Lord Huron – Vide Noir 2018

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Lord Huron have well and truly stepped up to the next level on their third outing. The heart-wrenching folk is still there, but this time it’s laced with questioning promise – and we are here for it.
Calling your third album vide noir is a bold move. Not only does it immediately present a needed translation, but once done so, presents you with one of humanities biggest fears – a black void.
So, how do Lord Huron approach such grandiose ideas? Rather spectacularly actually. The ethereal harp and choral vocals twinned gently plucked strings that ring in this third outing immediately project ideas that may sit on a station way out of reach, but it feels like Vide Noir isn’t supposed to be received this way.
While “Lost In Time and Space’” feels just like…

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…that – a wandering journey through the cosmos with an angelic soundtrack, instead, it, and the album after it offers you the opportunity to delve into what your life might pertain.

Though it does sit on the expected side of the sonic line for Lord Huron, it’s “Never Ever” where the engines really kick in. A distorted rollicking number that drives like a The Killers track, it has all the makings of an epic run and is just the beginning for Vide Noire.

The sound of “Never Ever” is swiftly followed up by the one-two of “Ancient Names (parts I & II)”. Which feature more pounding drums and determined instrumentation from the first part, but it’s the second part where the energy really comes through and Lord Huron feel like a beast unleashed.

While the folk-essence lies below and often comes through in its truest form, the developments are clear and passionately welcomed all across Vide Noir. Where a band like Mumford & Sons abandoned ship from their beginnings to a mixed result, it sounds like Lord Huron have managed to evolve forward incorporating electric elements in a major way without forfeiting any kind of integrity.

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Father John Misty – God’s Favourite Customer 2018

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Father John Misty will release God’s Favorite Customer, his fourth album worldwide on June 1st, 2018 through Sub Pop, with the exception of Europe through Bella Union.

The 10 track effort features the previously released “Mr. Tillman,” along with highlights “Disappointing Diamonds Are the Rarest of Them All” and “Just Dumb Enough to Try.” God’s Favorite Customer was produced by Tillman and recorded with Jonathan Rado, Dave Cerminara, and Trevor Spencer and was written largely in New York between Summer 2016 and Winter 2017.

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British Sea Power – Let The Dancers Inherit The Party 2017

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Much loved indie group British sea power have returned with a collection of songs that showcase the strongest elements of their music, giving listeners space for contemplation while also bringing a healthy dose of high-energy rock.
Exquisitely crafted, the album’s introductory instrumental track is an extension of closer, “Alone Piano,” providing seamless repeated listens, but there’s plenty in the middle to love, too. Lead single “Bad Bohemian” is upbeat, with an ’80s influenced bass line, and Yan Wilkinson’s melancholic lyrics: “It’s sad now how the glass looks rather empty / The formulation of the elements makes you yearn.” Third track “What You’re Doing,” led by the softer vocals of Wilkinson’s brother, Hamilton, contrasts sharply, its warm drums and guitars bringing…

 

…wide-open spaces to mind as Hamilton brings a feeling of optimism to the song. It’s complemented by “Keep on Trying (Sechs Freunde),” an invigorating track with brilliant guitar interplay and a strong rhythm section.

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“Electrical Kittens” features Abi Fry’s beautiful violin playing, and feels like a quintessential British Sea Power song with its emotional intensity. “Praise for Whatever,” meanwhile, captures the band’s ability to pry bombast out of melancholy, as the drama grows from Yan’s first lines while the bass and guitars build. The lyrics perfectly express the world of contrasts we live in: “It’s such a convoluted hour / To play amongst the flowers / When we’re counting all the missiles down, from three to one to none.”

On Let the Dancers Inherit the Party, British Sea Power seek to express the confusion and despair — and, most importantly, the hope — felt during these trying times. Their music doesn’t shy away from the contradictions of life, and provides motivation to “keep on trying.”

Lift To Experience – The Texas Jerusalem Crossroads 2017 (remix)

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Well i said to myself that i wasn’t going to purchase this AMAZING album AGAIN , But guess what i ? i did . How could i not purchase this , it is one of the greatest albums ever made by three dudes that make you feel that you just been hit head on by a train of wonderful noise .

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The band set out to create a brand new mix of “The Texas-Jerusalem Crossroads” with engineer Matt Pence 15 years after its original release. The album was originally recorded live to tape, and Matt Pence was able to mix from those original recordings and capture the energy of the three musicians playing together in the room.
… If there was ever a case of an album being ‘ahead of its time’ this probably is it. Akin to Slint’s Spiderland in many ways, lift to experience ‘s the texas jerusalem crossroads came seemingly out of nowheresville middle-America (Denton, Texas in this case) and only made a small ripple at the time, the summer of 2001. The band disappeared shortly after, satisfied with their contribution (even if critically and commercially it wasn’t…

…an overwhelming success at the time) but also citing an interest in their solo careers – most notably, lead guitarist/vocalist Josh T. Pearson’s – and a changed world post-9/11. To date, last year’s appearance at Guy Garvey’s Meltdown Festival at the Royal Festival Hall remains their only live performance since.

It’s fascinating looking back on critics’ initial response to The Texas-Jerusalem Crossroads years later. In general, no one could deny the band’s ambition in taking on such a ‘big concept’ 90-minute record about the biblical end of the world taking place in Texas (rather than Jerusalem’s actual location in Israel), but there’s a resistance to those same religious allegories and questions Pearson mulls over this 90-minute epic, coupled with the band’s own meta-self-referential plot within the tale. For the uninitiated, The Texas-Jerusalem Crossroads begins with “the Angel of the Lord” appearing in front of the band one dark Texan night, prophesising the end of the world is coming and they must “lead the children of Israel to the Promise Land” which turns out to be in Texas. Across the next 90 minutes, Pearson wrestles with his specifically American-Christian struggles with forming a successful band with “a smash hit” as he negotiates with God himself in ‘Waiting’.

On that summary, it’s perhaps understandable that initial audiences weren’t really sure how seriously to take Lift to Experience’s debut (and only) full-length record. Were they actually speaking from a privileged religious point of view – the album certainly isn’t an outright criticism of Christianity – are they in fact as arrogant as they suggest in ‘These Are the Days’? – “So all you haircut bands, doing headstands/thinking you’ll turn the world upside down/Put your guitars up over your shoulders/A new sort of experience is taking over /’cos we’re simply the best band in the whole damn land/and Texas Is The Reason.” – is this meta-fictional narrative just simply pompous and pretentious?

Similarly, by the summer of 2001, musically, audiences would now be fairly used to the epic “post-rock” record. The beginning of this millennium was a pretty incredible time for music considering what was coming just around the corner. Bands who at the end of the previous century had posited themselves as outsiders prophesying, if not maybe the end of the world, certainly a catastrophic change to it, were already releasing big ‘statement’ albums – Godspeed You! Black Emperor’s Lift Yr. Skinny Fists…, Explosions in the Sky’s Those Who Tell the Truth… – while other already gloomy bands changed their established style post Y2K to point to the huge imminent technological changes, both in their music and what it means to us, on its way – Radiohead’s Kid A, Fugazi’s The Argument, Unwound’s Leaves Turn Inside You; however all these bands removed themselves from their art’s focus. While there is no way any of these artists knew exactly what was coming – which fellow Texans Explosions in the Sky found out the particularly hard way – there seemed a general trend in 2000 and 2001 that something was coming.

There are many comparisons to be made between then and now. At the beginning of the millennium, George W. Bush has been sworn in on a wave of right-wing populism after eight years of controversial liberalism, scaring everyone out of their late Nineties stupor into a decade defined by war which would carry on into the next presidency. If in 2001 The Texas-Jerusalem Crossroads risked being sanctimonious, 2017’s collective doom-mongering makes this album suddenly very relevant indeed – just when we thought white, American privilege couldn’t surprise us any further they go ahead and elect a fascist.

It also helps that we as an audience are now much more smart to Pearson’s intentions. Given his tremendous solo career in the subsequent time, we are familiar with his wry sense of humour and very real religious and spiritual considerations. Equally, we now live in a very changed world both socially (well, kind of) and musically 15 years on where meta-fictional concept double-albums – such as Fucked Up’s David Comes to Life – is now not such an alien concept in indie music.

Musically, The Texas-Jerusalem Crossroads speaks for itself. It is a tour-de-force in musicianship and songwriting, especially impressive for a three-piece. For 90 minutes, the world really does sound like its ending as this trio blast through sonic explosions on their respective instruments, move to delicate, reverb-soaked moments of sorrow and back again over the course of this double album. Another big reason for the record’s underrating at the time is the very valid argument of its sketchy production – hence the real reason for the re-mastering. While the original is still impressive, there often lacks a clarity between each member’s input and layering from the Cocteau Twins’ original mix, which thankfully has now been fixed by Matt Pence (Jens Lekman, Yuck, True Widow) so that the guitars shimmer, the bass rumbles and the drums explode.

With that in mind, along with America’s current climate, there is no reason why The Texas-Jerusalem Crossroads shouldn’t finally find its place in indie-rock music’s canon. It is a stunning singular work, hugely visual and symbolic like a great film or novel that highlighting individual tracks is kinda empty when it so clearly should be enjoyed as a whole. Let’s just hope the Angel of the Lord’s prophecies doesn’t come true.

The Jesus And Mary Chain – Damage And Joy 2017

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All praise Creation Records founder Alan McGee, for he was right: The Jesus and Mary Chain will return next year with their first new album in 18 years, Damage and Joy.

Due out March 24th via ADA/Warner Music, the long-awaited follow-up to 1998’s Munki was produced by Killing Joke co-founder Martin Glover, aka Youth, who also plays bass on the record alongside JAMC touring drummer Brian Young and Lush bassist Phil King.

The album’s first single and opening track, “Amputation”, premiered on Steve Lamacq’s BBC 6 Music today. Better yet, you don’t really need your ear buds; this one’s pure melody, sounding like something off an indie soundtrack from 1996.

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VA – Let It Be: Black America Sings Lennon, McCartney and Harrison (2016)

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A sequel to Ace’s 2011 compilation Come Together: Black America Sings Lennon & McCartney, the 2016 set let it be black america sings lennon , mccartney and harrison expands upon its predecessor, finding space for selections from the ’80s and even the 2000s (nevertheless, most of these 22 songs are from the ’60s and ’70s) plus songs from George Harrison too. “Something” is indeed here, presented in an expansive, seductive 12-minute rendition from Isaac Hayes, and its presence suggests just how far-reaching Let It Be is. Hayes sits alongside Ella Fitzgerald’s funky version of “Savoy Truffle,” an unexpected combination of singer and song that finds its match in Nina Simone’s moodily elegant “Here Comes the Sun,” not to mention Little Junior Parker’s slow,…

…trippy version of “Tomorrow Never Knows.” Such delights are rampant on Let It Be. Only a handful of cuts adhere to the original arrangements, but even those put a distinctive personality on the tunes: Earth, Wind & Fire funkify “Got to Get You Into My Life,” Fats Domino rolls through “Lovely Rita,” and Arthur Conley gives the ska of “Ob-La-Di, Ob-La-Da” some grit.

More than its predecessor, Let It Be stands as a testament to both the songbook of the Beatles and the imaginative interpretations of black America.

Real Estate – In Mind 2017

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On In Mind the band fine-tunes the winsome songwriting and profound earnestness that made previous albums—Real Estate, Days, and Atlas—so beloved and pushes their songs in compelling new directions. Written primarily by guitarist/vocalist Martin Courtney In Mind offers a mild shifting of the gears, positing a band engaged in the push/pull of burgeoning adulthood. Reflecting a change in lineup, changes in geography, and a general desire to move forward without looking back, the record recasts the band in a new light — one that replaces the ennui of teen suburbia with an adult version.

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Roadkill Ghost Choir – False Youth Etcetera , Vol 1 2017

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Roadkill Ghost Choir are an indie rock band whose music combines the languid but emotionally charged approach of indie rock with a Southern gothic undertow, articulated through the voices of banjo and pedal steel guitar. Roadkill Ghost Choir were formed by lead vocalist and songwriter Andrew Shepard in in DeLand, Florida in 2011; Shepard had been booked to play a solo show at a local club, but soon decided he preferred to have a band for the occasion. Shepard rounded up a backing combo from his friends and siblings: guitarist Stephen Gaza was in a band called Introduction to Sunshine, Andrew’s brothers Zach Shepard (bass) and Maxx Shepard (drums) had worked with the Quiet Men, as did pedal steel and banjo man Kiffy Meyer, and Joe Davoli on keys and trumpet had played in the group Loud Valley. The musicians were pleased with the show and decided to continue working together, and Roadkill Ghost Choir were born. The band earned a reputation in Florida and began touring throughout the South and East Coast, and in 2013, the group released a Kickstarter-funded EP, Quiet Light. The EP received enthusiastic reviews, and as positive word of mouth began to spread, Roadkill Ghost Choir began landing bigger and better bookings, including appearances at the Austin City Limits and Governor’s Ball festivals, and a spot on The Late Show with David Letterman. in 2013, Roadkill Ghost Choir began work on their first full-length album, though not long after the sessions were finished the group was pared down to a quintet by the departure of Joe Davoli. In the summer of 2014, the band released In Tongues and set out for more touring, including appearances at the Bonnaroo and Lollapalooza festivals.

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Hurray For The Riff Raff – The Navigator 2017

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Well the arrival of the new Hurray For The Riff Raff “The Navigator” Four days before the release date has made me a little happy to say the least . This Bronx beauty really knows her shit an avid campaigner for woman’s rights and a avid believer in just do the right fucking thing .

Living In The City track opens up and you just know this is my track for the spring months ahead and possibly right in to the summer its powerful and upbeat with a vibe that will clearly lift you up .  I Am going to declare this a Siding With The Insane Stereo LAW  that each day should start with “Living In The City”

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I have been a huge fan of HFTRR since the self release “It Don’t Mean I Don’t Love You” and i knew from then that this band is going to do well , and everything after that release has always been ,solid and worth every listen .

Rolling Blackouts Coastal Fever- The French Press 2017

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Rolling Blackouts Coastal Fever bit of a shite name for a band but who really cares because this band can make some superb music and with only two albums under there belt you can clearly hear that they are here for the long haul .

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Talk Tight was the bands first release and it is a thunderous album Listening to these seven tunes, you can easily trace a national lineage: the relentlessness of radio birdman , the pop literacy of the go betweens , the rambunctious energy of the easybeats , and the belief shared with courtney barnett that guitars are not just crucial to the message but might very well be the message themselves.

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French Press is the follow up from last years mini album release its due out march you need these in your life trust me .

Father John Misty – Pure Comedy 2017

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Well it has arrived the advance Father John Misty “Pure Comedy” and i have to state that this album is much better than “I Love You, Honeybear” that album really let me down in a way that i never want to hear anything from it again . i tried so hard to get in to it but it seemed to escape me , And i have spoke to so many folks that say it either great , or bad nobody ever states that its OK (marmite album) .

Anyway back to Pure Comedy Josh Tillman wrote the majority of this back in 2015 and recorded all vocals and basic tracking on to tape with no more than two takes . this was recorded at the same studios The Beach Boys called home .

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Grandaddy – Last Place 2017 (PROMO)

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Well this morning just became “fucking” epic with the arrival of the new Grandaddy album “Last Place” . A massive thanks to Zach for sending this out, this is going to be so hard to beat, Grandaddy return with a brilliant album of just what you expect from them .

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Last Place, is the new album from Grandaddy: Jason Lyte (vocals, guitar, keyboards), Kevin Garcia (bass guitar), Aaron Burtch (drums), Jim Fairchild (guitar), and Tim Dreyden (keyboards). The band formed in Modesto, CA in 1992, and after four albums disbanded in 2006. Jason Lytle relocated to Montana, where he happily made two solo albums, and reconnected with the natural world around him. Eventually, though, life uprooted him again, taking him to Portland, Oregon until he eventually returned to his former home of Modesto. The return to California was practical (he needed to be near his bandmates) but also appropriate, as he had started writing songs that he felt would be fitting for another Grandaddy album. Following a second reunion tour in the summer of 2016, the band announced the new album would be released on Danger Mouse’s 30th Century Records along with releasing a video for the single, “Way We Won’t.”

Last Place, is a perfect addition to the band’s celebrated, critically-acclaimed catalogue, that includes their breakthrough sophomore album, Sophtware Slump, and their debut, Under the Western Freeway. It’s a symphonic swirl of lo-fi sonics and mile-high harmonies, found sounds and electronics-gone-awry mingling with perfect, power pop guitar tones. Lytle’s voice sounds as warm and intimate as ever, giving graceful levity to the doomsday narratives that have dominated the Grandaddy output. Last Place is written, performed, and produced by Jason Lytle.

Aborist – home burial 2016

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Here we have an album that will probably go under the radar and that alone is a travesty because this album is perfect in every way shape and form . Mark McCambridge has put together a bunch of talented musicians to deliver this album . Based out of Belfast Arborist have built up a steady following with there version of a alt/country sound .

Mark McCambridge has a soulful voice mixed with superb guitar playing that weaves in and out of this album not only that but the beautiful track “rules of the burial” it has a wonderful trumpet going on .

this album also features a guest appearance from Kim Deal (the pixies and the breeders) on the Americana vibe track “twisted arrow”  and a violin that would break the hardest of hearts .

so we are highly recommending you purchase this album it really will not let you down .

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new arrival

mike doughty – the heart watches while the brain burns 2016

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Over 15 years into his solo career, the former leader of Soul Coughing offers his first album from Memphis, Tennessee, where he relocated after calling New York home for over 25 years. often world weary  doughty might have came up with his best work yet ,Still full of angst with a certain amount of bite .  “Otherlands” and “I Can’t Believe I Found You in That Town,” the latter about a mishandled romantic encounter (“My days, they were so easy ’til I kissed you in that door”). just proves that mike doughty is a master at his song writing skills . we are recommending you grab this album .

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new arrival

the lemon twigs – do Hollywood 2016

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We have new arrival on the desk of “siding with the insane stereo” and for the first time we are not exactly sure what to make of this release its either a stroke of genius or yet another hipster fad that will be short lived .

The D’Addario brothers, Michael and Brian, have certainly grew up listen to some crazy shit and decided to chuck all this into a melting pot and come up with “do hollywood” . these two brothers started this project in there teens and guess what they still are in there teens 17 and 19 . both brothers share the vocal duties to a point it sounds like they belong in a bedroom where they have stole there parents records.

The opening track ” i wanna prove to you ” tickles your ears and makes you think this is good and leaves you wanting more . till all of a sudden track two opens “these days is comin soon” then your left head scratching and saying to yourself “what the fuck is going on ” i think we are going to stick with this slightly odd album after all we like the weird . but keep in mind is the world ready for  Sparks playing Nilsson songs

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