Lord Huron – Vide Noir 2018

lord-huron

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…

Lord_Huron_-_Vide_Noir_600_600

…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.

Advertisements

Father John Misty – God’s Favourite Customer 2018

methodetimesprodwebbin45c27efe-a52d-11e7-9cc3-a3b3c6cd90b8

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.

Father-John-Misty-Gods-Favorite-Customer

 

Califone – All My Friends Are Funeral Singers 2009

B1L8hhpU3WS._SL1000_

So the other day i pulled this out from my collection only because i was sifting through it and thought ” shit i haven’t played these guys for what seems like years” So on the player it went and it still holds well ,

Califone-all-my-friends-are-funeral-singers.jpg

I believe this is what Wilco would of sounded and developed into if they had the balls . if you haven’t came across these guys yet then i would highly recommend starting with this album . i know its not going to be everyone’s cup of tea but its a cup of tea that should be sipped .

 

Angus And Julia Stone – Snow 2017

angus__julia_stone-4974336557

t’s been three years since Sydney-born siblings Angus And Julia Stone’s released their self-titled album. Snowis a welcome return to serene sounds which stay true to the minimalist production of previous endeavours.
The title track kicks things off with an oxymoronic, sunny tinge to its tone. Call and response vocal techniques trickle through the album and take precedent in the first track, exploring failing relationships, as well as moving on from them; “Looking at the stars, I have you to myself / Standing here with you and thinking of someone else. / Blanket on my back, I’m cold, I’m cold again. / Smile in the snow, tryna find something to say”.
“Chateau” comprises of a melodic backdrop which later develops into an ethereal display of vocal layering which echoes Bon Iver’s “Calgary”. Young romance is the driving force behind the song as Angus Stone coos “we can go to the Chateau Marmont and dance in the hotel room […] / I don’t mind if you wanna go anywhere / I’ll take you there.”

cover.jpg

“Nothing Else” takes us back to the duo’s acoustic roots, with smooth harmonies and saccharine lyrics to boot, while pop ballad “Who Do You Think You Are” offers an accompaniment of guitars with a country twang (similar to those from “Yellow Brick Road” off their second album), and the smooth sheen of “Sylvester Stallone” finishes the full-length with peace and polish.

Lead tracks “Snow” and “Chateau” may create the most groundswell, but don’t neglect the rest of the album – even if some tracks take a little longer to really sink into your earbuds. They’re well worth the wait.

Alvvays – Antisocialites 2017

20140805191904-Alvvays-Ph-CFaruolo

Toronto-based five-piece Alvvays combine their fuzzy, jangly indie pop with infectious, sugary melodies that recall the likes of Scottish outfit Teenage Fanclub and nod to the U.K. post-punk act the Dolly Mixture. Lead vocalist Molly Rankin – the daughter of John Morris Rankin from the popular Canadian folk family group the Rankin Family – was joined by childhood neighbor Kerri MacLellan on keyboards, and met guitarist Alec O’Hanley at a show as a teenager before they proceeded to write music together. Rankin self-released a solo EP in 2010 with the help of O’Hanley before bringing the rest of Alvvays together, with Brian Murphy (bass) and Phil MacIsaac (drums) joining the fold. They then toured heavily, supporting the likes of Pains of Being Pure at Heart and Peter Bjorn and John, while busily working on new songs.

unnamed-7

The band enlisted fellow countryman and musician Chad VanGaalen to record sessions for their debut album at his Calgary studio in 2013, and also worked with Holy Fuck’s Graham Walsh and producer John Agnello (Kurt Vile, the Hold Steady). Standout performances at 2014’s SXSW and the Internet hype surrounding their demo of “Adult Diversion” alerted their talents to Polyvinyl Records, who subsequently signed Alvvays and released their self-titled album in 2014. The album became something of a sensation, thanks in part to the popularity of “Archie, Marry Me,” and the band began a whirlwind of touring. As they gained popularity, the concerts became larger and they nabbed slots at Glastonbury in 2015 and Coachella in 2016. Along the way, they began sprinkling new songs into their set, but Rankin finished up writing the album while taking day trips to Toronto Islands to work in isolation in an abandoned schoolroom. When the songs were done, Rankin, MacLellan, and Murphy recorded in Los Angeles, then Rankin and O’Hanley moved the sessions to their basement in Toronto, where they invited a few guests to contribute, including Teenage Fanclub’s Norman Blake. The resulting album, Antisocialites, was released by Polyvinyl in September of 2017.

Ducktails – Jersey Devil 2017

Ducktails

Last summer, Matt Mondanile announced his departure from Real Estate to focus on his solo project as Ducktails. That renewed attention has led to the bedroom pop outfit’s latest full-length, Jersey Devil, due out October 6th via Mondanile’s own New Images.

xk

Ducktails’ sixth album overall and follow-up to 2015’s St. Catherine, Jersey Devil was recorded over two years before being mixed in Hoboken, New Jersey at Sonic Youth’s Echo Canyon studio with engineer Ernie Indradat. To help out with the production and recording, Mondanile called on producer/composer John Anderson (Sky Ferreira, Girls), who also contributed guitar, as welll as drummer John da Costa, South Korean bassist Chi Yoon Hae of Parasol, and backup singers Malcolm Perkins and Samira Winter.

The National – Sleep Well Beast 2017

the-national

So it has arrived and im happy the The National HQ sent me out a advanced copy . Seventh album from American indie rock band The National, due September 8, 2017. In an interview with Rolling Stone, lead singer Matt Berninger said that the album is “about marriage, and it’s about marriages falling apart. I’m happily married, and but it’s hard, marriage is hard and my wife and I are writing the lyrics together about our own struggles and it’s difficult to write, but it’s saving my marriage. Not saving my marriage, my marriage is healthy, but it’s good for everything! And so it’s gonna be a strange record, and I’m crazy about it.”

5913672e1d363

and the only photo that actually turned out when i went to see them London

the national live in london

Mojave 3 – spoon and rafter 2003

Mojave_3_press_photo_1995

download available for 24 hours only – link deleted 

Mojave 3 is a firm all time favourite here and a little bit of me always hopes that they return with more amazing music . Spoon and Rafter was released on 22 September 2003 in the UK, and a day later in the US. After the break up of Slowdive in 95 Neil Halstead formed the birth of Mojave 3 and released 5 amazing albums

ca51c8cba579f5507e3dcfb99267dfb944e4ded7_652637230925.jpg

The Schramms – One Hundred Questions 2000

theschramms100-_v-gseapremiumxl

Shaped from former members of Yo La Tengo, The Human Switchboard and Peter Stanfel’s Bottlecaps, The Schramms have been a Hoboken and New York fixture since 1985.

Finding a place in the sun both in the U.S. and in Europe, they have become one of rock’s most respected and talented bands.

Dave Schramm can also be heard as a featured guitarist on current works by Richard Buckner, Freedy Johnston, Soul Asylum, The Replacements and Whiskeytown.

This Album establishes the depth and sophistication of these veteran song crafters. This time, they’ve enlisted J.D. Foster to produce. This release is tight, and precise. The songs belong together and make for a flowing, detailed and intriguing work – like a book you cannot put down.

The band is joined by such luminaries as Richard Buckner, Syd Straw and Jeb Loy Nichols who all share in the vocals and the atmosphere.

MI0002299444

British Sea Power – Let The Dancers Inherit The Party 2017

BSP3.jpg

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.

51JVJmsIe5L._SS500

“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.”

Skyway Man – Seen Comin’ From A Mighty Eye 2017

screen-shot-2016-11-10-at-3-13-16-pm.png

To fully appreciate James Wallace (a.k.a. skyway man ), it helps to understand his background. The auteur is the ultimate Nashville outsider having worked with his hometown Richmond, Virginia’s Spacebomb collective and his own alternative — some might say experimental — folksy naked light band among other under-the-radar projects over the past decade. Along the way he’s picked up some high profile fans in the form of Alabama Shakes’ frontwoman Brittany Howard, but in Nashville he can be seen as a provocateur; a guy unafraid to push boundaries that transform pop into art. He continues that endeavor under his newest alias, Skyway Man.
It’s as good a name as any to lead a collective of nearly 20 musicians who have contributed to……his debut under this moniker. By any measure, Seen Comin’ from a Mighty Eye is an audacious example of what his press release calls “folk futurism.” The song cycle’s concepts are largely too obtuse to easily untangle, but the lyrics are sung in the first person and seem in part to be about living in a dystopian society.

Skyway-Man-1487706307-640x641

Wallace’s sweet, boyish voice makes even extended tracks like the wordy, nine-plus minute “Wires (Donny Angel and the Opening Wide)” go down easy, even if inscrutable lyrics such as “And if your sky catches fire ‘cause the tank crushed the car with the family inside/ and you fly from reason like sparks or rocks that you kick down the street with your heels while you’re waiting for the community van that takes you and your bag someplace that you’ve never been before”… phew … are a mouthful to unravel.

Musically, the twisted but melodic tunes encompass a variety of sounds, including but not limited to colorful psychedelic rock, lighter Beatles-styled pop, and a skewed Nilsson/Donovan chamber style that, even with multi-tracked instrumentation, including creative use of horns and string arrangements, stays frothy and generally bubbly. A sunlit prog-folksy instrumental titled “The Dedication of Giant Rock” splits the album in two pieces, giving the listener a break from having to scrutinize the lyrically dense songs.

Those more dedicated to the Wallace cause can spend the necessary effort disentangling the concept, but even for those who take a pass on that task, this is an impressive, bold, and ambitious 53-minute work. Wallace is clearly talented and you can tell he’s referring to himself, and perhaps the creation of this four-sided opus, when he sings “Visions and the sound of my blood/ have been keeping me awake at night.” – American Songwriter

The Jesus And Mary Chain – Damage And Joy 2017

87f0b8d6_1489501505_crop_550x276

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.

x-19

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

71xtrzYnfHL._SL1200_

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.