Posts Tagged ‘Ride’

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Legendary British shoegazers Ride have shared a new cut from their imminent new album, This Is Not A Safe Place, Like other tracks in Ride’s discography, “Repetition” is poppier than other shoegaze songs. Swirling guitars intertwine with jubilant synths, crafting a sunny single that sounds like if Kraftwerk were stripped of technological anxieties and linked up with Devo.

Frontman Andy Bell smiles throughout the track, encouraging listeners to embrace patterns amid substantial life changes. “Repetition is a form of change / So don’t be fazed if the backdrops change,” he chants encouragingly during the chorus. Per the track’s YouTube description, Bell writes that the track “succeeds in bringing me back to all of the things we were into and talked about when we were 18, but also being of the moment, in 2019.”

Ride reformed in 2014 to do some touring and finally released their first new album in 21 years, Weather Diaries, in 2017 via Wichita. That was followed by the 2018 EP, Tomorrow’s Shore. As with those two releases, Erol Alkan produced This Is Not a Safe Place. Alan Moulder mixed the album, the fourth Ride album he has mixed. The band came together at the end of 2018 and the beginning of 2019. A previous press release said the band were influenced by “the Jean Michel Basquiat exhibition at London’s Barbican Centre and the post-punk sound of The Fall and Sonic Youth, for an album rich in their trademark shoegaze atmosphere, whilst simultaneously sounding rejuvenated and creatively ambitious.”

Band Members
Andy Bell,
Laurence Colbert,
Mark Gardener,
Steve Queralt

This Is Not A Safe Place is out on August. 16th via Wichita Recordings.

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Ride opened a fresh chapter with 2017’s ‘Weather Diaries’, a terrific album that found the shoegaze band re-igniting their essential creative chemistry. Produced by Erol Alkan – a long time advocate for the band – it was followed by a lengthy international tour, including some landmark shows.

Recently hinting that they were once again in the studio, Ride have now detailed plans for their next album. Once again produced by Erol Alkan, ‘This Is Not A Safe Place’ will be released on August 16th, through the band’s home Wichita Recordings.

New song ‘Future Love’ is the ideal comeback, a stunning, completely unguarded track that speaks of pure, unashamed optimism. Driven by the positive energy coursing through the band’s veins, this is pristine Ride, managing to recall their fine early work without emulating it.

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

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

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

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

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

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

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

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

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

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Exclusively for RSD 2018, Ride release a limited edition double vinyl LP collection of remixes of tracks from their acclaimed fifth album, ‘Weather Diaries’.

The double LP includes remixes from the likes of renowned Berlin techno duo Barker & Baumecker, Stereolab offshoot Cavern of Anti-Matter, Oren Ambarchi (Touch, Editions Mego, Black Truffle), beautiful ambient mixes from Jefre Cantu-Ledesma (with additional vocals from Maria Linden of I Break Horses), Bartoz Kruczynski (aka Earthtrax) and a 25 minute opus from Babe Terror, amongst others.

Limited to 1000 copies for the UK and Ireland.

Tracklisting:
1. Lannoy Point (Bartosz Kruczynski Mix)
2. Charm Assault (Mogwai Remix)
3. All I Want (Glok Remix)
4. Home Is A Feeling (A Creamy Crambled Suite For A Ride)
5. All I Want (Oren Ambarchi Remix)
6. Weather Diaries (Jefre Cantu-Ledesma Remix)
7. Rocket Silver Symphony (Barker & Baumecker Mix)
8. Lateral Alice (Cavern Of Anti-Matter Remix)
9. Cali (Luke Abbott Remix)
10. White Sands (Lamplighter Remix)

‘All I Want’ remix by GLOK aka Andy Bell,

the Cavern of Anti-Matter remix of new live favourite, “Lateral Alice”. Cavern of Anti-Matter is the latest project of Tim Gane (Stereolab etc) and Joe Dilworth (Stereolab, Th’Faith Healers etc.) Here they strip “Lateral Alice” down to its vocals and then rebuild it as an organ-led, kraut-y, prog-y, psychedelic gem, as is their inimitable style.

Being made available alongside the release of the “Cali” video, the latest remix of a track from the new Ride album is by leading UK electronic producer, Luke Abbott. Luke has released records on James Holden’s Border Community and Gold Panda’s Notown label, amongst others. Here he takes “Cali” on a haunting, psychedelic and somewhat twisted ride (no pun intended!), adding lush modular synths and heavily effected vocals to the sunshine bliss of the original.

Ride waking up in another town preview

Exclusively for RSD 2018, Ride release a limited edition double vinyl LP collection of remixes of tracks from their acclaimed fifth album, ‘Weather Diaries’.

The double LP includes remixes from the likes of renowned Berlin techno duo Barker & Baumecker, Stereolab offshoot Cavern of Anti-Matter, Oren Ambarchi (Touch, Editions Mego, Black Truffle), beautiful ambient mixes from Jefre Cantu-Ledesma (with additional vocals from Maria Linden of I Break Horses), Bartoz Kruczynski (aka Earthtrax) and a 25 minute opus from Babe Terror, amongst others.

Limited to 1000 copies for the UK and Ireland.

Tracklisting:
1. Lannoy Point (Bartosz Kruczynski Mix)
2. Charm Assault (Mogwai Remix)
3. All I Want (Glok Remix)
4. Home Is A Feeling (A Creamy Crambled Suite For A Ride)
5. All I Want (Oren Ambarchi Remix)
6. Weather Diaries (Jefre Cantu-Ledesma Remix)
7. Rocket Silver Symphony (Barker & Baumecker Mix)
8. Lateral Alice (Cavern Of Anti-Matter Remix)
9. Cali (Luke Abbott Remix)
10. White Sands (Lamplighter Remix)

We cannot wait to release ‘Tomorrow’s Shore’, the new EP from Ride due out, tomorrow! , This new four track EP. Kicking off with recent single Pulsar, the four track EP is made up of new songs Keep It Surreal, Cold Water People and Catch You Dreaming. Apocalyptic closer Catch You Dreaming is a defiantly reflective, blissed out, yet wistful six minute zero gravity swirl. The track showcases yet another side to the reborn and rejuvenated Ride, who last summer returned with their first new music in twenty years.

Ride unveiled a brand new song due for release on a new 12″ vinyl. Not featured on their highly acclaimed recent album, Weather Diaries , “Pulsar” is built around a central pulsing rhythm and the band’s signature wall of swooping, fuzzed out guitars. It was recorded with Erol Alkan, the legendary DJ, producer and remixer who produced the band’s latest album. Loz had this to say about their brand new song: “Pulsar re-imagines old organ samples, transmissions from space, effects, heavy beats and pulsing chords. The song title tips its head to the 60’s instrumental ’Telstar’ in name and theme; and the idea was to come up with some kind of ‘space anthem’ about light, existence, travel and return. The band all contributed to make the song what it is, and it all really came together in the studio when we worked with Erol Alkan once again, following on from the success of the ‘Weather Diaries’ sessions.”

You can also hear ‘Pulsar’ AND ‘Catch You Dreaming’ right now.

Said Andy Bell of this new song and the EP…“Catch You Dreaming” is written from the perspective of being one of the last two people alive, watching as the Universe is ending. The protagonist looks back over the time when humanity existed, realising that we as humans brought about our own inevitable demise. Then the couple look back over their own lives of shared memories and as they are sharing this moment, everything vaporises. It’s a love song about fate, nostalgia, and having no regrets. ” The song itself was intended to be a part of “Weather Diaries”, and recording started during the sessions in Autumn 2016. But we never managed to record a definitive version at the time and decided to come back to it later as part of a follow up EP, which is now finished, and titled “Tomorrow’s Shore”. The EP was made with an identical process to “Weather Diaries” and we see it as very much tied to the album. ”

RIDE tour throughout 2018, including the newly announced appearance at Festival No. 6!
All dates on sale at thebandride.com

Ride are set to release new EP ‘Tomorrow’s Shore’ on February 16th.

The band returned with new album ‘Weather Diaries’ last year, a splendid, emboldened work that found the shoegaze group exploring new climes. Live shows have been a thrill, with Ride now finding time to piece together a new EP. ‘Tomorrow’s Shore’ arrives on February 16th, available digitally and on limited edition 12 inch via Wichita Records.

New Erol Alkan produced song ‘Catch You Dreaming’ is online now, and – somewhat unusually – it’s a synth odyssey, with Ride steering into Balearic waters. Matching their trademark sound to fresh elements, it’s further sign that this is one re-union not content to simply retread old ground.

Ride’s Andy Bell explains: “Catch You Dreaming” is written from the perspective of being one of the last two people alive, watching as the Universe is ending. The protagonist looks back over the time when humanity existed, realising that we as humans brought about our own inevitable demise. Then the couple look back over their own lives of shared memories and as they are sharing this moment, everything vaporises. It’s a love song about fate, nostalgia, and having no regrets.”

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Ride  – Weather Diaries

Ride release their first album in over twenty years, ‘Weather Diaries’ on June 16th via Wichita Recordings.

Produced by legendary DJ, producer and remixer Erol Alkan, ‘Weather Diaries’ is packed with all the classic elements that made Ride one of the defining bands of the early ‘90s. Trembling distortion, beautiful harmonies, pounding rhythms, shimmering soundscapes and great songwriting all combine to make an album that’s ambitious in scope, timeless and thoroughly addictive. The album will be released through Wichita Recordings and sees the band reunited with label co-founders Mark Bowen and Dick Green, who worked with Ride during the band’s early years on Creation Records. It also brings the band back together with mixer Alan Moulder (Arctic Monkeys, Smashing Pumpkins, The Killers) who mixed their seminal 1990 album ‘Nowhere’ and produced it’s follow up ‘Going Blank Again’.

The revitalised four piece – comprising of Andy Bell, Mark Gardener, Laurence Colbert, and Steve Queralt – reformed and returned to the live scene in 2014, selling out headline tours around the world to a plethora of critical acclaim, as well as show stopping turns at festivals including Coachella, Primavera and Field Day. More than that though, the British music sphere especially has been littered with bands heavily indebted to Ride and their peers. The likes of The Horrors, School Of Seven Bells and labels such as Sonic Cathedral have ensured that shoegaze is a sound that’s eternally relevant.

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Royal Blood  -How Did We Get So Dark?

After becoming the biggest breaking British rock band with their self-titled 2014 debut album, Royal Blood’s release their eagerly anticipated second album How Did We Get So Dark? released on Warner Bros. Records. The ten tracks that feature on How Did We Get So Dark? were written in instrumental form during sessions in Brighton, Hollywood, Los Angeles and Nashville. Always trying to explore ways of stripping their enormous sound back to give it more space and impact, inspiration for the lyrics came from events in vocalist / bassist Mike Kerr’s life since the band first found huge success. In November 2016. Kerr and drummer Ben Thatcher, along with producer Jolyon Thomas, spent six weeks in a studio in Brussels that was decked out like a New York diner and featured a warehouse of antique gear. How Did We Get So Dark? was subsequently completed after a final session in London with their debut album’s co-producer Tom Dalgety. There are times where Royal Blood are more visceral than ever – notably the gargantuan introduction to Hook, Line and Sinker and also the intense denouement that brings Looks Like You Know to a close. While the album finds Royal Blood refining their melodic might, there are other moments that fulfil their aim to create songs that will add new dimensions to their live sets. Adorned with Kerr’s falsetto, Don’t Tell drops the intensity to mesmerising effect, while Where Are You Now? pulsates with a bounding energy that’s quite a step apart from anything else in their catalogue. The Royal Blood palette is also expanded with the complementary addition of piano or keyboards on four tracks, including the foreboding album closer Sleep.

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Fleet Foxes  –  Crack Up 

Crack-Up is Fleet Foxes’ long awaited and highly anticipated third album. It comes six years after the 2011 release of Helplessness Blues and nearly a decade since the band’s 2008 self-titled debut.

All eleven of the songs on Crack-Up were written by Robin Pecknold. The album was co-produced by Pecknold and Skyler Skjelset, his longtime bandmate, collaborator, and childhood friend. Crack-Up was recorded at various locations across the United States between July 2016 and January 2017: at Electric Lady Studios, Sear Sound, The Void, Rare Book Room, Avast, and The Unknown. Phil Ek mixed the album, at Sear Sound, and it was mastered by Greg Calbi at Sterling Sound. Fleet Foxes is Robin Pecknold (vocals, multi-instrumentalist), Skyler Skjelset (multi-instrumentalist, vocals), Casey Wescott (multi-instrumentalist, vocals), Christian Wargo (multi-instrumentalist, vocals), and Morgan Henderson (multi-instrumentalist).

Fleet Foxes’ self-titled debut made a profound impact on the international musical landscape, earning them Uncut’s first ever Music Award Prize, and topping numerous ‘Best of’ lists, including Rolling Stone’s 100 Best Albums of the 2000’s and Pitchfork’s 50 Best Albums of 2008. Fleet Foxes is certified Gold in North America and Platinum in both the UK and Australia. The follow-up album Helplessness Blues was met with the same critical praise as its predecessor;s .

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Big Star  –  Best Of Big Star 

Best of Big Star is part of a wide-ranging, year-long initiative celebrating Stax Records’ 60th anniversary. Formed in 1971 by singer/songwriters Alex Chilton (1950-2010) and Chris Bell (1951-1978), drummer Jody Stephens (b. 1952) and bassist Andy Hummel (1951-2010), the Memphis-based group is now considered to be one of the most influential bands in modern music, having inspired some of the biggest alt-rock artists of the ’80s, ’90s and beyond. An underground core of fanatical enthusiasts kept the fire burning. The Replacements famously released “Alex Chilton,” a song that paid tribute to Big Star’s songwriting genius. R.E.M.’s Peter Buck said, “Big Star served as a Rosetta Stone for a whole generation of musicians.”

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Kevin Morby  –  City Music 

City Music is the new album by Kevin Morby. Full of listless wanderlust, it’s a collection inspired by and devoted to the metropolitan experience across America and beyond by a songwriter cast from his own mold. As he puts it: “It is a mix-tape, a fever dream, a love letter dedicated to those cities that I cannot get rid of, to those cities that are all inside of me.”

His fourth album, City Music works as a counterpart to Morby’s acclaimed 2016 release Singing Saw, an autobiographical set that reflected the solitude and landscape in which it was recorded. Saw was imagined as “an old bookshelf with a young Bob and Joni staring back at me, blank and timeless. They live here, in this left side of my brain, smoking cigarettes and playing acoustic guitars while lying on an unmade bed.”

And now follows City Music, the yang to its yin, the heads to its tails. It is a collection crafted using the other side of its creator’s brain, the jumping off point perhaps best once again encapsulated by an image. “Here, Lou Reed and Patti Smith stare out at the listener,” explains Morby. “Stretched out on a living room floor they are somewhere in mid-70s Manhattan, also smoking cigarettes.” It finds Morby exploring similar themes of solitude, but this time framed by a window of an uptown apartment that looks down upon an international urban landscape “exposed like a giant bleeding wound.”

Image of Jason Isbell And The 400 Unit - The Nashville Sound

Jason Isbell and The 400 UnitThe Nashville Sound 

The Nashville Sound was recorded at Nashville’s legendary RCA Studio A and produced by Grammy Award-winner Dave Cobb, who produced ‘Something More Than Free’ and Isbell’s celebrated 2013 breakthrough album ‘Southeastern’.

‘The Nashville Sound’ features 10 new songs that address a range of subjects that include, politics and cultural privilege (“White Man’s World”) longing nostalgia (“The Last Of My Kind”), love and mortality (“If We Were Vampires”), the toxic effect of today’s pressures (“Anxiety”), the remnants of a break up (“Chaos and Clothes”) and finding hope (“Something To Love”). Songs such as “Cumberland Gap” and “Hope The Highroad” find Jason and his bandmates going back to their rock roots full force.

Big Machine

It’s difficult for any band or artist to sound enthused after decades of making music. Automatic pilot and rock ‘n’ roll root rot can easily set in. There are some exceptions: Paul McCartney has had some late-career gems; same goes for David Bowie . You can add Cheap Trick to that list. They sound positively vibrant and genuinely excited on We’re All Alright! . 

Unlike many of their contemporaries, Cheap Trick have never broken up, stopped touring or quit making new music. They have also never stopped putting everything they have into what they do either. Coming hot on the heels of last year’s excellent Bang Zoom Crazy Hello , We’re All Alright!  follows in the footsteps of its predecessor while adding a couple of new twists to the mix.

Guitarist Rick Nielsen welds together riffs borrowed from the Kinks and the Who for the album’s first single, “Long Time Coming,” while “Nowhere” takes on a Ramones -like charge in its speed attack. Other songs follow a similar path, with no track clocking in at more than four minutes. This pace gives the album a whiplash flow that recalls some of their earliest records.

A few of the songs actually date back several years. “Radio Lover” was put on the shelf in the ’90s, and it’s rescued from oblivion here as an amphetamine-fueled hard rocker. “Lolita” slaps keyboard sequencers on top of glam-rock boogie. And “She’s Alright” features some Dylan styled phrasing from singer Robin Zander.

Cheap Trick also dip into the past by covering Roy Wood again. As they’ve done in the past with “California Man,” “Brontosaurus” and “Rock and Roll Tonight,” they take the Move’s 1968 song “Blackberry Way” and spin it in their direction..

The band pushes itself on We’re All Alright!, turning in enthusiastic and engaging performances throughout. They still sound like a bunch of guys half their age. “Who knows what forever is about?” Zander asks on “The Rest of My Life.” He doesn’t pretend to know the answer.

Cheap Trick sound like they still have something to prove, and perhaps they do. After a couple of trying and triumphant years — there was a legal hassle involving former drummer Bun E. Carlos, and they were finally inducted into the Rock and Roll Hall Of Fame in 2016 — they sound ready for their next chapter.

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Sun Kil Moon – Common As Light And Love Are Red Valleys Of Blood

“‘Common As Light And Love Are Red Valleys Of Blood’, for the most part, captures events from January to August of this year and how I processed it all while traveling. “[…] I’m blessed to have met the very talented Justin Broadrick and to have made these beautiful albums with him. “These two new albums capture more than my reactions to mass murders or the passing of beloved heroes like David Bowie or Muhammad Ali. The Sun Kil Moon and Jesu / Sun Kil Moon albums are also full of love, humour, and my gratitude for the gift of life.” – Mark Kozelek, Sun Kil Moon.

4LP – Limited Four LP Set. Limited to 2000 Copies.

Andy warhols dream trevor sensor

Trevor Sensor  –  Andy Warhol’s Dream

It’s Trevor Sensor’s voice you notice first. A deep bubbling black tar pit of a sound, it’s a voice whose unique timbre resonates far beyond the constraints of the songwriting format. It demands the listener reaches for a new vocabulary. The 23 year old’s debut album Andy Warhol’s Dream is part of a literate folk lineage that runs from Woody Guthrie and Bob Dylan through Tom Waits and onto the likes of Bon Iver, Bright Eyes and Sufjan Stevens today. It’s an unflinching honest album, transcendent in its exploration of self and sonically a collision between the classic and the forward-thinking. Sensor’s debut EP for the label, Texas Girls and Jesus Christ, was written on a borrowed acoustic guitar and took him out into the world. 2016 saw him tour Europe before hitting the road in the US for tours with Foy Vance and The Staves. Andy Warhol’s Dream was recorded to tape at Steve Albini’s Electrical Audio and produced by both Jonathan Rado of Foxygen (The Lemon Twigs, Whitney) and songwriter/producer Richard Swift (Damien Jurado, Foxygen). His backing band featured members of Whitney. On these 11 songs Sensor doesn’t so much wear his heart on his sleeve as flings it out in the darkness of the front rows that sit beyond the glare of the single blinding spotlight. This is the sound of one man’s soul laid bare, facing life head on.

Image of The Drums - Abysmal Thoughts

The Drums –  Abysmal Thoughts

With The Drums’ new Abysmal Thoughts, band founder Jonny Pierce is making the exact album he’s always held in his heart. Of course, this is The Drums, so that heart is broken—but there’s beauty and even bliss in this kind of heartbreak, as well as that special kind of glorious delirium that comes from taking everything life can throw at you and still walking away triumphant. Here Pierce is back in full control of The Drums, not just writing all the songs himself but playing every instrument and bringing his exact personal vision to life. Not coincidentally, it’s some of the most revelatory work he’s ever done. If Abysmal Thoughts doesn’t sound at all abysmal—really, Pierce has rarely been this irresistibly pop—that’s because this is a story about how to figure out what happiness means once the worst has already happened: “If there’s one thing I can rely on it’s the healing power of being an artist,” he says. “I’m falling back in love with music.”

“There’s no question that The Drums have mastered the synthpop game” – Consequence of Sound.
For fans of The Smiths, Morrissey, New Order and The Cramps.

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Echo and The Bunnymen – It’s All Live Now

Each LP is individually numbered and strictly limited. 180 Gram, black vinyl pressed at Record Industry comes in a single sleeve aqueous-gloss, old school tip-on Stoughton sleeve with brand new artwork and hard stock insert. Never before seen photos of the band. Liner notes by guitarist Will Sergeant. One of the most acclaimed British rockers from the 1980’s, this legendary band formed in Liverpool in 1978 and were forefathers of the neo-psychedelic movement. This brand new collection of their legendary live material recorded in Sweden in 1985 includes classic Rock- N-Roll covers of legendary tunes by the Doors, Rolling Stones, Velvet Underground, Television and more available on vinyl for the first time. Many of the tracks from Sweden were recorded live for Swedish National Radio at the Karen Club. Also included here is a legendary extended version of Do It Clean recorded live in concert at the Royal Albert Hall in 1983.

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Game Theory -2 Steps From The Middle Ages

Their final studio album ” remastered and expanded. Following up 1987s Lolita Nation (whose reissue appeared on numerous year-end best of lists for 2016) would be no easy task for Game Theory. But, Scott Miller and company were certainly up for the task. Re-teaming with producer Mitch Easter (R.E.M., Marshall Crenshaw, Velvet Crush), 2 Steps From The Middle Ages was released in 1988, and showed the band had no shortage of energy, experimentation, and excellent material. This reissue contains the original 13 songs supplemented with a whopping 11 bonus tracks ” demos, live performances and covers ” all previously unissued. The translucent orange, first pressing of the LP (on vinyl for the first time since its initial release), contains a download card for the entire CD/Digital program. Packaging includes rare and previously unseen photos from the bands photographer, Robert Toren, as well as essays from Easter, Ken Stringfellow (The Posies, Big Star), and Franklin Bruno (The Village Voice, Salon.com). The bands drummer, Gil Ray, who was involved in all aspects with the Game Theory reissue series including this title, sadly passed away earlier this year. This reissue is lovingly dedicated to him.

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Nikki Sudden and his Jacobites – Chelsea

Limited edition 350 copies only on Transparent Green vinyl 7” single. Both tracks feature vocals by Max ‘Lizard’ Edie ( Waterboys ) and also Mike Scott ( Waterboys) features on Chelsea Embankment. Chelsea springtime single edit has remained unreleased since 1992.

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Dream-pop titans Ride will soon release a follow-up to 1996’s Tarantula; “Weather Diaries” is out on June 16th. The third single from said record is the blipping “All I Want,” which, according to a press release, came about the day British prime minister Theresa May announced that her government would be asking companies to document their foreign employees. Leader Andy Bell takes that as a cue to compare the scenario to 1930s Germany, for obvious reasons. It’s also a situation that, for more obvious reasons, hits quite close to home. Is it too much to wish that every community be treated with respect and dignity? Ride doesn’t think so.

The latest single from Ride is “All I Want”

 

“Charm Assault” is taken from Ride’s forthcoming album, “Weather Diaries”, due to be released on the 16th June 2017 by Wichita Recordings. The album was produced by Erol Alkan and mixed by the band’s longtime collaborator, Alan Moulder.

Andy Bell says “Charm Assault” is a pretty straightforward expression of frustration and disgust at the people who currently run our country. The tour in 2015 was a good way of reminding us what we were good at in the first place and Charm Assault feels like a natural continuation from our peak. When we started writing together again we tried to imagine we’d kept on making music all this time, and this was just the latest one.”

The official video for Ride’s first new material for twenty years, conceived by Anton Newcombe & Jean de Oliveira.
Pre-order the new album, Weather Diaries on Wichita recordings