Posts Tagged ‘Bella Union Records’

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Hilang Child is the project of London singer-songwriter Ed Riman. You may have heard him last year on the debut album from Lost Horizons, the new project from Cocteau Twins’ Simon Raymonde, whose Bella Union label is putting out Hilang Child’s upcoming album YearsRiman is sharing a video for the album’s new single “Crow.”

The track is characterized by a U2 dramatic, boundless crashes, but Riman’s voice evokes the gracefully hollow harmonics of Robin Pecknold and Fleet Foxes. Its lyrics move with a bright and earnest determination, and the video feels appropriately meditative.

Riman spoke of the new single:

“Crow” is the most hopeful song on this album. I wanted to write something that sonically created the feeling of glimpsing at a brighter future; a release of euphoric energy in anticipation of better times incoming. I went for a more ‘live’ and visceral approach rather than the measured/layered songwriting that features on the rest of the album, as I always knew it was going to form the album’s crashing climax despite being one of the earliest songs I wrote for it.

“Crow” is taken from the debut album by Hilang Child.

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John Grant has announced his new album ‘Love Is Magic’ and unveiled its title track – check it out below.

The US singer-songwriter’s last album, ‘Grey Tickles, Black Pressure’, was released in 2015. described as “moving, funny, unnerving and angry; one of the albums of the year.” His debut ‘Queen of Denmark’ came in 2010, followed by ‘Pale Green Ghosts’ in 2013.

Now, Grant has shared news of his fourth studio effort, which he co-produced alongside Midlake’s Paul Alexander.

Describing the upcoming release, Grant says: “Love’s a shitshow that requires work. It’s not all lollipops and rainbows and ’67 Dodge Dart Hemis and STD’s and macaroni and cheese and John Carpenter. But nothing can distract from the fact that, in spite of it all, love is still magic.”

The six-and-a-half-minute title track opens with pulsing synth brass and crashing drums. The colourful lyric video features the lines “Have you got depression? / Passive aggression? /Did they stop loving you / And you’re the only one who doesn’t know?”

‘Love Is Magic’ is released October 12th on Partisan Records and Bella Union. It features track titles such as ‘Metamorphosis’, ‘Smug Cunt’ and ‘Diet Gum’. John Grant will tour the UK in support of ‘Love Is Magic’ in October and November see the full schedule below.

Oct 30 – O2 Academy Brixton, London
Oct 31 – Bath Forum, Bath
Nov 2 – Octagon, Sheffield
Nov 3 – Albert Hall, Manchester 

The eighth album from Marissa Nadler, For My Crimes, is the sound of turmoil giving way to truth. The songs stare down the dark realization that love may not be enough to keep two people together through distance and differing needs. By asking these difficult questions about her relationships, Nadler has found a stronger sense of self and a sharper voice as both a songwriter and a vocalist, culminating in her most evocative entry in an already impressive discography. The album is set for release on September 28th, via Bella Union and Sacred Bones.

Following the release of 2016’s acclaimed Strangers, Nadler’s relationships were put to the test as she left the Boston area on tour. She wrote throughout 2017 about this tension, and ended up with three times as many songs as she needed. But after reviewing the demos with her co-producers Justin Raisen and Lawrence Rothman, Nadler wrote a flurry of tight but no less intense new songs in the week before arriving at Rothman’s Laurel Canyon studio, House of Lux, in early January. She considered it a challenge to herself, applying new strategies and structures to the craft of “slow music” she’s honed over the last 15 years. From that group of songs came nearly all of the singles on For My Crimes, some of the most indelible of Nadler’s career.

The opening title track is classic Nadler: a sweeping, vaguely Southern drama of voices, strings, and acoustic guitar, that walks the fine line between character song and personal indictment by metaphor. “For My Crimes” spawned out of a songwriting exercise in which Nadler wrote from the perspective of someone on death row, but the song casts a dark shadow over an album that turns marital conflict into inner reflection. Helping Nadler dig down into the song’s remorseful soul is her old friend Angel Olsen, who serves as a distraught echo from beyond in the chorus.

“Blue Vapor” has an intoxicating raw energy luring you in, somewhere between Springsteen and a grunge band playing MTV Unplugged back in the day. It feels at once tight and improvisational, balancing on little more than Nadler’s steady strumming and vulnerable harmonies with Kristin Kontrol (of Dum Dum Girls), until the heavy, purposeful style of Hole drummer Patty Schemel conjures chaos in the second half. This slow burn feeling is all too appropriate for a song centered around repeating patterns and creeping numbness in a relationship. “Blue Vapor” names that strange ambivalence and turns it into a chant that hangs in the air long after the song ends.

Dreaminess and eeriness have often been two sides of the same coin in Marissa Nadler songs. Where “For My Crimes” and “Blue Vapor” come from her dark side, the album has plenty of moments that twinkle in their sadness and sentimentality. “I Can’t Listen to Gene Clark Anymore” is one of those highly specific songs you’ll get if you’ve ever lost a favorite band to your own broken heart. It sways perfectly in its bittersweetness, like a slow dance you never want to end. After the strings swell and the bass pedals kick in, Nadler coos, “Cause I remember/The songs you sang/To me when it was you/I was falling for.” Later, closing track “Said Goodbye To That Car” turns a final odometer reading into a rhythm for a catchy, wistful hook: “1-1-9-6-5-7, and the engine blew/“1-1-9-6-5-7, and I thought of you,” Nadler lulls, harmonizing with herself. It’s an ingenious way to capture the end of an era in one small moment, and she moves as delicately as you would handling an old photo with her sweet oohs.

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Bolstering the intimacy of these songs is the strong feminine energy that defined their recording. Between Rothman’s fluidity with both gender and genre (as heard on his 2017 album The Book of Law), and Raisen’s track record of successful collaborations with strong women (Olsen, Kim Gordon, Charli XCX), Nadler felt empowered to explore without judgement in the studio. With the exception of a single saxophonist, every player on the album is a woman of notable pedigree and distinct style, many of whom have played with Nadler over the years. In addition to the cameos by Angel Olsen and Kristin Kontrol, Sharon Van Etten sings backup on “I Can’t Listen to Gene Clark Anymore” and “Lover Release Me.” Mary Lattimore joins on harp for “Are You Really Gonna Move to the South,” while the great experimental multi-instrumentalist Janel Leppin plays strings throughout the record.

These women and others helped make For My Crimes as dynamic as it is intimate, but Nadler’s mesmerizing voice—stripped of nearly all reverb—is what sits at the center of these songs. You can hear the emotional range of her performances more than ever before, from the spectral harmonizing of “Are You Really Gonna Move To The South” to the cheeky boredom of “All Out Of Catastrophes,” two other highlights. As a singer, she has never sounded more confident than she does here.

Adding to the album’s deeply personal feeling is its abstracted artwork, featuring Nadler’s original oil paintings. Though Nadler is a graduate of the Rhode Island School of Design and a semi-retired art teacher (she has one student left—a 95-year-old named Doris), For My Crimes marks the first album cover bearing one of her paintings. She also channeled the album’s themes into paintings corresponding to specific tracks, which will be included as prints in the limited edition version of For My Crimes (and in some cases, for sale as originals on Nadler’s website).

Releases September 28th, 2018 The album is set for release on September 28th, via Bella Union and Sacred Bones.

Field division dark matter dreams

‘Dark Matter Dreams’ the new album from Field Division is out now via Bella Union. Field Division is Evelyn Taylor and Nicholas Frampton. Four years on from the sumptuous dream-folk of their debut EP, 2014’s Reverie State, the Des Moines duo flex all their lung-power on their debut album, Dark Matter Dreams. Written on the road, where the duo has been living even when not touring, it’s a sweeping album with rock vigour and the spark of deeply held convictions, nurtured in the face of widespread modern disillusionment. Vintage influences include Buckingham Nicks, Led Zeppelin, All Things Must Pass, The Beatles, and the 1960s / 1970s Laurel Canyon scene, but make no mistake: this is an album that lives and breathes for today.

“There’s a lot of right with perfectly assembled pop songs, and practically all of those on Dark Matter Dreams fall under that category.” – Soundblab 9/10

Field Division craft fragrant Americana… with sweeping, almost cinematic arrangements.” – Clash

“The Iowa-based duo have a knack for creating incredible soundscapes through their heady melodies that encapsulate a dreamlike experience that seems to be fuelled by endless adventure.”

Written largely in New York between Summer 2016 and Winter 2017, Josh Tillman’s fourth Father John Misty LP, God’s Favorite Customer, reflects on the experience of being caught between the vertigo of heartbreak and the manic throes of freedom.

After converting sharply honed cynicism and rampant misanthropy into a collection of witty, often scabrous and somehow deeply soulful songs on Father John Misty’s 2017 release Pure Comedy, Josh Tillman more fully targets himself on the follow-up. God’s Favorite Customer is a self-lacerating piece of work, mostly written during a six-week stretch in 2016 when he was living alone in a hotel room in the midst of an existential crisis. He’s opaque about the cause, but not the effects: The album plays like Tillman is watching himself have an out-of-body experience as he, or his Misty persona, behaves erratically in public, sends alarming texts to his wife in the middle of the night and repeatedly questions whether love is redemptive enough to save him

God’s Favorite Customerreveals a bittersweetness and directness in Tillman’s songwriting, without sacrificing any of his wit or taste for the absurd. From “Mr. Tillman,” where he trains his lens on his own misadventure, to the cavernous pain of estrangement in “Please Don’t Die,” Tillman plays with perspective throughout to alternatingly hilarious and devastating effect. “We’re Only People (And There’s Not Much Anyone Can Do About That)” is a meditation on our inner lives and the limitations we experience in our attempts to give and receive love. It stands in solidarity with the title track, which examines the ironic relationship between forgiveness and sin. Together, these are songs that demand to know either real love or what comes after, and as the album progresses, that entreaty leads to discovering the latter’s true stakes.

God’s Favorite Customer was produced by Tillman and recorded with Jonathan Rado, Dave Cerminara, and Trevor Spencer. The album features contributions from Haxan Cloak, Natalie Mering of Weyes Blood, longtimecollaborator Jonathan Wilson, and members of Misty’s touring band.

“God’s Favourite Customer” is out 1st June on Bella Union Records.

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Father John Misty has shared a new stop-motion video for his song ‘Please Don’t Die.’ A track and video which follows FJM in to the Underworld to literally confront death face to face.

With new album God’s Favourite Customer on it’s way to our ears on Friday 1st June, we are still as excited as little pups to see another instalment of the Josh Tillman experiment, and this one satisfies in so many ways.

Created by the brilliant artist Chris Hopewell (the man behind Father John’s “…Revolution” video, Radiohead’s ‘Burn the Witch,’ Run the Jewels’ ‘Don’t Get Captured,’ and a more) it’s a child-like view of mortality which is endearing and confusing. So while we wait for the new LP to drop via Sub-Pop/Bella Union this comng Friday, sit back and enjoy this brilliant piece of work from both the singer and the visual creator.

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Hilang Child is a name that could well be familiar to you. A songwriter and producer of remarkable depth, his work has progressed and evolved, a gradual transition that has been beautiful to watch.

Working with Bella Union Records, Hilang Child – real name Ed Riman – is now ready to tackle his first full length project. ‘Years’ will be released on August 17th, with the songwriter able to share bewitching, engrossing, wholly fascinating new song ‘I Wrote A Letter Home’.

It’s a song that gradually washes over you, and it emerged at a key point in the album process. “I was playing this live as a solo piano thing for a while, but realised I wanted a bit more from the song,” he said. “I demoed it with my friend Sam Delves (who plays Microkorg on it) in his flat, we added some drums and it came alive into something completely new.”

“So I took it away to rethink the final version and eventually built it into something bigger and more energetic than most of what I’d written previously. In terms of sound, I think what it eventually became then dictated what I decided wanted to do with the rest of the album.”

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He continues: “Lyrically ‘I Wrote A Letter Home’ is written from the perspective of someone feeling totally lost and overwhelmed at the prospect of navigating the big wide world alone. It’s a reflective letter, accepting that on the road to this point he didn’t appreciate what he had and so is yearning to be back home with those he held dear.”

A beautiful new song, Hilang Child seems to approach ‘I Wrote A Letter Home’ with remarkable openness, combined with a beautiful sense of assurance.

Beach House - 7

Unlike any of the Beach House previous albums, 7 has no producer in the traditional sense. Spacemen 3’s Sonic Boom (aka Peter Kember) was said to be a driving force behind the album, making sure it was protected against studio over-production and over-development. What we get is a more organic sound from the pop duo, highlighted by single “Dive,” which begins with a bright organ leading into Victoria Legrand’s soft vocals, slowly building into a dynamic climax that picks up with propulsive electric guitars.

7 is the 7th full-length record from Beach House. It marks the start of a new chapter for the band, who’ve been together for over 13 years and had most recently released an album of b-sides and rarities which they they described as “…a good step for us. It helped us clean the creative closet, put the past to bed, and start anew.”

The new album, 7, is about rebirth and rejuvenation for the group, allowing them the opportunity to rethink old methods in the writing and recording processes and shed some self-imposed limitations. They’ve delivered a truly remarkable work of art in this new album and we can’t wait for you all to experience it for yourselves.

The dream pop duo Beach House have released a new video for the song “Dark Spring” another  track taken off their 7th album 7, which is set to be released via Sub Pop Records on May 11th. The video, directed by Zia Anger is shot in stark black and white, with many of its shots and edits recalling classic film noir movies.

Musically speaking the song is a more uptempo affair, riding a bubbling synth line and an urgent drum pattern. As usual, the icy vocals of Victoria Legrand and the winding guitar work of Alex Scally take center stage, giving the song an epic sense of feel.

Beach House return with one of their finest records to date, loaded with infectious, immersive melodies… Few can create such dreamy, melancholic yet pop–tinged worlds, as this duo.”
Long Live Vinyl – 8/10

“While still unmistakably the work of Beach House, 7 is arguably their freshest sounding and texturally–rich set since 2010’s breakthrough Teen Dream.” London In Stereo

“More a subtle restyling than a full–on reincarnation, the soft–edged weightlessness, sumptuous tones and gauzy vocals still instantly recognisable on songs such as ‘Woo’ and the drop dead gorgeous ‘Dive’.” Uncut – 7/10

“Vast, hypnotic, beautiful… An exciting and essential album of 2018.” Louder Than War – 8/10

Beach House have become one of indie’s most dependable acts, and on 7 that continues… ‘Lemon Glow’ is a swirling cocktail of warped, wobbly synths while ‘Dive’ is another highlight, an intoxicating barrage of rollocking drums and guitar barging down the door.” DIY

Beach House are remarkably consistent, their woozy dream pop always finds a way to take up whichever space it inhabits.” Crack – 7/10

“Dive” is taken from 7, the new full length out May 11th, 2018.

Father John Misty has shared his disorienting new video for “Mr. Tillman,” the first single off his upcoming new album God’s Favorite Customer. Just as the song’s lyrics zero in on the singer’s unpleasant experience at a hotel, the “Mr. Tillman” video is like The Shining meets “Hotel California,” as Father John Misty is doomed to relive his stay and inability to leave countless times. The result is interactions with doppelgangers, an attempted suicide and a taxicab escape.

In February, the singer, whose real name is Josh Tillman, unveiled “Mr. Tillman” along with a low-budget green-screened video of himself messing around in a hotel.

Father John Misty has previously released two songs, “Disappointing Diamonds Are the Rarest of Them All” and “Just Dumb Enough to Try,” from his forthcoming album God’s Favorite Customer, the speedy follow-up to 2017’s Pure Comedy. God’s Favorite Customer arrives June 1st.

“Mr. Tillman” is off of Father John Misty’s upcoming album, God’s Favorite Customer, out June 1st on Sub Pop and Bella Union.

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After information about his new album leaked,  Father John Misty has formally announced the release of his fourth album, God’s Favorite Customer, along with two new singles.

A press release issued by Sub Pop Records, confirms the leaked album, including the tracklist, the album art (photographed by Pari Dukovic), and the June 1st release via Sub Pop and Bella Union Records. The follow-up to Pure Comedy was written and produced by Misty, and recorded with Jonathan Rado, Dave Cerminara and Trevor Spencer. While the official album news is exciting, the real excitement comes in the full versions of the songs “Just Dumb Enough to Try” and “Disappointing Diamonds are the Rarest of Them All,”.

Each song gives Misty a different angle by expanding his sound while staying true to his indie folk-rock roots. Both songs seem to be a nod to classic, 1970s Elton John, as “Just Dumb” goes for full singer-songwriter glory, with its lush production of jangling guitars and delicate strings leaning towards classic John ballads like “Candle in the Wind” and “Goodbye Yellow Brick Road.” “Disappointing Diamonds” is more of a throwback to “Benny and the Jets” and “Crocodile Rock” with its zany production built on huge piano chords and zooming electric guitar riffs.

The title track, which examines the ironic relationship between forgiveness and sin. Together, these are songs that demand to know either real love or what comes after, and as the album progresses, that entreaty leads to discovering the latter’s true stakes.

God’s Favorite Customer is available for preorder now on Father John Misty’s official store along with Sub Pop, Bella Union and select independent retailers in five formats: limited Loser edition on metallic purple vinyl, standard LP on black vinyl, CD, streaming and digital download, and cassette.

In addition to the album release, Misty will go on tour starting in April, in support of the album with Gillian Welch, TV on the Radio and Jenny Lewis serving as special guests at select shows.

Hopefully, the rest of 2018 will be filled with new surprises Misty has a hand in. Listen to “Just Dumb Enough to Try” and “Disappointing Diamonds are the Rarest of Them All” below.

Father John Misty’s new song “Just Dumb Enough to Try” is off of his upcoming album, God’s Favorite Customer, out June 1st on Sub Pop and Bella Union.

Written largely in New York between Summer 2016 and Winter 2017, Josh Tillman’s fourth Father John Misty LP, God’s Favorite Customer, reflects on the experience of being caught between the vertigo of heartbreak and the manic throes of freedom. God’s Favorite Customer reveals a bitter sweetness and directness in Tillman’s songwriting, without sacrificing any of his wit or taste for the absurd. From Mr. Tillman, where he trains his lens on his own misadventure,

“Mr. Tillman” is off of Father John Misty’s upcoming album, God’s Favorite Customer, out June 1st on Sub Pop and Bella Union

God’s Favorite Customer was produced by Tillman and recorded with Jonathan Rado, Dave Cerminara, and Trevor Spencer. The album features contributions from Haxan Cloak, Natalie Merring of Weyes Blood, longtime collaborator Jonathan Wilson, and members of Misty’s touring band.

Father John Misty’s new song “Disappointing Diamonds Are the Rarest of Them All” is off of his upcoming album, God’s Favorite Customer, out June 1st on Sub Pop and Bella Union.