Elbow released the great “Audio Vertigo” earlier this year and are following it up with a new EP that will be out early next year. Details are still TBA but first single “Adriana Again” sounds very promising.
Elbow share the video for brand new single, the motorik-driven “Adriana Again” The Manchester quintet show a strong guitar-led krautrock influence on their brand new single, for which they have shared a brand new video and of which singer Guy Garvey says, “it’s got a groove but it’s got some pretty Sabbathy guitars on the chorus.” “It’s like we built a new vehicle for ourselves, and we wanted to give it another spin,” adds Garvey. “What we did with some trepidation in changing the sound for “Audio Vertigo” was so well received that we feel confident to keep pushing forward.”
Music video by Elbow performing “Adriana Again” Universal Music Operations Limited
Here’s a collaboration you might not have seen coming: Bauhaus frontman Peter Murphy and CultureClub‘s Boy George teamed up for a new duet single, “Let The Flowers Grow” which was produced and co-written by Killing Joke bassist Youth.
“Let the Flowers Grow” is a beautiful new duet single from legendary artists Peter Murphy and Boy George. Epic orchestration and soaring vocal performances by both of these incredible artists create a deeply emotional masterpiece.
“It caught my ear for its melodic beauty as well as a Roy Orbison-like voice that sang the song,” says Murphy, who asked Youth if he could have a go at finishing the song, which he did. “When I heard the mix, I was satiated in every way,” says Boy George. “I have always loved Pete’s voice and his writing on this adds a beautiful darkness.
The production feels very epic, like Scott Walker.”
Hovvdy are following their self-titled 2024 double album with a new EP, “Live from Julie’s”, due out on November 22nd via Arts & Crafts. It features reimagined versions of songs from the double album, and they’ve shared a new rendition of “Bubba.” “Sonically this is the most vulnerable we’ve ever been,” they say. “When we make records, we’re always trying to craft this hyper-layered, expansive world; and as much as we love that approach, it’s easy to get lost in it.
With “Live at Julie’s” we wanted to peel everything back— just sit down and play the songs together.”
The sprawling, high-concept double protest album masterpiece from one of my personal musical heroes gets a reissue. With as much acid and other chemicals as Julian Cope most likely consumed during the ’80s, it’s a miracle the former Teardrop Explodes frontman could hold a spoon by 1991 let alone make the best album of his career. But that’s what he did on this psych-rock opus, a double album treatise on humankind’s disregard for its home, planet earth. This came after two separate attempts by major labels to turn him into a pop idol, and Cope had finally had enough, deciding to really let his hair down and fully let the freak flag fly (not that it was ever lower than half mast). He was still on Island Records, but he was now hanging out at Stonehenge, swimming with dolphins, and attending political protests as his 6’6″ alien alter ego, Sqwubbsy.
“Peggy Suicide” is a sprawling and brilliant statement, making room for hallucinogenic trips (“Double Vegetation,” “Not Raving But Drowning’), epics about the AIDS crisis (“Safesurfer”), punk rock burners (“Hanging Out and Hung Up on the Line”), and indictments of Margaret Thatcher (“Leperskin”) and the state of police in the UK (the Lenny Bruce sampling “Soldier Blue”). It’s also got some of his best-ever pop songs in “Beautiful Love,” “Head” and “If You Love Me At All.” In letting it all hang out, Cope created a an album that is definitely weird, weirdly welcoming and the best place for the uninitiated to start.
The former Cocteau Twins guitarist is back with his second solo EP of the year. “My EP “Astoria” picks up where my release “Atlas” had set off towards – a conclusion of a journey, like an arrival at a far-off destination,” Robin says. “I enjoy the continuity, and the EP format allows me to express these ideas in an episodic form,” Like on “Atlas”, Guthrie has refined his style so much that discerning what instruments you’re hearing is more difficult than ever before. It’s a watercolor approach to sound, with heavily treated guitars that wash over you like synthesizers — or maybe they are synths? — and delicate piano (which could also be guitar?) slowly descends down a pastel-colored spiral staircase.
Three of the four tracks feature drums that I will admit make me long for a voice — any voice, doesn’t have to be Liz — to enter the scene, but it’s the pure misty atmosphere of “Jura” that is “Astoria‘s” most Tran sportive moment. Whatever he’s playing, it’s as gorgeous and ethereal as ever. Let the mystery be.
Ryan Adams’ infamous cult classic album “Blackhole” will be released on classic black vinyl and CD for the very first time. The album’s contents and final tracklisting have been widely speculated since its conception in the early 00’s. After nearly two decades of anticipation, Adams is now ready to unveil the official release of “Blackhole”. Featuring “Catherine”, heard only in live performances, alongside previously unheard material, “Blackhole” captures the raw, unfiltered emotion that defines Adam’s songwriting. The shelved album, first demoed in 2006, became heavily bootlegged, with fans circulating low-quality recordings and snippets from live performances, fuelling a demand for the album’s official release. This long-awaited, full-length album not only satisfies years of fan speculation, but also reclaims a crucial moment in Ryan Adam’s history.
With “Blackhole” finally set for release, here’s a look back at the album’s journey—its storied production, evolving versions, and near two-decade wait that made it one of Ryan’s most anticipated records. Adams began recording “Blackhole” over Christmas, intending it as an epic rock album. He described it as “a real serious effort to make a rock record, really epic and big.”
Initial demos for the album were completed. Reflecting on this period later, Adams called “Blackhole “the last record I made in the last days of the drugs.”
“Blackhole” was reportedly intended to be part of a 2006 trilogy alongside War and Peace and songs recorded for The Cardinals’ planned third album, “Star Wars”, but was ultimately rejected by Lost Highway. In an interview, Adams described “Blackhole” as an album that captured a particularly intense and transformative period in his life, saying, “You listen to it and think, ‘My God, this guy is gonna die.'”
Adams released ‘Disco Queen’ and ‘Tomorrowland’ as part of a digital singles series via his label Pax-Am. He remarked, “These songs are a taste of something from a different place—tracks that never quite found a home on an album, but still felt like they should be heard.” After years of work, Adams revisited the “Blackhole” tracks with producer Jamie Candiloro, “opening up the tracks” to create a new version of the album. He described the album as “Love Is Hell Part 3,” noting, “It took 4 years to make it… lots of shimmery guitar love on this.”
Adams returned to Blackhole at his Pax-Am studio, recording new material and reworking existing tracks. He revealed, “I think I’m finally ready, maybe, to release the “Blackhole” record… There’s been actually two versions of it which is pretty interesting.” He described the album further by saying, “Rescuing Blackhole was like rescuing my past. It’s like Love is Hell’s sister. In every way. In the most profound way.”
Friday sees the official release of ‘Little Weight’, 40 Watt Sun’s fourth studio album.
“Little Weight” is the follow up to 2022’s “Perfect Light” and sees Patrick Walker take a different approach to writing and recording. Whilst “Perfect Light” was written and recorded over a long time period, with a wide cast of musicians, for “Little Weight” Patrick was determined to simplify the record-making process and recapture more of the rawness and spontaneity of the band’s earliest recordings. Setting aside a designated amount of time, under specific – often isolated – conditions, the crafting of the songs that make up “Little Weight” took place. A pre-planned series of retreats provided the space and opportunities to focus, within which Walker and his collaborators – drummer Andrew Prestidge and bassist Roland Scriver – were able to do their best work.
Designated time to work without distraction allowed them absolute freedom to create, whilst deadlines added to the urgency of the final recordings captured at Holy Mountain Studios in London in December 2023. Engineering and mixing was undertaken by Chris Fullard (Sunn O))); IDLES; Ulver), who was assisted by Stanley Gravett, before Adam Gonsalves mastered the tracks in Portland, Oregon.
The album’s cover art is by Tekla V?ly. Commenting on the writing process Walker says: “The conditions I created to make this record – without too much extraneous, unnecessary back and forth – means that what we recorded here have an added nearness to the first emotions that I first wanted to express and which inspired me to sit down to write; things often lost over time and usually difficult to recapture.” Whilst he remains unwilling to be drawn to discussing the specifics of his songs, 40 Watt Sun has once again produced a collection of vignettes that are steeped in poetic beauty, longing, love, and melancholy nostalgia.
With its ethereal, buzzing acoustic riffs, helix of resonant drones and vocal delivery that often sounds like an ancient form of prayer, Julie Beth Napolin’s “Only The Void Stands Between Us” sure-footedly takes its place in the post-’70s experimental folk lineage.
“This is cosmic folk of the highest calibre. Julie’s vocal melodies grow in your mind like they were planted on the shortest day of the year. An absolute treat for all of us temporal adventurers.” ~ Ben Chasny (Six Organs of Admittance)
Jesse Malin’s first release since the acclaimed tribute and benefit album “Silver Patron Saints: The Songs ofJesse Malin“. The triple-vinyl set is out now, and all proceeds benefit Malin’s Sweet Relief artist fund. Produced by Diane Gentile and Dave Bason, the album features Bruce Springsteen, Billie Joe Armstrong, Lucinda Williams and Elvis Costello, The Hold Steady, Tommy Stinson, Alison Mosshart with the late, great Wayne Kramer, Tom Morello, Counting Crows, Dinosaur Jr., The Wallflowers, Spoon, Susanna Hoffs, Frank Turner, Rancid and many others.
The full album track-listing is a proper trawl through his career from the glorious D Generation days right up to the very recent past. The world of rock’n’roll has come together to produce an album of Jesse Malin’s songs performed by other artists both as a tribute to Jesse and also to raise money for his ongoing treatment to recover from a rare spinal stroke which left him paralysed back in May 2023.
“Silver Patron Saints” not only serves as a fine tribute to an artist who has been within the very heartbeat of the New York rock’n’roll scene for such a long time, but also demonstrates what a huge songwriting talent Jesse really is.
Music was principally born out of the art of storytelling as well as its spiritual connotations and I have always considered it to be one of the most powerful and potent forces in the world as we know it. Let’s face it, little else can bring people together from such diverse and disparate backgrounds into one huge melting pot of love and emotion and, at its finest, it can strike right to the very core and fabric of your soul. And for me it was Bob Dylan who so eloquently transformed the art of song writing in the 60’s to bring it into the modern era and help to shape so much of what was to follow, documenting those pivotal times that were ever changing along the way.
One of those artists who picked up that songwriting baton was Jesse Malin, a youthful punk from Queens in New York, who had his own view on the world around him and found music as a way of both releasing his emotions and expressing his views on life. Spending his very young and formative years developing his art in the New York underground, foraging through the hardcore and glam punk scene whilst absorbing all that was around him, and also crucially making many influential friends along the way, Jesse found himself as a core element of the very heartbeat of the New York rock’n’roll scene, treading the boards with the great and the good from all walks of life.
But then of course maturity does start to bring a scene shift to your perspective on life and influence the kind of art form through which you wish to portray your feelings as an artist. And that shift emerged in 2003 when Jesse decided to take a more personal and reflective approach through his art which started with his debut solo album, “The Fine Art Of Self Destruction” which, quite rightly, received huge critical acclaim. I had the good fortune to interview Jesse during a UK tour in 2004 for a mates’ Community radio station programme and what struck me immediately was how every song we discussed had a real context and a story behind it.
Not only does Jesse’s music subsume so much of the great influences that he has absorbed over the years and reconfigure it in a whole new unique form and context, but he has always written with such passion, honesty and sincerity, always seeking to portray the PMA mantra that he has so avidly promoted throughout his life and career. Little wonder that I have seen Jesse perform live more than any other artist.
Set against this context, it was this overwhelming sense of positivity and determination that was so cruelly challenged on a fateful day in May 2023 when Jesse suffered a rare spinal stroke condition which left Jesse paralysed from the waist down. It was at this moment when the world of rock’n’roll turned on its heels and recognised it was now Jesse who needed their support, especially with the huge medical costs that were to follow in Jesse’s long battle to achieve any form of physical recovery.
Aside from establishing a Jesse Malin Fund as part of the Sweet Relief Musicians Fund, which had been established to raise funds to support artists in difficult situations, this is when a gathering of artists started coming together to record some of Jesse’s songs from throughout his career. This has now manifested itself into a 27 song album under the banner of “Silver Patron Saints – The Songs Of Jesse Malin” to raise vital money for this Fund.
One look at the stature of the artists involved in this project tells you all you need to know about the impact and influence Jesse has had in the rock’n’roll world. The track listing reads like a who’s who of the great and the good, really demonstrating the love, respect and support towards an artist who has given so much to so many over the years. Let’s face it, it’s not often you can include names such as Springsteen, Lucinda Williams, Elvis Costello, Ian Hunter, Billie Joe Armstrong, Counting Crows, Graham Parker, Wayne Kramer, Rancid and Willie Nile all in the space of one review. A truly eclectic bunch indeed which reflects on Jesse’s immense reach, impact and influence within the music business.
So on with the show and where better to start than Bruce Springsteen with whom Jesse has collaborated on numerous occasions. Here Bruce delivers a version of “She Don’t Love Me Now” filled with real heart and soul together with a suitably glorious sax solo to close it. Counting Crows give “Oh Sheena” the full-on rock treatment with all the urgency that the original demanded, whilst The Hold Steady give “DeathStar” a suitably hard edge.
No such compilation would be complete without a version of “Brooklyn” which became an instant classic when it appeared on Jesse’s debut solo album over 20 years ago. We have become accustomed to two different versions of this song – both band and stripped down acoustic – and this falls somewhere in the middle, but still draws out the heartfelt sentiment which sits at the core of the narrative, especially with the impassioned vocal. Lucinda Williams and Elvis Costello give “Room 13” an alternative country feel, with shimmering vocals which seems even more poignant for this reflective song given how much time Jesse has spent in hospital beds over the past 15 months.
Shane is presented by Rocky O’Riordan as an appropriately sensitive version of this tribute to Shane MacGowan, with the line “everybody sends their love” applying equally here to Jesse as he battles back to try and find some kind of new normality. “Greener Pastures” features Graham Parker in a wonderfully countrified blues arrangement, again with the poignant sentiment “greener pastures always come to you, you can make it if you try”, which aligns so strongly with Jesse’s ongoing mantra for PMA which I am certain will get him over the line in his recovery.
“Black Haired Girl” is attacked by Billie Joe Armstrong with the driving energy which is exactly what we have missed and look forward to on Jesse’s return to the stage. Meanwhile “Riding On The Subway” starts off as if Tommy and Ruby Stinson are busking on the street before it explodes into life with the band hitting the strong beat full on. St. Mark’s Sunset is given a lively arrangement by the Walker Roaders which is closer to being an Irish jig, whilst “Dead On” is performed by Ian Hunter with a dark and moody vibe replete with Ian’s classic husky vocal tones which breed sincerity throughout the song.
“Almost Grown” gets a full-on alternative country treatment courtesy of Danny Clinch and ChristopherThorn, alongside Daniel Donato’s Cosmic Country, whilst Aaron Lee Tasjan gives “Shining Down” an ethereal feel, quite appropriate for a song written in the wake of Tom Petty’s untimely loss to the world of rock’n’roll. Willie Nile runs with “All The Way From Moscow” in straight up no nonsense NYC rock’n’roll style, the way it was always meant to be, whereas “Prisoners Of Paradise” is given a total makeover by Bleachers with a significantly toned down arrangement underpinned with a skiffle style beat.
And just to prove that this album covers the full breadth of Jesse’s immense and hugely impressive back catalogue, we get the full-on hardcore treatment of “God Is Dead” by Agnostic Front taking a song from Jesse’s first band Heart Attack, and also two from the songbook of glam punk outfit D Generation, “No Way Out” (featuring Rancid) and “Frankie” (featuring Murphy’s Law). And even after all these, there are so many more songs on this album which I haven’t even touched on which make it the excellent collection that it is.
As for Jesse’s current state in terms of his recovery, the great news is that he is making progress and is continuing a strict daily regimen with physical therapy and stem-cell treatments. As Jesse comments, “I am getting some strength back in my legs, but it moves a lot slower than I would like. I don’t want to portray it like I’m ready to do the James Brown splits onstage. I definitely have a long way to go, but I’m blessed and so grateful for the amazing fans and friends that I have.” And Jesse is also now emerging back into the public eye through his own online personal updates and interviews which is truly heartwarming.
Building even further on this is the news that Jesse Malin will finally return to the stage at the Beacon Theatre in New York City at the beginning of December for the biggest hometown shows of his career. The show on 1st December has already sold out, with some tickets remaining for the show on the 2nd All proceeds from the shows will benefit Jesse’s Sweet Relief Artist Fund. Jesse will perform a full set with his band, followed by special guests at each show that include Lucinda Williams, Jakob Dylan, Butch Walker, J Mascis, Adam and David Immy of Counting Crows, The Hold Steady and Alejandro Escovedo, with more yet to be announced. Aside from the important funds to be raised for such a worthy cause, these are going to be two truly amazing shows.
As for “Silver Patron Saints”, well if you have ever been wary of compilations of cover versions of an artist’s songs as much as I have in the past, then put your fears to one side because this is a classic album which will stand the test of time and serves as a very fine tribute to Jesse’s songwriting talents and the respect which is directed his way from the music business right across the world. So dig deep and invest some of your hard earned cash to this very worthy cause for what I regard as one of the most important releases of 2024 on so many levels….trust me you will not be disappointed.
Esoteric Recordings is pleased to announce the release of a 4 CD clamshell boxed set that gathers together all the recordings made for the classic “Potatoland” album by SPIRIT. The album was born in 1973 following the release of guitarist Randy California’s “Kaptain Kopter and the Fabulous Twirlybirds” album (made shortly after his departure from Spirit). To promote his solo album California assembled a band to tour featuring original Spirit drummer Ed Cassidy and bass guitarist Larry “Fuzzy” Knight. Initially playing concerts in the Los Angeles area, the trio recorded two live performances at the studios of KPFK-FM in September 1972.
Soon after the trio reverted to the name Spirit to undertake live work in Europe. Following these concerts Randy California and Ed Cassidy began work on the album “The Adventures of Kapt. Kopter and Commander Cody in Potatoland”.
The recordings were offered to Epic Records (who had released the Spirit albums) but they were rejected by the label. The recordings remained consigned to the vaults whilst a reactivated Spirit recorded a series of albums for Mercury Records between 1975 – 1978. Whilst in England on a subsequent solo tour, a fan presented Randy California with a petition of 5000 signatures requesting the release of “Potatoland”. Inspired by this, California revisited the original master tapes and overdubbed new parts to the music and the album saw a release in this form in 1981 on Rhino Records in the USA and Beggar’s Banquet in the UK, where it peaked at number 40 in the album charts.
This new edition of “Potatoland” gathers together both the original 1973 version of the album and the 1981 release, along with 2 CDs of the complete KPFK-FM radio concerts from 1972, all newly re-mastered.
The set also features 21 bonus tracks comprising studio out-takes, demos and two songs recorded live on the BBC TV “Old Grey Whistle Test” show in 1973. The set also features an illustrated booklet with an essay by Spirit official archivist Mick Skidmore and a replica of the “Adventures in Potatoland” comic book included with the 1981 album release.
The Fat Angel Sings 