Posts Tagged ‘Passwords’

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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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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,

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This LA band has quietly amassed one of the more consistent catalogs in all of ’10s left-coast Americana, steadily putting out one very good album every year or two for the past decade. The forthcoming release Passwords (due out June 22nd) starts off on a ham-fisted note with the political number “Living In The Future,” but the rest of the album thankfully is in the vein of “Crack The Case,” a spare, synth-accented folk-pop number that ruminates on fake news and the value of forgiveness. Presented as a retro-future lyric video with its storyline scrolling across a space-race era computer console, the track appears to be asking one very big and very current question: “How can we all get along?” With delicate piano and acoustic guitar strains, ethereal steel-guitar runs and light synth accents – plus front man Taylor Goldsmith’s typically-poetic vocal delivery – the band comes to a compassionate conclusion.

Fans of Springsteen’s Tunnel Of Love period will want to pay special attention.

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American band Dawes have announced a new studio album, their first since 2016’s We’re All Gonna Die. Called Passwords, it’s due out on June 22nd via the band’s own HUB Records. “Passwords” is described as an album “for and about the modern age” in a press release. “We’re living in such a unique moment in history,” said lead singer Taylor Goldsmith. “Many of these songs are an attempt to come to terms with the modern world, while always trying to consider both sides of the story.”

For the record, Dawes reunited with producer Jonathan Wilson, with whom the band recorded its first two albums. “Part of the DNA of Dawes was shaped by Jonathan, much like your first serious girlfriend dictates how you approach relationships for the rest of your life,” Taylor said. “Those first two Dawes records have a certain essence to them. We were figuring out who we were. When it came time to produce our sixth album, why not go back to the guy who started it all with us?”.

 

Full band performances, as well as Taylor’s vocal takes, were tracked live during recording in an effort to emulate the energy of their live performances. They also tease a “spacier, experimental approach” on a few songs due to the integration of keyboardist Lee Pardini, who joined the band in 2015.

Taylor also said there’s a “slight political implication” buried in the album’s titled, emphasizing “the idea that something so seemingly innocuous and frivolous can potentially shift the direction of a life or even a country.”

He added, “But more broadly than that, a password – this series of numbers, letters and figures – serves as a thin veil between a world you can see and understand, and one you can’t. That means songs can be passwords, too, because they’re a means of giving access to someone else’s perspective, thereby elaborating your own. Songs can unlock something in you, change something, tighten something, enlighten some-thing, or gain access into deeper corners, and that idea makes referring to a collection of songs as Passwords feel really good.”

Dawes will also be hitting the road later this summer with Jeff Lynne’s Electric Light Orchestra, who are embarking on their first North American tour in over 30 years.

DAWES New album Passwords available June 22nd.HUB Records

Dawes are excited to announce their sixth studio album “Passwords” will be released on June 22nd via HUB Records.

Hi folks. Taylor here.

As you’re probably aware, it’s a wild time to be alive. There are a lot of thoughts and feelings we feel less inclined to share than we ever have before. At least in my lifetime. A lot of controversial conversations that feel like they only serve as something for the next person to crumple up and toss aside.

So it’s with all that in mind that we are proud to announce our new album ‘Passwords.’ In this rapidly approaching age of transparency, passwords can feel like this last vestige of a wall between a world we can see and one we can’t. Having a password allows you gain access to some information or perspective that you didn’t have before. In that sense, I like the idea of looking at a song as a password – an opportunity for some sort of insight that had previously been unavailable to you. And that goes for the singer as much as the potential listener, I promise. 🙂 These songs are about everything to the extent that any Dawes record has been…but in this case there is more of an objective…at least for us – to think a little harder about not just how but WHY we (not just ‘you’ or ‘I’ but ‘we’) feel the ways that we do. What small steps can be taken to revisit these old ideas of empathy? How can we develop a form of communication that goes beyond making sure you’ve said your piece and accurately aims at being heard?