Archive for the ‘MUSIC’ Category

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Award-winning, revered singer/songwriter Lucinda Williams is working to help independent music venues during this time with the announcement of Lu’s jukebox.

Scheduled as a six episode series of mostly full-band, hd video performances in-studio, Lu’s jukebox will feature a themed set of songs by other artists curated by the multi-grammy award winner. the first episode kicks off on October 22nd with “Running Down A Dream: a Tribute to Tom Petty”, featuring songs from his celebrated career in advance of his 70th birthday.

Drawing the album art for the cover of this adventure straight from Tom Petty’s album Full Moon Fever, it doesn’t take long to know that you’re in for a sincere treat, and while all of the material is drawn from Petty’s most beloved numbers, you’ll find that these tracks have been bathed and blessed in the waters of Lucinda Williams … meaning that while you’ll recognize each and every one, they’re all now owned by Ms. Williams.

Lucinda commented on these recordings by saying, “We’ve actually wanted to do a cover series for a long time now, but never had the time due to my touring schedule, so I guess the silver lining in all of this (Covid 19) has been to be able to really get inside the songs of some of my favourite artists and see what makes them tick.” With the presentation being drawn from a Lu’s Jukebox live streamed concert (and there will be six more like this in the future).

Lucinda’s chat in between the songs was both insightful as well as heart warming, making it obvious she’s a real fan. Lucinda’s voice is remarkably suited to his repertoire, as she and Tom Petty are both southerners by birth. I do hope at some point you get to view this concert as she has a fabulous band that made this all the more enjoyable to watch. The show came to a sup rinsing conclusion with the new song “Stolen Moments” that Lucinda wrote with Tom in mind, and dedicated it to his widow.

Talk about a match made in heaven! Lucinda opened for Tom Petty at the last concert he played before his death, and they seem like kindred spirits in every sense.
this ‘lu’s jukebox’ series was a string of livestreams she did last fall to benefit music venues during the pandemic, and if there was ever a cause near and dear to my heart, you know that’s it. of course she put together a killer band for the occasion, they sound amazing. a real treat, either artist or just wanna support a good cause.
 

A guitarry hybrid of AZ’s edgy rock/soul/r’n’b sound. Grooving good times, acerbic exchanges overheard in the street, shifts in community, the losses you will carry always, dark recesses late at night that echo with a wonder you’ve never felt before. Life! All instruments played by Azita; the wackest, most Azita-harmonious sounding pop album yet.

For those who find the passage of time a one-way process of attrition, here’s good news for you. In the eight years since AZITA’s last long-player her fevered brain has barely rested and the proof is a new album of unbounded physical and mental activity, music and entertainment, entitled ‘Glen Echo’. The worlds of the previous Azita’s have left their unmistakable essence. Her singular conception of pop music – the idiosyncratic songs, singing and playing that have graced seven acclaimed releases – is in verdant recurrence on ‘Glen Echo’, blossoming a new, cutting sharply in the spirit and image of her ever evolving, always questioning style.

Writing and arranging on keyboards since the time of her solo debut, Azita focused on guitars for this set of songs. Not simply for swagger or a fresh approach to soloing but as part of a way to elide expected singer-songwriter tropes, to democratically populate the sound-stage in equal partnership instead. This is a key aspect of the ‘Glen Echo’ sound, one that determined another new choice.

Previous long-players ‘Enantiodromia’, ‘Life On the Fly’ and ‘How Will You?’ were achieved via close work with players and engineers who took the compositions from the demo to a finished form. Invariably though, something would get lost in the transmigration somewhere. With ‘Glen Echo’, Azita comes through fully, jaggedly, most vividly, owning her intention entirely in the dialogue of singing and playing her rock and rhythm and blues.

The lyric sheet is riddled with language that circles, through the many moments of life, aspects of the passage of time, the pre-empted dreams and strangeness of the present and the way we invent an idealized past in response to the changes, guiding the narrative… where? It’s all banded together by AZITA’s wit, equal parts droll and dire, her dispassionate view of fates and outcomes for all of us here together on the planet, textured with unique, cinematic details and sudden dives into a deeply felt, utterly OG sense of soul.

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In ‘Glen Echo’ are a multitude of sounds – all the moments in a life: the good time grooves, acerbic exchanges in the street, shifts in community and generosity, moments of loss you know you will carry forever, reflection upon unknown futures and pasts, the dark recesses late at night that echo with a wonder you’ve never felt before. You name it, AZITA’s got some sweet and sour theme music for it.

Released March 5th, 2021

Written, performed, and recorded by Azita Youssefi

2021 Drag City Records.

Nick Cave and Warren Ellis released a new album titled “Carnage”. It was somewhat of a surprise release, although Cave had previously hinted at the album on his website. While the album works well as a complete piece, we picked album highlight “White Elephant” for this list. It features Cave tackle somewhat current events with such striking lyrics as “A protester kneels on the neck of a statue/The statue says, ‘I can’t breathe/The protester says, ‘Now you know how it feels’/And he kicks it into the sea.” Cave is backed by an incredibly deep bassline and ominous strings, before a choir erupts midway through the song, singing, “A time is coming/A time is nigh/For the kingdom/In the sky”—and suddenly it’s a Spiritualized song.

Carnage is available now digitally via Goliath, and will be available on CD and vinyl on May 28th. 

Cave describes the album in a press release as “a brutal but very beautiful record nested in a communal catastrophe.” Ellis adds: “Making Carnage was an accelerated process of intense creativity. The eight songs were there in one form or another within the first two and a half days.” For such a literate person, Nick Cave does his new album with Warren Ellis a bit of a disservice by choosing to describe it as “a brutal but very beautiful record nested in a communal catastrophe.” That is, of course, an accurate description of what this music is, but it doesn’t really encompass everything Carnage can blossom into once it reaches the listener’s ear. Part of what’s made Cave and Ellis’ voluminous body of work so beguiling is the way that primary-colour descriptors like “brutal” and “beautiful” lose their meaning in the endless shades the two musicians have at their disposal. And to prime the audience to expect something that slots neatly into Cave’s setup is to constrain an extraordinarily complex work of art. 

In November of last year, Cave put out a solo live concert album, Idiot Prayer – Nick Cave Alone at Alexandra Palace, on Bad Seed Ltd.

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The Feelies-inspired Scottish/Spanish duo The Boys with the Perpetual Nervousness released their sophomore effort in early February, a 10-song, 26-minute collection of seamless pop-rock that does their namesakes proud. Andrew Taylor (Dropkick) and Gonzalo Marcos (El Palacio de Linares) recorded their parts in Edinburgh and San Sebastián, respectively, working from beyond-social distance to create an album that shows us the past through “Rose Tinted Glass,” allowing us to savor “a life that might never return,” per their album bio. This is lovely jangle-pop without an ounce of fat on it, sunny and soft, with the breezy energy that can only come from feeling truly carefree.

From vocal harmonies and retro synth frills to an always-accessible blend of acoustic and electric guitars, The Boys paint from a familiar power-pop palette, but create something uniquely beautiful—not even these times of loss and isolation can take that away from us. This is without an ounce of fat on it, sunny and soft, with the breezy energy that can only come from feeling truly carefree. From vocal harmonies and retro synth frills to an always-accessible blend of acoustic and electric guitars, The Boys paint from a familiar power-pop palette, but create something uniquely beautiful—not even these times of loss and isolation can take that away from us.

The Boys With The Perpetual Nervousness Released on: 2021-01-20

Jenny Hval and Håvard Volden Announce Debut Album as Lost Girls

After collaborating for more than a decade together, the Norwegian duo of artist and writer Jenny Hval and multi-instrumentalist Håvard Volden will release their first album as Lost Girls, Menneskekollektivet (“Human collective,” from the Norwegian). The album draws on the creative chemistry Hval and Volden honed via their time performing together in Hval’s live band, as well as their 2012 collaborative album as Nude on Sand, but sounds quite unlike either of those efforts.

Lost Girls began recording in March 2020, before the songs felt ready, and as a result, improvisation factors heavily into Menneskekollektivet, a surreal blend of synth loops and drum machines with Hval’s sometimes-spoken, sometimes-sung monologues, through which she brings her subconscious to the surface. “Making me an opposition,” she murmurs on “Love, Lovers,” entangled in her own mind, yet determined to capture her innermost wonder.

Recorded just as the world fell apart in March last year.

From the upcoming album “Menneskekollektivet” out March 26th on Smalltown Supersound.

After 16 years of friendship, Leeds-based pop-folk band Sunflower Thieves are a strong soulful sisterhood nurturing a unique sound, through ethereal vocal harmonies and honest lyrics to sooth the mind. Each track is hugely personal to the songwriters, hence the intimate atmosphere and sincere performance you experience in watching them.

‘Don’t Mind The Weather’ translates as “don’t worry, this is where you’re grounded and safe”. It’s easy to get swept away in everything that’s going on, but there’s beauty in that and you overcome it together anyway. Sunflower Thieves are Lily Sturt-Bolshaw and Amy Illingworth wrote Don’t Mind The Weather as a simple acoustic composition. But Lily’s production to the video clip adds texture, weight and light.  

She says: “The song’s message is that no matter how the seasons and weather may change, the gravitational pull of the moon – the person you feel safe with – will keep you safe. We based it on the moon’s relationship with the tides. It’s easy to get swept away in everything that’s going on, but the relationship with this person overcomes it all.”

Check out this live version “Don’t Mind The Weather” performed live at Evoke Studios, Leeds.

we wanted to do a nice big video shoot for this song with our friends, but for obvious reasons, that hasn’t been possible. instead, we decided to show you a little of where we’ve been hibernating this year – walking in the beautiful countryside back home has been good for the soul in this storm of a year

Written by Amy Illingworth, Lily Sturt-Bolshaw and Rachel Clark.

‘Don’t Mind The Weather’ will be released 26/02/21.  

Available for 72 hours only! Help raise money for struggling venues, musicians and other live music professionals who are unable to work (100% of proceeds will be donated to Stagehand UK and Save Our Venues charities).

When coronavirus hit, we suddenly stopped being able to play live together, bringing an abrupt end to all of our live dates and rehearsals. In an effort to stay sane and keep in touch while figuring out what we were going to do with ourselves, we remotely recorded a bunch of DIY covers that we put out on a few Sundays last year, an event that we named ‘Ice Cream Sundays’.

After lots of people asked whether these covers would ever be available for download, we’ve decided to release them for a short time in a way that can hopefully do some good for some very worthy causes. You can download them here from Friday 5th March (0:00 GMT) through to Sunday 7th March (11:59 GMT). 100% of the money that we receive from Bandcamp for downloads will be split between the charities Stagehand UK and Save Our Venues 

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Buy our digital EP “Ice Cream Sundays” this weekend, 100% of profits are going to Stagehand UK and #Saveourvenues to help struggling venues / people in the music industry.

2000trees Festival is GO! | 8th - 10th July 2021

Jeremy Earl (Woods) & Glenn Donaldson (Skygreen Leopards, The Reds, Pinks & Purples) met sometime in the mid-oughts and bonded over a love of tambourines and DIY sounds. They shared many stages since, and their first serious collaboration was on the 2011 Woods album Sun & Shade. Around 2018, Earl was restless in upstate NY and accepted an invite to record in Donaldson’s studio in an undisclosed rural coastal town in Northern California. In a week they emerged with nearly an album’s worth of hazy folk-rock and psych-pop with touches of more outré lo-fi noise. Jeff Moller (The Papercuts) added bass, and they put the finishing touches on during quarantine. Heaven and Holy ebbs and flows like coastal fog between songs and dreamy instrumentals splitting the difference between The Clean’s Unknown Country and The Byrds Fifth Dimension.

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Jeremy Earl: Guitars, Vocals, Drums, Percussion, Mellotron, Casio
Glenn Donaldson: Guitars, Organ, Casio, Backing Vocals
Jeff Moller: Bass, Electric Piano on track 11

Released March 5th, 2021