What is this instinct to hate on everything?” asks singer/songwriter Anna Burch on her song “Not So Bad,” the first single from her new sophomore album If You’re Dreaming, which is out today on Polyvinyl. This is Burch’s second LP for the label, following 2018’s Quit the Curse. Sam Evian produced the new record. “Not So Bad” is kind of like a dreamscape, as its delightful music video, which features several dance sequences and plenty of twirling. The chorus is a response to Burch’s question: “It’s not so bad,” she sings. “I’m still here,” she later says, “if it’s not clear.” The video was directed by Burch, and Ben Collins was the director of photography.
Tell Me What’s True – new single + video inspired by Scorsese’s 1974 film Alice Doesn’t Live Here Anymore.
“Tell Me What’s True” is taken from Anna Burch’s sophomore album, If You’re Dreaming, out April 3rd, 2020.
Linnea Siggelkow, the Ontario singer/songwriter better known by the moniker Ellis, today shares her debut LP Born Again through Fat Possum Records. “March 13” followed the singles “Fall Apart” and “Embarrassing,” which were released earlier this year. “‘March 13’ plays right after the last single ‘Embarrassing’ on the track listing, and is a reflection on a night that I did embarrass myself,” Siggelkow said in a statement. “I acted badly and put someone I cared about in an unnecessary and uncomfortable situation, but refused to admit at the time that I was out of line.” While Ellis won’t be able to embark on a planned tour with Ratboys due to the coronavirus pandemic, she hopes that the record helps those who feel alone—which is a much-appreciated sentiment, now more than ever in the time of social distancing.
“march 13” from Ellis’s debut album ‘Born Again’ (out now)
Though its title is taken from the Old English term for “the sound of winter,” much of James Elkington’s solo debut bears a distinctly autumnal vibe. With a feel that harks back to the British singer/songwriters of the early ’70s, Wintres Woma ultimately seems to capture the slow seasonal slide from fall’s gentle unbuttoning into an icier, more frigid landscape.
Elkington hails from the U.K. but makes his home in Chicago, where they know a thing or two about winter. He has a varied history that includes fronting indie rockers The Zincs and co-leading art-folk outfit The Horse’s Ha with Freakwater’s Janet Beveridge Bean. But over the past couple of years before beginning work on “Wintres Woma”, he had been working primarily as an accompanist, playing guitar and other instruments with British folk-rock legends like Richard Thompson and Michael Chapman, as well as Steve Gunn, Jeff Tweedy, and others.
Elkington’s first solo statement was cut in just five days at Wilco’s sonic headquarters, The Loft in Chicago. It seems to key in on the sensibility of artists like Thompson, Chapman, and their peers, who blurred the lines between folk, rock, and jazz in the ’70s with their nimble guitar work, and combined it with a poetic lyrical bent. The delicate-but-precise acoustic guitar patterns at the core of Wintres Woma sometimes feel like descendents of Nick Drake complex finger-picking latticework, especially when Elkington’s lines are countered by Nick Macri’s fluid stand-up bass on the speedy “Make It Up.”
The only track not written by Elkington, an instrumental take on the traditional Scottish folk song “The Parting Glass,” is so adventurously re-harmonized that it scarcely resembles its source, bringing to mind the trailblazing 1960s acoustic explorations of British guitarist Davey Graham. And the combination of Elkington’s sonorous baritone and virtuosic fretboard forays makes a strong case for him as the spiritual heir to the late U.K. folk legend Bert Jansch.
But for all of Wintres Woma’s links to a scene that was approaching its peak when Elkington was a zygote, the dominant artistic voice here is an unflinchingly singular one. The lyrics, in particular, travel a path that seems entirely their own, with imagery unusual enough to force your synapses into new configurations, and a bittersweetness palpable enough to take you by the tear ducts and squeeze.
“In the drug harbor, friends became verbs, chanting in squares the where and the why,” he sings in “When I Am Slow” atop a folkish guitar melody that could be either minutes or hundreds of years old. “Shut that accordion mouth and stop crying fat wedding-band tears,” he admonishes the subject of “The Hermit Census.” And it’s tough to imagine anyone else managing to slip a line like “entrails were made into garlands to welcome my reign” into a ballad as warmly homey-sounding as the crepuscular, harmonica-laced “Sister of Mine.”
The arrangements on the self-produced album are spare (if not stark) from start to finish, and mostly played by Elkington himself, with occasional assists on violin, viola, percussion, and the aforementioned bass and cello. With Elkington’s intimate, plum wine vocals and tactile guitar work at the core throughout, each track feels like a stylishly scrawled diary entry we’ve somehow wrangled the permission to read.
But whether Elkington is whistling through the graveyard on the ironically perky-sounding “Grief Is Not Coming,” recounting the surreal dream state of “Greatness Yet to Come,” or navigating his way through the nightmarish visions of “Hollow in Your House,” his combination of timeless folk flavorings and an artful modernity blend into a wistful but never forlorn kind melancholy. It’s the kind that steps far enough back from the shifting of the seasons of life to know that the whole thing is just a dream to be played out, a dance to follow through, on the way to becoming one with the true sound of winter.
British lo-fi rockers Happyness have shared a new single, “Ouch (yup),” from their forthcoming third album Floatr, out on May 1st. Following previous singles “Vegetable” and “Seeing Eye Dog,” “Ouch (yup)” also maintains their lo-fi roots, but it’s not an empty pastiche. It grapples with the personal and political defeatism that’s so easy to slip into these days—wondering how long we can (and should) tread water and marveling at how we convince ourselves that things are set in stone when they really aren’t. But it’s not overly bleak, thanks in part to their enlivening guitar passages and Jonny Allan’s trustworthy vocals
Listen to ‘Ouch (Yup)’, the third single off Happyness upcoming record ‘Floatr’ taken from their forthcoming third album Floatr, out on May 1st. Floatr follows 2017’s Write In and 2015’s self-recorded debut Weird Little Birthday. The band began as a three-piece of Jonny Allan, Ash Kenazi and Benji Compston back in 2013 and now boasts a core lineup of Allan and Kenazi (who has recently come out and often performs in drag on stage) alongside live members Max Bloom (Yuck), Anna Vincent (Heavy Heart) and Scott Booker Roach (Social Contract).
Following previous singles “Vegetable” and “Seeing Eye Dog,” “Ouch (yup)” also maintains their lo-fi roots, but it’s not an empty pastiche. It grapples with the personal and political defeatism that’s so easy to slip into these days—wondering how long we can (and should) tread water and marvelling at how we convince ourselves that things are set in stone when they really aren’t. But it’s not overly bleak, thanks in part to their enlivening guitar passages and Jonny Allan’s trustworthy vocals.
“It’s about processing the stuff you leave behind, and not getting complacent and not assuming anything,” the band says. “We were going through some massive life changes around the time we wrote this song, and Brexit was happening (remember that!). It’s about disbelief I guess. And the slow excruciating dawning of reality. Reality is a weird rush, the truth sets you free. Those kinds of things.”
London-based band Caroline, who recently highlighted as a British band to know in 2020, have released two new tracks, which coincidentally are perfect for easy listening while working from home. New from Rough Trade Records, Caroline’s two singles, “Dark blue” and “BRJ,” are available across DSPs now and will be released as a 12” single on April 24th. The new songs are musically beautiful as the members of Caroline play everything from cello, violin, electric guitar and even the trumpet.
Caroline began as a three-piece (Jasper Llewellyn, Mike O’Malley, Casper Hughes) in early 2017, initially evolving out of weekly improvisation sessions. Bringing together shared influences in, and experiences of playing, midwestern ‘emo’ guitar music, Appalachian folk, minimalist classical and various forms of dance music.
Caroline’s debut 12″ single features lead track ‘Dark blue’ (A side) and ‘BRJ’ (B side). A hand drawn 12” insert is included with all orders.
The group spent a year and a half playing privately, without a project name. Reiterating, deconstructing and re-building the same small handful of songs over and over again, the group slowly expanded their on-stage members before playing their debut show as Caroline in 2018.
Recent Rough Trade signing Caroline are perhaps the most mystifying and gorgeous sounding group in this bunch. The London band started as a three-piece in 2017 as a result of regular improvisational jams, and they soon began adding members. Despite no name for the project yet, they spent a year and a half playing in secret before performing shows, which now include eight members. They’re currently working on their debut album, but all we have now is “the first half of a two-part video project” called “Dark blue,” a painfully beautiful, ever-unfolding composition that borders on slowcore, classical, emo and folk.
Caroline, an eight-person London-based band, present the first half of a two part video project.
While Madeline Dowd’s visual artwork playfully relays adult themes through childlike imagery, her band Crisman swaps the acrylics and spray paint for hazily-filtered vocals gently layered over slow-core arrangements to find yet another medium for masking emotional turmoil with innocence.
In 2011, Dowd left her hometown of Alpharetta, Georgia for Denton, Texas, where she met Boone Patrello, who records under the moniker Dead Sullivan. Their chemistry led to 2018’s Crisman Tape, which Gold Flake Paint called “a hidden and unhurried gem in the current DIY scene.” For the band’s self-titled debut studio album, Dowd and Patrello teamed up with another fellow Denton musician in MAH KEE OH’s Grahm Robinson. Contrasted against the childlike playfulness of Dowd’s paintings, the band’s collective experience is refracted throughout the measured ten-song collection.
The melancholic and sinuous lead single “Surprise” pulls from childhood memories of wanting to be included and feeling misunderstood in order to lend its start-stop riffs an emotional touchstone. On “Cya,” the band employs acerbic distortion and twinkling arpeggios to explore the immaturity and inevitability of trying to forget a person or feeling that lingers far too long, where final single “Icee Blue” is about experiencing the infectiousness of a romance, a thematic reproduction of the song’s infectious composition.
Born out of real stories of human migration, including those of Ward’s own ancestors, “Migration Stories” plucks us out of our lives and places us somewhere mysterious and unknown, beyond this world. Ward sings of the need for reunion with a loved one, transcending any time or place and giving an epic, mythical feeling to a well-worn concept.
If, as M. Ward says of his 10th album, Migration Stories, “music is a filter” through which to process the onslaught of heart-wrenching news we’re fed each day, then we are even more fortunate to have it than he probably realized while he was making it. Music can make it all go down a little easier, or, even better, it can invite us to take on a new perspective and inspire change. Migration Stories does indeed accomplish this. It makes us listen a little more closely and look for the beating heart at the center of even the stories that seem to gut us. Born out of real stories of human migration, including those of Ward’s own ancestors, Migration Stories treads perilous ground through his gauzy, dreamy tone.
From the opening track “Migration of Souls,” we are plucked out of our lives and placed somewhere mysterious and unknown, beyond this world. Ward sings of the need for reunion with a loved one, transcending any time or place and giving an epic, mythical feeling to a well-worn concept. The song’s melody seems to float above us like a dream. It is romantic, even as it recalls a traumatic experience. That describes much of Migration Stories. The sinister dangers of migration linger, but Ward captures the anticipation on the quest for something better, and mostly, the in-between of it all. These songs live in that purgatory, the dream state of imagining what lies ahead.
Ward employs the organic delicateness of his voice to tell these stories with a tender touch. Even on the noir-tinged “Heaven’s Nail and Hammer,” Ward moves with great care and we can take comfort in the hypnotic repetition of his chorus as he sings, “I see heaven, heaven, heaven / Through the holes in the sky.” “Chamber Music” has a similarly murky undertone, but Ward’s gentle vocals make it more of a lullaby. And even as “Independent Man” brings in subtle saxophone and a groovier sound, Ward keeps it cool and collected. Whether knowingly or not, Ward has made Migration Stories a tonic to soothe our worried minds.
“Unreal City” by M. Ward from the album ‘Migration Stories,’ available now
The 30th Anniversary edition of King Crimson’s “THRAK” is now available to download. Released in 1995, it features the Double Trio of Fripp, Gunn, Mastelotto, Belew, Levin & Bruford and was the first full-length King Crimson album since 1984’s Three Of A Perfect Pair. “Thrak”, was the eleventh studio album from King Crimson was released 25 years ago today. Appearing a decade after Three Of A Perfect Pair an expanded six-piece King Crimson consisting of the 80s quartet of Fripp, Belew, Levin, and Bruford augmented by Trey Gunn (touch guitar) and Pat Mastelotto (drums and percussion), reconvened and set about creating Thrak.
While I didn’t love this era of King Crimson as much as the John Wetton era there was no way I was missing out on this box set. I began buying these with “The Road To Red” and although it set me back a few hundred quid I went out and got the other three (“ITKOK”, “Larks Tongue In Aspic” and last year’s “Starless”). While the price might appear hefty on the surface, the contents are a bargain, currently this box is retailing at £95 for 12 CDs, 2 DVDs & 2 Blu Rays, you do the math, it’s a steal. At the time most fans were taken aback at the unexpected appearance of the mini-album, VROOOM. in October 1994, announcing as it did, the return of King Crimson to active service. Thrak followed in April 1995 to widespread critical acclaim. Replete with a snarling metallic edge,the band could be heard taking a decisive leap forwards. The Double Trio, as Fripp dubbed them, deliver a brace of brand new Crimson classics, with the bulldozing riffs of VROOOM clearing the way. Dinosaur’s ironic, hook-laden choruses lurches into epic pop song territory, while the title track plunges deep into stormy, turbulent ensemble improvisation.
King Crimson has always had a habit of surprising its audiences. Since stepping off the stage at Montreal’s Le Spectrum in July 1984, Fripp, Levin, Belew, and Bruford had gone their separate ways. Although its dissolution had not been accompanied by the sombre pronouncement that King Crimson had ceased to exist forever as it had been in 1974, fans and observers could have been forgiven for assuming that there was little or no chance of King Crimson treading onto a concert stage ever again.
Onto the contents, while nowhere near as exhaustive as the Wetton era sets the emphasis hear is on quality rather than quantity.There are 3 complete live shows on CD, 2 on Blu Ray and video (an upgraded “Deja VROOOM” and an unreleased show from San Fransisco, the SF show picture quality is a long way from the rumoured HD visuals but the soundtrack is superb), an expanded version of the long out-of-print “VROOOM” EP, an audio documentary about the making of the album using outtakes from the studio session reels, the original and 2015 mixes of “Thrak” (the 5:1 mix really showcases The Double Trio as it should be heard), a CD of improvs and a CD of B-sides, outtakes and odds-and-sods.
On top of that you get a full colour book, posters, postcards and other memorabilia. Giving “Thrak” this new lease of life has really opened my eyes to what an incredible and unique album it is, I enjoyed it before but it never had the same impact on me that the likes of “Red” or “Discipline” had, now it has. King Crimson are setting the standard for this format, opening the vaults for fans in a way that no other band has, roll on the next one!
Fripp’s decision to put King Crimson back together had been made in the second half of 1990 though, as he later noted, without a clear idea of what the band would look like at that point. Clarification came two years later during the period he was working with David Sylvian.
Here’s what the Thrak Box looks like when it’s unboxed…A 16 disc limited edition box set featuring studio and live recordings – many previously unreleased – from King Crimson’s mid-1990s double trio line-up.
Highlights include a new ’21st Century stereo reimagining’ of THRAK (by Jakko Jakszyk and Robert Fripp), ATTAKcATHRAK (a David Singleton edited collection of improvs), and Max VROOOM, which sees a release for the long out of print mini-album VROOOM. The second blu-ray includes concert films, a Thrak epk and Tony Levin’s Road Movies.
Much of the material is presented in new 5.1 Surround & Hi-Resolution stereo mixes.
I came to the King Crimson party a little late in my rock fandom life. I didn’t buy Court Of the Crimson King until about six years ago, and I know this will cause some to scream .Despite that initial reaction I decided to investigate the album ‘Red’ a few years ago when I heard that it had a big influence on Kurt Cobain’s sound, now that did hit the mark and I still rate it as my favourite Crimson album. Suddenly I was looking for more King Crimson and Lark’s Tongues and Starless arrived in my collection. Also, having recently invested in a new toy to play 5.1 surround sound I was buying these CD+DVD-A versions each one impressing me both musically and in their 5.1 mixes, Steven Wilson, as usual, having done an excellent job. Then last year I thought it might be time to check out a bit of later King Crimson and decided to go for Thrak, the title just suggested it would be closer in sound to Red. Those first crashing chords to VROOOM seemed to confirm that. Another good investment I thought, that is until this summer when all of a sudden we found that a new CD DVD-A version was to be released (Along with a 16 disc box set for those with large bank accounts).
The surround sound mixes have been really impressive with all the previous Steven Wilson 5.1 mixes, Crimson are perfect for 5.1 and Mr Wilson knows just how to envelope you in their sound, but of course it’s not Steven Wilson who has mixed this album it is Robert Fripp and current guitarist and vocalist Jakko Jakszyk. It seems Wilson is not the only one who knows how to do a 5.1 mix. Fripp and Jakko have done an excellent job, of course the double trio format that Robert Fripp introduced on this album suits 5.1 perfectly with six instruments spread around your room, this is great fun. Of course it’s not just the 5.1 mix we have here but also a brand new stereo mix as well. On the previous albums I had bought in this dual format I had been unable to compare the new stereo mixes as these were the only versions I had, but for the first time with a Crimson album I can compare and contrast the new and old stereo mixes (Isn’t that supposed to be half the fun). I have to say I like this new mix, it wasn’t that I had previously thought there was anything wrong with the previous mix, but all of a sudden the two drums are brought further up in the mix and all of sudden many of the tracks become so much more interesting hearing those two drummers up front, just take a listen to VROOOM to really hear it. The whole album has an even better feel to it, whether it be the grungy guitars of VROOOM, and THRAK, Adrian Belew’s attempt at Alice Cooper style vocals on Dinosaur or his Beatlesesque vocals on Walking On Air, a track that also feels like a throwback to the first album, you do feel that the new mix has improved an already impressive album.
* CD 1 JurassiKc THRAK – an assemblage of material from the recording sessions for the album – placing the listener in the studio with the band as the material was composed and recorded including seven pieces that didn’t make it onto the final album.
* CD2: Max VROOOM – features the long-unavailable mini-album VROOOM, augmented with tracks and edits from the KC Club release: The VROOOM Sessions. All material re-compiled & remastered at DGM.
* CD3: THRAK – is the 2002 remaster of the original album
* CD4: ATTAKcATHRAK (The Vicar’s THRAK) is a sort of sequel to THRaKaTTaK insofar as it’s assembled from live improvs, but is also very different. One of David Singleton’s best pieces of production, the editing process for the new improv album provides more form and function to the material without compromising the spirit of the original improvs. Unlike THRaKaTTaK, which was based on stereo board recordings, this album is newly mixed, in both stereo and 5.1 Surround Sound, from multi-track tapes.
* CD5: THRAK – is the transformative 2015 Jakko Jakszyk/Robert Fripp remix of the original album, described by Robert Fripp as a “Re-imagining of stereo in the early 21st century.”
* CD6: Byte Size THRAK – is a compilation of singles edits, live tracks from promos, a 12″ mix edit – some of which are making their debut appearance on commercially available disc and extracts from writing sessions from the final Nashville rehearsals in 1997.
* CDs7/8: Kcensington THRAK -is a newly mixed release of the band’s London concerts in 1995. Mixed from multi-track tapes by Jakko Jakszyk, and mastered by David Singleton and Robert Fripp (“To make it rock even harder”). Other than video releases, it is also the first live show from this band available in surround sound.
* CDs 9/10: New YorKc THRAK – features a complete setlist from the 1995 run of shows in the city, some material previously released on VROOOM VROOOM (now deleted) and the KC Club release On Broadway. Drawn from multi-track tapes, mixed by Adrian Belew & Ken Latchney. All newly remastered at DGM.
* CDs 11/12: AzteKc THRAK – features a complete setlist from the Mexico City concerts in 1996 – released, in part, on VROOOM VROOOM – mixed from the original multi-tracks by Robert Fripp, R Chris Murphy and David Singleton, and recently remastered at DGM.
If there was ever a time to appreciate archival live recordings, that time is now.
Many years ago, I heard the brilliantly talented and famously cantankerous guitarist Robert Fripp of King Crimson posit a provocative position on the subject of live recordings. “Of the many, many performances [I’ve seen] over four decades,” he told an audience at SXSW in Austin, “I have [never] left and felt I wished to have it on tape. There was nothing in my experience of any of [those] events which were other than available to my experience. And if I wasn’t there, I missed it. And if I missed it, photographs, recordings, nothing could bring this back to me.”
The core idea Fripp articulates is undeniably true: Nothing can fully replace or replicate being at a concert in person, as it happens. But let’s not throw the baby out with the bathwater. Archival live recordings are, as Ma Bell used to say, “the next best thing to being there.” As undeniably magical as live concerts can be, they are by nature fleeting, real-time experiences. Yes, they live on in our memories, but what’s the larger cultural value of these unique performances? When the technology was invented in the 1870s to record and preserve audio, after the spoken word, the earliest recordings captured on those cylinders were of musicians performing live. Preserving performances is arguably the fundamental underlying purpose of recording technology.
Hearing a show you attended can stir memories back to life. Amazing as that is, live recordings even allow time travel and can place us at the Tower Theater in 1975, the Roxy in 1978 or WembleyArena in 1981 when we couldn’t have possibly been there any other way. Is it the same as having had Bruce stand on your cocktail table during the middle of “Spirit in the Night?” No, but close your eyes, let your imagination flow, and it is awfully close.
Gothenburg 28th July 2012 allows fans who weren’t there at Ullevi to travel through time and space to hear one of the best nights on the Wrecking Ball tour in a closing run of European concerts that was, to quote Stevie Van Zandt’s predictive tweet before the show, “one for the ages.”
There’s something about rainy shows that brings out the best in Bruce and the E.Street Band. The show opener, a cover of Creedence’s “Who’ll Stop the Rain?” is a bellwether for great things to come, with crunchy guitar leading the way. Fan-band bonds are solidified through sparkling takes of “The Ties That Bind” and “Out in the Street” (with extra long intro) before we move to the less-traveled corners of Born in the U.S.A. with an excellent “doubleheader” of “Downbound Train” and “I’m Goin’ Down.” The former extends the guitar-richness of the show’s opening salvo and benefits from the heft of the horn section; the latter restores a bit of often-missing edge to the self-deprecating tale.
The aforementioned guitar tone extends seamlessly into a sharp “My Lucky Day” in one of only four Wrecking Ball tour performances. Special nights are built on special songs, and Gothenburg has particularly juicy ones.
What is it about “Lost in the Flood?” Bruce and the band can let it lie dormant for ages, then nail it as they did in NYC 2000. “Flood” had gone unplayed for three years prior to Gothenburg, wasn’t soundchecked, yet the mighty E Street Band is more than up to the task. “In the key of E minor,” says Bruce, “then we’re gonna hit the big chord.” Do they ever. The big chord that follows Roy’s prelude smashes forth an electrifying version that sounds as vital and fresh as it did four decades prior. Bruce vocals are especially gritty, evidenced by this not-so-subtle lyric change: “Hey man, did you see that? Those poor cats were sure fucked up.” Damn.
The energy generated by “Lost in the Flood” propels the ensuing three-pack from Wrecking Ball (“We Take Care of Our Own,” “Wrecking Ball,” “Death to My Hometown”) plus kindred spirit “My CIty of Ruins.” Pick your cliche—firing on all cylinders, in the zone, killing it—all would apply, and doesn’t the horn section sound fantastic? Despite the stadium scale of the show, Jon Altschiller’s mix is tight and close, with Roy’s piano and Max’s high-hat in particularly sharp focus.
“Frankie.” Merely typing the song title brings a smile. The marvelous, lost-and-found Springsteen original premiered on the Spring 1976 tour, his first new song after the release of Born to Run. It was performed around a dozen times that year and cut for Darkness a year later (despite Bruce’s introduction saying The River). It was recorded again for Born in the U.S.A. in 1982, and that version was eventually released on Tracks in 1998.
The song’s live outings in modern times are equally limited. One-off attempts in 1999 and 2003 showed “Frankie” deceptively tricky to get right; something about the song’s lilting quality and mid-tempo pacing proved elusive. But after working through the arrangement in soundcheck, Bruce unlocks the wondrous heart of “Frankie” and lets it wash over Gothenburg in a spellbinding performance.
The show’s second act begins with slightly off-kilter take of “The River,” though normal service is restored in a crisp “Because the Night” and on through “Lonesome Day,” “Hungry Heart,”“Shackled and Drawn,” and “Waitin’ on a Sunny Day.” We step back into special-show territory with another great pick from Tracks, the rollicking River outtake “Where the Bands Are” dedicated to the fans who had travelled from show to show around Europe. It is the last performance to date of the irresistible track. Thanks for the words Erik Flanagan
The Band
Bruce Springsteen – Lead vocal, guitar, harmonica; Roy Bittan – Piano, keyboards, accordion; Nils Lofgren – Guitar, lap steel, backing vocal; Garry Tallent – Bass; Stevie Van Zandt – Electric and acoustic guitars, mandolin, backing vocal; Max Weinberg – Drums; Jake Clemons – Tenor saxophone, percussion, backing vocal; Charlie Giordano – Organ, keyboards, accordion; Soozie Tyrell – Violin, acoustic guitar, percussion, backing vocal; Everett Bradley – Percussion, backing vocal; Curtis King – Backing vocal, percussion; Cindy Mizelle – Backing vocal; Michelle Moore – Backing vocal; Barry Danielian – Trumpet; Clark Gayton – Trombone; Eddie Manion – Baritone and tenor saxophone; Curt Ramm – Trumpet
Lead vocalist for Paramore, Hayley Williams is releasing her debut solo album, “Petals For Armor”, on May 8th via Atlantic Records. Now she has shared another song from the album, “Over Yet,” via a lyric video that mainly features Williams taking part in various professional photo shoots. Williams co-directed the video with Lindsey Byrnes.
Williams’ Paramore collaborator Taylor York produced Petals For Armor. Previously Williams shared the album’s first single, “Simmer,” via a video for the song. Then she shared its second single, “Leave It Alone,” also via a further video for the track. Then she has shared three more new songs from the album: “Creepin’,” “Sudden Desire,” and “Cinnamon” (the latter via a video). The videos are all interconnected and directed by Warren Fu.
Then Williams shared another song from the album, “Roses/Lotus/Violet/Iris,” which featured backing vocals from all three members of boygenius (aka Julien Baker, Lucy Dacus, and Phoebe Bridgers) Petals For Armor is the debut solo album from Grammy® Award-winning artist Hayley Williams.
