Archive for the ‘MUSIC’ Category

“Carnage” is a new album by Nick Cave & Warren Ellis, recorded over a period of weeks during lockdown. Although the pair have composed & recorded many soundtracks together, and Ellis is a long-term member of The Bad Seeds, this is the first time they have released an entire album of songs as a duo. After cancelling his already rescheduled 2021 UK and European tour due to the spread of coronavirus, Cave described this period as an “opportunity to take stock” and “time to make a new record”. Cave describes the album as “a brutal but very beautiful record nested in a communal catastrophe. Making “Carnage” was an accelerated process of intense creativity,” says Ellis, “the eight songs were there in one form or another within the first two and a half days.”

Cave said that his inspiration came from “reading, compulsively writing and just sitting on my balcony thinking about things”. With no initial intention of making an album, he said “the record just fell out of the sky. It was a gift.”

Cave & Ellis’ sonic and lyrical adventurism continues apace on Carnage, an album that emerged almost by accident out of the downtime created by the long, anxious, global emergency. Carnage is a record for these uncertain times – one shot through with moments of distilled beauty and that resonates with an almost defiant sense of hope. Cave and Ellis’ creative chemistry is rooted in their long history of music making, both as collaborators and as individual artists. They first crossed paths in 1993, when Ellis played violin on several songs for the Nick Cave & The Bad Seeds album, Let Love In, before going on to join the band as a full time member. The two have also recorded as Grinderman, formed in 2006, and have composed and recorded numerous, film, TV and theatre soundtracks together.

Nick Cave & Warren Ellis. Credit: Joel Ryan

Warren Ellis: “Two people sitting in a room taking risks and letting whatever happens, happen. The eight songs were there in one form or another within the first two and a half days and then it was, ‘let’s just make a record!’ There was nothing too premeditated about it.”

Nick Cave: “The inspiration came from reading, compulsively writing and just sitting on my balcony thinking about things”. The record just fell out of the sky. It was a gift.”

NME says: “‘Carnage’ is arguably Cave and Ellis’ best record since The Bad Seeds’ latter day reinvention on 2013’s ‘Push The Sky Away’, or maybe even ‘Abattoir Blues’. It’s certainly two master craftsmen at the peak of their melodramatic powers.” first Impression: A mix of the romantic crooner and the haunting crooner. Growing with every spin. Compelling orchestrations, classical arrangements, with Ellis showing his musical skills once more. Can’t remember when Cave made an average album. Did he, actually? Okay, Carnage once again on my headphones.

Cave told fans via The Red Hand Files that these songs were born from missing the sensation of “the complete surrender to the moment” that comes from being on stage. They’ve certainly captured that abandon, along with all the heightened rushes of panic and mania that come with lockdown and recent world events, and those merciful moments of peace, serenity and hope for what’s to come. Cave and Ellis have taken a bold leap into the COVID era’s dark night of the soul, and found a truth that we all share.”

Originally accompanying Jagjaguwar’s tenth anniversary reissue of their 2010 final album ‘Public Strain’ but now getting a standalone release, this five-track EP gathers up rare material from art-rock outfit Women’s brief career between 2007 and 2010. Since the death of vocalist Chris Reimer in 2012 that effectively ended the band, members of Women have since gone on to form the bands Preoccupations and Cindy Lee.

On their debut self-titled album, Women embraced sonic brashness that deeper examination revealed to be tinted with sly pop melody. With the album “Public Strain” the band honed a sound truthful to that reverb drenched noise while allowing the pop sensibilities to surface into clearer focus. Patrick Flegel (vocals/guitar), Matt Flegel (bass/vocals), Chris Reimer (guitar/vocals), and Michael Wallace (drums) went into the studio with an abundance of ideas, working around conflicting schedules and graveyard shifts. With Chad VanGaalen again on production duties, the band laboriously crafted a timeless sounding recording over the dead of winter in Alberta, Canada. The result exploits their usage of harsh, grating dissonance in smaller and controlled doses, using noise as the foundation for richly structured, layered songwriting. Resting upon Matt Flegel’s plodding bass line, Patrick Flegel’s deadpan vocal delivery, and Chris Reimer on bowed guitars and cello, this moody, nocturnal ballad opens the album on a dark note 

A collection of rarities releasing in celebration of Public Strain’s 10th anniversary, courtesy of Jagjaguwar Recordings.

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Marina Allen glides on angelic highs, surfing the husky deep; she is one of the great new voices of her generation. Writing songs that carry notes from other realms; these are kitchen table tales about love and fear, the capturing of the wild heart, sketching the breaking of dawn, bringing real life back to life.

Every song on stunning debut album ‘Candlepower’ is a tick box of influences, asides, inspirations, quickfire theories, storylines and melodic progressions that galvanise a chemical reaction for each dramatic scene that unfolds on this genre-traversing seven song epic.

One listen to opening track ‘Oh, Louise’ underlines the range of Marina’s talent, it’s a filmic play on words, with an arrangement that’s like a Kate Bush dream sequence. It’s the perfect foil for the plaintive strum of ‘Sleeper Train’, a haunting, folky paean fit for Judee Sill brought up to date with some echoey electric guitar; or the conversational ‘Believer’; with a nod to Joni Mitchell in the lyrics it sounds every bit like Simon And Garfunkel at their Big Apple best listening to the ‘7 O’Clock News’ re-imagined on Sunset.

The stuff of legend for a voice that surfs many musical tangents, hovers, and persists, that stings with honesty; morphing from Karen Carpenter’s gentle reverence to Laura Nyro’s soulful grit, moving through the phases like some possessed Dada performance artist before throwing in a melody from Joni at her jazziest or from the close harmonies of the lamented Roches when they flipped out with Robert Fripp.

‘Candlepower’ is a juxtaposition of melodies, an achingly beautiful set of songs set against the clank of the mundane world, a beguiling commentary on the everyday and everywhere. It’s all here, in under 20 minutes… every second counts. 

Releases May 4th, 2021

Orange Synthetic by Cobalt Chapel

After almost four years, Cobalt Chapel, are an English duo formed by multi-instrumentalist Jarrod Gosling and Cecilia Fage on vocals, flute and clarinet, The duo are back with “Orange Synthetic”. The first, self-titled album showed an exuberant band mixing strong folk writing with rich, progressive arrangements and a spacious, psychedelic sound.

Nominally, the album to be released on 29th January 2021 would be the second album, but it should be noted that between the debut and this second work we find an episode at the same time curious and fascinating. It’s “Variants”, an album in which the duo decides to revise/remix nine tracks from their debut, dilating them and increasing the psychedelia level.

But let’s come to “Orange Synthetic” which, as the band state, is an album strongly influenced by the area where the band live, Yorkshire, and which “is inspired by the humanity, anecdotes and folklore of the region, the creatures and legends of the dramatic landscape surrounding them”. The name in particular is linked to a singular incident that took place there about fifty years earlier. It was a jazz festival that, following the devastation brought by a storm, saw many of the spectators risk their lives, while the organiser was forced to wander the moors for days before being found. A singular story that, in moving from hopeful joy to moments of terror, seems to express effectively, according to Fage and Gosling, the feeling of the end of the world that is beginning to spread in our time. Paradoxically, however, it is the duo’s sunniest album. 

That album sleeve looks like every day out I’ve had in the beautiful countryside that surrounds us in Yorkshire. Cobalt Chapel have made an entire album called ‘Orange Synthetic’ about the place – about its history, folklore, nature and landscape. What a place! And the perfect subject matter for their style of music, one which includes all kinds of organ variants plus mandolin and recorders all topped off with Cecelia Fage‘s cut-glass vocal. 

words from  “La linea Mason&Dixon”

Spiritualized

Spiritualized have announced the reissue of their first four albums on vinyl via Fat Possum as part of the Spacemen Reissue Program curated by Spiritualized frontman Jason Pierce. The first installment, 1992’s “Lazer Guided Melodies”, is due out April 23rd. #The Albums in the series will be pressed on 180g 2xLPs mastered from “a half speed lacquer cut from original sources by Alchemy Mastering,” according to a press release. Of the reissues, Pierce said: I was living in Rugby in a flat above a plumber’s merchant at the time. I accidentally kept that flat for eight years when I moved to London and when I returned it was exactly how I left it. There was the Nick Kent book open at the page I left it like it was waiting for my return.

The last Spacemen 3 record was under-realized to me. When I listen back to that stuff it sounds like somebody finding their way. There was a lot of ideas but no way to put them into a space that would make them all work. So, there was a huge freedom forging over the last Spacemen 3 record and when Spiritualized started it was like, “OK it’s all yours. Go”…The first four Spiritualized records are the sound of J Spaceman finding his way through the cosmos; bumping into debris, soaring over stars, crash landing onto bleak, lonely landscapes then taking off again, sometimes spinning around uncontrollably until he finds somewhere sublime that he can rest his head for a while, until the restless soul takes flight again.

Spiritualized Lazer Guided Melodies

Elevating the gritty, narcotic garage blues of his first band Spacemen 3 into more of a crystalline experimental space rock, pop sound, the “Lazer Guided Melodies” core line up was Jason (vocals, guitar), Mark Refoy (guitars), Kate Radley (keyboards), Will Carruthers (bass) and Jonny Mattock (drums). Recorded from 1990 to 1991, the 12 songs are divided up into four movements. 

We recorded the tracks in the studio near my flat which was a place where they predominantly recorded advertising jingles and it’s where we made all the Spacemen 3 records, but then the recordings were taken to Battery Studios in London, to explore a more professional way of making music…. Once I approached that way of doing things I opened up a whole world and I was astounded that somebody could take those tracks and turn it into the record it became….”We got it down onto a Fostex E16; like a half inch of tape and we squeezed 16 tracks onto it. It was almost like recording on a cassette tape but then we introduced those multi tracks to a new kind of mix scenario, new to me anyway.

Once I approached that way of doing things I opened up a whole world and I was astounded that somebody could take those tracks and turn it into the record it became. Barry Clempson mixed it and his references were completely outside my world. He was playing stuff like Massive Attack, the Horace Andy track with that beautiful tremolo voice, and Rain Tree Crow, very precise and clear productions.  But he brought this clarity and definition to it that I could not have done in Rugby. I didn’t know how to make records that sounded like that. It turned out absolutely beautiful.”

The other three albums in the series—1995’s Pure Phase, 1997’s Ladies and Gentlemen We Are Floating In Space, and 2001’s Let It Come Down—are set to follow, but have not been announced. Spiritualized’s last LP was 2018’s And Nothing Hurt.

Molly Sarl

Mountain Man have released a cover of Fiona Apple’s “Hot Knife,” the closing song from 2012’s The Idler Wheel…, as part of the band’s ongoing covers series. The folk trio have covered “Hot Knife” extensively on tour. The single, available via Nonesuch Records, below.

“If we followed Questlove’s advice and made gratitude lists before we went to bed every night, Fiona Apple would be at the top every time,” the band wrote in a press statement. “She tells the truth like no one else does. Thank you, Fiona Apple. We love you.”  “Hot Knife” has been a concert cover favourite, though this is the first time a recording has been released. The incantatory harmony is spare, while still evoking that long-ago concert sound of bodies crowded around a microphone. 

Last year, Mountain Man also covered Kacey Musgraves’ “Slow Burn.” The group has previously shared covers of songs by John Denver and Wilco, plus Irving Berlin’s “White Christmas.”

Paul McCartney / The Lyrics book

Later this year Paul McCartney will release “The Lyrics”a new book described as “a self-portrait in 154 songs”.

The book will contain lyrics to 154 songs from all stages of his career, which will be arranged alphabetically. Each song lyric will be accompanied by annotations which describes the circumstances in which they were written, the people and places that inspired them, and what he thinks of them now. This text comes from conversations Paul had with Pulitzer Prize-winning author Paul Muldoon over a five-year period.

Presented alongside these words is material from McCartney’s personal archive – drafts, letters, photographs – never seen before, which make this visual record as well as a written one.

“I hope that what I’ve written will show people something about my songs and my life which they haven’t seen before. I’ve tried to say something about how the music happens and what it means to me and I hope what it may mean to others too.” Paul McCartney

The book itself is two hardcover volumes that slide into an outer slipcase. The volumes will not be available separately and each one is 480 pages in length (dimensions are 203 x 254 mm). The outer slipcase features the same photograph, taken by Paul’s brother Mike, that was used as the cover to McCartney’s 2005 album Chaos and Creation in the Backyard. However, the US edition (published via Liveright Publishing Corporation/WW Norton) appears to have a different, plain green, outer slipcase.

The Lyrics will be published on 2nd November 2021, via Allen Lane in the UK and various other publishers around the world.

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Wye Oak’s Jenn Wasner announces the second solo album under her alias Flock Of Dimes. A mature yet visceral songwriting experience about being on both the giving and receiving ends of heartbreak, ‘Head Of Roses’ is another demonstration of the talents of one of American indie-rock’s most consistently overlooked artists.

Flock of Dimes (aka Jenn Wasner) is sharing a new track titled “Price of Blue,” an unearthly new video filmed in black and white, co-directed by Wasner with Graham Tolbert. “Price of Blue” is a standout from Wasner’s second solo LP, “Head of Roses”, an album that showcases her ability to embrace new levels of vulnerability, honesty and openness, combined with the self-assuredness that comes with a decade-plus career as a songwriter, producer, multi-instrumentalist and prolific collaborator.
 
Of today’s release, Wasner says “This song is about trying, and failing, to connect. It’s about the ways in which, despite our best efforts, we misunderstand each other, and become so attached to stories that we’re unable to see the truth that’s right in front of us. And it’s about the invisible mark that another person can leave on your body, heart and mind long after their absence. It can be difficult to make sense of the memory of your experience when the reality on the surface is always shifting—when the story you’re telling, or the story you’ve been told, unravels, leaving you with a handful of pieces and no idea how they used to fit together.”

This song is about trying, and failing, to connect. It’s about the ways in which, despite our best efforts, we misunderstand each other, and become so attached to stories that we’re unable to see the truth that’s right in front of us. And it’s about the invisible mark that another person can leave on your body, heart and mind long after their absence. 
 
It can be difficult to make sense of the memory of your experience when the reality on the surface is always shifting—when the story you’re telling, or the story you’ve been told, unravels, leaving you with a handful of pieces and no idea how they used to fit together. There is more to a lost love than the sum of these pieces, just as a person is so much more than merely a collection of their physical parts. In both cases there is some essence, some spark of spirit that animates us, and gives us the sense that we are approaching the divine. But there is also, always, the shadow. The parts we do not see. The parts we do not acknowledge, and, as a result cannot learn to love, cannot heal. I wanted to make a video that contained all of these things—the love, the shadow, and the mark—and that’s what we tried to do here. 

Flock of Dimes’ “Head of Roses”which features “Two,” and “Price of Blue,” along with “Hard Way,” and “One More Hour,”  on April 2nd, 2021, and on LP April 30th, 2021. The album was produced by Nick Sanborn (Sylvan Esso) and Wasner at Betty’s in Chapel Hill, NC,

The album features appearances from guitarist Meg Duffy, Bon Iver’s Matt McCaughan, Wye Oak’s Andy Stack, and Landlady’s Adam Schatz. “Head of Roses” follows the release of Like So Much Desire, her acclaimed digital EP released June 2020  Head of Roses is now available for pre-order through Sub Pop. 

‘Price of Blue’ by Flock of Dimes from the album Head of Roses (Release Date: April 2, 2021 on Sub pop Records,

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Acid Dad first appeared in the New York scene at the onset of 2016. After spending the year self-releasing demos recorded at their studio in upstate New York, the band garnered local praise from the likes of Oh My Rockness, Consequence of Sound, BrooklynVegan, Stereogum and more. After releasing their debut EP “Let’s Plan a Robbery” way back in February 2016, followed by their first sold-out show at Baby’s All Right, Acid Dad embarked upon a two month tour of the United States. Fresh off their first tour, which included numerous SXSW performances as well as appearances on Daytrotter, Audiotree and Jam in the Van, the band started writing their debut LP.

At the outset of 2017, the band began recording what would become their first full length. Now part of the Greenway Records family, their Self-Titiled debut LP was released March 9th to rave reviews from the likes of The New York Times, Consequence of Sound and Brooklyn Vegan. The release of Acid Dad album was followed by a US tour which again included SXSW & sold out shows in New York, LA & San Francisco. On the tail of that success, the band crossed the Atlantic for their first European tour which included riotous shows in Amsterdam, London and Paris. Now back home in NYC, the band has transitioned into creation-mode. Acid Dad is hard at work on LP 2 with new singles slated for release and a Greenway Records full length expected soon after!

Here’s a brand new one from Brooklyn’s Acid Dad! Their new record “Take It From The Dead” will be a co-release between The Reverberation Appreciation Society and Greenway Records.

The first single “RC Driver” is out today and accompanied by a video that transports us to warmer times and reminds us to gas up the ol’ jet ski and go climb a waterfall. Stay tuned for more Acid Dad very soon, 

“RC Driver” by · Acid Dad released through Greenway Records Released on: 2021-02-19

Francis of Delirium is the combination of 19-year-old Jana Bahrich and Chris Hewett, who hail from Vancouver, CA and Seattle respectively, but now are based in Luxembourg where they currently reside and make music. They’re preparing the release of their new EP “Wading” via Dalliance Recordings and have recently let go of it’s passionate lead single “Let It All Go.”

Part pummeling garage rock and art-rock anthem with some Art Brut-esque delivery, it blossoms into something else with the vocals converging into an acapella-like moment before diving into a 90s garage rock finish. You can feel the emotion pouring out of Bahrich at every moment in a convincing raw fashion.

Throughout 2020 Luxembourg-based, Canadian-American two-piece Francis of Delirium gave us plenty of musical reasons to get excited about them and their powerful Equality Song also made it into our list of the favourite tracks of the year. Despite her young age charismatic songwriter Jana Bahrich writes very mindful and musically profound tracks that shouldn’t shy away from some true classics of indie rock history. There’s this special lo-fi vibe that makes these songs as timeless as they are fresh. A first EP was released last year, a follow-up called “Wading” is set for a release on February 12th. We also asked Bahrich about her personal thoughts and hopes for the upcoming year and here’s what she had to say:

“You can expect my favourite music we’ve made to be out in the world next year, my favourite video I’ve made so far to be out and for us to be doing everything we can to be putting on our best shows yet. My hope is for the world to get to a point where it is safe enough for artists to play to a packed audience/for us to play to a packed audience so that I would be able to stage dive and not fall straight to the ground, that would be pretty cool. That’s my lofty goal for next year, a stage dive.”