Posts Tagged ‘singer songwriter’

Bringing It All Back Home

It was 50 years ago, the 8th of May back in 1965, that the filming of the promotional film for Bob Dylan’s ‘Subterranean Homesick Blues’ took place at the side of the Savoy Hotel in London. Actors in the background were Allen Ginsberg and Bob Neuwirth. This became one of the first ‘modern’ promotional film clips, the forerunner of the music video. The original clip was actually the opening segment of D. A. Pennebaker’s film, Don’t Look Back, a documentary on Bob Dylan’s 1965 tour of England. In the film, Dylan, who came up with the idea, holds up cue cards for the camera with selected words and phrases from the lyrics. The cue cards were written by Donovan, Allen Ginsberg, Bob Neuwirth and Dylan himself. While staring at the camera, he flipped the cards as the song played.

An emotional number from the singer’s ‘Pleasure Boy’ album. The first lines of “Claremont” suggest that Hannah Cohen has reached an emotional breaking point: I’m not gonna let you take this away from me / I’ve let you break almost everything. The track contains little besides softly-strummed guitar and Hannah Cohen’s quavery-but-resilient voice. Why won’t you just love me? she wonders, her tone beginning to wear—she’s almost past the point of caring.
The video for the song, directed by Jay Anania , expertly mirrors the elegant simplicity of the tune. Cohen sits alone at a half-cracked window with her guitar, and the camera spends a lot of time zoomed in close on her face. There’s a claustrophobic feel—you’re almost too close—that enforces the intense intimacy of the song. But there’s also a feeling of unknowability: despite the scrutiny of the lens, the singer’s face is half in shadow.
Cohen met Anania by accident. “A year and a half ago, my best friend convinced me to meet up with Jay about a strange (and very cool) experimental film he was planning to shoot, I politely agreed to meet him, but fully expected not to be interested because I’ve never acted before. That wasn’t an option. Jay’s excitement and creativity is infectious and before I knew it, my hair was eight inches shorter, platinum blonde and we were shooting scenes. When it came time to shoot my own videos for this album, the first person I thought of was Jay. He’s just the kind of director that you trust implicitly will ‘get it.’ Watch the video above, and catch Hannah Cohen on tour in June with none other than Paul Weller, founder of the Jam and the Style Council.

Christopher Paul Stelling is a brilliant fingerpicker with a message: “I know my work is never done, ’til I can see the good in everyone.” That’s the heart of his new song, “Hard Work,” and the setting for this live, one-take performance couldn’t be simpler: his tiny NYC kitchen. The song comes from his stirring album, Labor Against Waste”,which is out on June 16th. Come on in my kitchen… and check out this live video for
“Hard Work” from the upcoming Labor Against Waste via the fine radio station NPR Music
Preorder the record to receive this song and
two others instantly: http://goo.gl/XUzYg4

 

Singer/songwriter Samantha Crain first happened upon Bloodshot Records while working at a small record store in Perryville, MO, called Music Town. She rescued a Bloodshot compilation disc from the CD bins and played it in the store on a regular basis. With that footing, it wasn’t long before Crain was digging deeper into the Bloodshot catalog to find artists like the Old 97s, Robbie Fulks, Ryan Adams, and Neko Case.

“As time went on,” she says, “I grew to love and respect a lot of records that came out on Bloodshot: Mutt from Cory Branan, Harlem River Blues from Justin Townes Earle, Indestructible Machine by Lydia Loveless, Mirepoix and Smoke from Ben Weaver, and Bitter Drink, Bitter Moon from Murder by Death.”

Flash forward to 2014 to find Samantha Crain heading out on tour with a Bloodshot band, Ha Ha Tonka. Though she didn’t know them at all before, she says, “It took approximately one second of their sound check and one second of meeting their smiling faces for me to fall in love with them. Through the two months of touring with these guys, my band members and I all found our favorite songs in the set, and mine was ‘Cold Forgiver.’ It’s such a weird little tune, with this odd sorta key change, and these bouncy lyrics lines. So, when the opportunity came to record a cover of a Bloodshot artist, this song immediately came to mind. I hope we did it justice.”

Scroll down to see Crain perform in Bloodshot Records’ HQ in Chicago, IL.

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With his violent shock of vertical curls, three-piece suit and excitable roguish charm, Fraser A Gorman cuts a striking figure. Similarly, the music the 23-year-old Melbourne-based singer-songwriter makes stands out amidst any scene or sound.
Fraser was born in Torquay, a suburban outpost of Geelong, the large coastal city an hour’s drive from his relocated Melbourne digs. The high-school year below his pal Stu Moore from King Gizzard and The Lizard Wizard, Geelong is the sometime home to much of Australia’s motor industry, and like its American cousin Detroit has become something of a hot-bed for talented young ne’er-do-wells without much else to keep them out of trouble. Like most aspiring Geelong creatives, Fraser eventually migrated to Victoria’s cooler capital city.
Indeed, Melbourne’s been responsible for an undeniable wealth of recent great guitar music in its many twisted, bleary-eyed forms, with Fraser representing the latest in this impressive legacy.

Fraser has the guitar, writing book and sings his little beating heart out……..
New single ‘Book of Love’

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Natalie Prass performing live in the Lightning 100 LC Studio before her sold out show with Ryan Adams at Ryman Auditorium. Natalie talked about touring with Ryan, her new record, and where she’s been living these days.

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I recorded this song at home for the compilation “One Hundred Thousand Voices,” and all of the proceeds will go to benefit the charity Active Minds. http://www.activeminds.org/about
The release date is June 19th, and the compilation will be available on all digital outlets. CDs will also be available through a bandcamp page.
The tracklist:

01. Like Ships in the Night – “If We Cut a Record”
02. The Aquadolls – “Don’t Mean Jack”
03. The Lovely Bad Things – “Hear or Anywhere”
04. JD Debris and Bodek – “Panic Attack”
05. Eddi Front – “Superhero Style”
06. Faces on Film – “The Rule”
07. Lady Lamb the Beekeeper – “Shoulders”
08. Marissa Nadler – “Carnivale”
09. Michael Mirra – “Baby Blue”
10. Death Valley Girls – “Get Home”
11. Dum Dum Girls – “Lost Boys and Girls Club”
12. La Sera – “Love That’s Gone (Katy’s Demo)”
13. Lay Low Moon – “Thru & Thru”

Emerging folk singer-songwriter Marika Hackman is off to the vast expanse of the desert in her incredibly mysterious new vid. Absolutely stunning and haunting vocals from this rising star Marika Hackman. She looks like an art student, not a former Burberry model, but three years ago, while her friend Cara Delevingne was wrapping her belted mackintosh around Eddie Redmayne, Hackman could be seen on a billboard advertising aviator sunglasses. She also appeared on the fashion label’s online Acoustic music series – a rather better showcase for her music than a poster campaign Hackman’s debut album, We Slept at Last, was issued last month. Her natural “awkwardness” translates as something else in her music. Her voice is boyish and unadorned, and her eyes-down approach looks intense rather than diffident. Her songs are full of surprising modulations that lie just on the wrong side of pretty and her guitar playing is steady as a mill-wheel. Marika Hackman mixes something ancient and modern, and typically British, in the way only Nick Mulvey has done in recent years. Her songs sound as old as peat bogs, but as smart as Radiohead. In the past two years she has toured with Laura Marling, the 1975 and alt-J, and has struck up a musical partnership with producer Charlie Andrew.

Since Sahara Beck released her first full album, Volume One, in 2011 at the tender age of 15, critics and fans have known that the Queensland-based singer/songwriter was a rising star. Turns out her star was destined to rise pretty quickly, and just last week, Beck took home the People’s Choice Award for Most Popular Female at the Queensland Music Awards. With the current release of her second EP, Bloom, she has further developed the syncopated, sunshine-y style that has been winning over audiences in Queensland and beyond.

A powerful track from Bloom, “Brother Sister,” showcases her acoustic, alt-folk style, with thumping, textural percussion and carefully layered backing vocals. The track centers around a heartfelt, almost haunting tale, proving that Beck has a sense of wisdom and insight far beyond her years, and a natural storytelling gift that she uses to craft earnest pictures of life, death, love and beyond.

There’s a beautiful simplicity to Liz Longley’s music that makes it so appealing. Her songs have no frills, no gimmicks, nothing at all that could be interpreted as excessive. Her best work features her words and voice front and center. Her self-titled debut for Sugar Hill Records expands upon her sound with the addition of a full band, but Liz always knows to bring things back to what works best.

“Bad Habit,” one of the album’s most powerful tunes, returns to the stripped-down aesthetic that defined Liz Longley’s early career. With just an acoustic guitar, Liz tells a heartbreaking tale of a person who becomes a bad habit; the sort of person who you know will hurt you, but you just can’t quit. It’s a well-known tale, but Liz’s heart-wrenching honesty makes it seem fresh again.

Liz Longley is available now on Sugar Hill Records.