Posts Tagged ‘Blake Mills’

Buy Online Ben Howard - Collections From The Whiteout Transparent

Produced alongside Aaron Dessner (The National, Sharon Van Etten, Taylor Swift), “Collections From The Whiteout” heralds the first time Ben Howard has opened the door to production outside of he and his bands closer confines. ‘Collections From The Whiteout’ marks the London BRIT Award winner’s fourth full-length and is scheduled to arrive on March 26th via Island Records.

The foreboding darkness that coated Ben’s second record I Forget Where We Were and thinly veiled its follow up Noonday Dream, isn’t so evident on Collections.. These are songs written from headlines scanned, or news stories scrolled past. Ben has taken those snippets and let his curiosity take control, creating an aural scrapbook that reverberates with tape loops and guitar FXs.

There are sounds akin to Brian Eno, Durutti Column and Steve Reich in there, but also Neil Young and Townes Van Zandt. It’s a million miles away from Ben’s multi-platinum selling debut, but a path plotted from Ben’s then to his now isn’t so far removed.

The door was also left open to some new players too. Yussef Dayes, one of the UK’s most innovative young drummer/producer’ especially in the field of jazz features, as does Kate Stables from This Is The Kit, James Krivchenia from Big Thief, Kyle Keegan from Hiss Golden Messenger, and the aforementioned Aaron Dessner lent his hand too where needed. Long-term guitarist to Ben’s band, Mickey Smith, remains a reassuring presence.  Rob Moose, a long-standing arranger of strings for Bon Iver and a collaborator to Laura Marling, Blake Mills, and Phoebe Bridgers is also present, peppering the mix.

Ben Howard has announced his fourth studio album will be available on Limited Edition Transparent Double Vinyl, Ben Howard – “What A Day” – from ‘Collections From The Whiteout’ New album out 26th March,

Laura Marling.

British singer-songwriter Laura Marling has accomplished a lot across seven studio albums and 12 years recording music. She’s garnered Mercury Prize and Grammy nominations, collaborated with Ed O’Brien of Radiohead, Blake Mills and others, and she’s even started teaching online guitar lessons, which she details below. This all to say, she’s a supremely talented artist who moves in dynamic ways within the folk-rock lane. 

Her new album “Song For Our Daughter” was scheduled to come out later this summer but she found an opportunity to connect us all during the COVID crises by releasing it early. Marling said in a statement regarding the change of date, “In light of the change to all our circumstances, I saw no reason to hold back on something that, at the very least, might entertain, and at its best, provide some sense of union.” The album is a nod to Maya Angelou’s collection “Letter To My Daughter.” Marling herself is not a mother but she takes us there through her delicate song writing  writing for a girl who needs confidence and hope.


Laura Marling is an alt-folk singer-songwriter from a small village just outside of Reading. The story goes that she came to London with nothing but her guitar and a handful of songs. Still just a teenager, her talents were soon noticed at early Way Out West (who released her debut single) and Blue Flowers gigs. On her debut album for Virgin records she shows astonishing ability to spin heart rending tales of love and loss for someone so young. She has a breathtakingly pure voice that’s equal parts Regina Spektor, Bob Dylan and Joni Mitchell. She is an extraordinary talent – voice, lyrics, music, presence. no wannabe celeb, aspirant popstar-babe. Rather a determined woman with an overwhelming desire to communicate through word and music. If you have a heart you need Laura Marling in your life right now.

Marling’s debut, produced by Noah & The Whale’s Charlie Fink, We had four weeks at Eastcote Studios, two weeks doing my record and then a further two weeks back-to-back doing the Noah & The Whale record. We laid down the bass, drums, guitar and vocal all at once, and then we did overdubs – this is the same for all albums I’ve done, pretty much. My dad ran a recording studio which shut down when I was quite small, but I remember growing up around all of that outboard gear at home. So I guess I was slightly more familiar with the studio than the average 17-year-old, but still it was my first proper session.

These were all my first songs, written from the age of 16-17. There was a batch of songs before that that were on an EP, “London Town” – I didn’t like them very much by the time I got to making this. I haven’t listened to this for a long while, I very rarely play any of those songs live, so it’s a bit of a distant memory to me now. And the production was very much of the time I guess, that ‘new folk’ world – glockenspiels and banjos and whatever – which is good, that’s what it was supposed to be then. I don’t really think of this as part of my catalogue.


UK songstress Laura Marling releases her sophomore album, “I Speak Because I Can”, on Virgin Records. Produced by Ethan Johns (Kings of Leon, Ryan Adams), I Speak Because I Can is the follow up to Marling’s lauded, mercury prize-nominated debut, Alas I Cannot Swim. I Speak Because I Can is Laura Marling’s coming of age album, if such a thing can be said about the brilliant songwriter whose compositions belie her age (for the record, she’ll be twenty this year it was released). Recorded in 2009 at Peter Gabriel’s Real World Studios in outside London, and featuring the talents of her backing band Mumford and Sons, I Speak Because i Can reveals a new side to Laura Marling, whose debut was released when she was only seventeen years old. Its ten songs are imbued with a new richness, ripeness and sophistication, marked by homespun tales and sparse instrumentation. I Speak Because I Can showcases not only Marling’s ability to tell one hell of a story, but her incredible guitar playing, which has grown more intricate since her first album. Marling chose Ethan Johns to produce her new material, as she credits many of his earlier records (among them albums by Ray Lamontagne, Kings of Leon, Emmylou Harris, Sarabeth Tucek and more) with kindling her interest in music. She had long admired his way of working – his use of reels; his quiet, traditional methods of production; the warmth found within the records he produced. he gave her the space to find her own identity; as such, the record reveals a new maturity, and at points, Marling’s voice sounds a little harder, a little world-wearied, while still showcasing her impressive range not heard on previous recordings. and while I Speak Because I Can is, at times, a darker album than its predecessor, it is a brilliant step forward from a young artist who continues to keep us awe-struck at her talent.

A leap forward, with Marling inspired by British folk and The Odyssey, and working with producer Ethan Johns The difference between being 16 and being 19 is quite a shift, isn’t it? Ethan was very intimidating, but I quickly realised it was nothing but a type of shyness. He turned down the first record, but I tried again with the second one – he seemed to be more impressed with the song writing. I went down to meet Ethan at Real World Studios, where he was working at the time. He came and picked me up from the station, and he was wearing triple denim and circular pink sunglasses, like John Lennon, and he had his crazy California hair. I thought he looked completely mental. I was very shy still, I didn’t really say much. As we were walking around Real World, he said, “It’s never really worked out for me, working with female artists, I seem to not do well with it.” So, being in my tomboy/late teenage years, I was like, “Well, I’m not like every girl, it’s going to be a totally different experience”, and it was. We started at Eastcote, but Ethan didn’t like the sound of the room, so we moved to Real World.

I took my band with me, and we all stayed there at probably horrendous expense. We got driven in our splitter van from Glastonbury to Real World, we stayed there for two weeks and it was really magical. I’d read The Odyssey, and I obviously thought I was quite clever because of that, so a lot of it was based around Penelope and Odysseus, and Hera – there’s a lot of Greek mythology and Classics, I was really into it then. I had discovered tunings after the first album too, and a lot of I Speak Because I Can was in major and minor open-D tunings. I was also going through the unbelievable intensity of anybody’s late teenage years, I was so full of fucking hormones and excitement. I remember writing a lot, it was a good time.


The follow-up to 2010’s ‘I Speak Because I Can’. like it’s predecessor, the new record was produced by Ethan Johns. the vibe here is looser, the rhythms more adventurous, her vocals are more soulful, more sexual and more assured. marling has found a new intensity on her deeply impressive third album. she has come a long way in a short time, and has undoubtedly got further to travel. The more expansive third record, again produced by Ethan Johns, I went from touring I Speak Because I Can straight into the studio to make this. That was the cycle that I was on then – I made the album, put it out, toured it for a year and then went straight back into the studio with a new crop of songs.

It was a natural progression; the sound of this album was dictated by my touring band at the time, as we had been playing all these songs in soundchecks for the previous six months. We did all the pre-production away from Ethan because everybody was too scared to play in front of him. My drummer and my keyboard player, they’re proper musicians who’ve been playing with me almost since the beginning, they’re proper trained incredible musicians, but everyone else in the band didn’t really consider themselves a musician.

So I had a slightly ragtag band. Of course Ethan’s got the little black book of every musician you might want, but I only wanted people that I loved on the records, that I knew were on my side. Maybe that was a bit paranoid of me, but I was a bit paranoid then of everybody, and I wanted to make sure that ultimately I had control of everything. It was also very important for me to keep my musicians employed, which I did manage to do for those four or five years, which felt like an achievement. So what I was doing was because of a mix of paranoia and economic anxiety!


Marling’s only live album, including a cover of Jackson C Frank’s “Blues Run The Game”, There are a lot of churches to play in Europe, but we decided to supersize that to cathedrals. We organised it through some quite intense logistical negotiation, literally talking to the bishops and persuading them it was a good idea, because I don’t think they do it very often, particularly somewhere like York Minster. It was such a spectacularly beautiful venue. We were bringing in our own sound system, and the acoustics in some of the cathedrals were much more tricky than others – Liverpool was completely wild and very hard to tame, but we were in a smaller room in York Minster, not in the main atrium, and luckily it was a good one to record.

A completely stone room with wood on the ground has a particular quality to it. I think Charlie Fink had played “Blues Run The Game” to me, and I figured it was in the same tuning as “Goodbye England…”. I added it to the set because it was such an unusual tuning that there were not many songs I could play in it.


A stunning 16-track folk-rock epic, and Marling’s own favourite, I discovered smoking weed before this album, that’s the reason the first four songs are one. It’s like a nice lull, where you’re off on another planet. I’d had some intense emotional growth since the previous album, and I’d started to feel like I very much wanted to be on my own and not with a band. Though they’re still my band and I love them very much, it felt like I couldn’t get any time on my own, like I was always on tour or in the studio, and it started to feel like people recognised me a little bit, and it all overwhelmed me. So with this album I went back to Ethan on my own. It was a really amazing experience. I think he had wanted to get his hands on my music without all of those people around, so he could do with it what he really wanted. By that point we were friends, and I entrusted him with this really emotionally intense album.

“Once I Was An Eagle” is Laura Marling’s fourth album in five years, and she’s still just 23 years old. It’s been an accelerated artistic growth but Marling hasn’t put a foot wrong yet. Once I Was An Eagle features a reduced cast of – predominantly – Marling and regular producer Ethan Johns. The English Joni ruthlessly dissects her love life on this confessional album. It’s a beautifully melodic collection that hits engaging heights.

I went and recorded everything for him, in order, at his house – just me and a guitar with his engineer Dom Monks, who’s also brilliant – and then I went away for a week. When I came back he’d done most of the instrumentation on it, and he’d started to paint around the tracks.

I still think of it as a magical happening. People were trying to say it could have been shorter, and maybe a couple of songs could have been B-sides, but that was the story I wanted to tell. Ethan was into it too, he wanted to do a double record.

Ruth [de Turberville, cellist] came to play on the record towards the end. There’s a bit in “Pray For Me” where her cello line sounds like it’s rising above me, wrapping itself around my neck and pulling me down – there was some emotional quality to it, just as what Ethan did on it had an emotional quality. There was a sense that something was about to peak, it did feel like that. I felt like it was the best record I’d ever made, and I could sense that it would be harder to carry on from then.


Self-produced in London, Marling’s fifth was the quickest she’s ever written and recorded, The funny thing was that the magic from “Eagle” didn’t last, because Ethan and I ended up making a record afterwards that we threw in the bin. It was a big financial mess, and that was quite a shock to me. I don’t have a lot of money to play with, I’m not a multi-million selling artist, so scrapping an album was a big deal. There were a couple of reasons for it, it wasn’t totally the song writing. I was living in Los Angeles, so Ethan had come over to do it, we rented Sunset Sound which was also really expensive. The nice thing is that on that record we had Jim Keltner, so I got to hang out with him for two weeks – he was amazing. It took me a little while to get over the shock of that, and the disappointment that me and Ethan felt.

Laura Marling has released four albums in only seven years – and she’s only just turned 25 now. Working on fresh material, fifth album Short Movie Self-produced, the songwriter worked extensively alongside drummer Matt Ingram and studio engineer Dan Cox during recent sessions. Short Movie has a cinematic wide eyed joy, and Marling’s writing seems freer. False Hope, inspired by the experience of being tapped in a New York airb’n’b during hurricane sandy, swirls round in a sea of electric guitars. Gurdjieff’s Daughter pulls a huge chorus out of its back pocket with the ease of somebody producing a lighter. There’s a strain of playfulness, too. Strange Love sees Marling adopt the kind of stilted, burning delivery that should come free with a bit of wheat to chew on. Short Movie is wonderfully unlike anything Marling has attempted before.

I came back to London and said to my drummer [Matt Ingram], “I need to do an album for cheap.” He said, “Come and do it at my studio.” I ended up producing it with him, and that was an amazing experience. “Short Movie” was a very quickly written batch of songs, because I’d scrapped everything from the album that we threw away. So this was a very concise timespan, just a very short period in my life. I actually don’t really like the album, but I get why I wrote it and why I had to write it. I needed to keep moving or I was going to drown in the sorrow of having failed. It’s the first time I played electric guitar on a record – a friend had a bungalow in Joshua Tree that they weren’t going to be in for a couple of months, so I took all my guitars out there. I had guitar amplifiers all around the house, and there were no neighbours so I could play as loud as I wanted. That’s how that sound arrived.


A return to form, produced by Los Angeles wunderkind Blake Mills, It was so interesting working with a different producer, he couldn’t be more different to Ethan. And I was such a huge fan of Blake’s already, so it was weird to go in and be so in awe of somebody. He’s my age too. The main thing he inspired in me was that if you worked hard enough you could be as good as him – there was no mystical quality as to why he was so good, other than that he worked really fucking hard. Ethan is from an older time where there was more money in the music business, so he works from midday until nine o’clock and he doesn’t work at weekends, which is fine; but Blake works from 10am until it’s done! I took three members of my band with me, because I was a bit worried that Blake would intimidate me to the point where I wouldn’t be able to get my point across. I’m glad I did that because it just about kept it from becoming a Blake Mills record, which it could have easily become.

In those three weeks, I’d come back home at like 3am every night and play guitar in my backyard – I’d practise every night so that the next morning I’d come in and he wouldn’t be able to play my parts better than I could. I just couldn’t believe that someone could work so hard for someone else’s music, it was amazing. He’s quite a force to contend with, though, he doesn’t fuck around and he doesn’t banter, he just works. Blake literally seems bored when you’re playing him a song, when he feels it’s not sonically interesting. On “Soothing”, he started changing the chords so they were more interesting inversions, and then he orchestrally arranged this three-piece bass part for it.

Semper Femina is Laura Marling’s sixth album – an intimate, devoted exploration of femininity and female relationships, and among her finest work to date. Written largely on the tour that followed 2015’s Short Movie and recorded in Los Angeles with production from Blake Mills, it is at once a distinctive and musically compelling collection of songs, run through with Marling’s fierce intelligence; a keen, beautiful and unparalleled take on womanhood.



Laura Marling’s exquisite seventh album ‘Song For Our Daughter’ arrives almost without pre-amble or warning in the midst of uncharted global chaos, and yet instantly and tenderly offers a sense of purpose, clarity and calm. As a balm for the soul, this full-blooded new collection could be posited as Laura’s richest to date, but in truth it’s another incredibly fine record by a British artist who rarely strays from delivering incredibly fine records.

Taking much of the production reins herself, alongside long-time collaborators Ethan Johns and Dom Monks, Laura has layered up lush string arrangements and a broad sense of scale to these songs without losing any of the intimacy or reverence we’ve come to anticipate and almost take for granted from her throughout the past decade.

Marling’s classic-sounding latest, returning to her roots with Ethan Johns co-producing, I didn’t enjoy producing Short Movie myself, and I didn’t feel like I wanted to do that again – you can’t get a good enough perspective on your own, being both inside and outside the record at the same time. I thought Dom Monks and Ethan Johns as co-producers would just give me that security, but I think it was challenging for Ethan to change his role. I’d had to do a lot of random admin stuff earlier in 2019, which meant I’d sat on these songs for a while, which was hellish for me. But in that time I’d also moved back to London, set up my own studio, demoed everything extensively, contacted everyone I wanted to play on it… Ethan was the last part of the puzzle actually. He wanted to use this studio in Wales because he likes to record to tape, but I’m not a purist in that way. Dom Monks is the zen master between two nutbags, though, so he held the sessions together.

I wrote the album while I was travelling around Europe for about four months, mainly the south of France and Italy, living in a campervan and staying on farms, very late twenties. It was really nice. I always feel like my albums are on/off – I Speak Because I Can was good, A Creature I Don’t Know was OK, Once I Was An Eagle was good, Short Movie was whatever, Semper Femina was good, and I sort of felt this one might be whatever… I don’t know, though! I never know what people are going to think, but people seem to really like it. I wasn’t expecting it to do so well. I thought I’d lean back into just being a songwriter which is all I really want from Laura Marling, from my solo stuff. And then Lump provides me with this whole other experience.

Laura Marling performs “Song For Our Daughter” at the prestigious Royal Albert Hall in London as part of the Mercury Prize 2020: Album of the Year. 

LUMP – LUMP (2018)

A collaboration with Tunng’s Mike Lindsay created Marling’s “greatest pleasure”. We were doing some Neil Young support shows and at the London one my guitarist Sam said, “Oh, my friend Mike’s coming down after the show, he’s quite weird and he wants to ask you a question.” He is a weird guy, in the best possible way, and he’s got an unusual manner. He said quite bluntly, “I need you to come into my studio in Shoreditch, I have something and only you can do it.” I was recently single at that time, feeling quite free about possibilities, so I said yes. I was renting a flat in Dalston, so I walked down on a very hot day to his basement studio in Shoreditch. It was absolutely boiling, no natural light. After a bit of awkward small talk, he played me 36 minutes of music without stopping. I had just started reading the Surrealist Manifesto and I’d underlined a bunch of words, and I started singing them over the top – Mike had demarcated where he thought songs were, and verses and choruses, and after the first day we’d done “The Curse Of The Contemporary” and “May I Be The Light”, and by the third day we’d almost finished the record.

I knew when we were making it how special it was – there was no buddiness or communication, just like when Ethan worked on Eagle… and I left for a week. Lump had that quality too. Mike and I have now made two albums and toured, but we don’t really know each other too well, and are paranoid about maintaining that distance between the two of us, so we don’t lose that quality. Lump is the greatest pleasure in my life now, because it doesn’t feel like mine. There’s a second album done, it’s probably coming out this year but I don’t know when.

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Blake Mills accomplished a sleight of hand on Look, his 2018 album, by processing layers of guitars through vintage Roland synthesizers. “Look has more guitar on it than any other record I’ve made, but for people who care about that, it’s going to be so disappointing when they hear how un-guitar-y it is,” he told Pitchfork that year. As a producer and session musician, Mills specializes in this sort of nimble technical magic, sculpting the instrumental curves of albums like Perfume Genius’ No Shape, Alabama Shakes’ Sound & Color, and John Legend’s Darkness and Light.

“Vanishing Twin,” the first cut from Mills’ forthcoming LP Mutable Set, lands between the aquatic layers of Look and his earlier two solo albums of singer-songwriter material. Though Mills co-wrote the song with Cass McCombs, its individual pieces—hushed murmurs, a fluid little melody, airy swipes of strings and sax—bear Mills’ subtle touch and even keel. The compounded whole offers the all-encompassing warmth of sinking into an oversize couch for a nap, while displaying his ache for a distant connection in its slow-moving strokes. “Concealed between the flashing screens/there is a beam of love supreme,” he sings, offering a tempting invitation to step into the glowing void. Mills once again re-shapes the idea of what a singer-songwriter record “should” sound like. It feels good to disappear into something so gentle for a while

“Vanishing Twin,” the first cut from Mills’ forthcoming LP “Mutable Set”, lands between the aquatic layers of Look and his earlier two solo albums of singer-songwriter material. Though Mills co-wrote the song with Cass McCombs, its individual pieces—hushed murmurs, a fluid little melody, airy swipes of strings and sax—bear Mills’ subtle touch and even keel.

Mutable Set is out May 8th via Mills’ New Deal label.

Jesca Hoop’s new album “Memories Are Now” wastes no time in making clear its confidence, confrontation, and craftsmanship. The stark and reverberant title track opens the set with “a fighting spirit,” says Hoop, serving as an anthem to push through any obstacle and put forth your very best work. And she has unequivocally done that here, with an album of stunningly original songs–minimalist yet brimming with energy, emerging from a wealth of life experience, great emotional depth, and years of honing the craft of singing.


As riveting as it is reflective, the album, produced by the gifted Blake Mills (Fiona Apple, Alabama Shakes), is a fresh debut of sorts for Hoop, as the first of her solo records made outside of Tony Berg’s Zeitgeist Studios where she and Mills were mentored and came into their own. “I saw us like young chicks out of the nest,” she says. “Blake is so utterly musical and emotionally intelligent in his expression. I wanted to see what we could do, just he and I out from under Tony’s wing.” Mills pushed her to strip away layers, keeping it as close to the live experience as possible, using whole live takes and working very quickly. “It’s still covered in embryonic fluid, for lack of a better way to put it,” says Hoop. “The recordings are quite raw, human and sparse, even unsettling. What I like to call quick fire recording forces you to work in an incredibly focused and instinctive type of way, no second guessing. ”


Jesca Hoop - Loser edition

Pre-orders are shipping now! Don’t miss out on getting the Robin’s Egg Blue-colored Loser edition vinyl LP while supplies last.  Also, if you happened to miss the duets album, Love Letter For Fire , that we released last year with Jesca and Sam Beam of the band Iron and Wine , you might want to check that out too .

L.A. band Dawes return with their fifth album. “We’re All Gonna Die” was produced by Grammy nominated producer Blake Mills (Alabama Shakes) and includes backing vocals from Jim James of My Morning Jacket, Brittany Howard of The Alabama Shakes, Mandy Moore, Will Oldham, and Jess Wolfe and Holly Laessig of Lucius. Of the album, Taylor Goldsmith (guitar, vocals) explains, “Pretty much every song on this record explores a difficult situation and tries to find a way to find the good in it, or at least remind yourself that it’s not always that big of a deal. After all, as scary as it is, we are all gonna die.” “If last year’s All Your Favorite Bands was a sweet source of comfort-rock, We’re All Gonna Die is something of a wake-up call, with sharper sounds and harsher vibes, straight from the jarringly fuzzy note that opens its title track” .

The California band Dawes has released several albums of breezy Golden State guitar rock centered on Taylor Goldsmith’s emotionally loaded songs. Those songs are filled with statements that are irresistibly uplifting when heard in a crowd. (Think “anyone that’s making anything new only breaks something else” from “When My Time Comes.”)

Dawes’ fifth album has the true — but still unsettling — title We’re All Gonna Die. It represents a change in sound courtesy of producer Blake Mills, who recently got kudos for producing Alabama Shakes latest album, Sound & Color, and who was also Goldsmith’s high-school bandmate. More touches of keyboards and more space are part of the band’s new approach.