Posts Tagged ‘Dawes’

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Taylor Goldsmith admits that he’s been pretty lucky during the current stultifying Pandemic lockdown, all things considered. He and his wife of nearly two years, actress/musician Mandy Moore, get along great and didn’t mind spending so much time together in their native Los Angeles, and they’re actually expecting their first child, a son, in early 2021. They often co-write together, as on the missus’ new Silver Landings comeback, her first album in 11 years, and Goldsmith, 35, has spent the rest of his free time perfecting the Dave-Cobb-produced Good Luck With Whatever, the seventh effort from his folk-rock quartet Dawes, and its first for legendary imprint Rounder Records.

Moore’s spring tour was cancelled, as was his, he adds. “So I look forward to concerts coming back, but sometimes I feel like it’s around the corner, and other times I feel like it’s three years away, and anybody who says they know for certain one way or the other is lying to you.”

So for his extracurricular viewing and listening entertainment, he’s been consciously steering clear of anything that reminds him of the COVID-19 existential crisis. “If it’s something that’s going to drag me through the dirt, I just can’t do it,” proclaims the singer, 35, who put thoughtful, cheerful topspins on Band-retro new Dawes tracks like “”Still Feel Like a Kid,” “Free As We Wanna Be,” “Between the Zero and the One,” and the childhood reminiscence “St. Augustine at Night.”

“Whereas if you’re going to uplift me and make me feel like there’s a reason to move forward, I find myself going back to those records—like the new Killers album Imploding the Mirage—over and over again. I just can’t stop listening to it, because it makes me feel hopeful, strong, and positive.”

His followers will probably soon be viewing the charming, disarming, yet subtly cynical “Good Luck” in the same optimistic light. “Although obviously, our universe is much smaller.

Taylor actually co-wrote some material with Brandon Flowers, recently. There’s a B-side song on his album The Desired Effect called “Desired Effect.” Then the other song was “Never Get You Right,” which was really cool the way it got written. I was on tour with Conor Oberst—we were Conor’s backing band—and I was texting back and forth with Brandon, who needed lyrics for a song, so we were trying to write something remotely. But then Conor and I just sat down and wrote this batch of lyrics and sent it over to Brandon, and he said, “It’s not the right thing for this song, but I really like ’em.” So he took those lyrics, embellished them, and wrote “Never Get You Right,” a whole new song just from those words.

“Memorized” from NBC’s This is Us, just got nominated for an Emmy Outstanding Original Music and Lyrics. that started from zero. And it was a trip to do, because Dawes isn’t a “hit” band, you know? We’re very aware of our own particular lane. But the mission was to write a fake hit song, something that the audience would perceive as an arena-sized hit, because that’s how this artist is portrayed. So I was like, “Wow. I’ve gotta try to go for something I’ve never written! And I have to make it believable.” People have to hear it and intuit as, “Oh, I can see that being a hit.” So Sid, the guy that scores This is Us wrote the music, and sent it over to me, and I came up with a draft, and the chorus with the title was there from the beginning. So then we just started chipping away at it, until it made sense for me and Sid and the creators of the show. And it was a blast—up until recently, I’d never done anything outside of just writing songs about my feelings, for Dawes. So to be asked to do that, I was like, “I don’t know how to do this, I’ve never done it before, but I’ll give it a try.” And it ended up being so satisfying,

We are tapping into The Band, circa “The Weight.”. They have always been this guiding light for us. With our first record—like a lot of people’s first records—I was like, “I don’t know how to do anything other than honour my heroes and hope that some personality comes through.” You listen to early Dylan, and it feels like Woody. You listen to early Springsteen and it sounds like Dylan, and early Tom Petty sounds like The Byrds. And I think that that’s a beautiful time in any artist’s career. So when I listen to our first record, it feels like “How do we sing The Band songs, because we really just love The Band?” And then as time goes on, you try and get away from it, and you hope that your personality, your singularity, your idiosyncrasies, just find their way through, no matter what.

So for us, as time has gone on, I’ve always been like, “You know, I have no control over this, because you don’t get to invent your own signature, you don’t get to invent your own fingerprint.” It’s a synthesis, and it just happens on its own. And with every record that we make, we’re tuning the focus a little more and making it that much clearer who we are and how we’re separate from everything else. So while The Band were this very obvious influence, initially, they’ve still always been a beacon for us. Nobody in that band is the best at what they do, and yet when they’re together, there’s something in their DNA that can only happen when those five guys are playing together. That’s the same way I feel about the Dead, the same way I feel about the Stones. So we’ve always wanted to make sure that came across — with our band. I really want you to feel Griffin (Goldsmith, his drumming brother). I want you to feel Wylie (Gelber, bassist) and Lee (Pardini, keyboardist)and myself. And I don’t feel like I’m the greatest guitar player, not even close. But I do feel like I have a better sense of reading—and reacting to—Griffin and Wylie and Lee, and them to me, than anybody else possibly could.

This is interesting because the bass rides herd on “None of My Business,” but with “Didn’t Fix Me,” “Still Feel Like a Kid,” and the title track, you let the keyboards control everything.. Goldsmith: Yeah. And a lot of that is just the mix. When we were doing “Didn’t Fix Me,” that is largely a guitar riff. And the way that Dave Cobb found the mix that he was looking for, the keyboards were kind of out front. I still hear it as a shared riff between the two of them, And Dave really has this incredible sense of catching a spirit.

“St. Augustine” had me believing that you were actually born in Florida, and I had to double-check that you actually hail from California, as I’d thought. I chose “St. Augustine” because we had family there, and whenever we were on tour and had a show in, or near, St. Augustine, we would ask our agent for a day off so we could all hang out and go fishing or whatever. So this song is a composite—it’s not about one person in particular, but it’s based on my experiences there, and based on my conversations with family, and just seeing how that town is, how everything is interlocked and everyone knows everyone. So it’s about St. Augustine in name and references, but I’m hoping it will be relatable to anybody that has a home town. Which is everyone.

I wrote songs like “Good Luck With Whatever” and “Between the Zero and the One” right after reading “Gravity’s Rainbow.” That book loomed large. But in songs like “Zero,” where I mention the Tarot, I had to look shit up, because I didn’t know how the Tarot works. And I needed to, to write that verse, to put it over the top of believability. So I actually bought a Tarot deck and studied it to find out what card means what.

And with “Free As We Wanna Be,” it’s funny, because when I watched “The Social Dilemma,” I thought, “This song is about that movie, So we don’t treat that world with the respect that it needs so it won’t keep zapping our brain. So I’m still learning how to draw my own lines, and I’m not really encouraged by my results so far. And “Free As We Wanna Be” is about our complicity.

“Good Luck With Whatever Dude.” It just feels like a big shrug, as humanity hurtles toward its own extinction. That song is all paranoia. “There’s a man with a chainsaw standing out in my yard.” And it’s trying to be funny, like it could be my gardener, or it could be Leatherface. Or you see a car parked across the street, and you populate it with your own details to make that story as horrific as you want. And that’s something that we all do, and it’s the basis of the conspiracy theorist in all of us.

For me, even during COVID-19, even during this election, like I was telling some fiends of mine, “I am the worst fortune teller that you have ever met. Everything that I decide to be scared of, and every way that I interpret a situation — like “Oh, my God—this could happen!”—you could pretty much take that to Vegas as insurance that it won’t. Because everything that I get concerned about is just not the way that things unfold. And I think we’re all really bad fortune tellers. If you told all of us two years ago that COVID’s on its way, and these are the general points of what it’s going to be, I think we’d all tell the worst version of that story imaginable. So while what we’re dealing with is needless and sad and horrific and scary in a lot of ways, we’re also cracking jokes, we’re also seeing family, and we’re also singing songs. And that’s a weird thing to say.

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Los Angeles-based Americana rockers Dawes have released their latest album, “Good Luck With Whatever”. The new record was produced by six-time Grammy-winner Dave Cobb (Chris Stapleton/Brandi Carlile/Jason Isbell/Marcus King) at Nashville’s storied RCA Studio A. The new studio effort from Dawes comprised of Taylor Goldsmith (guitars, vocals), Griffin Goldsmith (drums), Wylie Gelber (bass), and Lee Pardini (keys)—marks the band’s seventh full-length release.

Good Luck With Whatever”released via Rounder Records, follows a series of acclaimed self-released albums including 2013’s STORIES DON’T END, 2015’s ALL YOUR FAVORITE BANDS, 2016’s WE’RE ALL GONNA DIE, and 2018’s PASSWORDS, all of which reached the top 10 or higher and “Americana/Folk Albums” charts.

The album deals with reflective themes like grappling with the expectations of adulthood over the familiar Dawes brand of graceful melodies with kinetic riffs and intricate musical interplay. A culmination of their entire catalogue and decade-long career all wrapped up in nine tracks, Good Luck With Whatever reclaims the rugged urgency and easy confidence of Dawes’ early work while tapping into the veteran band’s intense musical connection more effectively than ever before.

“In the past, I’ve definitely been more precious about the way I wanted the songs to sound, but that’s never as fun,” says Taylor Goldsmith in a press statement. “The music we make is everyone’s mode of expression, and the other guys all have chops that I don’t have and never will. The fact that we’re able to lean on each other and celebrate each other as individuals just makes us so much more excited about getting to play together in this band.”

In celebration of the new album, Dawes also recently announced a drive-in performance on Saturday, October 17th at City National Grove of Anaheim in Anaheim, CA. For more information and ticketing details, head here.

Listen to Good Luck With Whatever by Dawes below and check out the official music video for “Who Do You Think You’re Talking To?”.

Dawes a group of road warriors who’ve carved out their blend of amplified folk-rock, the music is nuanced and collaborative, with no single instrument dominating the track list. “We’ve learned so much over the years about what it means to be A Band” says drummer/free range dog farmer Griffin Goldsmith, “I used to want all our records to be Only drums, but I’m finally starting to realize, maybe a lil’ bass, keys, guitars and vocals ain’t so bad after all.”

“It feels very natural to outsource our problems. Telling ourselves “once I have this job, this partner, this amount of money, etc, I will be happy” is really effective and convenient. Unfortunately no one’s life actually works that way. I’m sure we all know plenty of miserable people who seem to have it all and plenty of blissful people that seem to have close to nothing. This song is about the efforts one makes to find some easy fix, unable to recognize that it will never work that way, that we are in the end our own responsibility.”

‘Didn’t Fix Me’ is here!.
‘We wanted to make a video that felt like all our old favourite children’s books. We thought the song’s simplicity and subject matter could withstand a more direct telling of the lyrics within a video and we love the way it came out. Art by Joshua Swallow

Courtesy of Big Hassle PR

Dawes return to their roots-rock origins for their seventh album, recorded with Nashville superproducer Dave Cobb. “Good Luck With Whatever” comes two years after their previous effort, Passwords, which found the band exploring textured modern rock with long time collaborator Jonathan Wilson. But early offerings from the new LP suggest something closer to the sound of the band’s first two albums: “St. Augustine At Night” is an intricate novella-style song that conjures classic Taylor Goldsmith epics like “A Little Bit of Everything,” while upbeat rockers like “Who Do You Think You’re Talking To?” finds the band channeling Eighties Petty. “In the past, I’ve definitely been more precious about the way I wanted the songs to sound, but that’s never as fun,” Goldsmith has said of Good Luck With Whatever. “The fact that we’re able to lean on each other and celebrate each other as individuals just makes us so much more excited about getting to play together in this band.”

The L.A. rock band Dawes will release their first new album since 2018’s Passwords later this year. Good Luck With Whatever is out October. 2nd on Rounder Records, and lead single “Who Do You Think You’re Talking To?” is out now alongside a fun new music video. The band, helmed by guitarist Taylor Goldsmith alongside his brother Griffin and their compadres Wylie Gelber (bass) and Lee Pardini (keys), recorded the new album at RCA Studios in Nashville, Tenn., with one of Music City’s most in-demand producers, Dave Cobb. “We’re a living breathing organism,” Pardini said in a statement. “People love to say, ‘this record sounds so THIS’ and ‘that record sounds so THAT,’ but to us, it just sounds like Dawes. We make records to document where we are at that time, but every time I check, it just sounds like Griff, Taylor, Wylie and me.”

Release date: October 2nd

Dawes press photo 2020

Dawes have released “St. Augustine At Night” as another preview of their first album for Rounder Records, and seventh studio release overall, “Good Luck With Whatever,” which is due on October 2nd. Says Goldsmith: “‘St. Augustine at Night’ is a song about one’s relationship to their hometown, but also is a song about the varying degrees in which we all watch our lives pass us by.”  The five-minute track strikes a confessional, reflective air, with simple accompaniment to frontman Taylor Goldsmith’s vocals by acoustic guitar and piano. The band, also featuring Griffin Goldsmith (drums), Wylie Gelber (bass) and Lee Pardini (keys), introduced “St. Augustine At Night” at some of their shows on their 2019 tour.

It’s been 11 years (next month) since L.A. rockers Dawes launched dual residencies that fueled the success of their debut album “North Hills” and cemented them as Southern California favourites. Six albums later, their take on Everyman classic rock has aged well — familiar, earnest, relatable music that wears like denim.

The quartet — Taylor and Griffin Goldsmith, Wylie Gerber and Lee Pardini — today announced that their seventh album, “Good Luck With Whatever,” will be out October. 2nd. It’s their first release for Rounder Records.

“In the past, I’ve definitely been more precious about the way I wanted the songs to sound, but that’s never as fun,” Taylor Goldsmith says of the album. “The music we make is everyone’s mode of expression, and the other guys all have chops that I don’t have and never will. The fact that we’re able to lean on each other and celebrate each other as individuals just makes us so much more excited about getting to play together in this band.”

The first single “Who Do you Think You’re Talking To?” is a saxophone short of a blue-jeaned Springsteen, the kind of tune you blare on the open road. “This song is about the way we bring our baggage with us as we move away from traumatic experiences and relationships,” Goldsmith says. “And the irony of sometimes our newer partners needing to be part of the processing more so than the folks who caused the trouble in the first place. It’s also about the other side of that coin — trying to assess a situation but knowing when not to take it personally and also finding a way to avoid over-analyzing.

“As a band, it was the first time we’ve ventured into certain grooves/arrangements for our tunes, so it was fun to push ourselves, see what felt natural and what we could get away with.”

The album was produced by six-time Grammy winner Dave Cobb (Chris Stapleton, Brandi Carlile, Jason Isbell) at Nashville’s RCA Studio A. Caitlin Gerard directs the video.

In June, Dawes released “Live From Richmond, VA,” a digital album with proceeds going to Reform Jails LA and Black Lives Matter LA.  In the midst of all this changing and learning and growing we have decided to release ‘Live From Richmond’ as a digital download on @bandcamp with 100% of our proceeds being split 50/50 between @reformlajails and @blmlosangeles. Please check out both organizations if you have the chance.
Yesterday someone I admire told me that this is the first time they have felt hopeful in years. I’ve got a lot of work to do and this is barely just the beginning….but I feel hopeful too. And that feels so good. I hope you enjoy the music. Link in the bio. – TG The band’s last studio album was 2018’s Passwords, the last of three on HUB Records. 

Band Members:
Wylie Gelber,
Taylor Goldsmith,
Griffin Goldsmith,
Lee Pardini,

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From the first downbeat, Good Luck With Whatever, the seventh studio Album by the Los Angeles based rock band Dawes, sets a tone all its own. The album unfurls with the crunchy chordal cadence of what could only be Goldsmith’s guitar. As the band quickly hop their way aboard this rhythmic rail car, we find ourselves thinking “Hey, these guys are pretty good. I’m so glad you dragged me to see some live music!” — “Still Feel Like A Kid” serves as a reminder that we all love a good filet, but there’s no shame in still ordering off the kids menu from time to time. You can hear the eye contact in the room, you can see the lyrics as they fly from Goldsmith’s mouth straight into your ears, you’ll find yourself singing along to a song you’re hearing for the first time. It’s fresh, it’s raw, it’s a four tiered seafood tower of all American ear candy. Think “I Don’t Wanna Grow Up, I’m A Toys R Us Kid” meets “I Wanna Be Sedated”.

Recorded at the historic RCA studios in Nashville Tennessee, the boys teamed up with six time Grammy award winning producer Dave “Corn On The” Cobb (Brandi, Jasi, Chrisi, Stergi, etc) and just decided to LET IT RIP. “We were out in Nashville for just under 730 hours, or 1 human month” says bass player and resident ‘problem child’ Wylie Gelber. “We wanted that sloth like urgency, that cold heat, that all knowing curiosity. And me thinks that’s what we got.” The arrangements are as lively as they are lovely, from the rapidly ruckus “Who Do You Think You’re Talking To” to the robustly restrained “St. Augustine at Night”. A culmination of their entire catalogue and career all wrapped up in nine tracks. If you don’t know Dawes by now, you will never never never know them…

Far from apathetic,Good Luck With Whatever is Dawes at their most unapologetic. It’s sympathetic and magnetic, 50% genetic and highly kinetic. Songs like “Didn’t Fix Me” and “Me Especially” showcase Goldsmith’s poetic prowess perfectly; a historian of the human condition, transforming turmoil into motor oil. Drop the tone arm down, turn the volume up, unplug the phone and if you still feel nothing… call a doctor.

This album is a celebration of each other and our closeness as a group. It’s the 4 of us live in a room not hiding behind any sort of studio magic. This band has made us stronger and brought us closer through the years and we’re recognizing that and are more proud of that than ever.

“This song is about the way we bring our baggage with us as we move away from traumatic experiences and relationships. And the irony of sometimes our newer partners needing to be part of the processing more so than the folks who caused the trouble in the first place.

It’s also about the other side of that coin – trying to assess a situation but knowing when not to take it personally and also finding a way to avoid over analyzing.

As a band it was the first time we’ve ventured into certain grooves/arrangements for our tunes, so it was fun to push ourselves, see what felt natural and what we could get away with.” Dawes began their journey in the San Fernando Valley back in 2009, it was the year of the Ox, but don’t be fooled, these guys are No Bulls#$t. Having played with, for, and against some of rock’n roll’s most illustrious icons, the merry men have picked up more than a few things when it comes to sticking around and what it means to be a true BAND. “Sometimes I wish I did hate my brother”, explains frontman/stuntman Taylor Goldsmith, “might sell us a few more books… but the reality is, I can’t get enough of the guy! Scariest part bout’ it all is, knowing we’re gonna be playing music together for a long, long time.”

Taylor Goldsmith (Guitar, Vocals) – Griffin Goldsmith (Drums, Vocals) Wylie Gelber (Sweet Sweet Bass) – Lee Pardini (Keys, Vocals)

Dawes “Wish Everyone Good Luck With Whatever” July 22nd, 2020

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Dawes have expanded their upcoming touring schedule, adding 20 new dates to their early 2019 slate as the band continues to support their latest album, Passwords, along with releasing a new video for album track “Feed the Fire.”

Following up their fall tour dates scheduled for October and November, Dawes will pick their “An Evening With Dawes” tour back up January 18, kicking off a West Coast of America run that will then move across the country through the Midwest and to the East Coast, wrapping up in the Southeast.

The new video for “Feed the Fire,” taken off their latest release “Passwords”, was directed by Matthew Daniel Siskin and accompanies the new Feed the Fire EP, which includes studio, live and acoustic versions of the tune.

Dawes: <i>Passwords</i> Review

Taylor Goldsmith and his band Dawes latest album release. “Passwords”, This Is Dawes’ sixth studio album, It features 10 new soft-rock songs indebted to Laurel Canyon circa 1972 and in particular the sound of Jackson Browne, with plaintive melodies, soothing piano and lyrical platitudes that are just unspecific enough to feel relatable, like the scenarios in self-help books. There’s the earnest, if self-satisfied, attempt to find common ground on “Crack the Case,” where Goldsmith murmurs rueful lyrics as piano and acoustic guitars mingle behind him. His regretful would-be lover on “Mistakes We Should Have Made” wishes he’d gone for the kiss despite the obstacles, his ardor framed by the prominent snap of a snare drum pushing a mix of acoustic guitar and keyboards, with distant backing vocals from the girls of Lucius. “Feed the Fire” slides around on a slippery guitar riff and shimmery synth parts, and Goldsmith reflects on empty ambition at the top of his vocal range in a way that calls to mind Private Eyes-era Hall & Oates.

Passwords, inspiration pulls guitarist/ singer Taylor Goldsmith, drummer Griffin Goldsmith, bassist Wylie Gelber, and keyboardist Lee Pardini into their most universal, topical territory to date. This is a record about the modern world: the relationships that fill it, the politics that divide it, the small victories and big losses that give it shape. Taylor’s writing is personal at points – the result of his recent engagement, which lends a sense of gravity and self-reflection to album highlights like “Time Flies Either Way” and “I Can’t Love” – but it also zooms out, focusing not on the director himself, but on everything within the lens.

Dawes' Taylor Goldsmith on the Secrets of <i>Passwords</i>

Some artists are naturally loathe to discuss their work in microscopic detail, lest any telling trade secrets be revealed. Not perpetually-disheveled Dawes frontman and main songwriter Taylor Goldsmith. At the mere mention of the Los Angeles group’s slightly sinister new sixth set Passwords, he sings like a canary over every last nuance of the Jonathan-Wilson-produced set, which opens with the Brontosaurus-stomping “Living in the Future” and the abject ode to apathy and ennui, “Stay Down.” And he holds nothing back.

“On one hand, it was important for me to start the record with those two tracks, since they were the bleakest of all he songs, and I felt like if the album were to end with either of those songs, we would have been sending a listener off in the wrong mood,” he explains. “And that’s a mood that we don’t believe in or subscribe to. Other more upbeat numbers like “Crack the Case” and “Time Flies Either Way” are a reaction to that attitude, so I was questioning certain things in life, of what it means to be alive at this moment in time.”

Elsewhere, he expands on these theories, like in “Feed the Fire,” wherein his need for stardom is the same flame that will eventually consume him, and on “I Can’t Love,” which—without cynicism—celebrates the new love he’s found with his fiancée, actress Mandy Moore. “And ‘Greatest Invention’ is a swan song to an image of a woman that never existed,” he says. “And the whole record is about where we’re living, how dark I might feel about it, and then finding some sort of purpose and some sort of meaning in a connection with just one person.”

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Some amazing reissues this week and an awful lot. We have Guns ‘n’ Roses, Wire, Aphex Twin, Guru and that LOST Coltrane album, I would happily have any of them as my record of the week.

The reissues of the first three Wire albums on vinyl are upon us, and not before time. Wire emerged from the ghetto that is St. Albans in October 1976, inspired by the punk explosion. Harvest Records, a label which had up to that point had a roster comprised almost completely of acts punks would have spat on decided it needed to get in on the act and signed them, not realising they were not, despite an exquisite talent for melody and inventiveness, going to furnish them with hits, and so they parted company in 1979. As it happens, “Pink Flag”, “Chairs Missing” and “154”, spanning playful art punk, new wave and post punk in a seamless line between 1977 and 1979 are about as good as any of those genres get. The three are all indispensable artifacts of the era.

Let’s Eat Grandma follow up the much vaunted “I, Gemini” with the equally beguiling “I’m All Ears”, while the Gorillaz enthusiastic genre bending mission continues unabashed with the excellent “The Now Now”.

Record Of The Week goes to Numero Groups stunning compilation of the first 4 albums by Happy Rhodes. Pure dream pop, I instantly fell in love with this. Its like a more stripped back Kate Bush, which brings in some lovely synth as it progresses.
Its the kind of album that I wish I had received a promo for as I have massively under ordered! You can stream on Numero’s bandcamp page,

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Let’s Eat Grandma  –  “

Let’s Eat Grandma return with their newest edition, ‘I’m All Ears’ which an even greater revelation than Rosa Walton and Jenny Hollingworth’s globally acclaimed debut, I, Gemini. The second act from the British teenage vocalists, multi-instrumentalists and songwriters, is the most startling, infectious, innovative and thrilling record you’ll hear this year. It is alive with furious pop, unapologetic grandeur, intimate ballads; with loops, Logic, outrageous 80s drum solos, as well as production from David Wrench (The XX/Frank Ocean/Caribou), Sophie (famed for her own material and work with Madonna, Charli XCX and Vince Staples) and Faris Badwan (The Horrors). Their sound has developed a stronger electronic tone while remaining their upbeat young vocals throughout. It’s an album that cements Let’s Eat Grandma as one of the most creative and exciting bands in the world right now.

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Florence + the Machine  – High As Hope

Florence + the Machine announces new album, ‘High As Hope’. For perhaps the first time, ‘High As Hope’ is a record that is as intimate as it is epic, with the more restrained sound relatively speaking; Florence knows herself well enough now to declare “I’m never going to be minimal” -mirroring this sense that happiness doesn’t always have to be big and dramatic:There’s a lot of love in this record, loneliness too, but a lot of love.”

An album that mixes high and low–from a tribute to Patti Smith one minute to being ghosted over text by a date the next –‘High As Hope’ is made up, says Florence, “of joy and fury”…

“Towering performer twirls back with power and poetry” – Evening Standard,
“A euphoric return by a singular talent” – Telegraph,
“an appealingly visceral force” – Guardian.

Num199

Happy Rhodes – Ectotrophia

The first authoritative compilation of American dream pop artist Happy Rhodes, whose singular songwriting and four-octave vocal range emanated from the pastoral confines of upstate New York in the 1980s. Her melding of classical music influences with synthesizer and acoustic guitar, and her enchanting and idiosyncratic singing, are favorably compared to heralded English chanteuse Kate Bush. Fans of such artistic pop music would be remiss to overlook Rhodes’s similarly remarkable and otherworldly sonic transmissions, traversing tales of dreamers, outsiders, lovers and other lovely and terrifying creatures born of a wellspring of wild creativity and bold imagination. Affectionately remastered from the original tapes, Ectotrophia gathers essential songs from Rhodes’s mid-’80s salad days, many written when she was just a teenager – wildly ahead of her time and unafraid to bare her soul to regional audiences, the ectophiles who’d eventually coin an entire subgenre of pop music in her honor. Dive deep into ecto, with the woman who started it all.

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Dawes – Passwords

On the group’s sixth album, Passwords, inspiration pulls guitarist / singer Taylor Goldsmith, drummer Griffin Goldsmith, bassist Wylie Gelber, and keyboardist Lee Pardini into their most universal, topical territory to date. This is a record about the modern world: the relationships that fill it, the politics that divide it, the small victories and big losses that give it shape. Taylor’s writing is personal at points – the result of his recent engagement, which lends a sense of gravity and self-reflection to album highlights like Time Flies Either Way and I Can’t Love – but it also zooms out, focusing not on the director himself, but on everything within the lens.

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The Alarm  –  Equals

Equalsis The Alarm’s first album since 2010’s Direct Action. It is a barnstorming collection of 11 songs that act as a retrenchment of old values and a poignant reflection of the tough times Mike Peters and his wife Jules have been through in recent years. Produced by George Williams (who previously worked on 2005’s Under Attack), Equals opens with a torrent of epic rock numbers such as Two Riversand Beautiful, which see Peters singing about coming to terms with the past before moving to enjoy life to the full. With Mike and Jules joined by Joe Strummer and The Mescaleros drummer Smiley and guitarist James Stevenson, who cut his teeth with Chelsea, Gen X and The Cult, the album encompasses twin harmony guitars, pounding drums and electronic layering, while guest guitarist Billy Duffy (The Cult) helps Peters and Stevenson blend acoustic and electric sounds on Coming Backwards.

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Ryan Adams –  Baby I love You

A ONE TIME pressing on PINK COLOURED vinyl with backed on the B-Side by “Was I Wrong”.
No, it isn’t a cover of the Ronettes classic of the same name, but it’s “A song to one’s baby, whom they love – a unique twist on Ryan Adams’ classic recipe, with key ingredient ‘sad’ replaced by ‘happy,’” according to the press release.

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Graham Nash – Over the Years

Two-time Rock and Roll Hall of Fame inductee Graham Nash burst on to the scene during the British Invasion with The Hollies before he formed the legendary supergroup Crosby, Stills and Nash in 1968 with David Crosby and Stephen Stills. As Nash prepares to launch a European tour in July, he looks back at some of his best-known recordings from the past 50 years in a new anthology featuring more than a dozen unreleased demos and mixes. Over The Years… features 30 tracks has been painstakingly curated by Nash and longtime associate Joel Bernstein and includes extensive credits and liner notes. The anthology highlights songs from the iconic CSN debut album (Marrakesh Express) and its successor album Déjà Vu, for which Neil Young joined forces with CSN (Our House and Teach Your Children) as well as songs from subsequent CSN albums (Just A Song Before I GoandWasted On The Way). In addition, the collection highlights songs that Nash recorded for his 1971 solo debut, Songs For Beginners, including Military Madness and Simple Man, and includes unreleased mixes for two other songs from that album: Better Daysand I Used To Be King. The most recent recording on the compilation is Myself At Last from Nash’s 2016 solo album This Path Tonight. Two tracks from his enduring albums with David Crosby (Immigration Man and Wind On The Water) are also included in the collection.

2CD – The CD version includes 15 demo recordings, 12 of which have never been released. Standouts include the 1968 London demo of Marrakesh Express, rejected by the Hollies and setting the stage for Nash’s relocation to Los Angeles and the next chapter of his life. The set contains early versions of CSN classics like Our House, Wasted On The Way, Pre-Road Downs, andTeach Your Children. Other unreleased gems include: I Miss You and You’ll Never Be The Same — both from Nash’s 1974 solo album Wild Tales — and Horses Through A Rainstorm, originally intended for Déjà Vu.

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Buffalo Springfield  – What’s That Sound? Complete Albums Collection

Before playing its final show on May 5th, 1968, Buffalo Springfield released three studio albums on ATCO during an intense, two-year creative burst. Those albums – Buffalo Springfield, Buffalo Springfield Again, and Last Time Around – have been newly remastered from the original analog tapes under the auspices of Neil Young for the new boxed set: What’s That Sound? The Complete Albums Collection. Stephen Stills, Neil Young, Richie Furay, Bruce Palmer and Dewey Martin played their first show together as Buffalo Springfield in 1966. The same year, the band recorded and released its self-titled debut, which included the iconic protest song, For What It’s Worth, featuring lyrics as poignant now as they were then, in addition to standouts like Burned, Do I Have To Come Right Out And Say It, and the band’s first single, Nowadays Clancy Can’t Even Sing. The group spent the first half of 1967 making Buffalo Springfield Again, which was the first album to feature songs written by Furay (A Child’s Claim To Fame.) Stills and Young both contributed some all-time classics with Bluebird and Rock And Roll Woman from Stills, and Mr. Soul and Expecting To Fly from Young. When Last Time Around came out in July 1968, the band members were in the midst of transitioning to new projects: Stills famously joined David Crosby and Graham Nash in CSN; Young went solo; and Furay started Poco with Jim Messina, who produced Last Time Around and played bass on two of the songs. Highlights abound on the album with Young’s I Am A Child, Furay’s Kind Woman and Stills’ Uno Mundo.

5CD – Five CD Box Set, Clamshell with Five Wallets. The 5-CD set includes Buffalo Springfield and Buffalo Springfield Again in mono and stereo, as well as the stereo version of Last Time Around.

5LP – Five LP Box Set. The 5-LP set includes Buffalo Springfield and Buffalo Springfield Again in mono and stereo, as well as the stereo version of Last Time Around.

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Wire  –  Chairs Missing

Wire’s first three albums need no introduction. They are the three classic albums on which Wire’s reputation is based. Moreover, they are the recordings that minted the post-punk form. This was adopted by other bands, but Wire were there first. These are the definitive re-releases. Each album is presented as an 80-page hardback book – the size of a 7-inch, but obviously much thicker. After a special introduction by Jon Savage, Graham Duff provides insight into each track. These texts include recording details, brand-new interviews with band members, and lyrics.

This stunning set of presentations also includes a range of images from the archive of Annette Green. Wire’s official photographer during this period, Green also shot the covers for Pink Flag and Chairs Missing. Promotional and informal imagery – in colour and black and white – is featured throughout the books. Most of the photographs have not been seen for 40 years – and many have never been published anywhere before.

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With “Pink Flag” Wire tapped happily into punk’s energy and iconoclastic tendencies, “Chairs Missing” is, perhaps, a little truer to their own instincts. They didnt completely shed the past completely; the joyful “Sand In My Joints” and grinding “Mercy” have more than a hint of “Pink Flag” about them, but their 1978 offering is moodier and much more textured than its predecessor, the addition of swathes of electronic sounds moving them firmly into post punk territory, a genre they helped to spawn. There is pure pop beauty on here too, of which “Outdoor Miner”  and “French Film Blurred” being the most gorgeous examples.

Pink Flag was very much Wire’s punk rock album, and while they fully embraced it’s revolutionary spirit, they came at it from their own obtuse angle. unhindered by talent (any kind of prior musical schooling) they gleefully took a baseball bat to Rock’s overblown torso with humour and irreverence, producing classic, unsurpassed razor pop brilliance and a joyful antidote to the pomposity of their forerunners.

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“154”, released in 1979, is perhaps the most overlooked of the first trio of classic Wire L.P.s, before a ten year haitus interrupted only by esoteric solo releases. It develops further on the electronic and experimental direction of “Chairs Missing”, and while guitars are not entirely done away with, keyboards and often unsettling vocal harmonies are the dominant mode of expression here. That’s not to say they abandoned their talent for an exquisite harmony, it is very much still there; just bent a bit. That said it is given undiluted free rein during “Map Ref…”, and elevates the sublime “The 15th” into the realm of the gods.

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Golden Smog – Down By The Old Mainstream

Golden Smog, the alternative-country super group from Minneapolis, released this debut album on Rykodisc in 1995 and this is the first time it will be repressed on vinyl since the original release in 2010. The loosely connected, interchangeable group has comprised members from the Jayhawks, Wilco, Soul Asylum, Run Westy Run and Big Star. This new deluxe ROG package will come in a gatefold, old school tip-on Stoughton jacket with printed inner sleeves.

‘Down by the old mainstream’, was recorded in 1994 in only five days. it was made up mostly of original songs written specifically for the project. the songs on the album revealed a fun, spirited sensibility …allowing the band members to let loose from their day jobs. Golden Smog first appeared in 1992 with the release of their ep, On Golden Smog. a side project for members of whose true identities of the band members were veiled by the use of pseudonyms david spear, michael macklyn, raymond virginia, scott summitt, jarret decatur-lane and leonardson saratoga. each name was a deliberate clue that included an actual middle name and part of the address of each band member.

All This Weeks important Releases….

John Coltrane – Both Directions At Once – The Lost Album – Impulse
Guru – Jazzmatazz – UMC (3LP Box set)
Happy Rhodes – Ectorophia – Numero Group
Arp – Zebra – Mexican Summer
Guns ‘N’ Roses – Appetite For Destruction – UMC (2LP)
Aphex Twin – Selected Ambient Works 85-92 – Apollo
Wire – Pink Flag – Pink Flag
Wire – Chairs Missing – Pink Flag
Wire – 154 – Pink Flag
Florence & The Machine – High Hopes – Virgin (Indie Exclusive)
Lena Platonos – Lepidoptera – Dark Entries
The Orb – No Sounds Are Out Of Bounds – Cooking Vinyl (Indie Exclusive)
Eddie Harris – Plug Me In – Get On Down
Various Artists – Disques Debs International – Strut
Ryan Adams – Baby I Love You 7″ – Paxam (Indie Exclusive)

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Dawes have shared a new single, “Never Gonna Say Goodbye,” with an accompanying lyric video, but, much like logging into your roommate’s Spotify premium account, you’re going to need a password to listen. Each of these passwords is made up of musical notes that, in sequence, represent various musical refrains from the band’s catalog.

You can listen to the band’s new track and explore other materials from Dawes’ forthcoming album Passwords, due out June 22nd, on their nifty new interactive site right here, which houses the “Dawes Passwords Machine.” The code to listen to “Never Gonna Say Goodbye” is D6 D1 C5 C5 D6 D1 D6, but you’re going to have to do the rest of the unlocking on your own.

Here’s what the band had to say about the rare and anomalous Dawes Passwords Machine:

Dawes have already shared two singles from Passwords, the synth-riddled “Living In The Future” and the more mellow track “Crack The Case.” Each track has an accompanying video

The California-based rockers also have a North American tour kicking off in August. In addition to their headlining “Evening With Dawes” shows where they’ll play two separate sets, Dawes are also opening for Jeff Lynne’s Electric Light Orchestra at several shows, including one at Madison Square Garden.

Again, Passwords is out June 22nd, Down below, watch a teaser for Dawes’ “Never Gonna Say Goodbye” lyric video,

Dawes have already shared two singles from Passwords, the synth-riddled “Living In The Future” and the more mellow track “Crack The Case.” Each track has an accompanying video

The California-based rockers also have a North American tour kicking off in August. In addition to their headlining “Evening With Dawes” shows where they’ll play two separate sets, Dawes are also opening for Jeff Lynne’s Electric Light Orchestra at several shows, including one at Madison Square Garden.

Again, Passwords is out June 22nd,