Archive for the ‘MUSIC’ Category

Minor Moon, the Chicago-based cosmic Americana group led by multi-instrumentalist Sam Cantor, have an upcoming third full length album “Tethers”, out March 26th via Ruination Record Co. & Whatever’s Clever. On his newest song as Minor Moon, Chicago multi-instrumentalist Sam Cantor takes on a feeling that has become all-too-familiar over the past year: a nebulous sense of confusion and loss, most debilitating because of how difficult it is to even recognize, let alone put into words—or music, for that matter. Cantor manages that last bit admirably on “Under an Ocean of Holes,” the second single from—and the creative key to, as he explains—his cosmic country project’s forthcoming third album “Tethers”, out March 26th on Ruination Record Co. and Whatever’s Clever.

Chicago-based multi-instrumentalist Sam Cantor has released the third full-length from his cosmic Americana project Minor Moon, Tethers, via Ruination Record Co. and Whatever’s Clever. Lead single “No Lightning Fix,” which features a pair of Cantor’s Windy City peers in V.V. Lightbody and Ohmme’s Macie Stewart, arrived alongside the album’s announcement in January, while second single “Under an Ocean of Holes” in February and “Hey, Dark Ones” arrived earlier this month. Cantor drew inspiration for Tethers’ 10 tracks from an intense period of personal discovery that began with him being thrown for a loop by the end of a long-term relationship, using his music as an outlet for the powerful feelings entangled with his experiences. “Minor Moon songs have always had this arc of discovery and I’ve always used them as a way to dive into really personal, philosophical, or emotional problems,” says Cantor. “It’s about finding some truth looking inward.” We’ve praised Cantor and his collaborators for making a “sprawling and complexly arranged” album that “imbues warm Americana with an otherworldly hum” while managing to find a deep-seated joy in life’s lack of easy answers.

Having previously shared the unhurried No Lightning Fix, the band have now offered up a second taste from the album in the shape of the simmering Under An Ocean Of Holes.

So, if a healthy amount of Midwestern twang, some engaging Neil Young style grooves, eye-opening atmospherics, and warm psychedelia are up your street you should check out both asap.

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Releases March 26th, 2021, All songs written and produced by Sam Cantor 

Sam Cantor – vocals, electric and acoustic guitar (all), synth (3, 5) and upright piano (5)
Nathan Bojko – drum kit (all except track 5)
Michael Downing – electric bass guitar and vocals (all except track 5)
Colin Drozdoff – Wurlitzer electric piano, organ, grand piano and Prophet (all but track 5), additional synths (1, 6)
Konstantine Stebliy – lap steel guitar (all but track 5)

Additional musicians:
V.V. Lightbody – vocals (1, 2, 3, 9), flute (2, 3, 4), piano noise (5)
Macie Stewart – violin (2, 3, 4, 6, 10), vocals (3)
Nora Barton – cello (2, 3, 4, 6, 10)
Sean Mullins – percussion (all except track 8)
Alex Blomarz – tenor and baritone saxophone (2, 3, 4, 6, 9, 10)
Nick Broste – trombone (3, 6)
Dorian Gehring – pedal steel guitar (5)

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The songwriter plays two tracks from his recently released album “Tasjan! Tasjan! Tasjan!” outside East Nashville’s Basement East. He was back at the Basement East recently, where the talented songwriter and guitarist delivered acoustic renditions of two new originals that appeared on his recently-released Tasjan! Tasjan! Tasjan! studio album outside the East Nashville venue.

The outdoor acoustic performances of “Computer of Love” and “Now You Know” were filmed for FLOOD Magazine‘s Neighborhoods series. Throughout the solo performance, Tasjan added his own makeshift percussion sounds with his mouth in addition to handling vocal duties.

The Basement East was severely damaged by the tornadoes that swept through East Nashville in early March 2020, when at least 40 buildings located around the city reportedly collapsed and at least two people were killed.

Watch Tasjan’s acoustic performances of “Computer of Love” and “Now You Know” 

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Vampire Weekend have released a new EP featuring two reinterpretations of their Father of the Bride highlight “2021,” recorded by jazz artist Sam Gendel and Connecticut jam band Goose respectively. Each version is 20 minutes and 21 seconds long, hence the title “40:42″. You can find Gendel and Goose’s renditions below.

Vampire Weekend commissioned Sam Gendel to reimagine their song 2021. The only directive was to make it twenty minutes and twenty-one seconds long. In addition to the music, Sam created the original, improvised animation. Ezra Koenig is an outspoken fan of jam bands, and has incorporated the music of the Grateful Dead into Vampire Weeekend’s own performances in the past, so it should come as no surprise to hear Vampire Weekend turned to a talented, up-and-coming band like Goose and a bold, avant-garde jazz musician in Gendel to help stretch the shortest song on Father of the Bride to a runtime worthy of the term “jam.”

“2021” was released alongside “Harmony Hall” as the first singles from Father of the Bride. The song is built around a sample of Haruomi Hosono’s “Talking.”

Vampire Weekend commissioned the  breakout rock/jam outfit Goose to reimagine their song 2021. The only directive was to make it twenty minutes and twenty-one seconds long. Vampire Weekend wanted to go with the two new covers reads, The 40:42 EP is out now. We asked two of our favourite artists (West Coast saxophonist Sam Gendel and the Connecticut-based jam vanguards Goose) to create 20 minute 21 second versions of “2021.” They knocked it out of the park.

Both created striking, exploratory works that stand on their own. We hope these 40 minutes and 42 seconds of music will provide some peaceful, vibey atmosphere as we all move through 2021.

The 40:42 EP. Out now:

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For those of us who were unable to grab one of the 3,000 copies of Neil Young‘s Archives Volume II: 1972—1976 box set released last year, the singer-songwriter has thrown us a line. Last week, Neil Young released “Daughters”, a track recorded during the sessions for the “lost” 1975 album “Homegrown”, also released late last year.

Recorded during Young’s mid-1970s heyday, “Daughters” rings like a classic Neil Young folk song that could have been taken from “After The Goldrush” or even “Harvest”. Though Young’s voice and acoustic guitar sit centre stage, the track also hosts guest contributions from Levon Helm on drums, Emmylou Harris on backing vocals, Ben Keith on pedal steel, and Tim Drummond on bass. 

“Daughters” was just one of 12 previously-unreleased tracks on the 131-track, 10-disc Archives Volume II box set which also featured 50 unheard versions of songs. Unfortunately, the 3,000 copies released last year are still the only ones in the world and the only other way to hear Archives Volume II is with a subscription to the Neil Young Archives.

Neil Young, “Daughters” taken from the recording sessions for 1975’s Homegrown.

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Opened in March 1968 by concert promoter Bill Graham as the east coast counterpart to his San Francisco-based Fillmore Auditorium, The New York City-based Fillmore East served as an incredible hub of live music in the late 60s and 70s. Dubbed the “Church of Rock and Roll” for good reason, Graham had a knack for uniting some of the era’s most unique and explosive artists under the same roof, which through the years included John Lennon, Jimi HendrixFrank ZappaVan MorrisonLed Zeppelin, and Crosby, Stills, Nash and Young.

On February 11th, 1970, Graham booked a triple billing of the Grateful Dead, Los Angeles psych-rockers Love, and a relatively unknown group from the Atlanta area, The Allman Brothers Band.

Though the Allmans and Dead had met some months prior at the first Atlanta Pop Festival, it wouldn’t be until the bands’ 1970 Fillmore East billing when the two iconic jam bands collaborated on stage.

The Allman Brothers’ set that night included originals “In Memory Of Elizabeth Reed”, “Trouble No More”, and the always gargantuan instrumental that is “Mountain Jam”, along with covers of Blind Willie McTell‘s “Statesboro Blues” and Willie Dixon’s “Hoochie Coochie Man”.

Playing both an early and late show–as was customary at the Fillmore East–the Dead began afternoon performance with an intense “The Other One” that segued into “Cryptical Envelopment” before finishing up with “Dire Wolf” and “Casey Jones”. The latter two would appear on the Dead’s soon-to-be-released studio album, Workingman’s Dead.

“Not Fade Away” was used as a launchpad for the evening set, which also included another pair of Workingman’s cuts, “Cumberland Blues” and “High Time”. For their rendition of “Dark Star”, the Dead welcomed Duane Allman to add some mesmerizing slide guitar on the psychedelic anthem, which was later augmented further when Fleetwood Mac guitarist Peter Green(who was not on the bill that night but had been a fan of the Dead’s since playing with them in San Francisco in June 1968) and Love’s Arthur Lee (percussion) were added into the performance.

As the “Dark Star” jam built and boiled with the three guitar players on stage, the song gave way to a rare Miles Davis-inspired “Spanish Jam” just as Gregg Allman slid onto the organ bench. Finally, as The Dead’s own Ron “Pigpen” McKernan busts into a raging “Turn On Your Lovelight”, Gregg gets in on the party to trade vocals with Pigpen on this show-stopper.

Grateful Dead Live at Fillmore East on February 11th, 1970. The Grateful Dead with Duane & Gregg Allman! From “Searching for the Sound” by Phil Lesh: Jerry says to Phil of the ABB on their way to this show: “make sure you check these guys out… they’re kinda like us… They jam hard” Phil was startled when he heard Duane’s slide during Dark Star… Jerry hadn’t told him anyone would sit in. Gregg “slides onto the organ bench” during Spanish Jam. “Peter Green from the Mac plugs in just as I’m pulling the music into the dominant minor … he and Duane seem more comfortable in this space.” After the show, “I walk outside — it’s daylight, and snow is falling gently on the streets of New York... Bob and Jerry in a group embrace: This is what it’s all about.”

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This short footage of the Deviants with the late Mick Farren performing with the band what would become the Pink Fairies. This is the concert in Hyde Park from 1969 that has been forgotten, probaly overshadowed by its gi-normous predecessors in June and July of the same year free concerts in Hyde Park, The Blind Faith Concert, The Stones Concert and this Soft Machine Concert. Before the concert started, they played “Come Together” from “Abbey Road” over the PA system and maybe one or two other tracks. Somehow someone had managed to get an advance copy of the LP, which was not released until 26th September. There is very little information regarding what went on at this show, but recently received the following details of film that exists of almost the entire show . 

The following concert from one of the Free Hyde Park concerts was recorded on videotape and exists in collection. Bands on that day included  Soft Machine,  The Deviants,  Al Stewart,  Quintessence and The Edgar Broughton Band The footage is excellent quality shot on a tripod stage front all the other acts all appear on the tape. 

The leading NEMS agency had signed the bands for gigs at the Roundhouse, prestigious Speakeasy, Reading Uni with Pink Floyd, and a high-profile free concert at Hyde Park with Soft Machine, Deviants, Edgar Broughton, and Al Stewart, filmed by Jack Moore of the London Arts Lab collective. It was rumoured Jefferson Airplane were lined-up but couldn’t get work visas. 

The concerts in Hyde Park had outgrown the “cockpit” area by this time and this was was the first to be staged on the big field next to Park Lane. However, unlike the all the subsequent concerts the stage was sited at the Marble Arch end of the field near Speakers Corner . Before the concert some of the speakers were on their boxes waving arms about but I think they gave up when the gig started as there was no way they could compete with the sound system.

There was a small group of Hells Angels as security around the stage (as with the Stones) and it was a very fine and sunny afternoon. The Edgar Broughton band did their usual set with audience participation for “Out Demons Out”. Eclection made a surprise appearance with a new singer Dorris Henderson replacing Kerrilee Male to sing alongside Michael Rosen

Quintessance gave a very good performance that worked well on a sunny afternoon as did Al Stewart. The Deviants appeared in black leather jackets and did a rock set that got the audience going, especially the Angels. There were lots of references to dope and acid and it was evident that the band had participated (along with many of the audience). During the set, a blonde, tattooed and topless women managed to get onto the stage where she also removed her pants and began to dance to the music. She was about to leap on Mick Farren when she was grabbed by roadies and carried off-stage. Soft Machine were brilliant but a bit ahead of the audience at that time and unfortunately, for many it became a little dull rather than providing a climax to the show.

Edgar Broughton 0.00 – 4.54 Quintessence 4.55 – 9.25 Al Stewart 9.26 – 11.48 Deviants 11.49 – 16.04 Edgar Broughton – ‘Out Demons Out’ 16.05 – 19.40

Filmed by Austrian TV at the free concert promoted by Blackhill Enterprises on the afternoon of September 20th 1969.

Just two months after the release of his seminal album “After The Gold Rush”, Neil Young played a solo show at The Shakespeare Theatre, Stratford, CT on January 22nd 1971. The show was filmed and recorded, and the concert shown on German TV later in 1971.

In 2020, while Neil and his team were reviewing his Archive for future projects, Neil re-visited the 16mm film and audio recording of this show that had been preserved in the Archive for almost 50 years. Piecing together the tapes and footage, Neil realized that he had the full concert – the film of which is the earliest live footage of Neil Young performing that is known to exist.

Neil has written on NYA that this show is “superior to our beloved “Massey Hall”. A more calm performance, without the celebratory atmosphere of Massey Hall, captured live on 16mm. “Young Shakespeare” is a very special event. To my fans, I say this is the best ever.”

As an insight into Neil’s prolific song writing at the time, the concert features two songs from the recently released After The Gold Rush but four songs from the classic Harvest album that was still over a year away from being released. The wonderful set list also includes acoustic renditions of favourites such as “Ohio”, “Cowgirl In the Sand”, “Helpless”, “Down By The River” and “Sugar Mountain”.

The ancient analogue tapes have been lovingly restored – resulting in (as Neil says on NYA) “one of the most pure sounding acoustic performances we have in the Archive”.

Young Shakespeare” is being released almost exactly 50 years after the original performance.


“Pacific Kiss”, the fourth album from Australian musician David West’s underground pop band, Rat Columns, is out today. Alongside the usual formats, two different vinyl pressings of Pacific Kiss are available – classic black and ‘pastel pink’, both of which are limited to 250 copies.

Pacific Kiss was primarily recorded in a dingy but comfortable practice space in East Williamsburg, Brooklyn. The core of the record is DW, bassist Max Schneider-Schumacher, drummer Dylan Stjepovic and keyboard wiz Joey Fishman. Additional fairy dust was sprinkled by Amber Gempton and Raven Mahon (vocals), Jef Brown (saxophone) and Mikey Young, who found time to contribute some off the wall guitar solos during the mixing process. Pacific Kiss is a record for those astral voyages into the spheres conducted from bedrooms, kitchens, grassy fields and open car windows.

We’re only just announcing this now, but it’s out tomorrow, in stock and shipping. The new record from the Western Australian post-punks adds a layer of jangle hypnotism rarely heard in this context. Pacific Kiss plunges headfirst into an azure sea of upbeat and meditative jams.

Taken from the album, Pacific Kiss, out 12th Feb ’21 on Tough Love.

 
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Irish alt-rock trio Bitch Falcon had their debut album “Staring At Clocks” released last year – and it’s one of the strongest debuts of 2020. We have a brand new, limited tape a which features live versions of 5 tracks from Staring At Clocks.
Small Pond have released our studio sessions on Spotify and all major online platforms. The release features an exclusive performance of “Gaslight” and oldie but a goodie “Of Heart”. Combining the shimmering melody lines of 80s indie-pop enigmas Cocteau Twins, post-punk’s urgency, the raw edges of Seattle grunge and lush, claustrophobic shoegaze, the Irish trio have created a heavenly yet spiky squall.

Bitch Falcon; a name you won’t forget and a band who won’t let you forget them. This trio from the vibrant, much-hyped music scene of Dublin was formed by front-woman Lizzie Fitzpatrick with her friends in a small kitchen in the city in 2014. Since these freshman days, the line up has galvanised around the rhythm section of Barry O’Sullivan on Bass and Nigel Kenny on Drums.

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Bitch Falcon have been around since 2014, but it feels like the pan is now coming to the boil. Formed by force of nature guitarist and vocalist Lizzie Fitzpatrick, the band have worked through several personnel changes before landing on the current lineup of Lizzie, Nigel and bassist Barry O’Sullivan

Released February 11th, 2021

Expands on Sam Bern’s previous project Date Stuff, complex math guitar now with a fuller sound. Things seem to evolve naturally for Floatie. Friends become bandmates and riffs become albums. “Shiny,” the first song on their debut album says it best, “Some luck, it’s happenstance, or consequence / I guess that’s the way it goes.” The Chicago quartet have been playing shows and making music together in one form or another for nearly a decade, but it wasn’t until 2018 that Floatie came to light. It’s a project that is both exceptionally tight and radiantly enjoyable; the efforts of friends making music with dear friends.

While the band made an instant impact at live shows with Ratboys, Pile, Spirit of the Beehive, Peaer, Moontype, Stuck, and more, they’ve done so without recordings or demos. After gaining support in the close-knit Chicago music scene, the band recorded a full length debut at Chicago’s Pallet Sound with Seth Engel at the tail end of 2019, and then the pandemic happened. That record, “Voyage Out”, is worth every last moment waited, an album that’s as expansive as it is repetitive and as weird as it is inescapable. Floatie take a visionary approach toward creating music that can feel both tangled and hypnotic, challenging and comforting, all at the same time. Formed by Sam Bern (they/them) and Luc Schutz (he/him), the duo were soon joined by Joe Olson (he/him) and eventually Will Wisniewski (he/him), each member’s contributions fusing together to create a sound that relies as much on austere construction as it does on finding joy in their time spent together. The results of rigid assembly and blissful collaboration often yields results aptly described as mysterious.

Floatie offer a tongue-in-cheek view of their creative efforts, noting that “the song writing process is as arduous as it is mysterious. To discover a riff that we all enjoy playing is a blessing, and to sequence such riffs in such a way as to communicate something as complex and vast as human feeling seems insurmountable at times.” Voyage Out never fails to share those human feelings, even if often done from a more alien perspective. In “Catch A Good Worm,” Bern’s voice hovers over taut percussion, urgent guitar and murky synths: “Bright lights spreading vast and wide, beings at the gate / Rewind, cut off their supply, now we can escape.” The search for personal identity and a place in society can be felt throughout songs that dazzle with a sombre charm that feels both reflective and wide-eyed to a reality that is more complicated than immediately apparent. Bern expands on the single: “Two options could never represent the complexity of human expression. I think a lot of people could benefit from not having predetermined expectations of themselves in place upon arrival. Sometimes the pressures of challenging these patterns make me think that this is how I was born so that is who I’m meant to be. When the reality is that I can work towards being whoever I want.”

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The band tackle questions of personal choice and acceptance over an ever shifting landscape of knotted progressions and dreamy technicality. “Shiny” for instance is “about finding the drive to make choices that will give you self-assurance and help you to feel worthy of others’ companionship. It is about forcing your own luck by committing to your decisions.” It’s in that determined commitment that Floatie reside; with a sound that is layered and involved. Yet the band does so without dissonance and abrasive feedback, instead relying on their mesmerizing connectivity. Voyage Out weaves together riffs and rhythms with an extraterrestrial precision and a cosmic grace.

The Band:

Sam Bern- guitar, vocals
Joe Olson- bass vi, vocals
Will Wisniewski- guitar, synths, vocals
Luc Schutz- drums

Releases March 26th, 2021