Archive for the ‘MUSIC’ Category

For decades, a quality live album eluded Led Zeppelin. The only option for fans who wanted a concert recording was 1976’s overproduced “The Song Remains the Same“, which failed to do justice to the group’s pyrotechnics. “The BBC Sessions“, released in 1997, was a step in the right direction, but it wasn’t until 2003, nearly a quarter century after the band’s 1980 breakup, that they truly delivered the goods on “How the West Was Won“, a chart-topping three-disc set that culls the best material from three June 1972 Los Angeles–arena concerts.

That album was remastered under the supervision of the band’s Jimmy Page and reissued in 2018. (A “super deluxe” version supplements the compact discs with the album’s vinyl debut and an audio DVD with a surround-sound mix.) The two-and-a-half-hour album doesn’t add any tracks to the 2003 release, but fans won’t complain. The sound quality is superb, the band is operating at its peak, and the program hits many of the important bases from the group’s catalogue.

From their debut album comes “Dazed and Confused,” here in a wild 25-minute version. Led Zeppelin II yields “Heartbreaker,” “What Is and What Should Never Be,” “Moby Dick” and, last but not least, a 21-minute “Whole Lotta Love” that quotes from John Lee Hooker’s “Boogie Chillun,” the ’50s rocker “Let’s Have a Party,” the blues standard “Goin’ Down Slow” and Sonny Boy Williamson’s “Bring It on Home.” (A side trip into Rick Nelson’s “Hello, Mary Lou” that appeared mid-song on the 2003 edition of this album has for some reason been edited out here, however.).

Led Zeppelin III is represented by “Immigrant Song,” “Since I’ve Been Loving You,” “That’s the Way” and “Bron-Y-Aur Stomp” while the group’s untitled fourth album contributes “Black Dog,” “Stairway to Heaven,” “Going to California” and “Rock and Roll.”

Houses of the Holy“—the group’s fifth album, whose release was still nine months away at the time of these concerts—is previewed with strong versions of “Over the Hills and Far Away,” “Dancing Days” and “The Ocean.” (There’s also a bit of that LP’s “The Crunge” in “Dazed and Confused,” along with “Walter’s Walk,”Houses outtake that first surfaced on 1982’s “Coda“.)

Virtually without exception, these are essential performances. Some of Page’s guitar solos will take your breath away, and the band has never sounded tighter or more invigorated. It’s no stretch to say that this is one of the greatest live rock albums ever made, and it sounds better than ever in its remastered 2018 version.

Frankie and the Witch Fingers simulated reality prototype! The band’s “LEVITATION SESSIONS” live album finally has a proper vinyl release. Isolated in the heart of Joshua Tree, California, The Witch Fingers recorded these sessions during 2020, the great shutdown of Planet Earth. Plug it into your brain and experience a deep-fried, multi-coloured, sensory invasion featuring nine jams off their latest LPs MEPEM & ZAM. A psych rock meltdown in the 4th dimension!

“We spent a full week in the desert shooting our session – it was really more of a space mission than anything else, a self-contained artistic ecosystem. I hope all the love that went into it is apparent when you see it, and that you enjoy watching it as much as we did making it.” – Frankie and the Witch Fingers

Filmed at: Super X Ranch in Pioneertown, CA

Toronto-born, London-based artist Tess Parks will return with her long-awaited new album ‘And Those Who Were Seen Dancing’ on May 20th 2022 via Fuzz Club Records. Following years of international touring and a lengthy list of critically-acclaimed collaborations with Brian Jonestown Massacre’s Anton Newcombe in recent years (most recently the duo’s self-titled 2018 LP), the new album will be Parks’ first full-length solo offering since her much-loved debut album, ‘Blood Hot’, was released back in 2013 on Alan McGee’s 359 Music label.

“In my mind, this album is like hopscotch”, Parks says: “These songs were pieced together over time in London, Toronto and Los Angeles with friends and family between August 2019 and March 2021. So many other versions of these songs exist.

The recording and final completion of this album took over two years and wow – the lesson I have learned the most is that words are spells. If I didn’t know it before, I know it now for sure. I only want to put good out into the universe.” A growing disillusionment with the state of the world paired with an injury that stopped Parks from being able to play guitar and piano for months meant the album was nearly shelved. 

“I really felt discouraged to complete this album”, she recalls: “I stopped listening to music for honestly about a year altogether and turned to painting instead. I really had to convince myself again that it’s important to just share whatever good we can – having faith in ourselves to know that our lights can shine on and on through other people and for other people. The thought of anyone not sharing their art or being shy of anything they create seems like a real tragedy to me. Even if it’s not perfect, you’re capturing a moment.” Recorded over a two year period but with songs, lyrics and ideas dating back over a decade in some form, ‘And Those Who Were Seen Dancing’ is an album full of such moments, people and places. 

Hovvdy have shared news of their upcoming EP “billboard for my feelings”“Everything” is Hovvdy’s first new material of 2022, following their “True Love” album that landed in October last year.

Will Taylor says of the new outing, “Everything” is a song about having fun even when you miss the mark.”

“Town” is the duo’s second outing of 2022, following last month’s “Everything”, and allowed Charlie Martin to “break out of a relatively dark place.”https://youtu.be/BFuIDZEqZ50

Martin adds of the track, which was co-produced by Hovvdy and Andrew Sarlo (Big Thief, Bon Iver, Dijon), “There was catharsis in almost every layer – I remember crying recording the mellotron flutes. I’m not sure why, but with “Town” I wanted the instrumental to do the heavy lifting, leaning less on storytelling. In that way, the song’s meaning isn’t terribly specific, but for me it’s about missing your friends and hoping they miss you.”

“Hide” is the third track to be lifted from the duo’s forthcoming EP, following “Town” and “Everything”, and is accompanied by a Boone Patrello-directed video.

Hovvdy’s Will Taylor says the new song, which is co-produced and mixed by Will Taylor, is “a lighthearted song about learning when to let your thoughts run wild and when to batten them up.” “billboard for my feelings” will follow Hovvdy’s 2021 album “True Love”, and will feature one other new song titled “Ruby”.

Charlie Martin says of the EP, “I allowed myself to focus more on how everything feels, and a little less about telling a complex story. Both are super valuable how a melody or texture makes you feel, versus how a super-emotional piece of impacts you.”

Taylor adds, “We got to have more fun; we got to cut back. I’m realising there are many forms Hovvdy can return to, and this EP is a different form.”

“Hide” is out now. Hovvdy’s “billboard for my feelings” EP will follow on Grand Jury. released May 27th, 2022

Produced by Hovvdy & Andrew Sarlo

These new songs showcase Night Moves further evolution as a band and as songwriters, still trading in massive pop hooks that somehow manage to convey a sense of yearning melancholy but with a sense of maturity and perspective in the arrangements that comes with time. Synthesizers sweep, the pedal steel swoons, the high lonesome harmonica calls across a distance.

Minneapolis-based quartet Night Moves releases “Vulnerable Hours,” a layered, lush and deeply confessional new track, alongside a music video directed by Cody Lee Brown.

“Vulnerable Hours” is the second in a series of new singles to be released incrementally throughout the year, following the “psychedelic” (Under The Radar) “Fallacy Actually.” The track was written as part of NPR’s Song Confessional podcast, where songwriters turn anonymous stories and confessions into new, original songs.

Singer John Pelant says the track is “about one’s forays into the app based dating lifestyle at age 70 after being recently widowed. It’s based on an acquaintance’s real experience. However, the video conveys a slightly different take on the song, that of one’s vulnerabilities, inner demons, and insecurities during a first date gone awry. A tiny soap operatic trip to the market whilst lost in your head.”

“Vulnerable Hours,” and “Fallacy Actually” and the batch of new songs that will follow were recorded at Pachyderm Studios outside of the band’s hometown with producer John Agnello (Kurt Vile, Alvvays, Dinosaur Jr.). These new songs showcase Night Moves further evolution as a band and as songwriters, still trading in massive pop hooks that somehow manage to convey a sense of yearning melancholy but with a sense of maturity and perspective in the arrangements that comes with time. Synthesizers sweep, the pedal steel swoons, the high lonesome harmonica calls across a distance.

Founded by guitarist/lead vocalist John Pelant and bassist Micky Alfano, and later joined by Mark Hanson and Chuck Murlowski, the Minneapolis outfit Night Moves meld the sounds of classic rock with Americana, creating irresistible hooky cosmic sludge with a Nashville twang.

Today marks the release of “I’m Not Here”, the junior full-length album from Alex Izenberg. A collection of beguiling love songs, tender heartache, despair and confusion, “I’m Not Here” lays Alex bare, heart on his sleeve, and serves as a peek into the mind of one of LA’s most enigmatic songwriters.

To mark its release, Alex has shared a technicolor, animated video for song “Our Love Remains,” the center-piece to the ten-track long player. To bring the song to life, Alex recruited Dave Longstreth—the principal force behind the Dirty Projectors—who composed and arranged strings and woodwinds for several of the album’s tracks.

Alex on “Our Love Remains”
“This song was a way of making a light shine in the mere darkness of 21st century life.”

Like his debut, 2016’s homespun Harlequin, and its ambitious 2020 follow-up Caravan Château, Alex Izenberg’s new album “I’m Not Here” inhabits the shaggy, world-weary mode of artists like Harry Nilsson, John Lennon, Randy Newman, and Lou Reed. 

Alex on “Ivory”: I don’t know if it’s as much of a story as me trying to tell a story, because I don’t consider myself to be a storyteller like Bob Dylan or Leonard Cohen, but I guess it was me kind of going for that. It could be interpreted in different ways, depending on what your mood is, but I think it kind of can be interpreted as a fancy couple going out and how they’re not really in love but they’re still together. And then “real love will stone you” at the end of the chorus can be interpreted as them finding out they’re not in love. I was kind of going for a “Best of My Love” Eagles kind of vibe. That song I think is about the singer just being hopelessly in love with somebody and just telling her she gets the best of his love. Lyrically it’s not quite the same but the vibe I was going for. 

“Ivory” is the third single off of Alex’s forthcoming studio album, “I’m Not Here“, due out May 20th via Domino imprint Weird World.

With the help of producer Greg Hartunian, and swelling string and woodwind arrangements courtesy of Dirty Projectors’ Dave Longstreth, Alex manages a paradoxical and visionary trick: he disappears completely while simultaneously revealing more of himself than ever before. 

Real Estate frontman Martin Courtney dropped the debut single from a new album out in June on Domino Records– it’s dripping with a layered, nostalgia vibe that seems perfect for summer road trips.

When Martin Courtney was a teenager, he knew how to get lost. In the late ‘90s and early 2000s, there’s Martin, loaded into a car with friends. They’re navigating the suburban sprawl of New Jersey with no destination in mind. He and his friends would “get thoroughly confused and look for familiar green signs with arrows pointing to towns we’d heard of. We’d call them ‘magic signs,’” he says. 

That’s the thing about magic: when you go looking for it, you start to see it everywhere.  And you can hear it twinklingly throughout the ten songs on “Magic Sign“, the second solo album written, performed, & produced by the Real Estate songwriter. The album was recorded, mixed & co-produced by Rob Schnapf. Additional performers include Matt Barrick, Oliver Hill, Kacey Johansing, and Tim Ramsey.

Martin Courtney – “Corncob” from the forthcoming album ‘Magic Sign’ out 24th June 2022 on Domino Record Co.

Bully’s Alicia Bognanno joins Alex Edkins of Canadian punk iconoclasts Metz on this rip-roaring taste of his upcoming self-titled solo debut. Bognanno’s killer vocal steals this one.

Weird Nightmare (the solo project of METZ guitarist/singer Alex Edkins) has shared a video for his new single, “Wrecked.” It is the latest release from his forthcoming self-titled debut solo album, which will be out on May 20th via Sub Pop Records.

In a press release, Edkins states: “‘Wrecked’ is about missing someone. For me, it’s about missing my wife and son while on tour. Being away has become harder and harder to do. I think most people can relate to it. Feeling impossibly far away from the ones you love and coming to the realization that you won’t feel whole again until you return. I was really happy to collaborate with Alicia (Bognanno) on this song and I love what she adds to it. Alicia has a one in a million voice. A voice that you recognize immediately and she really lifts the song way up. Directed by Ryan Thompson, the video for ‘Wrecked’ is a tale as old as time. When a pooch with no pack strays into the park, you know things are gonna get ruff….”

“Wrecked” by Weird Nightmare from the self-titled album ‘Weird Nightmare’, out May 20th, 2022 on Sub Pop Records.

A man who needs no introduction, especially on British shores, the former Oasis frontman returns to action with his third solo LP this week and it might just be his best album to date.

With his new LP “C’mon You Know” in stores this Friday (May 27th), here’s everything you need to know…announced in October last year, the title for Gallagher’s third solo album was reportedly inspired by a catchphrase regularly deployed by none other than beloved Soccer Saturday host Jeff Stelling (and mercilessly mocked on Soccer AM).

The first new music came earlier this with the unleashing of ‘Everything’s Electric’, featuring one of the album’s other famous faces behind the drum kit. Andrew Wyatt and Greg Kurstin, both of whom have worked on Gallagher’s previous solo albums, return to production duties on his third full-length effort.

Dave Grohl applies his legendary drum skills to recent single ‘Everything’s Electric’, a track he also co-wrote with Gallagher, while Vampire Weekend’s Ezra Koenig also puts in an appearance, playing saxophone on the album’s title track.

You’d expect to find plenty of rockers on a Liam Gallagher album and you won’t be disappointed on that front, with songs like ‘Everything’s Electric’ and the title track fitting that bill nicely, as well as the album’s closing track ‘Wave’, which includes a cheeky lyrical nod to his long-running feud with Noel Gallagher: “My brother don’t like me, he’s said it before / Who threw the first stone, and who’s keeping score?”

Elsewhere though there are more than a few sonic surprises across the new album, not least the angelic, choral opener ‘More Power’. One of these comes part way into ‘I’m Free’, which begins as a straight-up rock ‘n’ roller only to take an abrupt left turn into dub reggae territory – not an easy one to pull off, but it works surprisingly well.

The obligatory Beatles references are still dotted around and their influence shines through on the hazy trip that is ‘Moscow Rules’, while there are also shades of The La’s folky, melodic style to ‘World’s In Need’, but the album’s real highlights come on tracks like ‘Diamond in the Dark’ and ‘Don’t Go Halfway’, two moments where Gallagher’s trademark vocal style and knack for melody are paired with some interesting chord twists and tricks that elevate them to something beyond standard rock ‘n’ roll fare.

Liam Gallagher’s strength as a vocalist has never been in doubt, but as a songwriter he’s always been burdened with the shadow of his elder sibling and even though later Oasis albums included contributions from their mercurial frontman, they sometimes felt like a bit of a ‘Ringo’ moment.

But we’re a long, long way from ‘Little James’ here. His first two solo albums have both included moments of genuine brilliance, but his songwriting has gone from strength to strength over the course of his three solo albums, clearly benefiting from the influence of working with people like Greg Kusrtin and Andrew Wyatt, who do a great job on the production side here too. As a body of work, this is hands-down Liam Gallagher’s best record yet.

DEHD – ” Blue Skies “

Posted: May 27, 2022 in MUSIC

Chicago indie rockers Dehd are back with their third album, “Blue Skies”. The follow-up to 2020’s “Flower of Devotion” chronicles the perils of “love addiction,” as the band has noted. “I wrote it for myself and for everyone who needed to hear a song about choosing new forms of love,” vocalist Emily Kempf explained. “It’s about chasing a relationship with oneself rather than an unhealthy one, one that just doesn’t quite fit, or a co-dependent one.”

All songs written by Emily Kempf, Jason Balla, and Eric McGrady. Produced by Jason Balla.