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A remixed and pumped-up version of ‘Heat Rises’ from Yanya’s superb debut LP Miss Universe results in ‘H34T Rises’. Not that we needed convincing on the original cut but this new edit gives the track a beefier, more electro driven feel. Peep the video shot in Istanbul too.

She emerged in May 2016 with an elegant take on the Pixies “Hey” and followed it up with two stunning songs of her own, “Small Crimes” and “Keep On Calling”. In the space of three songs she outlined her aesthetic – sparseness, deftly intricate guitar and vocal melodies and brilliantly observational lyrics.

Yanya cites Nina Simone, Jeff Buckley and Connan Mockasin amongst her influences She grew up in West London and her parents are both artists, coming from a multi-cultural heritage of Turkish, Irish and Bayan. Yanya started learning the piano at the age of six but at twelve realised a long held ambition to learn the guitar. Her Mother encouraged her to take up the cello at the same time, which Yanya persevered with for a few years, but the practical issues of carrying it, coupled with her emotional attachment to the guitar led her away from classical music.

Inspired by her sister’s CD collection, in her early and mid-teens Yanya developed a taste for skater-rock and indie bands but discovering a passion for Jazz was the eureka moment, the trigger for the type of expression she was looking for as a songwriter. After taking her A Levels Yanya got a scholarship, started performing her songs and now, is one of the most exciting new talents around.

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“The Kids Are Having None of It” came out of a desire to envision change as though it has already happened and to champion the incredible movements that we’re seeing right now. Beyond our collective fear and anger about what is and isn’t happening, to create an image of the wave of change that most of us would like to see. The cast of the video are all close friends, moms and neighbourhood kids that my son grew up with. We had a beautiful day, being together. I think the love of community, real relationships, and the willingness to include the experiences of others is the real basis of activism.

“We live in capitalism. Its power seems inescapable. So did the divine right of kings. Any human power can be resisted and changed by human beings. Resistance and change often begin in art, and very often in our art, the art of words.” – Ursula K. Leguin “The Kids Are Having None of It” – the Vancouver-based soul-Americana artist’s first new music since her breakthrough 2014 album Indian Ocean. “Kids” is an activism anthem about empowering and enabling future generations – an urgent protest song moved the burgeoning activism of young leaders-of-change. Co-produced by Frazey and John Raham (Dan Mangan, Stars, Jon Bryant, Joshua Hyslop), “Kids” is activist folk music at its core, with Frazey’s calm, confident warning compelled by a visceral bass guitar backbone: “Get out of the way / You’ve had your day / And it’s no longer how we gon’ play.” The accompanying video by co-directors Brian Lye and Jen Weih (creators of Frazey’s video for “Done”) is a strong statement on the fabric of youth, community, and unity that envelops “Kids.”

Available Friday, October 18th

Image result for linda ronstadt the sound of my voice poster

If you love documentary film, music, beautiful stories, and, as I do, just plain love Linda Ronstadt, you won’t want to miss this beautifully told story of the woman with the greatest voice of my generation. She sang every kind of music as though she invented each one. It’s touching, accurate and filled with thrilling performances. It also has some delightful surprises and insights into a truly well lived life. Besides her beauty, her wit, and the hypnotic miracle of her singing, the real reveal here is that her thinking and her core beliefs are as original and well thought out as any you’ll hear. Lovingly shot, collected, and edited, it will probably make you leave the theatre with even more gratitude for her immense musical contribution and the bittersweet realization that she was and still is the only one of her. No one else comes close.
-JD Souther

In Linda Ronstadt: “The Sound Of My Voice”, Ronstadt is our guide through her early years of singing Mexican canciones with her family; her folk days with the Stone Poneys; and her reign as the “rock queen” of the ’70s and early ’80s. She was a pioneer for women in the male-dominated music industry; an early advocate for human rights, and had a high-profile romance with California governor Jerry Brown. Ultimately, her incredible voice was lost to Parkinson’s disease, but her music and influence remain as timeless as ever. With moving performance footage and appearances by collaborators including Dolly Parton, Emmylou Harris, Bonnie Raitt and Jackson Browne, Linda Ronstadt: “The Sound Of My Voice” celebrates an artist whose desire to share the music she loved made generations of fans fall in love with her – and the sound of her voice.

LINDA RONSTADT: THE SOUND OF MY VOICE

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Isaac deBroux-Slone and Raina Bock, are the duo behind Disq, they grew up together as family friends, but joined forces later in middle school after discovering they liked the same music. Those influences haven’t steered them wrong. Disq sound like they took meticulous notes on Todd Rundgren instead of the modern-day bands influenced by him, like Tame Impala or Quilt. They’re a young band (they wrote their first album in eighth grade), but Disq already know how to mellow out on the weird side of ’60s psych-pop

Band members

Isaac DeBroux-Slone,-Guitar and Vocals Raina Bock -Bass, Brendan Manley -Drums, Logan Severson -Guitar and Vocals, Shannon Connor -Guitar and Keys

Disq – Communication from the Communication b/w Parallel 7″ vinyl on Saddle Creek Records

Though their Bandcamp descriptor “glitter emo alt rock” is apt, the power of Snarls lay in their heart. Not their crushes or their friendships, though they’re plenty fine in themselves, but in the way they sing their dream-pop choruses. Snarls sing like they mean it — because they really, really do. They’re kids who spent their sole EP and this year’s standalone single, “Walk In The Woods,” caught in a rush of living in the moment, adrenaline buzzing, asking to be heard for once.

“Walk In The Woods” is the first single off of snarls’ debut album “Burst”.

There’s a lot of pedigree behind the band Gauche — its members are also in Downtown Boys and Priests — so maybe it’s not too surprising that their debut album, A People’s History Of Gauche, absolutely goes off, but so it does. They’re a young band that has a sense of legacy, willing to engage with punk music on a continuum, and each song feels like a treatise on what it means to be screaming and singing about the same injustices for decades while the status quo remains the same.

Washington, DC’s Gauche release A People’s History of Gauche, a collective catharsis of anger, frustration, and trauma through creativity. Gauche find their agency and joy through creating and performing music together in 36 minutes of groove-filled power punk. When asked about the genesis of the title of their Merge Records debut, Recorded with Austin Brown (Parquet Courts) and Robert Szmurlo in Brooklyn, NY, and with Jonah Takagi (Ex Hex) in DC, A People’s History of Gauche marks the first time the band worked with people outside of their ranks, resulting in a fuller sound that boasts more intricate instrumentation. From the very first line of album opener Flash – Gauche are here to compel us to dance while singing along about society’s universal struggles.

Gauche, Washington D.C.’s frantic, elastic, bombastic, ecstatic, anti-capitalist, anti-racist feminist jam band.

“A People’s History of Gauche,” out now on Merge Records. released July 12th 2019

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Celeste Tauchar aka talker is back with new music after her excellent EP “Horror Films,” released early this year. Her new single “Keep Me Safe” is soaked in strong conflicting emotions. “I just want you be happy,” she sings, but that selfless well-wishing doesn’t take her where she wants to be and you wonder how longs she can keep her cool.

Celeste explains: “Keep Me Safe” is the first piece of the next era of talker. Focused on the anxiety and impending worry we all feel when we’re about to go through a change or lose someone, the song came out of my own fear of the inevitable. I knew I was about to lose someone from my life and couldn’t focus on anything else, which also had a negative effect on the time we were spending together.
For the video, I wanted to create the visual manifestation of those emotions. However, there is redemption in owning up to your feelings, and throughout the course of the next few singles, the story
will continue as we see the result of trusting how you feel.

Dark, moody, intriguing and endearing, talker’s new EP, Horror Films, is captivating and sincerely relevant. Inspired by alternative rock, grunge music, and indie singer-songwriters, talker maintains a guitar-based sound while infusing organic resonances and bringing in modern production elements. Horror Films is talker’s diary, in which every single composition delves into her emotions. Horror Films is now available to stream and download on digital platforms worldwide.

“Keep Me Safe” by Talker out now on Common Ground Records

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Rockact106

Glasgow is a special place, and the bands it produces are often very special.  The Yummy Fur are no exception, if you haven’t listened to them before then do.  There’s lots of great 90’s indie on display here and Piggy Wings is an excellent greatest hits compilation.  Besides, if it’s good enough for John Peel, then it’s good enough for us.

Singer / guitarist, John McKeown, fronted the band from their 1992 inception (scores of cartoon melodies under a minute long delivered at high velocity) until their demise in 1999. Along the way they recorded three albums: Night Club (1996), Male Shadow at Three O’Clock (1998) and Sexy World (1999). Firm favourites of John Peel, they recorded two sessions for the much revered DJ and regularly featured on his show.

The Yummy Fur were a Glasgow based art-rock group who existed between 1992-99. Throughout their existence they were led by vocalist/guitarist John McKeown, with a host of collaborators and co-conspirators over the years.

Taken from Piggy Wings – the best of The Yummy Fur Out 18th October 2019 on Rock Action Records

Corridor Loser Edition LP

Corridor are a group from Montreal and their latest Sub Pop Records debut, “Junior”, was made just yesterday. The rock’n’roll band had barely inked their record deal when they surfed into studio, racing against time to make the most dazzling, immediate and inventive album of their young career: 39 minutes of darting and dodging guitars, spiraling vocal harmonies, and the complicated, goldenrod nostalgia of a Sunday mid-afternoon.

This ain’t Corridor’s first rodeo. Junior is the band’s third full-length and their third recorded with their friend, producer (and occasionally roommate) Emmanuel Ethier. However 2015’s Le Voyage Éternel and 2017’s Supermercado were made languorously, their songs taking shape across whole seasons.

This time Dominic Berthiaume (vocals/bass), Julian Perreault (guitar), Jonathan Robert (vocals/guitar/synths), and Julien Bakvis (drums) permitted themselves no such indulgence. The band were committed to releasing an album every two years, and for Junior it required a blitz. “If you want to release something this fall, we need the masters by the 10th of May,” the label had warned them. Winter was already in its last throes: on March 1, Corridor went into studio; in mid-April, Corridor came out. They had somehow created the album  Junior and it was, if we may be so bold, spectacular.

“Topographe” from the Corridor album Junior (Release Date: October 18, 2019)

Omni - Networker

Enter “Networker”, the newest album by Omni and first with indie giant Sub Pop Records. Their sound is still defined by sparse drums, locked-in bass, blistering guitar, and nonchalant, yet assured vocals, but from the first notes of “Sincerely Yours” you’ll immediately notice that Networker sounds much cleaner and more “HI-FI” than their prior two albums, Deluxe (2016) and Multi-task (2017). The departure in fidelity suits the new record and allows the listener to enjoy the nuances of their meticulous arrangements.

Don’t worry, the riffs of Gang of Four and Wire are still present, but the production is more lush and the harmony is even more expansive.  Despite nods to the sounds of the ’70s and ’80s what comes through is a record fully rooted in the here and now. Thematically, this is apparent on the title track “Networker” taking a candid snapshot of the “digital you” aspect of life in the age of the internet. The otherwise fun romp “Skeleton Key” also acknowledges the “direct message and obsessive” side of social media with lines like “if you don’t like what you see, the pretty face on the screen, scroll on by…”