PJ Harvey has shared a new song, “The Crowded Cell.” It was recorded for the new British TV drama The Virtues, a four-part series airing in the UK on Channel 4. Harvey scored the show and “The Crowded Cell” plays during the end credits of each episode. Shane Meadows created The Virtues, which stars Stephen Graham.

Harvey had this to say about the song in a press statement: “I am so happy to have provided the original music for this extraordinary and powerful new drama by a director I have admired and followed all my life. Shane has a unique directness and sensitivity to his work which I am drawn to and aspire to in my own work, so our collaboration was open and trusting. I sent Shane ideas as demos for him to try out as he edited and let him choose what he used and where to the greatest effect. In the end we both loved how the demos worked so left them as they were, adding to the raw beauty of the piece.”

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PJ Harvey’s “The Crowded Cell” closes each of the 4-parts of Director Shane Meadows‘ latest drama, ‘The Virtues’.

‘The Virtues,’ starring BAFTA-nominated Stephen Graham (This is England, ’86, ’88, ’90, Boardwalk Empire, Taboo, Line of Duty) alongside Irish actors Helen Behan and Niamh Algar, tackles themes of repressed memory, apocalyptic revenge and the hope of redemption.

PJ Harvey released her last album, The Hope Six Demolition Project, in 2016 via Vagrant.

We’ve recently mentioned our love for some of the bands coming out of Ireland at the moment like Fontaines D.C., Murder Capital and also the wonderful Silverbacks.

The latter who have released a new single, the propulsive, chugging Pink Tide, is another crackerjack of a tune brimming over with sardonic humour and sinewy twin guitars. It tells the tale of a slow unravelling of fashionable and futile revolutions in a land drowning in pomp and circumstance.

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According to Silverbacks’ Daniel O’Kell  the origins of the track came from “another demo, poorly named ‘Mark E. Smith Eats His Purple Crayon’. In the end we realised that the riff deserved better, and we started writing what eventually became Pink Tide.”

Band Members
Daniel – Guitar, Vocals
Kilian – Guitar, Vocals
Peadar – Guitar
Emma – Bass, Vocals
Gary – Drums

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A Heavenly Weekender In Leeds, We’re heading to Brudenell Social Club in Leeds for two days of Heavenly magic on the 14th and 15th of June.

After a great response to our initial announcement – early bird tickets all sold out without any bands revealed! – it’s finally time for us to lift the curtain on the full line-up. Tickets for the individual days are available now too. Saturday kicks off from midday, and DJs will be going until 2am both nights, so bring your dancing shoes.

FRIDAY 14th June

Hatchie
Confidence Man
Heavenly Jukebox DJs

SATURDAY 15th June

Audiobooks
Baxter Dury (solo set)
Boy Azooga
Gwenno
H. Hawkline
Stealing Sheep
Working Men’s Club
The Orielles DJs

Tickets: http://bit.ly/HeavenlySaturday

Earlier this year, a new documentary chronicling David Crosby‘s life and work premiered at the Sundance Film Festival in Park City, UT. David Crosby: Remember My Name reflects on a variety of topics including Crosby’s struggles with addiction, personal tragedies, conflicts with longtime band-mates, and much more.

David Crosby: Remember My Name also references its subject’s own work, borrowing its title from Crosby’s 1971 debut solo album. The film was directed by A.J. Eaton and produced by Cameron Crowe, who reportedly conducted numerous interviews with Crosby for his part in the project. It’s important to note that Crowe covered Crosby, Stills, Nash & Young back in 1976 when he was still just a writer for Rolling Stone.

The documentary will open in New York and Los Angeles on July 19th. A nationwide release date is still yet to be announced. From producer Cameron Crowe, “DAVID CROSBY: REMEMBER MY NAME” reflects on David Crosby’s life of music stardom, while forging new paths to relevancy at his age of 77 in this deeply personal documentary.

The official trailer for David Crosby: Remember My Name

the black keys, the black keys tickets, the black keys go, the black keys tour, the black keys new album

The Black Keys spent five years apart before reconnecting for their new album “Let’s Rock”, and during that time, rumors grew about possible friction between band members Dan Auerbach and Patrick Carney (“Did the Black Keys split?” is one of the first Google questions that comes up if you search for the band.)

The duo poke fun at any possible animosity in the the video for their new song “Go,” directed by Bryan Schlam (who has made videos previously for Auerbach ),  Auerbach and Carney, refusing to speak with one another, meet with a therapist before heading to a spiritual retreat, where they work things out, with help from hallucinogens. “It was great making this video with Bryan, particularly because it was filmed at the very type of place it is making fun of,” Carney adds, referring to the spiritual retreat. Auerbach jokes, “The video was fun, but we still haven’t spoken.”

Let’s Rock is out June 28th and is a return to the sound the band became known for: “[It] packs considerably more visceral punch than their last one (2014’s atmospheric, Danger Mouse-helmed Turn Blue) — from the AC/DC chords of album opener ‘Shine a Little Light’ to the Blue Öyster Cult-meets-ZZ Top punch of ‘Eagle Birds’ to the riff-y power pop of ‘Get Yourself Together.’ Rolling Stone’s Brian Hiatt wrote in a piece where the band discussed their return. “There are zero keyboards on the album, and Auerbach played most of the guitar solos live; he’d simply stop playing rhythm and kick into lead.”

“We fell right back into it, really, day one,” Carney said. “We wrote two songs the first day. We’re just fucking around, and that’s what comes out.” The band will be touring heavily behind the album.

New album “Let’s Rock” – June 28th

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20-year old Mississippi Delta-bred blues guitar prodigy Christone “Kingfish” Ingram is gearing up to release his debut studio album, “Kingfish”, this Friday, May 17th via Alligator Records. The young sensation has received huge praise from the blues community over the last several years for his live collaborations and online YouTube videos.

Following the release of his first official single off of his debut record, “Fresh Out”, featuring mentor and blues hero Buddy Guy, Kingfish shared “Outside Of This Town”, his first-ever solo single. Recently, the rising star released a psychedelic new music video for “Outside Of This Town”, which was animated by Lyndon Barrois. The new music video was made entirely on iPhones using stop-motion animation and took over six months for Barrois to perfect.

Christone “Kingfish” Ingram continues touring through the summer with various solo performances and festival appearances. In August and September, Kingfish will target a completely different audience, offering support for indie rock act Vampire Weekend.

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Liverpool post-punks Clinic released their first new album in seven years, Wheeltappers and Shunters, today via their longtime label Domino Recordings. The band only shared two pre-release singles, which left plenty of album tracks to choose from this week’s . We have narrowed it down to “Congratulations” and album-closer “New Equations (at the Copacabana),”.

Previously the band shared a video for its first single, “Rubber Bullets,” Then they shared another song from the album, opening track “Laughing Cavalier,” also via a Joseph May-directed animated video.

The band’s last album was 2012’s Free Reign. “We’d released albums like clockwork every two years, so it seemed natural to have a break,” explained frontman Ade Blackburn in a previous press release about the long gap between albums. “It allowed everyone to do some quite oddball stuff, away from Clinic. I think we all wanted a bit more freedom.”

Wheeltappers and Shunters’ album title is inspired by a 1970s British variety show The Wheeltappers and Shunters Social Club, which was hosted by Bernard Manning and according to the press release “recreated the smoky, boozy atmosphere of Northern working men’s clubs for a sofa-bound audience.” “It’s been a pisstake thing between us for quite a few years,” Blackburn explained. “Whenever we’d talk about a song sounding too ‘cabaret’ or too nice, we’d say, ‘That’s a bit Wheeltappers and Shunters.'”

Clinic - Wheeltappers and Shunters

Wheeltappers and Shunters looks back on the culture 1970s era Blackburn and “his collaborator-in-chief” Jonathan Hartley grew up in. “It’s a satirical take on British culture – high and low,” Blackburn said. “It fascinates me that people look back on the 1970s as the glory days. It’s emerged that there was a darker, more perverse side to that time. When you look back on it now it was quite clearly there in mainstream culture.”

The album was recorded last year at Hartley’s Liverpool studio. Then Dilip Harris (King Krule, Sons of Kemet, Mount Kimbie) mixed the album. “We thought it felt right to make a fun, dancefloor album in these dark and conservative times,” said Blackburn.

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I’ve loved Maria Taylor for such a long time. She’s a singer/songwriter that came up on Saddle Creek Records at the same time as Conor Oberst. She just knocked me out years ago with this record called 11:11 that I just loved so much. Hew new album In the Next Life came out about a year or two ago. “If Only” is such a beautiful song from it. She sings this double vocal melody on it and it’s so beautiful. It reminds me of Elliott Smith when I hear it. It’s this really simple arrangement of just acoustic guitar and then these little bits of strings and xylophones come in, really sparse, to accentuate the end of it. And then these drums come in with a military building beat and a little arpeggio guitar, but it’s such a great build and a hooky song. I keep seeing it on TV shows, too.

“If Only” music video from Maria Taylor’s forthcoming album, “In the Next Life,” out on Flower Moon Records.

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Holly Rankin’s discography to date under her Jack River moniker sounds like compilation from the late 90s: she is a master of hitting upon nostalgic moods without simply offering up facsimiles of any era’s tropes. Adolescent somehow blends melodic and lyrical influences from Nirvana’s Heart-Shaped Box and Bob Marley’s Is this Love? and ends up miles from either. Adopting garage-born power chords and palm-muted verses before bursting into a sugary chorus peppered with “love” and “hey” and all the other hallmarks of great rock music, this song is as deliberately teenage as the title suggests. Even the swearing sounds perfectly bratty.