Posts Tagged ‘Arc Iris’

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The album of the week shines in every facet of its existence. Phosphorescent (aka Matthew Houck) has meticulously crafted an intensely warm album of americana pop, drawing together a multitude of instrumental textures – from guitars and pedal steels, to synths, to his own voice – and yoking them into perfect harmony. his lush melodies are executed with the utmost sincerity, giving his music a widescreen poignancy.

There are many more tasty treats out this week…big thief vocalist Adrianne Lenker has struck out on her own with an absolute pearl of an album. sweet & understated, this collection of songs poured out of her in the moments between performing & practicing with her band, resulting in her most intimate work yet. that’s on very limited glow-in-the-dark vinyl, for people who like to listen with the lights off. picking up the tempo a little, Molly Burch’s country pop sophomore features that same beautiful, warbling voice channelled through a stronger, more confident set of songs founded upon indelible melodies.. we’ve also been loving the debut from kentucky’s the Other Years, whose angelically pure vocal harmonies, underpinned by a sweet backing of violin & banjo, are a thing of simple beauty. this is the perfect album to come home to after a strenuous day – trust. predictably, Cat Power’s new album is a stone-cold stunner! her largely acoustic set of folk-tinged, blues-tinted songs continue to prove her to be one of the strongest songwriters working today.

Further recomendations Throwing Muses’ Kristin Hersh delivers another powerful solo album of darkly melodic scuzz-songwriting Will Hoge injects his rumbly-voiced country with an invigorating dash of soul and an exhilarating bolt of rock bravado;  it’s also worth knowing that Blood Orange’s ‘negro swan’ is finally in on vinyl, amy helm’s red vinyl lp has finally popped in & settled its round little body into our shelves. & Marie Davidson’s excellent new record – which had me & mark jiving away.

Reissues this week, Bloc Party‘s classic debut ‘silent alarm’ arrives for the very first time on sturdy 180 gram vinyl. john Lennon’s ‘imagine’ gets a new stereo remaster, along with a bounty of alternate mixes & alternate takes that offer tremendous insight into his recording process. and possibily the greatest guitar album ever Television’s very seminal ‘Marquee Moon’ is in on blue vinyl, with a bonus disc of alternate versions – yum!

Imagine (2018 reissue)

John Lennon  –  Imagine (2018 reissue)

this truly unique edition of one of the most iconic albums of all time sees the timeless record remastered with a new stereo remix and some additional non-album singles.

digging through extensive archival content, Yoko and her team deliver us an incredibly personal journey through the entire songwriting and recording process – from the very first writing and demo sessions at John’s home studio at tittenhurst park through to the final co-production with Phil Spector – providing a remarkable testament of the lives of John Lennon and Yoko Ono in their own words. ***the deluxe 2cd comes with an extensive bonus disc of different mixes, demos and alternate takes. *** ***the super deluxe boxset comes with an incredibly vast array of different mixes, demos and alternate takes, the restored ‘Imagine’ and ‘Gimme Some Truth’ films and a 120 page hardcover book documenting the album’s creation***

Abysskiss

Adrianne Lenker – Abysskiss

the big thief vocalist lays down a mesmerising set of songs that are hushed & disarmingly intimate, in which we climb into her consciousness without encountering any barriers & revel in the sweet beauty of her gentle melancholy.

the songs chosen for this collection were the songs that felt the most alive in the room. these are not castaways or b-sides. some of these songs have been alive for years while some were written just days before the recording session. with this collection, Lenker further illuminates to the listening public that she is a songwriter of the highest order, following her voice & the greater voices that pass through her with an unflinching openness & clarity of translation. “it’s an invitation to peer into the hidden spaces of an extraordinary modern songwriter, where calm & quiet moment prompt superlative work”

C’est La Vie

Phosphorescent  –  C’est La Vie

Matthew Houck has crafted an electrifying collection of songs that blend a dreamy, psychedelic americana aesthetic with solid pop foundations that never fail to engage.

this album reveals a crystallisation of what made ‘Muchacho’ such a breakout record release — a little sweetness and a little menace, sometimes boot-stomping and sometimes meditative. the magic of Matthew Houck’s music has always been the way he weaves shimmering, almost golden-sounding threads through elemental, salt-of-the-earth sounds. it’s not experimental, exactly, but it’s singular and it’s definitely not traditional. that knack, the through-line across the phosphorescent catalogue, is front and centre here. fans of bon iver, iron and wine, bonnie prince billy, damien jurado and okkervil river will love this! “songs of experience make up Matthew Houck’s heavenly seventh”

First Flower

Molly Burch  –  First Flower

a walk through Molly Burch’s most intimate thoughts – broken friendships, sibling relationships and overwhelming anxiety – ‘First Flower’ is a bright, beautiful album peppered with moments of triumph with Burch’s voice as strong and dexterous as ever.

opening track “Candy” is a swinging, playful hit, while “Wild” deals with pushing away fear. title track “First Flower” is classic Burch, a simple love song that gives you goosebumps when she breaks into the chorus. but the album’s true stand-out is “To the Boys”, a courageous, sassy fuck-you to her own self-deprecation where she learns to love all the things she hated about herself. if you enjoyed angel olsen’s ‘My Woman’, this is the album for you. “more dreamy, torchy country-pop goodness from this Austin breakout”

Stardust Birthday Party

Ron Gallo –  Stardust Birthday Party

Ron Gallo’s punk-poet persona remains intact, backed by a generous injection of scuzz and fuzz.

“the details of my path are pointless because everyone’s path is different. it is about me sitting with myself for the first time and confronting the big question ‘what am i, really?’ it’s about the love and compassion for all things that enters when you find out you are nothing and everything. i think at one point i wanted to change the world, but now i know i can only change myself, or rather just strip away everything that is not me to reveal the only thing that’s ever been there. and that’s what this album is about, it’s me dancing while destroying the person i thought i was, and hopefully forever”. fans of oh sees, ty segall and warm drag should check this out

WANDERER

Cat Power  –  Wanderer

Chan Marshall’s return to the folkier, bluesier side of the tracks is very welcome on this lustrous set of understated, yet quietly powerful, acoustic ballads.

produced in its entirety by Marshall, ‘Wanderer’ includes appearances by long-time friends & compatriots, as well as guest vocals courtesy of Lana del Rey & an exquisite cover of Rihanna’s ‘Stay’. the 11 tracks encompass “my journey so far,” says Marshall. “the course my life has taken in this journey – going from town to town, with my guitar, telling my tale; with reverence to the people who did this generations before me. folk singers, blues singers, & everything in between. they were all wanderers, & i am lucky to be among them.” “the set has both strength & a lean, lustrous beauty, tapping Carole King-style classicism & american folk standards”

Fall Into the Sun

Swearin’ – Fall Into The Sun

their scuzztastic reunion has gifted us a blissful set of melodic bangers that go hard on distortion and easy on the ears.

much like the band’s previous albums, Gilbride anchored the recording and producing of the record, but this time around, the band worked to make the process feel more collaborative than ever before. “i feel like this was the first time i could look at a Swearin’ record and say that i co-produced it, and that felt really good,” said Crutchfield. Crutchfield and Gilbride always had an innate ability to mirror the other’s movements in songs, but here, they build a focused lyrical perspective across their songs, one that’s thankful for their past, but looks boldly toward the future. fans of rilo kiley, the beths, speedy ortiz and forth wanderers need to check this out!

Masana Temples

Kikagaku Moyo – Masana Temples

the psych-prog quintet return with a serene set of wah-heavy motifs, seasoned with moments of exquisitely delicate, hushed vocals.

more than the literal interpretation of being on a journey, the album’s ever-changing sonic panorama reflects the spiritual connection of the band moving through this all together. inspecting the harmonies and disparities between their evolving perspectives, the group reflects the emotional impact of their nomadic paths. the music is the product of time spent in motion and all of the bending mindsets that come with it. fans of minami deutsche and sundays & cybele should check this out.

Possible Dust Clouds

Kristin Hersh  – Possible Dust Clouds

enveloping the juxtaposition of the concept of ‘dark sunshine’, this brooding solo album expands her off-kilter sonic vision; a squally, squeaky cocktail of discordant beauty.

feedback and phasing gyrate from simply strummed normality, imagine Dinosaur jr and My Bloody Valentine cranking up a Dylan couplet. messing with both extremes of the sonic spectrum: atonal and arrhythmic, a unique sound and a glorious return to form for one of alternative rock’s true innovators. “sometimes the most subversive thing i can do musically is adhere to standard song structure, sometimes the creepiest chords are the ones we’ve heard before, twisted into different shapes” – Kristin Hersh, july 2018. “the prodigious output and commitment to quality is pretty staggering, but then Kristin Hersh is a very, very special musician.”

LIVE AT THIRD MAN RECORDS

Father John Misty – Live at Third Man Records

Live at Third Man Records covers songs from the first three of his albums, heard here stripped totally bare, you lucky tikes.  In September last year, Josh Tillman stopped by Third Man’s Nashville headquarters on an otherwise ordinary Tuesday afternoon and surprised them with a lunchtime solo, acoustic set before his sold-out Ryman Auditorium performance. They, of course, had our 1955 Scully Lathe warmed at the ready to capture the occasion. As is typical for direct-to-acetate recordings in the Blue Room, Josh warmed up the room (and our engineers) with two songs before they started cutting the LP. He began with the debut performance of his newly penned Mr. Tillman(foreshadowing its release as the first single on God’s Favorite Customer 9 months later). They then used the second song as an opportunity to carve a 12” on-the-spot single of Now I’m Learning to Love the War, which was promptly handed it to a lucky attendee for safe keeping. If you want to know more about that, you’ll have to scour the depths of FJM’s fan net. Live at Third Man Records covers songs from all three Father John Misty albums out at the time of its recording, heard here stripped totally bare

my american dream

Will Hoge  –  My American Dream

Hoge gives it his all on this blazing album of gritty, country soul, newly infused with a furious rock energy.

with ‘My American Dream’, Hoge hopes that others will follow his lead, see the world through someone else’s eyes, and maybe begin to fix the mess we’re living in. “i don’t want to write songs telling people how they should feel” Hoge says. “if anything, maybe there’s a 16- or 17-year-old kid in the small-town south who has rumblings of these feelings but doesn’t have anybody in his little community to go, ‘hey man, think about it like this for a second. here’s another group of people’s perspectives’”. fans of chris stapleton, lydia loveless, steve earle’s ‘copperhead road’ and nikki lane will love this!

ICON OF EGO

Arc Iris  –  Icon of Ego

the trio’s third is a vividly expressionistic record that reflects their protean talents, creating an avantgarde experimental pop that’s entirely their own.

‘Icon of Ego’ finds a stronger, more experienced band. the band has evolved into a concentrated pop-prog explosion, mixing styles with disparate elements that captivate and surprise. with heavy synthesiser work by Tenorio and Jocie Adams, and seemingly impossible transitions executed effortlessly by Belli, the songs here carry a thick, analogue electronic sound that harks back to the ’70s. presiding over these are Adams’ powerful vocals that house the energy under pop forms. fans of cocorosie and deerhoof should check these guys out.

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Terry – I’m Terry

the Melbourne quartet capture their particular kind of witty diy, garage pop beautifully on this lp.

there are few rules in Terry’s world. “they seem to make a song out of whatever sounds good to them. the only stylistic consistency is in their hat wear. terry are like Steely Dan or 10cc. both bands make me queasy after a certain point. Terry probably also make me a bit queasy, singing about police beatings and nationalism and all that. but they’re not out to hurt you. they’re like the kindly bearer of bad news. Terry puts it in terms that speak to me. it’s a tragicomedy.” – fans of the go-betweens, courtney barnett and rolling blackouts coastal fever need to hear this.

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Soccer Mommy – Henry / I’m on Fire

Soccer Mommy aka Sophie Allison puts her own heavenly spin on the boss’ timeless classic, plus reworks the lead track from her obscure 2016 album ‘For Young Hearts’, previously only physically available as a rare cassette release. we think she’s done Bruce proud. Soccer Mommy is a must for fans of snail mail, phoebe bridgers, lucy dacus and julien baker.

LIVE AT THIRD MAN RECORDS

Kevin Morby – Live at Third Man Records

Kevin Morby performs two tracks for third man, stripping them down and revealing something completely new, in relation to their studio counterparts.

Formally a member of New York folk group Woods, Kevin Morby has made a name for himself with his four acclaimed solo releases. these songs, “Destroyer” and “Black Flowers”, come from his third record ‘Singing Saw’. “Destroyer” is an autobiographical minimalistic keyboard ballad, a distant cousin of the full band album version. “Black Flowers” on this single borrows less from the sweeping orchestras of leonard cohen’s catalogue and more from the melancholic austerity of bert jansch.

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The big records releases from Kurt Vile, John Grant, St Vincent and at last The Lucid Dream plus loads of fantastic reissues from Mute and Dark Entries (that Eric Random is amazing) and the next David Bowie box set. Among new artists with records you should be listening too goes to Anna St. Louis, I have to say that I hadn’t heard her before but when I saw the press release compare her to Loretta Lynn, Townes Van Zandt and John Fahey I had to give it a spin. It is sooooooo good. Easily eyeing up a top spot in our albums of the year list. Its one of those records that everyone asks who it is when you hear a song, each track gets better as it goes along until when the album finishes you have just got to stick it straight back on.
I love records that are a surprise and I think you will love it too.

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St. Vincent – Masseducation

A year on (to the week) from the release of the critically acclaimed Masseduction album, St. Vincent releases re-imagined piano versions of the album. Performed with Thomas Bartlett over two days in a studio in Midtown Manhattan, August 2017.

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Kurt Vile – Bottle It In

Kurt Vile is back with his first record in three years, the eclectic and electrifying Bottle It In, which he recorded at various studios around America over two very busy years, during sessions that usually punctuated the ends of long tours or family road trips.

Every song, whether it’s a concise and catchy pop composition or a sprawling guitar epic, becomes a journey unto itself, taking unexpected detours, circuitous melodic avenues, or open-highway solos. If Vile has become something of a rock guitar god—a mantle he would dismiss out of humility but also out of a desire to keep getting better, to continue absorbing new music, new sounds, new ideas—it’s due to his precise, witty playing style, which turns every riff and rhythm into points on a map and takes the scenic route from one to the next.

Using past albums as points of departure, Bottle It In heads off in new directions, pushing at the edges of the map into unexplored territory: Here be monster jams. These songs show an artist who is still evolving and growing: a songwriter who, like his hero John Prine, can make you laugh and break your heart, often in the same line, as well as a vocalist who essentially rewrites those songs whenever he sings them in his wise, laconic jive-talkin’ drawl. He revels in the minutiae of the music— not simply incorporating new instruments but emphasizing how they interact with his guitar and voice, how the glockenspiel evokes cirrocumulus clouds on Hysteria, how Kim Gordon’s “acoustic guitar distortion” (her term) engulfs everything at the end of Mutinies, how the banjo curls around his guitar lines and backing vocals from Lucius to lend a high-lonesome aura to Come Again.

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John Grant  –  Love Is Magic

With his fourth solo album, Love Is Magic, Grant has continued evolving, creating his most electronic record yet.

In collaboration with Benge (Ben Edwards), analogue synth expert / collector and a member of electronic trio Wrangler, Grant’s collaborators earlier this year under the collective name of Creep Show on the album Mr Dynamite. Anyone familiar with Grant’s story will recognise his battles – with addiction and health, with trusting love and relationships. From this turbulence he’s forged another riveting collection of often brutal diatribes and confessionals, where humour, fear, anxiety and anger overlap as Grant, with trademark candour, figuratively exposes the machinations of his saturated brain. It’s epitomised by the album’s brilliant opener Metamorphosis, almost as if his warring psyches are facing up to one another, as impervious synth-pop and brain-on-fire imagery (“Tiki bar, rat soufflé, Buik regal, Marvin Gaye”) melts into dream-ballad introspection (“Questions left unanswered, spiritual extortion”) and back to synth-backed mania. The magic of love pervades in two gorgeous, magisterial ballads toward the end of the album,Is He Strange and The Common Snipe – referring to the wader bird that makes a unique ‘bleating’ sound by rubbing its tailfeathers together.

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David Bowie  –  Loving the Alien (1983 – 1988)

The box contains newly remastered versions of David’s most commercially successful period Let’s Dance, Tonight, Never Let Me Down (Original and 2018 Versions), the live album Glass Spider (Live Montreal ’87)’, the previously unreleasedSerious Moonlight live album, a collection of original remixes entitled Dance and the non-album / alternate version / b-sides and soundtrack music compilation Re:Call 4. The highlight of this latest box is the brand new production of the 1987 album Never Let Me Down by Bowie producer / engineer Mario McNulty with new instrumentation by Bowie collaborators Reeves Gabrels (guitar), David Torn (guitar), Sterling Campbell (drums), Tim Lefebvre (bass) as well as string quartet with arrangements by Nico Muhly and a guest cameo by Laurie Anderson on Shining Star (Makin’ My Love). The seeds of this new reimagining of the albums were first sown in 2008 when David asked Mario McNulty to remix the track Time Will Crawl and record new drums by longtime Bowie drummer, Sterling Campbell along with strings. The track was issued on the iSelect compilation to much acclaim, and in the notes, for that record, David remarked ‘Oh, to redo the rest of that album’. The new re-workings have revealed Never Let Me Down as a very strong collection of songs with a dark thematic thread running through them. Fans listening to Never Let Me Down (2018)would be forgiven for thinking that they were listening to a brand new ‘lost’ Bowie record. Also in each box is the never before released Serious Moonlight live album recorded in Montreal in 1983. Originally mixed at the time by Bob Clearmountain, the double album captures Bowie on what at that time was his most successful tour. The artwork features shots taken by photographer Denis O’Regan. Exclusive to each box is Re:Call 4 and Dance. The former a new compilation featuring remastered contemporary single versions, non-album singles, album edits, b-sides and songs featured on soundtracks such as Labyrinth, Absolute Beginners and When The Wind Blows. Dance features 12 contemporaneous remixes some of which are appearing on CD and vinyl for the first time and is named after an unreleased Bowie remix album that was originally slated for release in November 1985. The box set’s accompanying 128 page book features rarely seen and previously unpublished photos by photographers including Denis O’Regan, Greg Gorman, Herb Ritts and many others as well as historical press reviews and technical notes about the albums from producers / engineers Nile Rodgers, Hugh Padgham, Mario McNulty and Justin Shirley-Smith.

11CD – The CD box set includes faithfully reproduced mini-vinyl versions of the original albums, and the CDs are gold coloured rather than the usual silver. Includes 128 Page hardback book. Let’s Dance (remastered) (1CD) Serious Moonlight (Live ’83) (previously unreleased) (2CD) Tonight (remastered) (1CD) Never Let Me Down (remastered) (1CD) Never Let Me Down 2018(previously unreleased) (1CD)* Glass Spider (Live Montreal ’87) (2CD) Dance (1CD)* Re:Call 4(non-album singles, edits, single versions, b-sides and soundtrack music) (remastered) (2CD)*

* Exclusive to Loving The Alien (1983-1988)

15LP – LP Box Set includes a 88 Page hardback book. Let’s Dance (remastered) (1LP) Serious Moonlight (Live ’83) (previously unreleased) (2LP)* Tonight(remastered) (1LP) Never Let Me Down (remastered) (1LP) Never Let Me Down (2018) (previously unreleased) (2LP – side 4 is etched)* Glass Spider (Live Montreal ’87) (previously unreleased on vinyl) (3LP)* Dance(2LP)* Re:Call 4 (non-album singles, edits, single versions, b-sides and soundtrack music) (remastered) (3LP)*

* Exclusive to Loving The Alien (1983-1988) LP box.

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Primal Scream  –  Give Out But Don’t Give Up – The Original Memphis Recordings

In 1993 Primal Scream went to Memphis to make an album with Tom Dowd and the Muscle Shoals rhythm section, that album never saw the light of day, until now. Following the recent discovery of these tracks in a box lurking in Andrew Innes’ basement, Primal Scream release the original studio recordings from Memphis of the tracks that eventually became their 1994 album Give Out But Don’t Give Up. Teaming up with legendary producer Tom Dowd and the Muscle Shoals rhythm section of David Hood (bass) and Roger Hawkins (drums) at Ardent Studios in Memphis, the resulting recordings from those classic sessions showcase the more country soul, rock’n’roll side to a band who continue to surprise. It’s Primal Scream as you’ve never heard them before. Dowd’s deft production, coupled with the merging of this sublime rhythm section and one of the UK’s best ever bands, led to the creation of nine glorious tracks that run the gamut between blues, gospel and brilliant songwriting, available for the first time.

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Elvis Costello and The Imposters  –  Look Now

Costello returns with his first new collection of songs since his Wise Up Ghost collaboration with The Roots in 2013. It features The Imposters (bassist Davey Faragher along with original Attractions members, drummer Pete Thomas and keyboardist Steve Nieve). The album was co produced by Costello with Latin Grammys winner Sebastian Krys. Two standout tracks are Under Lime and Unwanted Number. The former is a spry, heavily textured pop rocker with Beatles-esque harmonies and horn arrangements on which Costello sings, “It’s a long way down from that high horse you’re on.” The latter is more low-key and boasts a soul groove and lush backup vocals, which allows Costello to belt lyrics about enduring a sour relationship. “I knew if we could make an album with the scope of Imperial Bedroom and some of the beauty and emotion of Painted From Memory, we would really have something,” Costello said in a statement, referring to the 1982 album he recently revisited on the road and his collaboration with songwriter Burt Bacharach. Bacharach co-wrote a few songs on Look Now, and sat in on piano with the Imposters on two of them, Don’t Look Now and Photographs Can Lie. Costello wrote another Look Now song, Burnt Sugar Is So Bitter, with Carole King.

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Arc Iris – Icon of Ego

Arc Iris releases Icon Of Ego, its third groundbreaking album, as a trio that packs the heft of a far bigger band with fully realized sonic and visual intensity. On this latest album, vocalist / guitarist Jocie Adams, keyboardist / sample artist Zach Tenorio-Miller and drummer Ray Belli have crafted a vividly expressionistic new album that reflects both the group’s protean talents as well as its journey of survival. After its self-named 2014 debut on the nti- label, Arc Iris achieved critical acclaim, along with tours with St. Vincent and Jeff Tweedy and festivals like Bonnaroo followed. Within two years, the band self-released Moon Saloon in the US while Bella Union released the album in Europe. Tours supporting Kimbra, Gene Ween, and a complete re-imagination of Joni
Mitchell’s Blue performed at Washington’s Kennedy Center followed, which added to a growing, international fan base that has remained dedicated throughout.Icon of Ego finds a stronger, more experienced band. Recording at Providence’s Columbus Theater, home to silent movies and vaudeville during the ’20s, the band has evolved into a concentrated pop-prog explosion, mixing styles with disparate elements that captivate and surprise. With heavy synthesizer work by Tenorio and Adams, and seemingly impossible transitions executed effortlessly by Belli, the songs here carry a thick, analog electronic sound that harks back to the ’70s. Presiding over these are Adams’ powerful vocals that house the energy under pop forms.

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The Lucid Dream – Actualisation

The Lucid Dream return with the release of their 4th album, Actualisation. Driven by fans raising £10,000 to help replace all equipment robbed after a Paris show in early 2017, a new album became the instant focus in the summer of 2017 for a rejuvenated The Lucid Dream. Actualisation is soaked in the influence of acid house, amalgamated with dub and kosmische. The album was penned over the summer of 2017 by Mark Emmerson (vocals/guitar/synths), using only the classic Roland 303/808 synths, bass and vocals as tools for writing. Inspiration for the writing was formed via continuous listening to the Chicago to UK acid house works of 1986-1992, the focus predominantly on the groove. Several months on from those writing sessions and The Lucid Dream have completed their 4th album in 5 years. A record made for the dancefloor. Recorded at Whitewood Studios, Liverpool, with Rob Whiteley, the album is produced alongside long-time collaborator Ross Halden (Ghost Town Studios, Leeds), with mastering via Dean Honer (All Seeing I/I Monster/The Moonlandingz). The confrontational techno-punk of Alone In Fear opens the album, a 9-minute attack fuelled by the frustration and anger spawned by Brexit, government and a realisation of what 2018 Britain currently is. Recent single SX1000 (the first work from the album, unveiled via 12′ vinyl in April this year) is the band’s first move into pure acid house. The acid house fusion runs throughout the record, represented furthermore by Ardency, a track already praised by live critics when aired live for the first time earlier this year as ‘even on first hearing, would’ve raised the roof of The Hacienda’. The 2-part opus of Zenith follows, commencing with a space-dub / house instrumental groove before building into a track that will go for your head as much as your hips. Only Breakdown harks back to sounds of old for the band, a little reminder of the skull-crushing impact they can make when stripped to the bare bones. No Sunlight Dub closes the album, a dark-dub that invites the classic acid-house tool (Roland 808) into the dub. The track makes a stop-off into drum ‘n’ bass / jungle along the way before rounding up in a manner suited to Lee Perry, King Tubby, Augustus Pablo and other Jamaican greats.

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Anna St Louis  –  If Only There Was a River

If Only There Was A River is the first full-length studio album from Anna St. Louis. The songwriter, who originally hails from Kansas City, began writing songs after moving to Los Angeles five years ago and has previously released a cassette of recordings on Woodsist / Mare Records, appropriately titled First Songs. On her proper debut, St. Louis spreads her wings and expands on the promise hinted at on First Songs. To achieve that end, she enlisted Kyle Thomas (King Tuff) and Kevin Morby to produce the album, which was engineered by Thomas in his home in Mount Washington, LA. The collection of eleven songs also features Justin Sullivan (Night Shop) on drums and multi-instrumentalist Oliver Hill (Pavo Pavo). While hints of influences like Loretta Lynn, John Fahey and Townes Van Zandt peek out of the corners of the songs, this album is not a nostalgic affair. Rather it marks the emergence of an artist fully coming into their own.

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The KVB  –  Only Now Forever

The KVB release their sixth album, entitled Only Now Forever via Invada Records. Whilst holding evident inspiration from previous times, the sound this London-founded duo present is progressive and distinctly new in every sense. Idyllic at times; gritty in others, each bar is as enchanting as the last, leaving you in a melancholic trance. Offering poignant lyricism that explores modern anxieties that plague many, the duo manage to imbue feelings of empowerment, fighting such struggles with a deceivingly sanguine sound. This seamless juxtaposition is perhaps their best trait. Will appeal to fans of Depeche Mode, The Soft Moon, New Order, Nine Inch Nails and My Bloody Valentine.

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The KVB  –  Of Desire

The fifth album from UK darkwave duo The KVB is released on Invada Records. Of Desire is Kat Day and Nicholas Wood’s second release on Portishead member Geoff Barrow’s Bristol-based label. It follows a string of releases for operations like Downwards, Minimal Wave sublabel Cititrax and Ukraine’s ~taqueOT, most of which explored a moody shoegaze aesthetic. The recording of In Deep saw the The KVB raid Portishead and BEAK> man Geoff Barrow’s synth collection, as well as roping in Sonic Boom to master it. Their most fully formed record and considered in terms of dynamics, arrangements and instrumentation, taking in influences such as Death In Vegas, Scott Walker and Roxy Music, The KVB have managed to create something that is at once familiar and yet inventive and original.

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Cocteau Twins – Treasure Hiding: The Fontana Years

There was perhaps a sense, after a while, that the world was taking The Cocteau Twins for granted. Late Eighties reviews had routinely described them as The Voice of God, yet 4AD, concerned that we’d get tired of appreciating the rarefied genius which shimmered in front of our noses, would keep reminding us that they were truly special. The irony was that The Cocteaus were themselves evolving, morphing, reconstituting and taking on new shapes. This wasn’t widely registered at the time. It can be now, as The Fontana Years demonstrates a musical marvel which still makes your ears feel like they’re sucking citrus fruits after years of licking ashtrays, while the rings of Saturn crash-land in your front room. This 4-CD set brings together the two albums the band recorded for Fontana along with B-Sides, EP’s, Radio One sessions and the odd rarity. The set was mastered at Abbey Road from the original tapes and approved by Robin Guthrie. Housed in a study box designed by James Issacs – the booklet contains photos a discography from the era as well as a sleeve note by noted author Chris Roberts.

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Beta Band  –  The Three Eps (20th Anniversary Remaster)

Arguably one of the most acclaimed and loved bands of the past 20 years, by both fans and their musical peers alike, The Beta Band formed in St. Andrews, Scotland, in 1996. Innovative and singular, their unique musical and aesthetic approach to everything they did set them far apart from their musical contemporaries. Together for a relatively short period of time, the three albums and three EPs they released between 1996 and 2004 would nonetheless help define them as one of the most exciting and cherished bands of their generation. After acquiring the Beta Band’s catalogue last year, Because Music reissue their releases, with a double vinyl edition featuring the EPs Champion Versions, The Patty Patty Soundand Los Amigos Del Beta Bandidos with remastered tracks and coloured vinyls, to celebrate the 20th anniversary of the 1998 compilation.

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Tokyo Police Club  – TPC

If the universe had tilted the tiniest bit, there would be no TPC – the not-quite self-titled fourth (and best) Tokyo Police Club album. By 2016, singer-bassist and chief songwriter Dave Monks had settled into life in New York City; he made a solo record and did some co-writing. Drummer Greg Alsop was living and working in L.A. Keyboard player Graham Wright and guitarist Josh Hook remained in the band’s native Canada. Tokyo Police Club created songs via e-mail, thinking they had enough natural chemistry and experience to make that setup work. But eventually, the lack of friction meant there was less musical spark, and it dawned on everybody that the end was near. There was resignation, not anger, when Wright, Alsop, and Hook told Monks they were done with the band. After putting aside the idea of splitting up and back-burnering their commercial expectations, there was just one thing left to do: go to church. Specifically a church in rural Ontario, where the foursome could recapture the energy of their early years by playing in a room together. Songs that Monks had written were abandoned when they didn’t feel right for this new energy, and TPC started to take shape, built on camaraderie and esprit de corps.

Monks’ friends could once again help shape his songs into TPC songs, and the batch that ended up on the record aren’t quite like anything they’d done before. Album opener New Blues signals that Tokyo Police Club doesn’t need a racing tempo to introduce themselves; Pigs takes a sneering look at record-business politics; Simple Dude is unabashedly horny. Not giving a fuck—or, more accurately, only giving a fuck about those things closest to your heart—paid off. It’s the channeling of energy, which flows into every song on TPC, that makes the record their best. They’re through being cool, through doubting themselves, and through wasting time on ancillary things. TPC is self-titled, almost, because it’s Tokyo Police Club circa 2018—scarred but smarter, fully re-energized.

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Peter Holsapple vs Alex Chilton – The Death Of Rock

Newly discovered recordings of early solo Peter Holsapple and Like Flies On Sherbert–era Alex Chilton. Liner notes by Peter Holsapple and author / filmmaker, Robert Gordon. Previously unseen photos from the collections of Peter Holsapple and Pat Rainer. It’s 1978 at Sam Phillips Recording Service in Memphis, TN. Peter Holsapple had rolled into town chasing the essence of Big Star. He hooked up with musician / engineer / friend-of-Big-Star, Richard Rosebrough after approaching, and being turned down by, Chris Bell who Holsapple had hoped might be interested in producing him. Together Richard and Peter started laying down tracks during the off hours at the studio. Chilton meanwhile, was knee deep in the making ofLike Flies On Sherbert, also being tracked at Phillips. He told Peter, “I heard some of that stuff you’re working on with Richard . . . and it really sucks.” Alex promised to come by and show Peter “how it’s done.” The results? Alex’s tracks definitely line up with the chaos found on Flies, while several of Peter’s songs found homes on The dB’s albums (Bad Reputationand We Were Happy There) and on an album by The Troggs (The Death Of Rock retooled as I’m In Control), so not a loss at all. What we have in these newly discovered tapes, is a fascinating pivot point with both artists moving past each other headed in distinctly different directions. Chilton moved toward punk/psychobilly as he began playing with Tav Falco’s Panther Burns and produced The Cramps debut, Songs The Lord Taught Us, within a few months of these recordings. Holsapple was off to New York to audition for The dB’s and enter the world of “sweet pop.” Liner notes by Peter Holsapple tell the story of these recordings firsthand and author / filmmaker / Memphian, Robert Gordon, helps pull the time and place into focus. Previously unseen photos included in the package are drawn from the collections of Peter Holsapple and Pat Rainer. Produced by Cheryl Pawelski with mastering by Mike Graves at Osiris Studio and Jeff Powell at Take Out Vinyl / Sam Phillips Recording Service in Memphis, who brings it all right back to where it started.

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John Hiatt  –  The Eclipse Sessions

The Eclipse Sessions, John Hiatt’s newest album, offers up his strongest set of songs in years. Long celebrated as a skilled storyteller and keen observer of life’s twists and turns, Hiatt can get at the heart of a knotty emotion or a moment in time with just a sharp, incisive lyric or witty turn of phrase. The 11 tracks presented in The Eclipse Sessions, from the breezy opener Cry To Meto the stark Nothing In My Heart, the lost-love lamentation Aces Up Your Sleeve to the rollicking Poor Imitation Of God, demonstrate that the singer-songwriter, now 66, is only getting better with age, his guitar playing more rugged and rootsy, his words wiser and more wry. Hiatt goes all in with The Eclipse Sessions. There’s a grit to these songs – a craggy, perfectly-imperfect quality that colours every aspect of the performances, right down to Hiatt’s vocals, which are quite possibly his most raw and expressive to date. “They ain’t pretty, that’s for sure,” he says about the creaks and cracks that punctuate his phrases in songs like Poor Imitation Of God and One Stiff Breeze. “But I don’t mind a bit. All the catches and the glitches and the gruffness, that sounds right to me. That sounds like who I am.” The Eclipse Sessions is the sound of an artist not only living in but also capturing the moment.

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Spacemen 3 – Forged Prescriptions

Forged Prescriptions is a double album by Spacemen 3, containing alternative takes and demo versions of songs from their album The Perfect Prescription, plus some previously unreleased tracks. In his liner notes

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Jeff Buckley –  Live In Pilton UK, June 24, 1995

Recorded in Pilton, Somerset, England at the legendary Glastonbury Festival – running nearly 50 years now, since 1970 – on June 24, 1995, this is one of Jeff Buckley’s most famous live recordings. Raw, heavy, heartfelt, and deeply emotional, the set is comprised almost entirely of Buckley originals, mostly off of 1994’s Grace as well as one unreleased track and an unexpected cover of the MC5. Required live listening for any fan of this great 90s artist gone way too soon, who left only a small but nearly perfect legacy of recorded music.

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The Rolling Stones – The BBC Sessions 1963-1965

Amazing early live BBC recordings from The Rolling Stones, even including recordings made before the release of their first record. Essential stuff for any fan of the greatest rock and roll group of all-time, including a ton of their great early R&B and blues cover versions! Including early Stones classic covers like Memphis, TN, It’s All Over Now, and Hi-Heel Sneakers, this is a party on wax. Nothing beats early Stones with Mick and Keith wailing and the band as amped up as they ever were! Classic.

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Small Faces – The BBC Sessions 1965-1966

Collecting some of their earliest BBC sessions onto one disc this is Steve Marriott and his Small Faces at their absolute rocking R&B rave up best. Featuring classic originals like Watcha Gonna Do About It, E Too D, and Understanding, as well as killer covers of Motown and Otis Redding, this set is guaranteed to get you go-go’ing on the dancefloor. The greatest UK blue eyed R&B group of all-time at their live best.

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The Kinks – The BBC Sessions 1964-1967

Spanning tracks from the classic 1964 self-titled debut to their 1967 masterpiece Something Else by the Kinks, this collection features nearly two dozen Kinks klassics, recorded live on the BBC. With stunning sound quality and a near perfect group of songs, hear the Davies Bros and Co. at their live, raw best. From the psych-pop brilliance of David Watts to the foot-pounding R&B of All Day And All Of The Night this collection runs the full spectrum of The Kinks’ sound. Essential live cuts from one of the top British Invasion and psychedelic era groups!

This Weeks Releases —-
Anna St. Louis – If Only There Was A River – Woodist
Daniel Brandt – Channels – Erased Tapes (Indie Exclusive)
John Grant – Love Is Magic – Bella Union (Deluxe)
Kurt Vile – Bottle It In – Matador (Indie Exclusive)
Yves Tumor – Safe In The Hands Of Love – Warp
Factory Floor – A Soundtrack For A Film – Heart Of Data (Indie Exclusive)
A Certain Ratio – The Graveyard & The Ballroom – Muts (Indie Exclusive)
Silicon Teens – Music For Parties – Mute
William Basinski & Lawrence English – Selva Oscura – Temporary Residence (Indie Exclusive)
Goatman – Rhythms – Rocket Recordings (Indie Exclusive)
Groundhogs – Blues Obituary – Fire Records (Indie Exclusive)
The Fall – I Am Kurious Orange – Beggars Banquet
Eric Random – A Boy Alone – Dark Entries
Talking Drums – Courage – Dark Entries
Cyrnai – To Subtle Drive – Dark Entries
Tess Parks & Anton Newcombe – Tess Parks & Anton Newcombe – A Recordings
Holger Czukay – Rome Remains Rome – Gronland
Holger Czukay – Der Osten Ist Rot – Gronland
Haley – Pleasureland – Memphis Industries (Indie Exclusive)
Exek – A Casual Assembly – Superior Viaduct

 

Arc Iris releases Icon Of Ego, its third groundbreaking album, as a trio that packs the heft of a far bigger band with fully realized sonic and visual intensity. On this latest album, vocalist / guitarist Jocie Adams, keyboardist / sample artist Zach Tenorio-Miller and drummer Ray Belli have crafted a vividly expressionistic new album that reflects both the group’s protean talents as well as its journey of survival. After its self-named 2014 debut on the nti- label, Arc Iris achieved critical acclaim, along with tours with St. Vincent and Jeff Tweedy and festivals like Bonnaroo followed. Within two years, the band self-released Moon Saloon in the US while Bella Union released the album in Europe. Tours supporting Kimbra, Gene Ween, and a complete re-imagination of Joni
Mitchell’s Blue performed at Washington’s Kennedy Center followed, which added to a growing, international fan base that has remained dedicated throughout.Icon of Ego finds a stronger, more experienced band. Recording at Providence’s Columbus Theater, home to silent movies and vaudeville during the ’20s, the band has evolved into a concentrated pop-prog explosion, mixing styles with disparate elements that captivate and surprise. With heavy synthesizer work by Tenorio and Adams, and seemingly impossible transitions executed effortlessly by Belli, the songs here carry a thick, analog electronic sound that harks back to the ’70s. Presiding over these are Adams’ powerful vocals that house the energy under pop forms.

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Released October 12th, 2018

Jocie Adams – vocals, electric guitar, keyboards
Zach Tenorio-Miller – vocals, keyboards, samples
Ray Belli – drums
featuring:
Anna Williams – violin
Misha Veselov – cello

All songs by Arc iris 

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Four years ago, Jocie Adams of The Low Anthem, stepped aside from the Rhode Island band she was a member of to begin the next evolution in her musical career as lead singer for Arc Iris. This Friday, Arc Iris will release its third album, Icon Of Ego, via Ba Da Bing Records. On it, Adams collaborates with her band mates — keyboardist/sample artist Zach Tenorio-Miller and drummer Ray Belli — on a collection of songs that bridge avant-pop with her folksy, musical roots.

“If You Can See” from the forthcoming album. Lovingly made while walking around downtown Providence, R.I., the song is ebullient and optimistic, an “up with people” anthem we all could use in these divisive times, regardless of the side you’re on.

The first thing you see in the video are faces, lots of them. Most are smiling. There are old folks and young folk, and people of all colors. These are everyday people, moving along to the song, all mouthing small phrases of it as Adams sings

The video culminates with everyone singing repeatedly in unison “we can work together” that results in a boost of emotional inspiration.

‘If You Can See’ is a reminder that the world is giving us gifts of support and love from many places all of the time,” Adams says via email. “We need to remember and acknowledge the good as well as the bad in order to maintain our positivity, which is needed to create change. If we all consider our grumpy egos to be justified by our ideas of a dystopian present and future, there is no motivation to be conscientious. Here we offer a ‘keep your chin up’ song for everyone. Life is hard.

Icon Of Ego is out Oct. 12 via Ba Da Bing Records.

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Audiotree is a Chicago-based music discovery platform: In-studio sessions

Arc Iris is an indie art rock trio who write psychedelia infused, kaleidoscopic tunes. Their theatrical stage production includes glittery lycra body suits, sparkling bird wings and pig masks to add visual depth to their philosophical lyrical content.  Our full live session with Audiotree is up! Check it out if you enjoy keytar infused dance moves, scary pig masks, doomsday monologues and strobelights.

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Arc Iris broke musical ground with the release of their acclaimed self-titled debut in 2014. The Providence, Rhode Island-based band quickly won over audiences in the US and Europe, supporting artists such as St. Vincent, Jeff Tweedy, and Clap Your Hands Say Yeah. The group performed at the London Palladium and festivals including Bonnaroo, End of the Road . Released on Bella Union in Europe and ANTI Records in the US and, Arc Iris drew admiration for its innovative style and distinctive sound. The Guardian talked of “a shape-shifting treat” while new music site The Line of Best Fit proclaimed, “Arc Iris is traditional music thrillingly positioned at the nexus of the old and new.”

Band Members
Zach Tenorio-Miller – Keyboards and Vocals
Jocie Adams – Vocals, Keys and Guitar
Ray Belli – Drums

Released June 19th, 2018

Morgan DELT -Phase Zero (limited coloured vinyl LP + MP3 download code)
Sub Pop US

Psychedelic serenades worthy of our attention can be tricky to track down in the here and now, yet it takes little time to work out that the work of Morgan Delt, a bedroom auteur with as much warped songcraft to offer as excursions into the wilderness. ‘Phase Zero’ maps out an interstellar constellation between the ’60s world of The Byrds, the ’70s bedlam of Jean-Pierre Massiera and the contemporary slant of recent Flaming Lips, yet at all times it boasts a widescreen sweep and wide-eyed wonderment to match its sonic playfulness and melodic sleight-of-hand, resulting in a gem for the third-eye and both ears alike.

Cass McCOMBS – Mangy Love
Released on Anti Records Now seven albums into a career as a celebrated yet understated singer-songwriter, Cass McCombs occupies a unique promontory – his music remains possessed of a uniquely laid-back charm, influenced by West Coast rock and funk and topped off by his easy-going falsetto, yet his lyrics bite hard, essaying the iniquities and inequalities of the modern era with pithy panache and even earning him comparisons to Samuel Beckett in the process. ‘Mangy Love’ is the clearest articulation of this dichotomy to date, so it’s no surprise that it’s also his darkest, most compelling and ambitious to date – the sound of a modern maverick comfortable with his own paradoxes, if not those of the wider world.

EZRA FURMAN -BIG FUGITIVE LIFE

6 Track 10″ with Download. Speaking about ‘Big Fugitive Life’, Ezra Furman says: “‘Big Fugitive Life’ is a group of our favourite orphaned songs that have banded together to form a unit. They are focused on the theme of the mind unmoored – those of us who have been left to drift unsupervised through the modern world. “The first three songs are our vision of rock and roll. A madness that overtakes your mind and body. It’s wanting to go somewhere you’ve never been, knowing you’re on your way. The second side is acoustic guitar as open wound, a troubled mind on display. Emotional in a different way, tender like a bruise. “We dedicate this record to refugees of all kinds, all over the world. May all the wanderers find the homes they seek, and may those with power welcome them as fellow citizens of humanity.”

THE VEILS-TOTAL DEPRAVITY

London-based The Veils, fronted by lead singer and songwriter Finn Andrews, release ‘Total Depravity’ on Nettwerk. The album reunites the band with producers Adam ‘Atom’ Greenspan and Nick Launay who were behind the critically acclaimed Nux Vomica. Greenspan and Launay have also worked together on projects including Nick Cave and The Bad Seeds, Arcade Fire, Yeah Yeah Yeahs and more. In addition, Andrews and El-P (from Run The Jewels) collaborated on a few tracks that appear on the album.
2LP – Double Vinyl, Gatefold, 2 Bonus Tracks and Download card.

ARC IRIS – MOON SALOON

Arc Iris return this summer with their second album ‘Moon Saloon’ on Bella Union. ‘Moon Saloon’ constitutes a natural progression from the first album’s whimsical explorations. Produced by the group and mixed by electronic producer David Wrench of FKA Twigs and Caribou fame, the album showcases beat-heavy melodies and textural, groove-riding rhythms. It developed from the band’s distillations of musical influences, combining traditional elements with percussive structures and dense, beguiling harmonies. In many ways this second album captures Arc Iris’ musical odyssey as a band. “It has a heavier sound, more intense,” says Arc Iris keyboardist Zach Tenorio-Miller, who makes liberal use of sampling in many of the songs. The group matches an unusual array of organic acoustic instruments with layered electronic sounds. Lead singer and lyricist Jocie Adams, Tenorio-Miller, and drummer Ray Belli form the core of Arc Iris, all virtuosic musicians in their own right. Adams spent eight years as a key member of indie darlings The Low Anthem, effortlessly zipping from hammer dulcimer to clarinet to bass to vocals, sometimes barely pausing to take a breath. As the band members see it, ‘Moon Saloon’ works like a song cycle that parallels the arc of Everyman’s passage through modern day dilemmas. According to Adams: “The album is meant to be cathartic. There’s an imbalance in everyone’s lives. When there’s often so much going on, we yearn for simplicity.” The album starts with ‘Kaleidoscope’, mimicking a kind of fanciful stroll down the street, and ends with the title track, a delicate soliloquy in a strange, desolate landscape. The album sometimes offers a sharp counterpoint to the mean-spirited nature of current American political discourse. One example is ‘Paint with the Sun,’ a paean to those who help others in need. Soaring over each song is Adams‘ ethereal voice, often joined in close harmonies with other members of the band. Adams wrote most of the songs during a songwriting retreat on an island in New Hampshire’s Lake Winnipesaukee several months before the recording session. For Adams, it was a week-long creative rush with no electricity, no running water, no cell phones–just a bed in a cabin and an acoustic guitar. She took her work back to Providence, where she and Tenorio-Miller worked on the songs, layering sounds, developing ideas, “transforming them into the world of Arc Iris,” Tenorio-Miller recalls.
LP – Blue Vinyl housed in Gatefold Sleeve with Download.

Image of Dan Penn - Nobody's Fool

Dan Penn produced The Letter by the Box Tops and co-wrote classic soul hits with Chips Moman or Spooner Oldham like The Dark End Of The Street, Do Right Woman Do Right Man, I Met Her In Church, and Sweet Inspiration.  Many consider him the greatest white Soul singer, ever!

Vinyl reissue of Country-Soul icon and ingenious songwriter Dan Penn’s debut album, originally released on Bell Records in 1973, a favorite of serious music lovers. Although not containing any of his popular 1960s trademark songs, ‘Nobody’s Fool’ presents a great deal of moving tunes like the hardcore honky tonk jewel Tearjoint, or the extra tough I Hate You. Mixed and produced by Dan Penn.

For all its inventiveness using traditional Americana instrumentation, Arc Iris’ 2014 self-titled debut still was primarily that – traditional Americana, wrung through a number of early-mid 20th century musical genres. The album’s two-part “Honor Of The Rainbows” couplet was the lone patch where the band’s recorded material seemed to fit with its glittery psychedelic stage identity, and it’s from here that they springboard headlong into technicolour star-gazing of follow-up Moon Saloon.

Lead track and single “Kaleidoscope” couldn’t be more representative of Arc Iris and their M.O. on Moon Saloon, offering the listener a reflection of them from nearly every angle, dyed in a myriad of colours. While banjos and pedal steel are still identifiable on occasion throughout, Moon Saloon is built on loud and proud strings, horns, and keyboards. Pulling heavily from the grandiosity of 1970s pop and prog, it’s actually a testament to Arc Iris’ dizzying flair for arrangement that those hints of Americana can so comfortably fit in these songs.

Just as on the debut, Moon Saloon’s base sonic template is churned through multiple classic American musical genres – gospel-flavoured soul on “Lilly”, salacious barroom ragtime on “Johnny”, and “Rainy Days” panoramic musical cinema. At times, Moon Saloon wants for the debut’s periods of respite as the tracks that do begin peacefully all burst open in our faces at some point. Arc Iris veer close to parody at times, but they approach everything here with such earnest playfulness that one gets the sense the band simply peer over that precipice and throw their heads back in laughter.

Like any album leaning so heavily on ‘70s prog rock, Moon Saloon follows a loose song cycle featuring a male and female duo of protagonists down on their luck and seeking peace of mind through simple, everyday human actions and emotions. It’s Arc Iris’ simultaneous dedication to their virtuosic execution and commitment to not take themselves too seriously that largely pulls it all off, even when they hit peak-ham on “Saturation Brain”. The closing title track’s spareseness is jarring following “Rainy Days” credits-rolling close, yet its curiosity prompts you to turn around and dive right into Moon Saloon again.

While summer typically lends itself to instantly gratifying earworm jams and barren release schedules, in Moon Saloon, Arc Iris have served us an album entirely unconcerned with nascent fads and just as heavy on challenge as it is reward.

from the self titled album by Arc Iris, led by Jocie Adams a main component of the Rhode Island band The Low Anthem, Adams departed to pursue a solo career and has recorded an intriguing array of music with elements of Folk, Jazz and country styles all entwined, quirky orchestrated Pop with complex arrangements

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from the self titled debut album due on Bella Union, led by the former Low Anthem member Jocie Adams receiving great reviews for their live shows should be playing a few festivals this summer in the UK.

American singer songwriter from New Jersey a charasmatic and creative performer check out the recent album “SLOW PHASER” great Video playing the rescue Rooms on Thursday 8th May,