The deluxe series of Jethro Tull hardcover book-style reissues continues with Heavy Horses: New Shoes Edition, a new 3CD/2DVD version of Jethro Tull’s 11th album, originally released in 1978. As with previous releases, Steven Wilson and Jakko Jakszyk have undertaken new remixes in stereo and surround of both the original LP and a host of bonus material. Wilson remixed Heavy Horses and nine associated outtakes (seven of which have never been released in any mix), while Jakszyk remixed a 1978 concert in Bern, Switzerland 28th May 1978 recorded a month after the album’s release. (At least some of this material is believed to have appeared on that same year’s double live album, Bursting Out.) Two accompanying DVDs feature LPCM stereo (96/24 for the studio material and 48/24 for the live show) and 5.1 surround mixes of what’s on the CD, plus early music videos for “Heavy Horses” and “Moths” and two vintage television spots.

Considered the second in a folk-rock trilogy of the band’s that started with Songs From The Wood (1977) and closed with 1979’s Stormwatch, Heavy Horses matched frontman Ian Anderson’s lyrics about agrarian life and the modern world with a slightly more hard-driving musical soundtrack. Critics and fans alike found much to like in the album, which became their 10th consecutive 20 album (going gold in America, Canada and the U.K.); Rolling Stone said at the time that the band’s folk leanings “has suited Jethro Tull wonderfully.”

Packaged in the same book style as its predecessors, Heavy Horses: New Shoes Edition features a 96-page book of liner notes including lyrics, track-by-track notes by Anderson, interviews with Maddy Prior (who recorded her 1978 solo debut Woman In The Wings with the members of Jethro Tull) , Darryl Way (the Curved Air co-founder who played violin on Heavy Horses), and studio engineer Colin Leggett, and a band timeline that covers all recording and touring from January 1977 to November 1978.

Heavy Horses releases on February 3rd;

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Brisbane six-piece Nice Biscuit have unleashed their latest single, ‘Captain’, an electrifying four-and-a-half minutes of apocalyptic psych-pop. ‘Captain’ is also the first release to come out of the newly launched Sydney-based independent label, Break Even Recordings, an imprint of Inertia Music designed to provide a platform for emerging Australian artists, and kicks things off in impressive style.

A Krautrock-indebted rhythm section provides a stable bedrock for rolling, psychedelic guitar solos to freely roam, before the track solidifies into a groove that makes way for the double harmonies of front-women Billie and Grace. The relentlessly driving beat, a loping bass line and murky, distortion-driven guitars coalesce into a groove that sounds as if it were slow-moving through a thick layer of sludge, offering an eerie, portentous atmosphere to Billie and Grace’s breathy vocal performances.

It would be easy to say that the songwriting feels loose and free-flowing throughout the track, but in fact it’s intricately structured, with heavy interludes breaking up the verses and multiples sections and motifs that introduce themselves, build and then never repeat again, harkening back to Nice Biscuit’s jam band origins. The playing feels similarly loose in spirit, but the band displays a tight, cohesive singularity when they all lock into the same groove towards the end of the track, or when they pause for a virtuosic, rapid-fire break before the final verse. It’s an exciting step forward for a band that has continued to evolve, and now with the team of Break Even behind them, it really feels like they’re only just getting started.

‘Captain’ is out now via Break Even Recordings.

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Image  —  Posted: March 2, 2018 in FESTIVALS, MUSIC
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Little Comets have released their new single ‘M62’. Having spent winter tucked away in Europe, including Frank Sinatra’s derelict former Bordeaux holiday home and a church near Bilbao, the band are now ready to get on the road again with a small tour later in April 2018 . This summer, the band will also perform at festivals across UK and Europe with announcements to come shortly.

The new track is the first of four singles to come ahead of the band’s fifth album release.

‘M62′ is instantly recognisable as a Little Comets’ track. The band may have evolved over time, but the key Little Comets elements remain in place, with frontman Robert Coles’ distinct vocals carried by the rhythm of their bouncy indie-pop sound.

‘M62’ will be available on a Special Limited Edition 7” vinyl from the Official Little Comets Store and includes a free CD!

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Last month Albert Hammond Jr announced his fourth studio album Francis Trouble. The album will be available on March 9th but has been made a new song ‘Set To Attack’.

Francis Trouble explores a deeply personal topic – the stillborn death of his twin brother, Francis, and the lingering effects that event has had in his life and music. In November of 1979, Hammond Jr’s mother, Claudia, miscarried. Although they rushed to the hospital, Claudia and Albert Hammond Sr. were told that the baby was far too premature to live. Albert continued to grow inside of his mother undetected until she was nearly six months pregnant.

Although he had always known of the existence of Francis, it was not until he was 36 years old that he learned from an aunt that part of Francis had remained behind in the womb and was born alongside him – a fingernail. With his music moving in a different path than before, Hammond Jr wondered if this new direction came from another avenue of himself, perhaps emanating from whatever he and the departed Francis had shared for the few short months they had together.

Taking a page from Bowie, Hammond Jr says: “What the music says may be serious, but as a medium it should not be questioned, analyzed or taken too seriously. I think it should be tarted up, made into a character, a parody of itself. The music is the mask the message wears and I, the performer, am the message.”

Working within this mentality, Hammond Jr created Francis Trouble, an homage to both the death of his twin and his own birth, as well as the complexities of identity that arise because of their intermingling. The number 36 became especially relevant, as he had learned more of Francis’s story at that age, and because he was born on the 9th day of the 4th month of the year. Significantly, the album is exactly 36 minutes long.

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Snapped Ankles take on The Fugs’ counterculture anthem, updated for the Edward Snowden generation.
From the forest floor:”Having unearthed The Fugs CIA man some years before, we were shocked to discover a newer more sinister agency had taken over from the diatribe’s protagonist so we updated Tuli Kupferberg’s list of ills…

“Of course every time the song is now mentioned online, a blip of data triggers a filter that enters a file that rings a bell in a bunker deep under a mountain in Pennsylvania. So now the forest is full of agents looking for us, and we are taping up our microphones and cameras and walking backwards through our own footprints to shake them off…

Released March 2nd, 2018

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CIA Man originally performed by The Fugs. Written by Kupferberg (Warner Chappell)

Fri 23 March Tremor Festival, Azores, PORTUGAL
Wed 4 April Ghost Notes, London, UK
Fri 6 April Le Vecteur, Charleroi, BELGIUM
Sat 7 April This Is Psychedelia, Folkestone, UK
Tue 10 April Night & Day, Manchester, UK
Fri 4 May Desertfest, London, UK
Sun 27 May Raw Power Festival, London, UK
Sat 26 May London Calling Festival, Amsterdam, NETHERLANDS
Sun 22 July Bluedot Festival, Cheshire, UK
Sat 18 August Green Man Festival, Brecon Beacons, UK
Sat 25 August Sea Change Festival, Devon, UK
Sat 1 September End Of The Road Festival, Dorset, UK

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We are incredibly excited to announce the lineup for the third edition of The Downs Bristol on 1st September featuring Noel Gallagher’s High Flying Birds, Paul Weller, Orbital (Live), The Heavy, Goldie & The Ensemble (Live), Basement Jaxx (Dj Set), Khruangbin, Nadine Shah, Channel One, Laid Blak, Dream Wife + Many More

Alongside an amazing line-up of bands we will be welcoming the return of The Information Stage, with thought-provoking speakers from around the world invited to talk and take part in panel discussions.

Today i released a new version of “Strength Through Music”, which was originally written for my first solo album, “Who Killed Amanda Palmer” in response to the Columbine shootings, which were (i cannot believe it) almost twenty years ago.

please watch. and i warn you, it’s emotional…that’s my high school, and those are kids from the drama department at Lexington high. I literally walk by my old locker. Columbine shattered the country. but since then, these shootings have simply become normal. it’s insanity.  It isn’t just these mass shootings. statistically, there is a shooting In a American Shool almost every day. It’s enough. things have to change.

I released this new video though patreon as the last “thing” of the month, and the entire $15k of patreon revenue will be given to the March For Our Lives gofundme page, which is at approximately $2.8m of a $3m goal. I am hoping we can help a little. the fact that i could get this idea in a day, call Michael Pope, re-record the song and remix the video, put it out and have the support of the patreon is nothing short of revolutionary. we are able to be changing things, with art, with power.

MAY 4TH – ST. GEORGE’S HALL / LIVERPOOL, UK – TICKETS

MAY 6TH – TOWN HALL / BIRMINGHAM, UK – TICKETS

MAY 7TH – THE SAGE / GATESHEAD, UK – TICKETS

MAY 10TH – LYRIC THEATRE / CARMARTHEN, UK – TICKETS

MAY 11TH – THE FORUM (BATH FESTIVAL) / BATH, UK – TICKETS

MAY 13TH – BRIGHTON FESTIVAL / BRIGHTON, UK – TICKETS
MAY 28TH – NATIONAL CONCERT HALL / DUBLIN, IRELAND – TICKETS

we are also adding a show in NORWICH on MAY 20TH.

Much of Screaming Females’ appeal, and even their greatness, is their esotericism—in particular the impenetrable world of Marissa Paternoster’s hermetic guitar, lyrical poetry and visual art. The New Jersey trio’s seventh studio album, All at Once, veers from that world sharply, collecting some of the most conventionally anthemic and melodic rock songs of their career. The ironic twist is that for this particular group, who made their name on angular, punk-infused freakouts with Paternoster’s fog-horn voice out front, this counts as their experiment, one for which their previous albums, spent developing their own inimitable sound, has well prepared them.

From the album All At Once on Don Giovanni Records.

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Lyrically, H.C. McEntire a rare openly gay woman making country music  touches on spirituality, sexuality, politics and Southern culture, with much of Lionheart’s material written while the battle for LGBTQ rights intensified in North Carolina. So in “When You Come For Me,” when McEntire sings “Mama, I dreamed that I had no hand to hold. And the land I cut my teeth on wouldn’t let me call it home,” it’s comforting, inspiring even, to know that she has Phil Cook and Tift Merritt and William Tyler and others backing her musically. There is strength in numbers, and McEntire is a strong, centering presence in these songs.