Archive for the ‘MUSIC’ Category

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Coldplay will return in November with a new double album called Everyday Life. The band announced the news in a letter sent to members of its fan club. “One half is called ‘Sunrise’, the other ‘Sunset’. It comes out on November 22nd,” the band writes. “It is sort of how we feel about things.”

On Saturday (October. 19th), the band posted a cryptic five-second teaser to Instagram featuring an old-timey black-and-white photo of The Wedding Band & Dance Orchestra. As gentle orchestral music swelled in the background, “November 22nd, 1919” scrawled across the screen — the date of a solar eclipse seen by much of the world. (Earlier in the week, posters featuring the vintage graphic started popping up inexplicably around the globe.)

The band confirmed that the mysterious old-fashioned visuals pointed toward new music by sending fans typewritten notes directly in the mail on Monday (October. 21st). “Dear friends,” the note from Chris Martin and Co. reads, “my typing isn’t very good i’m sorry / I and we hope wherever you are you’re ok / for the last 100 years or thereabouts we have been working on a thing called Everyday Life / in the classifieds you might write ‘double album for sale, one very careful owner’ / one half is called ‘sunrise’, the other ‘sunset’ / it comes out 22nd november / it is sort of how we feel about things / we send much love to you from hibernation / Chris, Jonny, Guy and Will Champion, esq.”

A recent report described Coldplay’s forthcoming album as “arty” and “experimental” in nature. Also the band claimed that a more “mainstream” record would follow in 2020. It’s unclear whether Coldplay have simply combined these two records into one double release, or if they do indeed have more in store for fans next year.In anticipation, Coldplay updated their website and social media profiles with new branding. New publicity posters featuring an old-timey photo of the band and the date “November 22nd, 1919” have also been spotted in Berlin London,, Hong Kong, Madrid, Munich, São Paulo, and Sydney. The band also tweeted the image along with a brief snippet of music.Coldplay’s last album, A Head Full of Dreams, came out in December 2015. In the years since then, they’ve released a pair of EPs, 2017’s Kaleidoscope and 2018’s Global Citizen – EP 1, as well the Live in Buenos Aires live album and concert film.
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Nick Cave and PJ Harvey Red Right Hand

Music from the first five seasons of BBC crime drama Peaky Blinders will be collected in a new double album due out on November 15th.

Notably, the set marks the first-ever commercial release for PJ Harvey’s cover of Nick Cave and the Bad Seeds“Red Right Hand”.The Bad Seeds original version has long served as the series’ theme, but in 2014 Harvey was commissioned to cover the song in an effort to make the series seem “less American.”

“We’re trying to make it feel much more European and British and PJ Harvey fits that bill perfectly,” the song’s producer, Flood, said at the time. “I phoned Polly up and she was very interested. We’re trying to deconstruct all of Polly’s material and then weave it through, it’s very cutting-edge and modern.”

Of course, adding to the cover’s intrigue is the fact that Cave and Harvey dated back in the mid-1990s. Cave recently spoke about the ending of their relationship, which he attributed to a number of factors, including his drug use and the fact that he “had a certain amount of work to do on my understanding of the concept of monogamy.”

The Peaky Blinders soundtrack also includes The Bad Seeds version of “Red Right Hand”, as well as original material from Anna Calvi, Jehnny Beth, and Richard Hawley. Additionally, there are songs Radiohead, Jack White, David Bowie, Joy Division, Black Sabbath, and more. The double disc set is due out on November 15th.

In related news, Snoop Dogg recently covered The Bad Seeds’ “Red Right Hand” to promote the upcoming sixth season of Peaky Blinders. After hearing it, Cave said Snoop’s version left “a giant smile on my face.”

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Hailing from the West Country, Katy J Pearson’s music seems to exists in a perfect musical sweet-spot; After previously forming something of a family band with her brother, and recently signed to Heavenly Recordings, Katy has this week shared her first solo offering, “Tonight”.

Tonight is in some ways a classic pop-song, eyes meet over a crowded dancefloor, a romantic spark flashes and vulnerability soars, “sometimes we get away with it, sometimes we get burned, sometimes we can just learn from it, or we just get burnt”. Musically, the story sits atop a shuffling lead guitar, sprightly drum-beat and towards the songs closing some delicious trumpets, like Camera Obscura with a touch of California sunshine.

A hugely impressive jumping off point, this is music to get lost in, and already we can’t wait to hear a lot more from Katy J Pearson.

“Tonight” is out now via Heavenly Recordings.

Sass live up to their name, but they use sarcasm and cheekiness as a deflection tactic against a looming darkness. The songs on their debut album, “Chew Toy”, are about heavy shit, and Stephanie Murck never undersells the very serious topics she’s singing about. But the gnarled and fuzzy towers of attitude that Sass build up around that are stunning — frustrated bursts of pure release.

released May 31st, 2019

A consensus pick as one of the best nights on the Reunion tour, Los Angeles 23/10/99 brings it wire to wire, from the show-opening invocation “Meeting In The Town Tonight” into “Take ‘Em As They Come” through the rare, delightful closer “Blinded By The Light.” Other highlights of this peak Reunion set include “The Ties That Bind,” “Darkness On The Edge Of Town,” “The Promised Land,” “Incident On 57th Street,” “For You,” “Backstreets” “Light Of Day” (detouring briefly for a romp through “California Sun”) and the first solo piano version of “The Promise” in a formal concert since 1978.

Any longtime fan who has seen their fair share of Springsteen shows has at some point played the Time Machine game: If you could go back in time and see any Bruce concert, which would it be? A wish to witness tours and performances well before our time is a charming fantasy. More painful is taking stock of the shows you could have seen but didn’t.

This release of 23/10/99 confirms it is justified. The final LA ‘99 show is an outstanding Reunion tour performance, from the moment “Reverend” Clarence Clemons implores, “Brothers and Sisters, all rise” to start the show. There’s something special about Reunion sets that open with the “Meeting in the Town Tonight” preamble, and going from that straight into “Take ‘Em as They Come” is irresistible. The River outtake/Tracks highlight is one of those songs I never imagined I would hear in concert .

The elements that made the Reunion tour so enthralling. The band was back together for the first time since ‘88, but they were also playing unreleased songs I never dreamed possible in a Springsteen concert. Add to that the return of songs unplayed since the ‘70s and you had the intoxicating belief that any song could find its way into a Reunion tour setlist.

The first half of the set nails the ‘99 blueprint, with the notable inclusions of an excellent “The Ties That Bind” following “Take ‘Em,” a resolute “Darkness on the Edge of Town,” and one of the best takes of “Factory” on the tour. It’s fascinating how distinct this “Adam Raised a Cain” is compared to the performance from the Chicago ‘99 archive release recorded less than a month before, putting more muscle into thick guitar where Chi-Town soared on incredible vocal dynamics.

Then there’s the humor. I’m not sure Bruce has ever been more deadpan than delivering jokes expressing his disdain for the corporate branding of LA’s state-of-the-art arena. “Good evening office supply lovers,” he says. “I’ve been searching for Mr. Staples.” On opening night of the run, he called out the building for its triple-decker skyboxes that start where upper bowl of a typical arena would be. “They don’t call ’em middle-of-the-room boxes,” he added, before invoking a line he famously uttered at The Roxy 21 years prior: “I don’t play no private parties anymore.” True to his word, despite Staples Center being the newest and biggest arena in Los Angeles, Bruce has not played another concert there to this day.

Every archive release provides an HD window to hear details otherwise lost on bootleg recordings and 10/23/99 is no exception. Though they are but a few seconds each, I love hearing Danny Federici’s organ swells at the start of “Murder Incorporated” and “Incident on 57th Street.” HD quality also shines a light on Roy Bittan’s lovely playing on the aforementioned “Factory,” not to mention Bruce and Patti’s lilting harmonies that wind down the song.

The back half of 10/23/99 is sensational. By request, we get “Incident on 57th Street.” This Wild & Innocent fan favorite returned to the set in Philadelphia on 9/25/99 for the first time since Nassau ‘80, but its appearance here is arguably even more special. Based on available setlists, Springsteen had never played the song on the west coast, let alone LA, going all the way back to 1974. For all but a lucky few, this was its Pacific Time Zone debut.

“Incident” is followed by an essentially perfect “For You,” which couldn’t be played better in ‘99 (maybe any year) than this. The pacing, the vocal intonation, the band, the spirit, Max’s cymbal work, the Big Man’s sax… all are spot on. A divine performance. The feeling of seeing the band leave stage and Bruce walking back to Roy’s piano by himself for a performance of the Promise, starting slightly tentative on piano then gaining composure. Bruce sings with a touch of weariness, taking time to let his words land and ultimately restoring one of his greatest compositions to the canon.

Bruce could do no wrong from that point forward, and he didn’t. Like “For You,” we’re gifted a remarkably timeless “Backstreets,” steeped with Bittan’s expressive piano. Setlist normalcy returns for the end of the set and the encore, delivered with high-gear intensity. “Light of Day” is extra fun, with a quick romp through “California Sun” (made famous by The Rivieras) by way of the memorable guitar riff from Johnny Rivers’ “Secret Agent Man.”

As the last show in LA, /23/99 is definitely a “one more song” kind of night. To the delight of every office supply lover in the building, we’re treated to “Blinded By the Light,” in only its second performance since 1976. Though arguably Bruce’s most famous song pre-Born to Run (largely because of the Manfred Mann cover), the song has a spotty performance history even back in the day. Its celebratory, playful appearance seals the night with a fitting E Street kiss goodnight.

words by Erik Flanagan

Bruce Springsteen – Lead vocals, guitar, harmonica, piano; Roy Bittan – Piano, keyboards; Clarence Clemons – Tenor and baritone saxophones, percussion, backing vocal; Danny Federici – Organ, keyboards; Nils Lofgren – Guitar, pedal steel; Patti Scialfa – Guitar, percussion, backing vocal; Garry Tallent – Bass; Stevie Van Zandt – Electric and acoustic guitars, mandolin, backing vocal; Max Weinberg – Drums

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John Calvin Abney is one of the finest guitarists you’ve probably heard on a record but had no idea he existed. He has played with countless artists over the years and it was supporting that John Moreland when I was left slack-jawed at his playing. For his solo stuff, you’d half expect to just bury you under a mountain of guitar mastery. For his solo stuff, he has opted for folksy Americana that is contemplative as opposed to flashy.

“Safe Passage”, the follow up to 2018’s Coyote, came out during a perfect time of the year. It feels natural to sit outside on the porch as the air starts to gather a chill to it. The three track run of Turn Again, When the Dark Winds Blow and Backwards Spring are pure perfection. It is a little more twangy than previous efforts but it isn’t hitting you over the head. They just come off as no natural, lending itself to theme of this effort .

“Always Enough” by John Calvin Abney from the album ‘Coyote’ on Black Mesa Records

Hovvdy discuss their new album <i>Heavy Lifter</i> and premiere a new single, “Cathedral”

Hovvdy, the Austin-bred slowcore duo of Charlie Martin and Will Taylor, released their third album Heavy Lifter today. Built around melancholic guitars and self-conscious vocals, lead single “Cathedral” is a lilting groove that feels like having a series of existential realizations in the middle of a field.

While Heavy Lifter does come off as familiar, the record also expands their sound. Working in close collaboration with engineer and producer Ben Littlejohn in various makeshift studios around Texas, they’ve refined their languid melodies and expanded on their previously muted production. It’s still cozy, but it also veers toward the cinematic, with brief forays into Auto-Tune, distorted drum machines, and hip-hop-inspired beats.

Lead single “Cathedral,” is a gentle introduction to this evolution. First it’s dominated by cyclical, strummed guitars reminiscent of Elliott Smith, and then it transforms into a sleepy anthem for late-summer nostalgia. Martin says he wrote the first part “a long time ago,” inspired by a “weird vision or dream about being in the past and seeing my grandma at this church.” Halfway through, the song seems to careen back in time, with Martin repeating the line: “maybe never come back here, we can stay with our friends.” It captures the youthful feeling of infinite time and endless summers, when you stay out with your friends and have zero responsibilities.

The duo sing of finding your own spirituality and learning how to step outdoors in the face of anxiety: “Trust I’ll calm down / Always do somehow / Open my door / Brighter than before / Outside, hide,” they whisper, sunnily.

Hovvdy have always had an uncanny ability to create a comforting effect with their songs, even when those songs are about fear, anxiety and their own personal shortcomings. Fans of their zoned-out, slowed-down indie-pop have come to rely on the duo for their consistently soothing music, and it’s a mantle they’ve gladly taken up. “I was really trying to make something that would make people feel better,” Martin says of Heavy Lifter, on the phone from his bandmate Taylor’s house in Austin. “And I think they have served that purpose for me too, just from making them.”

“Heavy Lifter” on Limited Edition Vinyl

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After signing to Elektra Records and sharing a pair of new singles over the summer, Louisville, Ky., rockers White Reaper released their new album, “You Deserve Love”, the follow-up to the band’s 2017 breakthrough The World’s Best American Band (one of our top albums of that year). The single “1F” finds the band preserving their garage-rock edge while introducing more pop-oriented elements: Tony Esposito’s vocals still spike and crackle like a live wire over big, brash guitars, but it’s the insistent, simplistic organ lick, old-school backing harmonies and tidy production that sound like something new.

White Reaper’s official video for their new track ‘1F’ – from the album, You Deserve Love, available now.

White Reaper’s official video for their new track ‘Might Be Right’ – from the album, You Deserve Love, available now.

Thurston Moore, May 2019 (Tabatha Fireman/Getty Images for Fender Musical Instruments Corporation)

Thurston Moore has shared a cover of a New Order song, which serves as the B-side for his forthcoming trio of singles.

The Sonic Youth co-founder, who released his new album ‘Spirit Counsel’ last September , is set to drop a trio of 7-inch singles that all feature the special New Order cover, ‘Leave Me Alone’, taken from the Manchester band’s 1983 album ‘Power, Corruption & Lies’. Recorded in Salford, which Moore says “is the only place I would dare cover a New Order song, with local musicians and local pints”. “It was just one of those rare occasions, where something I wouldn’t normally do was done just for fun, and in homage and respect to the place.”

The DAYDREAM LIBRARY SERIES are ecstatic to announce the release of Thurston’s forthcoming trio of 7-inch singles:

1.) SPRING SWELLS 2.) THREE GRACES 3.) POLLINATION.

Each 7-inch comprises an excerpted moment from the Thurston Moore Group live in 2019, free-mixed and free-created by Wobbly (aka Jon Leidecker). The B-side of each is a special cover of a New Order track (recorded in Salford).

Moore releases the three singles on November 8th through his own Daydream Library Series.

This week Wolf Parade returned with a brand new single, “Against the Day.” It was shared via a video for the track. It’s the band’s first new song since their 2017 reunion album Cry Cry Cry. The song is out now via Sub Pop Records and you can watch the video below. “Against the Day” features alternating vocals between Dan Boeckner and Spencer Krug and Scorpion Dagger directed the video.

Band Members
Arlen Thompson
Dan Boeckner
Spencer Krug

 


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