Posts Tagged ‘Bon Iver’

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.

BON IVER – ” 22, A Million “

Posted: September 14, 2016 in ALBUMS, MUSIC
Tags: ,

Cover art for Bon Iver's 22, A Million.

On September 30th, Bon Iver will release its first album in five years. Titled 22, A Million, it’s full of drama, disturbances and thrills. We have two tracks for you here, “22 (OVER S∞∞N)” and “10 d E A T h b R E a s T ,” released only moments after the band performed the new music at Justin Vernon’s own Eaux Claires festival in his hometown of Eau Claire, Wisconsin.

The news arrived with lyric videos of two tracks, “22 (OVER S∞∞N)” and “10 d E A T h b R E a s T ⚄” those are the actual titles.

We’re told in a press release that the number 22 “stands for Justin Vernon’s life. The number’s recurrence in his life has become a meaningful pattern through encounter and recognition,” it reads. “A mile marker, a jersey number, a bill total. The reflection of ‘2’ is his identity bound up in duality: the relationship he has with himself and the relationship he has with the rest of the world.“ As for the million, it represents “the rest of that world: the millions of people who we will never know, the infinite and the endless, everything outside one’s self that makes you who you are.”

The press release goes on to contrast it with their previous work. “If 2011’s 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.”

22, A Million can be ordered on Bon Iver’s website, where bundles that include merchandise and a 12” EP of “22 (OVER S∞∞N)” and “10 d E A T h b R E a s T ⚄”are available. They will promote the record with a selection of live gigs in mid-October.

Bon Iver, ’22, A Million’ Tracklisting

1. “22 (OVER S∞∞N)”
2. “10 d E A T h b R E a s T ⚄”
3. “715 – CR∑∑KS”
4. ”33 ‘GOD’”
5. “29 #Strafford APTS”
6. “666 ʇ”
7. “21 M◊◊N WATER”
8. “8 (circle)”
9. “____45_____”
10. “00000 Million”

This music represents another huge leap in Bon Iver’s music. Gone is the Silvertone guitar; in fact, it’s often tough to pick out more than a smattering of guitar in these songs. Gone, too, is the steady drum beat, and there’s barely a thread of folk music’s acoustic intimacy. It’s going on 10 years since For Emma, Forever Ago, and in that time, Bon Iver has filled the spaces in its sound with stimulation and surprise, as Vernon’s voice is digitized and distorted, sometimes beyond recognition — the effects often obscure the words, at least on first listen. This is “sit down and listen” music. A Report From Bon Iver’s Album .
A press release announcing the new album says that 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 last Bon Iver record hinted at what we hear in these new songs, both of which feel at once fragile and muscular. In one moment, an old reel of magnetic tape seems to flake and disintegrate, playing for its final spin. Then, everything sounds synthetic, as if Vernon and his band are creating the equivalent of a new element to the periodic table of music. I’m mostly fascinated these tunes radiate care and spontaneity.

 

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Justin Vernon held a press conference over the weekend to discuss 22, A Million, breaking down the process of recording, the sounds that inspired him, and the moment he almost scrapped the record. The album, in Vernon’s words, is defined by “explosiveness and shouting more.” “33 ‘God‘” in many ways, captures the crux of this new direction. There’s an air of cross-pollination to it, notably from James Blake and Kanye West. A few months ago, chopped vocal samples, helium pitch-shifting and an industrial sputter would have been on the low-probability end of things you would have expected from a new Bon Iver song.

The emphasis on experimentation and unusual structure obscures what is, skeletally, a straightforward song about doubt and articles of faith. There’s no chorus to speak of, and instruments clash with unprecedented force. On the other hand, you can imagine a stripped down acoustic version with untouched vocals working on the strength of the melodies. Some of the lyrics are precise (“I find God and religion too/Staying at the Ace Hotel”), others inscrutable (“The foreman is down/We’re rising the stairs”), effectively negotiating the polarity between deeply personal turmoil and arty abstractions.

Despite some recurring ticks and (of course) Vernon’s voice, these new songs make it abundantly clear that this project has grown far beyond its folk roots, with no discernible trajectory. Bon Iver doesn’t emerge often enough for us to be able to dissect trends or ongoing patterns anyways. We can plot where we are, but the lack of continuity essentially assures us that each record will be a snapshot. “33 ‘God” may serve as 22’s focal point.

22, A Million is the upcoming third studio album by American indie folk band Bon Iver, set to be released on September 30th, 2016. The album was premiered at Justin Vernon’s Eaux Claires Music Festival

What Happened To Bon Iver: Well, he seems to have mostly dropped the sad singer-songwriter guy schtick and adopted a massive, reverb-y sound that sounds like it’s sucking you into an uncomfortable cloud. But don’t worry – his trademark falsetto hasn’t gone anywhere.

22, A Million Out September 30th on Jagjaguwar Records
http://boniver.org/bio

this is just a stunning cover version of the Bonnie Raitt song by Bon Iver with his amazing falsetto vocal giving the song an amazing feel.

with so many collaborations and different projects on the go , among them Doe Paoro, Astronautalis, the Shouting Matches, Volcano Choir….. Justin Vernon and his unmistakable vocals  has become a huge influence.

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what a great listen this Ep from Dustin Tebbutt, this is my particular favourite check out his live version of the Breach recorded in Stockholm

there is an obvious comparison here to Bon Iver but Dustin Tebbutt a native of Australia decided to move to Sweden to gain more experience and enhance his music making abilities,
after 2 years he has released this gorgeous 4 track Ep “The Breach” a musical pleasure and a stunning listen.

http://

VANCOUVER SLEEP CLINIC beside the name this band are based in Brisbane, Australia the project of 17 years old Tim Bettison who makes gorgeous sounds with soaring angelic falsetto vocals and synths, songs written from the heart. A must buy is the winter ep check out songs “Collaspe” and “Vapour”

check out http://www.soundcloud.com/vancouversleepclinic

BON IVER – ” Wash “

Posted: February 28, 2014 in MUSIC
Tags: ,

when youre feeling a little blue, BON IVER can make you feel so good about everything

The Practical Hipster

boniver

When shit soars right through the roof of your skull and splatters across your universe. When no song can save you. When no person can be seen miles and miles ahead of you and the telescope of your heart begins to creak from disappointment, that’s when you shut the world out, and listen to a few great geniuses who know how to make some heart music.

Bon Iver is one such beautiful coming together of Song.

Listening to Bon Iver is like sitting by the ocean on a perfectly still day. Flying kites over sweeping sand dunes, or falling into waves, rising up to a dance against the sun as the air kisses the sunlight on your skin. It’s a little alchemy coming to life.

Like the night lit up by fickle ashes floating up from this campfire called life, where everything changes, ends and begins as quickly as a…

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