Posts Tagged ‘4AD Records’

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Earlier this year, record label 4AD announced the long awaited release of The Breeders‘ fifth album ‘All Nerve’, out on 2nd March. It’s an album five years in the making, with work beginning after a string of shows to celebrate the 20th anniversary of their second album ‘Last Splash’. Since this is their first album release in 10 years, and marks the reunion of the ‘Last Splash’ lineup of Kim and Kelley Deal, Josephine Wiggs, and Jim MacPherson,

The Breeders‘ first four albums will be reissued on vinyl by 4AD next month. All of the Breeders’ previous albums  Pod, Last Splash, Title TK, and Mountain Battles – will be re-issued on vinyl on 18th May.

With their new album All Nerve released last month, The Breeders have now confirmed plans to reissue their first four albums on vinyl . The reissues will arrive via 4AD, with their debut Pod from 1990, 1993’s Last Splash, Title TK from 2002 and their last album before their extended hiatus, 2008’s Mountain Battles all the subject of the reissue plans.

The band will play a handful of shows in the UK and Ireland in late May folllowing the release of the reissues taking in dates in Belfast, Dublin, Edinburgh, Leeds and London, before returning for a further few shows in July.

The Breeders continue to tour their latest album All Nerve with further European dates announced for November.  The group will also play two shows before FYF Festival in July.  Currently on the road in North America,

Pod

Pod,

The 1990 debut featuring the line-up of Pixie’s Kim Deal, Throwing Muses’ Tanya Donelly, the Perfect Disaster’s Josephine Wiggs and Slint’s Britt Walford, was recorded by Steve Albini.  Kurt Cobain listed the record as one of his top three favourite albums saying, “the way they structure [the songs] is totally unique.”  Critically acclaimed when it came out, Pod’s legacy lives on It was “blissful mindfuck of a record,” and ranked it in their Best Albums of the 90s.

Back in 1989, and with tension mounting in the Pixies between Kim Deal and Black Francis, The Breeders‘ first demo’s were recorded between Kim and Throwing Muse‘s Tanya Donnelly after they met while touring together in their respective bands. This would lead to the release of debut album ‘Pod’ in 1990, an album which would receive critical acclaim from the music press. It’s rough, visceral, owing largely down to the simplistic production which allows the attitude with which the band play their instruments to carry through the record. No where is this more apparent than on the incredibly original interpretation of The Beatles‘ ‘Happiness Is A Warm Gun’, a track injected with attitude here. The true strength of this album is in listening to it as a collective whole, as each song lends something to the experience. Their best was yet to come however…

Last Splash,

Recorded in 1993 by what is now regarded as the ‘classic’ Breeders line-up of Kim and Kelley Deal, Josephine Wiggs and Jim Macpherson.  Including the twisted pop singles ‘Cannonball’ and ‘Divine Hammer’, it has become one of the defining albums of the 90s.

What else? The Breeders‘ quintessential 1993 album ‘Last Splash’ followed on from the warped and jagged ‘Pod’ by throwing caution to the wind, producing an erratic, distorted, and yet intensely textured masterpiece of 90’s alt-rock. The results of their almost sarcastic jab at the crossover between chart success and the alt-rock/grunge movement landed Kim and the band with unexpected commercial success; ‘Last Splash’ would eventually go platinum in the United States, and lead single ‘Cannonball’ filled dance floor’s up and down the country. While ‘Cannonball’ is still their most recognisable song, ‘Last Splash’ delivers throughout, taking a number of detours along the way; ‘Invisible Man’, with it’s grinding, hazy guitar hooks and string arrangement; ‘Do You Love Me Now?’, with it’s brooding, chugging guitar in ode to feeling lovesick; and ‘Flipside’, a sub 2 minute instrumental blast of sheer joy, with a playful guitar line and copious amounts of cymbal smashing. ‘Last Splash’ presents The Breeders at their best; inventive, eccentric, effortlessly cool, and full of a vigour lost among the grunge crossover bands of the early 90’s.

Title Tk [Explicit]

Title TK

2002’s Title TK saw the band work with Steve Albini once more, with the Guardian saying it was “a welcome return to punky pop that knows how to flex some melodic muscle.”  The album has been out of print on vinyl since its release. Ending a 9 year hiatus, The Breeders came back in 2002 with ‘Title TK’, a tuneful yet melancholy and skeletal album at odds with their previous work. It drifts between different tones seemingly on a track by track basis, a little unsettled and unsure of itself, yet there are moments here of brooding which are reminiscent of early work by PJ Harvey; in the dark punk sounds of ‘Little Fury’ and ‘Son Of Three’, and in the soft ballad ‘Off You’.

On release, critics weren’t as enthralled with ‘Title TK’ as they had been with previous album ‘Last Splash’, lamenting the albums lack of creative flare and citing an unoriginal re-recording of ‘Full On Idle’ (originally recorded by Kim Deal’s other side project The Amps) as evidence of this. Retrospective listeners, however, have noted that ‘Title TK’ works more under the pretext of a concept album; a record about the absence of things, or about losing things and making do in order to move forward.

Mountain Battles

Fourth album Mountain Battles, a perfectly formed album of 13 miniatures in 36 minutes engineered by Steve Albini, was originally released in 2008.  Like Title TK before it, Mountain Battles has been out of print since its release.

Another gap followed the release of ‘Title TK’ before The Breeders were ready to release their most recent album ‘Mountain Battles’. With a more stable lineup this time around, ‘Mountain Battles’ sees progression from ‘Title TK’ in terms of attitude; it’s more optimistic, defiantly so, and finds the band willing to return to throwing in tracks from left field. ‘Istanbul’ is an understated eastern-style chant, while ‘Regalame Este Noche’ provides a hint of Spanish slow-dance to the proceedings. Although it takes a little time to warm up, ‘Mountain Battles’ is a largely successful return to the spiky, inventive sound The Breeder‘s had used so effectively during their earlier years.

All Nerve

All Nerve

The Breeders’ fifth studio album, saw the iconic line-up of Kim and Kelley Deal, Josephine Wiggs and Jim Macpherson reunite for the first time since the release of the platinum-selling album Last Splash. Released earlier this year, critics and fans welcomed them back with open arms and they scored their highest chart positions – including top 10 in the UK – in 25 years.

The Breeders - New European Tour Dates, Back Catalogue Vinyl Reissues

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The Lemon Twigs - Release New Songs, 'Foolin' Around' & 'Tailor Made'.

Brian and Michael D’Addario are currently putting the finishing touches on The Lemon Twigs’ second album for 4AD Records, which they’re making in their 24-track analog basement home studio. In the meantime, they’ve just released two new songs — “Foolin’ Around” and “Tailor Made” — both of which are in much more of a straight-up rock style than anything on The Lemon Twigs Do Hollywood, pulling from ’70s riffers like Big Star, Cheap Trick and Thin LIzzy. These tracks won’t be on the new album

Foolin’ Around‘, from ‘Foolin’ Around/Tailor Made’ EP. Released on 28th March on 4AD Records.

The next record’s a musical and, naturally, any song that didn’t fit the concept we left off. “Foolin’ Around” was written by Michael. I think that we both wanted to write some songs that didn’t digress at all musically and were clear in meaning. “Tailor Made” was written by both of us when we were playing acoustic guitars together, which isn’t typically the way we write. It’s the first truly co written song that we’ve released

‘Tailor Made’, from ‘Foolin’ Around/Tailor Made’ EP. Released on 28th March on 4AD Records.

BellyImage may contain: text

Exclusive 4 track release for Record Store Day; two tracks from upcoming album “DOVE”  due out May 4th and two unreleased tracks.This is the first new release from legendary 4AD Records band Belly for over 20 years. The band scored two Grammy nominations, two UK top 10 albums, covers of Rolling Stone, NME and more in their heyday – now the original lineup has returned with this exclusive Record Store Day release.BellyBellyBelly

Exclusive for Record Store Day 2018 we’ll be releasing FEEL, a 4-song, 10” colored-vinyl EP with 2 tracks from the upcoming album , an exclusive track, and our cover of Hushabye Mountain. Available April 21st at your local independent record store!

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‘All Nerve’ – the first new album from The Breeders in a decade – reunites band members Kim and Kelley Deal, Josephine Wiggs and Jim Macpherson, the lineup behind the iconic and platinum-selling record, ‘Last Splash’.
The quartet returned to the stage in 2013 to celebrate the album’s 20th anniversary and have been quietly working on new material since then.
Featuring the tracks ‘Wait In The Car’ and title track ‘All Nerve’, recording took place at Candyland, Dayton, Kentucky, with Mike Montgomery; Electrical Audio, Chicago, with Steve Albini and Greg Norman; and with Tom Rastikis at Fernwood Studios, Dayton, Ohio.
Artwork was conceived by Chris Bigg, who has worked with The Breeders since their first album, ‘Pod’. ‘All Nerve’ is released on CD and 180g black vinyl with digital download card. It’s also available to us pressed on 180g orange vinyl with alternate artwork and digital download code. Released via 4AD Records.

‘All Nerve’, the new album by The Breeders, will be released on March 2nd 2018 on 4AD Records.

The album is available on standard black vinyl, indie-exclusive orange vinyl (w/ alternative cover), CD and digital services. It is available to pre-order now. Bundle options are available from the band and 4AD, including the final ‘Wait In The Car’ 7” and t-shirts:

 Tracklist:
1.Nervous Mary
2.Wait In The Car
3.All Nerve
4.MetaGoth
5.Spacewoman
6.Walking With A Killer
7.Howl At The Summit
8.Archangel’s Thunderbird
9.Dawn: Making An Effort
10.Skinhead #2
11.Blues At The Acropolis
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They may have been away from the spotlight for a while, but the Breeders haven’t had their last splash. Today, the band released “Nervous Mary” It’s the third single from their upcoming album All Nervetheir first in a decade.

Following the release of “Wait in the Car” and the title track, “Nervous Mary” which opens the record, after nearly 30 years in the music business is only their fifth LP. Due out March 2nd via 4AD Records, the album features the same lineup as their seminal 1993 record Last Splash — which includes frontwoman Kim Deal, her twin sister Kelley on guitar, Josephine Wiggs on bass and drummer Jim MacPherson. The group reconnected in 2013 to celebrate the 20th anniversary of the album with a series of shows.

Kim thought I hated her, and I thought she hated me,” for 15 years, Macpherson told the New York Times. The group has learned how to appreciate one another and get along, a big part of which was the Deal sisters finding sobriety.

“Nervous Mary” focuses on a central character who never gets what’s coming to her. “Nervous Mary had a nervous day/ Oxbow, strange glow/ She runs for the exit, but she never got away,” the Deals sing.

‘All Nerve’, the new album by The Breeders, will be released on March 2nd 2018 on 4AD Records:

Belly was an rock band formed in 1991 by former Throwing Muses members Tanya Donelly (who was also in The Breeders) , joined forces with the Gorman brothers Thomas and Chris (on guitars and drums respectively) and bassist Fred Abong to launch Belly Star” was their debut album by this American alternative rock band Belly.

It was released in 1993 and was an unexpected success. With their jangling, over driven guitars and breathless, mysterious vocals, Belly suggests the hard/soft edge of electric girl groups and power pop bands like The Bangles.

Much of Star is like looking through the world from the otherside of the glass. From the ominous foreboding of “Low Red Moon” to the heady frenzy of “Slow Dog”, the whole thing drifts and jumps majestically. Marbled and distorted colours and sounds make new, hypnotic shapes. It’s the realm of dreams made into music.

The energy and infectious indie-pop hooks still have me dancing around the kitchen whenever it makes one of many outings. The guitar jangles are still as elastic and rawkus as ever and Tanya Donnelly’s otherworldly and haunting vocals still intoxicate me.  Using the trance like harmonies of dream pop as a foundation, Donelly expands the genre’s boundaries, trimming away its pretensions and incorporating a flair for sweet, concise pop hooks and folk-rock inflections. She also spikes her airy melodies with disarmingly disturbing lyrics. Images of betrayal and death float throughout the album, but what hits home initially — and what stays after the album is finished — are the hooks, whether it’s the rolling singalong of “Gepetto” the surging “Slow Dog,” the melancholy “Stay” .

Belly’s second single ‘Gepetto’ taken from their debut album ‘Star’ – featuring Tanya Donelly (formerly of Throwing Muses and The Breeders), Chris Gorman and Tom Gorman. Bass on the first Belly album comes from former Muses bassist Fred Abong, who was later replaced by Gail Greenwood.

Donelly named the band “Belly” because she thought the word was “both pretty and ugly.”Their EP, Slow Dust (1992), made it to number one on the UK indie chart. Soon after, their single “Feed the Tree” made the Top 40 in the UK Singles Chart and their first album, Star (1993), hit number two on the UK Albums Chart.
In the United States, the album was certified gold, largely based on the success of “Feed the Tree” played on Modern Rock radio stations and MTV, where the video was featured as part of MTV’s Buzz Bin videos and Alternative Nation video show for much of 1993. Two follow-up singles were released, “Gepetto” and “Slow Dog” but neither matched the initial success of “Feed the Tree.” Star was consequently nominated for two Grammys. The album went on to sell over 800,000 copies in the US alone and two million worldwide.[citation needed]
In the spring of 1993, they embarked on a US tour supported by Radiohead

Recorded Sound Emporium Studios, Nashville, Tennessee
Amazon Studios, Liverpool, England .

U.S. Girls - U.S. Girls Details New Album, Shares 'Woman's Work'

Meg Remy of U.S. Girls U.S. born, Toronto-based Remy releases her sixth album, the remarkably vibrant and lush In a Poem Unlimited, comes out via 4AD and Royal Mountain Records in a couple weeks. The first single is a funky disco tune called “Mad As Hell”… so she’s been asked about women, and anything about women currently, quite a bit. “It just so happens that right now a lot of the things I’ve been talking about for the past ten years of doing this project are all coming to a head in the mainstream consciousness,” she says.

Talking about #MeToo, is that it could quickly become a monetized and opportunistic hashtag, not at all what Tarana Burke intended. “The real interesting thing could be if #MeToo and feminism, and these kind of topics, could evolve another level where they start critiquing all the systems in place and how this relates to people of color, workers, [issues] across the board. While Remy is fine to ride for causes she’s been championing for years personally, it’s entirely another thing when her politics, especially in today’s discourse, are more prominently entangled with her art.

The second track to be heard from the album, ‘Woman’s Work’, debuts today, accompanied by another
hypnotic video directed and edited by Remy.  Following up on the release of the mutant dub of ‘Damn That Valley’ earlier this year, ‘Woman’s Work’ builds further anticipation and intrigue; Remy has delivered a nagging, arpeggio-laced stormer, picking away at the themes of beauty and neurosis, with a video that examines our collective paralysis in the face of ageing.

Her last record, was the critically acclaimed Half Free, was so searing in its portrayal of the female experience—of the Everywoman, as it were—that an expectation is there now for her to contribute going forward.

In A Poem Unlimited builds on and maintains a portrait of a more intimate self but it is a much fuller, ornate record. Remy sings about personally affecting, relatable experiences, like on “Pearly Gates,” a jazzy glam song that got its inspiration from an anecdote she’d heard about a man promising to pull out during sex. (“Peter bragged he was good at pulling out/ He always knew the right time to take a bow,” she sings.) On “L-Over,” reminiscent of a yesteryear pop break-up tune, with a swooping airy intro and horns, Remy sings, slyly, almost a smirk to cover the pain, “Can you imagine trying to get some satisfaction out of a stone?” Her music sounds plucked from 60s pop, a time so emboldened by innocence and nostalgia, While recording “Velvet For Sale,” Remy physically positioned herself in a contorted position for us to vocally hear what the character was going through; that breathy, quiet tone singing, “You’ve been sleeping with one eye open because he always could come back, ya know? And you’ve been walking these streets unguarded waiting for any man to explode.”

Remy’s goal on this record was to push herself out of her comfort zone. “It was more… about being in a studio and working with a band and challenging myself more that way—which was, you know, I’ve not much experienced the studio setting,” she says. “I’m not a technical kind of musician. I don’t really work in that way. Going into a studio with a lot of players who have the experience and know what they are doing was very intimidating.”

“I could never in a million years try to claim that I did all of this. I couldn’t,” she stresses. Remy worked with 20 people on this album. Her husband, Maximilian Turnball (also known as Slim Twig), contributed on the album.  Steve Chahley, her engineer and mixer, has production credits on a number of the songs. Kieran Adams from DIANA plays drums. Basia Bulat does vocals. Simone Schmidt of Fiver, whose devastating song “Rage of Plastics” Remy covers on the album, came in to help with the arrangement. Louis Percival, of Onakabazien, has writing and production credits too. Remy emphasizes her responsibility of being the owner of her own stories as a woman but it took a community to make this record and one she was happy to lean on and give credit to.

‘In A Poem Unlimited’, the new album by U.S. Girls, will be released on February 16th 2018 on 4AD Records

Cocteau Twins

4AD Records are re-pressing two more Cocteau Twins records on vinyl this coming March, the albums “Head Over Heels” and “Treasure”.  These are the latest additions to our ongoing reissues from the band, following Blue Bell Knoll, Heaven or Las Vegas, Tiny Dynamine / Echoes In A Shallow Bay and The Pink Opaque.

Using new masters created from high definition files transferred from the original analogue tapes, both albums are being pressed on 180g heavyweight vinyl and come with download codes.  Digital HD audio versions of both albums will also be made available through specialist retailers at the same time.

When they first emerged in the early 80s, the Cocteau Twins were compared most often to Siouxsie & The Banshees, but in truth they never sounded like anyone  or anything else. Taken together, their nine albums, and sixteen EPs/singles, sound less like a band and more like an element of nature.

Which was very 4AD. Ivo Watts-Russell has always claimed that his aim was to unearth music that was timeless, free of any trend, movement or era and even in their earliest incarnation, the Cocteau Twins were true to that remit, firmly charting their own course. The band’s name was plucked from an old Simple Minds track, but the foundations were laid some time before, when old school friends Robin and Will saw Liz dancing in a disco. In a stroke of precognitive genius, the boys decided that if Liz could dance that well, then she should be able to sing that well, too.

Some time later, Robin’s chance meeting with early 4AD signings The Birthday Party resulted in a tape being sent to Ivo, who was thrilled by what he heard, and encouraged them to record more. Plans for a debut single were shelved, and the stark, mercurial Garlands appeared instead. Describing it as “haunting”, “spellbound”, “diaphanous”, and discerning a “frosting of sweetness”, the critics wore out their adjective; this was rock music  just – but it was conjured in the unlikeliest environment from the strangest of material. They stayed a trio, with a drum machine on board, so preserving their tightly knit, private world. In fact, that world was diminished rather than expanded when, after two EPs and a European tour, Will Heggie left, leaving Robin and Liz, by then a couple, to carry on as a duo. The pair recorded the Head Over Heels album and the Sunburst And Snowblind EP in 1983. On these recordings, Liz could be heard forming her own language recognisable words emerging and submerging in a maelstrom of her own, coated and drowned in Robin’s swelling guitar lines. Bass player Simon Raymonde, formerly of The Drowning Craze, joined the band at the end of 1983.

A trio again, the band recorded The Spangle Maker EP, which included the majestic ‘Pearly-Dewdrops’ Drops’, their first Top 30 hit. With Simon on board, the band developed bottom end, deeper eddies and currents, but an increased lightness of touch, too. They were evolving with each release, with Liz especially pushing herself further and further. Back in the studio, 1984’s Treasure brought more layers of ornateness, opaqueness and stateliness to the band’s sound. This time, Liz’s songtitles were names: not just ‘Lorelei’ and ‘Pandora’, but ‘Ivo’, ‘Persephone’ and ‘Aloysius’ too. Liz, in her naivety, never considered that people might put those titles and the album cover (all lace and shadows) together, and came up with the ‘fey Victoriana’ tag that the trio came to hate. Despite this sort of misinterpretation, the music continued along its own resolute path, through three EPs in 1985: Aikea-Guinea, Tiny Dynamine and Echoes In A Shallow Bay. Each one signalled a move towards an increasingly abstract ‘floating’ sound – a move that culminated in Robin and Liz (minus Simon) recording the largely acoustic, non-percussive Victorialand.

The Cocteaus re-emerged 12 months later with Blue Bell Knoll, which was warmer and lusher than ever, but more concentrated and concise too. This progression was even more marked with 1990’s Heaven Or Las Vegas: an audible release of tension and a surge of unfettered love that is many people’s favourite Cocteaus album. Heaven Or Las Vegas was also the last record the Cocteau Twins made for 4AD. They’d been part of the family for years, helping to define what the press used to call the “4AD sound”, and it’s almost always the way that family members must at some point leave the nest. The die was cast, and they departed for Fontana, releasing two more albums (Four Calendar Café, and Milk And Kisses) before disbanding in 1996. Four years later, the 4AD retrospective Stars And Topsoil served as a reminder of the trio’s uniquely bewitching music.

Ten years into her career as U.S. Girls, Meg Remy switches up her M.O. for In a Poem Unlimited, eschewing samples in favor of a full live band. She’s still pulling from ‘60s girl groups and R&B, but theres a real ‘70s vibe this time out, adding glam, glitter, disco and funk to her arty mix. (“Sed Knife” from 2016’s Half Free pointed in this direction.) Lyrically, Meg remains a potent voice of protest, mad as hell — literally in one case — and laying into the powers the be. Having road-tested the record with her new band late last year, this year’s tour should be as anticipated as the LP itself.

‘In A Poem Unlimited’, the new album by U.S. Girls, will be released on February 16th 2018 on 4AD Records:

'In A Poem Unlimited'

​2017 marks a decade of U.S. Girls, the protean musical enterprise of multi-disciplinary artist, Meg Remy.  Today, Remy announces details of her sixth studio album In A Poem Unlimited, which will be released on 16th February 2018, plus the video for a new U.S. Girls song, ‘Velvet 4 Sale’.

Remy’s second release for 4AD Records, which also includes her recently released single, ‘Mad As Hell’ – a clarion call for pacifism – was tracked in collaboration with Toronto-based instrumental collective the Cosmic Range, and features arrangements by long-time contributors Maxmilian Turnball and Louis Percival.  The dizzying buffet of live grooves on In A Poem Unlimited represents an inversion of the dusty, sample-based minimal textures of Half Free, Remy’s euphoric 4AD debut.  Steered into focus by Remy and mixer/co- producer Steve Chahley, Poem features disco employed as a protest vernacular (‘Mad As Hell’), as well as an unrelenting assault (‘Time’); moody, slow-burning funk (‘Velvet 4 Sale’ and ‘L-Over’) and earnest synth anthems ‘Rosebud’ and ‘Poem’, which form the album’s emotional core.

Song written by Maximilian Turnbull & Meg Remy. Contains elements from the composition entitled “Witch Hunt” written by J. Cameron. P

Following ‘Mad As Hell’, Poem album opener ‘Velvet 4 Sale’ is released today.  The song concerns a female narrator imploring another to buy a gun for protection, impressing that the only way to change men is for women to use violence.  Remy says, “Men are lucky women (and children) have yet to take up arms.  And although I hope this never happens and I completely disagree that violence is ever effective, this very idea was ripe for a song.”

In A Poem Unlimited’, the new album by U.S. Girls, will be released on February 16th 2018 on 4AD Records: