Gallery 47 is the artist name of Jack Peachey, a musician from the city of Nottingham, UK. He is known for his finger style guitar work, soft tenor vocal and abstract lyricism which draws influence from the 1960s folk poet scene. He has recorded 2 independent studio albums, “Fate Is The Law” (2011) and “All Will Be Well” (2014). ‘Clean’ is the third album by this singer songwriter and follk artist, Gallery 47
Notable shows have included appearances at T in the Park Festival and The Union Chapelvenue in London . He recently joined Paul Weller for a few shows on his 2014 European Tour, also supporting acts like Ian McCulloch (Echo and the Bunnymen), Scott Matthews and Kitty, Daisy & Lewis. In addition, he has recorded live sessions for the BBC and Q Magazine and his songs have been played on BBC Radio 1, BBC 6music, XFM London, Kerrang Radio and many other regional shows.
Billie Marten She writes of yellows, certainly, and the blues arrive later; big, inky, blue-black blotches of melancholy that fall and then blossom on fading parchment paper, the only thing left to surprise the listener about Writings of Blues and Yellows is that she sat in one place long enough to learn the piano.
Now at the grand age of 17, BillieMarten already sounds world-weary. “La Lune” opens the album with a skipping-stone touch, setting out her stall as a songwriter who creates quiet, almost ambient textures, so that the minor chords twist like a knife when they arrive. “Bird” takes the template a step further, a brooding string part’s vibrato matching the quiver in her voice. As the album progresses, it becomes apparent that the strings are rarely entirely absent, but have the good grace to spend most of their time quietly complementing Marten’s guitar and voice, only rushing forward to meet them at the record’s stormiest moments.
Occasionally, the pace is allowed to gather into something approaching a jaunt, as on “Milk & Honey”, a dig at the world’s unfettered consumerism. But mostly, the songs here are stripped for their saddest parts, channeling the spirit of her contemporaries: Daughter, and, Laura Marling. The temptation to buy into a tortured prodigy narrative here will prove irresistible for some, painting a bruised, teenage heart too pure for this cruel world. Certainly, Marten is honest about her own struggles – there is no lack of candour on “Teeth” (“I’m writing this in a bad way… No one can hear what my head says”).
In truth, whether Lionhearted or lying through her teeth, the songwriting never veers into self-pity, and the whole record feels absurdly confident. For Billie Marten, the blues are as much a gift to the world as the yellows.
Release: 23rd September 2016, Chess Club Records / RCA
Canadian singer songwriter Andy Shauf has had quite the year, his second album “The Party2 was released to massed critical acclaim, and a Polaris Prize nomination, and he’s spent most of the rest of it touring the world with a series of packed solo shows, and prestigious support slots. This week Andy Schauf has shared the video to TheParty’s stand out moment, the lyrically sublime, “Quite Like You”.
Like much of the album The Party, “Quite Like You2 is an acutely observed tale of the mundane dramas of suburban living. Andy narrates a tale of failed, drunken flirtation with his best friends oft-mistreated girlfriend. Musically it’s something of a departure for Schauf , building around an almost bossa-nova beat, and a prominent pulsing bass-line. A timely reminder of one of the year’s most intriguing albums, and the animated video is fantastic too.
The Party is out now via Anti-. Andy Shauf tours the UK in February,
Earlier this year, Melbourne’s Alex Lahey released her debut EP, “B-Grade University”, which is the kind of startlingly impressive debut that you just know is going to catch on . It’s five songs and with such super-specific lyrics which Alex normally delivers in a melodic deadpan that each one is instantly distinguishable from the rest.
Each song has a line or a hook that that gets stuck in your head right away, for one reason or another. “I went to B-Grade University and got myself an arts degree,” she sings on the chorus to opener “Ivy League.” “Let’s goout and have fun tonight / let’s go out and get drunk tonight,” goes the next song “Let’s Go Out.” It may sound simple on paper, but it sounds like a rallying cry when Alex Lahey sings it.
The best line might be the intro to “You Don’t Think You Like People Like Me.” “All I want is to have cleanskin wine, and watch Mulholland Drive with you.” Non-Australians may need to look up what cleanskin wine is, but otherwise, the same people who look forward to a night in with cheap alcohol and a hip counter-culture film are the people who are gonna dig Alex Lahey’s music. (On that note, there’s also a song on this EP called “WesAnderson.”) Instrumentally, the EP pulls from the last two decades of indie rock. It’s punky, but mannered.
Being a wordy, deadpan indie rocker from Melbourne, Alex has of course gotten some Courtney Barnett comparisons (and while she admires Courtney’s music, she’s tired of them). I’d say she does sound a bit like Courtney sometimes, particularly on “Wes Anderson” and closing track “L-L-L-Leave Me Alone,” and this EP has me feeling about as excited as Courtney’s debut EP did. Get hip to Alex now .
The debut solo album by Typhoon frontman Kyle Morton available everywhere now and on vinyl via Bug Hunt. Typhoon is an band from Portland, OR. They’ve released three albums and will be releasing their fourth in 2017.
Kyle will embark on his first solo US tour in January 2017 in support of What Will Destroy You. Sets will feature music from the album, as well as Typhoon fan favorites and songs from the band’s forthcoming full length album, which is set for release in 2017. The solo tour sees Kyle trading in the expansive venues that generally house Typhoon’s concerts, like New York’s Webster Hall and DC’s 9:30 Club, for the intimate environs of Rough Trade NYC and DC’s Sixth & I Synagogue, creating a special evening for those in attendance.
Of the album, Kyle says, “Most of these songs were written in about a day, many of them while walking aimlessly around Portland, others wrote themselves in the moments just before sleep. They were recorded and mixed with the invaluable help of Paul Laxer from the inviolate comfort of his living room, mostly in the evenings during the winter and early spring of 2015. At the outset there was no deliberate attempt at an overarching concept, though once finished and lined up together the theme of my subconscious was revealed to me: this was a record about love, more specifically (not devolving into platitudes just yet), the ambivalence of erotic love.”
“With a couple exceptions these songs are about kinds of love, from old fashioned heartache to acute sadomasochism; some drawn from personal experience and others extrapolated from years of keen observation on the subject.”
It’s only just over a year since C Duncan released his swooning, Mercury-nominated debut ‘Architect’. The Glaswegian folk artist’s second album sounds more experimental: on lead single ‘Wanted To Want It Too’ he’s delving into synth territory. The Glaswegian sound architect may be inspired by ’60s sci-fi TV classic “The Twilight Zone”, but the sleeve art depicts the stairway from the flat in which he both lives and records. These however both seem peculiarly apt, as ‘The Midnight Sun’ has an uncanny knack for summoning the otherworldly in the everyday. Whilst his choral vocal passages and electronic soundscapes may summon a pastoral kind of chill, his melodic nous and songwriting skill memorably anchor the moody atmospherics, offering an eerie and affecting work likely to offer succour to fans of James Blake and The Blue Nile both.
Writing of Blue and Yellows, the critical reception must allay that somewhat. Unanimous praise and love have come her way. Many highlighted the tender, breath-taking vocals and mature songwriting; the incredible beauty and emotions that come through in the music. Despite being her debut album: there is no doubt Billie Marten will be a huge star of the future. Lionhearted is one of the standouts from the album and looks at the heroine getting away from things and wanting a steelier heart. Whether affected by the strains of life or going through tough times: everything is made to sound entrancing and utterly beguiling because of Marten’s affecting and gorgeous voice and finger-picked composition.
Lionhearted is available to download, Pre-order ‘Writing of Blues and Yellows’ now and get 5 tracks prior to its release in .
The latest excellent songwriter to come out of Texas, Jess Williamson is set to release her debut album, “HeartSong”, at the start of November. This week, fresh from touring Europe with Kevin Morby, Jess has shared the latest cut from it, the sublime single, “See You In A Dream”.
See You In A Dream is a attempt to write something simultaneously sad, without slipping into the cliched realm of minor chords. The track is built around the gentle tick of drums, Jess’ pained Caitilin Rose meets early Angel Olsen vocal, and the sort of beautifully twangy guitar line Roy Orbison would be proud of; and if you don’t think that sounds fabulous you’re probably reading the wrong site. Lyrically it’s a classic country ballad, a tale of someone long gone from your life who still weaves their way into your dreams. This single serves as timely reminder of just how good Jess’ upcoming album could be.
If you’re struggling to get motivated this morning, then Philadelphia-born, Los Angeles-based musician JoshuaOstrander aka Mondo Cozmo has the perfect song for you. Starting out as a soulful acoustic reverie before transforming into full arrangement complete with a mass choir, his latest single “Shine” is an uplifting, lighter-in-the-air instant rock classic that’s sure to leave you feeling like you can achieve anything in life today.
Neil Young’s musical activist statements are famed , he’s unveiled another in protest of the Dakota Access Pipeline.
The song is called “Indian Givers,” after the (terrible) expression used to describe people who take back the gifts they’ve given. Young implies that oil interests are infringing on the sovereignty promised to Native American nations, and he holds us all responsible: “Our brothers and sisters have to take a stand / Against us now for what we all been doing.”
Throughout the song, Young repeats, “I wish somebody would share the news,” and he tries to do just that. He fills the accompanying video with footage and photos from protests, interspersed with shots of him in a car surveying a (presumably North Dakotan) landscape. Young references the August. 31st protest by Dale “Happy” AmericanHorse Jr., the Sicangu Lakota man who chained himself to a backhoe to prevent pipeline construction.
On Friday, Young released a version of the song on his Facebook page that used the word “squaw,” but re-recorded that portion when a fan alerted him that its usage was problematic.
“Thanks for bringing the word squaw to my attention,” Young replied, per the Indian Country Today Media Network. “I will change it as soon as I can get back into the studio. I mean no offense.”
The Fat Angel Sings 