Posts Tagged ‘Creation Records’

The JASMINE MINKS, the first band to be signed to Alan McGee’s fledging Creation Records label back in 1984, they have announced their new 7” single on blue vinyl, to be released via A Turntable Friend Records. The line-up is the same as on the very first recordings with Jim Shepherd, Martin Keena, Walter ‘Wattie’ Duncan, Tom Reid and the former Television Personalities keyboardist Dave Musker and Tom Reid . The sound of this double A-side is as good as if the band had recorded them at the peak of their popularity some 30 years ago.

Back into mighty fine form, the legendary Jasmine Minks return to the scene with two new tracks, captured on vinyl as it should be. First one is “Step by Step”, it is backed with “Gravity”. Engineered and mixed by Pat Collier. The double A-side 7″ on very limited blue vinyl in a thick cardboard sleeve is released on March 22nd.

The Jasmine Minks have been strongholds in the British music scene since forming in 1983 in Aberdeen. Stereo Embers Magazine notes that they are “one of the most venerated indie rock bands of their era… their work is both timeless and canonical. Led by the positively ageless vocals of Jim Shepherd, the Jasmine Minks sound as vital as ever..

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The first two 45s by The Loft had gone down a storm in the music press. Creation Records thought they were onto a good thing with The Loft. The four piece’s first two singles – “Why Does The Rain” and “Up The Hill and Down The Slope” in late 1984 and early 1985 had picked up a fair amount of critical acclaim and sold reasonably well for a purely indie-based label.  Theirs was the sort of music that had mainstream radio chart potential.

But The Loft called it a day in mid 1985 and out of the ashes emerged The Weather Prophets just under a year later with Pete Astor (vocals/guitar) and Dave Morgan (drums) joined by Oisin Little (guitar) and David Goulding (bass).

The debut single, “Almost Prayed”, wasn’t all that far removed from the sound of The Loft and by the end of the year a second single and a German import LP that had come out on an overseas imprint of Rough Trade Records had seen many tip them for great things in 1987.

But by now Alan McGhee had been given money by Warner Brothers to form a new label which he named Elevation Records and its first releases involved The Weather Prophets – two singles (one of which was a re-recording of The Loft’s debut 45) and an album.  But pop music and critical acclaim have always had a fickle relationship and those who had supported the band through the Creation years were disparaging with the Elevation releases although musically there wasn’t much between them.

The band went back to Creation in 1988 and released two more singles and an album which was a little bit rockier than previous efforts but still success eluded them. The band broke up in late 1988 at which point Pete Astor pursued a solo career and Messrs Morgan and Goulding became part of a new alt/country group called The Rockingirds.

The Weather Prophets are still fondly remembered and regarded as one of the ‘should’ve been’ bands of the era and so it is no surprise that they were included on the CD86 double CD. The song was one of the b-sides on their 12″ debut single for Creation back in may 1986:-

The actual single itself is a belter:-

Peter Astor’s previous band, the Loft, was a Creation Records labelmate of Felt and sounded like it, but with the Weather Prophets he smoothed the edges to create a more commercial, if somewhat generic, guitar pop style that lives on through groups such as Brideshead and Northern Portrait. Mayflower doesn’t have an abundance of individual character, but the songs and performances are excellent, even though the album didn’t achieve it’s hoped-for mainstream success. “Almost Prayed,” from the group’s first single, and new songs such as “Can’t Keep My Mind Off You” and “She Comes from the Rain” are full of hooky, jangly goodness.

from: “Mayflower” (1987)

On this day in 1990, Oxford, England shoegazers Ride unleashed their debut album, “Nowhere”, at the height of shoegaze, and it still stands up as one of the genre’s defining works.  The word “shoegaze”  became one of my favorite musical styles. Nowhere” is the debut album by Ride, released 15th October 1990. Rolling Stone called the album “a masterpiece”,one of [shoegazing’s] enduring moments”. Ride had released three EPs, Ride, Play, and Fall, prior to the release of “Nowhere”  .

Before the ear-splitting beauty of My Bloody Valentine, the sugary noise-pop of The Jesus and Mary Chain or the washed-out soundscapes of Slowdive,

“Vapour Trail,” though this string-filled ballad wasn’t quite full-on shoegaze like the remainder of the record, its swirling, transcendent energy and chiming 12-string guitars left me wanting more. I previously knew of the band’s co-lead singer and guitarist Andy Bell as the bassist in Oasis, but after I heard him sing on “Vapour Trail” with soft-hearted conviction, At the time theybecame my new favorite band—Ride.

The opening track, “Seagull,” I was met by a guitar assault, an unrelenting drone-like groove, breakneck drums and the harmonized co-lead vocals of Mark Gardener and Bell. Sure,  This LP made me completely rethink the capabilities of musical transcendence.

I’d been exposed to uplifting romanticism and isolating sadness colliding in the same song before with artists like The Smiths and The Cure, but never with such extreme poles as Ride. On the eight tracks of “Nowhere”, Ride fired a distorted wash of piercing guitars, Loz Colbert’s vigorous percussion, bassist Steve Queralt’s clamoring melodies and Gardener and Bell’s angelic vocal harmonies. Songs shift from the soft wisp of “Dreams Burn Down” and “Vapour Trail” to the chugging chaos of “Decay” and “Kaleidoscope,” but more often than not, they incorporate both delicate allure and fierce annihilation within the same song.

Ride are a musical contradiction, and the best shoegaze music excels at contradiction. One of the things that kept pulling me back to Ride’s “Nowhere” and the rest of their discography and separated them from other shoegaze bands I love—was their refusal to obscure their harmonious vocals. If you were to transcribe the lyrics of bands like Cocteau Twins or My Bloody Valentine, you’d probably get a different set of words with each attempt due to their washed out sound mix. But with Ride, they preserved their distorted onslaught of instrumentals while allowing their shimmery pop vocals a la The Byrds or Teenage Fanclub to remain fully audible. Its opening cut, “Seagull,” is a stunning exploration of strung-out guitar notes and elongated vocal textures; a mission statement, for what would be one of shoegaze’s most pristine moments. “Definitions confine thoughts, they are a myth” Mark Gardener muses, The Songs like “Seagull” and “Polar Bear” display the perfect fusion of Gardener and Bell’s vocals with their discernible Oxford tongue and even those turned off by their wall of sound would admit to being charmed by their vocal match made in heaven.

The discourse around shoegaze seems mostly to be structured around a Holy Trinity dynamic, with Slowdive, Ride and My Bloody Valentine making up the trio of essential bands within the genre. Ride, though, were never quite as exclusive to reverb and hushed vocals as the other two, tailing off into Britpop, the total opposite of shoegaze, territory far too often to be considered their greatest. “Nowhere”, though, was arguably the highlight of their discography—a cohesively immersive, stunningly crafted shoegaze coup.

For a brief moment in 1990, Ride defied definition—crafting one of the most mind-bending and utterly stunning records of the era. Leaving “Nowhere” out of any record collection is totally inexcusable.

I’ve since come to know and love the overwhelming disarray of My Bloody Valentine, the hypnotic spirituality of early Verve, the sprightly, quiet firestorm of Lush and the intricate shoegaze-pop of DIIV, but it all began with Ride’s Nowhere. I’m not sure I would be able to come to grips with the harsh underbelly of bands like those along with the ambient work of Grouper or the atmospheric dream-pop of Galaxie 500 if it weren’t for the noisy, divine abyss of shoegaze via Ride’s Nowhere. I view Ride and Nowhere as the essential connecting tissue between the jangle pop of The Stone Roses, the dream-pop of The Ocean Blue, the discordant haze of My Bloody Valentine and the machine-like krautrock of Toy.

Velvet Crush’s first and best album was mistakenly lumped in with the then-predominant shoegazer aesthetic upon its release in 1991, thanks to its British release on the shoegazer-central Creation label and the occasional washes of sparkly electric feedback and creamy-smooth harmonies that settle over some of the songs.

Reissue of the album debut by Velvet Crush LP from 1991, originally released on Creation Records. Recorded & Mixed on 8 Tracks by power pop legend Matthew Sweet, Princeton, New Jersey 1990-91. Produced by Matthew Sweet And Velvet Crush. 

From the liner notes by Ric Menck:
Paul, Jeffrey and I worked out the songs together at our rehearsal space in Providence, Rhode Island. Someone would come in with the germ of an idea and we’d figure out the arrangement together. When we came up with at least three or four decent tunes we’d hop in the van and drive to Matthew’s. Once there, we set up in his living room facing one another, and it usually took two or three takes to capture a performance. Matthew overdubbed his lead guitar bits later. In all, we recorded the entire record in three quick weekend sessions”. 

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In the Presence of Greatness sounds like Big Star’s #1 Record updated for a new decade. The general air of mildly anguished wistfulness is the same, as are the jangly guitars and high harmonies, but Velvet Crush plays with a post-punk sprightliness and a less overtly British Invasion-inspired melodic sense.

Releases October 5th, 2018

Paul Chastain: Bass & Vocals
Ric Menck: drums
Jeffrey Underhill: Guitar
Matthew Sweet Guitar & Harmony Vocals

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The Telescopes were founded in England in 1987 by chief member Stephen Lawrie and released several recordings in the late 1980s but it is in 1990, when the band signed to legendary label Creation, that they hit their stride and helped to define a decade of UK rock music. Fusing elements of psychedelia with noise-rock, and dreamy pop, The Telescopes were near the forefront of the early shoegaze scene and hugely influential on the next wave of early 1990s Brit-pop. This crucial collection complies all 4 of their 12″ singles on Creation as well as a 1991 John Peel session and other bonus tracks.

2LP – Double Numbered 180 Gram Vinyl with a deluxe double sided poster insert.

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Teenage Fanclub are putting out five new vinyl reissues. These reissues cover the Creation era,  the first pressings of these will each come with a special seven-inch single that offers two tracks from a selection of rarities, picked by the band. These are all new to vinyl with one track previously unreleased.

For fans of cult Scottish band will be able to get their hands on new pressings of 1991’s Bandwagonesque, 1993’s Thirteen, 1995’s Grand Prix, 1997’s Songs From Northern Britain, and 2000’s Howdy!. They will be packaged in faithful reproductions of the original vinyl artwork and available on heavyweight 180g single vinyl, released on 10th August by Sony Music.

According to a press release, each album will come with a bonus 7″ single containing rarities, B-sides, and previously unreleased tracks selected by the band.

Each album has been remastered from the original tapes at Abbey Road Studios, London under the guidance of the band, and will be packaged in a faithful re-production of the original vinyl artwork. Each LP will be pressed on 180gsm black vinyl.

 

All records are out via the band’s official website on August 10th.

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Teenage Fanclub have confirmed a series of live shows where the set list will linger on songs from their Creation era. The ‘Songs From Teenage Fanclub’ tour will see them play songs from 91-93 on ‘Night 1’, from 94-97 on ‘Night 2’ and from 98-00 on ‘Night 3’.

November
5 / 6 / 7 Manchester Academy 3
9 / 10 / 11 Birmingham Institute
13 / 14 / 15 London Electric Ballroom

Telescopes

For 30 years, The Telescopes have existed on the outskirts of the U.K. pop scene, in a host of different forms. Founded by primary member Stephen Lawrie in 1987 as a way to channel his love for such American underground icons like 13th Floor Elevators, The Velvet Underground, and Suicide, the band has since inhabited the worlds of noise, shoegaze, Britpop, and space rock without disappearing too far into any one of them. Rather, Lawrie has preferred to stitch all of them together into a kind of dreamcoat that’s wholly unique. Their eponymous second LP, released on Creation Records in 1992, is a stronger Salvo to Britpop than the records unveiled by Pulp or The Charlatans that year. On their decade-in-the-making follow-up Third Wave, Lawrie immersed himself in jazz and IDM to craft a fitting testament to the endless possibilities for the rock band format in a Kid A afterworld.

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Since signing with Hamburg, Germany indie imprint Tapete Records in 2015, Lawrie has returned to his roots in noise and space, building on the sound of the scene he helped spawn, with nods to early Primal Scream and Spacemen 3, and then taking it down darker, more abstract musical paths. For his second Tapete full-length release, As Light Return Lawrie is celebrating three decades in music by tangling up reverb, delay, and echo into some of the most impossible knots he’s crafted yet. It’s a dizzying five-song journey that crescendos with epic 14-minute closer “Handful of Ashes,” where his feedback reaches raga-like levels of abandon thanks to the improvisational craft of his backing group, St Deluxe.

In celebration of the 30th anniversary of The Telescopes,here is the evolution of his underrated and remarkable outfit, whose time to be recognized as one of the quintessential architects of the British experimental rock movement is long overdue.

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The Telescopes were among the most innovative and challenging yet successful artists in Creation Records‘ “middle period”, a leading part of the wave of sonic experimenters who included Spacemen 3, My Bloody Valentine, Spectrum and Spiritualized. Towards the end of their time with Creation, they made their most fully realized album yet, “#’ (untitled second). This is the first time this great psychedelic album is being released in the US, and it comes with 3 bonus tracks. “The songs are built on acoustic guitars, then the tricked-out electric guitars are laid on top and garnished with bongos, organs, pianos, and all sorts of classic instruments. Stephen Lawrie’s vocals are restrained and semi-emotional and female backing vocals add a touch of sweetness

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thank beautifulnoise

The Telescopes were among the most innovative and challenging yet successful artists in Creation Records‘ “middle period”, a leading part of the wave of sonic experimenters who included Spacemen 3, My Bloody Valentine, Spectrum and Spiritualized. Towards the end of their time with Creation, they made their most fully realized album yet, “#’ (untitled second). This is the first time this great psychedelic album is being released in the US, and it comes with 3 bonus tracks. “The songs are built on acoustic guitars, then the tricked-out electric guitars are laid on top and garnished with bongos, organs, pianos, and all sorts of classic instruments. Stephen Lawrie’s vocals are restrained and semi-emotional and female backing vocals add a touch of sweetness that might otherwise be missing from the record, as the overall atmosphere is very moody and introspective.”

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Originally released March 22nd, 2013

on these recordings the telescopes are-
stephen lawrie, david fitzgerald, joanna doran, robert brooks,
dominic dillon, richard formby & guy fixsen.

the Telescopes second album. was originally released on Creation Records.

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The Telescopes were among the most innovative and challenging yet successful artists in Creation Records‘ “middle period”, a leading part of the wave of sonic experimenters who included Spacemen 3, My Bloody Valentine, Spectrum and Spiritualized. Towards the end of their time with Creation, they made their most fully realized album yet, “#’ (untitled second). This is the first time this great psychedelic album is being released in the US, and it comes with 3 bonus tracks. “The songs are built on acoustic guitars, then the tricked-out electric guitars are laid on top and garnished with bongos, organs, pianos, and all sorts of classic instruments. Stephen Lawrie’s vocals are restrained and semi-emotional and female backing vocals add a touch of sweetness that might otherwise be missing from the record, as the overall atmosphere is very moody and introspective.”

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One of the most influential bands ever to come out of the UK, The Jesus & Mary Chain, recently announced they are ready to release their first new album in almost two decades next year. Their first piece of new music in a decade, a new single entitled ‘Amputation’.

Fans of the band will likely be struck by how similar in style and sound ‘Amputation’ is to the band’s early and mid-’90s, post-Psychocandy output. The song could pass for a cut off the band’s warmly received 1992 album, Honey’s Dead, with its walls of guitar noise paired with a mechanical-sounding drum loop.

Creation Records, the iconic UK label that signed the band in 1984 and put out their first single, Alan McGee, the band’s manager and the founder of Creation Records, said, “It’s a big deal! It’s unbelievable. They’ve just made an album and I’ve signed them to Warners!” “The Jesus And Mary Chain will be dropping their new record March 2017.. on Warners the label wrote. The band, who have not released an album since 1998’s Munki, have dubbed their first album in some 18 years Damage And Joy. .