The Kinks lead guitarist Dave Davies has revealed some details about a 50th Anniversary reissue of the band’s 1970 album “Lola Versus Powerman and the Moneygoround, Part One” that’s being prepared for release later this year. Dave tells ABC Audio that his brother, Kinks frontman Ray Davies, finished mixing the collection, which will feature various unreleased bonus tracks, including demos, odd mixes and more. The package includes a matt laminated rigid slipcase featuring the original LP cover reproduced with foil and metallic silver finishes. Three CDs contain: The original album new remaster from original HD master tapes, singles (stereo and mono mixes), B-sides, alternate original mixes, new medleys with Ray and Dave Davies conversations, new Ray Davies remixes and original session out-takes, previously unreleased session and live tape audio, instrumental & acoustic versions, previously unreleased demos and BBC material.

Originally recorded 9th May 1970 at Morgan Studio 1, Willesden, UK for The Kinks classic ‘Lola Versus Powerman And The Moneygoround, Part One’ original album sessions. This fresh, new 2020 remaster was done from the original HD master tapes by expert Kinks engineer Andrew Sandoval, overseen by Kinks frontman Ray Davies. ‘Lola’, which reached the #9 in the US, #2 in the UK and Germany, was the Kinks‘ biggest single success since ‘Sunny Afternoon’ in 1966 and marked the start of big comeback Stateside. The track, written by Ray Davies, allegedly details a romantic encounter between a young man and a possible trans-gender person whom he meets in a club in Soho, London.

The Kinks continuing the 50th anniversary celebration of their studio albums with various new editions of 1970’s “Lola Versus Powerman and the Moneygoround, Pt 1”. The December 18th release via Sanctuary Records is produced in association with The Kinks, with audio and visual content curated by Ray Davies. The original album, released on November. 27th, 1970, included the worldwide hit single, “Lola,” as well as “Apeman,” a top 5 record in many markets.

On November 25th, the band premiered an animated video of “Lola,” telling the story of a romantic encounter between a young man and a possible trans-gender person whom he meets in a club in Soho, London.

From the new collection’s announcement: The concept album, their eighth studio release, is a satirical appraisal of the music industry, including song publishers, unions, the press, accountants, business managers, and life on the road. This classic album appeared during a transitional period for the Kinks, and was a critical and commercial success.

Dave also reveals that one interesting highlight of the deluxe reissue is a section dubbed “The Kitchen Sink Tapes” that features recently recorded conversations between Ray and him discussing various songs from the album. “It’s stuff we recorded before this weird pandemic thing,” he explains. “We met up at Ray’s house, and we just [had an] impromptu kind of conversation, [talking] about ‘Ape Man’ and what ‘Lola’ meant to us and how it came about, and how the ideas for ‘Strangers’ were born.”

Davies also reports that the Lola Versus Powerman reissue will include some demos of the song “Lola” that Ray recorded at his house, and an unreleased demo of the Dave-penned gem “Strangers.”

“Lola Versus Powerman and the Moneygoround, Part One” was released in November 1970. The record featured the enduring hit “Lola,” which peaked at #9 on the Billboard Hot 100 and #2 on the U.K. singles chart. A second single, “Apeman,” only reached #45 on the Hot 100, but was a #5 hit in the U.K. The concept album, their eighth studio release, is a satirical appraisal of the music industry, including song publishers, unions, the press, accountants, business managers, and life on the road. This classic album appeared during a transitional period for the Kinks, and was a critical and commercial success.

Lola Versus Powerman and the Moneygoround, Part One, commonly abbreviated to Lola Versus Powerman, or just Lola, is the eighth studio album by The Kinks, recorded and released in 1970. A concept album ahead of its time, it’s a satirical appraisal of the music industry, including song publishers, unions, the press, accountants, business managers, and life on the road. One of the all-time classic Kinks albums. Although it appeared during a transitional period for The Kinks, Lola Versus Powerman was a success both critically and commercially for the group, charting in the Top 40 in America and helping restore them in the public eye, making it a “comeback” album. It contained two hit singles: ‘Lola’, which reached the #9 US, #2 UK and Germany – becoming the Kinks’ biggest success since ‘Sunny Afternoon’ in 1966 – and ‘Apeman’, which peaked at #5 in the UK and Germany.

Meanwhile, Dave says that he and Ray still haven’t got any concrete plans to release the new music that they’ve worked on together during the past few years. n m,.,m,.mnn m,jhgfduyfdsp-0“We’ve been talking about it,” he reports. “And we’re getting together [soon] with a view to maybe peruse stuff that we got and see if maybe we can and maybe we can’t. And we’ll see.”

The limited deluxe edition is lavishly packaged, with a 50th anniversary deluxe 10” book-pack of that album, containing many previously unreleased tracks and versions.

The December 18th release via Sanctuary Records is produced in association with The Kinks, with audio and visual content curated by Ray Davies. The original album, released on November 27th, 1970,

Lola Versus Powerman’ 50th Anniversary Box Set Available as a Deluxe 10” slipcased book pack (containing 60 page book, 3 x cds, 2 x 7” singles, 4 x colour prints) and on black heavyweight gatefold vinyl, 2CD and 1CD formats.

Most of this footage was taken by my grandfather around the 70s and part of the footage is of me as a child, me at the age I am now. Lakes explores identity and feelings of being lost. We are all bodies that feed into each other to make our own individual lakes. I found a great deal of identity through community and through isolation that sense of self was lost. Through the music video I wanted to find identity through family and heritage. I never really developed a relationship with my grandfather and I found a large sense of self through making the video. Many tears were shed.

Francis of Delirium’s EP Wading consists of three previously released singles and one new track in “I Think I’m Losing.” Taken as a whole, the collection of releases by Vancouver teen Jana Bahrich and Seattle drummer/producer Chris Hewett brings as much heart as it does edge. Bahrich’s range of vocal stylings are on full display, from more mild-mannered indie melodies to half-spoken poetic verses to powerful, emo-infused belts. Paired with grungy, fuzzy guitar, drums and choral harmonies, the duo pack a serious punch. The EP’s new song “I Think I’m Losing” is a stunning, dynamic ballad that pulls all these elements together and finishes the Wading EP with a bang.

Fans of Nirvana, Nilufer Yanya, Julien Baker, The Beths and garage rock of any proportion, we’d like to introduce you to your new favourite band. 90s grunge collides with indie folk and millenial DIY, the Luxembourg-based duo Francis of Delirium release one of the most astute debut bodies of work we’ve ever heard. 

 

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After four years out of the spotlight, AC/DC returned to headlines within the rock community last month with confirmation of a reunion album with their Back In Back era lineup of Brian Johnson, Angus Young, Phil Rudd, and Cliff Williams, along with Stevie Young replacing the late Malcolm Young on rhythm guitar. AC/DC singer Brian Johnson hailed Stevie Young for carrying on the rhythm guitar tradition set by his uncle Malcolm Young on the band’s new album, Power Up.

“You don’t want to step backwards, and I think Stevie’s contribution is the fact that he’s kept up that level,” Johnson tells us. “And Stevie, his part in it is to keep that level exactly where Angus [Young] and Malcolm always wanted it – you know, the best it could be. I think that’s it, really.”

Stevie previously filled in for Malcolm, who died in 2017, on 1988’s Blow Up Your Video tour and joined the group for 2014’s Rock or Bust album and tour when his uncle retired. On Power Up, which comes out Friday, Stevie can be heard playing guitar parts written by Malcolm as he and Angus began crafting the material that became 2008’s Black Ice.

“We had a massive pile of stuff that the two of us had worked on,” Angus says. “Before we had done that album, we had quite a while together writing a lot of stuff together. … At the time, you can only present so much. So, that’s Malcolm’s big contribution. He’s part of all of the songwriting on the album. … I still go away humming a lot of ideas that the two of us worked on through the years.”



Read More: AC/DC Praise Stevie Young for Maintaining Malcolm’s High Standard | https://ultimateclassicrock.com/acdc-stevie-malcolm-young/?utm_source=sailthru&utm_medium=referral&utm_campaign=newsletter_4572276&utm_source=tsmclip&utm_medium=referral



Read More: AC/DC Praise Stevie Young for Maintaining Malcolm’s High Standard | https://ultimateclassicrock.com/acdc-stevie-malcolm-young/?utm_source=sailthru&utm_medium=referral&utm_campaign=newsletter_4572276&utm_source=tsmclip&utm_medium=referral

On Wednesday, the band debuted “Realize” as the second single to appear on their forthcoming Power Up studio album. The album’s lead single, “Shot In The Dark”, was shared with the album’s overall announcement in early October.

“Realize” hears the hard rock veterans deliver a gut-punch of rock and roll adrenaline, opening with the big sounds of rung-out power chords from Angus and Stevie before Phil Rudd’s trademark 4/4 power rhythm pattern comes in to take the reins. 

David Bowie's Live Album Series Continues with 'No Trendy Réchauffé'

The second installment in the posthumous David Bowie live series, Brilliant Live Adventures, will capture a 1995 show in Birmingham, England, and arrive November 20th via Parlophone Records.

“No Trendy Réchauffé (Live Birmingham 95)” was recorded at Birmingham’s National Exhibition Centre on December 13th, 1995 as part of the Big Twix Mix Show Festival. While this marks the first full commercial release of the show, excerpts from it were filmed and aired by the BBC, while Bowie’s performances of “Moonage Daydream” and “Under Pressure” were included on the “Hallo Spaceboy” CD single.

The No Trendy Réchauffé setlist boasts rare live performances of “Jump They Say” and “Strangers When We Meet.” The live album will also include two versions of “Hallo Spaceboy,” the second of which was tied to a music video Bowie was set to release for the song at the time, but never did. The track was eventually remixed by the Pet Shop Boys for a single release and an alternative promotional video was made.

Last month, Parlophone Records announced Brilliant Live Adventures, a new series of releases from the late David Bowie collecting six rare and previously unreleased live albums from the 1990s to be released in limited-edition, one-time pressings on both CD and vinyl.  The first three albums have all been promised for release before Christmas, with the remaining trio due early in 2021.  Ouvrez Le Chien (Live Dallas ’95) was the first volume; today, the second has been announced.

“No Trendy Réchauffé (Live Birmingham ’95)” was filmed and recorded almost two months to the day after the Dallas show on Ouvrez Le Chien.  The title phrase translates to No Trendy Rehash, and indeed, Bowie was in spirited, original form that evening in Birmingham.  It was the final night in 1995 of the Outside Tour, and the opening night of the Big Twix Mix Show festival.  Bowie marked the occasions with rare performances of Black Tie White Noise‘s “Jump They Say” and Outside‘s “Strangers When We Meet,” and took the audience on an electrifying trip from past (“Moonage Daydream,” “Under Pressure,” “The Man Who Sold the World,” “Scary Monsters (And Super Creeps)”) to present (“I Have Not Been to Oxford Town,” “The Motel,” “We Prick You,” “Hallo Spaceboy”).

Portions of the show were aired on the BBC, versions as heard here are previously unreleased, presented as exactly as they were performed in Birmingham.  The disc also features a second version of “Hallo Spaceboy,” filmed as “Spaceboy” for a potential music video.  

The concert features Bowie accompanied by Carlos Alomar on rhythm guitar, Reeves Gabrels on lead guitar and vocals, Gail Ann Dorsey on bass and vocals, Zachary Alford on drums, musical director Peter Schwartz on keyboards and synthesizers, George Simms on vocals, and Mike Garson on piano and keyboards.

No Trendy Réchauffé (Live Birmingham ’95) is exclusively available for pre-order now from David Bowie’s official webstore on both CD and vinyl.  The expected ship date is November 18th.  

David Bowie, “No Trendy Réchauffé (Live Birmingham ’95)” (Parlophone, 2020)

The Brilliant Live Adventure series was announced back in October and will comprise six live albums recorded during the Nineties. The first, Ouvrez Le Chien, featured a Dallas, Texas, show from 1995 and was released at the end of October. One more album is expected to arrive before Christmas 2020, while the remaining three records will be released in early 2021.

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Joni Mitchell and her band performed at Holland’s Congresgebouw venue, in the Hague, a show which was generally considered to be among the finest of the tour. The entire set they played that evening is now featured on this vinyl for the first time!. From Joni Mitchell‘s 1983 Tour. In early 1983, Joni Mitchell began a world tour, visiting Japan, Australia, UK, mainland Europe and the United States and Canada. Promoting her first Geffen album, “Wild Things Run Free”, released in October the previous year, the Refuge World Tour, as it was known, was Joni’s most extensive jaunt to date taking up the complete first half of the year. On 27th April, Joni Mitchell and her band – which included Russell Ferrante on keyboards Michael Landau on guitar, Larry Klein on bass and Vinnie Colaiuta on drums – performed at Holland s Congresgebouw venue, in the Hague, The entire set they played that evening is now featured on this album for the first time, providing a chance for fans to finally hear this previously unreleased radio broadcast recording.

At 51 minutes it isn’t the longest, but it’s everything transmitted on Dutch radio. Any long term fan of Joni will not be disappointed seeing release because of relaxed EU laws allowing publication of concerts transmitted on TV or radio by independent labels this is a well put-together package. Joni had developed the rock theme at the encouragement of then husband Larry Klein, a superb bass player and featured here to great effect with the bass mixed high on tracks where Joni is accompanied by the band. That band includes Vinnie Colaiuta, one of the world’s great drummers who provides fabulous backing; Michael Landau, often adding beautiful washes of colouring on lead guitar; and keyboardist Russell Ferrante. This was a five-star band, shown off to terrific effect on this album with many familiar songs given entirely new arrangements as a result and is worth obtaining for fans of Joni on that basis alone.

I was fortunate to catch this tour at Birmingham, and whilst that was an experience I shall long remember this album, together with “A Woman In The East” recorded in March 1983 (but featuring quite a different song selection) . A relaxed Joni rings the changes, playing electric guitar, acoustic guitar, grand piano and dulcimer – although memory recalls on some songs she was simply happy to act as lead singer to the well-integrated, tight backing band. At the time of release “Wild Things Run Fast” was a bit of a curio, with previous album “Mingus” so deeply grounded in jazz this was a shock, completely out of left field. Hindsight reveals that whilst Joni didn’t stay with the rock theme for long it was certainly not a cul-de-sac. Tracks like “Refuge Of The Roads”, originally from “Hejira” stand out, with Klein a very different bassist than Jaco Pastorius and no drums featured on much of that album. Indeed, the set opens up with a simply superb rendition of “Coyote” from that same album, setting a high benchmark for what was to come.

Joni pleases older fans by delving into her back catalogue, and there are satisfying versions of “Real Good, For Free”, “Big Yellow Taxi”, A Case Of You”, “You Turn Me On I’m A Radio”, and “Don’t Interrupt The Sorrow” which are all very enjoyable renditions. The concert does feature a good quantity of “Wild Things Run Fast” amongst it’s 12 tracks and these sit comfortably amongst the classics. For anyone who can’t get enough of Joni and wishes her health would improve enough to release new music there’s potentially a long wait.

Setlist: 1. Coyote 2. For Free 3. Big Yellow Taxi 4. A Case Of You 5. You Turn Me On I’m A Radio 6. You’re So Square 7. Solid Love 8. Love 9. Ladies’ Man 10. Don’t Interrupt The Sorrow 11. Refuge Of The Roads 12. You Dream Flat Tyres

Derek and The Dominos‘ 1970 album “Layla and Other Assorted Love Songs” is being reissued for its 50th Anniversary as a deluxe 4LP vinyl set and across two CDs.

The original album has been half-speed mastered by Miles Showell at Abbey Road Studios and, being a double, is pressed on two LPs. Two further records of bonus material (not half-speed mastered) make up this 4LP deluxe box set.

Layla and Other Assorted Love Songs was celebrated back in 2011 with a deluxe, cross-format box set that featured the remastered original album (on CD, vinyl and in a 5.1 surround mix on DVD), 1973’s In Concert, and a disc of 13 bonus tracks, including new mixes of outtakes from the supergroup’s unfinished second album and a live set from The Johnny Cash Show. This new box strips things back somewhat, offering the half-speed mastered album and the 13 bonus cuts across four LPs along with the 12″ x 12″ book from the 40th anniversary set and a certificate of authenticity.  (The 2CD 40th anniversary edition will also go back into print as well, ostensibly for the 50th anniversary.) Alongside this is a further 2LPs of bonus material some of which has previously been unreleased on vinyl. All the bonus material across all of LP3 & LP4 is mastered normally (so is not half-speed mastered).

Layla was the end result of four members of Delaney & Bonnie Bramlett’s touring group – guitarist Eric Clapton (already well-known for work with Blind Faith, The Beatles and many more), singer Bobby Whitlock, bassist Carl Radle and drummer Jim Gordon – coming together for a brief but fruitful series of sessions. (Their earliest session produced the briefly issued single “Tell the Truth,” produced by Phil Spector and featuring guitar work from Dave Mason and George Harrison.) The Layla sessions also featured scintillating guitar contributions from Duane Allman. Despite the album’s pedigree, the album never performed to expectations, and tragedy followed the group: Allman was killed in a motorcycle crash in 1971, Radle died in 1980 after years of drug abuse, and Gordon remains institutionalized after killing his mother during a schizophrenic episode in 1983.

But gradually, Layla‘s title track took hold as one of Clapton’s crowning achievements: written about his insatiable infatuation with Harrison’s wife Pattie Boyd (who indeed had a decade-long marriage with the guitarist after divorcing the Beatle), “Layla” became a Top 10 hit on both sides of the Atlantic in 1972; in 1990, its Gordon-led piano outro scored a pivotal scene in Martin Scorsese’s Goodfellas – and three years later, a striking acoustic performance for MTV’s Unplugged won a Grammy Award.

“That thing was like lightning in a bottle,” begins Bobby Whitlock talking about his short-lived band time with Eric Clapton, Derek and the Dominos. “We did one club tour, we did one photo session, then we did a tour of a bit larger venues. Then we did one studio album in Miami. We did one American tour. Then we did one failed attempt at a second album.” And all within about a year’s time in 1970.

So in this case, the oft-overused flash of lightning description is right on the money. And Whitlock was a key part of the kinetic energy behind what’s considered a genuine landmark in not just Clapton’s career but the entire classic rock genre: the 1970 album Layla and Other Assorted Love Songs, co-writing six of the double album’s 10 original songs, and bringing his soul-soaked Deep South keyboard skills to the musical mix, taking the vocal lead on two tracks and doubling/trading off with Clapton throughout the rest of the album.

Now, five decades later, he is the keeper of the Dominos legacy. And the dedicated survivor of a star-crossed band if there ever was one. After the band’s short flash as a working act, he descended into some three years of heroin adduction and seclusion. Duane Allman, who played on most of Layla, was killed in a motorcycle crash on October 29th, 1971. Bassist Carl Radle recorded and played with Clapton later in the ’70s and died of a kidney infection, exacerbated by his alcohol and drug abuse, in 1980. Drummer Jim Gordon as well continued to engage in substance abuse, damaging his career with behavioural issues. In 1983, he murdered his mother, claiming a voice in his head had told him to do so. He was diagnosed with paranoid schizophrenia and has remained incarcerated ever since.

Whitlock stresses “We were better than anybody.” One of the key elements that made them what he feels were the Greatest Rock ‘n’ Roll Band for that all-too-brief time was Whitlock’s deep Southern musical soul. Growing up a preacher’s kid in a family poor as a church mouse, he was weaned on spiritual music (and did some cotton picking in his youth). Coming of age in Memphis, Whitlock was steeped in R&B in the city where white rock ‘n’ roll was born at Sun Studio.

Although Whitlock, only 22 years old at the time, helped Clapton all but define anguished unrequited love in the most profound rock ‘n’ roll terms and tunes on songs like “Why Does Love Got to Be So Sad,” “Tell the Truth” and “I Looked Away,” his own ultimate love story is something quite different, and a rather delightful one at that. Though his post-Domino years were not without their struggles, today he’s blissfully married and in musical partnership with singer, bassist, guitarist, sax player, songwriter, recording engineer and producer CoCo Carmel.

Whitlock, Clapton, Radle and Gordon became part of the core crew on the sessions for Harrison’s post-Beatles debut, All Things Must Pass. When Harrison had business elsewhere for a few days, he told the four to use the studio time with producer Phil Spector to cut some tracks, which yielded the debut Dominos 45, “Tell the Truth” b/w “Roll It Over.”

Whitlock says of Clapton, “He wanted to be Derek not Eric. He wasn’t ready to step into his role of as a solo artist at that time.” The four musicians did a show at London’s Lyceum Theatre, and then set off on a tour of small English venues as Derek & the Dominos where the admission was £1, and Clapton’s name was forbidden to be used in any advertising. In late August of ’70, the Dominos arrived at Criteria Studios in Miami to record with producer Tom Dowd. He took them to see the Allman Brothers Band, Clapton and Duane Allman bonded, and the latter joined the Layla sessions to help create some of the most incendiary dual guitar rock ever recorded. The album was suffused with Clapton’s passionate longing for his best friend Harrison’s wife Patti Boyd – interestingly, while in England Whitlock dated her sister Paula – and even though it was only a middling hit on its release, over time its stature grew to become considered a rock ‘n’ roll masterpiece.

The vinyl box comes with a 12×12″ book of sleeve notes taken from the 40th-anniversary edition. A 2CD edition will also be made available which is effectively identical to the double-CD edition issued in 2011.

The big 40th anniversary box set (which was 4CD+DVD+2LP) featured a surround sound mix on the DVD. Since that is now very hard to get hold of, it’s disappointing that the DVD hasn’t been included as with the two CDs to make a triple disc package.

Layla and Other Assorted Love Songs will be reissued on 13th November 2020.

 

Prince – “Purple Rain” – The Concert 10-Inch Double Album on Purple Vinyl in Gatefold Sleeve Limited To Just 2000 Numbered Copies!. This limited edition 10-inch collector’s double album pressed on purple vinyl comes in a gatefold sleeve. This is the ultimate anthology featuring Prince performing tracks drawn from his classic album “Purple Rain”.

The live-to-air broadcasts collected together on this anthology reflect Prince at his very best. This is Prince with no second chances, no prospect of retakes and no overdubs. Here is the ultimate proof of the quality of Prince as a revolutionary music phenomenon and an inspiring artist. Prince had an incredible ability to deliver the most amazing performances in the live arena. The evidence of that fact lies in the wide variety of performances which were broadcast live-to-air without a safety net.

The tracks on this album are drawn from two legendary shows. Firstly there is a wonderful show from on Syracuse On March 30th, 1985, Prince and the Revolution performed in Syracuse at the Carrier Dome where they taped Prince and the Revolution: Live, which was distributed on VHS after the tour was completed on July 29th, 1985. The concert was also broadcast live throughout Europe.

Also featured is the landmark Madrid radio broadcast on 22nd June 1990.

The deluxe limited collector’s set includes a unique QR code which unlocks a full-length E-book and audio documentary.

Track Listing:

Side A
1. Let’s Go Crazy
2. I Woud Die 4 U
3. Little Red Corvette

Side B
1. Computer Blue
2. Darling Nikki
3. The Beautiful Ones

Side C
1. Purple Rain
2. Take Me With U
3. When Doves Cry

Side D
1. 1999
2. Kiss
3. Baby I’m A Star

 

Release date: 7th January 2021

Electronic music played by a rock band, or post rock you can dance to. Reverb-drenched kosmische mixed by Four Tet and mastered at Invada (Portishead, BEAK. “Barking to Gospel” was written over the past year at the band’s rehearsal studio in Hackney, and then recorded live over a weekend just before the UK went into lockdown. As the world ground to a halt, the band sent the raw files to Kieran Hebden (FOUR TET), who agreed to mix the EP while self-isolating in upstate New York, and then the EP was mastered at Invada, the studio run by Geoff Barrow. 

Electronic music played by a rock band, or post rock you can dance to. Reverb-drenched kosmische.

For fans of: NEU!, Public Service Broadcasting

Original release: 16 September 2020 “Barking to Gospel” Sonic Deterioration, Original release: 16th September 2020 on Limited Edition 12″ Black Vinyl, signed by the band – exclusive edition of 50 only.

An incredible mix of 90s grunge and millennial DIY from a duo we can comfortably call our favourite two-piece from Luxembourg. “All Change” is the debut EP by the Luxembourg-based, Canadian-American duo Francis Of Delirium, a band fast on the rise. First appearing back in January with the instantaneous track ‘Quit Fucking Around’, Francis Of Delirium have caught attention by making a powerful sound where 90’s grunge collides with indie folk and millennial DIY; different generations of rock explained in part by 18 year-old songwriter Jana Bahrich being thirty years junior to her collaborator Chris Hewett. 

A highly creative and self-contained duo, intimacy and vulnerability lies at the heart of their music, made impactful by Jana’s high energy vocals and genuine passion to connect with each member of the audience. All Change perfectly illustrates this, a five-track primer that not only delivers on their early promise but shows they’re just getting started.

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Limited Edition Black Vinyl LP + signed drawing [by FoD’s Jana Bahrich – exclusive edition of 250 First time on vinyl, 

 

Vancouver art collective Crack Cloud have shared their debut album “PAIN OLYMPICS”, marked by album highlight and lead single “Ouster Stew.” It was self-produced and written and recorded in Calgary and Vancouver between June 2017 and December 2019. The group’s previous release was their 2019 single “The Next Fix,” which followed their exceptional 2018 self-titled EP. Earlier this year, Paste featured them in our list of 30 Canadian artists you need to know in 2020. In comparison to the tightly-coiled, guitar-driven post-punk of their self-titled release, “Ouster Stew” is more colorful and eccentric—adding synths and saxophone into the mix. Lead singer Zach Choy’s (the group are adamant not to call him a frontman, doubling down on their decentralized model) vocals are positively waggish as their guitars squawk with an art-rock-meets-funk vivacity.

Like Psychic TV before them, Crack Cloud have a philosophy, and one that they are not afraid to wear on their sleeves. While their anarchic, phantasmagorical visuals, heavy use of symbology, and seemingly never-ending cast of colourful collaborators have often invited cult comparisons, this really does the collective no justice.

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There is no apocalyptic death drive here; no cult of personality; no hierarchy of power. While frontman and lyricist Zach Choy is in many ways the face of the group, the collective is one founded on equality, and in his cryptic lyrical blending of poetics, polemics and personal experience, Choy is truly the mouthpiece of something far larger than himself. Nowhere else is this more apparent than on the album’s first single, ‘The Next Fix.’ What begins as a caustic, claustrophobic account of addiction swells into a sprawling, euphoric hymn as Choy is joined by a choir of seemingly endless celestial voices. Less a cult then; more a church. Listening to this song or watching its accompanying self-directed video is a truly spiritual experience, and in its building, jubilant movement it offers a glimpse of Crack Cloud’s most vital message: using community to turn adversity into hope.

This isn’t just bravado; its a story born of deep, personal experience. Crack Cloud operate on the frontline of Canada’s out-of-control opiate crisis, mobilising and organizing in Vancouver’s harm reduction programmes.

The group themselves have had their fair share of trauma, and the collective LP offers its members a vital vehicle for rehabilitation and recovery. As the tagline on the album’s back cover makes clear then, this is absolutely ‘based on true shit.

Part Three of the “Pain Olympics” 2020 series, made DIY by the Crack Cloud Media Collective