Allman Brown serenades with “Hollows.” The track is our latest taste of the London singer-songwriter’s upcoming “Your Love EP”. “Hollows,” produced by Sebastian Fox (Mt. Wolf), is less folk than his 2013 Spotify smash “Sons And Daughters.” This time around Brown opts for a smooth, subdued soul-pop sound, channeling the likes of Bon Iver and Elliot Moss. Listen below and grab the Your Love EP on June 15th via Akira Records.
Waxahatchee performs “Under A Rock” for a World Cafe Session with host, David Dye. Recorded at WXPN/World Cafe Studios on 30/5/15
Waxahatchee performing live in the KEXP studio. Recorded May 3, 2015. Katie Crutchfield performs four songs from her new album “IVY TRIPP” live on KEXP Radio, Can’t get enough Waxahatchee? Same here. That’s why we’ve rounded up some of the best video sessions from the past few months of the Ivy Trip tour
Songs:
Under A Rock
(Less Than)
The Dirt
La Loose
The Tallest Man On Earth performs “Like The Wheel” live at Lightning 100. The Tallest Man On Earth, aka Swedish singer-songwriter Kristian Matsson, is quickly following his The Wild Hunt full-length with the wordier five-song Sometimes The Blues Is Just A Passing Bird. The guy gets compared to Dylan a lot, but the EP’s pretty, quiet third song “Like The Wheel” has something in its vocal line that reminds me of Magnetic Fields’ “Papa Was A Rodeo.” It’s a small, subtle thing — the drag of word or two at the end of certain lines — but it’s there and I can’t stop hearing it. Which is not a bad thing.
Birthdays, Dear and Romantic Works back on vinyl due to popular demand.
Pianist, vocalist and heartbreaker Keaton Henson has announced that all three of his acclaimed and hugely popular full length LPs are to be repressed on vinyl. Henson’s 2011 debut Dear, reissued on vinyl by The Vinyl Factory earlier this year with a hand-signed print, will be repressed featuring three bonus songs not available on the original album.
Cementing his reputation at the vanguard of a new generation of songwriters in the Jeff Buckley and Elliott Smith vein, Henson’s 2013 follow up Birthdays is also slated for repress, featuring three bonus tracks ‘Milk Teeth’, ‘If I Don’t Have To’ and ‘On the News’, which you can listen to below.
The series is completed by Henson’s stripped down instrumental suite Romantic Works, also released by The Vinyl Factory with a signed print in 2014. The repress will include the original bonus track ‘La Naissance’ and a remix by producer and composer Ulrich Schnauss.
All three represses are available now and are pressed on 180gram vinyl featuring artwork by Henson himself.
Order Dear now.
Order Birthdays now.
Order Romantic Works now.
Watch our the one-shot video for ‘Party Song’ (taken from Dear)
Watch Keaton Henson’s stunning performance of ‘Party Song’ from his debut album Dear.
Ever since its official release in 2012 which saw all 1000 copies fly off the shelf, Keaton fans have continuously demanded a vinyl re-release of his cult heartbreak album Dear. The day has finally arrived – and could the timing be any better with Valentine’s Day just around the corner?
To mark the release, we invited Keaton to our Brewer Street Car Park Space for a secret gig. Featuring Harry Cameron-Penny on bass clarinet and recorded using Shure KSM141 microphones, watch his mesmerising and achingly beautiful performance of ‘Party Song’ in the film above.
Released by The Vinyl Factory, the Dear reissue features all the tracks from the original album plus three ‘re-produced’ bonus tracks. The edition comes housed in a bespoke matt sleeve with spot UV debossed artwork and an exclusive fine art print by Keaton himself, individually hand numbered and signed.
The new album from Christopher Owens ‘Chrissybaby Forever’ is available on limited edition 12″ gatefold vinyl, including lyric inserts, Christopher Owens released the song “Selfish Feelings” along with unexpected news about a new solo album, For those who’ve been following Owens’ career, it represents a scrappy return to form. Recorded in San Francisco with engineer J.J. Wiesler, Chrissybaby Forever is arguably the most Girls-ish thing Owens has released since that band evaporated in 2012. It’s also the kind of record that most fans seem to want from Owens: jangly guitars, heart-on-your-sleeve pop missives about being in love and fucking up and just trying your best. The Album opener “Another Loser Fuckup” could be a slightly grown-up spiritual cousin to Girls’ “Lust For Life.”) Even though it’s been less than a year since the release of his last album, A New Testament, Owens credits an overabundance of free time and a health-driven need to keep busy as reasons for the new record’s quick birth. But there were more pragmatic factors at play, too. Having toured his previous two albums supported by a large backing band, Christopher Owens gets from the new record an opportunity to present himself in a way similar to his earliest days as a musician, both aesthetically and thematically. “I think this is just my fundamental view on life,” says Owens of the new record’s subject matter. “It’s a struggle to get though the days, but you find ways. There are friends, and there’s happiness, and there’s small rewards here and there … and that’s what you have to cling to.”
Christopher Paul Stelling has a new album to be released and a gig at the Guitar bar in Nottingham the album titled “Labor Against Waste” is coming in just 3 weeks on 16th June on Anti Records world wide. With a huge tour to follow this perpetual tour. This is just the start. 69 shows, 10 countries. Illustration by Salome Iljana.
Christopher Paul Stelling is not just an incredible guitarist—one who is capable of filling a room with only his dexterous finger-picking, voice, and stomp of his foot—but he’s also an excellent songwriter. Watch in the above video as Stelling performs the haunting lullaby “Dear Beast,” off his new album, Labor Against Waste,
Channelling folksters and bluesmen of the past while staying firmly planted in the present, Stelling draws from many styles to craft rich melodies on his old nylon string guitar, which he calls “Brownie.”
Stelling and a friend snuck into an abandoned warehouse in Brooklyn to shoot “Dear Beast” and the dilapidated, cavernous space fits the song’s theme of finding beauty in the ugly aspects of ourselves.
“‘Dear Beast’ is a song about a lost faith renewed through a reversal of perspective; through embracing that which is lost as a new kind faith,” writes Stelling in an email. “It’s about excepting our flaws completely, and moving on from there with them in our full embrace. It’s about taking responsibility and caring for the beast that lives in all of us and for the metaphysical beasts that we’ve created because of our inherent need to feel watched over and protected.
23/6 – Nottingham, UK – Guitar Bar
24/6 – Cardiff, UK – The Moon Club
25/6 – London, UK – The Garage
Listening to Anna B Savage’s music is like being told a secret. To date very little information has been released about the London singer-songwriter, which adds to the mystique wrought by her husky, confessional voice. Every aspect of Savage’s aesthetic is spare, from the title of her first single, “1,” to the title of her debut EP, EP, to her lyrics, which offer piercingly honest insight into the scourge of insecurities faced by a pair of lovers revealing themselves to each other for the first time.
Relationship anxiety is not new musical territory, but Savage’s treatment of the subject is rare. This is not coy, or conflicted, or even particularly excited anticipation. It’s the voice of a person deeply afraid of being seen as she is. Savage is strong enough to be fragile, opening her neurosis up like a vein. She lets her voice slip into a whisper at several points on EP, but never so much that her message is lost. “1” chronicles the low self-esteem that gets piped into young women with the ubiquity of the air they breathe, and Savage delivers it with an earnestness that could level buildings.
The songs of EP aren’t cheerful, but they’re vital listening.
Soak’s debut album ‘Before We Forgot How To Dream’ is out on Rough Trade Records on 1st/2nd June 2015, “Immigrant Song” is one of Led Zeppelin’s many classics, known and loved for its iconic guitar and bass lines, as well as Robert Plant’s sky-reaching shrieks. But in the hands of 18-year-old Irish songwriter,Soak , the song has become a threatening drone. Building on pulsating synths and elongated guitar notes, refrains from the frenzied heights of the original to create a creepy rendition highlighting the really rather brutal lyrics. Some director somewhere is going to pick this up for the trailer of their next dark fantasy epic. This cover was recorded for Fearne Cotton’s last show on BBC Radio One.
As of late, it’s taken a monumental occasion for Tom Waits to come out of hiding; his last live performance took place nearly two years ago, at Neil Young’s Bridge School Benefit. Last night, the legendary singer-songwriter returned to the stage, this time to pay tribute to Dave Letterman. As a parting gift, Tom Waits debuted a brand new song entitled “Take One Last Look”, an acoustic ballad that appeared to be written with Letterman in mind.
Prior to the performance, Waits sat down for a brief chat with Letterman and George Clooney (earlier in the episode, the two were handcuffed to one another). Waits cracked several one liners about Letterman’s impending retirement, New York City salad bars, and antiperspirant.
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