Posts Tagged ‘Bon Iver’

Acclaimed singer/songwriter Pieta Brown has teamed up with Bon Iver’s S. Carey for a new single called “Follow You” that veers confidently into the world of indie-pop. Out now via Ani DiFranco’s Righteous Babe Records, “Follow You” is a first taste of new music to come and continues to showcase Pieta’s experimentation with expanding her musical palette and pushing her sonic boundaries. The accompanying video was filmed in Ireland by director Peadar Gill and features actress/dancer Taylor Graham.

“Written in Belgium standing by the North Sea, for me this song is simple,” Pieta told Flood Magazine, who featured the single. “Imagination and connection amidst the chaos! ‘Nature is imagination itself…’ Many of my last recordings have been recorded live all in one room, and this was anything but that! This track started one afternoon in Paris with my friends Bertrand Belin and Thibault Frisoni, and morphed and grew slowly with the help of my friend S. Carey. Sean and mixing engineer Brett Bullion were very instrumental in translating my ideas into sound – and in giving this track some wings!”

“It’s been a real joy helping Pieta stretch out her sonic palette on some of her more recent releases,” said Carey. “And like all of her songs I’ve heard, this one had real legs to stand on and expand upon.”

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Pieta enlisted S. Carey to produce her revolutionary new album ‘Freeway’ last year, which was recorded at Justin Vernon’s April Base Studios and also released through Righteous Babe Records. It was marked as her most experimental collection of songs to date, as well as her most confident and direct. It was met with widespread critical acclaim from NPR Music, Billboard, Stereogum, Flood Magazine, Paste, American Songwriter, Folk Alley, and Relix Magazine among many others. 

ATO Records released a pair of remixes of songs from Brittany Howard’s acclaimed debut solo album, “Jaime”. Atlanta-based hip hop duo EARTHGANG reimagines “Goat Head” and Bon Iver brings fresh textures to “Short and Sweet.” The tracks are the first to be revealed from an upcoming collection of remixes from Jaime.

EARTHGANG explains, “We’ve been big fans of Brittany and Alabama Shakes so this is a dream come true. Songs like these help us make sense of all the craziness in the world at times. Her song ‘Goat Head,’ dealing with her black experience in America and The World, resonated the loudest at this time. Just thankful to be able to give the world our medicine and heal the people.”

Bon Iver adds rich layers to “Short and Sweet” – a song celebrating a nascent romance that Howard originally recorded alone, accompanying herself on acoustic guitar – and imbues it with a twinkling, ethereal vibe that both complements and contrasts its old-time warmth.

Brittany is a truly singular artist; so much power and musicality. This album speaks to so many people, including us,” says Justin Vernon, founder of the Grammy award winning band Bon Iver. “To have a chance to recreate ‘Short and Sweet’ in our own image with long-time collaborators Jenn Wassner and CJ Camerieri, was both an honour and almost too much of a privilege.

BON IVER – ” AUATC “

Posted: August 8, 2020 in MUSIC
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Four months after sharing the Kacy Hill–featuring acronymic single “PDLIF,” Bon Iver is back with reinforcements for their second track of 2020: “AUATC” (which stands for “Ate up all their cake”) arrived  with vocal contributions from Jenny Lewis and Jenn Wasner (who’s had a busy month between a new Wye Oak EP and her work on the new Madeline Kenney LP) with production credits for the band’s Justin Vernon as well as Jim E-Stacks and BJ Burton.

In lieu of the glitchy folktronica of its predecessor, “AUATC” recalls the roots rock of The Band, complete with a jaunty piano lining the chorus of voices (Bruce Springsteen also gets a vocals credit here). Hear the song below, and watch the video which features graceful moves from Randall Riley.

From celebrating art and music, to empowering women, to liberating incarcerated people, to fighting climate change, these organizations work tirelessly to foster a world that celebrates our humanity on a local, national, and global level. Please explore, support, and take action:

Vocals: Elsa Jensen, Jenny Lewis, Bruce Springsteen, Justin Vernon, and Jenn Wasner Morphagene: Jenn Wasner Synthetic String Parts: BJ Burton Pianos: Phil Cook Percussion and Drums: Jim-E Stack, Reggie Pace, Matt McCaughan, JT Bates, and Justin Vernon Guitars, Ob6_Bass, and Banjers: Justin Vernon Pedal Steel: Ben Lester Fiddle: Barbara Jean Meyers

Written by Phil Cook, Justin Vernon, Jim-E Stack, BJ Burton, and Jenn Wasner

Bon Iver’s “Blood Bank” is “arguably the most consequential EP of the 2000s” and now, the group announces its 10th Anniversary  reissue. Released 11 years ago yesterday (we know), and coming March 27th on Jagjaguwar, the package pairs each of the original four songs with brand new live renditions recorded during shows in Stockholm, Dallas, London, and Paris.

Similar to how the first Blood Bank followed For Emma, Forever Ago, the reissue forecasts the evolution of Bon Iver as the project expands to new breadths of sound and community. In its new liner notes, Wisconsinite Ryan Matteson reflects on the mantras of Blood Bank and the growth of Bon Iver, writing how songs like “Woods” heralded “not just a new direction but a new beginning entirely. A place where boundaries don’t exist. It was a signal change of things to come, laying the groundwork for new collaborations.”

Bon Iver performed music from Blood Bank throughout their 2019 arena tour supporting new album i,i. That tour will extend through November 2020 with a series of just-added European dates

The reissue will feature new artwork by Eric Timothy Carlson, both original and brand new live renditions of each track, and an in-depth essay written by longtime Bon Iver friend Ryan Matteson.

Side A:
01 – Blood Bank
02 – Beach Baby
03 – Babys
04 – Woods

Side B:
05 – Blood Bank (Live from Ericsson Globe, Stockholm SE, Oct 31 2018)
06 – Beach Baby (Live from The Bomb Factory, Dallas TX, Jan 23 2018)
07 – Babys (Live from Eventim Apollo Hammersmith, London UK, Mar 4 2018)
08 – Woods (Live from Pitchfork Paris Presented by La Blogothèque, Nov 3 2018)

Blood Bank (10th Anniversary Edition) – out March 27, 2020 via Jagjaguwar Recordings.

Bon Iver Announce ‘i,i’<span>New Album Out August 30th </span>

Bon Iver have announced a new studio album, i,i, set for release on August. 30th via Jagjaguwar Records, along with sharing two more tracks from the effort, “Jelmore” and the song “Faith.”

As was hinted at with the band’s “Sincerity is Forever in Season” teaser trailer, released earlier this month, this is the fourth studio record from Justin Vernon’s project follows in the seasonal pattern of the previous three: 2007’s For Emma, Forever Ago (winter); 2011’s Bon Iver (spring); 2016’s 22, A Million (summer); and now i,i representing the fall.

“It feels very much like the most adult record, the most complete,” Vernon says in a press announcement for the album. “It feels like when you get through all this life, when the sun starts to set, and what happens is you start gaining perspective. And then you can put that perspective into more honest, generous work.”

Vernon recorded i,i at Wisconsin’s April Base and Texas’ Sonic Ranch studios and, according to the press release, at times used all five studio rooms of the latter location simultaneously. For the sessions, Vernon was joined by a band comprising Sean Carey, Andrew Fitzpatrick, Mike Lewis, Matt McCaughan, Rob Moose and Jenn Wasner, along with contributions from James Blake, Brad and Phil Cook, Aaron and Bryce Dessner, Bruce Hornsby and several others.

“The title of the record can mean whatever it means to you or me,” Vernon says. “It can mean deciphering and bolstering one’s identity. It can be how important the self is and how unimportant the self is, how we’re all connected.”

Bon Iver will head out on a North American tour in the late summer and fall this year, kicking off August. 31st in Missoula, MT.  the two new i,i singles (which follow up the previously released “Hey, Ma” and “U (Man Like)”) .

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Bon Iver (the project of Justin Vernon) shared two new songs, “Hey Ma” and “U (Man Like),” via lyric videos for each track. They also announced some new tour dates and launched a new website (www.icommai.com). The songs feature a slew of special guests, including Jenn Wasner of Wye Oak and Flock of DimesMoses Sumney, and Bruce Hornsby. We were torn between the two, but settled on “U (Man Like)” as our favorite of the two, with “Hey Ma” an honorable mention below.

Vernon had this to say in a press release: “This project began with a single person, but throughout the last 11 years, the identity of Bon Iver has bloomed and can only be defined by the faces in the ever growing family we are.”

The official musician credits on “Hey Ma” are: Ben Lester – CP-70 Electric Piano. Psymun – Sampling. Justin Vernon – Matrix 6, Guitar. Brian Moen – Drums. Jenn Wasner – Voice, Guitar. Jake Luppen – Guitar. Buddy Ross – Synth. Rob Moose – Violin, Viola, String Arrangement, Worm Crew Arrangement, Conductor. Brad Cook – Basses. Worm Crew – Horns.

The official musician credits on “U (Man Like)” are: “Justin Vernon – Bass + Voice. Bruce Hornsby – Piano, Voice. Phil Cook – Piano and B3, Voice. Elsa Jensen – Voice. Moses Sumney – Voice. Jenn Wasner – Voice. Rob Moose – Violin, Viola, Octave Viola, String Arrangement, Worm Crew Arrangement. Worm Crew – Horns. Brooklyn Youth Chorus + Bryce Dessner – Choral.”

Listen to Gordi's Haunting Acapella Cover of Bon Iver's "00000 Million"

The Australian musician and 21 year old Sydney indie-folk singer songwriter known as Gordi recently covered her Jagjaguwar labelmate Bon Iver’s “00000 Million.”

On the decision to do an acapella cover, the musician says, “I think words can be best understood when they are all you can hear.” Listen to Gordi’s beautiful and haunting cover

Gordi will support Bon Iver at his upcoming Hammerstein Ballroom show in New York on December. 10th. Leading up to that show, she will support The Tallest Man on Earth for a string of Australian dates.

Bon Iver’s first album in five years takes an unexpected turn toward the strange and experimental. But behind the arranged glitches and processed voices are deeply felt songs about uncertainty.

10 days after its release, and I’m still getting my head around the beautiful weirdness that is Bon Iver’s 22, A Million, but if you pushed me for a favorite song, then I’d probably say “#29 Strafford APTS.” A sweeping acoustic ballad that provides an alien-like spin on Justin Vernon’s more traditional breed of folk and Americana, it comes paired with a video that sees the track’s inscrutable lyrics splayed out across Illuminati-esque imagery.

Created/Produced/Directed by Aaron Anderson & Eric Timothy Carlson

Image of Ultimate Painting - Dusk

Dusk is the third album from London-based duo Ultimate Painting, a ten song set that expands the group’s sound from their self-titled debut and their critically acclaimed sophomore effort Green Lanes, about whose tunes Pitchfork raved their “deceptively simple interplay slowly worms into your synapses…” Dusk heads along the same path, albeit in a slightly different direction, forging to new territory by heading inward. Most groups would kill to have one talented songwriter in their ranks, but Ultimate Painting are lucky enough to be comprised of two singular voices in Jack Cooper and James Hoare.

The pair’s distinctive songwriting styles began to blur a bit with Green Lanes, but on Dusk it ’s hard to tell where Cooper ends & Hoare begins. Their tunes weave in & out of each other like the duo’s respective six-strings, spiralling around each other in a laconic dance. Album opener ‘Bills’ dives head-first into a crystalline pool of jangle, furthering the duo’s rep as purveyors of the Verlaine/Lloyd legacy, but despite the evident influence of American guitar pop both past & present, the group’s recorded an album that feels decidedly English. Cooper’s abstract poeticism balanced perfectly alongside Hoare’s alluring & universal pop leanings. The group’s discovered a simple lushness in Dusk’s arrangements, sometimes only with subtle additions like Hoare’s recently acquired Wurlitzer piano that drives tunes like ‘Lead The Way’ or washes underneath others like ‘Monday Morning, Somewhere Central’. They’ve tapped into the subtle grace that infects the mood and emotions experienced at times like sunrise & dusk. Hopefullness. Resignation. Ennui. A breathing in. A breathing out.

Dusk was once again recorded to tape by guitarist James Hoare in his London flat. The casual setting allowed the sessions & songs to unfold naturally, with the two of them accompanied by recent live drummer Melissa Rigby, who drums on the entirety of Dusk. Her skills lend a rhythmic elasticity to songs like ‘A Portrait of Jason’ and ‘I Can’t Run Anymore’, with jazzy undertones that break from the band’s previously unadorned 4/4 leanings. Dusk feels different and cements the group’s presence in the modern world guitar pop, finding voice in the allure of quietude.

Image of Jenny Hval - Blood Bitch (Bonus Disc Edition)

Norwegian artist Jenny Hval announces the release of her new album, Blood Bitch via Sacred Bones. Co-produced with acumen noise producer Lasse Marhaug, Blood Bitch is in many respects a complete 180° from her last album, Apocalypse, Girl, in subject matter, execution and production. It is Hval’s most focused album, but the lens is filtered through a gaze which the viewer least expects.

In the words of Jenny Hval: “Blood Bitch is an investigation of blood. Blood that is shed naturally. The purest and most powerful, yet most trivial, and most terrifying blood: Menstruation. The white and red toilet roll chain which ties together the virgins, the whores, the mothers, the witches, the dreamers, and the lovers. Blood Bitch is also a fictitious story, fed by characters and images from horror and exploitation films of the ’70s. With that language, rather than smart, modern social commentary, I found I could tell a different story about myself and my own time: a poetic diary of modern transience and transcendence. There is a character in this story that is a vampire Orlando, traveling through time and space. But there is also a story here of a 35-year old artist stuck in a touring loop, and wearing a black wig. She is always up at night, jet lagged, playing late night shows – and by day she is quietly resting over an Arp Odyssey synthesizer while a black van drives her around Europe and America. So this is my most fictional and most personal album. It’s also the first album where I’ve started reconnecting with the goth and metal scene I started out playing in many years ago, by remembering the drony qualities of Norwegian Black Metal. It’s an album of vampires, lunar cycles, sticky choruses, and the smell of warm leaves and winter.”

Jenny Hval has developed her distinct take on intimate sound since the release of her debut album in 2006. For her last two solo albums, 2013’s Innocence Is Kinky and 2015’s Apocalypse, girl, Hval has received thoughtful and widespread international acclaim for her fascinating voice, singular delivery and markedly non-traditional arrangements which incorporate elements of poetry, prose writing,
performance art, and film. She eloquently brings to light issues of both male and female gaze.

Warehouse -

Atlanta’s Warehouse will release their sophomore album, Super Low, at the end of the month by way of the Brooklyn-based label Bayonet. This is welcome news, since we named Warehouse a Band To Watch last year based on the strength of their unconventionally catchy debut LP Tesseract. We’ve heard a few singles off of super LowReservoir and Simultaneous Contrasts and today we’re premiering the title track. While Warehouse was recording Super Low, Elaine Edenfield was coping with a personal loss, which affected her creative process tremendously. She describes feeling “Super Low” as follows:

Super Low is about near loss, loss, and fear of loss. The slowest song, leaning towards the album’s most heavy subconscious undertones, Super Low is the coming to a point of resolution, understanding, and maturation.

Though this song was born of trauma, it’s not an upsetting first listen. There’s so much life in “Super Low” that it’s hard to fathom this song is about death until you listen carefully to Edenfield’s lyrics. Still, her words are resilient: “I can’t destroy the things/ They keep me alive/ And I can’t destroy the things/ That lead to where you lie.”

Image of Public Access TV - Never Enough - Bonus Disc Edition

Having successfully nabbed the attention of NME early on, with the magazine singing their praises after uploading just one song to SoundCloud and declaring them “New York City’s hottest new band”, the group played their first live show at the legendary East Village bar Niagara, to a packed crowd before heading to England to hone their sound.
Touring under the fake band name “The iLL Herbs’ their run of UK shows was a huge success, culminating in their performance at The Great Escape Festival in Brighton.
The band have more recently played both the Bonnaroo and Governor’s Ball Festivals. In addition, both NME, and Entertainment Weekly declared the group one of the “buzziest” bands at SXSW this past year. The band also played a sold-out NME show at Birthdays in London this February, as well as a number of support slots for The Strokes, Hinds, FIDLAR and Palma Violets.

Image of Ian Sweet - Shapeshifter

IAN SWEET’s indie pop packs the personality that [Hardly Art] is known for, spinning conventional rock band setups into output that is unconventional.”

“They’ve relocated across the USA, gone on three tours, eaten a lot of donuts, climbed rocks and worn crocs.”

“The unmistakable voice of singer Jillian Medford is a force that stands all on its own.”

“I have a way of loving too many things to take on just one shape,” Jilian Medford sings over and over again on the title track of the Brooklyn-based band IAN SWEET’s debut album, Shapeshifter, repeating it like a mantra. This is Medford’s thesis statement, a narrator to carry us through Shapeshifter, which is above all else a meditation on loneliness and displacement. It’s about losing love and your sense of self in the process, about grabbing at the little things in life that bring joy when nothing else is going according to plan. It’s also an ode to the bandmates, and the friends, that see you through. Ian Sweet started in 2014 with a string of text messages. Medford was a few days away from embarking on her first tour when the driver and drummer she recruited cancelled. Medford sent Ian Sweet drummer Tim Cheney  whom she barely knew a series of desperate messages, asking if he knew how to drum and whether or not he would be willing to take two weeks off of life to go on tour. Cheney responded soon after with a simple: “Yes.” Accompanied by Cheney and bassist Damien Scalise’s playful instrumentation, Shapeshifter becomes a celebratory purging, an album that finds humor in self-deprecation and vice.

Ian Sweets debut interrogates capital-e Existence through a candy-coated lens, their mathy precision scaffolding the chaos of Medford’s personal neurosis and turning those anxieties into something hook-laden and relatable. And though the narrative of Shapeshifter clings to an ex-lover, the yearning felt on this album isn’t directed at a particular individual so much as it’s turned inward. “You know the feeling. When you really like someone, you forget to do anything for yourself, you forget all of the things that gave you your shape,” Medford says. “The things that form your absolute.”

Image of Various Artists - Liverpool International Festival Of Psychedelia Presents PZYK VOL.2: Further Adventures In The PZYK Diaspora

Liverpool International Festival of Psychedelia are thrilled to announce the release of PZYK Vol.2 – a deluxe triple vinyl compilation celebrating the latest stars in the neo-psychedelic firmament.

The release comes one year on from the original, scene defining release PZYK Vol.1, which was named Piccadilly Records ‘Compilation Of The Year’. Featuring a mix of exclusive tracks, re-mixes, rarities and album cuts, the compilation spans and charts the global PZYK diaspora, with artists from around the world contributing to an international selection comprising 30 of the current movement’s key noisemakers.

Festival headliners SUPER FURRY ANIMALS are featured, as are The Horrors with a scintillating cut from TOM FURSE. The compilation again celebrates the internationalism of the neo-psych underground, with appearances from KIKAGAKU MOYO (Japan), DUNGEN (Sweden), PURE PHASE ENSEMBLE (Poland), ZOMBIE ZOMBIE (France), THE GANJAS (Chile) and 10,000 RUSSOS (Portugal), to name but a few.

All the artists featured on the release have performed at Liverpool Psych Fest.

Image of Bon Iver - 22, A Million

22, A Million is part love letter, part final resting place of two decades of searching for self- understanding like a religion. And the inner-resolution of maybe never finding that understanding. The album’s 10 poly-fi recordings are a collection of sacred moments, love’s torment and salvation, contexts of intense memories, signs that you can pin meaning onto or disregard as coincidence. If Bon Iver, Bon Iver built a habitat rooted in physical spaces, then 22, A Million is the letting go of that attachment to a place.

Image of Pixies - Head Carrier

Sophomore ‘post reunion’ album from the alt-rock four piece, their first new music since 2014’s Indie Cindy.

This 12 track record showcases the band’s unique mixture of surrealism, psychedelia, dissonance + surf rock.

Produced by Tom Dalgety (Royal Blood, Killing Joke) and recorded at London’s Rak Studios.

Paz Lenchantin, the band’s touring bassist since early 2014 (and previously a member of A Perfect Circle and Zwan amongst others) is now a permanent member of the band and her cool vocals can be heard on the album, most notably on ‘All I Think About Now’ on which she takes the lead.

Image of The Wytches - All Your Happy Life

The Wytches second album All Your Happy Life draws on a lifetime’s worth of new experiences shoehorned into two whirlwind years since their acclaimed debut album ‘Annabel Dream Reader’. There’s no difficult second album syndrome here. This black-hearted set is a combination of heavy comedown psychedelia and bilious and brilliant baroque ‘n’ roll. It’s portentous and scathing. Scabrous and bold. Utterly nihilistic.

Influences and inspiration is drawn from unexpected places – reading Tolstoy’s stories of dysfunctional relationships on the tour bus, digging the warm Hammond-and-acoustic tones of Elliot Smith, loads of underground metal band – but mainly it is informed by observing small town English life with new eyes, having traversed the planet on that first wave of success that followed their 2014 debut. It’s not so much the sound of the calm after the storm, but the howling vortex that follows in its wake.

All Your Happy Life marks a creative leap for The Wytches. Some might say it is the sound of a band finding their place in the world but really it is about world being allowed to enter the sphere of The Wytches – on their terms.

Image of Slaves - Take Control

Following on from the success of Slaves’ top 10 Mercury-nominated debut album ‘Are You Satisfied’, the duo mark their return with first single ‘Spit It Out’, an explosion of punk-rock fury that trails second album, ‘Take Control’. ‘Take Control’ was produced by one of the legends of early hip hop and New York punk, Mike D!!

CooleyImage of Drive-By Truckers - American Band

A statement from Drive-By Truckers’ Patterson Hood: “We are beyond thrilled to announce the release date of our new album ‘American Band’.

“These are crazy times and we have made a record steeped in this moment of history that we’re all trying to live through. We’ve always considered ourselves a political band, even when that aspect seemed to be concealed by some type of narrative device i.e. dealing with issues of race by telling a story set in the time of George Wallace or class struggles by setting ‘Putting People On The Moon’ in the age of Reagan.

“This time out, there are no such diversions as these songs are mostly set front and center in the current political arena with songs dealing with our racial and cultural divisions, gun violence, mass shootings and political assholery. Once again, there is a nearly even split between the songs of  and myself, with both of us bringing in songs that seem to almost imply a conversation between us about our current place in time.

“‘American Band’ is a sort of rock and roll call to arms as well as a musical reset button for our band and the country we live in. Most of all, we look at it as the beginnings of some conversations that we, as a people very much need to begin having if we ever hope to break through the divisions that are threatening to tear us apart.

“Drive-By Truckers are celebrating our twentieth anniversary as a band in an election year where some people are trying to define what it is to be American. Definitions based on some outdated ideology of prejudice and fear. We are loudly proclaiming that those people don’t speak for us. America is and always has been a land of immigrants and ideals. Ideals that we have often fallen short of achieving, but it’s the striving that has given us whatever claims to greatness we have had. That’s what America means to us and “We’re an American Band”.”

Image of The Wands - Faces EP

Scandinavian psych-rock outfit The Wands pinned themselves at the forefront of the European psych stage long ago with their previous efforts but the new Faces EP is certain to keep them sitting there comfortably. Dining on an influence of Nuggets-era rock and roll and Eastern acid-rock this is psychedelic music as it should be, underpinned by a nostalgic yearning but wholly innovative and equally addictive. Their latest cut is a much more dynamic and vivid effort and it’s immediately evident that The Wands are back with a clearer vision than ever with their vibrant and infectious psych. Whilst the groovy fuzzed-out guitars, otherworldly solos and tremulous vocals still echo a tripped out ode to the 60s and 70s psychedelic forefathers, the cosmic swell of synths and organs propel it with a contemporary and ethereal vigour.

On Friday  30th september , Bon Iver will release their gorgeous new album, 22, A Million tipped to be one of the best albums of the year—and to keep listeners appeased, Justin Vernon has shared a fourth promo single from the LP. It just so happens to be one of the most pre and uplifting songs the band has ever recorded. Along with the release of the new album, a lyric video for “715 – CREEKS” was released as well. The bare-boned track featuring little other than Vernon’s heavily nuanced yet autotuned voice plays while a word document of lyrics is typed out.

Like its similarly tuneful brother, “33 ‘GOD‘”, and “8 (circle)” sees some of the most merciful treatment from the abstruse naming convention Vernon employed on 22, A Million. (The general rule seems to be: The more accessible songs get relatively easily-identified song titles, i.e. “8 (circle)” vs. “10 d E A T h b R E a s T ⚄ ⚄”.)

Justin Vernon was still insisting he hadn’t been working on new Bon Iver material as recently as July 2015; just over a year later he performed the entirety of new album ’22, A Million’ at his Eaux Claires Festival in Wisconsin. All of that gig is on YouTube now, but the real thing will sound even better.