Posts Tagged ‘The Wave Pictures’

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The Wave Pictures are a band who are sometimes a victim of their own productivity. Even when trying to keep up with their album releases, the odd one is bound to slip through the gaps. If we’re honest, in our case that was true of the excellent Look Inside Your Heart, released last year on Moshi Moshi Records. Listening back to it recently, what fools we were, what silly foolish fools to not have taken this record to our hearts and embraced it with the tender loving it so richly deserves.

This week, ahead of a series of UK dates later this month, the band have shared a new video to the album’s understated highlight, the track “Shelly”. The track is a gentle shuffle of a track, frontman David Tattersall describes as, “a love song in the laid back style of late 70s Grateful Dead only with even better lyrics” – and we wouldn’t argue with that. It’s a track that is musically a lot more complex than a cursory listen would suggest; the complex fluttering drums, the propulsive hum of soothing bass, they even, quite rarely for The Wave Pictures, throw in some delightfully lush harmonies. The addition of backing-vocals from Holly Holden, adding an almost French-pop feel to the blissed-out outro. Don’t make the same mistake we did, don’t ever let a record by The Wave Pictures pass you by, they’re far too special for that.

Band Members
Dave Tattersall
Franic Rozycki,
Jonny Helm

Shelly is taken from The Wave Pictures’ new album ‘Look Inside Your Heart’ – the second album they released in 2018 on Moshi Moshi Records:

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This week we have a superb collection of early material from The Fleet Foxes, including their seminal debut album, a couple EP’s and some well-worth-it B-Sides and outtakes. It’s a hefty swathe of music, and all in a lovely clamshell box affair inc liner notes and booklet.

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J Mascis – Elastic Days

Everyone’s favourite tiny dinosaur is back too, with Mr. Mascis‘ first solo release since 2014’s ‘Tied To A Star’ encompassing aspects of Dinosaur Jr’s rockier moments but imbued with tender folkish acousticry, swooning Americana and soaring rock solos, delivered with the unmistakable gravelly vox we’ve come to know and love from Mr. M. 

Since then, through the reformation of the original Dinosaur Jr lineup in 2005, J has recorded solo albums now and then. And those album, Sings and Chant for AMMA (2005), Several Shades of Why (2011) and Tied to a Star (2014) had all delivered incredible sets of songs presented with a minimum of bombast and a surfeit of cool. Like its predecessors, Elastic Days was recorded at J’s own Bisquiteen studio. Mascis does almost all his own stunts, although Ken Miauri (who also appeared on Tied to a Star) plays keyboards and there are a few guest vocal spots. These include old mates Pall Jenkins (Black Heart Procession), and Mark Mulcahy (Miracle Legion, etc.), as well as the newly added voice of Zoë Randell (Luluc) among others. But the show is mostly J’s and J’s alone. For those expecting the hallucinatory overload of Dinosaur Jr’s live attack, the gentleness of the approach here will draw easy comparisons to Neil Young’s binary approach to working solo versus working with Crazy Horse. This is a lazy man’s shorthand, but it still rings true. Elastic Days brims with great moments. Epic hooks that snare you in surprisingly subtle ways, guitar textures that slide against each other like old lovers, and structures that range from a neo-power-ballad (Web So Dense) to jazzily-canted West Coasty post-psych (Give It Off) to a track that subliminally recalls the keyboard approach of Scott Thurston-era Stooges (Drop Me). The album plays out with a combination of holism and variety that is certain to set many brains ablaze.

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In November 1968, millions of double LPs were shipped to record stores worldwide ahead of that tumultuous year’s most anticipated music event: the November 22nd release of The BEATLES (soon to be better known as ‘The White Album’). With their ninth studio album, The Beatles took the world on a whole new trip, side one blasting off with the exhilarating rush of a screaming jet escorting Paul McCartney’s punchy, exuberant vocals on “Back In The U.S.S.R.” “Dear Prudence” came next, John Lennon warmly beckoning his friend and all of us to “look around.” George Harrison imparted timeless wisdom in “While My Guitar Gently Weeps,” singing, “With every mistake we must surely be learning.” Ringo Starr’s “Don’t Pass Me By” marked his first solo songwriting credit on a Beatles album. For 50 years, ‘The White Album’ has invited its listeners to venture forth and explore the breadth and ambition of its music, delighting and inspiring each new generation in turn.

For it’s 50th anniversary, The Beatles release a suite of lavishly presented ‘White Album’ packages. The album’s 30 tracks are newly mixed by producer Giles Martin and mix engineer Sam Okell in stereo and 5.1 surround audio, joined by 27 early acoustic demos and 50 session takes, most of which are previously unreleased in any form.

“We had left Sgt. Pepper’s band to play in his sunny Elysian Fields and were now striding out in new directions without a map,” says Paul McCartney in his written introduction for the new ‘White Album’ releases.

This is the first time The BEATLES (‘White Album’) has been remixed and presented with additional demos and session recordings. The album’s sweeping new edition follows 2017’s universally acclaimed Sgt. Pepper’s Lonely Hearts Club Band Anniversary Edition releases. To create the new stereo and 5.1 surround audio mixes for ‘The White Album,’ Martin and Okell worked with an expert team of engineers and audio restoration specialists at Abbey Road Studios in London. All the new ‘White Album’ releases include Martin’s new stereo album mix, sourced directly from the original four-track and eight-track session tapes. Martin’s new mix is guided by the album’s original stereo mix produced by his father, George Martin.

“In remixing ‘The White Album,’ we’ve tried to bring you as close as possible to The Beatles in the studio,” explains Giles Martin in his written introduction for the new edition. “We’ve peeled back the layers of the ‘Glass Onion’ with the hope of immersing old and new listeners into one of the most diverse and inspiring albums ever made.”

The minimalist artwork for ‘The White Album’ was created by artist Richard Hamilton, one of Britain’s leading figures in the creation and rise of pop art. The top-loading gatefold sleeve’s stark white exterior had ‘The BEATLES’ embossed on the front and printed on the spine with the album’s catalogue number. Early copies of ‘The White Album’ were also individually numbered on the front, which has also been done for the new edition’s Super Deluxe package. The set’s six CDs and Blu-ray disc are housed in a slipsleeved 164-page hardbound book, with pull-out reproductions of the original album’s four glossy color portrait photographs of John, Paul, George, and Ringo, as well as the album’s large fold-out poster with a photo collage on one side and lyrics on the other. The beautiful book is illustrated with rare photographs, reproductions of handwritten and notated lyrics, previously unpublished photos of recording sheets and tape boxes, and reproduced original ‘White Album’ print ads. The book’s comprehensive written pieces include new introductions by Paul McCartney and Giles Martin, and in-depth chapters covering track-by-track details and session notes reflecting The Beatles’ year between the release of ‘Sgt. Pepper’ and recording sessions for ‘The White Album,’ the band’s July 28 1968 “Mad Day Out” photo shoot in locations around London, the album artwork, the lead-up and execution of the album’s blockbuster release, and its far-ranging influence, written by Beatles historian, author and radio producer Kevin Howlett; journalist and author John Harris; and Tate Britain’s Senior Curator of Modern and Contemporary Art Andrew Wilson.

The Deluxe 3CD is presented in an embossed digipak with the fold-out poster and portrait photos, plus a 24-page booklet abridged from the Super Deluxe book. Presented in a lift-top box with a four-page booklet, the limited edition Deluxe 4LP vinyl set presents the 2LP album in a faithful, embossed reproduction of its original gatefold sleeve with the fold-out poster and portrait photos, paired with the 2LP Esher Demos in an embossed gatefold sleeve.

Much of the initial songwriting for ‘The White Album’ was done in Rishikesh, India between February and April 1968, when John Lennon, Paul McCartney, George Harrison, and Ringo Starr joined a course at the Maharishi’s Academy of Transcendental Meditation. In a postcard to Ringo, who had returned to England before the others, John wrote, “we’ve got about two L.P.s worth of songs now so get your drums out.”

During the last week of May, The Beatles gathered at George’s house in Esher, Surrey, where they recorded acoustic demos for 27 songs. Known as the Esher Demos, all 27 recordings are included in the new edition’s Deluxe and Super Deluxe packages, sourced from the original four-track tapes. Twenty-one of the demoed songs were recorded during the subsequent studio sessions, and 19 were ultimately finished and included on ‘The White Album.’

The Beatles’ studio sessions for The BEATLES (‘White Album’) began on May 30, 1968 at Abbey Road Studios. In the 20 weeks that followed, The Beatles devoted most of their time to sessions there for the new album, with some recording also done at Trident Studios. The final session for the album took place at Abbey Road on October 16, a 24-hour marathon with producer George Martin to sequence the double album’s four sides and to complete edits and cross-fades between its songs. The Beatles’ approach to recording for ‘The White Album’ was quite different from what they had done for ‘Sgt. Pepper.’ Rather than layering individually overdubbed parts on a multi-track tape, many of the ‘White Album’ session takes were recorded to four-track and eight-track tape as group performances with a live lead vocal. The Beatles often recorded take after take for a song, as evidenced by the Super Deluxe set’s Take 102 for “Not Guilty,” a song that was not included on the album. This live-take recording style resulted in a less intricately structured, more unbridled album that would shift the course of rock music and cut a path for punk and indie rock.

The Beatles’ newly adopted method of recording all through the night was time consuming and exhausting for their producer, George Martin. Martin had other duties, including his management of AIR (Associated Independent Recording), and he had also composed the orchestral score for The Beatles’ animated feature film, Yellow Submarine, released in July 1968. After the first three months of ‘White Album’ sessions, Martin took a three-week holiday from the studio, entrusting the control room to his young assistant Chris Thomas and balance engineer Ken Scott. Scott had taken the place of engineer Geoff Emerick, who left the sessions in mid-July. On August 22, Ringo Starr also left the sessions, returning 11 days later to find his drum kit adorned with flowers from his bandmates. While the sessions’ four and a half months of long hours and many takes did spark occasional friction in the studio, the session recordings reveal the closeness, camaraderie, and collaborative strengths within the band, as well as with George Martin.

The BEATLES (‘White Album’) was the first Beatles album to be released on the group’s own Apple Records label. Issued in both stereo and mono for the U.K. and in stereo for the U.S., the double album was an immediate bestseller, entering the British chart at number one and remaining there for eight of the 22 weeks it was listed. ‘The White Album’ also debuted at number one on the U.S. chart, holding the top spot for nine weeks of its initial 65-week chart run. In his glowing ‘White Album’ review for Rolling Stone, the magazine’s co-founder Jann Wenner declared: “It is the best album they have ever released, and only The Beatles are capable of making a better one.” In the U.S., ‘The White Album’ is 19-times platinum-certified by the RIAA and in 2000, it was inducted into the Recording Academy’s GRAMMY® Hall of Fame, recognizing “recordings of lasting qualitative or historical significance.”

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Boygenius  –

Julien Baker, Phoebe Bridgers, and Lucy Dacus formed boygenius after booking a tour together, but the trio had subconsciously been in the works for longer than that. Through a series of tours and performances together, and chance encounters that led to friendships – including Bridgers’ and Dacus’ first in-person meeting backstage at a Philadelphia festival, greenroom hangouts that felt instantly comfortable and compatible, a couple of long email chains and even a secret handshake between Baker and Dacus – the lyrically and musically arresting singer-songwriters and kindred spirits got to know each other on their own terms.

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Fleet Foxes  –  First Collection

First Collection 2006-2009 is a special limited edition collection to mark the 10th year anniversary of Fleet Foxes’ debut album.
The collection comprises content spanning the early days of the group’s career, including the eponymous debut album, as well as the Sun Giant EP, The Fleet Foxes EP, and a compilation of B-sides & Rarities.

Available on limited edition 4-disc vinyl, as well as CD, the release also includes an extensive booklet featuring show flyers, lyrics, and artwork from the period.

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Laura Jane Grace & the Devouring Mothers – Bought to Rot

14 tracks spanning Laura Jane Grace’s fractured relationship with her adopted hometown of Chicago, true friendship, complicated romance, and reconciling everything in the end, Bought to Rot stands as the most musically diverse collection of songs Grace has written to date.
Inspired in large part by Tom Petty’s Full Moon Fever, the first album Grace ever owned, Bought to Rot finds her at the same age Petty was when he created his solo debut masterpiece. In light of his recent passing, Grace was motivated to pay homage to one of her lifelong heroes.

Laura Jane Grace & the Devouring Mothers are Laura Jane Grace, Atom Willard, and Marc Jacob Hudson. Grace is a musician, author, and activist best known as the founder, lead singer, songwriter, and guitarist of the punk rock band Against Me!. Willard, also of Against Me!, is a drummer who has played in iconic punk bands such as Rocket from the Crypt, Social Distortion, and The Offspring. Devouring Mothers bassist Hudson is a recordist and mixer at Rancho Recordo, a recording studio and creative space in the woods of Michigan, and the sound engineer for Against Me

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The Beths  –  Future Me Hates Me

The Beths from New Zealand occupy a warm, energetic sonic space between joyful hooks, sun-soaked harmonies, and acerbic lyrics. Their debut album Future Me Hates Me on Carpark Records, delivers an astonishment of roadtrip-ready pleasures, each song hitting your ears with an exhilarating endorphin rush like the first time you heard The Breeders / Jale / Veruca Salt..

Front and center on these ten infectious tracks is lead singer and primary songwriter Elizabeth Stokes. Stokes has previously worked in other genres within Auckland’s rich and varied music scene, recently playing in a folk outfit, but it was in exploring the angst-ridden sounds of her youth that she found her place. From the irresistible title track to future singles Happy Unhappy and You Wouldn’t Like Me, Stokes commands a vocal range that spans from the brash confidence of Joan Jett to the disarming vulnerability of Jenny Lewis.

Beths guitarist and studio guru Jonathan Pearce (whose other acts as producer include recent Captured Tracks signing, Wax Chattels brings it all home with an approach that’s equal parts seasoned perfectionist and D.I.Y. Channeling their stew of personal-canon heroes while drawing inspiration from contemporaries like Alvvays and Courtney Barnett, The Beths serve up deeply emotional lyrics packaged within heavenly sounds that delight in probing the limits of the pop form. “That’s another New Zealand thing,” Stokes concludes with a laugh. “We’re putting our hearts on our sleeves—and then apologizing for it.” The result is nothing less than one of the standout records of 2018.

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The Wave Pictures -Look Inside Your Heart

The Wave Pictures return with the promised second album of the year, Look Inside Your Heart – a warm, joyous record celebrating friendship, happiness and drunken party times. Like the first album they released this year, the more contemplative Brushes With Happiness, this one was recorded late at night whilst inebriated back at the tiny Booze Cube Studio in Stoke Newington, live to reel-to-reel tape with no computers of any kind. The album is peppered with giggles and chatter, which adds a sense of spontaneity and place.

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Sun Kil Moon – This Is My Dinner

Prolific singer / songwriter Mark Kozelek presents yet another Sun Kil Moon album, focusing less on actual singing and more on storytelling and observation. The 10-track effort follows the chronological journey of Sun Kil Moon’s November 2017 European tour. After the trek, the band set up shop at TAPF Studio in Copenhagen, Denmark before finishing the record at San Francisco, California’s Hyde Street Studios. In addition to eight original numbers, This Is My Dinner includes a cover of AC/DC’s Rock ‘N Roll Singer (featuring Jordan Cook of Reignwolf) and the iconic theme song to The Partridge Family, Come On Get Happy.

Mary Lattimore and Meg Baird  –  Ghost Forests

Musical conversations between Meg Baird (Espers) and Mary Lattimore are intimate, fluid, effortless and spontaneous. They’re filled with the euphoria of creation and, at times, they articulate hard truths and tangled emotions with an ease only trusted friends can manage. The songs alternate between extended ethereal instrumental excursions, gauzy and dreamy pop, blown-out Bull of the Woods heavy haze, and modern re-imaginations of epic traditional balladry all while touching on the strange and otherworldly places between these stations.

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Jimi Hendrix Experience – Electric Ladyland 50th Anniversary Edition

In celebration of the 50th anniversary of the Jimi Hendrix Experience’s 1968 album Electric Ladyland. Electric Ladyland was remastered by Bernie Grundman, who did an analog direct to disc vinyl transfer of the original LP, as well as a new 5.1 surround sound mix of the original album by Hendrix’s original engineer Eddie Kramer. The box set includes Electric Ladyland: The Early Takes with demos, studio outtakes, and more. It also includes the 1997 documentary At Last… The Beginning: The Making of Electric Ladyland on Blu-ray and the unreleased live recording Jimi Hendrix Experience: Live at the Hollywood Bowl 9/14/68. The 50th anniversary reissue arrives with a 48-page book featuring Jimi’s handwritten lyrics, poem, and instructions to his record label Reprise, previously unpublished photos from studio sessions by Kramer, and more. The Deluxe Edition comes with new cover art that features a photo of the band at New York City’s Alice in Wonderland statue by Linda McCartneyHendrix’s personal choice for the album art. Electric Ladyland was Hendrix’s last studio album. It included the iconic tracks Voodoo Child, their cover of Bob Dylan’s All Along the Watchtower, Crosstown Traffic, and others. It was the only Hendrix LP to reach No. 1 on the Billboard chart.

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Dave Kusworth  –  World of Dave Kusworth Vol 1 and 2

Career spanning anthology from 1983-2018, includes newly remastered classic tracks from The Jacobites, The Bounty Hunters, The Tenderhooks and The Dave Kusworth Group as well as solo material including a track from the as yet, unreleased new album 22b.The very first time a ‘Best Of ‘has been committed to vinyl. Compiled by Dave himself and designed by long standing designer Dave Twist.

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Alela Diane – The Pirate’s Gospel (Deluxe Edition)

An Album Of The Year when it was first released and it is still an Essential listen. Now with a swanky remastered edition of Alela Diane’s first mythical album including 10 bonus tracks. 2006’s The Pirate’s Gospel was the debut release from singer and songwriter Alela Diane. Hailing from the deep woods and winding rivers of Northern California Gold Rush town Nevada City, Alela grew up singing songs with her parents (both musicians). During a stay in San Francisco in 2003, she began teaching herself guitar and writing her first songs, blending tense, trance-like arpeggios, with warm, thick vocals and meditative lyrics about family and nature. Written in response to a loss of home and familiarity, The Pirate’s Gospel is a powerful document of personal re-evaluation and renewal set against the backdrop of generations past and future, mothers and fathers, life, death, and birth.

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Jethro Tull – This Was – The 50th Anniversary Edition

After several name changes, Jethro Tull played its first show as Jethro Tull in February 1968. Months later, Ian Anderson, Mick Abrahams, Glenn Cornick and Clive Bunker released the band’s debut – This Was. The album debuted at number 10 on the U.K. album chart, but more important, it was the first step in a 50-year (and counting) journey that made Jethro Tull one of the world’s most successful progressive rock bands. To celebrate the album’s 50th anniversary, a special deluxe edition

Recorded during the summer of 1968, This Was is the only Jethro Tull album to feature guitarist Mick Abrahams, who left the group shortly after the album came out to form Blodwyn Pig. The title of the album refers to the band moving away from its early blues-based sound, which was referenced in the original liner notes: “This was how we were playing then – but things change – don’t they?” The album includes songs that have been in and out of Jethro Tull’s live show for 50 years, like My Sunday Feeling and Beggar’s Farm. Also featured are several bonus tracks: Love Story, A Christmas Song. Sunshine Day and Aeroplane. In 1968, BBC Radio featured the band twice on its award-winning program, “BBC Top Gear Session.” Both of those performances – nine songs in total – are featured on the second disc, including live versions of Serenade To A Cuckoo, Love Story and My Sunday Feeling. Rounding out the disc are b-sides, outtakes, radio advertisements, and an unreleased mono mix of Someday The Sun Won’t Shine For You(Faster Version). The final CD features the album’s original U.K. stereo mix and its original mono mix.

The DVD features the original album and bonus tracks remixed by Steven Wilson in 4.1 DTS and AC3 Dolby Digital surround and 96/24 LPCM stereo. There are also 5.1 surround versions of Love Story and A Christmas Song. Also included in 96/24 LPCM stereo is the 1969 stereo mix that was released in the U.S.

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New releases for this week Kamasi Washington 4LP set, we’ve not managed to give it a full listen yet but what we’ve heard so far sounds really good. There is a brand new Nine Inch Nails album is also out tomorrow, we’ve heard just one track but can’t wait to get stuck into it tomorrow. If you missed out on the limited green vinyl for the Sleep album, now’s the chance to get the black vinyl LP version, it’s now in stock.

Also out are new albums from Panic At The Disco, Princess Nokia, Gang Gang Dance, Soulwax, and our favourites The Wave Pictures, an EP from Stella Donnelly . The best of the weeks releases are some really good reissues out tomorrow too from The Cure, Garbage, King Crimson, The Pogues. 

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Stella Donnelly –  Thrush Metal EP

The Thrush Metal EP originally came out last year, self-released by the artist on tape and digitally. Stella Donnelly quickly became one of Australia’s buzziest young singer-songwriters and now Secretly Canadian release the EP on Vinyl. Boys Will Be Boys is the standout track. Atop delicate, singsongy acoustic fingerpicking, Donnelly confronts a man who raped her friend and takes to task the accompanying victim-blaming. “Why was she all alone? / Wearing her shirt that low / And they said boys will be boys / Deaf to the word no,” she coos in the chorus, a slight vibrato flaring up at the corners of her lovely voice.

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 Warmduscher. – Whale City

The second album from Warmduscher. South London recidivists Warmduscher include members of Paranoid London, Fat White Family and Childhood. There is power in repetition. Longtime Warmduscher biographer Dr Alan Goldfarb describes Whale City as “a rock opera so vast in magnitude that – were in not for my being strapped naked to a chair in a garage – could send a man hurtling towards the outer perimeters of uncharted space.” It’s difficult to argue with. The characters that inhabit Whale City are, as the title suggests, larger than most aquatic life forms. A cast of millions. Pretty Lilly, Whale Jimmy, Uncle Sleepover, Ice Cream Keith, Disco Minny. The people you walk by late at night with bottles in their hands and money in their pockets. The woman with bright red lipstick and straight razor smiles. Thrill seekers to a person. Powerful. Intoxicated. Intoxicating. In the words of Clams Baker, Whale City is “a playground for the people that have stepped above and beyond their comfort zone.” What are you waiting for? If you love the repetition of the Fall, the chaos of Fat White Family and own a Pebbles or Nuggets compilations – then this a must have.

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The Wave Pictures  –  Brushes with Happiness

As one of the UK’s most prolific and beloved bands, it has become expected – nay, the fans have demanded – that The Wave Pictures release several albums a year. This year, they are releasing two albums and they’re kindly letting us know well in advance, so that we can set our calendars and save our pennies in anticipation. Starting with the spontaneous, recorded in one-day, minor-key, epic masterpiece that is Brushes with Happiness in June, the trio of Jonny Helm (drums), Dave Tattersall (guitar and vocals) and Franic Rozycki (bass), will be following up with a more up-beat party album, Look Inside Your Heart in October. Brushes With Happiness sees The Wave Pictures in contemplative and expansive mood. Mellower and more reflective than last year’s rock’n’roll surf-garage-rock collaboration with Charles Watson from Slow Club, as new band The Surfing Magazines, or 2016’s blues driven Bamboo Diner in the Rain or 2015’s Billy Childish produced Great Big Flamingo Burning Moon. This album is more akin to 2016’s acoustic release A Season in Hull, which, like Brushes With Happiness, was recorded live in one room in a single January day.

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Nine Inch Nails  – Bad Witch

Nine Inch Nails release Bad Witch, completing the trilogy that began with 2016’s Not The Actual Events and 2017’s Add Violence., Nine Inch Nails will launch COLD AND BLACK AND INFINITE NORTH AMERICA 2018 on September 13 with support The Jesus and Mary Chain. The band will bring their “musical, visual, emotional sensory onslaught,” as hailed by The New York Times, to some of the most iconic venues in the USA.

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Pete Yorn and Scarlett Johansson  –  Apart

Pete Yorn and Scarlett Johansson’s 5 Track EP Apart is the follow up to their critically-acclaimed 2009 album Break Up. The EP features four brand new recordings and a new version of Tomorrow, a song that originally appeared on Yorn’s last album, 2016’s ArrangingTime. Scarlett Johansson adds, “Being able to revisit this project with Pete in a totally different context but within the same creative parameters is a unique artistic opportunity for me. It is always a pleasure to sing with Pete because I think our voices and stories complement each other.”

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The Cure  –  Mixed Up

A reissue and remastered version of the Cure’s 1990 remix album Mixed Up. Featuring 11 remixes of their hits including; Lullaby, Close to Me, Pictures of You, Love Song and Why Can’t I be You?

3CD – Expanded Deluxe Edition with a second CD of long deleted remixes from 1982 to 1990 and a third CD containing 16 brand new Remixes done by himself, Torn Down: Mixed Up Extras 2018.

CD – Standard CD Version.

2LP – Double 180 Gram Vinyl housed in Gatefold Sleeve with Download. Half Speed Double Vinyl Mastered by Robert Smith and Tim Young at Metropolis Studios, London.

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Cream –  Live In Detroit ‘67

Cream, live at the Grande Ballroom, Detroit, MA on October 15th 1967. White-hot from two months of touring the US, Cream played this remarkable show shortly before the release of Disraeli Gears. Regarded by some as the finest live document of the trio in existence, it typifies their explosive chemistry, with some outrageous wah-wah from Clapton, thunderous bass from Jack Bruce, and virtuoso drumming from Ginger Baker. This show from Detroit’s Grande Ballroom on October 15th 1967, originally broadcast on WRIF-FM, is presented in full here, together with background notes and images.

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Spacemen 3  – For All The Fucked Up Children of This World We Give You

Space Age Recordings are pleased to announce the first official limited edition vinyl release of the album For All The Fucked Children Of This World We Give You Spacemen 3 (Sonic Boom a.ka. Peter Kember (Spectrum / E.A.R.) and Jason Pierce (Spiritualized). For All the Fucked Up Children from the neo-psychedelic trio Spacemen 3 was first released as a bootleg record in 1995. The record consists of Spacemen 3’s first ever recording session from 1984. The music itself sounds like a primitive version of what the group were to become; the dominating sound of the record is a slow, droning psychedelic blues performed with sparse instrumentation. A drum set is matched with a pair of distorted electric guitars, all of which provide a swirling foundation for Jason Pierce’s vocals. The album’s liner notes replicated here are actually an early review of the band by Gary Boldie, where he contemplates the city of Rugby and finds it an odd source for this new sound, and he declares Spacemen 3 as the “all singing, all dancing answer to the problems of a grey 1985.”

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Sorry  –  Showgirl

Sorry are back with a new 7”, following their previous 7” singles, Wished / Lies from last year and2 Down 2 Dance earlier in the year. The ferocious Showgirl is the third and last instalment of the band’s early singles period, produced by Frank Ocean and James Blake collaborator Sean Oakley, who also helmed the band’s 2017 debut single, Lies. Showgirl is a sordid and seedy 90’s sounding nugget with breathy and addictive vocals and spidery guitar work. Sorry just keep getting better and better.

Today also saw the announcement of the new Mogwai album

There’s also new albums coming from Death Grips (with an indie stores only limited clear vinyl LP), The Jayhawks, The Pineapple Thief, The Internet, Menace Beach, Pram,Villagers, Bellini, Rise Against, Helena Hauff, Tirzah, Kate NashThe Amity Affliction, Wild Nothing

There are five Flaming Lips albums coming back out that have not been on vinyl for years. We have the next Tom Waits reissue out on 13th July with ‘Foreign Affairs’ . There’s a set of Moody Blues 180g vinyl reissue coming soon, some of which will feature bonus tracks for the first time. and U2 wade in with three strong albums in ‘Achtung Baby’, ‘Zooropa’ and ‘The Best Of: 1980-1990’.  Also coming soon are reissues from Mick Ronson, REMand a ‘Best Of’ fromThe Libertines.

This Week’s Releases

The Cure – ‘Mixed Up’ black vinyl 2LP reissue
The Cure – ‘Torn Down’ black vinyl 2LP reissue

Stella Donnelly – ‘Thrush Metal’ 12″ EP
Richard Edwards – ‘Verdugo’ limited coloured vinyl LP
Richard Edwards – ‘Verdugo’ LP

Field Division – ‘Dark Matters Dream’ silver vinyl LP
Gang Gang Dance – ‘Kazuashita’ limited red vinyl LP
Garbage – ‘Version 2.0’ limited deluxe 3LP box set
Garbage – ‘Version 2.0’ orange vinyl 2LP reissue

King Crimson – ‘Discipline’ LP reissue
Danni Minogue – ‘Neon Nights’ 2LP reissue
The Nextmen vs Gentlemen’s Dub Club – ‘Pound For Pound’ LP
Nine Inch Nails – ‘Bad Witch’ LP
The Orb – No Sounds Are Out Of Bounds’ 2LP
Panic At The Disco – ‘Pray For The Wicked’ LP

The Pogues – ‘The Best Of’ LP reissue
Princess Nokia – ‘A Girl Cried Red’ limited red vinyl LP
Sleep – ‘The Sciences’ black vinyl LP
Soulwax – ‘Essential’ 2LP
Spacemen 3 – ‘For All The Fucked Up Children Of  This World’ LP reissue
Various Artists – ‘The Songs Of Elton John & Bernie Taupin’ 2LP
Kamasi Washington – ‘Heaven & Earth’ 4LP set
The Wave Pictures – ‘Brushes With Happiness’ limited coloured vinyl LP

Garage rock super group The Surfing Magazines share “New Day” , Comprised of one half of Slow Club and two thirds of Wave Pictures, The Surfing Magazines are already garage rock royalty.

Drawing influences from ‘60s surf music and taking inspiration from greats like Dylan and Reed, the band are on a war path to destroy today’s bongo pop demigods and pretentious prog-indie-rock millionaires.

Speaking more on the track the band say: “New Day’ is a super quick tune. I’m not totally sure what its about. There’s some Russian dolls in there, a birthday clown, and apparently I want to throw all my clothes away”.

The Surfing Magazines are a new supergroup featuring Charles Watson from Slow Club, David Tattersall & Franic Rozycki from The Wave Pictures and Dominic Brider.  the band have also announced their debut festival appearance at End of the Road Festival this summer,

“New Day” out now via Moshi Moshi Records.

Lines and Shadows by The Surfing Magazines is taken from their debut self-titled album out on 1st September:

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Temples release their second album Volcano on Heavenly Recordings. It was self-produced and recorded at the band’s home studio in Kettering. It doesn’t take too long with Volcano to realise that, while all the things that made the band special the first time around remain intact, a noticeable evolution has taken place. It’s there from the outset: the beefed-up beats of Certainty reveal an expanded sonic firmament, one in which bright synth hooks and insistent choruses circle around each other over chord sequences that strike just the right balance between nice and queasy. One thing you do notice is that it’s harder to spot the influences this time around. It would be disingenuous to evade the psych-pop tag, for sure, but mystical language has been supplanted by something a more direct – and while those influences are still there, it’s no longer possible to pick them out. They’ve been broken down and blended together – fossilised into a single source of creative fuel, so that what you can hear this time around, sounds like nothing so much as Temples. This is the sound of a band squaring up to their potential.

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18 months and 10,000kms travelled since many needles first dropped on her debut LP Listen To Formation Look For The Signs, it’s safe to say with new album Preservation, Nadia Reid now knows herself extremely well. An ode to self-reflection and self-betterment, Preservation is the sound of Nadia showing her true colours, taking back a bit of power, and learning more about herself. Deeply intellectual but felt by all, it punches harder than before. Nadia’s beautifully warm vocals coolly wrap around feelings of turbulence, and exude a gently improved confidence. Returning to the production skills of Ben Edwards in his Sitting Room studios and long term guitarist Sam Taylor, this time around everything is rubbed in more grit and channels Nadia’s deftly profound take on life and whilst we already knew it, her own realisation that it is music which drives her. Nadia has seen the world she once knew become a whole lot larger. Simply singing her truth has taken her to becoming acquainted with her Scottish and Irish heritage during her first full European tour, downtime with long-time sister-from-another-mister Aldous Harding and even making the odd award shortlist along the way (NZ’s 2016 Taite Music Prize). Rather than growth in its most typical sense of any artist finding their way in the world, Preservation marks a natural passing of time – what you pick up along the way is a bonus.

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The always prolific The Wave Pictures release an exclusive 10″ on Madrid-based label Acuarela with five very fine covers and an original in tribute to the legendary Wilko Johnson, mythical founder of the rhythm and blues band Dr. Feelgood. The Wave Pictures are strange: they are an indie rock band without indie rock influences. Everything they have been listening to throughout the years is blues and American 50’s and 60’s rock‘n’roll. Nevertheless, they have never enjoyed those retro behaviors which slavishly copy the looks, sound, haircut and sources of the past which escape from the spirit of the music they love. They have their own style and they don’t want to be a blues band, but the blues is there, in the invisible nucleus of everything they do. Following on from 2015’s Billy Childish collaboration Great Big Flamingo Burning Moon, their recent acoustic record A Season in Hull and their latest LP Bamboo Diner In The Rain, The Wave Pictures pay tribute in Canvey Island Baby to one of their major influences: Wilko Johnson. The founding member of Dr. Feelgood credited as one of the greatest ascendancies of the English punk movement has also been part of the cast of HBO’s Game of Throne as Sir Ilyn Payne back in 2010. In 2013, Johnson was diagnosed with late stage of pancreatic cancer and played what was going to be his final show guesting with Madness on the television program Madness Live: Goodbye Television Centre broadcasted on BBC Four. It seemed as if Johnson’s career was over after he cancelled his two final shows in Canvey Island, but on April 2014, he reappeared at the Icon Awards ceremony to surprise the world with the news that after radical surgery he was now cancer-free. The Down By The Jetty album was an early influence on David Tattersall for the way Wilko Johnson combined the roles of lead and rhythm guitar. But for The Wave Pictures, Wilko’s music is also loads and loads of fun. Citing David “he’s a wonderfully idiosyncratic singer and an original songwriter, always finding a little trick in that old blues song form to make a new, poppy point”. Wilko Johnson doesn’t use effects pedals and neither do The Wave Pictures. They have made this EP out of fun. After all, it is homage to one of the most influential guitarists and to the career of this living legend. It is a 10” which has as part of its title the name of his birthplace (Canvey Island), 5 covers of Wilko’s songs and a new original Wave Pictures song.

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As humans, we are aware of our inner beast and should therefore be able to control it. We understand our hard-wired primal urges and why they exist in an evolutional sense. We understand the relationship between mind and body. Highly evolved and intelligent, we should be able to recognize these genetic hangovers and control them as a means to act positively and move forward as a compassion-ate species. Unfortunately, this is not the case. Recent global events have proven this. The human race is consuming itself. World Eater, the new album by Benjamin John Power’s Blanck Mass project, is a reaction to this. There is an underlying violence and anger throughout the record, even though some of these tracks are the closest Power has ever come to writing, in his words, “actual love songs.” “Maybe subconsciously this was some kind of countermeasure to restore some personal balance,” Power explains. On World Eater, Power further perfects the propulsive, engrossing electronic music he has created throughout his impressive decade-plus career, both under the Blanck Mass moniker and as one-half of Fuck Buttons, as he elaborates upon the sound of 2015’s brilliant double album Dumb Flesh. As massive as the sonic world of the new record often feels, its greatest achievement is in its maximization of a limited set of tools, a restriction intentionally set by Power himself. “As an exercise in better understanding myself musically, I found myself using an increasingly restricted palette during the World Eater creative process. Evoking these intense emotions using minimal components really put me outside of my comfort zone and was unlike the process I am used to. Feeling exposed shone a new light on this particular snapshot. I feel enriched for doing so.”

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Everything Is Forgotten, the new album from Methyl Ethel (Perth, Australia), is a vivid, compelling and mysterious creature, all sinewy, curvaceous pop nuggets and enigmatic currents. Written and recorded by frontman Jake Webb, the album was brought to life by acclaimed producer James Ford (Arctic Monkeys, Foals). The pair’s collaboration infusing the band’s shoegaze dream-pop palate with electronic and polyrhythmic flourishes, allowing Webb’s keening, gender-fluid vocals and searing poetry to take centre stage.

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London based trio The Wave Pictures – Jonny Helm (drums), Dave Tattersall (guitar & vocals) and Franic Rozycki (bass) – return with their brand new album ‘Bamboo Diner In The Rain’ on Moshi Moshi Records.

Following on from last year’s Billy Childish collaboration ‘Great Big Flamingo Burning Moon’ and their recent acoustic record ‘A Season In Hull’, ‘Bamboo Diner In The Rain’ sees The Wave Pictures battling against the robot music apocalypse.

The new album is a bluesy, boozy love letter to the guitar, filled with American Primitive instrumentals, John Lee Hooker chugs and Link Wray style minor-key surf music. As songwriter and guitarist Dave Tattersall explains, “This album is set in the Bamboo Diner of my dreams, with rain beating on the windows and a jukebox stocked with blues. This is the most personal album I’ve made so far. In fact, that’s the whole idea of the band, to become more and more authentically ourselves on record. To grow inwards. Like everything on this dark and strange little album. It’s not robot music.”

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Martha Wainwright releases a wonderful new studio album, ‘Goodnight City’, on [PIAS]. It’s the follow up to her acclaimed 2012 release ‘Come Home To Mama’.

‘Goodnight City’ features 12 brand new songs produced by Thomas Bartlett (Surfjan Stevens, Glen Hansard) and longtime producer Brad Albetta. It recalls the emotional rawness of her debut album, much of it encapsulated by the captivating lead track ‘Around The Bend’ and her extraordinary voice.

“Making ‘Goodnight City’ was the most fun I’ve had in a long time,” Martha admits. “Thomas (keys), Brad (electric / bass), Phil Melanson (drums) and I would sit in a circle and work out arrangements for these vividly different songs. Recording them live with very few overdubs the focus remains on the integrity of the song and our ability to play together as a band.”

Martha wrote half the songs on the album while the other half were written by friends and relatives: Beth Orton, Glen Hansard, Rufus, Wainwright, Michael Ondaatje and Merrill Garbus of tUnE-yArDs.

“Because these writers know me and because I was able to personalise these songs by changing things here and there, I made them feel as if I wrote them myself,” Martha explains. “Somehow they wonderfully reflect my life and I am so thankful to the other artists for writing them.”

‘Goodnight City’ was recorded in Montreal. Last year Martha and Lucy Wainwright Roche released ‘Songs In The Dark’ as the Wainwright Sisters.

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As massive and hefty as a cinder block, Pink Floyd‘s The Early Years 1965-1972 is no conventional box set. It is an archive in miniature, offering 28 discs — 11 CDs with the remaining discs being DVDs and Blu-Rays that offer duplicates of the same audio/visual material — alongside replicas of original poster art, fliers, press releases, 7″ singles and ticket stubs, all here to offer a deep, multi-tiered portrait of the years when Pink Floyd were fumbling around trying to find their voice. This isn’t precisely uncovered territory — during the eight years covered on this box set, Floyd released eight studio albums, and their early singles have been compiled on several collections, including 1971’s Relics — but what’s available on this box is almost entirely rare, with much of it being unheard and unbootleged. This isn’t limited to the audio tracks, either. The DVDs and Blu-Rays offer a cornucopia of stunning films, ranging from promo clips and BBC performances to interviews between Syd Barrett and Dick Clark, full live sets, documentaries, a version of “Interstellar Overdrive” with Frank Zappa from 1969, a ballet from 1972, rejected animations, and the entirety of More and Obscured by Clouds, two feature films Pink Floyd scored.

Sleigh Bells, Derek Miller and Alexis Krauss, have announced their first new album in three years. Entitled Jessica Rabbit, the album was produced by the band and mixed by Andrew Dawson (Kanye West, Tyler, the Creator); and for the first time ever they brought someone outside of the band into the creative process, working with Mike Elizondo (Dr. Dre, Fiona Apple) to shape five of the band’s favourite tracks on the album.

The result is an album that does not sound like anything Sleigh Bells has ever done – or anyone has ever done, for that matter. It is the sonic equivalent of firing synapses, with melodies zigzagging in different directions in a beautiful and ever-modulating controlled chaos. It is playful but darkly so; flirtatious but caustic; ebullient but downright sinister. It is a record that is wholly unique in sound and purpose, an unabashed and unafraid statement from a band that has made offending rote conceptions of pop music their signature and greatest strength.

Released as a companion to Robbie Robertson‘s 2016 memoir of the same name, Testimony is the singer/songwriter’s own take on his musical history — an 18-track compilation that samples from every era of his career, from his time supporting Ronnie Hawkins to his stabs at moody trip-hop. While the book ends when the Band disbands, Testimony finds space for selections from his solo career — five songs total, with 1991’s Storyville earning the largest play and the electronica aspects of 1998’s Contract from the Underworld of Red Boy and 2011’s How to Become Clairvoyant diminished. Still, the Band naturally figures heavily into the equation here, but Robertson avoids his biggest hits along with some of his best-known songs. Instead, he culls heavily from the Band‘s Live at the Academy of Music 1971 performance — it’s better known as the 1972 LP Rock of Ages — and the 2005 Band box A Musical History, which is where all the early cuts from Levon Helm & the Hawks and the Robertson-sung “Twilight (Song Sketch)” were first released. If Testimony is light on rarities, what matters is context. By piecing together all these elements of his career — including his time backing Hawkins(“Come Love”) and Bob Dylan (“Rainy Day Women #12 & 35” from Before the Flood) — he paints a fairly rich portrait of his musical achievements, so Testimony does indeed wind up being a musical memoir.

Wolf People – This London-birthed four-piece have long been hailed as a band with the alchemical charge to transform psychedelic, folk and riff-rock spirits into something both timeless and vibrant, avoiding the lure of retro pastiche. ‘Ruins’ however is unquestionably their greatest achievement to date, reinventing the earthy roar of ampstacks and a quintessentially English pastoral sensibility, and finding transformational ways to draw the cosmic dots between 1971 and 2016. The theme of this album may be a world in which nature has overcome the end of humanity, but the post-apocalyptic landscape has never sounded peachier.

Arriving on the heels of her 2015 road memoir Don’t Suck, Don’t Die: Giving Up Vic Chesnutt, which focused on Kristin Hersh’s long friendship with the late singer/songwriter, Wyatt at the Coyote Palace delivers another audio-visual experience via a 24-track LP and an accompanying hardback book stocked with lyrics, notes, essays, and photographs. Published through her own co-founded nonprofit organization CASH Music, the double album is a purely Hersh-oriented affair, with the alt-rock hero handling all of the parts. Having that kind of freedom can be a creative death knell for some artists, but Hersh has always operated in another realm, both sonically and lyrically, and she takes to the open-ended format with gusto. Opener “Bright” starts off on familiar ground, with Hersh fingerpicking one of her signature spectral melodies. However, things begin to shift gears quickly, with wild swaths of dissonance rolling in like downed wires. Hersh’s voice remains electric, if not a bit rawer than usual, and her knack for pairing big, circular pop hooks with dreamlike lyrics and rhythmic left turns remains intact. When all of those pistons start to pump, as is the case on standout cuts “Hemingway’s Tell,” “Diving Bell,” and “Between Piety and Desire,” the results can be hair-raising, but at just over 80 minutes of material, there’s a lot to digest here. It’s easy to stand on the sidelines and say that a more streamlined, ten- to 12-track version of the album would suffice, but one of the many things that’s helped to make Hersh such a singular talent over the years is her unwillingness to compromise, and on that front, the punishing and beautiful Wyatt at the Coyote Palace doesn’t disappoint.

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The Wave Pictures return with a brand new, vinyl only album called A Season in Hull, due out on 12th February on their own label Wymeswold Records. The album was recorded on acoustic guitars in one room, with a bunch of their friends, live in to one microphone on singer Dave Tattersall’s birthday, January 28th, 2015. The songs were written as quickly as possible and the recording captures that specific moment in all its spontaneous, thrilling and immediate glory. As Tattersall elaborates: “That’s what this is – a one-microphone happy birthday recording.”

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The Wave Pictures don’t like to hang around.
The band are famously productive, churning out a full Billy Childish collaboration (‘Great Big Flamingo Burning Moon’) and an acoustic album (‘A Season In Hull‘) over the past 12 months.
Not content with this ferocious work-rate, The Wave Pictures have now pierced together another album of entirely new material.
‘Bamboo Diner In The Rain’ is packed with those acerbic, offbeat observations that made the band so loved, sluiced through a jagged blues template. An awkward, defiantly English sense of groove pervades, a little like an indie pop version of Dr Feelgood, viewed from The Wave Pictures‘ wholly unique vantage point.
Dave Tattersall explains: “This album is set in the Bamboo Diner of my dreams, with rain beating on the windows and a jukebox stocked with blues.”
‘The Running Man’ is the perfect example. The title references an Arnold Schwarzenegger film, but in reality it’s the taut depiction of a relationship that is falling apart.

The Running Man appears on The Wave Picture’s forthcoming album ‘Bamboo Diner In The Rain’ released on 11th November 2016:
November Tour
3 Manchester Deaf Institute
4 Halifax Arden Road Social Club
5 Sheffield Plug
6 Nottingham The Maze
7 Cambridge The Portman Arms
8 Leeds The Brudenell Social Club
9 Hull Adelphi
10 Edinburgh The Electric Circus
12 Glasgow CCA/Saramago Café Bar
13 Newcastle Cluny 2
14 Birmingham Hare and Hounds
20 Bristol Start The Bus
21 Brighton Komedia Brighton

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I recorded Little Martha in one day with Simon Trought at the old Soup Studio, underneath the Duke of Uke ukulele shop on Hanbury Street, just off Brick Lane in East London. There are no overdubs on the album, which was recorded live with one microphone. Franic Rozycki stopped by to play mandolin on a couple of tracks, but otherwise it’s entirely me playing acoustic guitar. There are no vocals on the album.

I love guitar players. For every songwriter I like, there are a hundred guitarists who impress me. There are too many that I enjoy listening to to mention them all, but there are a few key influences on this particular record that are worth naming: American guitarists like Reverend Gary Davis, Leo Kottke, Blind Blake and Ry Cooder. John Fahey, who started recording in 1959, was one of the first guys to get me hooked on instrumental fingerpicking guitar. He plays with a simple thumb-and-two-fingers right hand technique, nice and slow. His music contains tremendous power and mystery, yet it is easy to grasp exactly what he is doing. He called himself an ”American Primitive”, which in technical terms I suppose is true, but his ideas are very strange and sophisticated, particularly in his synthesis of 20th century European classical music and (American) folk and blues. I cover a number of his tunes on the album, and I clumsily attempt to copy his style a little on the ones I wrote. More than anyone else, the album is a tribute to Fahey and to my love of his music, which I have listened to for 20 years now and still find fascinating. We even copied the simple black-on-white style of Fahey’s Blind Joe Death LP cover when we made the sleeve.

From the age of 9 until I was about 16, this was all I played: acoustic guitar instrumentals like the kind on this album. I abandoned this practise when I started writing songs and formed The Wave Pictures. It was really nice for me to go back to this way of playing that means so much to me, after 14 years playing rock music. I had a lot of fun learning the tunes, developing big blisters on my fingers again, practising for hours in the bathroom where the acoustics are better. And it was a pleasure, as always, to record with Simon. It’s nice to show a different side of yourself every so often. I am so happy I got to make this record and that WIAIWYA records kindly decided to release it.

David Tattersall, August 2012

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Hot on the heels of their Stanley Brinks collaboration (Gin)The Wave Pictures are have announced a brand new album, Great Big Flamingo Burning Moon, which was created in collaboration with one of their all time heroes, Billy Childish.

Bursting with energy and ignited with a garage-rock spark, the album rings loud and bold, showcasing Dave Tattersall’s searing guitar solos and sharp lyrical wit. The album will be released via Moshi Moshi on 16th February, listen to first single, ‘Pea Green Coat’

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‘Pea Green Coat’ is the last song on the record, but the first song that Dave Tattersall and Billy Childish wrote together. The music is all Billy’s including guitar on the thrilling giant riff running through the song, with brilliant Brit-blues harmonica from studio engineer Jim Riley. Lyrically, Dave lets rip with his signature word-play and fantastical imagery; “I really did see someone wearing a pea green coat, seeming somewhat lost in a crowd of black coats, in St Pancras station once, and I wished that they were waiting for me. That image stuck in my mind for years, and came out here.” Great Big Flamingo Burning Moon” was recorded entirely using Billy Childish’s equipment, including his 60s Selmer amps, a 60s drum kit and his rocket-ship shaped guitars. Billy helped to bring out a different side to The Wave Pictures and inject a renewed enthusiasm to the recording process. Tattersall said that he; “was a joy to work with and we love the record. It was the most fun we’ve ever had making a record and to us it’s the most exciting sounding thing we’ve ever done.”