Archive for the ‘MUSIC’ Category

The DOORS – ” L.A. Woman ” Box Set

Posted: September 25, 2021 in MUSIC

The Doors are continuing their campaign to expand their studio output with the September 1st, 2021 announcement that their 1971 album, “L.A. Woman“, will receive a deluxe edition for its 50th Anniversary. The new 3-CD/1-LP collection, coming December 3rd via Rhino, will include more than two hours of previously unreleased session outtakes.

While the album is best known for its two singles, “Love Her Madly” and “Riders on the Storm,” it also includes such classic rock favourites as the title track and “The WASP (Texas Radio And The Big Beat).”

L.A. Woman: 50th Anniversary Deluxe Edition includes the original album newly remastered by The Doors’ long time engineer and mixer Bruce Botnick, two bonus discs of unreleased studio outtakes, and the stereo mix of the original album on 180-gram virgin vinyl.

For this new collection, the original album has been expanded with more than two hours of unreleased recordings taken from the sessions for “L.A. Woman“, allowing the listener to experience the progression of each song as it developed in the studio. An early demo for “Hyacinth House” recorded at Robbie Krieger’s home studio in 1969 is also included.

The outtakes feature Jim Morrison, John Densmore, Krieger, and Ray Manzarek working in the studio with two additional musicians. The first was rhythm guitarist Marc Benno, who worked with Leon Russell in the Asylum Choir. The other was bassist Jerry Scheff, who was a member of Elvis Presley’s TCB band.

The Doors’ 1971 album “L.A. Woman” turned 50 years old in April. The outtakes in the collection include covers of classic blues songs like John Lee Hooker’s “Crawling King Snake” and Junior Parker’s “Mystery Train,” Big Joe Williams’ “Baby Please Don’t Go,” and “Get Out Of My Life Woman,” Lee Dorsey’s funky 1966 classic, written by his producer Allen Toussaint.

“The previously unreleased reels here — serial takes of ‘The Changeling,’ ‘Love Her Madly,’ ‘Riders On The Storm,’ and ‘L.A. Woman’ — depict a band obsessed with groove while executing turns and flourishes with the precision of a well-drilled soul combo,” Botnick explains. “The idea was to go from song to song, to let it flow.”

The original demo of “Riders On The Storm,” possibly one of the Doors’ best song’s, which was recently discovered on an unmarked tape reel in the band’s vault. The recording was made with producer Paul A. Rothchild during the early recording sessions for the album at Sunset Sound studios.

The Doors’ long time producer Paul Rothchild famously quit on the band during the recording of L.A. Woman referring to the new songs as “cocktail” music, which created an opportunity for the band to relocate to their rehearsal studio to record the album themselves with long time engineer Bruce Botnick. This is the earliest known recording of “Riders on The Storm,” recorded at Sunset Sound Studios in those early days available for the first time on The 50th Anniversary Deluxe Version of The Doors’ iconic L.A. Woman, will be available December 3rd, 2021.

In the collection’s extensive liner notes, rock journalist David Fricke explores the whirlwind making of the album, which would be the last with Morrison, who died in Paris a few months after its release. “Morrison may never have come back to The Doors,” he writes. “But with his death, L.A. Woman became rebirth, achievement, and finale, all at once. It’s the blues too – original blues, as Morrison promised. Fifty years later, there is still nothing like it.”

KEATON HENSON – ” Fragments “

Posted: September 25, 2021 in MUSIC
Fragments EP + Monument vinyl bundle [Pre-Order]

A new collaboration with Julien Baker , featured in this week’s is Keaton Henson track ‘Marionette.’ The track’s subtle and beautiful melody line created from these two masterful songwriters has us listening to the ‘Fragments’ EP on repeat. His new EP “Fragments”, a companion piece to last year’s Monument LP, written and recorded at the same time.

Monument is a fragile, meditative and emotional unravelling of grief in the aftermath of losing his father, and for all its hushed acoustics, Monument cocooned its emotion in some beautifully tender melodies and acute observations. It’s a warm and relatable listen. On Fragments EP, whilst the lyrical themes and subjects may stray from Monument’s poignant subject matter, in its sound and atmosphere, it feels suitably entwined.

The eight tracks that form the EP orbit a sweeping kaleidoscope of sonic shapes, shades and textures. Keaton’s voice offers lyrics in an almost frozen romanticism. It’s a voice that sounds rooted in turmoil but also of strength. A happy sadness. Bleakly beautiful.

Another new track ‘No Love Lost’ from Keaton Henson ‘Fragments’ EP. Henson describes the song as “a sideways look at being left behind, less a love song and more a “don’t worry I’ll be fine song”, though I don’t know how much I believe him.”

Julien Baker shares a mic from across the ocean on new single ‘Marionette’. A songwriter of due reverence herself, Baker and Keaton share an affinity with the power of hushed words, fizzing melodies, and an innate wisdom.

The “Fragments EP and “Monument” are two fine bodies of work by this singular, unique British artist, and two empathetic records of sorrow and strength.

Billie Marten – ” Liquid Love “

Posted: September 25, 2021 in MUSIC

Billie Marten has shared her new single for ‘Liquid Love’, taken from her third album “Flora Fauna”.

To coincide with the single’s release, Marten has also shared the music video for ‘Liquid Love’ which is another collaboration with the director of ‘Creature Of Mine’ and also ‘Human Replacement’s evocative video, Joe Wheatley.

Marten explains: “This is my favourite of the Joe Wheatley visual trio. Initially I wanted the video to match the swirling, translucent watery-ness of Liquid Love, something meandering and dreamlike. I’d pictured blues and pinks, ripples, skin, wet hair and a visceral picture of real life. In the end I think we (me and Joe) managed just that, through the sheer power of simplicity and understatement. It paints a natural tranquility, using the tokens of community, friendship, family, love and warmth. All those things I was craving and pining for at the time of writing. It feels incredibly real to me as the song does too, and we weren’t acting, we were living.”

Built on the minimalist acoustic folk foundations she made a name for herself with, Marten’s third album Flora Fauna is a more mature, embodied album fostered around a strong backbone of bass and rhythm. Shedding the timidity of previous work in favour of a more urgent sound, the songs mark a period of personal independence for Marten as she learned to nurture herself and break free from toxic relationships – and a big part of that was returning to nature.

“I wasn’t really treating myself very well, it was a bit of a disruptive time. All these songs are about getting myself out of that hole – they’re quite strong affirmations. The name Flora Fauna is like a green bath for my eyes. If the album was a painting, it would look like flora and fauna – it encompasses every organism, every corner of Earth, and a feeling of total abundance.

Marten will embark on a UK tour including September 26th Dot To Dot Festival, Nottingham,

May be an image of 1 person, beard and outdoors

Simone Felice has released the sparse and strikingly poignant, “Year Around The Sun.” The song is the first release from an unnamed album which will come out in 2022.

“I wrote this song on New Year’s morning, 2021,” says Felice, “I woke up feeling empty inside. Like an old cornhusk battered by the wind. I’m sure the whisky in my whisky the night before helped me arrive there. I think it’s important to recognize and own the raw fact that we’ve all just been through the most surreal collective trauma this past year and more: seemingly endless lockdowns, constant fear and confusion, a recalibration of what’s real and what’s important. My hope is that perhaps with a little help from our friends, music, laughter, and time, we’ll find a rebirth.”

The song was recorded at the mountaintop studio in the idyllic Catskills in upstate NY, that he built with long-time friend, producer, and arranger/engineer David Baron. His production and co-writing over recent years with the likes of The Lumineers, Bat For Lashes, Jade Bird, Matt Maeson Feat. Lana Del Rey, and indeed The Felice Brothers, the band he formed in 2006 and left in subsequent years; have kept him busy. “Year Around The Sun” marks his first music under his own name with proper distribution since 2014.

Felice headlines London’s Lexington on 25th October. The show is preceded on 23rd October with a date at Radio Woodstock’s new studios in an historic turn-of-the-century church just outside of Woodstock, in West Hurley, NY.

May be an image of 4 people, people standing and outdoors

Delicate like 2016’s Better off Dead, with a determined, candid sense of desperation and frustration, “Feels So Good // Feels So Bad” is an album of acceptance. It’s an uphill battle, with a glorifying sense of self and a satisfying sound to accompany the motions. Portland, Oregon-hailing psych-surf band The Shivas accomplish another time-traveling, reverb-ridden sound that refuses to get boring. Jared Molyneux’s guitar work knows when to be bright or bashful at the right times, breaking into guitar solos that possess a late-’60s groove. There’s a certain skill to channelling a slow surf-jam like “You Wanna Be My Man” as nimbly as the garage-heavy “Feel So Bad,” but The Shivas seem to blissfully flourish at either end of that spectrum. 

By putting it into song. “Feels So Bad,” The Shivas’ latest single off their forthcoming album Feels So Good // Feels So Bad is — simply put — a breakup song for the Before Times.

Though the psych-tinged guitar riff that drives “Feels So Bad” was written while The Shivas were still on the road, its lyrics didn’t fall into place until the band was well into lockdown, unsure of when they’d be able to return to their most imperative true love: Live shows.

“This was a song about wanting to be able to go out and play music and not being able to,” guitarist/singer Jared Molyneux said in a statement. “It felt like becoming a different person not doing that, like a break-up that you did not want to happen. It was like getting dumped!”

From the album ‘Feels So Good // Feels So Bad” out 24th September 21

May be an image of 5 people, beard and indoor

“Leaving None But Small Birds”, which consists of re-worked traditional songs and hymns from Appalachia, Canada and England, casts both The Body and BIG|BRAVE in a whole new light that should nevertheless resonate with both fanbases and endear them both to listeners who might otherwise be put off by the forcefulness of their respective back catalogue. By the time any guitar distortion eases its way in about halfway through the song sequence, the transition is so gradual that it makes perfect sense, announcing itself in a most unobtrusive fashion. Both bands have hit their audience over the head with jagged contrasts in the past, but here they pace the music so that there’s a gradual, almost imperceptible incline in heaviness.

Indeed, everything about “Leaving None But Small Birds” bears a deliberate attention to detail. Even fans of BIG|BRAVE and The Body might not necessarily think of them as aspiring masters of craft, but there’s no other way to see them now after this collaboration. With the insistent, shanty-like cadence of “Oh Sinner,” for example, the two groups mimic the hypnotic drone that’s become BIG|BRAVE’s stock in trade, but together they prove that they can be just as powerful with the volume turned way down. 

Somewhere along the way, the musical form we once referred to as heavy metal reached a point where it had become as boundless as jazz. It may seem counter-intuitive, but not only can harsh, distorted guitars blend with any other musical element you pair them with, but the density they create also lends itself to subtle shading. Which explains why musicians who play monolithic, crushing music can tend to regard guitar tones with the same discerning sensibilities as fine-wine connoisseurs comparing bottles of different vintage. Metal, alas, increasingly reveals itself to be music built on a keen awareness of texture—at least when it’s coming from bands like The Body and BIG|BRAVE.

On Leaving None But Small Birds, the two acts come together for a joint collaboration that, on paper, would suggest a complementary merger between The Body’s noise-laden brand of sludge and BIG|BRAVE’s melodic doom metal/drone hybrid. As it turns out, the two groups sure do prove to be complementary, but they do so while playing in an old-timey folk style, perhaps the last thing one might have expected from either group. Then again, we probably should have seen it coming. For over 20 years now, The Body—a Portland, Oregon-based duo with a voracious appetite for abrasion—have more or less constantly sought new ways to re-configure the drums, guitars, electronics and screaming that make up their core sound. Conceived as a challenge by Buford to emulate the rustic style of The Band, Of the two groups, BIG|BRAVE have shown the most capacity for tunefulness, but their facility with acoustic instrumentation on Leaving None But Small Birds turns out to be as radical a stylistic shift as The Body’s

Releases October 1st, 2021

Performed by:
Lee Buford
Chip King
Robin Wattie
Tasy Hudson
Mathieu Ball
Seth Manchester
Morgan Eve Swain

ANDY SHAUF – ” Spanish on the Beach “

Posted: September 25, 2021 in MUSIC
May be an image of 1 person

Singer Songwriter Andy Shauf’s coy, almost boyish voice sounds especially tragic when he says something that breaks your heart. Over the past few years, Shauf has perfected his signature lilt, a habit of unexpectedly pitching up the second half of a word and delicately fading it out, like the brief fluttering of wings. When he does this on his recent single “Spanish on the Beach”—stretching out “wished” and “permanent” in the line, “I wished it could be permanent” you imagine it’s followed by an amused, self-deprecating chuckle. What a silly little thought, he seems to say.

Whispered words in a romantic language set the scene for “Spanish on the Beach,” in which Shauf’s narrator vacations with Judy, the ex who previously sent him down an 11-track memory lane on 2020’s wistful concept album “The Neon Skyline”. The song is deceptively idyllic: A gentle bassline pairs with easy guitar strums; maudlin woodwind drifts in for dramatic effect. Remembered images of Judy’s “long dark dress” and the musicians’ “smiling eyes” populate the song; at one point, Shauf imagines making a “mortifying” over-the-top proposal, like a scene from La La Land’s technicolor fantasy. But tucked between cool cynicism and glam surroundings are the signs of an expired romance: When Judy tries to talk to the narrator in Spanish, he “turn[s] away to watch the musicians play.” They’re doomed, and he knows it.

The Toronto-based Andy Shauf didn’t wait long to follow up his acclaimed 2020 album “The Neon Skyline”, announcing his surprise latest LP just days before its release. A press release allows that Wilds “can certainly be interpreted as a companion piece” to its predecessor, as its nine tracks were picked from the 50-odd songs Shauf had recorded while writing The Neon Skyline. Presented in “near-unfiltered form,” the songs on “Wilds” are intended to stand on their own while also providing a window into Shauf’s Neon Skyline-period creative process, returning to that album’s tales of broken romance and everyday escapism. Shauf plays all the instruments, arranges on the fly and records to “a little tape machine” in his Toronto studio, delivering a warm, intimate baroque-pop, folk and rock record.

ADA LEA – ” Damn “

Posted: September 25, 2021 in MUSIC
May be an image of 1 person and text that says 'beriew ADA LEA one hand on the wheel steering the other sewing a garden available in Limited edition color LP bundle, color P, CD, Tape, Digital pre-order now out Sept. 24th on Saddle Creek and Next Door Records (CA)'

Indie-pop singer/songwriter Ada Lea (born Alexandra Levy) asserts her artistry anew on “One Hand On The Steering Wheel The Other Sewing A Garden”  ,the impressive follow-up to her 2019 debut “What We Say In Private”. Set in Levy’s native Montreal, the album looks back on personal moments from the artist’s coming of age in the city, using delicate, carefully crafted guitar pop and folk to connect her memories to a wider collective consciousness. “Every year is just a little bit darker / Then the darker gets darker / Then it’s dark as hell,” Levy sings on hooky album opener “damn,” the unflinching observation letting a bit more light into the world.

Levy wrote and demoed one hand on the steering wheel during an artist residency in Banff, Alberta, reuniting with her “Woman, Here” EP (2020) collaborator Marshall Vore (Phoebe Bridgers) to round the album into form. Drummer Tasy Hudson, guitarist Harrison Whitford (of Bridgers’ band) and mixing engineer Burke Reid (Courtney Barnett) also lent their talents to the project.

Following the subdued and very surfy “Bossanova”, Black Francis, Kim Deal, Joey Santiago and David Lovering cranked things back up seriously with their fourth album in four years — and last for this original line-up of the Pixies“Trompe Le Monde” is Pixies’ loudest, noisiest album. It’s also one of their most fun, with Black Francis’ flights of fancy heading even further out into outer space, aided by keyboardist Eric Drew Feldman who adds flying saucer keyboards to much of the record. Their punky cover of The Jesus & Mary Chain’s “Head On” was the album’s hit, but “Trompe le Monde” is jam-packed with Pixies-penned classics, the best of which were not chosen as singles: “U-Mass,” with it’s monster riff and chorus of “It’s educational!”; “Space (I Believe In)” another guitar crusher with a memorably weird vocal hook (“Jefrey with one F, Jef-rey!”); and poppier tracks like “Letter to Memphis” and “Motorway to Roswell.” Kim may not have any songs here (The Breeders were in full affect by this point), but her flinty basslines give much of the album its edge. Pixies’ subsequent break-up, following a 30-date opening slot on U2’s Zoo TV tour, has coloured the album a bit, but 30 years later Trompe le Monde is a helluva way to go out.

To celebrate the occasion, 4AD Records has given the album a new vinyl pressing on cool-looking marbled green vinyl that echoes its Vaughan Oliver-designed eye-grabbing artwork.

Thursday was the 30th anniversary of Trompe le Monde’s UK release, guitarist Joey Santiago participated in a listening party for the album, where he mainly stuck to discussing the guitar solos. “A critic said my guitar playing on Bossanova (the album before “Trompe le Monde” was released) was too simple. Wtf?!,” Joey says of the album’s title track, which opens the album. “I looked for an opportunity to do some fret tapping. This was the song to do it on. Triplets to boot.”

Joey said that the solo in “The Sad Punk” “sounds a bit like Femme Fatale. Therefore it is good,” and notes that on “Bird Dream of the Olympus Mons” that the “wind is my wah pedal making noise.” He admits to “sneaking the James Bond riff” into “Subbacultcha” and that he “did it again at another song. You all should look for it.”

While Santiago doesn’t rate any of the songs on the album, in regards to “Distance Equals Rate Times Time,” he admits, “Gotta be honest with you. I don’t enjoy playing this.” On the other hand, he says he loves playing “Motorway to Roswell” live. “Good bass playing Kim!!!”.

May be an image of outdoors and text that says 'PINK FLOYD Momentary Lapse of Reason PINKFLOYD A MOMENTARY LAPSE OF REASON REMIXED & UPDATED Remixed 2019 from the original master tapes CD+BLU-RAY DELUXE EDITION Includes bonus material and .ihR5.1 5.1Auio HighR 40-page booklet PFR37B0XBD/1 /19439859592'

The ‘Remixed & Updated’ version of Pink Floyd’s 1987 album “A Momentary Lapse of Reason” first included in 2019’s The Later Years box set is being made available on separately on CD and vinyl and two ‘combo’ box sets offering CD+DVD or CD+blu–ray.

The changes made to the album included returning to some of Richard Wright’s original keyboard takes, and re-recording new drum tracks with Nick Mason. The producers David Gilmour and Bob Ezrin felt that they restored “a better creative balance between the three Pink Floyd members”. It was their first album after Roger Waters had left the band.

For the first time, the album will be presented in 360 Reality Audio, a “new immersive music experience that closely mimics the omni-directional soundscape of live musical performance for the listener using Sony’s object-based 360 Spatial Sound technologies.”

“Some years after we had recorded the album, we came to the conclusion that we should update it to make it more timeless, featuring more of the traditional instruments that we liked and that we were more used to playing,” says David Gilmour. “This was something we thought it would benefit from. We also looked for and found some previously unused keyboard parts of Rick’s which helped us to come up with a new vibe, a new feeling for the album.”

Says drummer Nick Mason, who re-recorded drums for this new version, “There’s little doubt of the advantages in being able to find new elements within the music, or more often uncovering elements that became overwhelmed with all that new science…I think there is an element of taking the album back in time and taking the opportunity to create a slightly more open sound – utilising some of the things we had learned from playing so much of the album live over two massive tours.”

Ahead of the release, David Gilmour has shared the demo of “Yet Another Movie,” which features David on fretless bass. “Pat Leonard and I met up at Astoria in September 1986 a couple of days after I had played on a Bryan Ferry track that he was producing,” David recalls now. “We had a glass or two of wine and jammed for hours. For some reason that I can no longer remember I had chosen the fretless bass as my instrument of the day. It turned into a beautiful song.”

Meanwhile, there’s also a reissue of “Animals” on the way, if Gilmour and Waters can ever agree on anything.

The new version of “A Momentary Lapse Of Reason” also features a new album cover using an alternative beds photo by Robert Dowling from the original album cover shoot directed by Hipgnosis’ Storm Thorgerson

Stereo versions are available on CD and 2LP vinyl while the CD+DVD editions go much further with the video discs also providing 5.1 surround mixes, music videos, concert screen films, a documentary and some bonus live tracks. The surround mix on the DVD is 5.1 Dolby Digital (48/16) and DTS (48/16). On blu-ray it’s 5.1 DTS Master Audio (96/24). Both include hi-res stereo.

Both box sets come with a 40-page booklet and an envelope containing six exclusive stickers designed by Peter Curzon from StormStudios.

The Remixed & Updated edition of “A Momentary Lapse of Reason” will be released on 29th October 2021.