From the same misty mountaintop tape spool as August’s A Weird Exits, Thee Oh Sees bring the companion album An Odd Entrances.
Delving more towards the contemplative than the faceskinning aspects of its predecessor, this sister album is a cosmic exercise en plein aire with John Dwyer and company double-drum shuffling, lounging with cellos, following a flute around the groove, and spooling a few Grimm-dark lullabies along the way. Lurking in the grass are a snake or two, like the celestial facing instrumental buzz of “Unwrap The Fiend Pt. 1.”…But for the most part this is a relatively hushed affair, a morning rather than evening listen.
The band plans on donating half their profits from the first pressing to Elizabeth House, a local charity in Pasadena that specifically helps homeless women with children get back on their feet.
Public Service Broadcasting are pleased to reveal the release of a double LP/CD live album of their sold-out performance at Brixton Academy from ‘The Race For Space’ Tour, recorded on 29th November 2015. A taster of this release can be viewed here as the band perform their celebration of the moon landings with crowd favourite, ‘Go’ https://youtu.be/y8rNlFYRcgs
“We first talked about the possibility of a live album and DVD a long while before Brixton and I have to confess that I ruled it out almost immediately” says frontman J. Willgoose, Esq. “I was persuaded over a few months, though, by both the reaction on the night – which was overwhelming – and of those who watched the stream as it went out live, that something special had occurred and it truly was worth documenting. Brixton had been a dream of mine ever since seeing the Manics there on their Everything Must Go tour many moons ago. Playing there as Public Service Broadcasting, and selling it out, was something I never even thought of as a possibility. It’s my favourite venue in the world and we wanted to make it a show to remember.”
The show features arena-level production crammed onto the Brixton stage with a 13- piece choir, 5-piece string section, expanded brass section, a longer set list, Smoke Fairies guesting on Valentina, a surprise special guest, dancers, pyrotechnics and more as the London-based band wow a hometown crowd with a very special performance. The release will be accompanied by a DVD filmed on the night along with an audio commentary from the band and bonus features.
In the two and a half years since the release of their last album Rookie, Brisbane’s The Trouble With Templeton have, says frontman Thomas Calder, been busy “breaking down and re-assembling what it means to make music for us.” On the evidence of the richly confident and clear-sighted Someday, Buddy, released through Bella Union, that time was well spent. The full-bodied songs here can take the emphasis, no trouble. The Trouble With Templeton weren’t slouching on Rookie, where Calder and company wedded vibrant melodies and multifarious alt-rock flavours – epic, jangly, glam – to a core of emotive cogency. On Someday, Buddy, however, their personality emerges sharper and clearer. “Our goal was to make a record that is raw, bare and honest,” says Calder, a claim borne out by the incisive lyrics of the swelling Sailor and lilting Heavy Trouble, where Calder’s falsetto dances over a tender indie folk backdrop. Sometimes fragile, sometimes forceful, Calder’s voice remains a marvel on Bad Mistake, a combination of intricate verses and a huge chorus pitched somewhere between Pavement and Elliott Smith. Someday, Buddy’s recipe is one of slow burn songs harbouring great reserves of potency: the discreet neo glam swagger of Complex Lips, the sunburst chorus of Vernon, the gorgeous ripples of album highlight 1832.
The EP was recorded live in one day at Future-Past Studios, Hudson NY and features new versions of album favourites ‘Aviation’ and ‘The Dream Synopsis’ alongside a selection of cover versions, first heard live during The Last Shadow Puppets’ summer touring. Expanding their trademark rawkous rock sound with a swagger and confidence rarely heard though their short but illustrious career, this is a bold and enthralling expansion of their already venerable sonic palette.
Their first studio album in over a decade. Recorded in just three days in London, England, this is an album full of their passion for the music that has always been at the heart and soul of the band – Blues.
Recorded in three days in December last year at British Grove Studios in West London, just a stone’s throw from Richmond and Eel Pie Island where the Stones started out as a young blues band playing pubs and clubs. The credits say it all, in the way this project was approached to play live in the studio without overdubs. Mick Jagger (vocals & harp), Keith Richards (guitar), Charlie Watts (drums), and Ronnie Wood (guitar), plus their long time touring sidemen Darryl Jones (bass), Chuck Leavell (keyboards) and Matt Clifford (keyboards). For two of the twelve tracks the Stones were also joined by old friend Eric Clapton.
‘Blue & Lonesome’ sees the Rolling Stones tipping their hats to the blues roots with tracks of intense spontaneity. It’s hard to believe that this is a record made by musicians in their sixth decade of recording. In their very early days the Stones played the music of Jimmy Reed, Willie Dixon, Eddie Taylor, Little Walter and Howlin’ Wolf – artists whose songs are featured on this album.
Reverb Conspiracy Vol. 4 is a collection of 12 tracks from some of the best in Europe’s unfathomably fruitful psych scene – offering a plethora of gems of the rock and roll, kraut, shoegaze, folk and garage-rock variety, and just about everything in-between. The highlights of the record include the dark, discordant ‘krautgaze’ of My Invisible Friend, the mammoth 15 minute spaced-out jam from Giobia, the ominous and mind-altering Ulrika Spacek and the kaleidoscopic splendor of Josefin Ohrn + The Liberation. Volume 4 also boasts immersive cuts from the likes of The Madcaps, Soft Walls, Pretty Lightning, The Oscillation and Fuzz Club’s own otherworldly psych juggernauts TAU, 10000 Russos, The Orange Revival and Throw Down Bones – each and every track is a piece of experimental sonic mastery in its own unique and distinct right.
The Fat Angel Sings 