Archive for the ‘MUSIC’ Category

SKULLCRUSHER – ” Quiet The Room “

Posted: August 17, 2022 in MUSIC

Helen Ballentine’s spellbinding first full-length album “Quiet the Room” is the sound of a window opening, a barrier dissolving. Across these fourteen tracks, the outside world seeps in and the inside world crawls out. The result is a stunning and quietly moving work that reflects the journeys we take through the physical and spiritual realms of ourselves in order to show up for the world.

While writing the album in the summer of 2021, Ballentine drew inspiration from her childhood home in Mount Vernon, NY. What she set out to capture on “Quiet the Room” was not the innocence of childhood, as it is so often portrayed, but the intense complexity of it. Past and present merge Escher-like in this dreamlike space laced with elements of fantasy, magic, and mystery. Musically, this translates into a sound that feels somehow weighty and ephemeral all at once, like a time lapse of copper corroding.

To capture the effortless blend of electronic, ambient, folk, and rock, Ballentine and her partner and collaborator Noah Weinman brought in producer Andrew Sarlo to record at Chicken Shack studio in Upstate New York, close to where Ballentine grew up. “We wanted every song to have that little twinkle, but also a sense of crumbling,” she says. These songs thrum with moments of anxiety that boil over into moments of peace, as on lead single “Whatever Fits Together,” which chugs to a ragged start before the gears catch and ease. On “It’s Like a Secret,” Ballentine struggles to connect and let people in, recognizing that no one can ever fully know our inner worlds and that to understand each other is to cross a barrier and leave a part of ourselves behind. And yet, on closing track “You are my House,” she finds a way to reach out. “You are the walls and floors of my room,” she sings in perfect, hopeful harmony.

As the album cover invites, these are dollhouse songs to which we bend a giant eye, peering into the laminate, luminous world that Ballentine has created. Like a kid constructing a shelter in a patch of sharp brambles, she reminds us that beauty and terror can exist in the same place.

“They Quiet the Room” by Skullcrusher from the upcoming album ‘Quiet the Room’, out October 14th on Secretly Canadian.

BOB DYLAN – ” Retrospectrum “

Posted: August 17, 2022 in MUSIC

As one of the most influential artists of all time, Bob Dylan has sold more than 125 million records. He is now just as revered for his fine art, which offers a unique insight into the Nobel Prize laureate’s world. Collections include RetrospectrumThe Beaten PathThe Drawn Blank Series, Mondo ScriptoThe Asia Series and The Brazil Series.

Dylan dates the origins of his work as a visual artist to the early 1960s. A few drawings reached the public gaze with album covers like Music from Big Pink (1968) and Self Portrait (1970). In 1974, Dylan spent two seminal months studying art with Ashcan School tutor Norman Raeben, who philosophised the importance of ‘perceptual honesty’ – painting life as it as seen, not imagined. Dylan says of this time: “He put my mind and my hand and my eye together, in a way that allowed me to do consciously what I unconsciously felt.”

The artist’s journeys between cities and towns are personified by his Expressionist lines, which capture the instant moment of a place, person and time. Repeated motifs encourage the viewer to explore the depths of colour and the evolution of his work. His art has been likened to that of Pablo Picasso, with critics applauding the relatability of his collections. He paints mostly from life, stating: “I’m pretty much interested in people, histories, myth, and portraits; people of all stripes.”

In November 2021, the Bob Dylan: Retrospectrum exhibition opened at the Patricia & Phillip Frost Art Museum in Miami, where it ran until April 2022. Following a successful tour in Shanghai, Beijing and Shenzhen, the display spanned six decades and was the largest exhibition of Dylan’s work to ever be displayed in the United States. Featuring over 180 paintings, drawings and ironworks from throughout his artistic career, it also included Dylan’s brand-new Deep Focus series, which transforms scenes from films into cinematic paintings. 

Dylan’s contributions to worldwide culture have been recognised and honoured with many awards. These include an Academy Award for his song ‘Things Have Changed’, which featured in the 2000 film Wonder Boys, along with 12 Grammy Awards and a Special Citation Pulitzer Prize for his ‘profound impact on popular music and American culture’. Further accolades include a Kennedy Center Honor presented by former president Bill Clinton, the Presidential Medal of Freedom presented by former president Barack Obama, and the Nobel Prize in Literature. 

During the last six decades he has released more than 50 albums and written in excess of 500 songs, some of the most famous being ‘Blowin’ In The Wind’, ‘The Times They Are A-Changin and ‘Like A Rolling Stone’, which were visually reimagined for the first time in his Mondo Scripto collection. His songs have been covered more than 6,000 times by artists as diverse as Duke Ellington, Jimi Hendrix, Guns N’ Roses, Stevie Wonder, Rod Stewart, the Red Hot Chili Peppers, Bob Marley, Pearl Jam, Neil Young, Adele and U2. 

Ty Segall & Freedom Band’s live “Levitation Sessions” album is out and streaming worldwide on Bandcamp! Thanks again to everyone who watched the show and to our great crew who made this possible. Ty Segall & Freedom Band rip through a discography spanning set filmed at Occidental College’s Remsen Bird Hillside Theater, a Greek amphitheatre in the hills of Los Angeles.
The Freedom Band’s first stream was recorded by their 6th member, live sound engineer and sonic guru, Matthew Littlejohn and fellow head, Mike Kriebel.  They teamed up with director Joshua Erkman to film the band in the round.  The film was co-produced by LA’s Sid The Cat, with audio mixed by Mike Kriebel.

 The film and album features artwork by Robbie Simon, available on screen printed posters signed by the band, limited edition cassettes and t-shirts, and tie dye tees. Ty Segall & Freedom Band rip through a discography spanning set filmed at Occidental College’s Remsen Bird Hillside Theater, a Greek amphitheater in the hills of Los Angeles.

Ben Boye (Keyboards)
Charles Moothart (Drums)
Emmett Kelly (Guitar)
Mikal Cronin (Bass)
Ty Segall (Vocals/Guitar)

In this recent KEXP studio concert, Ty Segall digs right into his Travis Bean TB1000S guitar, introducing a full-on guitar feedback attack as the Freedom Band follows suit in the feverishly funky, fuzzed-out “Whisper,” from Segall’s 2021 album, “Harmonizer”.

Ty Segall & Freedom Band performing live in the KEXP studio. Recorded February 5th, 2022.

Songs: “Whisper”, “Erased”, “Harmonizer”, “Waxman”

Ty Segall – Vocals / Guitar Emmett Kelly – Guitar Mikal Cronin – Bass Ben Boye – Keys Charles Moothart – Drums

The BYRDS – ” 1964-1967 “

Posted: August 17, 2022 in MUSIC

When the Byrds released “Mr. Tambourine Man” in 1965, they introduced Bob Dylan’s songs to a new audience and launched a career that would make them among the most influential rock bands of all time. With their unmistakable harmonies and Roger McGuinn’s innovative 12-string Rickenbacker guitar, the Byrds never stopped experimenting. They incorporated folk, country, and jazz influences into a fresh blend that helped define an era. “And not to be too shallow,” Tom Petty once wrote, “but they also were just the best-dressed band around. They had those great clothes and hairdos.”

Now the band’s three surviving founding members – Roger McGuinn, Chris Hillman, and David Crosby – have come together to present “The Byrds: 1964-1967“, a large format table top book that offers a unique visual history of the group. Featuring more than 500 images from legendary photographers such as Henry Diltz, Barry Feinstein, Curt Gunther, Jim Marshall, Linda McCartney, Tom Gundelfinger O’Neal, and Guy Webster, the book also includes restored images from the Columbia Records archives and the personal archives of the band’s original manager. Accompanied by a running commentary of their memories of the group, the era, one another, and their late compatriots Gene Clark and Michael Clarke, this carefully crafted volume is a truly unique collector’s item for Byrds fans.

The Byrds: 1964-1967 is in production for a September, 2022 release but pre-order sales are open now. The Super Deluxe Edition with fine art print, The Super Deluxe Edition, and the Deluxe Edition are the only versions of the book that will include signatures of the surviving founding members of The Byrds. There will be no further signature editions available in the future.

A new large-format 400-page collectible art book curated by the band’s three surviving founding members, and available in three versions, including a Super Deluxe Limited Edition signed by Roger McGuinn, Chris Hillman, and David Crosby.

THE BYRDS: 1964-1967—a collectible 400-page oversized art book of photographs and memories, including previously-unseen images from the studio & on the road—out September 20th. Pre-order one of four versions now, including the Super Deluxe Limited Edition signed by Roger McGuinn, Chris Hillman & David Crosby:

This is the essential Exbats release. Loaded with hits and it’s own quirky ambition, this is a true fan-favorite. “I Got The Hots For Charlie Watts” was originally released in 2017 as a cassette on the late Burger Records. Featuring the tracks “Hercules, I’m A Witch, I Got Fights, I Was in Your Video, Kill Yr Boyfriend” and 2027, this is early Exbats at their most contagious sound. Written and recorded while Inez was still in high school and recorded on our second visit to Midtown Island Studios with Matt Rendon this record just about jumps out of it’s grooves. If you have the long out of print vinyl “E is 4 Exbats” this will fill in some blanks (“O Satan, I Wanna Fuck Bucky Barnes, What’s Good, Psycho, Live in Black“) and gives a clear picture of where we started.

A cool kid and her dad living in the middle of nowhere AZ, making songs like it mattered. and driving around the desert to play them (loud) for anyone who would listen. Let us know if you want it signed!

First 50 Ship with bonus early pandemic era 12″ single re-recording of “Hercules“.

Originally released January 19th, 2018

Inez McLain/drums,microphone
Kenny McLain/guitar,microphone
Matt Rendon/bass,mixing

MOJO magazine

Posted: August 17, 2022 in MUSIC
Around the time “Running Up That Hill” took over the world earlier this summer, Kate Bush spoke about the phenomenon. As ever in her rare interviews, she was polite, solicitous and discreet to a fault. “I never listen to my old stuff,” she told the interviewer. “I hadn’t heard it for a really long time.”

For many of us in MOJO’s world, of course, “Running Up That Hill” and its parent album, “Hounds Of Love”, has been more or less a constant soundtrack for the past 37 years. In this month’s new MOJO, we dig deep into the mysteries of Bush’s uncanny classic and uncover truths and insights that’ll hopefully surprise Kate Ultras as well as Kate neophytes.

Kate’s always in charge, ”Hounds Of Love” engineer Brian Tench tells us. “She asks your opinion, she asks questions, but she knows what she wants. She’s not happy until she hears what she wants to hear.”
Elsewhere, we put a clutch of cult heroes under the spotlight, with deep features on Neu!Jackie Leven and Be-Bop Deluxe genius Bill NelsonThe Byrds talk us through their classic era; we get the inside story on Joni Mitchell’s return from the wilderness; and The Libertines tell us what they can remember about making “Up The Bracket“.

Plus: T Bone Burnett on DylanO’Brother and Billie Eilish, How To Buy The Staple SingersMarcus KingWilcoIan CarrLeonard CohenJulian LennonLee “Scratch” PerryMakaya McCraven… and all back to Wonder Woman’s!

It is now 11 years since Kate Bush was happy enough to release any new music. But what happens next remains tantalisingly uncertain – “Gardening,” she told Woman’s Hour, “is my thing now.” As it was, perhaps, in 1985: “Go into the garden/ Go under the ivy/ Under the leaves/ Away from the party…”

The BETHS – ” Knees Deep “

Posted: August 16, 2022 in MUSIC

“Knees Deep,” the latest track from “Expert In A Dying Field” from The Beths, is all about singer Liz Stokes acknowledging her hesitance and fear. Appropriately, then, the video is a bungee jumping-focused visual. The band members gradually get into the thrill-seeking pastime before eventually convincing the not-so-sure Stokes to give it a go herself.

Stokes says of the song, “I’m the kind of person who wants to go swimming, but takes like ten minutes to get all the way into the cold water, slowly and painfully. I hate this about myself, and am kind of envious of people who can just jump straight in the deep end. In a shocking twist, this is also a metaphor?! For how I wish I was the kind of person who was brave and decisive instead of cautious and scared.”

“Knees Deep” is out now!, Wrote this one in late 2021, it was a late addition to the album and we’re glad you can hear it before the album comes out next month.

The Beths are: Elizabeth Stokes Jonathan Pearce Benjamin Sinclair Tristan Deck

“Knees Deep” features on The Beths’ forthcoming album “Expert In A Dying Field”, out September 16th via Carpark Records and Ivy League

It just keeps getting better for Sam Fender, one of England’s biggest songwriters. With his second album, the brilliant and personal “Seventeen Going Under“, released in November 2021, Fender cemented his place in the pantheon of great British songwriters, earning praise from Adele, Elton John, and many more in the process.  Since hearing the songs I had been a mild fan of Sam Fender during his first album cycle, but it wasn’t until late last year when  “Seventeen Going Under” that I realized what a special artist he could be. Not only is his voice beautiful and his song writing poetic and affecting, he’s such a genuine, humble person to his love of Guinness, New York City, and Bruce Springsteen.

Sam has found a way of combining his northern English upbringing with a sense of universality that is rare these days, and he deserves the many accolades he’s receiving right now for “Seventeen Going Under”.

And it didn’t stop there — since the release of “Seventeen Going Under”, Fender was awarded the prestigious Ivor Novello song writing prize for “Best Song Musically and Lyrically,” supported The Rolling Stones at a show in London’s Hyde Park, headlined dozens of festivals around Europe, and, most recently, was nominated yesterday (July 26th) for the Mercury Prize, which awards the best album released in the UK.

It’s clear that the personal and therapeutic direction of “Seventeen Going Under” struck a chord with Fender’s audience just take a look at the heartfelt and deeply sincere praise in the YouTube comments of “Seventeen Going Under.” Not only was the title track’s iconic line “I was far too scared to hit him/ But I would hit him in a heartbeat now” a TikTok trend for several months, but thousands have rallied behind Sam Fender and his poetic working class stories, earning him the colloquial title of “Geordie Springsteen.

Fender’s identity as a Geordie — a nickname for people from Newcastle and its surrounding towns in the north east of England — is a major part of lyrics and persona, but his music itself is directly inspired by Springsteen’s detailed canon, complete with barnstorming tenor sax lines, expansive and anthemic chord combinations, and lyrics that address hardship and epiphanies.

Fender admits that Bruce Springsteen still looms large in his overall connection to music, nostalgia, and stories. “I saw him in Manchester and I just bawled my eyes out the whole show,” he says “Every song just means that much to me. Every single one of his songs is attached to a memory I have in my own life.” But unlike his fellow Springsteen worshipers from America (looking at you, Jack Antonoff), Fender seeks not just to emulate the cathartic sonics of The Boss, but to bring those ideas to a more modern, urgent place.

Take, for instance, the first lines of “Seventeen Going Under,” where Fender reminisces on his adolescence, crooning, “I remember the sickness was forever/ I remember snuff videos.” Already, within two lines, there’s an image of terminal illness followed by an image of violence, images that are both hyperbolic and far too real for a young boy to experience. The rest of the album follows suit with a myriad of personal epiphanies, reflecting on the various ways in which boys are urged to hold their own emotions hostage, the damage it inevitably does to the psyche, and the ways in which he’s rebuilding himself.

Power pop miniaturist Tony Molina is back with another batch of minute-long masterpieces, stylistically falling somewhere in between the Weezer cribbing of 2014’s “Dissed and Dismissed” and the ’60s pop classicism of 2016’s “Confront the Truth“.

“In The Fade” finds Molina still incorporating the delicate ’60s folk rock elements from his recent work, while also returning to some of the distortion and volume of his early days. The result is an album that offers something from every phase of his catalogue, almost like a Tony Molina greatest hits, except with all new songs. Very few artists can credibly evoke everything from The Beatles, to The Fastbacks, to Weezer, to Belle and Sebastian, and even fewer can do that while still sounding completely like themselves–but that’s why there’s only one Tony Molina.

Summer Shade Label was founded in Los Angeles and Boston in the year 2020 as a new bi-coastal, boutique label with an emphasis on riffs and hits. The new presence is a part of Run For Cover’s growing family and will allow established acts a new home while pushing young undiscovered artists to a wider audience, fuelled by a for-artists by-artists ethos with all songwriters owning their own music. New music is the core of Summer Shade, with a curated flow of new music coming to you through various forms of streaming and visual media.

The label’s first release comes from Tony Molina, one of modern guitar pop’s best and most unique songwriters. The Bay Area musician is serious about the craft that goes into songwriter, and not much else. Following “Kill The Lights“, his more pared-back 2018 full-length, Molina found that some listener reactions threw him off. “I kept hearing: ’Oh, he’s maturing, he’s getting into other shit, writing more mature stuff,” he explains. “I thought, ’Man, that’s kinda lame, no I’m not…’

“I Don’t Like That He” from Tony Molina’s album “In The Fade”, out August 12th on Summer Shade and Run For Cover Records.