Darren Jessee: <i>The Jane, Room 217</i> Review

The solo debut from Ben Folds Five drummer Darren Jessee seems like it could get snapped in two if handled too roughly or blown halfway around the world if hit by a strong gust of wind. The 47-year-old musician plays and sings with the delicacy of a glass figurine or a thin sheet of rice paper. A far cry from the maximalist pop of his band Hotel Lights and the bombast of BFF. As it becomes more clear that Jessee is singing, primarily, about love and heartbreak, the weight of The Jane, Room 217 becomes almost too much to bear. He often directs those messages to some unnamed person in his life dealing with an emotional trauma, giving listeners a glimpse of the details but more often using his platform as singer-songwriter to urge them forward. The last two songs on the album, in particular, are like salves placed on the burned spirit of someone emerge from the wreckage of a relationship. Jessee allows us space to let the tears flow and not avoid the darkness. “Let the healing begin,” he sings, with hushed fortitude on “Go On Baby Break Down.” It’s good advice made all the more poignant by the soft musical cushion it is laid upon.

But as with the work of fellow heart on sleeve troubadours like Cat Power and Elliott Smith, it’s precisely that gentleness that gives Jessee’s work so much power. The appropriate response to the nine, mostly acoustic songs on this collection is to lean in close and search out every last detail. All the better to hear the quaver in his voice, the squeak of his guitar strings and a healthy amount of room noise (Jessee recorded the bulk of the album alone in his New York apartment). There’s a voyeuristic quality to it all, as if eavesdropping on the sessions. So much so that when the overdubbed mini orchestra swells into the mix, it’s almost startling, like being caught with your ear pressed against the wall.

Richard Swift: <i>The Hex</i> Review

Richard Swift’s final album, The Hex, drops tomorrow, September. 21st through Secretly Canadian. Swift, a longtime collaborator of The Shins, The Black Keys and more, died in July at the age of 41. Listening to Swift’s final song, “Sept20,” is an experience in epiphany. It goes something like this: You listen to the song, a vaguely melancholy piano ditty elevated by Swift’s eerie falsetto, and maybe you feel a bit thrown off by the show tunes-y chorus. You might puzzle over where you’ve heard his name before. The first realization comes with seeing that today is Sept. 20, and that this song is supposed to be some microcosm of today. Then you see the single artwork, a scrawled note, and as you read along, you find Swift speaking the words into being. There’s scratches, cross-outs. It’s his lyric sheet.

What a final statement it is. The Hex is tuneful and confident, immaculately arranged and distinctively produced, and reflective of the man’s longstanding interests in old soul music, vintage pop, fuzzy rock ‘n’ roll and beautiful walls of sound.

It is also strikingly honest, which is perhaps no surprise, since it comes from an artist who had, according to that same family statement, been battling the effects of alcohol addiction over the past couple of years. He makes no bones about his situation in “Broken Finger Blues,” which sounds like a classic Motown track charmingly recorded at the bottom of a well. The sonic details that surround those lyrics — the snappy bass line, the commanding piano chords, the lush backing vocals — belie their harrowing essence. The same could be said for “Wendy,” a desperate love song to Swift’s deceased mother presented as a buzzy ‘60s doo-wop song, complete with “da do run run” refrains. And “Dirty Jim” is a highlight of The Hex, precisely because of the contrast between its sound — a jaunty piano-pop song — and its message, which is more or less a farewell to Swift’s loved ones.

Elsewhere, “Selfishmath” is swaggering life lesson shot through with a sinister bass line. “Sister Song” and “Nancy” find Swift encouraging the women in his life through the echoes of reverb and time. The latter — with its undulating synths and vocals by Swift’s daughters — is particularly affecting. And you can almost hear the man himself giggling at the juxtaposition of “HZLWD” — a gently rolling baroque-pop instrumental — and the grating spoken-word experiment called “Kensington!”

The Hex ends modestly with “Sept20,” which finds Swift at the piano, sounding Elliott Smith-ish and singing of health and poison wells and sickness and death. The song ends somewhat abruptly, without some grand final statement or crescendo to tie everything up neatly.

In a way, though, that’s exactly the right ending for Richard Swift, a quintessential musician’s musician, and a top-shelf man behind the curtain. He was better known for his studio acumen and production work than his own songs, yes, but his solo albums are revered among those lucky enough to have heard them. The Hex will only bolster his legacy.

ill

“Liberation through disobedient noise” (Loud and Quiet Magazine)
“A simple FUCK THAT, in the noisiest, most disobedient, most defiant way possible.” (The Quietus)
“A wickedly funny/deadly serious explosion of Day-Glo cartoon punk energy, fierce feminism, troglodyte garage stomp and mutant surfabilly electronics. It’s hard to pick highlights on an album which is all highlights.”
(NARC. magazine)
“We Are Ill is psychedelic, surreal, weird, funny and poignant. And with it, Ill have created a fearless debut that’s utterly unique.”
(Drowned In Sound)
“It’s an epiphany.” (Soundblab Alternative Music)

“This album is like a hunt. It’s stalking sound with speed, picking off our prejudices, taking chunks out of the patriarchy and throwing it forward as wonky pop with a raw, resonant edge. Music which makes a point, and makes it in the sharpest, most stunning sense. It brings in rawness, roughed-up riffs, even bits of metal (in the musical and material sense) along with soaring, stricken harmonies. ILL’s debut album ‘We Are ILL’ isn’t just expression, it’s an angry articulation – and in that, a…  more

http://

Released May 11th, 2018
Harri Shanahan vocals and keys
Sadie Noble vocals, guitar, percussion, tapes
Whitney Bluzma vocals, bass, percussion
Fiona Ledgard drums
Tamsin Middleton vocalsLyrics and music – Harri Shanahan, Sadie Noble, Whitney Bluzma, Fiona Ledgard, Rosanne Robertson 

Image may contain: one or more people, people playing musical instruments and night

Following a recalibration and consolidation with their recent electronics-inflected album, 2018’s U.E.F., The Oscillation is back with their sixth and most ambitious album to date, Wasted Space. A meditation on the nature of existence in the face of what can be insurmountable odds, Wasted Space finds The Oscillation painting from the darker shades of the kaleidoscopic scale.

“The origins of Wasted Space go back to Monographic in 2016,” muses Demian Castellanos – the mastermind behind The Oscillation. “That was a very bleak and heavy record and I really needed to move out of that mindset. Making U.E.F freed me up to write a coherent collection of narrative songs and compositions. Wasted Space is a partial continuation of a journey started with U.E.F., but one that re-incorporates more song-based ideas again.”

What’s immediately apparent is that Wasted Space sets it stall well away from the prosaic third-eye tropes that have become orthodoxy. Album opener ‘Entity’ establishes the pace with a focus on the dancefloor as much as on the navigation of existence. Fusing muscular grooves with an industrial wall of sound, these are bold steps into wholly new territories. “There’s an irony at play here,” considers Castellanos. “It’s a twisted party song, albeit a party for one.” But what a party it is. The mutant disco is bolstered by the rhythmic call-and-response of ‘Drop’, a track that eschews conventional methods of dance sensibility for more instinctive and primal urges. This is music that calls out to the suitably attuned. “We’re reaching out on an innate level,” says Castellanos. “It’s a form of wordless communication that transcends the limitations of verbal language and thought processes.”

Wasted Space’s more somatic moments are tempered and balanced by episodes of contemplation and reflection. Fuelled by dreamy, orchestral sweeps and mournful, sustained notes, ‘The Human Shell’ is a deceptive yet redemptive piece that at first glance appears to be resigned to the futility of existence. But look once again and there you’ll find hope. “People will be able to relate to this song,” states Castellanos. “There’s a lot of love and empathy in there and it reaches out to say that we’re not alone, that we don’t have to exist independently of each other.”

Bringing Wasted Space to an emphatic conclusion is the epic instrumental ‘Luminous Being’. Ambitious in scope and delivery, it methodically and unequivocally slow releases repressed emotions to throw the wider world into sharper focus. Hedonistic yet reflective, Wasted Space is an album that moves purposely along a high wire as it finds the perfect balance between dealing with life and escaping it. The Oscillation’s finest album yet, Wasted Space is the area to which you’ll return to again and again. 
Wasted Space is due for release September 21st.
released September 21st, 2018

Desert rockers,
DESERTFEST BERLIN is more than proud to welcome the one & only, legendary J Mascis who will crash the Arena Berlin with his band mates in stoner metal icons WITCH! Formed in 2005 by Dinosaur Jr. guitarist Mascis, in WITCH the distinctive pioneer of rock music goes back to his roots and takes over the drums. The band’s eponymus self-titled debut has been released in 2006, followed by the highly accclaimed ‘Paralyzed’ album back in 2008. We could not be prouder to welcome this unique cult band to our 2019-edition!

Rumors have been going on for a while, and yes they became true: ALL THEM WITCHES will be playing DESERTFEST BERLIN 2019! This rare gig the legendary rockers from Nashville will play in Berlin, will truly belong to one of THE live highlights in the history of DESERTFEST BERLIN and yours, too. With their heavy blues and psychedelic desert rock, ALL THEM WITCHES will literally put the Arena on Fire, don’t miss one of their only shows in Europe live at DESERTFEST BERLIN 2019!

But we got way more sweet acts to be unveiled today and in this first band announcement every stoner rocker’s heart will beat faster for: Please welcome psychedelic rockers EARTHLESS to the 8th edition of DESERTFEST BERLIN! With their extensive jams, the Californian multi-instrumentalists will turn the Arena into a psychedelic wonderland, join them for a long ride on their unique classic rock and jazzy Krautrock trips!

Another exciting band we like to unveil today: COLOUR HAZE will celebrate their 25th band anniversary live at DESERTFEST BERLIN! They belong to the oldest psychedelic institution and became the flagship of the German heavy stoner scene, the more we are stoked to welcome them to our next year’s line-up. With an additional keyboarder, COLOUR HAZE will take us on a magic sound landscape drown in the haze and true rock spirit. Let’s celebrate 25 years of the legendary COLOUR HAZE together with the band, live at DESERTFEST BERLIN 2019!

To close this first round of already stunning bands, we have added Swedish hardrockers HÄLLAS to our 2019-bill! Describing themselves as Adventure Rock, we cannot wait to join them on a live adventure noone of us will forget. Last but not least, ladies and gentlemen let’s start a Riot: With a delicate and true LO-FI sound, inspired by bands such as L7, Bikini Kill, The Melvins, Nirvana, Dinosaur Jr. or Sonic Youth, the ladies in 24/7 DIVA HEAVEN will bring their pure blend of Hard Rock, Grunge and Punk Rock which is all bounded by the legendary Riot Grrrl sound to our stage in 2019, be prepared!DESERTFEST BERLIN 2019 will take place between May 3th – 5th 2019, once again at the ARENA BERLIN. We listened to the critics and discuss together how to improve the 2019 edition: we will have a new sound-and payment-system on the ground, more space AND a chillout – and live zone on a boat, and more… With this already stunning line-up DESERTFEST BERLIN 2019 will mark the best edition you have ever been to!

Check out a first and very promising TEASER right HERE and get your TICKET asap HERE!

Your Desertfest Berlin Team!

Image result for images of vinyl records

Have you picked out your favourites to win the Mercury Prize tonight ,can’t wait to find out who’s bagged it. (i reckon there’s a 3-way fight in the shop between Nadine Shah, Sons of Kemet & King Krule coming out on top)

Christine & the Queens’ follow-up is another masterful pop record that once more marries slick electro pop production with Letissier’s equally stylish & emotive vocals. there are two separate english & french language versions. both are included on the 2cd & in the limited 4lp box set, which also includes exclusive posters. back in the land of england (via germany in the 70’s), beak> have crafted yet another superb record that marries the motorik world of their heroes with an addictive pop songwriting persuasion. across the pond,

Jordan lee’s Mutual Benefit project has thoroughly charmed us with his latest record of lush alt-folk compositions. the album is the perfect way to unwind at the end of the day, or for listening to on a relaxing sunday morning, especially on limited, soothing blue vinyl. the most explosive release of the week must be the Blinders, whose huxley & orwell-worshipping album takes the catchy pizzazz of the arctic monkeys’ heaviest material & adds an extra layer of distorted punk attitude that’ll be an instant hit for fans of idles & shame.

Also worth knowing about: Suede return in sweeping, cinematic form, which can be yours on limited exclusive blue vinyl & as the most deluxe-y boxset you ever saw; Prince’s pre-‘purple rain’ studio session is an emotionally stirring, intimate recording that feels as if we’re hearing his true self, completely unguarded – there’s a deluxe version including a hardback book of liner notes from his studio engineer & previously unseen photos;

Conor O’Brien’s Villagers project is his most approachable to date & the deluxe version includes a red 10” with two bonus tracks;  Lala lala’s gorgeous album of wounded, jangly guitar songwriting will enamour fans of snail mail & soccer mommy; Lonnie Holly’s deeply spiritual new record’s the Field’s cosmic, ambient techno has melted the hearts of nigh on everyone who’s heard it; & the simple beauty of Mountain Man’s vocal harmony-driven album – their first in 8 years – is utterly beguiling & on clear vinyl.

There are some humdinger reissues too: all three Mc5 albums are collected on multi-coloured vinyl (red, white & blue) in one fancy boxset; there’s a heap of new Felt reissues; & Ramones‘ 4th record gets a more “punk” remaster, plus a load of bonus tracks & a live performance, exclusive to the deluxe version.

Screen shot 2018 07 05 at 16.51.15

Christine and the Queens – Chris

Billingual, compelling upbeat second from modern day pop star Christine and the Queens. Titled Chris the album is released as double CD and vinyl versions, as well as limited edition boxset, There are two versions of the album; one sung exclusively in English and one sung exclusively in French. Each track has earworm irresistibility with losing any edge. The album celebrates her polysexual desire, without sidelining her emotional pain, It’s a lean, thrilling muscular set from a real talent that sits next to Michael Jackson, Madonna, Chic and Peter Gabriel.

2CD – Double CD in 3-panel softpack with 28-page stapled booklet. Contains English and french Versions of the album.

2LP – Double French Version. Double Black Vinyl with discobag inner-sleeves in gatefold sleeve. 30x60cm French version poster. French CD version included.

2LP+ – Double English Version. Double Black Vinyl with discobag inner-sleeves in gatefold sleeve. 30x60cm English version poster. English CD version included.

4LP – Limited Boxset. 2LP and CD French Edition and 2LP and CD English Edition. Limited numbered edition (10 000 copies worldwide). Contains:

Black honey deluxe

Black Honey  –  Black Honey

Bursting out of the ether in 2014 with their squalling guitars, vivid colours and cinematic vignettes, there’s no other British band out there quite like Black Honey. Having spent the last four years perfecting the indie game, everything you think you know about them and their unique surrealist world is about to be wonderfully shaken up as they prepare to release their hugely anticipated debut album. With contradiction at every turn, it’s an album that celebrates being human, in all its different forms and by doing so, will touch the hearts of everyone that hears it. We’ve already heard Bad Friends earlier this year, but with the exception of 2016’s Hello, Today (the track that saw the band become a household name at Radio 1), and the 2017 closer Dig, the album is made up of entirely new music with 9 brand new songs on offer. Album opener I Only Hurts The Ones I Love is a fascinating Garbage-flavoured meander that sets the tone for the record brilliantly. From there, there’s stone cold classic Wasting Time, Lana Del Ray nodding slow-burner Blue Romanceand disco-pop Trojan horse Midnight – to name just a few. However, across the entirety of the record, you can always feel the bare bones of front lady Izzy B Phillips diary scribbles are just around the corner as the varying tracks switch between chart-headed bangers and scuzzy, industrial David Lynch inspired strangeness.

It’s the weird and wonderful mind of Philipps – her lovable but villainous, Milky-Bar-kid- meets-Debbie Harry persona – that you find very much at the heart of Black Honey. An open sufferer of both dyslexia and ADHD, she’s a huge advocate for self-expression without limit and has relied hugely on her band – Tom Dewhurst (drums), Tom Taylor (bass) and Chris Ostler (guitar) – to channel everything that comes from her obsessive and dizzyingly creative head and bottle it into music. The album as a result is ultimately a collage of chaos, shot straight at the heart – honest, inspiring and deeply infectious.

Psychedelic porn crumpets high visceral pt1 pt2 lp render

Psychedelic Porn Crumpets – High Visceral Part 1 and Part 2

A limited edition repressing of High Visceral Part One and Part Two. Having burst onto the scene in their homeland, releasing their first two LPs to widespread national acclaim, alongside supports with Royal Blood, Dune Rats and Black Mountain, the band have developed a staunch grassroots following with their captivating blend of psychedelia. The albums are fuzzy, heavy and echoes in your cranium with every beat. An epic detour of neon flavoured noise grows to entangle your dissolving brain. Savagely mutant energies bubble through the air. Your body is out of reach, turning itself into a sponge as your mind floats towards another dimension.

Image001

Villagers  –  The Art of Pretending to Swim

On O’Brien’s fourth studio album, he excels at creating feverish moods while writing effortlessly accessible tunes, making it the perfect entry point for newcomers and raising the bar for what old fans should expect of him.

This record reconnects with the multi-faceted approach of ‘Becoming a Jackal’ and ‘Awayland’, while adding a new-found soulfulness, rhythmic nous and dazzling panoply of sonic detail, both analogue and digital. balanced with subtle aspects and lyrical themes that embrace existential fears and hopes in this desperate, technologically-centred dystopian age, this is his most brilliantly realised album to date. “Conor O’Brien dials down the intensity. the listener reaps the rewards” 4/5 – mojo. ***the deluxe lp exclusively includes a red vinyl 10” of a 12-minute version of ‘ada’ and b-side ‘this is the art of pretending to swim

Mountain man magic ship

Mountain Man  – Magic Ship

Mountain Man did not intend to disappear for the better part of a decade, or to take eight years to release its second album, Magic Ship. But for a trio of devoted friends for whom music has always seemed so effortless and graceful, that’s simply how life went. The wondrous Magic Ship a magnetic fourteen-song reflection on the joys, follies, and oddities of existence—was well worth the wait. Magic Ship is a captivating album: The stunning Boat, where cooing harmonies frame Sauser-Monnig like drapes around a sunny window, sees a world of possibility in a little vessel along the riverbanks. The dashing AGT finds inspiration in flower blooms and bumble bees, discovering in the sights of nature a pure self-reliance. The magnetic Rang Tang Ring Toon celebrates a night spent hosting friends, sharing beans and music, and a skinny dip under the stars. There is sincerity and humour, depth and mirth, all rendered with three voices that have never been more connected. These songs distill eight years of experience between Made the Harbor and now—of sights seen, pleasures had, feelings hurt, forgiveness extended. These tunes are wise and tender, open and honest. Magic Ship conveys absolute warmth—like a snowbound afternoon spent indoors, passing a bottle of brown liquor between friends while putting old favourites on the turntable, or a long summer evening spent lounging beneath a shade tree, swapping stories and sharing laughs until the sun has vanished. after an eight year gap, these three young women return with a sophomore fortified by a deeper friendship, their harmonies sounding all the warmer and sweeter for it.

There is sincerity and humour, depth and mirth, all rendered with three voices that have never been more connected. fans of deep throat choir, trembling bells and lankum should check this out!

The Lamb

Lala Lala  –

Lillie West is a songwriter who finds strength in vulnerability, through bracing hooks, sharp lyrics, and songs drenched in a profound, dreamy ambience ffo snail mail, mattiel, and tomberlin.

the 24-year-old songwriter and guitarist illustrates a nuanced look on her own adulthood – her fraught insecurity, struggles with addiction, and the loss of several people close to her. across the album’s 12 tracks, west carefully examines the skeletons in her closet asking herself agonizing questions about her life with a clever and hopeful curiosity. this mixture of melancholy and hope describes the tone of this album perfectly. it’s the kind of album to bolster your good times whilst softening the downs. “lala lala’s music is like watching an open wound being stitched up—jarring and healing”

Trans360x 3000px packshot

Mutual Benefit -Thunder Follows the Light

Mutual Benefit, the songwriting outlet for multi-instrumentalist and producer Jordan Lee releases a new album Thunder Follows The Light via Transgressive Records. Following his last outing, 2016’s acclaimed Skip A Sinking Stone, Lee marks his return with a patient and prismatic collection of songs accrued over the past two years. Lee — who grew up in Ohio and is currently based in New York — has crafted pop experiments for almost a decade, blending orchestral instrumentation and ambient electronic sounds. His new album features an array of friends and many returning collaborators. New History is the album’s truest folk song, with twangy harmonica and slide guitar. Its inspiration came to him while spending time in the economically depressed area of Ohio where his parents grew up. Storm Cellar Heart, is an ode to taking shelter and the fraught impulse to hide from the loudness of the outside world. It’s more of a long question than an answer: “Is it storms that help make the heart grow?”

Fuzz Club Session

The Myrrors  –  Fuzz club Session

Complete with the band’s signature meandering violins, droning vocals and sprawling instrumentation, this live recording allows the tracks to take on an even more alluring and  hypnotic form.

The Myrrors are a mythical force in contemporary psychedelia and one of fuzz club’s most celebrated bands. the Arizona band’s fuzz club session is comprised of three utterly bewitching tracks that invoke images of the sandy plains of the sonoran desert which they call home, yet also draped in an influence of traditional eastern psychedelia

Suedebh

Suede  –  The Blue Hour

After the critical and commercial success of the top 10 album – Night Thoughts (2016) Suede return with their stunning new album The Blue Hour. Brett and co amp up the melodrama with an anthemic record of widescreen balladry, augmented by the Prague Philharmonic Orchestra.

This album was produced by Alan Moulder and Suede, and shares the same line-up as 1996’s ‘coming up’ – vocals by Brett Anderson, guitars by Richard Oakes, bass by Mat Osman, drums by Simon Gilbert, synthesisers and piano by Neil Codling. ***the super duper deluxe box set contains includes a specially mastered instrumental, a dvd featuring album commentary from the band and Alan Moulder, plus a never-before-seen video for ‘Don’t Be Afraid if Nobody Loves You’, an exclusive bonus track – ‘Manipulation’ – on 7” vinyl, lyric sheets and a collection of art cards. plenty to be getting on with!***

Image result for suede blue hour boxset

 

 

Rs 600x600 180606122115 600 prince album

Prince  –  Piano and Microphone 1983

hearing this legendary figure peacefully tinkering away on a humble cassette recording, we’re struck more than ever by the raw talent that would eternally be right at his fingertips.

The nine track, 35-minute album features a previously unreleased home studio cassette recording of Prince at his piano captured in 1983. the rehearsal provides a rare, intimate glimpse into his creative process as he worked through songs including “17 days” & “Purple Rain” (neither to be released until 1984), a cover of Joni Mitchell’s “A Case Of You”, “Strange Relationship” (not released until 1987 on ‘Sign O’ the Times’), & “International Lover”. the album also includes a rare recording of “Mary Don’t You Weep”, which many will have heard playing during the end credits of ‘Blackkklansman’. “the whole thing feels – thrillingly, poignantly – like you’re in the room with him” 4/5 – mojo. ***the deluxe edition includes a 12” booklet featuring brand new liner notes written by Prince’s then engineer Don Batts, as well as candid shots of prince & never before seen photos.

Roadtoruin

Ramones  –  Road to Ruin 40th Anniversary Deluxe Edition

Limited Copies of the deluxe editon come with 13’ x 13” print of the Holmstrom drawing from the front cover of the album, 11×17″ poster and a postcard. The Ramones released the band’s fourth studio album, Road To Ruin, 40 years ago this September. Dee Dee, Joey, and Johnny were joined for the first time by drummer Marky Ramone, who replaced founding member Tommy Ramone, who’d left to do more producing and writing for the band. It was also the album that introduced a nation of pinheads to the all-time Ramones’ classic I Wanna Be Sedated. To celebrate the milestone, the band release two versions on September 21st, a day before the anniversary of the album’s original release on September 22, 1978 – a 3CD/1LP 40th Anniversary Deluxe Edition and a newly remastered 1CD version of the original album.

3CD – The first disc of the Road To Ruin: 40th Anniversary Deluxe Edition features a remastered version of the original stereo mix for Road To Ruin and a new 2018 40th Anniversary Road Revisited mix created by Stasium, who strips off the original record’s commercial gloss and restores the album to its punk rock core. Stasium’s new mix is also featured on the 180-gram LP that accompanies this deluxe edition. The second disc offers up over twenty unreleased recordings, including rough mixes for every album track, starkly different alternate takes of two songs, and two unreleased outtakes: I Walk Out and S.L.U.G. – unfinished during the original recording sessions in 1978, and completed by Stasium for this anniversary release. Other highlights include three different versions of I Wanna Be Sedated, including the Ramones-on-45-Mega-Mix! released in 1988 as part of the campaign for the Ramones Mania compilation, as well as acoustic versions ofQuestioningly, Needles And Pins, and Don’t Come Close. The final disc has a previously unreleased recording of the band’s entire 1979 New Year’s Eve concert, which was mixed live by Stasium, and broadcast on WNEW-FM. Recorded in New York City at The Palladium, with audio sourced from Tommy Ramone’s original cassette of the console recording, it features blistering performances of Blitzkrieg Bop, Rockaway Beach, and Sheena Is A Punk Rocker, along with several songs from Road To Ruin: I Don’t Want You, I Wanna Be SedatedandI Wanted Everything.

TOTAL ASSAULT: 50TH ANNIVERSARY COLLECTION

MC5  –  Total Assault

For the 50th anniversary of the band’s incendiary debut, ‘Kick Out the Jams’, this limited edition collection features all 3 of the band’s albums with new art and previously unseen photographs.

Mc5 only released three albums, but they were ferocious, adventurous, and confrontational enough to secure the group’s place as one of the greatest rock ’n’ roll bands ever. the music on ‘total assault’ shows why the Mc5 is held is such high regard today with indelible tracks like “kick out the jams,” “human being lawnmower” and “sister anne.”

That’s quite enough of that. come back next week for some live action from nick cave, pixies’ ‘come on pilgrim’ & ‘surfer rosa’ 30th anniversary celebrations, & new music from mudhoney & marissa nadler. that’s just the start of it!

Chris cornell boxset

The first post-humous Chris Cornell release has finally been announced and it’s huge! The self-titled album is a career spanning set of tracks from the iconic artist who passed away last year. Released by Cornell’s wife, Vicky Cornell on behalf of The Chris Cornell Estate through UMe, the album is available in a standard 17 track edition as well as a massive 64 track limited edition deluxe box-set.

Out on the 16th of November, the collection of tracks covers Cornell’s lengthy career. Featuring tracks from his solo career as well as music from his bands Soundgarden, Temple of the Dog, and Audioslave, it will include previously unreleased music. The first of the 11 unreleased tracks “When Bad Does Good” is out now.

Produced, recorded, and mixed by Cornell, the song was found in his personal recordings archive, the track was a favourite of his. Cornell’s friend Josh Brolin reminded Vicky of the unreleased song which she decided to share with his fans. On the upcoming release, Vicky Cornell says “Since Chris’ sudden passing I have put all my efforts and energy into sharing his music and legacy with his fans from all over the world”, says Vicky.  “I felt we needed to create a special collection to represent all of him – the friend, husband and father, the risk taker and innovator, the poet and artist.  His soaring vocals found their way into the hearts and souls of so many.  His voice was his vision and his words were his peace. This album is for his fans”.

The standard edition also features Cornell’s stunning rendition of Prince’s “Nothing Compares 2 U“, whilst the deluxe edition boasts nine more unheard tracks and two unreleased videos.

Cornell passed away in May 2017, a coroner reported suicide as cause of death, and confirmed that it was not due to an overdose. Since his death, many artists have paid tribute to the iconic artist.

To be released on what would have been the Rock and Roll Hall of Famer’s 60th birthday, Piano & a Microphone 1983 is what its title describes: a set of Prince renditions of both covers and originals from ’83, with just one instrument and some amplification for accompaniment. It may sound like a fans-only sort of release, but from the two tracks already released the stripped-down versions of classic “When Doves Cry” B-side “17 Days” and 19th-century spiritual “Mary, Don’t You Weep” it should be as electrifying a listen as any non-posthumous drop this year. Essentially all by himself, he is loose, freewheeling and impressionistic, flitting between sketches — 90 feather-light seconds of ‘Purple Rain,’ a spacious reworking of 1999’s steamy ‘International Lover’ — exercising his fingers as he plays broad chords like a piano man noodling on some Sinatra classics at the Waldorf.”

So at last the Prince vaults are open!  Piano & A Microphone, 1983 – a nine-track, 35-minute album – features a previously unreleased home studio cassette recording of the solo Prince at his piano in that epochal year including renditions of “Purple Rain,” Joni Mitchell’s “A Case of You,” the folk spiritual “Mary, Don’t You Weep,” and more!.

The Prince Estate has released a music video for Prince’s unearthed single “Mary Don’t You Weep” off the late singer’s Piano & A Microphone: 1983, out today. The video focusses on the issues of gun violence, particularly in American youth.

The video is directed by Salomon Ligthelm and opens on a black screen sharing these statistics; “Nearly 1,300 children die and 5,790 are treated for gunshot wounds each  ar in the United States alone.” The visual then pays tribute to those affected by gun violence in America through a series of scenes including a funeral, and the moments after someone is shot. The video links to Prince’s 2015 activist work in Baltimore before his death and includes a quote from a speech he made at his Rally 4 Peace concert: “The system is broken. It’s going to take the young people to fix it this time. We need new ideas, new life…”

The new album is the latest posthumous release from the artist’s estate, coming after the release of his original “Nothing Compares 2 U” recording and an EP commemorating a year since his death. The album features solo piano and vocal takes of classic prince songs, as well as several never before released tracks. Recorded in 1983 during a rehearsal, the album is in the style of the artist’s final Piano & A Microphone tour in 2016.

Prince passed away unexpectedly in April 2016 at his Paisley Park studios, where he was reportedly working on a memoir and more music. There are expected to be several more releases of unheard Prince music via his estate over the next few years.

So happy to be announcing our debut album ‘You say I’m too much, I say you’re not enough’ which will be out October 5th. Estrons’ profile has considerably grown in stature. That is supported with is a final taster before they finally unleash their eagerly anticipated debut album ‘You say I’m too much I say you’re not enough’ on October 5th.

‘Body’ is another sucker-punch that delivers an intense blow to the listener’s ears. It’s great to hear Tali Kallstrom’s vocals getting caught up in the coolly executed melee of crunching riffs. This is heavy pop music served up at its finest and if we go by the single releases we’ve had so far, then we will no doubt have our expectations satisfied when their album comes out. With the challenging and inquisitive ethos that makes up Estrons as a band, this could be the start of something special.

In addition to all this, Estrons will be going out on tour this winter in support of the album’s release and their relentless brand of heavy pop rock will be the best way to shake off the winter chill! This tour will culminate in their biggest headline show at the Scala in London in February.

Sophie Hutchings is a Sydney pianist and composer who has developed into a performer of unique beauty and international renown. Her music has been described as beautifully fragile along with a deep sense of urgency making for many shades… Her Compositions are a blend of Piano, Strings, Field recordings along with elements of woodwind percussion and ethereal vocals. 

With the waves we pass through upon the onset of sleep, we sometimes fall into that feathery gateway of drowsiness to then enter that imaginary world that one loses dominion over.

‘Living Light extended’ travels from the sway of sleep into the open terrain of our narrative vivid dream state…. Amidst repetitive layers of piano & ethereal vocals it creates an abstract world that only you the listen can enter, feel & envisage… The intention for Living light was always to transition into a repetitive layered piano piece which then turned into a somewhat epic long build of a piece and ended up too long to put on Vinyl.

http://

2 years down the track, a hidden gem is released alongside the newly re-pressed deluxe 180g vinyl version.

Released September 21st, 2018