MUSH – ” Lines Redacted “

Posted: February 12, 2021 in CLASSIC ALBUMS, MUSIC
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Mush: Lines Redacted: Signed Clear Vinyl

The Leeds-based art-rock trio, Mush, release their feverish second LP, “Lines Redacted”. The new release, which finds the group recruiting Lee Smith (The Cribs, Pulled Apart By Horses) on mixing duties, arrives just under a year after their debut LP, 3D Routine, capping off what has been an obviously tumultuous, but remarkably prolific year for the band. With any prospect of live shows decimated, the group, led by songwriter, Dan Hyndman, has found the time to release two EPs (‘Great Artisanal Formats’ and ‘Yellow Sticker Hour’) and now a duo of full-length albums.

Mush, comprised of Hyndman (guitar/vox), Nick Grant (bass/vox) and Phil Porter (drums), present their own sonic idiosyncrasy. It’s a sound that blurs the lines of abstract surrealism, existentialism and social commentary; utilising guitars as tools in 2020 to stave off malaise whilst simultaneously commenting on the nation’s ability to fall into such dire straits. It’s a sensory overload of wiry tones that zig-zag between punk, prog and sardonic-funk with a relentless ability to reflect society’s faults and apathy in a unique and acerbic manner. Whereas the band’s debut was very much a product of its time, something part-inspired by the political atmosphere of mid-2019 and a genuine moment of optimism when the prospect of a socialist government in the UK was on the cards, this new record uses tongue-in-cheek cynicism as a coping mechanism for the environment that we now find ourselves in.

From one song to the next, Lines Redacted introduces a string of different narrators with each providing a different reflection on the Armageddon scenario that we are slowly entering, whether that’s bemoaning it or gleefully willing it along. 3D Routine presented a bed of scathing political jibes latching onto themes and decisions of the time. Lines Redacted mutates these ideas into something slightly more sinister whilst maintaining all of Hyndman’s razor-sharp wit that permeates the album.

The Leeds-based art-rock trio, Mush, are set to release their feverish second LP, Lines Redacted via Memphis Industries on February 12th, 2021. 

The MOUNTAIN GOATS – ” Hail And Farewell, Gothenburg “

Posted: February 12, 2021 in MUSIC
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Sadly, there are many examples of these famous recordings being leaked to the public, but not in the way that the artist intended. Sure, in your heart you can enjoy what you’re hearing an be somewhat satisfied that your long search is over, but often, you know that this isn’t the same as hearing an officially released version that mimics the true vision of the artist. Such is the case of Hail And Farewell, Gothenburg, by The Mountain Goats.

“Hail and Farewell, Gothenburg” is an unreleased album by the Mountain Goats that was supposed to be the sequel to their 1995 release Sweden. It had remained unheard by the general public until 2007 when it was leaked onto the internet without John Darnielle’s permission.

This is an unreleased recording and was supposed to be the sequel to Sweden but for whatever reason wasn’t released. Someone close to Darnielle leaked it around 2007. Here’s what he had to say.

John Darnielle, has said that the album “is mastered too fast, by the way – the voice and guitar on it are about a full tone higher than they were actually performed.” Due to leaks like this one, he now destroys any masters that he does not want to escape without his blessing. This includes about fifteen songs that did not make the cut for All Hail West Texas.

Which is really very sad because All Hail West Texas is fucking amazing. Transitive Property states that those songs would’ve been amazing instead of fucking amazing.

Originally recorded in 1995, the record was reportedly mastered at an incorrect speed by The Mountain Goats’ frontman John Darnielle. While he had fully intended to re-master the album and release it later, the album leaked out into the public without his consent, and was shared around by an excited fanbase, keen for more music.

Disheartened by this leak, Darnielle abandoned the project, with no intention to release it as he had planned. While we have a version of this album available to listen to, it is in no way the same record that John Darnielle wanted to release. As a result of this leak though, Darnielle has stated that he now destroys the master tapes for any works he doesn’t wish the public to hear.

All songs by John Darnielle, except for “You’re So Vain” written by Carly Simon.

1. “Hello, Old Rabbit” 2. “You’re So Vain” 3. “Four New Trees” 4. “I Love You. Let’s Light Ourselves on Fire” 5. “Milk Song” 6. “Ghosts” 7. “Red Choral Diamond Spray” 8. “Ending the Alphabet” 9. “Crane” 10. “One Frozen River”

MINOR MOON – ” Tethers “

Posted: February 12, 2021 in CLASSIC ALBUMS, MUSIC
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Minor Moon, the Chicago-based cosmic Americana group led by multi-instrumentalist Sam Cantor, have an upcoming third full length album “Tethers”, out March 26th via Ruination Record Co. & Whatever’s Clever. On his newest song as Minor Moon, Chicago multi-instrumentalist Sam Cantor takes on a feeling that has become all-too-familiar over the past year: a nebulous sense of confusion and loss, most debilitating because of how difficult it is to even recognize, let alone put into words—or music, for that matter. Cantor manages that last bit admirably on “Under an Ocean of Holes,” the second single from—and the creative key to, as he explains—his cosmic country project’s forthcoming third album “Tethers”, out March 26th on Ruination Record Co. and Whatever’s Clever.

Chicago-based multi-instrumentalist Sam Cantor has released the third full-length from his cosmic Americana project Minor Moon, Tethers, via Ruination Record Co. and Whatever’s Clever. Lead single “No Lightning Fix,” which features a pair of Cantor’s Windy City peers in V.V. Lightbody and Ohmme’s Macie Stewart, arrived alongside the album’s announcement in January, while second single “Under an Ocean of Holes” in February and “Hey, Dark Ones” arrived earlier this month. Cantor drew inspiration for Tethers’ 10 tracks from an intense period of personal discovery that began with him being thrown for a loop by the end of a long-term relationship, using his music as an outlet for the powerful feelings entangled with his experiences. “Minor Moon songs have always had this arc of discovery and I’ve always used them as a way to dive into really personal, philosophical, or emotional problems,” says Cantor. “It’s about finding some truth looking inward.” We’ve praised Cantor and his collaborators for making a “sprawling and complexly arranged” album that “imbues warm Americana with an otherworldly hum” while managing to find a deep-seated joy in life’s lack of easy answers.

Having previously shared the unhurried No Lightning Fix, the band have now offered up a second taste from the album in the shape of the simmering Under An Ocean Of Holes.

So, if a healthy amount of Midwestern twang, some engaging Neil Young style grooves, eye-opening atmospherics, and warm psychedelia are up your street you should check out both asap.

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Releases March 26th, 2021, All songs written and produced by Sam Cantor 

Sam Cantor – vocals, electric and acoustic guitar (all), synth (3, 5) and upright piano (5)
Nathan Bojko – drum kit (all except track 5)
Michael Downing – electric bass guitar and vocals (all except track 5)
Colin Drozdoff – Wurlitzer electric piano, organ, grand piano and Prophet (all but track 5), additional synths (1, 6)
Konstantine Stebliy – lap steel guitar (all but track 5)

Additional musicians:
V.V. Lightbody – vocals (1, 2, 3, 9), flute (2, 3, 4), piano noise (5)
Macie Stewart – violin (2, 3, 4, 6, 10), vocals (3)
Nora Barton – cello (2, 3, 4, 6, 10)
Sean Mullins – percussion (all except track 8)
Alex Blomarz – tenor and baritone saxophone (2, 3, 4, 6, 9, 10)
Nick Broste – trombone (3, 6)
Dorian Gehring – pedal steel guitar (5)

AARON LEE TASJAN — ” Computer of Love ” + ” Now You Know “

Posted: February 12, 2021 in CLASSIC ALBUMS, MUSIC
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The songwriter plays two tracks from his recently released album “Tasjan! Tasjan! Tasjan!” outside East Nashville’s Basement East. He was back at the Basement East recently, where the talented songwriter and guitarist delivered acoustic renditions of two new originals that appeared on his recently-released Tasjan! Tasjan! Tasjan! studio album outside the East Nashville venue.

The outdoor acoustic performances of “Computer of Love” and “Now You Know” were filmed for FLOOD Magazine‘s Neighborhoods series. Throughout the solo performance, Tasjan added his own makeshift percussion sounds with his mouth in addition to handling vocal duties.

The Basement East was severely damaged by the tornadoes that swept through East Nashville in early March 2020, when at least 40 buildings located around the city reportedly collapsed and at least two people were killed.

Watch Tasjan’s acoustic performances of “Computer of Love” and “Now You Know” 

VAMPIRE WEEKEND – ” 40:42 “

Posted: February 12, 2021 in MUSIC
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Vampire Weekend have released a new EP featuring two reinterpretations of their Father of the Bride highlight “2021,” recorded by jazz artist Sam Gendel and Connecticut jam band Goose respectively. Each version is 20 minutes and 21 seconds long, hence the title “40:42″. You can find Gendel and Goose’s renditions below.

Vampire Weekend commissioned Sam Gendel to reimagine their song 2021. The only directive was to make it twenty minutes and twenty-one seconds long. In addition to the music, Sam created the original, improvised animation. Ezra Koenig is an outspoken fan of jam bands, and has incorporated the music of the Grateful Dead into Vampire Weeekend’s own performances in the past, so it should come as no surprise to hear Vampire Weekend turned to a talented, up-and-coming band like Goose and a bold, avant-garde jazz musician in Gendel to help stretch the shortest song on Father of the Bride to a runtime worthy of the term “jam.”

“2021” was released alongside “Harmony Hall” as the first singles from Father of the Bride. The song is built around a sample of Haruomi Hosono’s “Talking.”

Vampire Weekend commissioned the  breakout rock/jam outfit Goose to reimagine their song 2021. The only directive was to make it twenty minutes and twenty-one seconds long. Vampire Weekend wanted to go with the two new covers reads, The 40:42 EP is out now. We asked two of our favourite artists (West Coast saxophonist Sam Gendel and the Connecticut-based jam vanguards Goose) to create 20 minute 21 second versions of “2021.” They knocked it out of the park.

Both created striking, exploratory works that stand on their own. We hope these 40 minutes and 42 seconds of music will provide some peaceful, vibey atmosphere as we all move through 2021.

The 40:42 EP. Out now:

NEIL YOUNG – ” Daughters “

Posted: February 12, 2021 in MUSIC
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For those of us who were unable to grab one of the 3,000 copies of Neil Young‘s Archives Volume II: 1972—1976 box set released last year, the singer-songwriter has thrown us a line. Last week, Neil Young released “Daughters”, a track recorded during the sessions for the “lost” 1975 album “Homegrown”, also released late last year.

Recorded during Young’s mid-1970s heyday, “Daughters” rings like a classic Neil Young folk song that could have been taken from “After The Goldrush” or even “Harvest”. Though Young’s voice and acoustic guitar sit centre stage, the track also hosts guest contributions from Levon Helm on drums, Emmylou Harris on backing vocals, Ben Keith on pedal steel, and Tim Drummond on bass. 

“Daughters” was just one of 12 previously-unreleased tracks on the 131-track, 10-disc Archives Volume II box set which also featured 50 unheard versions of songs. Unfortunately, the 3,000 copies released last year are still the only ones in the world and the only other way to hear Archives Volume II is with a subscription to the Neil Young Archives.

Neil Young, “Daughters” taken from the recording sessions for 1975’s Homegrown.

The GRATEFUL DEAD – ” Dark Star ” Live feat Duane & Gregg Allman and Peter Green

Posted: February 12, 2021 in MUSIC
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Opened in March 1968 by concert promoter Bill Graham as the east coast counterpart to his San Francisco-based Fillmore Auditorium, The New York City-based Fillmore East served as an incredible hub of live music in the late 60s and 70s. Dubbed the “Church of Rock and Roll” for good reason, Graham had a knack for uniting some of the era’s most unique and explosive artists under the same roof, which through the years included John Lennon, Jimi Hendrix, Frank Zappa, Van Morrison, Led Zeppelin, and Crosby, Stills, Nash and Young.

On February 11th, 1970, Graham booked a triple billing of the Grateful Dead, Los Angeles psych-rockers Love, and a relatively unknown group from the Atlanta area, The Allman Brothers Band.

Though the Allmans and Dead had met some months prior at the first Atlanta Pop Festival, it wouldn’t be until the bands’ 1970 Fillmore East billing when the two iconic jam bands collaborated on stage.

The Allman Brothers’ set that night included originals “In Memory Of Elizabeth Reed”, “Trouble No More”, and the always gargantuan instrumental that is “Mountain Jam”, along with covers of Blind Willie McTell‘s “Statesboro Blues” and Willie Dixon’s “Hoochie Coochie Man”.

Playing both an early and late show–as was customary at the Fillmore East–the Dead began afternoon performance with an intense “The Other One” that segued into “Cryptical Envelopment” before finishing up with “Dire Wolf” and “Casey Jones”. The latter two would appear on the Dead’s soon-to-be-released studio album, Workingman’s Dead.

“Not Fade Away” was used as a launchpad for the evening set, which also included another pair of Workingman’s cuts, “Cumberland Blues” and “High Time”. For their rendition of “Dark Star”, the Dead welcomed Duane Allman to add some mesmerizing slide guitar on the psychedelic anthem, which was later augmented further when Fleetwood Mac guitarist Peter Green(who was not on the bill that night but had been a fan of the Dead’s since playing with them in San Francisco in June 1968) and Love’s Arthur Lee (percussion) were added into the performance.

As the “Dark Star” jam built and boiled with the three guitar players on stage, the song gave way to a rare Miles Davis-inspired “Spanish Jam” just as Gregg Allman slid onto the organ bench. Finally, as The Dead’s own Ron “Pigpen” McKernan busts into a raging “Turn On Your Lovelight”, Gregg gets in on the party to trade vocals with Pigpen on this show-stopper.

Grateful Dead Live at Fillmore East on February 11th, 1970. The Grateful Dead with Duane & Gregg Allman! From “Searching for the Sound” by Phil Lesh: Jerry says to Phil of the ABB on their way to this show: “make sure you check these guys out… they’re kinda like us… They jam hard” Phil was startled when he heard Duane’s slide during Dark Star… Jerry hadn’t told him anyone would sit in. Gregg “slides onto the organ bench” during Spanish Jam. “Peter Green from the Mac plugs in just as I’m pulling the music into the dominant minor … he and Duane seem more comfortable in this space.” After the show, “I walk outside — it’s daylight, and snow is falling gently on the streets of New York... Bob and Jerry in a group embrace: This is what it’s all about.”

SOFT MACHINE , EDGAR BROUGHTON, QUINTESSENCE, AL STEWART, The DEVIANTS – ” Hyde Park Free Concert ” 20.9.69

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This short footage of the Deviants with the late Mick Farren performing with the band what would become the Pink Fairies. This is the concert in Hyde Park from 1969 that has been forgotten, probaly overshadowed by its gi-normous predecessors in June and July of the same year free concerts in Hyde Park, The Blind Faith Concert, The Stones Concert and this Soft Machine Concert. Before the concert started, they played “Come Together” from “Abbey Road” over the PA system and maybe one or two other tracks. Somehow someone had managed to get an advance copy of the LP, which was not released until 26th September. There is very little information regarding what went on at this show, but recently received the following details of film that exists of almost the entire show . 

The following concert from one of the Free Hyde Park concerts was recorded on videotape and exists in collection. Bands on that day included  Soft Machine,  The Deviants,  Al Stewart,  Quintessence and The Edgar Broughton Band The footage is excellent quality shot on a tripod stage front all the other acts all appear on the tape. 

The leading NEMS agency had signed the bands for gigs at the Roundhouse, prestigious Speakeasy, Reading Uni with Pink Floyd, and a high-profile free concert at Hyde Park with Soft Machine, Deviants, Edgar Broughton, and Al Stewart, filmed by Jack Moore of the London Arts Lab collective. It was rumoured Jefferson Airplane were lined-up but couldn’t get work visas. 

The concerts in Hyde Park had outgrown the “cockpit” area by this time and this was was the first to be staged on the big field next to Park Lane. However, unlike the all the subsequent concerts the stage was sited at the Marble Arch end of the field near Speakers Corner . Before the concert some of the speakers were on their boxes waving arms about but I think they gave up when the gig started as there was no way they could compete with the sound system.

There was a small group of Hells Angels as security around the stage (as with the Stones) and it was a very fine and sunny afternoon. The Edgar Broughton band did their usual set with audience participation for “Out Demons Out”. Eclection made a surprise appearance with a new singer Dorris Henderson replacing Kerrilee Male to sing alongside Michael Rosen. 

Quintessance gave a very good performance that worked well on a sunny afternoon as did Al Stewart. The Deviants appeared in black leather jackets and did a rock set that got the audience going, especially the Angels. There were lots of references to dope and acid and it was evident that the band had participated (along with many of the audience). During the set, a blonde, tattooed and topless women managed to get onto the stage where she also removed her pants and began to dance to the music. She was about to leap on Mick Farren when she was grabbed by roadies and carried off-stage. Soft Machine were brilliant but a bit ahead of the audience at that time and unfortunately, for many it became a little dull rather than providing a climax to the show.

Edgar Broughton 0.00 – 4.54 Quintessence 4.55 – 9.25 Al Stewart 9.26 – 11.48 Deviants 11.49 – 16.04 Edgar Broughton – ‘Out Demons Out’ 16.05 – 19.40

Filmed by Austrian TV at the free concert promoted by Blackhill Enterprises on the afternoon of September 20th 1969.

NEIL YOUNG – ” Young Shakespeare ” Box Set

Posted: February 12, 2021 in CLASSIC ALBUMS, MUSIC
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Just two months after the release of his seminal album “After The Gold Rush”, Neil Young played a solo show at The Shakespeare Theatre, Stratford, CT on January 22nd 1971. The show was filmed and recorded, and the concert shown on German TV later in 1971.

In 2020, while Neil and his team were reviewing his Archive for future projects, Neil re-visited the 16mm film and audio recording of this show that had been preserved in the Archive for almost 50 years. Piecing together the tapes and footage, Neil realized that he had the full concert – the film of which is the earliest live footage of Neil Young performing that is known to exist.

Neil has written on NYA that this show is “superior to our beloved “Massey Hall”. A more calm performance, without the celebratory atmosphere of Massey Hall, captured live on 16mm. “Young Shakespeare” is a very special event. To my fans, I say this is the best ever.”

As an insight into Neil’s prolific song writing at the time, the concert features two songs from the recently released After The Gold Rush but four songs from the classic Harvest album that was still over a year away from being released. The wonderful set list also includes acoustic renditions of favourites such as “Ohio”, “Cowgirl In the Sand”, “Helpless”, “Down By The River” and “Sugar Mountain”.

The ancient analogue tapes have been lovingly restored – resulting in (as Neil says on NYA) “one of the most pure sounding acoustic performances we have in the Archive”.

“Young Shakespeare” is being released almost exactly 50 years after the original performance.

RAT COLUMNS – ” No Stranger to Life “

Posted: February 12, 2021 in CLASSIC ALBUMS, MUSIC
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“Pacific Kiss”, the fourth album from Australian musician David West’s underground pop band, Rat Columns, is out today. Alongside the usual formats, two different vinyl pressings of Pacific Kiss are available – classic black and ‘pastel pink’, both of which are limited to 250 copies.

Pacific Kiss was primarily recorded in a dingy but comfortable practice space in East Williamsburg, Brooklyn. The core of the record is DW, bassist Max Schneider-Schumacher, drummer Dylan Stjepovic and keyboard wiz Joey Fishman. Additional fairy dust was sprinkled by Amber Gempton and Raven Mahon (vocals), Jef Brown (saxophone) and Mikey Young, who found time to contribute some off the wall guitar solos during the mixing process. Pacific Kiss is a record for those astral voyages into the spheres conducted from bedrooms, kitchens, grassy fields and open car windows.

We’re only just announcing this now, but it’s out tomorrow, in stock and shipping. The new record from the Western Australian post-punks adds a layer of jangle hypnotism rarely heard in this context. Pacific Kiss plunges headfirst into an azure sea of upbeat and meditative jams.

Taken from the album, Pacific Kiss, out 12th Feb ’21 on Tough Love.

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