychedelic experience. “Fever in My Heart” is like a drug that keeps drawing you deeper and deeper into its reign.” – Consequence

“…a cryptic, atmospheric tune about feeling completely ungrounded, but liking the freedom of being untethered from the rest of the world.” – Grimy Goods

Julia, Julia “Derealization” out September 30, 2022 on Suicide Squeeze Records.

TONY IOMMI SG Gibson

Posted: October 1, 2022 in MUSIC

Tony Iommi’s iconic riffs, heavy tones, and innovative tunings set him apart from the rest and defined the heavy metal genre. At the center of it all was Tony’s heavily modified 1964 Gibson SG™. Inspired by Tony Iommi’s original Gibson SG, Epiphone is proud to release the Tony Iommi SG Special. This artist model is available in right and left-handed versions and features a two-piece mahogany body, a bound one-piece mahogany neck with a rounded profile, an Indian laurel fretboard with 22 frets, a Graph Tech® nut, Grover® Rotomatic® tuners with contemporary style buttons, and chrome-covered Epiphone PRO P-90 pickups that are wired to CTS® potentiometers and Orange Drop® capacitors. A static cling reproduction of Tony’s “Monkey” sticker is in the included hardshell case. No need to be paranoid, the Tony Iommi SG Special is now available!

MOJO MAGAZINE

Posted: October 1, 2022 in MUSIC

“I, for one, am sick of doing sounds that people can claim to have heard before.”

These are the words of Paul McCartney in June 1966, charging headlong into the sonic unknown via the pages of NME. He’s talking about a new track The Beatles have recorded with “electronic effects” and words from the Tibetan Book Of The Dead. The track, of course, will soon be unveiled as Tomorrow Never Knows, and its parent album, “Revolver“, will ultimately be understood as where The Beatles consolidated their song writing brilliance while broadening their musical horizons. Now gifted and ambitious bands could go anywhere, try anything, without necessarily alienating their fans.

This month in MOJO we celebrate the arrival of a kaleidoscopic new, expanded edition of “Revolver”. And we also reflect on how The Beatles, so eager to explore a wider world of sound, made a magazine like MOJO possible. Stockhausen “opens your eyes and ears,” McCartney told NME, and Stockhausen figures on the eclectic roster of one of MOJO’s boldest CDs ever – “The Meaning Of Within” – alongside other outré Beatles influences like Ravi ShankarTimothy LearyOrnette ColemanDelia DerbyshireAMMJohn Cage and Nat King Cole.

Also in the issue you’ll find many more radical artists, like BjörkDon CherryBlack FlagDry CleaningBig Joanie, , Diamanda Galas and Brian Eno. They might not all be to everyone’s taste, but they all make a kind of sense next to one another, vital parts of our latest monthly tack through music’s wild and diverse expanses.

Plus! A staggering extract from Nick Cave’s new book. Graham Coxon on Blur, Britpop and way beyond. The chaotic last stand of Joe StrummerBlue Oyster CultThe EqualsLewis TaylorMickey JuppLee FieldsBeth OrtonLamont DozierThe CultMusical Youth. And the ‘90s band who could have been the new Beatles (It’s not Oasis).

The Stones and The Who “visibly sat up” when the Beatles played them “Tomorrow Never Knows” for the first time, Paul McCartney reports in 1966. “We also played it to Cilla… who just laughed!”

Philadelphia power-pop group 2nd Grade release their new album “Easy Listening” this Friday and here’s one last nugget before they share the whole thing. “Teenage Overpopulation” is a jangly earworm that namechecks everyone from Justin Bieber to Tommy Stinson. “Easy Listening” is our third release with 2nd Grade, and they just keep getting better. This album covers everything from teenagers, Seinfeld, telecasters, Liv Ullman, you name it.

Power pop is alive in the year 2022 and we hope it sticks around, we’re having fun.

2nd Grade Is The Best Part Of The 2022 Power-Pop Renaissance”
—Uproxx

“You’ll come for the soaring choruses, perfect middle-eighths that glide into tight solos, and raging hormones, and then stay for the nods to Bergman and Seinfeld.”
—Brooklyn Vegan

“…the supergroup of some of Philly’s finest indie-rock stylists have crafted an adventure of an album, traversing the highs of rock-stardom, the lows of celebrity loneliness and a pervasive sense of ennui that can only be cut by righteous riffs.”
—Paste Magazine

releases September 30th, 2022

The Band:

Catherine Dwyer— guitar, vocals
Peter Gill— vocals
Francis Lyons— drums
Jon Samuels— guitar
David Settle— bass, vocals

WINTER – ” Lose You “

Posted: September 30, 2022 in MUSIC

Winter’s glittery, holographic image takes on a darker shade in the grooves of their 4th album, “What Kind of Blue Are You?” The record sees Samira Winter return to the kind of hooky shoegaze of her early recordings. A darker, more world-weary perspective informs the honest and emotionally unguarded lyrics. Sonically, What Kind of Blue... is Winter’s greatest achievement yet. Texturally,, bellowing fuzz and wirey guitars evoke a new sonic territory. Tracks like “Atonement” (ft. Hatchie), “Good” (ft. Sasami) and “Fool” claw, scrape and wriggle their way into your ear.

Out in October, the new album from Brazil-born, LA-based songwriter Samira Winter features collaborations with SASAMI , Joo Joo Ashworth (Froth), and members of Hatchie, who help “Atonement” shimmer with shoegazy riifs and a grooving bassline.

Produced by Joo Joo Ashworth (Sasami, Automatic, Dummy).

“Lose You” by Winter out via Bar/None Records

Neil Young has announced a new album with his band Crazy Horse, titled “World Record”, that will be out November 18th via Reprise Records. They made it with Rick Rubin at his Malibu recording studio Shangri-La, and it’s “a cohesive vision that spreads positive energy while not flinching from our present situation.” Young noted on his website, “Real magic lasts and we think we have it.”

On a recent episode of Jack White’s Broken Record podcast, Neil said the album features “unheard-of combinations of instruments.” Maybe just for Crazy Horse, though. Opening track “Love Earth” is a gently rollicking song featuring the unheard-of combination of piano, acoustic guitar and drums as Neil encourages us to embrace nature, envisioning a world where “The sky was blue and the air so clean / The water crystal clear / We lived by the sun and had it all / We were livin’ the dream.”

“World Record” is an almost double album, pressed on three sides of a double album, with an etching on Side 4.