Posts Tagged ‘Cameron Avery’

Spectres

Spectres release their second album Condition via Sonic Cathedral. The follow-up to their acclaimed 2015 debut, Dying, it was recorded by Dominic Mitchison in the band’s adopted home city of Bristol and mastered by Frank Arkwright (Mogwai, 65daysofstatic) at Abbey Road in London. It’s louder and more abrasive than their debut, but also a real progression. It sounds huge and adds a genuinely innovative and confrontational edge, partly inspired by last year’s remix album, Dead, which saw everyone from Factory Floor to Richard Fearless instructed to “kill” the songs from Dying. “There were discussions about experimenting with electronics, but the idea soon petered out when we realised we still wanted to experiment with guitars,” reveals singer and guitarist Joe Hatt. As a result tracks such as End Waltz have a relentlessly pounding, almost techno structure, in contrast to the kinetosis-inducing dirge of Dissolve – the first single from the album that came with a suitably stomach-churning video late last year. Elsewhere the almost restrained (by Spectres’ standards) white noise and wordplay of A Fish Called Wanda and the sprawling Colour Me Out are counterbalanced by brutal assaults such as Neck and Welcoming The Flowers, which keeps threatening to drown itself in its own roiling diamond sea.

LP – Limited-edition Black vinyl LP in a Gatefold sleeve, featuring lyrics and artwork by Laurie Lax and photography by Stephanie Third.

LP+ – Limited-edition Cream vinyl LP in a Gatefold sleeve, featuring lyrics and artwork by Laurie Lax and photography by Stephanie Third.

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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.

2LP+ – Limited Deluxe 2LP Edition including Bonus Material Live tracks and digital download card.

2LP – Standard Version with Download.

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‘It’s the Buzz, Cock’. Howard Devoto read this headline from a January 1976 Time Out review of ‘Rock Follies’, the 1970s TV musical drama following the ups and downs of the fictional female rock group, ‘Little Ladies’. Adapting and appropriating it as the name for his new band that he had just formed with Pete Shelley having realised what a Sex Pistol was before anyone else. Buzzcocks formed having witnessed firsthand the white-heat of the early Sex Pistols. Howard and Pete went about organising the now infamous 1976 Lesser Free Trade Hall gigs that brought punk to the provinces and galvanized the new Manchester music revolution. The plan was to simply play support to the Pistols and then see what happened next…Featuring the original line-up of Howard Devoto (vocals and songwriter), Pete Shelley (guitar and songwriter), Steve Diggle (bass guitar) and John Maher (drums), Time’s Up was recorded at Revolution Studios, Bramhall Lane Stockport on the 18th of October 1976. The session, recording Buzzcocks’ live set at the time, cost £45 and was engineered by Andy MacPherson.

LP – The long-out-of-print Time’s Up 12” Vinyl LP, re-pressed on heavyweight black vinyl with a printed inner sleeve.

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In early 2016, the release of Talk Tight put Rolling Blackouts Coastal Fever on the map with glowing reviews from Spin, Stereogum, and Pitchfork, praising them as stand-outs even among the fertile landcape of Melbourne music. Chock full of snappy riffs, spritely drumming and quick-witted wordplay, Talk Tight was praised by Pitchfork “for the precision of their melodies, the streamlined sophistication of their arrangements, and the undercurrent of melancholy that motivates every note.” The band was born from late night jam sessions in singer / guitarist Fran Keaney’s bedroom and honed in the thrumming confines of Melbourne’s live music venues. Sharing tastes and songwriting duties, cousins Joe White and Fran Keaney, brothers Tom and Joe Russo, and drummer Marcel Tussie started out with softer, melody-focused songs. The more shows they played, the more those driving rhythms that now trademark their songs emerged. Since then, Rolling Blackouts Coastal Fever rode that wave from strength to strength. Touring around the country on headline bills and festival slots all the way to Bigsound, the entrenched themselves with their thrilling live shows while prepping their next release. The French Press levels up on everything that made Talk Tight such an immediate draw. Multi-tracked melodies which curl around one another, charging drums and addictive bass lines converge to give each track its driving momentum. Honed through their live shows, this relentless energy carries the record through new chapters in the band’s Australian storybook. Rolling Blackouts Coastal Fever’s songs have always had all the page-turning qualities of a good yarn and The French Press is no different. Somewhere between impressionists and fabulists, lyricists Fran Keaney, Tom Russo and Joe White often start with something rooted in real life – the melancholy of travel on French Press, having a hopeless crush on Julie’s Place – before building them into clever, quick vignettes. The result is lines blurred between fiction and reality – vibrant stories which get closer at a particular truth than either could alone. Blending critical insight and literate love songs, The French Press cements Rolling Blackouts Coastal Fever as one of Australia’s smartest working bands.

LP – Black Vinyl with Download.

LP+ – Limited Loser Clear Coloured Vinyl with Download.

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This remixed and expanded reissue of Soundgarden’s Ultramega OK is a long-planned correction of the legendary band’s Grammy®-nominated debut full-length. The album was originally recorded and released in 1988 on SST Records. While the band enjoyed working with the original producer, Drew Canulette, they soon realized they weren’t quite happy with the final mix. Thus, shortly after the album’s release, the band decided to remix the album for subsequent pressings. However, success intervened: the band rapidly scored a deal with A&M and began work on their major-label debut, Louder Than Love, and the Ultramega OK remix project fell by the wayside as Soundgarden climbed their way to (ultra)mega-stardom. In 2016, after worldwide success, a breakup, a reunion, and many albums and tours, the band finally acquired the original multi-track tapes to Ultramega OK and carved out time to dig into the remix. They handed the tapes over to longtime friend and engineer Jack Endino (Nirvana, Mudhoney, Screaming Trees, Skin Yard), who worked with the band to create a fresh mix of the album that, for the band, ties up this persistent loose end and remedies the sound of their debut full-length. While they were at it, the band dug out six early versions of tracks that wound up on Ultramega OK. The songs were recorded in 1987 on 8-track tape by Jack Endino and Chris Hanzsek at Reciprocal Recording in Seattle, and mixed by Jack Endino in 2016. These versions feature the band in raw, powerful form – sonically closer to the band’s Endino-recorded six-song debut, Screaming Life – and provide a fascinating window into the development of songs that eventually became staples of the band’s set. The six songs comprise what the band refers to as Ultramega EP, and they are included in this reissue. Hailed as grunge innovators, Soundgarden redefined rock music for a generation. In the late ‘80s, the band – singer Chris Cornell, guitarist Kim Thayil, bassist Hiro Yamamoto, and drummer Matt Cameron – combined a punk ethos, brutal metal soundscapes, and Cornell’s ravenous roar to capture the attention of the masses. Jagged and ferocious, their music was deeply at odds with the synth-pop and hair metal which dominated the ‘80s airwaves. Early indie releases, including seminal Screaming Life and Ultramega OK, quickly led to a dedicated indie following as the band toured on both sides of the Atlantic. Subsequent albums, including Badmotorfinger, Superunknown, and Down on the Upside, achieved multi-platinum sales and launched the band to international fame.

2LP – Double Black Vinyl in Foil-stamped Gatefold packaging with custom dust sleeves plus Download.

2LP+ – Limited Double Loser Blue Marbled and Violet Coloured Vinyl in Foil-stamped Gatefold packaging with custom dust sleeves plus Download.

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The husband and wife duo of Alaina and Patrick, otherwise known as Tennis, return with Yours Conditionally, their new album on the band’s own label Mutually Detrimental. Building on their dreamy combination of perfect melodies and classic songwriting, Yours Conditionally sees a full circle return to their nautical roots of sorts, with the duo even writing part of the album while sailing at sea, what Alaina calls “a grandiose gesture”, a necessary venture of revisiting the past to reinvigorate the present. However, the pair dig deeper and darker this time round, with the resultant album wedding discussions of identity and self-sacrifice to some of their most pristine and infectious hooks yet. Achingly beautiful lead single In the Morning I’ll Be Better, written about the “precariousness of our lives”, sums up this paradox completely, with gorgeous melodies belying its subject matter of Riley seeing a family member through a serious illness. Please Don’t Ruin This For Me and Fields of Blue also deliciously straddle the light / dark divide, while others, like Ladies Don’t Play Guitar and the divine swoon of Modern Woman hit the pop bullseye square on the nose while unpacking conflicting themes of feminism and industry archetypes. Taken in toto, Yours Conditionally sees a band at maturation point, looking fondly to the past while also staring down the uncertainty and confusion of the future without flinching. This is Tennis at their contrary, compelling best.

LP – White Vinyl.

Shins

The Shins release of their fifth studio album, Heartworms. In contrast to 2012’s Port of Morrow, Heartworms ushers in a return to the handmade. Heartworms is, as always, entirely written by James Mercer, with exception of So Now What (produced by band member Richard Swift). Heartworms is the first Shins album to be self-produced by Mercer since Oh, Inverted World in 2001. Heartworms features Mercer’s most diverse lyrical palette to date. The result is a cohesive, yet genre defying album marked by Mercer’s distinct voice and melodic composition. Unified by his singular vision, Mercer creates a sound that is both familiar – a nostalgic nod to the album’s predecessors – and distinctly new. The album’s first single, Name For You, is a resounding call for female empowerment inspired by Mercer’s three daughters.

LP – 180 Gram Vinyl with Download.

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Cameron Avery has arrived as a new breed of nocturnal crooner, a train-wreck romantic creating timeless, ambitious music for the modern age. Utilizing his soulful wit, shrewd arrangements, and a deep, husky baritone, Avery harnesses the dark power and humor of artists like Nick Cave, Scott Walker, and Tindersticks to expertly walk the fine line between vulnerable and venerable. Hailing from the late 2000’s-era Perth, Australia, a healthy scene of hard-hitting garage rock bands, including a long stint as the drummer of Pond, Avery found his musical footing while playing with friends but sought the reward of his own outfit. Encouraged by his friend Kevin Parker of Tame Impala to record on his own, Avery started The Growl as his solo project in 2007, making an EP and an album of aggressive, distorted psychedelic rock and roll. When Parker asked him to join Tame Impala as its touring bassist in 2013, Avery jumped at the chance and rose with that band to the top of the psych-rock heap, but all the while remained focused on carving out his singular identity as an artist and following his own muse. On a break from touring, Avery decided to head to the US to work on his album. He would settle in Los Angeles at the behest of Jonathan Wilson, the Echo Park musician and producer who also encouraged Avery to shine a spotlight on his baritone singing voice, unlike the snarling, obscured vocals of The Growl. It was a lofty idea, but one to which Avery aspired, encouraged by the challenge. Melancholic machismo is written into the very DNA of Ripe Dreams, Pipe Dreams. From the classical, finger-picked guitar on the opener A Time and Place and the orchestral vamping of Do You Know Me By Heart? to the bombastic, self-assured swagger of Dance with Me. He takes an emotive page from the Leonard Cohen songbook-of-longing on Big Town Girl just as naturally as he thumbs an aggressive note of Bad Seed strut and Cramps rut on Watch Me Take It Away. And by the time he purrs that earnest refrain of “Baby, it’s you” on the album’s closer C’est Toi, Avery has surely mastered that drunken tightrope dance. Now a resident of New York City, Avery looks to continue his search for the ultimate sensations from a fresh vantage point.

LP – With Download.

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Throughout years of traveling, John Andrews has documented his life with his home recordings. His first record, Bit By The Fang, found him living in the amish country of Lancaster, PA. On his latest record, Bad Posture, he waves farewell to Pennsylvania and greets the wooded hills of Barrington, NH. These songs were written slowly and quietly throughout the winter, usually late at night next to the wood stove. It was recorded in Andrews’ barn with the doors ajar, welcoming the springtime — inviting the outside noises in. You can hear the crickets chirping and the occasional truck driving by. The songs themselves lend their hand like slow backwoods Beatles demos covered in a thin blanket of tape hiss. Andrews’ band, The Yawns, has been crystallized with staples from the New England freak scene: Rachel Neveu and Lukas Goudreault (MMOSS / Soft Eyes) and Joey Schneider. The album was mixed with headphones at the foot of Emma Critchett’s grave, who lived in the Yawns’ house during the 1800s. The record is an ode to her and all who have lived there. It paints a picture of living in the “freecountry” on the precipice of a rapidly changing political climate.

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Sonic Jesus is an Italian musical project lead by multi-instrumentalist Tiziano Veronese. Since signing to Fuzz Club, the project has released a split single with The Black Angels and been remixed by Sonic Boom aka Pete Kember. Their internationally acclaimed debut Neither Virtue Nor Anger; an industrial barrage of hypnotic, dark psychedelia. Sonic Jesus’ new album Grace goes beyond the past boundaries, pushing towards enthralling melodic horizons and modern pounding beats, delivered by a new-found pop sensibility. There’s still a darkness brooding beneath the noise but these new tracks see the project take on a magnificent and insatiable new form.

Available on 180gm white vinyl and CD.

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From adversity can come triumph, and from catharsis inspiration. Such has been the case for Gnoomes, the threesome hailing from Perm, Russia, whose second release for Rocket Recordings, Tschak! arrives in the wake of considerable turbulence and tumult within their personal lives and society itself, all of which has only been fuel for a creative epiphany that has seen them create a deeply evocative work rich with vibrant experimentation and saturated in a widescreen sense of wonder. It may only have been eighteen months since Ngan!, the band’s first release for Rocket, whose self-styled ‘stargaze’ approach marked a glorious collision between melodic sweetness, skysurfing guitar experimentation and motorik magnificence, yet the band have already moved on to a sonic landscape still more adventurous and ethereal on Tschak!, not to mention an emotionally resonant approach that’s bewitching to witness. Taking in torrents of guitar noise and electronic extrapolations both blissfully kosmische and aggressively abrasive, it exists outside of all or any convenient genres, a vivid and singular work by three dreamers-at-heart forced to manifest their vision into a psychic defence to the circumstances surrounding them. Working in splendid isolation thanks to a studio space provided by their work for a local radio station, the band had time and space for the alchemical process of creating Tschak! entirely on their own terms. Central to the this were a collection of Russian synths that they gathered, whose eccentric arpeggios and analogue textures form crucial ingredients on songs like Severokamsk and the title track, arriving at a sound that forms a star-crossed and timeless marriage between the experimentation of krautrock and the lineage of Warp Records. Forging forth into unknown realms both physical and metaphysical, Gnoomes recently completed a UK tour – including an appearance at Liverpool International Festival Of Psychedelia. Yet with the dreamlike radiance of the potent and otherworldly Tschak! on their side, this adventure is already well on its way.

LP – Limited Green Vinyl with Download.

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Psych-pop masterpiece from two of the best to ever do it. Los Angeles native and weirdo-pop enthusiast Ariel Pink joins forces with lo-fi pop pioneer R. Stevie Moore in a crazy freak-out extravaganza. Back in 2012, two leaders of the modern psych scene colluded together in making a 60+ track album. Here, we have the definitive collection of songs from ‘Ku Klux Glam’. Re-mastered and compiled by R. Stevie Moore, this is a presentation of this record in it’s clearest form.

Tape – Double 63 Track Tape.

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Cameron Avery

“Dance With Me” is the third single from ‘Ripe Dreams, Pipe Dreams’

Cameron Avery is back with a new song today. It’s one of our favorites from his forthcoming album ‘Ripe Dreams, Pipe Dreams‘ out March 10th. Simply, the series of songs Cameron Avery is coming up with surround the release of his album have to mark it as an early contender for those ‘Best Of The Year…’ lists, and you just need to know about it. Thus, I shall tell you. Latest visually-enhanced instalment is Dance With Me (Spinning Top/Anti), again a long way from his Tame Impala and Pond credits. And sure it has some ironic self-awareness, an arched eyebrow to its noir-ish tone, which might be deliberately winking at itself. But, as Berlin-era Iggy collides with some Lennie Cohen via some Rat Pack lounge-lizarding, it’d all fall to slivers if there wasn’t real craft and talent in what has been made.

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Singer Songwriter and multi-instrumentalist, and member of Australian band Tame Impala will release his debut solo album ‘Ripe Dreams, Pipe Dreams’ on March 10th.

“I always had a piano growing up and always wanted a grand,” Perth-based singer-songwriter and multi-instrumentalist Cameron Avery told us when we asked him about his favorite piece of gear. “I bought it off a friend of mine. It’s a 71′ Kawai KG-5 Conservatorium Grand piano. It’s so played and has such a resonant bottom end. It’s the last year they made them with ivory I’m pretty sure.”
“It’s just fun having such a beautiful instrument to write on. You don’t have to turn it on or plug anything in, just flop outa bed and play it. It’s literally the only piece of furniture I have other than my bed in my loft. It’s definitely opened up a whole different side of my writing, I can sit at it for hours. My neighbors don’t love it though.” Pretty sure we wouldn’t mind it if Avery was our neighbor.

There may be a touch of familiarity in Avery’s music, as he is the longtime drummer of Pond and touring bassist for Tame Impala . In one of his latest videos, “A Day in the Life” (above), we see him recording drums in the studio and talking about his spot in Tame Impala. “Everyone knows their place. I think that’s important in a good band…that everyone knows their role.”
We’re slowly learning that Avery is much more than a bassist and drummer, but also a singer/songwriter and overall very versatile artist. His debut solo record Ripe Dreams, Pipe Dreams, is out March 10th via Anti- Records.

Tame Impala’s Cameron Avery Is Dropping His Debut Solo Album

The talented multi-instrumentalist and Tame Impala man Cameron Avery has had a big couple of days. Not only have we learnt that he’ll be performing at the SXSW festival in Austin Texas to rep Australian bands on the world stage, but today he’s also dropped the announcement of his debut solo album on us complete with a cheeky taster.

Brand new single ‘Wasted On Fidelity’ is the second single released so far from the forthcoming record, a beautiful contemplative number laden with gorgeous strings arrangement that bodes very well for the rest of his forthcoming album “Ripe Dreams, Pipe Dreams”.

“I just started saying ‘yes’ to things while making the album,” Cameron says, delving into the more and less evident themes on the record. “I figured: I’m in my mid ’20s, I play in a band, I live in Los Angeles—I’m ripe to dream. But the pipe dream, the underlying theme of the album, if you really listen, is that all I really want is to have someone in my life and to be in love.” ahh so nice.

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“Wasted On Fidelity” by Cameron Avery from the album ‘Ripe Dreams, Pipe Dreams,’ available March 10th