Archive for the ‘MUSIC’ Category

Grace Cummings’ guttural vocals captivate from the first line. Moving through the volatility and stillness of her lyrics on her self-produced sophomore album, “Storm Queen”, a follow up to her 2019 debut “Refuge Cover”, the Melbourne-born artist is a conduit for her most personal tales, and all the music playing in her head. Starting out as a drummer in rock bands in high schools, Cummings started writing her own songs, pulling inspiration from Dylan, Australian singer-songwriter Paul Kelly, and a more solemn Irish folk song played by her father. “Irish melodies are some of my favourites,” says Cummings. “They go to such dark and dramatic places.” 

Video for The second single from Grace Cummings debut album ‘Refuge Cove’ out November 1st, 2019.

It hasn’t been long since Holly Humberstone arrived on the scene, but in her brief time here she’s made quite an impression. Her debut single “Deep End” first brought the singer attention for its vulnerable lyrics at the top of 2020. But it was her second single—the slow-burning pop anthem “Falling Asleep at the Wheel” released just a few months later—that earned the British singer-songwriter international acclaim and nearly two million views on YouTube.

Since then, Humberstone, now 21, has continued to share her crystalline, Lorde-like vocals with the world, first with her debut EP “Falling Asleep at the Wheel” in 2020 and now with her sophomore effort “The Walls Are Way Too Thin“, due out November 5th.

One particular song from her forthcoming project, “Please Don’t Leave Yet” caused an online frenzy months ahead of its release due to the involvement of its co-writer and co-producer, The 1975’s Matt Healy. The single, which sounds like it could appear on a 1975 record, was written and recorded during the pandemic and details the feeling of wanting someone desperately not to leave. The track is just one of many on her EP that tackle loneliness, as well as the heightened emotions of living in crowded spaces, painful heartbreak, and enduring friendships. 

Holly Humberstone says: I wrote The Walls Are Way Too Thin about a time in my life where I felt like I’d lost control of where I was heading and struggling a little with finding my place in the world. It was a very strange period, I’d just moved to London away from my family and all of a sudden everything that I knew to be normal had changed completely. I moved on a whim into this little dingy room. I met some cool people but this place was pretty lonely and claustrophobic. I’m such an awkward person and even though I really liked my housemates I still felt worried about small talk in the kitchen or passing each other in the corridors. I had some fun times there, but I felt like I was mostly confined to my room whilst chaos was going on in the flats or streets around us. To avoid confronting how I was feeling I’d sneak out of the flat and go on train journeys to see my mates, get drunk, then come back hungover through the night or morning. I wrote most of Walls and the songs that come next on those trains. It was my place of therapy, in the middle of nowhere. I wanted the music video to reflect how I felt stuck in my room with my own internal anxiety rising. The idea of being trapped in an air vent in a burning building came from that feeling of claustrophobia and panic that I felt throughout my time living in the flat. Shooting the video was chaotic, my elbows and knees look quite different now after 8 hours of crawling back and forth. The fire blast in the vent was totally real too !!.

I wrote it about one of my best friends named “Scarlett”, obviously. She was going through a breakup, and he was basically breaking up with her in a really slow and painful way. He wasn’t being honest with her and was prolonging this relationship—he was giving her a lot of false hope, where there really wasn’t any. They had been together for years, and she had basically planned her life out with this guy, and I could see he was slowly trying to cut things off. It was really hard for me to watch her go through that.

Holly wrote this song a while ago whilst still unsure of who I wanted to be and where I wanted to head musically. Writing this song was probably the first time I felt like I knew who I was within the music I was making. The track is about losing momentum and feeling like your emotions will slowly destroy the relationship you’re in and you altogether. I think the dark, wonky sonics define who I am musically, which is why Falling Asleep At The Wheel is such a milestone track for me, and has taught me so much about myself as a musician. We created the song at the house I grew up in, which is very old and falling apart, in the middle of the countryside. You can almost hear the weird sounds of the house within the track. It’s where I feel the most me and love that this is all coming from that one place.

Ahead of the release of the EP, Holly Humberstone family’s home in the U.K. about collaborating with The 1975’s Matty Healy, being inspired by Damien Rice, and the loneliness that fuelled The Walls Are Way Too Thin.

‘The Walls Are Way Too Thin’ EP now! out november 5th

Flush with both pathos and poignancy, Long Promised Road is a remarkable documentary that is, at once, both heart breaking and heart warming. There have been other films made about Brian Wilson, the tortured, tormented man/child, and the remarkable saga that took him and the Beach Boys from their all-American origins in Hawthorne California to their status as one of the greatest bands of all time, but few offer the personal perspectives shared here. In a sense, it’s a day in the life of Brian, one that finds him and journalist pal Jason Fine taking a road trip to revisit Brian’s old haunts, offering him an opportunity to reminisce and reflect albeit with constant prompting from Fine

Join The Beach Boy’s Brian Wilson on an intimate journey through his legendary career as he reminisces with Rolling Stone editor and long time friend, Jason Fine. Featuring a new song written and performed by Wilson and interviews with Elton John, Bruce Springsteen, Nick Jonas, Linda Perry, Jim James, Gustavo Dudamel and Al Jardine.

Never much of a talker, Wilson remains haunted by the demons that overtook him early on, and his mental illness has never abated. He looks troubled and tortured to various degrees, and the sadness, insecurity, and isolation are still obvious. While it’s apparent his love of making music—and his affection for the Beach Boys’ music in particular—are still immediate and inscribed in his soul, his despair over the loss of his brothers and the abuse he took from his father Murray has never subsided. There’s not a single moment in the present where we see Brian smile, and indeed, his pain is palpable in every frame of the film. 

While there’s no denying Wilson’s genius—as spotlighted in several fascinating archival films showing him in the studio both then and now—it’s also clear he’s a troubled individual, even by his own admission. He frequently alludes to his nervousness both in social situations (“I haven’t had a friend to talk to in three years,” he admits at one point) and prior to performing. Ironically, the past three years have also seen him perform more concerts than he did in all the years prior combined.

Despite his storied history—the documentary makes mention of the fact that by the time he was 22, Wilson had already accumulated seven top ten hits for the Beach Boys—he’s clearly not done. Obsessed by the need to please (“His biggest competition was himself,” songwriter/producer Linda Perry observes) and plagued by the voices he hears in his head, he keeps creating. Any number of other artists—Elton John, Bruce Springsteen, Don Was, Jim James, and Nick Jonas, among them—testify to his talents and heap praises on the man for breaking the rules and elevating pop music to a plateau that’s yet to be scaled even now. Elton John insists that Wilson “threw the rule book away. Springsteen mentions how Wilson “Took you out of your world and to another place.” Was makes it clear he’s simply astounded.

Fellow Beach Boy Al Jardine sums his strengths up succinctly. “With Brian, we hit the jackpot.”
Indeed, Wilson’s so-called “Teenage Symphonies to God” have never been equalled.

Still, in revisiting the past, the turbulence parallels the triumphs. The pain is palpable when he listens to a recording of his father chiding the boys during one of their early sessions in the studio.  His stoic visage gives way to a tear while visiting the home of his late brother Carl, and even now, the humiliation inflicted on him by his bogus psychiatrist and constant companion Eugene Landy still seems overwhelming. So too, when Fine informs him that his writing partner and Beach Boys’ former manager Jack Rieley had passed away (Some six years earlier no less). Wilson seems not only saddened but shaken as well.

At times, Long Promised Road is difficult to watch, given Wilson’s fragility as he approaches the age of 80. Nevertheless, it also renews appreciation for this true American icon, who, despite his own anguish, gave the world such incredible gifts.

Brian Wilson: Long Promised Road (Original Motion Picture Soundtrack) released November 26th, 2021

Taj Mahal and Ry Cooder have announced their new collaborative album, “Get On Board: The Songs of Sonny Terry & Brownie McGhee“. The new LP, which is set for release on April 22nd, is the duo’s first collaboration in more than a half-century.

To celebrate the announcement, the two musicians have released a new live video for the song, “Hooray Hooray,” which fans can watch below. “They were so solid. They meant what they said, they did what they did … here’s two guys, a guitar player, and a harmonica player, and they could make it sound like a whole orchestra,” Mahal said in a statement about his connection with Sonny Terry & Brownie McGhee.

Added Cooder, “It was perfect. What else can you say?”

The forthcoming 11-song album features Mahal on vocals, harmonica, guitar, and piano, as well as Cooder on vocals, guitar, mandolin, and banjo. And Joachim Cooder is on drums and bass.

The songs for the LP are drawn from recordings and live performances by Terry and McGhee, who Mahal and Cooder first heard as teenagers. “Down the road, away from Santa Monica. Where everything was good ‘I have got to get out of here,’ was all I could think,” Cooder added. “What do you do, fourteen, eighteen years old? I was trapped. But that first record, “Get on Board“, the 10” on Folkways, was so wonderful, I could understand the guitar playing.”

“I started hearing them when I was about nineteen, and I wanted to go to these coffee houses, ‘cause I heard that these old guys were playing,” said Mahal. “I knew that there was a river out there somewhere that I could get into, and once I got in it, I’d be all right. They brought the whole package for me.”

Mahal and Cooder originally joined forces in 1965, forming The Rising Sons when Cooder was just seventeen. The band was signed to Columbia Records but an album was not released and the group disbanded a year later. The 1960s recording sessions, widely bootlegged, were finally issued officially in 1992.

This new LP is the duo’s first recording since then. Taj Mahal & Ry Cooder perform “Hooray Hooray” from their upcoming album, ‘Get On Board‘ with Joachim Cooder, out April 22nd on Nonesuch Records.

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The Dirty Knobs are back! Their second album ‘External Combustion’ will be released on BMG Records on March 4th following their 2020 critically acclaimed debut album, “Wreckless Abandon“,  — and is available now for pre-order via our web store on limited edition green translucent vinyl, black vinyl, CD and digital (link below). The first single “Wicked Mind” is out now with a killer, fun video directed by George Mays. We are so excited to share this new music with you and can’t wait to finally hit the road beginning March 9th in Tampa, FL. The Dirty Knobs came together nearly two decades ago, after Campbell met guitarist Jason Sinay (Neil Diamond, Ivan Neville) at a session and liked the way their guitars sounded together. What began as a less structured project for Campbell in between The Heartbreakers’ touring became something else altogether when they added the rhythm section of bassist Lance Morrison (Don Henley) and drummer Matt Laug (Slash, Alanis Morrissette). 

Stay tuned for lots more music and updates coming soon!. Co-produced by Campbell and George Drakoulias (The Black Crowes, The Jayhawks), the 11-track album was recorded at Campbell’s home studio, Hocus Pocus Recorders in Los Angeles. External Combustion also features BMG songwriter Margo Price and Ian Hunter as well as piano from fellow Tom Petty and The Heartbreakers founding member Benmont Tench on ‘Lightning Boogie’. Although Campbell wrote most of the songs on the new album within the past year, two of the tracks had been written in the 90’s, only to be rediscovered in Campbell’s extensive vault of unreleased compositions.

Campbell recalled,  “The band became this spontaneous type of combustion – to borrow a word. The longer we played, the more intuitive it got.” 

After several years of intimate, almost incognito, performances in the band’s home base of Los Angeles and surrounding Southern California cities. After all those years playing together, it became clear The Dirty Knobs should take what they were doing to the next level. Following the passing of Campbell’s long time compatriot, friend and bandmate Tom Petty and his performances with Fleetwood Mac on their 2018-2019 World Tour, The Dirty Knobs released their debut album “Wreckless Abandon” in 2020 to widespread acclaim.

“Wicked Mind,” the first single off of the upcoming album ‘External Combustion,’ is out now!

TOMBERLIN – ” idkwntht “

Posted: January 25, 2022 in MUSIC

Tomberlin shares a new single titled “idkwntht,” featuring guest vocals from Told Slant’s Felix Walworth. The track is the first new music Tomberlin has shared since 2020’s acclaimed Alex G-produced EP, “Projections”.

Of the track, Sarah Beth Tomberlin says “‘idkwntht’ is a sonic altar of sorts. It’s about taking a moment for remembrance, clarity, and setting an intention for what is to come. Kind of like a song version of writing out your intentions on a full moon. holding onto feelings, words, and past versions of ourselves and our behaviour only helps when we can examine experiences once we are outside of them. Then we have to let it out, let it go, and try again.”

Released January 25th, 2022
sarah beth tomberlin: vocals, acoustic guitar
felix walworth: electric bass, drums, background vocals
philip weinrobe: una corda
shahzad ismaily: electric guitar
stuart bogie: tenor saxophone

I released a new song, “Pictures of Flowers”, as part of Mexican Summer’s Looking Glass compilation. It features Meg Duffy (Hand Habits) on slide guitar, Jarvis Taveniere on bass, percussion, and mellotron, and me on vocals and acoustic guitar. We all recorded our parts remotely from our home studios during Quarantine I wrote this song at the beginning of the Quar, and it speaks to the fear and uncertainty I felt in those early days, as well as the clarity gained and realignment in priorities I’ve been experiencing over the last few months.

100% of Bandcamp profits from “Pictures of Flowers” will be donated to Harriet’s Apothecary, an intergenerational Brooklyn based healing village led by Black Cis Women, Queer and Trans healers, artists, health professionals, magicians, activists and ancestors. The intention of Harriet’s Apothecary is to continue the rich healing legacy of abolitionist, community nurse and herbalist Harriet Tubman.

Released June 24th, 2020
Written by Jess Williamson
Performed and recorded by Jess Williamson – Acoustic guitar, Vocals, Meg Duffy – Electric guitar
Jarvis Taveniere – Bass, Drums, Mellotronduring quarantine
Recorded in Los Angeles, April 2020

RECORD COLLECTOR – February 2022

Posted: January 24, 2022 in MUSIC

The latest issue of Record Collector will be available from Thursday. It will feature artists mired in space-rock, krautrock, kosmische and avant-drone. And that’s just Hawkwind. Elsewhere, you will find the great Max Bell interviewing Jackson Browne, David Stubbs meeting Popol Vuh, Rob Hughes tentatively greeting Aimee Mann such is her facility with the art of pugilism, Mark Beaumont speaking to The Wedding Present, Lois Wilson awed to encounter The Flamingos’ Tommy Hunt, plus reviews of ‘new’ and NEW albums by Joy Division and Johnny Marr, Tears For Fears and Eels and so much more.