Posts Tagged ‘Jeff Tweedy’

Wilco

Ode To Joy. Featuring 11 new songs written and produced by Tweedy and recorded by Wilco at The Loft (Chicago, IL) in January 2019, Tweedy and Glenn Kotche were the launching pad from which most of the songs on Ode To Joy materialized – Kotche’s percussion propels the music forward while Tweedy’s measured words flesh out the cleared paths. As a result, the album is comprised of “really big, big folk songs, these monolithic, brutal structures that these delicate feelings are hung on,” notes Tweedy. Across the entire album, drums pound and plod with a steady one – two pulse, meant to mimic the movement of marching – a powerful act utilized on both sides of the authoritarian wall. There’s also a sense of comfort that comes with the rhythmic marching sound.

The album largely does away with conventional rock and folk song structures; instead, it embraces spare, impressionistic arrangements—often led by booming, elemental percussion—to create one of the moodiest and most haunting records in Wilco’s catalog, more movingly understated than the experimental Yankee Hotel Foxtrot, and darker than the uptempo Americana of Sky Blue Sky“For this record, we tried to intuit rock music pretending we hadn’t heard any…we’d tell each other what we wanted to hear,” Tweedy says. And while he is quick to acknowledge that the band didn’t exactly “reinvent rock music,” it does sound, to a certain degree, like they reinvented Wilco. As Ode to Joy makes clear, from the tense and restrained opening track “Bright Leaves”—which hangs glimmering sonic textures on thumping drums like ornaments on a Christmas tree—all the way through “An Empty Corner,” the mysterious heart-wrenching waltz that closes the album, Wilco have built nothing less than a world unto itself;

“Ode to Joy” Wilco’s 11th studio album – will be released October. 4th, 2019 via dBpm Records. The album features 11 new songs written and produced by Jeff Tweedy and recorded by Wilco at The Loft (Chicago, IL) in January 2019. “Everyone Hides” is the second single from the forthcoming release.

Advertisements

Wilco - Ode To Joy

For a band that’s typically so meticulous and exacting in their sound and process, Wilco’s 2016 album Schmilco seemed like a rushed and pieced-together work that followed its predecessor, Star Wars, a little more than a year later. The strain was evident.

The group went on a break, while leader Jeff Tweedy released three solo albums in succession, with the last, Warmer, arriving less than six months before Wilco return for their 11th LP, Ode to Joy.

A lot has happened in the relatively short three years between Wilco albums and, obviously, not all of them on the personal front. It’s been a rough period for a lot of people; anger, disillusionment and hopelessness seem to be at the core of a lot of lives these days. So, it’s no small thing that the record is called Ode to Joy. The somewhat winking title notwithstanding, there’s light in the darkness of these songs. You just have to dig a little to find it.

That’s a lot to ask, even from Wilco’s most devoted fans. Especially when the opening “Bright Leaves” barely works up a melody to lift spirits. But then the next two songs – “Before Us” and “One and a Half Stars” – proceed at a similar pace, and Ode to Joy begins to find strange comfort in its melancholy. “Now, when something’s dead, we try to kill it again,” Tweedy sings on “Before Us,” striking a sense of nostalgia for a lost past that eventually settles for resigned coziness.
The album is like that, creeping up on you with unexpected pokes you’re not really expecting to find in the sad-sack nature of many of the songs. By the time “Love Is Everywhere (Beware)” rolls along during the last third of the LP, Ode to Joy sounds like the most organic Wilco album since 2004’s A Ghost Is Born.

At times, the moody atmospherics underlining the songs amount to no more than mere hums; other times they become another instrument, pushing the tracks along. These sonic textures add haunting rumbles, fleeting noise bursts and the occasional melodic upswing.

But turmoil is always around the corner. The album’s opening lines – “I don’t like the way you’re treating me” – signal a theme that shows up throughout the album, even at its most uplifting moments. But there’s reserved hope, a tentative grasping for purpose in humanity, even when the chorus of a song called “Citizens” goes “White lies, white lies” and another one slyly titled “We Were Lucky” plays at a funeral-march pace.

Ode to Joy, like the best Wilco albums, can be oblique. That’s always been a draw, and it’s no less so here. The time away from each other has sharpened some of their ties. Tweedy is still in charge, but Nels Cline’s guitar cuts through the occasional clutter to expose the soul that’s not always surface evident. And the band’s focused interplay on standouts like “Everyone Hides” takes on a life-force of its own, even if the overall result seems a little slight compared to past masterworks like Being There and Summerteeth.

As with the band’s accidental post-9/11 meditation and career high-point Yankee Hotel Foxtrot – which was supposed to be released earlier in 2001 but didn’t come out until 2002 – Ode to Joy sounds like a reflection of the times. Art can’t help but to react, but maybe reading too much into the album shifts its intent and position.

Then again, maybe not. When Tweedy declares, “I’m freaking the fuck out / I’ll try to do my best, I guess” on “Hold Me Anyway,” it comes off like a summation of both the record and 2019. This isn’t a record to change the world or even Wilco’s place in it, like Yankee Hotel Foxtrot did. But in trying to make sense of it, Ode to Joy finds a sort of strength. And we’ll take what we can get these days.

Wilco, photo by <a href="https://www.annabelmehran.com/">Annabel Mehran</a>

Wilco have announced their 11th studio album. It’s called “Ode to Joy” and it arrives October 4th via their own dBpm Records. In addition to the album announcement, Jeff Tweedy and co. have shared a new song.

Listen to lead single “Love Is Everywhere (Beware)” below,

Jeff Tweedy said of a new song in a statement:
There MUST be more love than hate. Right?! I’m not always positive we can be so sure. In any case, I’m starting to feel like being confident in that equation isn’t always the best motivation for me to be my best self—it can kind of let me off the hook a little bit when I think I should be striving to contribute more love outside of my comfortable sphere of family and friends.

So… I guess the song is sort of a warning to myself that YES, Love Is Everywhere, but also Beware! I can’t let that feeling absolve me of my duty to create more.

Wilco are heading out on tour this year. Ode to Joy marks the first Wilco album since 2016’s Schmilco. Tweedy’s first album of original solo songs, Warm, was released at the tail end of 2018. A follow-up companion album, Warmer, was also released earlier this year for Record Store Day.

As a founding member and leader of the American rock band Wilco, and before that the co-founder of the alt-country band Uncle Tupelo, Chicago-based Jeff Tweedy is one of contemporary American music’s most accomplished songwriters, musicians and performers. His memoir, LET’S GO (SO WE CAN GET BACK): A Memoir of Recording and Discording with Wilco, Etc., was released last year.

Through his pioneering work in the legendary country-punk band, Uncle Tupelo, to his enduring legacy as the creative force behind the unclassifiable sound of Wilco, Jeff Tweedy has weaved his way between the underground and the mainstream – and back again. Funny, disarming, and deeply honest, his memoir casts light on his unique creative process and the stories that shaped his life and career, from a childhood spent in Illinois to the release of the bands album “No Depression” in the early 90’s – which set the blueprint for alt-country – and later working with Mavis Staples and, posthumously, Woody Guthrie. (Rough Trade BOOKS OF THE YEAR)

Jeff Tweedy and son Spencer, 

The book delves deeper into the creative development of one of the greatest American songwriters on his generation than any interview or biography I’ve read about Jeff Tweedy. The guy is honest, dishonest, candid, flippant, coherent, rambling, sometimes all on the same page.

Jeff Tweedy – One Wing – Woods Stage

Jeff opens up about the development of his writing style, making the understanding of the Wilco albums greater than any journalist review ever could. In fact the only flaw I would throw at this book is that it is almost too revealing about the personal lows Jeff has experienced in the troubled phases of the Wilco era. I’m sure it will hardly appeal to anyone unfamiliar with Tweedy’s output, which is sad as Jeff’s contribution to recorded music  in general is as vital as anyone else I’ve ever heard.

Image may contain: one or more people

“Warmer”, the companion LP is to be released six months after Jeff Tweedy acclaimed 2018 solo album “Warm”, will be released exclusively on vinyl for Record Store Day 2019. There are ten previously unavailable studio recordings written and recorded during the same sessions. The “sister albums”….“Warmer came right behind Warm – recorded in the same burst, motivated by the same impetus, overflowing with the same consoling ethos”.

Ahead of the album’s April 13th arrival, Tweedy has shared the Warmer track “Family Ghost,” a “reflection on the difficulty of understanding and eliminating the types of casual and systemic racism pervasive in Jeff’s southern Illinois upbringing,” a press release for the album stated.

The 10-song collection was recorded during the same studio sessions at Chicago’s the Loft Studio that resulted in Tweedy’s 2018 album. Warmer was “recorded in the same burst, motivated by the same impetus, overflowing with the same consoling ethos,” author George Saunders, who penned Warm‘s liner notes, said of the “sister album.

Tweedy has said of Warmer in a statement, “At some point I separated the songs from the Warm/Warmer session into two records with individual character, but still tried to keep the overall tone and texture of the combined session consistent. In a lot of ways these two records could have been released as a double LP. Warmer means as much to me as Warm and might just as easily have been released as the first record of the pair.”

WARMER includes ten previously unavailable studio recordings written and recorded at The Loft in Chicago

Wilco - Summerteeth

Summerteeth, released 20 years ago this week, is Wilco’s contribution to a common trope in pop music history: The prettiest songs are often about the ugliest subjects. Summerteeth exists as part of that lineage. It’s the most gorgeously ornate album Wilco ever made, and also the most disturbing.

Tweedy wrote the songs that became Summerteeth at what should have been the happiest time in his life. Rather than sabotaging his music career, the breakup of Uncle Tupelo — his massively influential country-punk partnership with childhood friend Jay Farrar had liberated him to pursue a vision entirely his own. He’d married his longtime girlfriend, Sue Miller, the owner of Chicago music venue Lounge Ax, and together they were raising a young son. The 1996 double-LP Being There had established Wilco as arguably the most talented and ambitious band in alt-country and helped Tweedy escape his reputation as Farrar’s plucky sidekick.

“I dreamed about killing you again last night, and it felt alright to me.” That’s a hell of a way to begin a song, and a hellish way. Just when the sleepy acoustic guitar chords out front of “Via Chicago” have lulled you into a stupor, Jeff Tweedy arrives to announce his shrugging approval toward the prospect of murdering someone he loves.

Eventually the Wilco frontman moves on to increasingly abstract imagery, from “I painted my name on the back of a leaf/ And I watched it float away” to “And crawling is screw faster lash/ I blow it with kisses.” The song builds from those initial chords into a vast soundscape that encapsulates Wilco at their best — that unparalleled ability to pile layers of beauty onto a simple folk song and then artfully rip it to shreds. At climactic moments, Tweedy launches into a slipshod guitar melody like Stephen Malkmus soloing over a disintegrating memory. Following it through to the finish is thrilling, but to get there you have to endure a whole verse of bloody, explosive details. It’s no wonder Tweedy writes in his new memoir Let’s Go (So We Can Get Back) that the album containing “Via Chicago” is “the record that’s hardest for my wife to listen to.”

Yet he writes, “I was probably as unhappy as I’d ever been. I was insecure, homesick, and drug-addled.” Even worse, “I had more love in my life that I’d ever had, and I was still lonely.” Furthermore, Tweedy was frustrated that Wilco had been pigeonholed as an alt-country band, a perception reinforced by Mermaid Avenue, a collaborative album with Billy Bragg setting music to unused Woody Guthrie lyrics. Being There had blown open the possibilities of what Wilco could be, but most of the listening public still saw the band a certain way. “People assumed we had this sort of identifiable, philistine range of influences,” Tweedy wrote, “and we, in our heads, knew that wasn’t the case.”

To upend those expectations, Wilco made their idea of a bubblegum record. The rootsy pop-rockers and ballads that populated 1994 debut A.M. were still in the mix, as were the formal and stylistic experiments that made Being There such a leap in terms of breadth and quality. But now Tweedy and his sideman Jay Bennett were building these songs into small-scale symphonies: Beach Boys harmonies spilling into every chorus, waves of gorgeous orchestration surging in and out of the frame. By this point they were more chamber-pop than cowpunk or whatever term the readership of No Depression favored that week.

It was a different record born from a different process. In many ways Summerteeth was a dry run for Yankee Hotel Foxtrot and its accompanying saga, be it Tweedy’s embrace of abstract, impressionistic lyrics, the introduction of extensive studio tinkering to tear apart the songs, or tearing apart of the band that came along with it. Drummer Ken Coomer and bassist John Stirratt were largely excluded from the sessions while Tweedy and Bennett popped pills and piled on the overdubs. As Coomer complained to Greg Kot in his Wilco biography Learning How To Die, “There wasn’t really a band, just two guys losing their minds in the studio.”

It’s hard to dispute the results Summerteeth continued a run of masterpieces that began with Being There and continued well into the next decade — but Reprise Records did anyway. That’s another way the album presaged Yankee Hotel Foxtrot: The label asked Wilco to go back and record more accessible music to promote to radio. In this case the band played along, leading to a rare instance of label meddling that worked out really well. The glorious guitar-pop onslaught “Can’t Stand It” is a phenomenal album opener and a frankly underrated entry in the Wilco canon. On the other hand, although you can see why the label didn’t want Summerteeth to begin with the drowsy, depressive, dysfunctional “She’s A Jar,” it’s tough to understand why they couldn’t find a single anywhere else on the tracklist especially when they had one readily available just one track beyond “She’s A Jar.”

On one hand, there’s nothing quite like “A Shot In The Arm” in Wilco’s discography. On the other hand, it’s a great case study for what Wilco were doing on Summerteeth: one of the most beautiful and exhilarating pop songs they’ve ever recorded, and also one of the bleakest. Bennett’s cascading piano ripples, a rock-steady Coomer backbeat, and a Stirratt bass line propel it breathlessly forward while an arsenal of squealing synths collide in the sky like fireworks. All the while, Tweedy alludes to strained relations with his wife and seemingly considers whether a heroin habit might jolt him out of his doldrums. It begins and ends in flicker of synthesizers.

He hints at those tensions again on “Pieholden Suite,” a lush multi-part sequence that really earns that “suite” designation: “There’s a whisper I would like to breathe into your ear, but I’m too scared to get that close to you right now.” And again on “We’re Just Friends,”, If love’s so easy, why’s it hard?” And again on the heartbreaking “How To Fight Loneliness,” a lounge-ready acoustic slow-drift that concludes the best strategy for battling alienation is “just smile all the time.” Punchy rock tracks “I’m Always In Love,” “Nothing’severgonnastandinmyway (Again),” and “ELT” course with stress and frustration beneath their cheery veneers. “Can’t Stand It” toggles between strutting Stones-lite verses with a carefree party vibe and a euphoric chorus smothered in keyboards and church bells, yet Tweedy spends the song lashing out at the randomness of both God’s love and his own. Yet again, he evokes a personal life that’s falling apart: “You know it’s all beginning to feel like it’s ending.”

Not everything on the album is so dark. Summerteeth concludes with a stretch of music that feels like a redemption arc. There’s real tenderness in the lullaby “My Darling” and the lazy back porch reverie “When You Wake Up Feeling Old.” The title track finds some kind of resolution as it breezes from snappy twang to sighing rhapsody, though even the apparent reconciliation is oblique enough to keep listeners guessing. And on gentle closing track “In A Future Age,” Tweedy buys into the possibility of change, bookending his album-opening cries that “Your prayers will never be answered again!” with a call to “turn our prayers to outrageous dares.” Yet despite things generally looking up at the end, the album remains a document of Tweedy at one of his lowest moments.

He writes in his memoir that the darkness explored on Summerteeth, while very real, was not autobiographical in the strictest sense. He discusses writing “Via Chicago” and other songs from the era in a fragmented style he compares to mosaic and collage. “When I write in this mode, I write for myself first, pretending that the audience isn’t even there, and will never be there,” he explains. “I can get things off of my chest, I can invent versions of myself that are better than I believe I am … or worse, are even downright awful and murderous. I can expose shadow selves that I believe I should keep my eye on. I can admit things about myself without really having to take ownership of anything.”

In other words, when “She’s A Jar” reaches its twist ending and Tweedy declares, “She begs me not to hit her,” he’s not actually confessing to domestic violence. He’s singing about a fictionalized version of himself, or maybe as a different character entirely, as a way to air out the more disquieting corners of his psyche. Which is not to say it’s wrong to be repulsed by these images or to wish that Tweedy, as the album’s ostensible protagonist, had not verbalized them.

Summerteeth occupies a weird space in Wilco’s history. It stands alone among their output, a product of personal crises and creative friction that would have ended the band if they’d carried on forever. There are people who’ll (wrongly, but earnestly) tell you that actually, this is the best album Wilco ever made. Others see it as the beginning of the end of the band they once loved, a rough draft for future glories. Whatever you make of Summerteeth, I can attest from experience that the album helped Wilco to become for a generation of listeners what the Clash and the Minutemen had been for Tweedy.

Loose Fur - credit: Stefano Giovannini

Jeff never disappoints. Totally dig everything he’s done. This is no different. Great record.  The “supergroup” featuring Jim O’Rourke, Glenn Kotche, and Jeff Tweedy, who all together make Loose Fur ! If you were ever curious, their debut, self-titled record leaves no doubt – these dudes can really fuckin’ play!

Recorded during downtime on “Foxtrot” and refined in the two years since, however, this experiment mostly serves to reinforce what we’re already well aware of: Jeff Tweedy’s formidable strength as a songwriter, the pervasive nuance of O’Rourke’s by-now trademark production, and Glenn Kotche’s unconventional, sometimes overly ambitious approach to percussion.

Oddly, the most predictable elements of Loose Fur are its most “arty” and “experimental”– songs that either follow the laws of entropy and dissolve in a rising swell of dissonance (Like the opener “Laminated Cat”) or defy them entirely, allowing melodies to emerge gradually from the sonic clutter (“So Long”). Despite its relative brevity (six cuts over forty minutes), Loose Fur establishes a familiar pattern early on, and it’s actually the more conventional music– exhibiting Tweedy and O’Rourke’s common soft spot for classic rock– that leaves a more lasting impression.

“Laminated Cat” will be instantly recognizable to Wilco archivists as a more sedate reading of the Foxtrot castoff “Not for the Season”. In its original incarnation the song was a somewhat generic rocker drawn by loops of distorted guitar and gently evocative laptopery into an improbable seven-minute jam. Tweedy’s lyrics are mostly incidental to the tidal pull of the rhythm and O’Rourke’s otherworldly fuzz– a stoner’s recognition of time passing exponentially faster, years spent accumulating piles of books “not worth reading.” Kotche’s percolating thumps grow progressively (and predictably) louder as the tune ambles self-consciously towards the imploding plastic inevitable.

Loose Fur released Domino Recording

Wilco may have set a high water mark for experimental Americana with 2002’s Yankee Hotel Foxtrot and 2004’s A Ghost is Born, but frontman Jeff Tweedy has spent the intervening years slowly inching away from the abstract and obtuse elements of those LPs, in favor of more direct and explicit songwriting. Warm, his first proper album under his own name, marks the exceptional culmination of that approach. Written in the wake of his father’s passing, and as Tweedy enters his 50s, these deeply intimate and skeletal songs consider what it means to remain in the present, what it means to be a link in a family chain, and what it means to appreciate the joys of life even as darkness threatens to swallow us whole.

Rarely has Tweedy conveyed so much emotion with such sparse arrangements. On standout track “How Hard It is for a Desert to Die,” each vivid note of his acoustic guitar carries remarkable emotional heft. On opening track “Bombs Above,” he recounts his battle with opioid addiction in a near-whisper—“I’m taking a moment to apologize,” he sings—backed by knotted guitars and his elder son, Spencer, gently thumping the drums. Even “Let’s Go Rain,” a major-key jangle and the album’s most accessible track, utilizes its sunny melody as a foil for an allegory of total destruction, and the deception makes it all the more chilling.

On “War on War,” from Yankee Hotel Foxtrot, Tweedy proclaimed, with then-typical abstraction, that “You have to learn how to die / If you want to want to be alive.” Throughout Warm, he conveys his gratitude for that life with a clarity and solemnity that, finally, brings that sentiment into sharp focus. “I don’t believe in heaven,” he sings on the album’s title track. For Tweedy, heaven, and hell, are right here on earth.

http://

Image result for cartoon record player

New release time once again, and there is a healthy whack of excellent reissues this week, with Kate Bush taking the top spot with Aerial, The Directors Cut and 50 Words For Snow all landing. As well as all of the individual albums, part 2 of the ‘Remastered’ box set seeing it’s release as well as the vinyl counterparts, Remastered In Vinyl Parts III and IV.

This week also the latest in a long line of much anticipated Fall live shows from the mid 90’s with Derby in ’94 and London in ’95 both show the range and excitement of the live show’s they were so well known for.

There is brand new album from Liverpool band ‘The Fernweh’ to be released on James Skelly’s (of The Coral fame) label, Skeleton Key Records. Psychedelic hooks, folky ruminations and shimmering acoustic meanderings. It’s a beautiful thing indeed. Plus A new full-length from Johnny Flynn. 

Neil young songs for judy

Neil Young – Songs For Judy

Songs For Judy is the debut release on Shakey Pictures Records, Young’s own imprint distributed by Reprise Records. Songs For Judy is thoroughly engaging collection of live acoustic performances culled from Neil’s November 1976 solo tour and features twenty-two songs recorded at various cities along the tour. This song cycle of live recordings is particularly powerful and unique. Young had spent much of the year traveling around the world on tour with Crazy Horse. When touring on his own, he recharged and focused on songs that would not surface in recorded form for several years. Of the albums many treasures, No One Seems To Know would not see the light of day until now and it remains unreleased in any other iteration. The raw versions of the tracks found on Songs For Judy reflect an artist completely unvarnished and unafraid to allow the songs to breath and to find their own shape when performed in a solo setting. Songs written in that era would come into focus and then seemingly disappear only to re-enter Young’s orbit somewhere down the road. White Line and Give Me Strength are such examples of finding the light in 1990 and 2017 respectively. It’s also fascinating to hear Young revisit early gems such as Springfield’s Mr. Soul (’67), Here We Are In The Years (’68), andThe Losing End (’69) from some of his earliest solo recordings which remain as timeless as ever.

Johnny flynn live at the roundhouse trans367x

Johnny Flynn And The Sussex Wit – Live At The Roundhouse

‘Live At The Roundhouse’ is an electric performance of ten years’ worth of songs; recorded without overdubs, it pays homage to the past whilst pointing propitiously to the group’s future. The album also features a bonus studio cut; the much requested and never released 3-verse rendition of Johnny’s ‘Detectorists’ theme.

Live At The Roundhouse’ is 24 tracks long and pulled from a decade’s worth of music. Fans will hear renditions of songs from Johnny’s “Masterclass” (4/5 The Independent) debut album ‘A Larum’, sophomore ‘Been Listening’, an album “radical in its honesty” (8/10 Drowned in Sound), ‘Country Mile’, “an extremely clever and nuanced record” (Mojo) and his most recent effort, ‘Sillion’, which explored the idea of man’s endeavour to connect with the earth while separated from it; “Another exploratory and remarkably high-caliber LP” (AllMusic 4.5/5). The album also features a bonus studio cut; the much requested and never released 3-verse rendition of Johnny’s ‘Detectorists’ theme. Johnny Flynn and the Sussex Wit are without a doubt one of the most consistently exhilarating live bands around, inspiring an undying devotion among fans and peers who will cherish ‘Live At The Roundhouse’ for its gritty and impassioned renditions of now-classic songs.

Gxd1wse7 400x400

The Fernweh – The Fernweh

Recorded in seclusion on the North Yorkshire coast and transporting listeners on musical journey. Three friends, Jamie Backhouse (guitars), Ned Crowther (vocals and guitar) and Oz Murphy (keys/saxophone) gathered to make the album they always knew they could make, based on a pure and profound love for a golden era for British and US folk rock. Wringing every last drop of their combined experience into a cup that overflows with melody, song craft and deeply evocative imagery of a quintessentially British era of ‘mainstream psychedelia’, they are joined by Maja Agnevik (vocals/flute)and Phil Murphy (drummer).

Melodies and stories inspired by distinctly British, coal-fired version of 60s/70s psychedelia. Layered vocal harmonies, gentle, steam-train percussion and strokes of piano, acoustic guitars and subtle string arrangements are a feature of this sublime and compelling debut. A return journey into Britain’s explosively creative, post-war period. Arriving back in 2018, the band uses such deeply evocative influences to deliver an irrepressible psych-pop-folk non-genre record.

Bowie

David Bowie –  Glastonbury 2000

DAVID BOWIE ‘GLASTONBURY 2000’ documents Bowie’s legendary Sunday night headline performance on 25th June at the most famous festival on earth. The legendary full performance released for the first time including many of David’s greatest hits and never before seen footage.

All formats feature David’s diary, originally written for Time Out, which documents him preparing for the show in his own inimitable manner. In addition to newly mastered audio and upgraded video DAVID BOWIE ‘GLASTONBURY 2000’ features new artwork from Jonathan Barnbrook (who worked with Bowie on the sleeves for Heathen, The Next Day & ★) and notes from the renowned author and Bowie fan Caitlin Moran who reviewed the show for The Times.

Jefftweedy warm cover 1537635528 640x640

Jeff Tweedy  –  Warm

Jeff Tweedy releases Warm, a solo album of all new material via dBpm Records. Warm was produced and recorded entirely by Jeff at his now legendary Loft Studio in Chicago’s  (with help from some of his usual collaborators – Spencer Tweedy, Glenn Kotche and Tom Schick). Warmfollows the acoustic retrospective release, Together at Last (2017), and Wilco’s 2016 album, Schmilco.

It is a tender manifesto of self-doubt, a shout fading into a murmur. It’s a journey beyond self-consciousness and towards mature vulnerability, to an evolved idea of what is musically pure.

A brief inquiry into online relationships

The 1975 – A Brief Inquiry Into Online Relationships

Winners of 2017’s Best British Group at the BRIT Awards, The 1975 release their 3rd album ‘A Brief Inquiry Into Online Relationships.’ 
The album is a follow up to ‘I like it when you sleep for you are so beautiful yet so unaware of it,’ which charted at Number 1 on both sides of the Atlantic going Platinum in the UK in the process.

Bs269 digital cover

Laura Jane Grace & The Devouring Mothers – Bought To Rot

14 tracks spanning Laura Jane Grace’s fractured relationship with her adopted hometown of Chicago, true friendship, complicated romance, and reconciling everything in the end, Bought to Rot stands as the most musically diverse collection of songs Grace has written to date.

Inspired in large part by Tom Petty’s Full Moon Fever, the first album Grace ever owned, Bought to Rot finds her at the same age Petty was when he created his solo debut masterpiece. In light of his recent passing, Grace was motivated to pay homage to one of her lifelong heroes.

Laura Jane Grace & the Devouring Mothers are Laura Jane Grace, Atom Willard, and Marc Jacob Hudson. Grace is a musician, author, and activist best known as the founder, lead singer, songwriter, and guitarist of the punk rock band Against Me!. Willard, also of Against Me!, is a drummer who has played in iconic punk bands such as Rocket from the Crypt, Social Distortion, and The Offspring. Devouring Mothers bassist Hudson is a recordist and mixer at Rancho Recordo, a recording studio and creative space in the woods of Michigan, and the sound engineer for Against Me

P

Batts  –  62 Moons

Batts is the moniker for Melbourne based singer-songwriter Tanya Batt, and this is her mesmerising and melancholic debut EP 62 Moons. Named after the 62 Moons of Saturn, the obsession with space is an underlying theme throughout the record, from the Nasa recording of Saturn’s rings which opens the recording, to the EP title. Batts explains “I had the thought of combining the music we create as humans, with the natural music of things out in space that have existed for billions and billions of years. I want to instil knowledge of space within music to people, but not via lyrics – via sounds.”

Screen shot 2018 08 28 at 21.14.02

The Fall – The Rough Trade Singles

The Rough Trade Singles collects The Fall’s four singles recorded for this influential label in 1980 and 1983 – How I Wrote ‘Elastic Man’ / City Hobgoblins, Totally Wired / Putta Block, The Man Whose Head Expanded / Ludd Gang and Kicker Conspiracy – none of which appeared on any of the band’s studio LPs. With 7-inches being the era’s vehicle for buzzing communiqués, The Fall would use the format for short-form, standalone works rather than as mere promotional devices for forthcoming albums.

“Totally Wired” is often cited (and rightfully so) as The Fall’s most infectious tune – an amphetamine-fueled anthem with stuttering nods to forebears, yet too incisive to have been made by anyone else. “How I Wrote ‘Elastic Man'” is another mad hoedown, one reimagined for the post-punk age. While the playful rhythm machine on “The Man Whose Head Expanded” almost suggests danceability, Mark E. Smith’s idiosyncratic shriek on “Kicker Conspiracy” pierces through the twin drumming of Paul Hanley and Karl Burns and the group’s unpredictable / unmistakable racket. Together these songs remain some of the absolute best material The Fall would ever release.

Tmr531 billcallahan livesleeve 1

Bill Callahan – Live at Third Man Nashville

Bill Callahan, aka Smog, is simultaneously a staple of strange American country, lo-fi, folk and independent music. His lyricism comes across as challenging and deeply autobiographical, equal parts “poetry leaning on true-to-life darkness” and “three chords and the truth.” So, it is fitting that Callahan’s live set would command the same sense of friendliness-with-difficulty that the recorded songs do. With brief, candid, and charming interludes between older and newer material, an outsider can hear that this performance was obviously a full-bodied (and multi-era) engagement, no space left for distraction. The full album is an experience; make it one you look after.

8332

DIIV  –  Covers

Originally shared on DIIV’s YouTube channel and then later given away on a limited edition cassette run of 50 copies at an acoustic DIIV show in a synagogue in New York City, Captured Tracks now presents a vinyl version of Zachary Cole Smith’s lauded Sparklehorse and (Sandy) Alex G covers. Pressed on Clear Vinyl and limited to 500 copies to celebrate Captured Tracks’ 10th Anniversary.

Image result for cartoon record player

lots of new releases and reissues out tomorrow as well, the major titles including  –

New Ed Harcourt album ‘Beyond The End’.
A limited Morrissey 7″ – ‘Back On The Chain Gang’
A very limited Type O Negative coloured vinyl reissue of ‘Bloody Kisses’.
Three more Bauhaus reissues – The Bela Session, ‘The Sky’s Gone Out’ and ‘Press Eject…’.
Vol.2 of the Marc Bolan ‘Home Demos’ is finally out after some delay.
A very lovely looking Chic box set. along with the vinyl version Boxed Set of the Tom Petty American Treasure

And in other news…….
King Gizzard & The Flying Wizard 
coloured vinyl reissues are flying out – have you got your copies yet?
Mumford & Sons 
latest album is also selling fast on coloured vinyl.
the excellent new album from Marianne Faithfull.
Post Malone – ‘Beerbongs and Bentleys’.   

0.jpg

Songs: Ohia ‘Love & Work: The Lioness Sessions’ ltd vinyl box set

Songs: Ohia – ‘Love & Work: The Lioness Sessions’ limited translucent purple coloured double vinyl LP.

The release also includes a 16-page booklet with photos and meditations by Jason’s family and collaborators, as well as replications of ephemera from Jason’s guitar case & life from the time (a handwritten love letter, a postcard, a 2 of Hearts playing card, and more)

Hc bambi lp digital tg web

Hippo Campus – Bambi

Hippo Campus release their second album, Bambi through Transgressive Records. On their sophomore album Bambi, the St. Paul, Minnesota-bred band navigate that upheaval with deliberate self-reflection. The result is a selection of songs that drift into much darker terrain, but unfold with a frenetic yet fragile beauty that makes even the most painful moments feel glorious. Partly recorded at Steve Albini’s Electrical Audio in Chicago, Bambi finds Hippo Campus working again with producer BJ Burton (Bon Iver, Low, Francis and the Lights), who handled production on their 2017 full-length debut Landmark. And in sculpting Bambi’s distinctly inventive arrangements, Hippo Campus significantly expanded their use of drum machines and synth. Throughout Bambi, Hippo Campus match their relentless self-examination with a joyfully adventurous sonic approach, ultimately transforming the emotional experience of the problems they’re exploring.

unnamed.png

Breeders ‘Safari EP’ ltd 12″ reissue

Being released this November as part of Record Store Day’s sister Black Friday event is a faithful repress of the 12” version of The Breeders’ Safari EP, complete with Shinro Ohtake’s 1983 charcoal drawing Nairobi VIII adorning its cover. Originally released in April 1992, sandwiched between their first two albums (Pod and Last Splash), The Breeders’ Safari EP came at a time when Kim’s Pixies commitments were winding down and her new band were on the cusp of releasing a platinum-selling album.

Their first record to feature Kim Deal’s twin Kelley, the EP was recorded in two studios with the bulk coming from a session in New York, which provided an early version of Do You Love Me Now?, Don’t Call Home and a cover of The Who’s So Sad About Us. The title track, Safari, was recorded separately in London by Kim, Josephine Wiggs and drummer Jon Mattock (Spacemen 3 / Spiritualized).

181011_stooges_rsd_rarepower.jpg

Iggy & The Stooges – ‘Rare Power’

The untamed energy of Iggy and The Stooges comes to vinyl for Record Store Day Black Friday on Rare Power, a collection of rare tracks from the sessions that produced their landmark 1973 album Raw Power. Eight of these nine outtakes and alternate mixes are available on vinyl for the first time, and composer Josh Mobley’s remix of Gimme Danger (heard in the best selling video game Watch Dogs) is commercially available for the first time ever.

The Byrds – Sweetheart Of The Rodeo (4 X 12″ Vinyl LP)

By the time Sweetheart Of The Rodeo was released in 1968, The Byrds had already changed the sound of rock music twice; from jangling folk-rock to experimental acid-rock, they constantly sought to push the boundaries of what rock music could be. The 1967 departure of David Crosby left a creative void filled quickly by country music-loving Gram Parsons, whose addition led Roger McGuinn, Chris Hillman and company to record an album comprised mostly of authentic country material in Nashville, with the aid of local session aces (including future Byrd Clarence White). For the first time on vinyl—and on the heels of a 50th anniversary tour of the album by original members McGuinn and Hillman—this Legacy Edition of Sweetheart Of The Rodeo showcases this country-rock masterpiece alongside 28 bonus tracks, including demos, outtakes, rehearsal versions and tracks by Parsons’ pre-Byrds outfit, The International Submarine Band.

91g01oveqol. sy355

Chris Robinson Brotherhood – Betty’s Midwestern Magic Blends

The Chris Robinson Brotherhood is indisputably one of the hardest working bands in rock ‘n’ roll. 2018 marks the fourth year in a row that they’ll play over 200 shows across the U.S. and Europe. Through that prolific touring schedule, the band has emerged a razor sharp, riveting live unit. Each evening The CRB plays two sets of music with a dynamic, ever-changing setlist. Presenting original material stretching across six studio albums, plus a repertoire of covers that runs from Slim Harpo to Bob Dylan and beyond, it’s only fittng that the band would document this output. They’ve done exactly that through a series of live recordings dubbed, ‘Betty’s Blends’ taking its moniker from legendary Grateful Dead archivist and recording engineer Betty Cantor-Jackson who is called upon to capture The CRB’s performances in multi-dimensional, audio-verite. ‘Betty’s Midwestern Magik Blends’ is the fourth volume from the acclaimed series, gathering highlights from three shows in Milwaukee, Madison and Chicago in October 2016. Available as a vinyl exclusive, 3-LP set with only 3500 copies released, the collection finds The CRB in peak form delivering highlights like “New Cannonball Rag,” “Forever As The Moon” and “Shadow Cosmos,” as well as adapting two from The Rolling Stones: “Down Home Girl” and “Let It Bleed” and the seldom played fan favorite, Steppenwolf’s “Magic Carpet Ride.”

81ybxn599xl. sy355

Violent Femmes – Permanent Record: The Very Best Of Violent Femmes

Permanent Record: The Very Best of Violent Femmes provides a comprehensive overview of The Violent Femmes historic recording career – beginning with tracks from their legendary debut up until their 2000 release, Freak Magnet. The compilation includes the original studio recordings for hit singles such as Blister In The Sun, American Music, Gone Daddy Gone, amongst others, and is a must have for both new listeners and devoted fans alike.

A1vthrny8hl 696x1051

Jeff Tweedy – Let’s Go (So We Can Get Back)

Through his pioneering work in the legendary country-punk band, Uncle Tupelo, to his enduring legacy as the creative force behind the unclassifiable sound of Wilco, Jeff Tweedy has weaved his way between the underground and the mainstream – and back again.

Funny, disarming, and deeply honest, his memoir casts light on his unique creative process and the stories that shaped his life and career, from a childhood spent in Illinois to the release of No Depression in the early 90s – which set the blueprint for alt-country – and later working with Mavis Staples and, posthumously, Woody Guthrie.

Screen shot 2018 10 01 at 09.54.42

The Go Betweens – Right Here

Grant McLennan and Robert Forster, the founding members of seminal Brisbane band The Go-Betweens had been close friends and collaborators since their late teens some thirty years before. As it unfolds, we discover how relationships – both creative and romantic – are continually tested, challenged, remoulded and, in some cases, destroyed. The film truthfully exposes all the highs, lows, joy, pain, sorrow and beauty of being in a cult band and of trying to survive the harsh, brutal realities of an at times exploitative music industry. Unflinching, insightful and at times painfully honest, the film tells the story of The Go-Betweens from the inside out, from the people who lived it and from those whose lives were transformed by it.

This Week
Art Brut – ‘WHAM! BANG! POW! LETS ROCK OUT!’ LP
Bauhaus – ‘The Bela Session’ LP reissue
Bauhaus – ‘Press Eject & Give Me The Tape’ ltd white vinyl LP reissue
Bauhaus – ‘The Sky’s Gone Out’ ltd violet vinyl LP reissue
Marc Bolan – ‘Tramp King Of The City: Home Demos Vol. 2’ LP
Bouquet Of Dead Crows – ‘Motus Octo’ splatter vinyl LP
Breeders – ‘Safari EP’ limited 12″ reissue
Mansur Brown – ‘Shiroi’ LP
Lindsey Buckingham – ‘Solo Anthology’ 6LP Box set
Calexico – ‘The Black Light’ ltd clear vinyl 2LP reissue
The Chic Organisation – ‘1977 – 1979’ 5LP + 12″ vinyl box set
Ry Cooder – ‘Mambo Sinuendo’ 2LP
Deep Purple – ‘In Rock’ purple vinyl LP reissue
Deep Purple – ‘Fireball’ purple vinyl LP reissue
Ed Harcourt
 – ‘Beyond The End’ LP
Hippo Campus – ‘Bambi’ ltd coloured vinyl LP
Hozier – ‘Nina Cried Power’ ltd 12″ EP
Durad Jones & The Indications – ‘Live Vol. 1’ blue vinyl LP
Laibach – ‘The Sound Of Music’ gold vinyl LP reissue
Levellers – ‘Levellers’ ltd orange vinyl 2LP reissue
Amy Macdonald – ‘Woman Of The World: 2007-2018’ 2LP
Morrissey – ‘Back On The Chain Gang’ limited 7″
OST – ‘Dredd’ ltd red vinyl LP
OST – ‘End Of Days’ 2LP

Tom Petty – ‘An American Treasure’ 6LP Box Set
Planet B – ‘Planet B’ coloured vinyl LP
Irmin Schmidt – ‘5 Klavierstucke’ LP reissue
Songs: Ohia – ‘Love & Work: The Lioness Sessions’ ltd coloured vinyl box set
Mikael Tariverdiev – ‘Sevnteen Moments Of Spring’ LP
Transmaniacon – ‘The Strange World Of Suzie Pellet’ limited colour vinyl LP

Type O Negative – ‘Bloody Kisses’ ltd silver vinyl 2LP
Vessel – ‘Queen Of Golden Dogs’ LP