Bright Eyes, photo by <a href="http://shawnbrackbill.com/">Shawn Brackbill</a>

Conor Oberst were coming to New York, L.A., England, and Japan, Bright Eyes signed to Dead Oceans for a new album and then announced their first live performances in more than nine years. Conor Oberst was about to play England’s End of the Road festival festival in September. befor the lockdown happened.

Dead Oceans co-founder Phil Waldorf said in a press release, “Bright Eyes is not just a formative artist for me personally, but for countless people who work at Dead Oceans. To get to work with a band that is part of our own origin stories in falling in love with music is the rarest of privileges. We are thrilled to be part of another great chapter in Bright Eyes enduring legacy.”

Bright Eyes’ last studio album was 2011’s The People’s Key. Earlier this month, the group launched an Instagram account, posting a mysterious teaser video. They’ve also shared images of posters plastered on city walls via their Instagram stories. Conor Oberst, Mike Mogis, and Nathaniel Walcott signed to Dead Oceans and have been recording, with intentions to release new music this year. The band have also shared a teaser video featuring them recording in the studio with an orchestra.

Their shows were to include a stop at Dorset, England’s End of the Road festival, There has been speculation that there might be more in the works from Bright Eyes this year after the band popped back up on social media recently.

Since Bright Eyes went on hiatus, Mogis has kept busy as a producer and Walcott has worked as a film composer. Oberst’s punk band Desaparecidos also reformed for 2015’s Payola.

“Persona Non Grata” features Conor Oberst (vocal, piano), Mike Mogis (bajo sexto), Nathaniel Walcott (Hammond organ, electric piano), Macey Taylor (bass), Jon Theodore (drums, percussion), Joe Todero (bagpipes), Malcolm Wilbur (bagpipes), Joe Fuchs (bagpipes), and Susan Sanchez (vocals).

It is produced by Bright Eyes, engineered by Mike Mogis with assistance from Adam Roberts. Mixing by Mike Mogis. Mastering by Bob Ludwig.

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We decided to cover a song from Frank Zappa’s first album “Freak Out” released back in 1966. It’s called “Trouble Every Day” and we found it very relevant to these times which is strange and sad that after all these years we’re still on the first page! We are condemning these horrible nonsense actions against the Black Community and condemning police brutality! We need to learn more and these actions against black people need to stop right now and we need to stop it. All proceeds goes to NAACP Legal Defense Fund. We all need to listen more and learn more and if you see something that we’re doing wrong call us out and we will do better. Let’s keep fighting for Justice and Peace! Black Lives Matter! Spread the word.

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released June 6th, 2020
Lyrics – Frank Zappa

Greenway Records 2020

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Shannon Lay’s “Live At Zebulon”, is her first-ever live album, was recorded last fall while on tour in support of August, her Sub Pop debut. The thirteen track effort features songs from throughout her three album catalogue – “August, All This Going Down, Living Water” – and her covers of Karen Dalton’s “Something On Your Mind” and Black Box’s “Everybody, Everybody.”

Shannon says of Live at Zebulon, “During November of 2019 I set off on tour with three of my best friends, Shelby Jacobson, Denee Segall and Sofia Arreguin. We played all over the U.S. and then returned home for a December residency at Zebulon in Los Angeles. We were joined on stage by Ben Boye and Mikal Cronin for three nights of celebration and with the help of engineer Elizaveta Boldyreva and the mixing skills of Michael Kriebel these are the recordings that came out of it. I had never toured with a band before and the songs became brand new again. I am so happy to have captured what they were in those moments with those people. To get to play music with the friends I love so much is a very special thing and I want to sincerely thank Shelby, Denee, Sofia, Ben and Mikal for adding their magical touch. In my wildest dreams I never imagined knowing such incredible people and getting to share the stage with them.”

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Shannon has also delivered a full album stream for Live At Zebulon featuring footage culled from the tour. Lay offers this on the YouTube document, “To go along with the live record we filmed footage of the U.S. tour in November 2019. Edited by Shelby Jacobson and filmed by Shelby Jacobson, Sofia Arreguin, Denee Segall and Shannon Lay it is a moment in time that we knew would be fleeting so we wanted to preserve it somehow. I hope you enjoy listening to the album while watching this film.”

Released May 8th, 2020

2020 Sub Pop Records

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In these transformational times we must find new ways to connect and create together. Steve Gunn and Shannon Lay are on opposite sides of the country but exchanged recordings and covered this song in honor of John Prine and Blaze Foley. All proceeds on June 5th will go to the Black Visions Collective in Minnesota in support of racial equity. In this time of political and social upheaval we recognize the unstable foundation on which our society was built. We are long overdue for change. These moments are crucial for growth but they are not easy. When you feel overwhelmed with it all remember how impactful you can be as one person, realize every action creates an echo that inspires others. Remember how powerful you are; the way you use your money, the space you occupy, the energy you project into the world, the things you say, the things you don’t say, the way you treat others, the way you treat yourself, it all matters. Don’t focus on what you can’t do, focus on what you can do to help. Be the change you want to see. Be kind and persistent and loud as hell.

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released June 5th, 2020

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First digital release of long out of print limited-edition vinyl-only release from 2007. Mudhoney live from Mexico City, recorded December. 10th, 2005 by Brett Ellason at Patacio de los Deportes. It opens with “Mudride” and ends with “Hate the Police”. The merits of this alone are worth the purchase. In between you get a blast of Mudhoney adrenaline directly to your cold, dead heart. Audio quality and band energy are both excellent.

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Released June 5th, 2020

 

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The Helio Sequence is an American Indie Rock duo formed in Beaverton, OR in 1996. The band is composed of Brandon Summers (Vocals/Guitar) and Benjamin Weikel (Drums/Keyboards). Those who have been to a Helio Sequence show know what to expect: a sonic wall of electric guitar and synth, bombastic sub bass, and drum kit acrobatics accompanied by Benjamin’s many expressive faces.
But for one special night on March 31st, 2015 we rewrote the script. At a sold out show at Seattle’s beautiful Triple Door, we played a fully acoustic set.

The origins of our acoustic show lay in necessity. In spring of 2014, we were all set to play a benefit for our friends at the Children’s Book Bank at the Old Church in our hometown of Portland. Just a few days before the show, we got an understandably concerned call from the venue letting us know that the high decibel levels of a typical Helio show would quite probably cause structural damage to the fragile building. At first we thought we would just turn down for the event, but soon realized that we’d have to do something much more drastic. So, in a hectic couple of days of rehearsal, we put together our first-ever acoustic set. The show was a success and most importantly we didn’t knock down the Old Church!

In making the acoustic set we learned a new way of looking at our songs. We used different keys, new chord voicings, alternate tunings and a wide range of percussion. Songs that we had known and played for years took on a new life and we were excited about the prospect of sharing them with more people. In early 2015, when we finished up recording our new album, we jumped on the opportunity to put together a special acoustic eve at The Triple Door.

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The night was even more magical than we could have imagined. We were both pretty nervous before the show, as it was such new territory to play without the high volume and layers of synths that we’re used to. And we had never performed to a seated, dining audience before. (Listen closely and you’ll hear the gentle clanking of silverware on people’s plates during dinner service!) But everybody was so overwhelmingly supportive and enthusiastic that our apprehension soon melted away. The evening flowed with a wonderful, natural energy. For part of the show, we were joined by phenomenal cellist Samantha Kushnick, marking the unique occasion of Helio Sequence as a trio. And as the show went on, it was a joy to hear people singing along, clapping, and laughing.

We’re so glad we caught the show “on tape” and can now share “The Helio Sequence Acoustic Live at The Triple Door” with everyone. That night served as an uplifting reminder that there’s as much power in the quieter moments as a full bore rock show. And it was confirmation that at root, a song is a form of intimacy and music is the power of a shared experience.

Released June 5th, 2020

Cello on “Hall of Mirrors”, “Battle Lines”, “Broken Afternoon”, and “Hallelujah” by Samantha Kushnick

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We are very excited to announce that our second album LP – ‘Color Blind’ has just been released worldwide. Please visit our website www.cupidscarnival.com

The album is available in the U.S.A from Kool Kat Musik and from the U.K and Europe via Amazon. It is available on all digital download and streaming platforms including iTunes, Spotify and Apple Music.  It’s pretty safe to say that Beatles fans will get plenty of mileage out of the new one from Cupid’s Carnival. “Color-Blind” is loaded with Beatleisms that never stray too close to Rutle-like parody; Roland Skilton’s Lennon-like lead vocals may recall those halcyon days of yore, but the melodies are all Cupid’s Carnival’s. There is also echoes of early Bee Gees and Badfinger are also on display (check “Baby Blue”—a CC original—for solid proof), and the hypnotic coda of “Yesterday’s Gone” is pure 1967. For those who prefer their Beatleisms a bit more obvious, try “Working All Day” or “She Don’t Care” for some 1965-era fabness. Obscure reference:

The band members are:

Roland Skilton: Lead Vocals, Guitar, Thomas Gray: Piano, Keyboards, Guitars, Backing Vocals, Matthew Fisher: Hammond B3 Organ & Leslie 122, Darrin Mooney: Drums & Percussion, Gordon Davis: Bass Guitar, Greg Bone: Guitars & Electric Sitar

At times, Cupid’s Carnival sounds an awful lot like the long-forgotten ‘80’s UK pop act Scarlet Party. Well done! Cupid’s Carnival

Released on: 2020-05-01

“Any Human Friend” the acoustic version is a four-track EP with acoustic reworkings of tracks from Marika’s third studio album. Released on vinyl for the very first time this Record Store Day, it features the tracks ‘Blow’, ‘The One’, ‘I’m Not Where You Are’, and ‘Hand Solo’.

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Blow (Acoustic)
The One (Acoustic)
B.
I’m Not Where You Are (Acoustic)
Hand Solo (Acoustic)

recordstore day

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For their ongoing archival video series, Radiohead have shared their pro-shot In Rainbows – From The Basement recording, which originally aired on VH1 in April 2008.

The hour-long performance includes cuts from In Rainbows – released just six months prior – as well as “Myxomatosis,” “Where I End and You Begin,” “The Gloaming,” and “Optimistic.”

Earlier this year, band also debuted their Radiohead Public Library, serving as “a highly curated and organized archive of the band’s catalogue and corresponding visuals and various artifacts associated with each album.” For more information on Radiohead visit their official website.

The VH1 Broadcast of Radiohead’s live performance at The Hospital Club’s TV Studio in London’s Covent Garden, 3rd May 2008, featuring tracks from In Rainbows and older work.

Track Listing:
00:20 Weird Fishes/Arpeggio
05:40 15 Step
09:35 Bodysnatchers
14:00 Nude
18:35 The Gloaming
21:45 Myxomatosis
25:35 House of Cards
31:20 Bangers + Mash
34:50 Optimistic
39:50 Reckoner
44:50 Videotape
49:30 Where I End and You Begin
Bonus Tracks:
54:55 All I Need
59:10 Go Slowly

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L.A. noise-punk outfit No Age have shared Goons Be Gone, the full-length follow-up to 2018’s Snares Like a Haircut, which described as “motion, motion, motion, noise, noise, noise” and “the musical equivalent of burying your head in the sand.” Goons Be Gone is exactly the kind of layered, invigorating clamour we’ve come to expect from No Age, but it still feels fresh. Their offbeat, self-recorded samples mingle seamlessly with their rugged human elements—it’s a cacophonous album, for sure, but don’t discount the grace of its rhythms and mindfulness of its construction

Track from “Goons Be Gone,” available on LP/CS/CD/Digital from Drag City on June 5th, 2020.