ISLAND – ” Yesterday Park “

Posted: June 21, 2021 in MUSIC
May be a cartoon of text that says 'ISLAND UK TOUR 2021 GLASGOW NEW ALBUM 'YESTERDAY PARK' OUT T2U2021 26th JUNE 2021 SWG3 POETRY CLUB NEWCASTLE THINK TANK UNDERGROUND SHEFFIELD MON THE LEADMILL TUE26 MANCHESTER NIGHT PEOPLE LONDON| OOLI HACKNEY'

“Yesterday Park is an album about nostalgia, that feeling of looking back, not to one specific time or place but rather the feeling associated with the hazy blur of childhood and teenage memories. The songs cover a lot of different themes, but at their heart they all stem from formative memories. When writing we considered how our understanding of past experiences had shifted through the many different retrospective lenses we have. Life has become more complex and we wanted to capture that feeling of looking back, finding the beauty in those simple moments that exist as silver-linings in our memories. That reflection also brought us to think differently about the complexity and challenges of life today.

It inspired us to consider the importance of taking responsibility for the harm that the world is doing to itself, at the same time as needing to take more responsibility in our own lives. We drew a lot of influence from the 90s, and particularly beat-driven ’90s hip-hop which inspired a lot of the grooves in the album.”

New album ‘Yesterday Park’ out June 25th

the who PHILADELPHIA VOL.1 & 2 vinyl lp's LTD EDITIONS  mint sealed new

This is a fantastic copy of the classic Philadelphia Who show from December 4th 1973 , this was a very common bootleg of it’s time as it is usually reffered to as “THE TALES OF THE WHO” this is the same show, this was also broadcast live in 1974 all over radio by then New York Radio WNEW.fm on the awesome weekly live rock radio station that was on in those days Sunday nights it was called the KING BISCIOT FLOWER HOUR so the sound here is as good as soundboard, if you are a die hard like me and you have “Tales of The Who” then this is a fantastic edition to your who bootleg collection.

 After an 8 minute ovation the band returned to the stage for a 12 minute encore of “Naked Eye”.

Roger Daltrey: Vocals, Harmonica
John Entwistle: Vocals, Bass
Keith Moon: Vocals, Drums
Pete Townshend: Guitar, Vocals

Live at Spectrum, Philadelphia, PA. USA 4th December 1973This show was broadcast by King Biscuit Hour

Kings Of Convenience “Peace Or Love” It’s the return of the Kings: Eirik Glambeck BoE and Erlend Oye are back next month with their first new album in over a decade, Peace or Love. Since their debut declaration that Quiet Is the New Loud, the Norwegian duo have retained their lovely and understated sound—gentle vocals and acoustic guitars, intimately intertwined and powerfully melodic—but their latest outing is a reminder that, as BoE observes in the record’s press materials, “It’s very, very hard to make something sound simple.” Recorded (repeatedly!) over five years in as many cities around the world, Peace or Love absorbed bossa nova influences while BoE and Oye recorded in Chile, and added a Queen of Convenience, if you will, in (Leslie) Feist, who sings on two of its 11 tracks (one of which, “Catholic Country,” was co-written with English trio The Staves).

But the album is still unmistakably Kings of Convenience, delicate and lush, but with the steady ache of hard-won, well-travelled wisdom. Like ripples in still water, the duo’s sound continues to resonate through the years not in spite of its simple beauty, but because of it.

With 11 tracks passing by in a breezy 38 minutes, Peace or Love ably picks up where Kings of Convenience left off on 2009’s Declaration of Dependence, as if taking 12 years and several tries to finish a follow-up is totally normal. (“We recorded the album about five times,” says Eirik Glambek Bøe.) As always, the focal point of Kings of Convenience’s work is the interplay between two gently plucked acoustic guitars and two tender, harmonizing voices, as heard to great effect in “Comb My Hair,” a simple and gorgeous song that plainly and effectively traces a post-breakup spiral. According to the band, both of Erlend Øye’s parents passed away since we last heard from Kings of Convenience, and Bøe’s 21-year marriage ended, too.

So it’s no surprise that love and loss are recurring themes here. The lite-funk groove of “Fever” neatly approximates the dizzying feeling of infatuation with someone who may or may not share those feelings, and one track later, “Killers” juxtaposes what might be the album’s most graceful guitar work with bleak lyrical images: lies to cover up a crime, hearts of darkness, an interminable wait, an empty bed. And while “Love is a Lonely Thing” is an ominous title, a hopeful middle verse (sung by Leslie Feist) that likens love to gardening lets a little light in before finally giving way to the song’s presumed fate: “Love is pain and suffering /Love can be a lonely thing,” Bøe sings, sounding like a man who knows from experience. “Once you’ve known that magic, who can live without it?”

the brand new album ‘Peace Or Love’ out June 18th –

The songs on This Year’s Model are typically catchy and help the vicious sentiments sink into your skin, but the most remarkable thing about the album is the sound. Costello and the Attractions never rocked this hard, or this vengefully, ever again.”

Elvis Costello’s debut album, 1977’s “My Aim Is True”, arrived less than a year before its follow-up, “This Year’s Model”. But the two records boasted a sound, style and attitude that were far removed from each other — a sign of things to come from the singer-songwriter, whose restless catalogue has swung from one genre to another with little dip in quality along the way.

My Aim Is True was recorded in 1976 and 1977 in London by Costello, who was born there, and a California-based country-rock band called Clover that included members who would later join Huey Lewis and the News and the Doobie Brothers. (Lewis was actually a member of Clover at the time but did not appear on the album, which didn’t credit the band because of contractual reasons.)

For This Year’s Model, Costello enlisted his own band, the Attractions, which he formed after the release of his debut. (Even though they did receive credit, they didn’t receive an official cover co-billing until 1979’s Armed Forces.) And the upgrade, or at least the familiarity of working with musicians he had spent plenty of time on the road with at that point, pushed Costello’s second LP to new levels of intensity. Not that My Aim Is True didn’t have that; This Year’s Model just had more of it.

The critical success of My Aim Is True also gave Costello more confidence as a songwriter. At just 23, he was one of the best young writers of the era, pulling from earlier artists as much as he was riding the new wave of punk upstarts. With This Year’s Model, released on March 17th, 1978, Costello made his masterpiece — an album that bridged his brief past with his wide-open future.

The album’s sessions started in late 1977 and ended in early 1978 at London’s Eden Studios, with Nick Lowe, who worked on My Aim Is True, once again producing. More than a dozen songs were recorded, including some of his most enduring songs: “No Action,” “Pump It Up,” “(I Don’t Want to Go to) Chelsea,” “Lipstick Vogue” and “Radio, Radio,” among them. When it came time to release the LP in the U.S., a couple months after the original U.K. debut, two songs were dropped from the track listing —  “(I Don’t Want to Go to) Chelsea” and “Night Rally,” reportedly because they were too British for American ears — and replaced by “Radio, Radio,” which was released in Costello’s home country seven months later as a stand-alone single.

“Radio Radio” was made more famous by the Saturday Night Live performance. By the time “Radio, Radio” made its debut on record, it was already a notorious chapter in Costello’s short history after Costello and the Attractions played it on “Saturday Night Live” in December 1977 (filling in for the missing Sex Pistols who were due to perform but were having problems securing visas). Costello was slated to play his current UK single “Less Than Zero,” in 1977. Costello launched into a few bars of “Less Than Zero,” but then turned to his band and told them to stop. He then apologized to the live audience, saying, “I’m sorry, ladies and gentlemen, but there’s no reason to do this song here,” and broke into a full rendition of “Radio Radio,” which still wasn’t officially available in the States, Lorne Michaels…the God of Saturday Night Live was not pleased.

As a result, he was banned by the TV producer for a dozen years, before being invited back in 1989; he then repeated the stunt, this time with the Beastie Boys and with SNL’s consent, on the program’s 25th anniversary special in 1999.

Costello later claimed he was inspired by Jimi Hendrix, who in 1969 stopped a performance of “Hey Joe” on the show Happening for Lulu and launched into the Cream song “Sunshine Of Your Love,” earning him a ban from the BBC.

Elvis Costello: “Before I got into show business, I thought radio was great, So I wrote a song about celebrating it – the thrill of listening to it late at night. This was my imaginary song about radio before I found out how foul and twisted it was.” in the song, Costello is protesting the commercialization of late 1970s FM radio. Radio stations would become more and more consolidated over the years, and their playlists tightened up considerably. Eventually, deregulation led to a few companies owning the majority of American radio stations, which led to automated stations.

This song is a takedown of radio, but it started out as a loving tribute. Costello wrote the first version of the song as “Radio Soul” when he was in a band called Flip City. They recorded a demo in 1974, but the song was never released.

In “Radio Soul,” Costello sings lovingly about radio, without any trace of vitriol: I could sail away to the songs that play upon that radio soul, Radio soul It’s a sound salvation

When he reworked the song in 1977, he changed the title and completely flipped the meaning, reflecting his newfound take on the topic.

The song serves as a linchpin of This Year’s Model, even though it wasn’t part of the original release and closed the album it first appeared on. It represented a more robust sound for Costello, thanks to both the addition of the Attractions and Lowe’s punchier production, and a more biting undertone that helped build Costello’s standing as one of punk’s most promising Angry Young Men.

He also became one of the era’s most prolific genre jumpers, making R&B, country, baroque pop and Americana albums over the next decade. But “This Year’s Model” serves as Costello’s model, the record that introduced Steve Nieve’s defining keyboard riffs and fills, a sturdier musical backing and Costello’s sneering vocals — all of which would find their way in and out of various albums over the years. He’s made more cohesive records since then. And more innovative ones. But he’s never made a better one.

Released: 17th March 1978.

“On November. 2nd, 1976, Jimmy Carter was elected President of the United States. The events of November. 3rd were less earth-shaking: It was the day the power-pop pioneers The Rubinoos recorded this album. The group walked into CBS Studios in San Francisco to, as band co-founder and singer Jon Rubin recollects, “have a ‘set up and get comfortable in the studio’ kind of affair.” Guitarist Tommy Dunbar, who started the group more than 50 years ago with his childhood pal Rubin, recalls they were told “something like, ‘OK, the tape is going to run, just go ahead and play anything you want’.” “The CBS Tapes” chronicles that occasion, and its previously unreleased 11 tracks certainly reveal a wildly diverse set list that includes, yet reaches beyond, the power pop that the band is well known for. Selections range from The Modern Lovers to The MetersKing Curtis to The DeFranco Family.

The Rubinoos also tackle a bubblegum classic, an iconic surf instrumental and a couple of Beatles tunes, along with a trio of now-rare originals.”

Mountain Goats Press 2021

The Mountain Goats will unveil a new album “Dark In Here” recorded at the historic FAME Studios in Muscle Shoals, Alabama released through Merge Records on June 25th. Today, John Darnielle and company shared the title track from the 12-song LP.

Dark In Here was recorded in March 2020, a particularly fruitful period for the band that also yielded “Getting Into Knives” and “Songs For Pierre Chuvin”. The song “Dark In Here” features contributions from legendary Muscle Shoals musicians Spooner Oldham on organ and Will McFarlane on guitar.

“If you’re looking for a governing theme here, it’s calamity, as all the songs are either anticipating one or reflecting one that’s already happened,” Darnielle said. John described Dark In Here as “wild” with bassist Peter Hughes adding, “Not wild in the sense of abandon—these aren’t those kind of songs. But wild in the sense of something undomesticated, untamable… You can fight the calamity all you want, but either way, it’s going to demand your surrender.”

At last it can be told: the story of how, when the Mountain Goats got together in early March, 2020, it was to make not one album, but two: “Getting Into Knives” and this one, “Dark in Here”. That’s how many keepers the band’s superhumanly prolific frontman, John Darnielle, had come up with since they’d recorded “In League With Dragons”  in Nashville back in 2018. 

John Darnielle, Peter Hughes, Jon Wurster, Matt Douglas, Spooner Oldham, and Will McFarlane all playing live on the title track in Muscle Shoals, Alabama, on or about March 11-12, 2020. Been wanting to share this track with you since the first playback in Alabama back in the before-time. Enjoy!

From Peter Hughes of the Mountain Goats: One of the words that John used when we were talking about the direction for Dark in Here was “wild,” which I liked a lot. Not wild in the sense of abandon—these aren’t those kind of songs. But wild in the sense of something undomesticated, untamable. Wild like the immutability of nature, the way it will take back any piece of untended space as its own, whether amidst the AutoZones and Chick-fil-A’s of Muscle Shoals [home of FAME Studios, where the album was recorded] or among the ruins of a scientific outpost on the Kola Peninsula. Wild like the whale; like a powerful animal. Or a virus—the beast that awakes, emerges from a forest, and stops the world. You can fight the calamity all you want, but either way, it’s going to demand your surrender.

“The Slow Parts on Death Metal Albums” by the Mountain Goats from their new album ‘Dark In Here’ coming June 25, 2021 on Merge Records.

<img src="https://cdn.pastemagazine.com/www/articles/2021/06/15/SK-PathofWellness-hd.jpg&quot; alt="Sleater-Kinney Reinvent Themselves as a Duo on <i>Path of Wellness

On Sleater-Kinney’s 10th album Path of Wellness, the aim of the game is joy and letting go of shame and disappointment. The first record without long time drummer Janet Weiss finds the band exploring new directions, with Carrie Brownstein and Corin Tucker handling all of the production themselves. Tracks like “High In The Grass” and the item’s title track serve as exciting summertime anthems, with repeating lyrics relaying the theme of the album: “I’m on the path of wellness.” On “Complex Female Characters,” vocalist Carrie Brownstein explores the theme of sexism as it relates to people pressuring her to fit a particular form. 10 albums deep into their career, Sleater-Kinney continue to write concise and expressive alt-rock songs that bite to the core.

“Path of Wellness”, the Northwest band’s 10th album (and yeah, let’s get this out of the way, their first as a duo), doesn’t end this tradition exactly. There are no power ballads, no string codas. But Path—even more than 2019’s polarizing The Center Won’t Hold—does present a gentler, groovier Sleater-Kinney, and this one kicks off with the breeziest music of the band’s 25-year career. The title track doesn’t roar to life à la “Dig Me Out” or “The Fox” so much as it stutters and clangs with a clattering, polyrhythmic groove, which becomes the backbeat for Corin Tucker’s double-tracked pleas: “Drain me of my toxins / Drain me of the life I lead,” she sings. Later comes the coy refrain: “I’m on a path of wellness.”

Sleater-Kinney are back to their old tricks, which means trying out some new tricks. The Pacific Northwest punks grabbed the world’s imagination with the 1996 riot-grrrl bombshell Call the Doctor, but ever since, they’ve refused to repeat themselves. Everything about their new album is outside their zone, starting with the title: Path of Wellness. It’s the first album they’ve made as a duo—the band is down to Carrie Brownstein and Corin Tucker, after a painful and public split with longtime drummer Janet Weiss. On Path of Wellness, Sleater-Kinney sound as though Tucker and Brownstein figured there was no way to get back to normal, so they might as well get as weird as possible. 

For Tucker and Brownstein, the recording process provided a respite during last summer as their home city of Portland was shaken by violent clashes between protesters and police, devastating wildfires and of course the unending pandemic. At times, there’s a curious disconnect between the music—breezy riffs that were written pre-pandemic and intended for an outdoor summer tour in 2020

There’s no “loud-quiet-loud” in Sleater-Kinney’s world. Usually, there’s no “quiet,” period. As Carrie Brownstein wrote in her memoir’s, “I can listen to soft songs, but I can’t play them. Even Sleater-Kinney’s lighter songs feel thorny or brittle—they aren’t gentle, and they make horrible background music.”

What Path of Wellness lacks in sonic urgency, it makes up for with a vintage classic-rock swagger that livens up the material considerably. The band has never done anything quite like “High in the Grass,” with its flower-power swoon. And “Method,” which is almost certainly the best thing on here, finds Brownstein zeroing in on a bluesy sleaze-rock aura pitched somewhere between Thin Lizzy and late-’70s Fleetwood Mac.

‘Sleater-Kinney’s New Album ‘Path Of Wellness’ Out Now!

Former Yuck singer Max Bloom will release solo album “Pedestrian” on June 18th and he’s just shared this new single. “Pallidromes” should appeal to fans of Real Estate.

London indie rockers Yuck announced their break-up back in February, on the 10th anniversary of their self-titled debut album, but by then, their former vocalist and guitarist Max Bloom had already begun his next chapter. The follow-up to his 2020 solo debut Perfume, Pedestrian is another step further from Yuck’s blown-out fuzz-rock sound: Self-described “dadgaze” artist and producer Bloom favours stately piano and gauzy synth on the title track, accentuating his Ben Folds-esque vocal tone, and on the likes of “America” and “How Can I Love You,” he blends acoustic jangle with warm psych-rock riffs, lending a cosmic tint to his meditations on togetherness.

B-side highlight “Twenty-two” is Bloom at his dreamiest, and contented closer “Cat on Your Lap” sounds like dusk on the front porch with its gentle lap steel and piano, as Bloom sings with contagious optimism, “The future looks so golden from what I can see.” To some, “Pedestrian” is a pejorative, but Bloom’s new record is evidence of how the right perspective can turn the everyday into something special. 

Pedestrian (the album) here: https://maxbloom.bandcamp.com/​ Written and recorded by Max Bloom. Drums & percussion recorded by Adam Gammage.

All tracks written by Max Bloom, except ‘All The Same‘ and ‘Under Green Skies‘ which were written by Max Bloom & Anna Vincent. Drums & percussion recorded by Adam Gammage. Cover art by Dan Yates

Written and recorded by Max Bloom. Drums & percussion recorded by Adam Gammage. Animation by Max Bloom. © Ultimate Blends 2021

releases June 18th, 2021

WHITE FLOWERS – ” Day By Day “

Posted: June 20, 2021 in MUSIC
No photo description available.

For fans of Beach House, Cocteau Twins, Cigarettes After Sex and Slowdive. For songwriting duo Joey Cobb and Katie Drew of White Flowers, one of the most exciting young bands in the UK right now, it was only on leaving London to return to their native Preston that the dark-hued dreampop of their debut album, “Day By Day”, began to crystalize. The pair had left Preston for London to study at art college, and it was there that they first began to explore the nascent psych scene bubbling under in the few remaining arts-orientated spaces in the east of the city. It soon inspired them to begin work on music of their own.

“There’s something uniquely bleak about the North,” says Joey, speaking from the abandoned textile mill that White Flowers call home, “but in that bleakness there’s a certain beauty.”

The pair found that by using equipment they barely understood, they produced their most innovative work. Beginning on GarageBand, they crafted loops that turned into songs, and by the time they’d worked out how to use it, they’d graduated to a drum machine.

Now very much in control, and with a clear and determined focus, the pair began producing music that, whilst leaning into the North’s post-punk past, possessed a vision and depth informed by their own post-industrial Preston experiences. Creating all of their artwork, visuals and overall aesthetic, they began building a world that stretched beyond the music alone – in an unusual circular fashion, this auteurist-like approach became a way of translating their environment and experiences into a form of escapism from the very place that inspired them.

Nonetheless, it was shortly before leaving London that another creative breakthrough occurred. While performing a small show as a support act, a fan in the audience, impressed by the wall of noise that would frequently extend for minutes at the end of tracks, suggested they work with a like-minded friend. Within weeks, the pair were recording at the Manchester studio of Jez Williams, erstwhile member of Doves.

Williams and Manchester immediately made sense, and it’s that industrial gothic that White Flowers were able to tap into as they built the album during on-off sessions across two years – sometimes leaving the studio for a couple of months to work on ideas, other times crafting the minutiae of details across all-night studio sessions.

The access to flexible studio time was telling, and the band were able to develop an aesthetic that, whilst indebted to the various sounds that defined their youth, also leaned heavily into Kevin Shields’ droning wall of noise guitars, the palimpsestic hauntology of early Burial, and the ghost box sampleadelia of Boards of Canada.

“We like the more alien sounds” explains Joey, “where the focus is on creating atmosphere.” This is perhaps most obvious on the album title track, one of the more sonically enticing tracks on the record with its pulsing drone and Portishead-esque rhythm, or even ‘Night Drive’, a live favourite that the pair take pride in building into a monstrous wall of sound.

Daylight’ pushes forward with a prettiness matched by Katie’s oblique, near-glossolalia vocal. “We don’t like it when things are clean or overproduced” explains Katie, “and there’s something interesting in the instinctive nature of the first thing you sing, because you don’t really know what you’re singing until it comes out and it makes sense.” That psychographic-style process to writing informs a collection of songs that are at once both intuitive and fully-formed.

The oldest song on the record, ‘Help Me Help Myself’, bears witness to this approach. Perhaps their most direct and perfect ‘pop’ song to date, it suggests these songs were always there within, just waiting to be divined. “We’d just started using drum machines and there’s something of a naïve quality to it,” explains Katie, though its naivety has now been augmented by Jez Williams’ impossibly diaphanous production.

The constant upheaval of, well, everything has fed directly into Day By Day. “The songs on the album were written from when we were teenagers up to our early 20s, so it’s come of age in this weird apocalyptic time,” says Katie. “Everything’s surrounded by uncertainty” notes Joey, “but it isn’t all doom and gloom, there are positives, rules are out the window and you can do what you want. There’s some hope in there.”

Released June 11th, 2021

Pale Horse Rider” rides again! Happy physical Release Date to Cory Hanson’s second album, whose digital release date was earlier in 2021. To really kick this celebration off, we’ve dropped the third episode in Cory’s Limited Hangout series – as a little treat.

The Wand frontman Cory Hanson releases a new album Pale Horse Rider, via Drag City Records. Myths and truths of a country on the way down, viewed through a deep-focus lens trained on the city from the deserts on the east; a terminus of unoccupied residential parks and streets fading into craggy footpaths to nowhere, where our passage is seen as diligent, ephemeral and grotesque by turns, forgiven and made beautiful again by the sound.

Cory Hanson’s album “Pale Horse Rider,” was released on Digital and Streaming on April 16, 2021, and on LP/CS/CD June 18, 2021, from Drag City.