Australian artist Lenka has announced her fourth studio album album, “The Bright Side.”
Lenka began her artistic career as a Sydney-based television personality and went on to become an accomplished actress in her adolescence through her early adult years. Her musical career began when she became the lead singer of the seminal Australian rock band, Decoder Ring. But, after two albums, Lenka left the band, and moved to America. First, she settled in Los Angeles, and later moved to Brooklyn, New York, as she established herself as a successful recording artist and songwriter.
“The Show”, a song on Lenka’s first self-titled solo album, was used in the film “Moneyball”, along with many other commercials, served to put Lenka on the map in North America, Europe, Asia, and various other places around the world. Additionally, her song “Everything at Once” was used during the Microsoft Windows 8 global commercial, and that only further cemented Lenka’s place in modern music. According to a press release, American actor & singer Billy Crystal even sang one of her songs on the 2012 edition of the Academy Awards.
To date, Lenka has released three albums: the aforementioned self-titled “Lenka”, her upbeat and infectious sophomore album “Two”, and “Shadows”, an album of lullabies.
Now, she has announced plans for her fourth album, “The Bright Side”.
Lenka worked on “The Bright Side”, while also composing music for television and films. And, she’s been collaborating with her husband, James Gulliver Hancock, to create visual art and music videos that make her live shows an unusual, but enchanted experience. Their collaborations have also garnered Lenka over a million views on Youtube, according to a press release.
- Jess Marshalek (mxdwn)
1. The Long Way Home
2. Blue Skies
5. Get Together
6. Go Deeper
7. We Are Powerful
8. My Love
9. Hearts Brighter
10. The Bright Side
On 'Success', KEN mode shift sonic gears into a more raw, indie aesthetic representing their Canadian Prairie roots and a time when the late 80's/early 90s Touch & Go, Dischord and burgeoning 'grunge' scenes were warping their teenage minds. Armed with this mantra, KEN mode enlisted the services of legendary engineer Steve Albini (NIRVANA, THE PIXIES, THE JESUS LIZARD) to capture the material in a fully analog session, bringing to fruition their most raw and direct album.
2. These Tight Jeans
3. The Owl
4. I Just Liked Fire
5. Management Control
6. A Passive Disaster
7. Failing At Fun Since 1981
8. A Catalog Of Small Disappointments
10. Dead Actors
Deluxe Laminated Rear, Flipback Sleeve With Gold Foil Print
Limited To 1,000 Purple Colored Copies On 180g Vinyl With Insert
Restless creative spirits never sleep and class is eternal. Thus, the timely and welcome return of Johanna Sadonis is only to be expected. Despite the sudden and distinctly premature disintegration of her previous band The Oath in 2014, Johanna’s passion for making music that touches the darkest recesses of the soul has blazed on. The result is Lucifer – a new manifestation of the Berlin-based singer and songwriter’s extraordinary and potent musical vision.
Although still firmly rooted in the fertile soil first cultivated by Black Sabbath, Deep Purple, Led Zeppelin and Blue Oyster Cult, Lucifer exist in a proudly liberated and limitless sonic realm, where the heaviest blues rock is a mere starting point for the band’s skyward creative trajectory. Lucifer’s instinctive take on the very soul of early heavy metal is the electrified essence of rock’n’roll at its nascent purest. This is Magic Rock – heavy, heartfelt and holistic.
Eschewing the now well-worn clichés of the occult rock explosion in favour of a truthful and tempestuous re-imagining of classic 70s proto-metal and turbocharged blues, the two songs on this band’s debut seven-inch single crackle and fizz with nascent energy and the compelling conviction of music made for all the right reasons. Boasting a sound that revels in exquisite analogue warmth without ever retreating into some nostalgic ghetto, both ‘Anubis’ and ‘Morning Star’ came to life at Candy Bomber studios in Berlin, under the supervision of aural wizard Ingo Krauss, a one-time apprentice of legendary Krautrock producer Connie Plank. With the finest and most unique collection of old school analogue equipment, from tape machines to vintage amps, Candy Bomber provided Lucifer with everything they needed to realize their potent vision.
Lucifer represents the culmination of a spontaneous and intuitive creative mind-meld, wherein their leader’s kaleidoscopic focus collides with the heavy soul abandon of earthbound but astrally-inspired musicians at the top of their game. With songs crafted by Johanna and Cathedral legend Gaz Jennings – the first Lucifer release is a mesmerizing glimpse into the sumptuous depths that await us further down the evolutionary trail.
After the release of their debut seven-inch via Rise Above Records in February, Lucifer releases their debut full length, Lucifer I. While Johanna states that this first release does give some indication of the musical direction that this band will pursue, there is a strong sense that these songs are merely a prologue to the much deeper and more substantial body of work to come. Meanwhile, the band intend to hit the road to spread the news of Magic Rock to as many willing sinners as possible. With a solid line-up, a renewed sense of collective purpose and the invigorating effects of creative adrenalin propelling them forward, Lucifer is a glowing advertisement for fresh starts, clarity of vision and the rejuvenative powers of heavy music. Lucifer lives!
Dom Lawson, December 2014
2. Purple Pyramid
5. White Mountain
6. Morning Star
7. Total Eclipse
8. A Grave For Each One Of Us
Yonder Mountain String Band nationally releases its sixth full-length studio album, Black Sheep, on its own Frog Pad Records. On Black Sheep, Yonder Mountain continues to redefine bluegrass music, expanding the traditional acoustic genre beyond its previously established boundaries by pushing the envelope into the realms of rock n’ roll and improvisation. Produced by YMSB, Black Sheep marks the first time the band utilizes (throughout an entire record) the conventional five-piece bluegrass instrumental line-up of guitar, mandolin, banjo, fiddle and bass. Two standout musicians, violinist Allie Kral and mandolin virtuoso Jacob Jolliff, were recruited for the recording and the forthcoming tour dates.
With the release of Black Sheep, Yonder Mountain begins a new era. It’s instantaneously apparent that Black Sheep is the work of a new Yonder Mountain String Band, one with a strong commitment to re-exhibiting itself, broadening its parameters following the departure of a founding member. While it’s certainly recognizable as YMSB music, there’s undeniably a raw aesthetic to the studio tracks — a sense of daring is embedded in both the instrumental interaction between the five singular players and in the lyrical content of each song.
1. Insult And Elbow
2. Black Sheep
3. Ever Fallen In Love
6. I’m Lost
7. Around You
8. Love Before You Can’t
9. Drawing A Melody
10. New Dusty Miller
Reissue of the band's 3rd studio album on 180 gram vinyl. Formed in 1981, following a newspaper advertisement from the band's only constant member Mike Scott, The Waterboys were a changing line-up of musicians from Scotland, Ireland and England, who spent time developing their mix of Celtic folk music with rock and roll in many different locations; including Edinburgh, London, Dublin, Spiddal, New York, and Findhorn.
1. Don't Bang The Drum
2. The Whole Of The Moon
4. Pan Within
5. Medicine Bow
6. Old England
7. Be My Enemy
9. This Is The Sea
180 Gram Clear With Black Smoke - Limited to 1,500
Mastered For Vinyl From 24 Bit Sources And Lacquers Created By Stan Ricker
Matte With Spot UV Gatefold Jacket
8 Page Booklet With Vellum Overlay
From the depths of Florida comes COPELAND, one of the most beautiful and passionate bands your ears will ever have the pleasure to hear. This 4-piece band developed for 2 years in Florida's over-saturated music scene before moving to Atlanta in search of new audiences and a fresh start. Copeland's first full-length record, ''BENEATH MEDICINE TREE''. Virtuosic vocals from COPELAND front man, Aaron Marsh, at times pay homage to tenor legend JEFF BUCKLEY with belting confidence, or gleam with elegance and passion in the vein of Chris Martin (COLDPLAY). The songwriting is splendid, blending pop sensible melodies, lush harmonies, and moody lyrics with ambient guitar leads and clever arrangements encasing everything that is beautiful.
2. Testing The Strong Ones
3. Priceless (For Eleanor)
4. Take Care
5. When Paula Sparks
2. She Changes Your Mind
3. There Cannot Be A Close Second
5. Walking Downtown
6. When Finally Set Free
Desperate Youth, Blood Thirsty Babes starts right where Young Liars left off and propels TV On The Radio into uncharted sonic territory. Herein you will find more undeniably catchy songs with incredible production, arrangements and champion crooning, including some stunning a cappella performances. Featured are nine songs about discordant living, misrepresentation, life, afterlife and love. They're pop songs, they're rock songs, they're art songs, they're whatever you want them to be.
TV On The Radio's popularity and artistic potential has grown consistently from their 2003 EP Young Liars, to this their follow up full length, Desperate Youth, Blood Thirsty Babes and culminated thus far on their latest release Return to Cookie Mountain which was considered by most to be the 2006 album of the year.
1. The Wrong Way
2. Staring At The Sun
4. King Eternal
7. Don't Love You
8. Bomb Yourself
9. Wear You Out
Mastered from the Original Analog Source by George Ingram with Input from Third Man Records
The White Stripes, songwriter Jack White (vocals/guitar/piano/bass) and Meg White (drums/vocals) formed in 1997 in Detroit, Michigan. After releasing several singles and three albums within the Detroit independent music underground, The White Stripes rose to prominence in 2002, as part of the garage rock revival scene.
Their use of analog and low-fidelity equipment in the recording process partnered with a DIY approach created a raw simplicity of composition, arrangement and performance that sets them apart from their contemporaries.
The White Stripes 2001 album White Blood Cells served as the band's commercial breakthrough, going gold and yielding the Top 20 modern rock hits "Fell In Love With A Girl" and "Dead Leaves And The Dirty Ground."
1. Dead Leaves And The Dirty Ground
2. Hotel Yorba
3. I'm Finding It Harder To Be A Gentleman
4. Fell In Love With A Girl
6. Little Room
7. The Union Forever
8. The Same Boy You've Always Known
9. We're Going To Be Friends
10. Offend In Every Way
11. I Think I Smell A Rat
13. I Can't Wait
14. Now Mary
15. I Can Learn
16. This Protector
White Stripes and Raconteurs leader Jack White won¹t rest. Pairing with
Kills vocalist Alison Mosshart, the analog champion¹s latest quartet plays
psychedelic blues and stark rock that¹s moody, atmospheric, and hypnotic. Tinged with swampy vibes and ominous emotions, this is a supergroup that lives up to the names and pedigrees of its impressive roster of members.
In addition to White and Mosshart, The Dead Weather brings together Queens Of The Stone Age guitarist Dean Fertita and Raconteurs bassist Jack Lawrence. A veritable jack of all trades, White has turned his attention to the drums, leaving the guitar fireworks to Fertita. Most importantly, the quartet's iniitial batch of songs leaves nothing to be desired.
Steeped in mythology, dripping with trashy promise, and soaked in an aptly humid atmospherics, Horehound is a modern marvel--a full-band effort that pools the best of White's other bands into an utterly distinctive whole. The push-pull interplay between White and Mosshart is alone worth exploring; such tension, drive, and edginess inform the proceedings, which span funk, sleazy blues, greasy boogies, and fuzz-drenched rock. Call it an update on not only blues' traditions but those of film noir, where White is ensared by Mosshart's femme-fatale allure and the band plays the soundtrack while the devil marches in and takes control.
Recorded in just three weeks at White's newly constructed Nashville studio, Horehound has the sonics to match the excellent tunesmithship. Quickly becoming renown as one of the most analog-minded producers around, White worked to capture every nuance, texture, and note on this richly detailed album, which like the White Stripes' work, was intended to be heard on vinyl. Fertita's organ work and Lawrence's melodically distorted bass lines are not only heard but felt as they contribute to an ambience that's at once haunted and mesmerizing. You will not be disappointed at the results.
"Maybe the guy keeps such an insane work schedule because he's afraid idle hands are the devil's workshop. So while Meg White prepares to become Patti Smith's daughter-in-law, Jack keeps busy with this brilliant new band, tangling with Alison Mosshart of the Kills for an excellent album of sex sweat, bourbon breath, gun smoke and guitar sleaze. Advantage: devil!" --Rob Sheffield, Rolling Stone, July 13, 2009
1. 60 Feet Tall
2. Hang You from the Heavens
3. I Cut Like a Buffalo
4. So Far from Your Weapon
5. Treat Me Like Your Mother
6. Rocking Horse
7. New Pony
8. Bone House
9. Three Birds
10. No Hassle Night
11. Will There Be Enough Water?
Copper-embossed, gatefold tip-on jackets from Stoughton
Broken Boy Soldiers is the debut album from the Raconteurs. By pairing pop songsmith Brendan Benson with hard-rocking Jack White (the White Stripes) and backing them with the crack rhythm section of Jack Lawrence and Patrick Keeler (both of the Greenhornes) what resulted is a completely kick-ass album. From the anthemic volley of Steady, As She Goes to the sing-songy crunch of Hands and the downright sinister slow creep of Blue Veins this album covers the complete range of human emotion.
Broken Boy Soldiers is the first proper vinyl reissue from Third Man (both the V2 and XL versions of this LP are out-of-print) with plans to tackle the rest of the White Stripes and Jack White back catalog already in the works. Third Man aims for these reissues to be the definitive, go-to versions of all their titles and this issue of Broken Boy Soldiers definitely earns that distinction.
1. Steady As She Goes
3. Broken Boy Soldier
4. Intimate Secretary
7. Store Bought Bones
8. Yellow Sun
9. Call It A Day
10. Blue Veins
First Ever Reissue Of This Seminal 1975 Library LP
Remastered From The Original Master Tapes By Bernard Fèvre
On May 12th, Anthology Recordings commemorates the 40th anniversary of Bernard Fèvre's 1975 LP’s Suspense and Cosmos 2043 with their first ever reissues. Suspense exemplifies Fevre's cinematic skills in composing proto-electro vignettes and dramatic melodies befitting of the album's title. Cosmos 2043 is it’s
follow up, a wild, science fiction-themed library LP in which the enigmatic French synthesizer wizard conjures a far future populated by space-age electronics.
Both albums have been remastered from the original tapes. "Cosmos 2043 and Suspense were made one after the other in 1975," recalls Fèvre. "I chose to do everything myself, because I didn’t trust
the other producers and musicians; I thought they were way behind the times.”
Truly sui generis, Fèvre has since become a touchstone for countless generations of electronic musicians. This two album retrospective marks the first chapter in the Anthology Cinema Studies division, our ongoing exploration of this diverse genre.
1. Weekee Way
2. On The Channel
4. Magnetic Spool
5. Mister Green
6. What Happens
7. Double Dream
8. Rocal System
9. To Much Water
10. Contemplation Of The Mountains
11. Path Of Tomorrow
Disco Club is a groundbreaking 1978 EP of experimental electronic disco produced by French library music composer Bernard Fèvre and producer Jacky Giordano under the name Black Devil. The Aphex Twin-backed Rephlex label notably reworked a handful of Disco Club tracks in 2004, however, this is the first ever reissue of the EP in its original, intended sequence.
Hugely influential to generations of electronic musicians and and an impossibly rare piece, this edition has been treated to a remaster from the original tapes by Bernard Fèvre himself.
1. “H” Friend
2. Timing, Forget the Timing
3. One to Choose
4. We Never Fly Away Again
5. Follow Me (Instrumental)
6. No Regrets
Hailing from the Show-Me State, White Eyes lugged their heavy psych and harmony-clad ballads across the Midwest, honing their live set wherever audiences were abundant. Whether it be the famed Cowtown Ballroom in Kansas City or the nearest American Legion, the quintet of long-haired bohemians loaded a double bass drum set, a wall of Marshall amplifiers, and a array of acoustic guitars into their 1953 Cadillac hearse to deliver their impeccable stage show across the plains.
Despite years of relentless gigging, White Eyes never caught their break. This previously issued LP, recorded between the fall of 1969 and 1970, was originally intended as a demo for talent buyers and industry prospectors. Well-crafted arrangements and pro-sounding production make this an exceptional piece of
lost psychedelic pop.
1. It’s For You
2. Streetcar Love
5. I Know What It’s Like
6. Hard Hard Livin’
7. A Girl On A Hill
8. I’m Not A Free Man
Rivington Não Rio revels in the kind of compassionate
complexity that marks Prefuse 73's greatest works, with a
profound new element added to the mix: Patience.
Guillermo S. Herren's ability to marry the manic to the
melodic has always been uncanny, but here it feels
downright magical as the songs inhale with his trademark
sense of urgency…then exhale in longer, more revealing
breaths. The prismatic textures that have long been a staple
of Prefuse 73 are bound to beats and melodies with the
spirit of hip-hop and the subtlety of modern minimalism. The
album's guests treat the material with a hushed respect: Roc
Nation songwriter and Jessie Ware collaborator Sam Dew
turns "Infrared" into a sublimely soulful, dimly-lit portrait of
inverted R&B; Milo & Busdriver's vicious, rapid-fire verses
contrast a pastoral downbeat to brilliant effect; and
elsewhere, Pinback's Rob Crow and Latin electronic-folk
crooner Helado Negro navigate splintered tropics with
As a stand-alone album, Rivington Não Rio ranks
extraordinarily high in the Prefuse 73 canon. As a
centerpiece to an epic triptych that includes the Forsyth
Gardens and Every Color of Darkness EPs, it's a new peak
from a pioneer who appears to only just now be hitting his
prime. For an artist who has played an undeniably integral
role in the careers of so many influential artists, it's not just
refreshing to hear him return to top form...it's revelatory.
1. Señora 95 (Intro)
2. Applauded Assumptions
3. Quiet One (feat. Rob Crow)
4. Through A Lit And Darkened Path (Pts. 1+2)
6. Infrared (feat. Sam Dew)
7. Jacinto Lyric Range
8. 140 Jabs Interlude (feat. Milo & Busdriver)
9. See More Than Just Stars (feat. Helado Negro)
10. Mojav Mating Call
11. Open Nerve Farewells
The Holydrug Couple began in Santiago, Chile in 2008, a little over a half-decade
after Ives and Manu met for the first time. The two friends hadn’t seen each
other in a few years when Manu texted Ives to tell him that he bought a drum
kit. They started jamming, and a week later, the band was formed. A flurry of
songwriting activity followed, culminating in 2011’s Ancient Land EP and 2013’s
Noctuary, both released on Sacred Bones. Moonlust boldly treads territory that
those earlier psych-indebted recordings only hinted at, especially French movie
soundtracks of the ’70s and ’80s and the discography of Serge Gainsbourg.
“I had clear what I wanted to revisit from the last album, as well as what I didn’t
want to do again,” Ives said. “I definitely wanted to make a good-sounding record,
clear and heavy. I wanted to get away as much as possible from the ‘band’ sound.
The last album wasn’t recorded live, but I tried to make it sound as if it had been.
This time, I wanted to make an electronic-like album instead.”
The result is an album in the self-recorded Moonlust that falls well outside
the boundaries of the prevailing psych-rock idiom. In addition tothe French
soundtrack and Gainsbourg influences, they cite inspiration from the soul ballads
of Aretha Franklin, ’80s South American synthpop acts like Los Encargados,
Virus, and Los Prisioneros, and the contemporary French electro group
Air. The songs are streamlined hook delivery machines, without any baroque
arrangements or unnecessary flourishes to get in the way of their ultimate goal.
To Ives, the lyrical themes on the record represent “feeling lust, desire, for something
that you see when it’s dark but it’s so far away that it’s unreachable. It’s an
unrealistic target, like God, maybe, or a dream archetype of a goddess. It’s the
feeling of melancholy that you can’t fulfill with anything.”
If that feeling sounds anything like the songs on Moonlust, then here’s hoping
that he and Manu keep reaching out into that cosmic void anyway
1. Atlantic Postcard
3. Light or Night
4. French Movie Theme
5. If I Could Find You (Eternity)
6. I Don’t Feel Like It
8. Baby, I’m Going Away
9. Generique Noir
10. Submarine Gold
11. U Don’t Wake Up
12. Remember Well
The record was called Loyalty from the beginning—it was the first decision I made about it. It’s a word you
usually see written in copperplate script, a virtue: LOYALTY. But the songs don’t treat it that way, just as a
thing to unpack. It’s a force that you have to reckon with: loyalty to the dream, to the “work,” to the mythical idea of “you” that somebody thought they saw. It can be a weakness as much as a strength; it can keep you from the reality of your own life, your own self. - Tamara Lindeman
In excess virtue lies danger, or at least limits to pragmatic action—it’s a lesson hard learned by anyone
disillusioned by the erosion of youthful mythologies. Strict fealty to a fixed ideal of identity doesn’t do us
any favors as adults. Loyalty, the third and finest album yet by The Weather Station (and the first for
Paradise of Bachelors) wrestles with these knotty notions of faithfulness/faithlessness—to our idealism,
our constructs of character, our memories, and to our family, friends, and lovers—representing a bold
step forward into new sonic and psychological inscapes. It’s a natural progression for Toronto artist
Tamara Lindeman’s acclaimed songwriting practice. Recorded at La Frette Studios just outside Paris in
the winter of 2014, in close collaboration with Afie Jurvanen (Bahamas) and Robbie Lackritz (Feist),
the record crystallizes her lapidary songcraft into eleven emotionally charged vignettes and intimate
portraits, redolent of fellow Canadians Joni Mitchell, Leonard Cohen, and David Wiffen, but utterly her
Lindeman describes La Frette, housed in an enormous, crumbling 19th-century mansion, as
“a secret garden, a place of enchantment and grace”: walls mantled in ivy and lions, corridors piled high
with discarded tape machines, old reels, and priceless guitars. As she puts it, “Recording where we did
meant we embraced beauty—we weren’t afraid of it being beautiful.” Like the record itself, it’s a quietly
radical statement, especially since certain passages achieve a diaphanous eeriness and harmonic and
rhythmic tension new to The Weather Station. The stacked vocal harmonies of “Tapes,” the drifting,
jazz-inflected chording in “Life’s Work,” and the glacial percussion in “Personal Eclipse” contribute to a
pervading sense of clock-stopping bloom and smolder, recalling the spooky avant-soul of Terry Callier’s
Beyond the decaying decadence and vintage gear, the brokedown palace atmosphere of
La Frette afforded a more significant interior luxury as well, one stated with brutal honesty in the
stunning “Shy Women”: “it seemed to me that luxury would be to be not so ashamed, not to look away.”
Accordingly, Loyalty brings a freshly unflinching self-examining gaze and emotional and musical control
to The Weather Station’s songs. She is an extraordinary singer and instrumentalist—on Loyalty she plays
guitar, banjo, keys, and vibes—but Lindeman has always been a songwriter’s songwriter, recognized for
her intricate, carefully worded verse, filled with double meanings, ambiguities, and complex metaphors.
Though more moving than ever, her writing here is almost clinical in its discipline, its deliberate wording
and exacting delivery, evoking similarly idiosyncratic songsters from Linda Perhacs to Bill Callahan.
Outside her musical practice, Lindeman also happens to be an accomplished film and
television actor, and it’s her directorial eye for quietly compelling characters and the rich details of the
everyday, Bressonian in its specificity and scope, that drives the limpid singularity of The Weather
Station’s songs. As in Bresson’s films, there is no trace of theater here, no brittle singer-songwriter
histrionics, but rather a powerful performative focus and narrative restraint, a commitment to what the
auteur called the “simultaneous precision and imprecision of music.” Despite the descriptive delicacy, the
album never lapses into preciousness or sentimentality, instead retaining its barbs and bristles and
remaining resolutely clear-eyed and thick-skinned. Lyrically, Loyalty inverts and involutes the language
of confession, of regret, of our most private and muddled mental feelings, by externalizing those
anxieties through exquisite observation of the things and people we accumulate, the modest meanings
accreted during even our most ostensibly mundane domestic moments. (“Your trouble is like a lens,” she
discerns in “I Mined,” “through which the whole world bends.”)
“Tapes” and “I Could Only Stand By” expose and exalt the quotidian—“the little tapes”
hidden beneath a lover’s bed, “the sunken old moorings” at the “bruise-colored lake”—without romanticizing
these scenes of, respectively, grief and guilt. “Like Sisters” analyzes the darker contours of a
friendship with devastating scrutiny. The breathless momentum of “Way It Is, Way It Could Be”—“both
are,” she sings of the way we sometimes live, for better or for worse, amid multiple truths—hinges on a
mysterious moment when two brown dogs die underwheel, then don’t, and that gut-sickness is
overturned, a sin redeemed with a second glance. “Floodplain” and “Personal Eclipse” are also road songs
about traveling through, and owning, the empty places in-between, literally and figuratively—what
Lindeman deems “the various ways people try to disappear from themselves, in physical distance, in
To invoke Melville (author of PoB’s namesake story), “extreme loyalty to the piety of love”
can be a destabilizing force, a kind of bondage from which we must emancipate ourselves. The line is
from his strange masterpiece Pierre, or the Ambiguities; The Weather Station’s Loyalty could quite easily
support the same subtitle for the fascinating ways it navigates the deep canyons between certainty and
uncertainty, faith and doubt.
1. Way It Is, Way It Could Be
4. Shy Women
5. Personal Eclipse
6. Life’s Work
7. Like Sisters
8. I Mined
10. I Could Only Stand By
11. At Full Height
Landscape Dream is Abram Shook's followup to 2014's Sun Marquee, an album VICE called
"…pleasant as fuck" and Texas Monthly called "…compelling, weird, and lovely." Applying
what he learned through writing and recording Sun Marquee, Landscape Dream demonstrates
how much Shook's songwriting and production acumen has sharpened over the past year.
Creating Sun Marquee was a learning process, where songs were often forced out of experiments
in recording techniques. As Abram explains, "I had a lot of thoughts I just threw out
there, but often I arrived at dead-ends and had to figure out how to make something out of
what was available." However, on Landscape Dream he "went back to writing with just voice
and guitar and then used arranging, production, and recording ideas pulled from Sun
Marquee." The effectiveness of his new approach is clear from the 70's rock of "Find It" and
"Chelsea" to the African vibes of "Get Gone", the dreamy Brazilian vibes on "5AM" and "Beach
Glass", and the slow-jam soul found on "Perfect", "Jaw", and "Vessel".
To capture the songs, Abram joined forces with some of Austin's elite engineers including Erik
Wofford, Danny Reisch, Justin Douglas, Grant Johnson, and Christopher Cox. Over the course
of several months the team explored where each of these 12 songs would go. One example of
how far they took the songs from their original form is the energetic "Find It", which started
as a fast tropicalia tune Abram wrote on a classical guitar, but through production choices
evolved into an ode to garage-rock, psychedelia, and Zepplin all in one.
Like many of us, Abram dreads the exhausting sea of digital noise, which can be detrimental
to our ability to foster meaningful human connections. To escape the deluge of social media,
texts, emails, etc, he takes a daily walk in a vast, underutilized South Austin park with his dog.
Carving out a little time to step away from the laptop and cell phone has become a crucial
ritual for Abram, allowing him to reflect, and get some perspective on the world and how he
fits into it. Landscape Dream features several songs that reference that precious time he
spends communing with nature.
In addition to working on his own music, Abram became a touring member of the Austin-based
band Shearwater in 2014. As tiring as touring can be, escaping the noise of his everyday life
provided him with intense periods of self-reflection. Much like his daily walks, he found the
solitude of touring to be a nourishing and enlightening reminder of what really matters, and
that awareness and clarity helped him pen many of the brilliant songs you'll hear on
1. Never Die
2. Chelsea Walls
4. Beach Glass
5. Receiving You
6. Get Gone
7. 5Am Tribute
8. Find It
Novella’s formation was the result of an instant spark—guitarist Hollie Warren,
guitarist Sophy Hollington, and bassist Suki Sou met through mutual friends in
Brighton in 2010, where they quickly realized that they shared a common
love for ‘60s counterculture and bands like Black Sabbath, the Brian Jonestown
Massacre, and Pale Saints. The addition of drummer Iain Laws in 2011
and keyboardist Isabel Spurgeon in 2014 solidified the group into a propulsive
engine, capable of welding woozy, cosmic psychedelia to sustained
squalls of flanged-out, far-out dream pop. Novella’s debut album, Land, is a
controlled blast of mainlined electricity, a tempest of relentless groove and
crystalline vocals that is at once the vicious edge and the calm eye of the
Recorded during one ice-cold week in January of 2014 by Jonas Verijnen
(Moon Duo, Ballet School) and Joshua Third (The Horrors) in an abandoned
clothing factory-turned-studio in Dalston, East London, Land perfectly absorbs
the band’s vast array of influences and transforms them into songs
that Fact Magazine described as “equal parts effete jangle and ferocious
riffage.” Combining London gloom and cosmic escapism, Sou and Laws
channel Can and the 13th Floor Elevators on the krautrock-inspired jams like
“Follow” and “Something Must Change,” while Warren and Hollington stomp
their homemade flanger and phaser pedals to create dueling arcs of electric
guitars. As the band churns and riffs, the girls’ voices soar brilliantly, their
glassy clarity recalling the Lynchian shoegaze of Lush or Stereolab. During
quieter, more reflective songs like “Sentences” and “Younger Than Yesterday,”
there are echoes of eerie psychedelia like Broadcast, evident in the myriad
of flutes, synths, and Fender Electric XII guitars.
On Land, Novella captures the wild spirit of creating something new from
pieces of the past. They ward off the overcast London melancholy with
evocative tales of weightless meandering, of drifting over the pavement of
familiar streets while dreaming about exploring fantastical alien landscapes.
These are the yarns of twenty-somethings in limbo, a collection of late night
tales that more often end in avoided glances than locked eyes
2. Something Must Change
4. Two Ships
5. Land Gone
7. Blue Swallows
8. Younger Than Yesterday
9. Again You Try Your Luck
10. Skies Open
“When thinking back to heavy music and the 1990′s, it’s easy to just neatly summarize it up as grunge…and then nu metal. But we mustn’t forget that between the two, several metal bands “went goth” – tops being Type O Negative and of course, HIM. And HIM frontman Ville Valo certainly succeeded in putting his own unique spin on dark imagery and vampirism on his band’s debut full-length, Greatest Love Songs Vol. 666.” – Greg Prato
1. For You (Intro)
2. Your Sweet Six Six Six
3. Wicked Game
4. The Heartless
5. Our Diabolikal Rapture
6. It's All Tears (Drown In This Love)
7. When Love And Death Embrace
8. The Beginning Of The End
9. (Don't Fear) The Reaper
1000 Palms marks a return to Surfer Blood's DIY ethos. Abandoning the big time
studio, the band decided to head back home to self-record and self-produce their
third full-length album. Free of major-label-influence, Surfer Blood has delivered a
uniquely compelling album, unlike anything in their catalog.
The story of 1000 Palms began on January 1st 2014, after playing a New Year’s show in
Portland, OR. The band decided to stick around for the rest of the month, renting a
practice space and sorting through a backlog of ideas. By February, as their lease ran
out, Surfer Blood had recorded demos for most of the tracks that are now featured
on their third LP.
After a frustrating time at their previous home, Warner Brothers, the quartet was
beyond ready to return to a more DIY recording process, completely void of the
middlemen scrutinizing every bar of previous LP, Pythons. With the band
self-recording, it was in the glamorous setting of an attic studio above a doctor’s office
where drums were committed to tape. Of the work, frontman John Paul Pitts states
“fortunately none of us are strangers to DIY recording, so this seemed like the kind of
challenge well-suited to our band”.
The making of 1000 Palms also owes a lot to the kindness of friends and family, with
the remaining instrument sessions taking place at the home of drummer Tyler
Schwartz’s parents, while they were on vacation. Following a few days of very little
sleep and after the band pooled resources and called in favors, the band had
managed to craft everything you now hear on the upcoming record.
1. I Can't Explain
2. Death And The Maiden
3. Grand Inquisitor
5. I Can't Explain
6. Feast - Famine
7. Point of No Return
8. Saber-Tooth & Bone
9. Covered Wagons
11. Into Catacombs
12. Other Desert Cities
13. NW Passage
Pfarmers is the new project from Danny Seim (Menomena, Lackthereof), Bryan Devendorf
(The National), and Dave Nelson (David Byrne & St. Vincent, Sufjan Stevens).
Danny and Bryan have been friends since The National and Menomena toured together
in the early 2000s. Their paths crossed several times since then, most recently backstage
at a festival, where Bryan showed Danny some severly damaged, synth-affected
drumbeats he had recorded with his friend Dave, sho was currently playing horns in David
Byrne’s band. Shortly after, Pfarmers was born.
According to Seim, “The record is about a dream I had where I’m reluctantly accepting a
fear of drowning by focusing on being reincarnated as a giant Gunnera plant, which thrive
on the banks of rivers (specifically the Jordan River i.e. the Biblical promised land) after I
paint myself gold and sink to the bottom like the El Dorado of South American folklore.”
Despite the notoriety of it’s members, Pfarmers sounds unlike anything they’ve produced
before. The first track “Benthos” is a sprawling ambient piece comprised of looping,
layered horns. The album then launches into a set of pop songs, reminiscent of Lackthereof
(Danny’s solo project), as played by Kraftwerk. Devendorf’s trademark drum style is
present, but here they’re filtered so heavily as to sound mechanical. Seim contributes
layered vocals, and thick bass brooves, while Nelson provides complex spatial arrangements.
It’s a diverse record, switching swiftly between catchy pop songs and long instrumental
breaks. It’s a rich and rewarding album, for those willing to dive in.
2. You Shall Know The Spirit
3. Work For Me
4. El Dorado
5. The Ol’ River Gang
6. How To Build A Tube
7. Promised Land
"Of all of HIM's albums, Deep Shadows and Brilliant Highlights possesses the biggest contrast between dark and light. There may not have been as many entombed emotions and vampire hearts to be found here, but Valo's sensual delivery and poetic words still dove into an ocean of romantic darkness, albeit with a hopeful light shining through on tunes like "In Joy and Sorrow" and "You Are The One." - Bryan Reesman
1. Salt In Our Wounds
2. Heartache Every Moment
3. Lose You Tonight
4. In Joy And Sorrow
6. Close To The Flame
7. You Are The One
8. Please Don't Let It Go
10. In Love And Lonely
11. Don't Close Your Heart
12. Love You Like I Do
Includes Additional Bonus 12” Single Of William Orbit Mix Of “Let Me In Your Heart Again”
Having in the three months since its original release already provided Queen with their twenty fifth top ten album and twenty sixth UK gold album, Queen’s current best selling compilation package Queen Forever is to receive a special limited edition vinyl release coming this spring.
The original 36 track 2 CD Queen Forever release will now be made available as a strictly limited 4 LP vinyl box set which includes an additional 12” single bonus disc exclusive to the set featuring a special William Orbit mix of the only recently heard Freddie Mercury track “Let Me In Your Heart Again”.
The Orbit mix was held back from the Forever CD release and only surfaced for a limited period to support the Coca-Cola (RED) AIDS awareness campaign mounted at the tail end of last year.
The B side of the 12” single has a further bonus feature exclusive to this box set – a laser etching of the box set cover illustration.
Distinguishing itself as the first Queen album to feature new Freddie Mercury led tracks since the band’s 1995 Made In Heaven album, Queen Forever brings out into the light the long anticipated track from Queen and Michael Jackson, ‘There Must Be More to Life Than This’, an unfinished Mercury-Queen track 'Let Me In Your Heart Again' originating from the band’s The Works album recording sessions (featured on this vinyl package in a newly available William Orbit mix) and a new ballad version of Mercury’s first solo hit, his Giorgio Moroder collaboration, ‘Love Kills’, which is currently being heavily played at UK and European radio.
The rest of the package mixes Queen hits, classic tracks and celebrates the extraordinary musical path of one of the world’s greatest rock bands. Reaching back as far as 1974 with fan favourite Nevermore, a Freddie Mercury song originally included on Queen II, Queen Forever progresses to feature songs that spotlight the band’s songwriting prowess, studio experimentation and remarkable development, and is completed with latter-day Queen hits, including ’91’s no. 1 These Are The Days Of Our Lives and ‘95’s Too Much Love Will Kill You, together with the poignant A Winter’s Tale, recorded during Freddie Mercury’s final Queen recording sessions in Montreux in 1991.
Queen Forever is a thrilling showcase for exclusive new Queen recordings but equally as much a paean to the extraordinary musical achievements of John Deacon, Brian May, Roger Taylor and the late Freddie Mercury, whose singular talent we again get to marvel at through this meticulously presented 36 track collection.
1. Let Me In Your Heart Again
2. Love Kills – the ballad
3. There Must Be More To Life Than This (William Orbit Mix)
4. Play The Game
5. Dear Friends
6. You’re My Best Friend
7. Love Of My Life
9. You Take My Breath Away
10. Spread Your Wings
1. Long Away
2. Lily Of The Valley
3. Don’t Try So Hard
5. These Are The Days Of Our Lives
7. Las Palabras De Amor
8. Who Wants To Live Forever
9. I Was Born To Love You
1. Somebody To Love
2. Crazy Little Thing Called Love
3. Friends Will Be Friends
5. One Year of Love
6. A Winter’s Tale
8. Mother Love
1. It’s A Hard Life
2. Save Me
3. Made In Heaven
4. Too Much Love Will Kill You
5. Sail Away Sweet Sister
6. The Miracle
7. Is This The World We Created…?
8. In The Lap Of The Gods…Revisited
Bonus 12” Single
1. Let Me In Your Heart Again (William Orbit Mix)
Queen Forever Etching