The Cure has released “A Fragile Thing,” the newest single from their upcoming album “Songs of the Lost World”.
The track begins with haunting piano before bass and drums kick in, giving it a fuller sound. A gradual build leads to Robert Smith’s opening vocals: “Every time you kiss me I could cry, she said / Don’t tell me how you miss me, I could die tonight of a broken heart / This loneliness has changed me, we’ve been too far apart.”
Smith’s distinctive croon continues to resonate throughout the heart-aching tune, leading to the emphatic chorus: “There’s nothing you can do to change it back, she said / Nothing you can do but sing / This love is a fragile thing.” An emotive guitar solo midway through the song echoes previous Cure classics, while the final chorus showcases the band’s unique balance of beauty and heartbreak.
“A Fragile Thing” is driven by the difficulties we face in choosing between mutually exclusive needs and how we deal with the futile regret that can follow these choices, however sure we are that the right choices have been made,” Smith explained in a press release accompanying the song. “It can often be very hard to be the person that you really need to be.”
“A Fragile Thing” is the second song to be released from the upcoming LP, following “Alone” which arrived in September. The Cure also previewed other new tunes which will be included on “Songs of the Lost World” during their 2022-’23 tour, among them: “Endsong,” “And Nothing Is Forever” and “I Can Never Say Goodbye.”
“Songs of the Lost World” has been many years in the making, and Smith blamed himself for the long wait. due for release on November 1st. It marks the Cure’s first new album since 2008’s “4:13 Dream“.
Hand Habits, the project of Los Angeles-based musician Meg Duffy announced a new collection of songs titled “Sugar The Bruise” via Fat PossumRecords. Inspired by month-long song writing class Duffy taught in the summer of 2021, they re-discovered, with newfound clarity, the generative capacity of embracing the unknown, and how essential collaboration and improvisation are for accessing the indescribable. Working with Luke Temple (Here We Go Magic, Art Feynman) and Philip Weinrobe (Adrienne Lenker, Cass McCombs), Duffy surrendered to the present moment, trusting that whatever sounds and words emerged were meant to emerge. With additional production, engineering and arranging from Jeremy Harris, Duffy created something which, in their words, “turned out nothing like I’d imagined it would.”
The result of this collective experiment, born equally from play and intention, is a radical gift for listeners: proof that our most vital processes, creation and destruction, are exquisitely entangled. The unanswerable and untenable suffering of experience is the fact of perpetual loss. And, yet, there is precious, vivid magic created by this condition. In “Sugar the Bruise”, grief folds in on itself and becomes laughter; language fades away into sonic expanses of the inexpressible; melodies melt into cacophonies; love songs surrender to loss; historic violence is supplanted by the disks of sunlight.
Rose City Band’s music is sun-kissed timeless country rock whose seemingly effortless momentum carries the joy of its creation without ignoring the darkness pervading our consciousness. Led by guitarist/vocalist Ripley Johnson, the music of Rose City Band is rooted in his love of private press records of the mid to late 70’s. The band, in addition to Johnson, features pedal steel guitarist Barry Walker, keyboardist Paul Hasenberg and drummer John Jeffrey who enmesh a keen sense of rhythmic drive and melody with gentler, sumptuous atmospheres. “Sol Y Sombra” digs its heels into insatiable grooves, its parade of catchy songs conjuring a sunset drive through an open desert, both a celebration of a sojourn and a reach for the warmth of home.
The contrasts of “Sol Y Sombra”, the musical equivalent of bright stars in a night sky, are to Johnson an inevitability. “With Rose City Band, I’m generally trying to make uplifting music, good time music,” says Johnson. “This time I couldn’t avoid the shadow being more of a presence. There’s no getting away from it. The shadow is always there. So, I left it in.” Like many genre-breaking private press albums, the melancholia-infused “Sol Y Sombra’s” contrasts equally enhance moments of joy and movement whilst elevating the music with its honesty and intimacy. Nuanced performances and interplay between players unfurl like desert flowers splashing color onto an arid landscape. The ensemble’s buoyant moments still glide with ease, but there is room to revel in respite of the shade of a dark cloud. For Johnson, the album finds places where the conscious meets the unconscious, the songs emanating the more mercurial and curious aspects of their sonic dream world, using darker hues to paint the panorama around them.
“Sol Y Sombra’s” opener “Lights on the Way” is halogen on the highways, a beam of light pressing onward past dashed lines and soaring with Johnson’s guitar work and lush harmonies. The album’s first half is rife with blissful Americana, from upbeat rollicks to ballads dripping with sweet molasses. Walker’s pedal steel speckles the slow-motion shuffle of “Evergreen” with glinting starlight. His playing throughout pairs perfectly with Johnson’s effervescent guitar lines, exuding the casual virtuosity of pedal steel country legends while lending remarkable modern twists to his graceful licks. Across the album, Johnson’s tasteful guitar interjections and soothing voice are met in kind with the versatile playing of Walker, Hasenberg, and Jeffery, with special guest performances by synthesist/vocalist Sanae Yamada. Album closer “The Walls” perfectly captures the band’s explorative and expansive songs, Hasenberg’s soulful organ driving the album to an emotionally cathartic conclusion.
Throughout his prolific career with Wooden Shjips, Moon Duo and now Rose City Band, Johnson’s music has consistently centered around exploration and discovery. “Sol Y Sombra” imbues his penchant for space and resplendent tonality with a denser amalgam of his influences. Johnson tactfully incorporates new elements with deftness and fluidity, while holding the band’s center intact. “One of my takeaways from making this record is that I spent a lot of energy trying to do things a little different but ended up back where I started in many ways,” notes Johnson. “And that’s OK.” Through a delicate balance of the somber and the serene, of subtle evolutions and familiar sounds, “Sol Y Sombra” makes for a holistically joyous experience, finding solace in both sun and shade.
releases January 24th, 2025
John Jeffrey: Drums, Percussion, Bass on Lights on the Way Barry Walker: Pedal Steel Guitar, Backing Vocals Paul Hasenberg: Keyboards Sanae Yamada: Backing Vocals; Synthesizer on La Mesa Ripley Johnson: Guitars, Vocals, Bass, Piano, Mandolin, Percussion
Chicago has dipped into its archives to issue a brilliant, previously unreleased 1971 performance in Washington, D.C. “Chicago At The John. F. Kennedy Center For The Performing Arts, Washington D.C. (9/16/1971) arrived from Rhino, on 4-LPs and 3-CDs.
Chicago was one of the first groups to perform at the Kennedy Center. That historic concert has been newly re-mixed from the original multi-track tapes by Chicago founding member and trumpeter LeeLoughnane and engineer Tim Jessup. The Kennedy Center performance includes more than two hours of live music by Robert Lamm (keyboard, vocals), Terry Kath (guitar, vocals), Peter Cetera (vocals, bass), Danny Seraphine (drums), Loughnane (trumpet, vocals), James Pankow (trombone), and Walt Parazaider (woodwinds, vocals).
This 26-track live collection was recorded on September 16th, 1971, about a week after the venue opened in the nation’s capital. For more than 50 years, the concert has remained unreleased except for the performance of “Goodbye,” which debuted in 2018 on “Chicago: VI Decades Live“.
The show explores all three studio albums that Chicago released since their 1969 debut. The songs span a range of styles, underscoring the band’s ability to blend genres seamlessly. There are rockers (“25 or 6 to 4” and “I’m A Man”), The ballads (“Colour My World” and “Beginnings”), jazz-influenced tracks (“Does Anybody Really Know What Time It Is?”), and extended song suites (“Ballet For A Girl In Buchannon” and “It Better End Soon”).
The band would begin recording “Chicago V” a few days after the performance. Released in July 1972, the album marked a significant evolution in the band’s sound and would become Chicago’s first No1 album. To get ready for the studio, Loughnane says the band road-tested some new songs in D.C. “Case in point: we did ‘Saturday In The Park’ for the first time at the Kennedy Center show. You’ll notice that we hadn’t yet decided on who would sing the lead vocal. Also, Robert hadn’t written Part 2 of ‘Dialogue’ yet.”
The Doors will kick off their 60th anniversary in 2025 with a new anniversary logo, a series of physical releases, an anthology book, and more.
According to Rhino Records, which is spearheading the anniversary campaign that was announced on October 2024, here’s a rundown of what fans can expect: Firstly a 6-LP high-fidelity audio set featuring all six of the band’s original studio albums cut from the original analogue master tapes by Kevin Gray at Cohearant Audio—“The Doors 1967-1971” via Rhino.
A new book “The Doors Anthology” from Jim Morrison, Ray Manzarek, John Densmore, Robby Krieger Titled Night Divides the Day, will be made available for pre-order and available in early 2025.
The Doors’ first-ever complete anthology book Night Divides the Day will illuminate the band’s archives like never before with rare photography, intimate interviews with Robby Krieger and John Densmore, and meticulously sourced archival text from Jim Morrison and Ray Manzarek. With unlimited access granted by the band, Night Divides the Day includes a unique collection of historical ephemera—including childhood photos, song lyrics, poster artwork, movie stills, and much more—which adds context to the wealth of rare photography that documents the band’s musical odyssey.
“Joining Robbie and John are a host of contributors, with a foreword by Nirvana bassist Krist Novoselic, and afterword by maestro Gustavo Dudamel. The anthology is presented in a limited-edition of only 2,000 numbered boxed sets, each hand-signed by Densmore and Krieger. Each set includes the 344-page signed edition, a 7-inch vinyl record with rare demos of ‘Hello, I Love You’ and ‘Moonlight Drive,’ and other assorted historical memorabilia.”
“The Doors 1967-1971” 6-LP set will arrive as the latest installment in Rhino’s acclaimed High Fidelity audiophile vinyl series on November 22nd, featuring all six of the band’s original studio albums cut from the original analogue master tapes . The vinyl was pressed at Optimal Media and the box includes a heavyweight gatefold jacket featuring rare photos and liner notes by Doors archivist David Dutkowski. Only 3,000 copies of the limited-edition set will be available exclusively at thedoors.com and rhino.com.
According to the announcement from Rhino: In the Summer of 1965, Ray Manzarek had a chance encounter on Venice Beach with Jim Morrison, a young poet whom he knew when they were both students at UCLA’s film school. Jim told Ray he had been living on a friend’s rooftop writing songs. Though Morrison had never intended to be a singer, he sat down on the beach and sang the new songs to Ray, including ‘Moonlight Drive.’ Manzarek thought they were the best rock and roll lyrics he’d ever heard. At that moment, they both agreed to start a rock band and call it the Doors, taking their name from Aldous Huxley’s psychotropic monograph The Doors of Perception and William Blake’s The Marriage of Heaven and Hell.
Guitar player Robby Krieger and drummer John Densmore, who’d played together in the Psychedelic Rangers, were recruited soon thereafter. After months of rehearsals, they landed a gig as the house band at a small Sunset Strip club called the London Fog. By May 1966, they had graduated to their dream gigas the house band at the Whisky a Go Go. Soon after, Elektra Records president Jac Holzman and producer Paul A. Rothchild saw the band performing at the Whisky and signed the Doors to the label.
Over the course of a week, the Doors recorded their debut album at Sunset Sound Recording Studios in Hollywood, putting on tape the songs they had been playing night after night at the Whisky. With an intoxicating, boundary-pushing sound, provocative and uncompromising lyrics, and mesmerizing stage presence, The Doors would go on to have a transformative impact on both music and culture.”
Also to be released recording of “The Doors—Live in Detroit” This will arrive on 4-LP vinyl for the first time ever for 2024’s Record Store Day Black Friday.
The Doors performance from Cobo Arena, 8th May, 1970 is available on 4-LP vinyl for the first time. Captured during the band’s “Roadhouse Blues” Tour, it was one of the band’s longer shows. In fact, the band played for an hour past curfew and were banned from the arena on future tours. The fiery set includes a number of Blues covers, including “I’m a King Bee”, “Back Door Man”, Junior Parker’s “Mystery Train” and “Crossroads” by Robert Johnson.
The Doors also tear through 17 minute-plus versions of “The End” and “When The Music’s Over“, as well as an over 19 minute version of “Light My Fire” and other rare tracks such as “Love Hides” and “Dead Cats, Dead Rats”. This collection captures the band at an absolute zenith.
Released recently in 2023 out of Europe. The couple of shows, however, are new recordings. First one up is one from Washington State “Wipeout” is a 2 LP set that comes in a nice gatefold with a picture of the band included. The vinyl that comes with the set are a beautifully clear colour and they look stunning.
The 2 LPs carry a different a show for each. On album 1, we get the Spokane Washington show that was performed on July 24rd, 1984. This would’ve been after the release of their 1984 album, ‘Slide it In’, which came out on January 30th, 1984. The show was at the Spokane Coliseum and had the line-up of David Coverdale, John Sykes, Richard Bailey guitars, Neil Murray bass and Cozy Powell on drums. A stellar line-. They opened for Ronnie James Dio so not a long set list and it is all captured . The recording was an FM Radio Broadcast.
On the second album , The show that was recorded on March 1st, 1984 and was another FM Radio Broadcast (I’m sure this was a Radio One In Concert series. recorded at the Apollo Theatre in Glasgow, where they were the headliner with Great White opening. The full show is 16 tracks so we don’t get the whole show, but we do get 5 tracks at least. If you want the full show, pick up the “Slide It In” Super Deluxe Edition as Whitesnake issued it officially in that box set. I believe this show would include Jon Lord as he left the band in April.
It’s been more than half a decade since Korean-American singer-songwriter Minji began the solo project The Hidden Shelf without much intentions of sharing her songs to her social circle. In recent days, she no longer finds herself as reliant on the natural secrecy of her work.
Hailing from the Greater Philadelphia Area and now based in Washington, D.C., Minji returns with a third album, for which she sought to become more open, comfortable, and vulnerable with her sound. “Brighter Days Are Ahead of You!” reflects her continued explorations of who she is, what she wishes to give and can’t give to others, and the uncertainties in between.
releases October 18, 2024
All songs written, played, recorded, and produced by The Hidden Shelf
“Prelude to Ecstasy” Covers and Acoustics’ on a 2-disc limited edition Amber vinyl, housed in a beautiful gatefold sleeve featuring new artwork. This edition features the critically acclaimed studio album plus curated acoustic versions and covers.
After the release of their “flamboyant, fun and totally distinct” debut album ‘Prelude To Ecstacy’, The LastDinner Party have been busy showing people just why there was so much hype around the group with a number of euphoric, urgent festival performances. They owned Glastonbury, made themselves at home at Reading & Leeds and have even started work on album number two.
Now, the newly-crowned monarchs of baroque-pop are gearing up for their biggest ever UK headline tour. The 23-date run is sure to be a celebration of everything the band has achieved so far, but it could also allow a glimpse into what comes next.
Indigo De Souza has released a surprise three-song EP, marking her Loma Vista Recordings debut. It’s called “Wholesome Evil Fantasy”, and its tracks are appropriately titled “Wholesome,” “Evil,” and “Fantasy.” .
“These songs come from the spiciest, most goofy, glitter gloss place in my psyche. I wasn’t really thinking very hard when I wrote them. I was just having so much fun.” De Souza said of “Wholesome Evil Fantasy” EP in press materials.
She continued: I am continuously inspired by the sounds and energy brought by my collaborators, Elliott Kozel and Jesse Schuster. They are always making me laugh and bringing out the silliest version of me. I would not have discovered this new space without them. Listening to these songs fills me with gratitude for the playful musical connection we have, as well as everlasting friendship. My baseline existence can be pretty heavy and complicated, but these songs made me deeply joyous the whole time I was working on them.
De Souza is throwing two dance parties to celebrate the new EP. The first will occur in Los Angeles, in October with the other taking place in De Souza’s hometown of Asheville, North Carolina, . The Los Angeles party will feature DJ sets by Harmony, Succubus, and Azure.fm, while WiFi Mommy, Boys_Camp, and Oragami will man the decks in Asheville. De Souza will host both events.
Interpol celebrates the 20th anniversary of their iconic sophomore album, “Antics”, first released on September 27th, 2004. the release comes with a live recording of a 2005 show in Mexico City and the B-side “Direction” complete the reissue,
Interpol have released a new reissue of “Antics” for its 20th anniversary. The new version, released via Matador Records, comes with a full live album and film included a live recording of a 2005 show in in Mexico City in 2005, along with the new-to-streaming B-side “Direction.” Limited vinyl editions will follow in 2025, The Mexico City show will also be uploaded to YouTube in full, watch a cut of “Slow Hands” .
Released in 2004, “Antics” cemented Interpol’s position as one of the most influential bands of their generation. The album’s dark, atmospheric soundscapes and frontman Paul Banks’ signature vocals spawned iconic tracks such as ‘Slow Hands,’ ‘Evil,’ and ‘C’mere’ and “Antics” continues to resonate with fans worldwide, solidifying its place as a modern classic.
Formed in New York City, Interpol quickly rose to prominence with their unique blend of post-punk, shoegaze, and dark wave influences. Their debut album, “Turn on the Bright Lights”, became a critical and commercial success, establishing the band as a major force in alternative music. Over the course of their career, Interpol have released seven critically acclaimed studio albums including “The Other Side ofMake-Believe” in July 2022.
The band is about to head out on a tour of North America and Europe, playing the album.
The Fat Angel Sings 