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Bowie Next Day'
The Next DayDavid Bowie's First New Album in Ten Years and his 30th Studio Recording.
On 2 LP with CD and Bonus Tracks
The Next Day was produced by long-term collaborator Tony Visconti and was recorded in New York. In the early morning hours of Tuesday, January 8, David's birthday, Iso/Columbia Records released his new single titled 'Where Are We Now?' In recent years, radio silence has been broken only by endless speculation, rumor and wishful thinking. A new record-who would have ever thought it? Who'd have ever dreamed it? After all, David is the kind of artist who writes and performs what he wants when he wants when he has something to say as opposed to something to sell. Today, he definitely has something to say. Now we all know, David Bowie has been in the recording studio-just when we least expected it.
Throwing shadows and avoiding the industry treadmill is very David Bowie despite his extraordinary track record that includes album sales in excess of 130 million; not to mention his massive contributions in the area of art, fashion, style, sexual exploration, and social commentary. It goes without saying that he has sold out stadiums and broken ticket records throughout the world during this most influential of careers.LP 1
1. The Next Day
2. Dirty Boys
3. The Stars (Are Out Tonight)
4. Love Is Lost
5. Where Are We Now?
6. Valentine's Day
7. If You Can See Me
8. I'd Rather Be High
1. Boss Of Me
2. Dancing Out In Space
3. How Does The Grass Grow?
4. (You Will) Set The World On Fire
1. You Feel So Lonely You Could Die
3. So She (Bonus Track)
4. Plan (Bonus Track)
5. I'll Take You There (Bonus Track)$33.99Vinyl LP + CD - 2 LPs Sealed Buy Now
New York Before The WarJesse Malin returns in the New Year with a brand new album: New York Before The War, preceded by a single, Addicted.
Arriving almost five years on from his last record (2010's Love It to Life), Jesse's artistic ambitions for New York Before the War, were high: he knew he had to make it count. "I wanted to make a record that encompassed everything I've done, since I started with my hardcore band, Heart Attack, when I was twelve or or thirteen through bands like D Generation and then my solo career, but I also wanted to challenge the listeners who have been with me - and challenge myself."
Pared down from close to forty songs, New York Before the War album more than matches that ambition: A soundtrack to a life lived with meaning. "This is an era when music is so disposable," Malin worries. "People talk about the death of the album and even the death of rock & roll. But this is not just a shuffle of songs. There is a cinematic thread, a story."
Sessions for the album began in Virginia, Nashville before moving on to New York, finishing up at the Magic Shop in Soho. Players include such downtown New York all-stars as guitarist Derek Cruz, bassist Catherine Popper and drummer Randy Schrager. Don Dilego produced early sessions for the album in Virginia, and Malin and Cruz co-produced in New York. Brian Thorn, who worked on David Bowie's The Next Day, engineered and mixed the album.
Opening with The Dreamers, a haunting ballad that evokes both the alienation and the sense of deep connection that travel can bring (and very nearly became the album's title track), the album moves on through darker meditations like She's So Dangerous and Bar Life. Elsewhere, taut, upbeat rockers like Freeway (which features a blistering solo by the MC5's Wayne Kramer) and Turn Up the Mains (with Alejandro Escovedo on backing vocals) dictate the pace and Peter Buck contributes a vintage R.E.M.-style guitar part to I Would Do It For You, a tale of personal loyalty filled with longing and an aching sense of conviction.1. The Dreamers
3. Turn Up The Mains
4. Oh Sheena
5. She's So Dangerous
6. The Year That I Was Born
7. Boots of Immigration
9. Bent Up
10. She Don't Love Me Now
11. Death Star
12. I Would Do It For You
13. Bar Life$16.99Vinyl LP - Sealed Buy Now
BlackstarSpecial Die-Cut Packaging
Blackstar is David Bowie's 28th studio album and his first since memorizing the world in 2013 with the critically acclaimed 'The Next Day'. The release of Blackstar coincides with David's birthday. The album's title track is the first single, and is accompanied by a short film visual by the acclaimed director Johan Renck. Music from the Blackstar single has been featured in the opening title credits and trailers for the TV series The Last Panthers, also directed by Johan Renck.1. Blackstar
2. 'Tis A Pity She Was A Whore
4. Sue (Or In A Season Of Crime)
5. Girl Loves Me
6. Dollar Days
7. I Can't Give Everything Away$29.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
The Journey Man"In my music," says Goldie, "is everything I've learned, everyone I've met, everything I've experienced." And it's been an incredible trip. The maverick innovator - who rewrote the future of the jungle scene with landmark releases that still sound like they were kidnapped from tomorrow - has a unique story to tell. From children's homes in the West Midlands through stints in New York and Miami as one of the UK's most celebrated exponents of graffiti art to rubbing shoulders with an exceptional list of musical collaborators including David Bowie, Noel Gallagher and KRS-One, Goldie has defiantly, definitively, done it his own way. "I'm an alchemist," he likes to insist. "I practice the dark arts of messing with the form of something solid."
Though marriage and his passion for bikram yoga have, he says, proved a calming influence, these days he's just as full of inspired, out-there ideas as he was back in 1993 when he did his first cover interview for the rave magazine Generator. "My music is about fallout," he said then, "about the damage that has been done to the system." Today, in the office of one of his London-based contacts, the ideas are still sparking. "Drum'n'bass has done to electronic music what graffiti has done to the art world," he muses, before launching into a rapid-fire synthesis of art history, dancefloor evolution and his own hyperactive brand of self-actualization, which loosely translates as: "Why do something ordinary when you can do something extraordinary?"
It sums up the reason why, in 1994, music critic Simon Reynolds famously observed: "Goldie revolutionized jungle not once but three times. First, there was Terminator (pioneering the use of time stretching), then Angel (fusing Diane Charlemagne's live vocal with David Byrne/Brian Eno samples to prove that hardcore could be more conventionally musical), now there's Timeless, a 22-minute hardcore symphony." Each of these were moments that shaped the musical fabric of the decade and beyond, presaging Goldie's transition from the underground rave scene into the world of bona fide A- list superstars.
But it didn't start out like that. The boy who would become Goldie was born Clifford Price on 19 September 1965, just as The Rolling Stones hit the top of the charts with Satisfaction. His dad Clement, originally from Jamaica, had been plying his trade as a foundryman in Leeds. His mum Margaret, who had been born in Glasgow, was a popular singer in the pubs and clubs of the West Midlands. Barely more than a toddler, Goldie was just three when she placed him into foster care (though she kept his younger brother Melvin). He still remembers, he says, the day the social workers came to take him away.
Over the next 15 years, he bounced between a series of foster homes and local government institutions around the Walsall area. His eclectic musical taste was forged, he reckons, in those same local authority homes listening to the sonic tangle of other teenagers' record collections. "In one room," he says, "a kid would be playing Steel Pulse while through the wall someone else had a Japan record on and another guy would be spinning Human League." On rare visits to see his dad, he'd lie sprawled over the living room couch, listening to Jazz FM, marveling at the lavishly-tooled '80s productions of Miles Davis, Pat Metheny, David Sanborn and Michael Franks, adding further layers to his complex musicography.
Already developing the irresistible urge to excel that has marked his inimitable musical career, Goldie's first love was roller-hockey. He earned a place as goalkeeper in England's national squad before the lure of music overtook the lure of sport. After discovering electro and hip hop, he grew his hair - the "goldilocks" that won him his nickname - and joined a breakdance crew called the B-Boys in nearby Wolverhampton. He also discovered graffiti. "They called me 'the spray can king of the Midlands'," he says proudly. His talent was undeniable, bringing him to the attention not only of Britain's Arts Council but to Dick Fontaine, producer of a Channel 4 TV documentary on graffiti. Fontaine's 1987 film Bombin' captured a visit to the UK by New York artist Brim Fuentes. Brim met Goldie and his B-Boys crew in Wolverhampton's Heathtown before heading a dozen miles away to Birmingham's Handsworth, where the producer filmed the aftermath of rioting that had left four dead, 35 injured and dozens of stores burned out. Several months later, Fontaine reversed the process and took Goldie to New York, introducing him to hip-hop pioneer Afrika Bambaataa. For Goldie, on his first trip abroad, never mind his first trip over the Atlantic, the Big Apple was love at first sight. Back in Britain, he begged, borrowed and saved until he had enough to fund a return trip to the Bronx.
"I started painting the trains and getting involved on the streets," he says, remembering his total immersion in what was still, at that point, an emerging culture. Art and music as symbiotic technologies. Rubbing shoulders with the Big Apple's best graffiti artists, his own distinctive style was accelerated and enriched. A move to Miami followed. He worked in the flea markets, he says, "painting trucks for drug dealers" and developing a sideline in gold jewelry that included the distinctive grills that became a trademark on his return to the UK. The magical properties of shaping, working and bending precious metals to his will - as close to alchemy as the modern world gets - became an analogue for the way he prefers to operate in the studio, chasing quicksilver dreams, mercury-fast rivulets of imagination into impossibly lush, breakbeat concertos. Back in Britain, Goldie found himself seduced by the sweetheart of the rave. Though it took him eight attempts to get entry into the club, at London's Rage in 1991 he marveled at the alternate sonic worlds being forged by Fabio and Grooverider behind the decks. "It really flipped me out," he remembers. Soon he found himself in the orbit of Dego McFarlane and Mark Clair. Their label Reinforced was in the vanguard of breakbeat, issuing astonishing records that stripped out boundaries and limits while setting the tone for the scene's sense of adventure. At first, he helped out doing artwork and a bit of A&R. But soon he was in Reinforced's Internal Affairs studio watching intently as Mark and Dego recorded tracks like Cookin' Up Ya Brain and Journey From The Light. "I was watching what they could do," says Goldie, "trying to gauge the possibilities of the technology." Soon he was getting involved. "I remember one session we did that lasted over three days," he says, "just experimenting, pushing the technology to its limits. We'd come up with mad ideas and then try to create them. We were sampling from ourselves and then resampling, twisting sounds around and pushing them into all sorts of places."
What followed was a series of inspired break-driven releases such as Killa Muffin, Dark Rider and Menace. Then Terminator, with its writhing drum loop, dropped and suddenly Goldie's name was on everyone's lips. He followed up with the equally revolutionary Angel, tilting the axis towards the lush, trippy textures that made 1995's debut album Timeless the drum'n'bass scene's first platinum album. Incredibly, given what was happening elsewhere in the scene at the time, the recording of the album's epic title track began as far back as 1993, when most other producers were still focused on the original sonic tropes of hardcore rave.
Timeless was a masterpiece - of production, of songwriting, of sonic perfection and breakbeat futurism. Even today, it still sounds as astonishingly new and inspired as it did back on those early pre-release cassettes circulated by London Records in the early months of 1995 when Goldie was still living on the 18th floor of a North London tower block.
By then, Goldie had already set up his own record label - Metalheadz - with his friends the DJ duo Kemistry and Storm. Along with studio collaborator, Rob Playford's Moving Shadow and LTJ Bukem's Looking Good imprint, Metalheadz helped to define drum'n'bass as a distinct musical format with singles by J Majik, Asylum and Goldie himself. Still bursting with energy, he then launched a legendary club night, Metalheadz Sunday Sessions, at London's Blue Note. The scene's best producers - among them revolutionary artists like Photek, Source Direct, Peshay and Dillinja - would compete to have their latest recordings debuted at the club and the scene's faithful came from far and wide to hear the best tunes before anyone else. "Those nights at the Blue Note were magical," he recalls. "It was an underground phenomenon that became an institution." David Bowie, who was making the drum'n'bass-influenced album Earthling at the time, fell in love with the place. "I remember popping out to take a break from all the madness inside the club," says Goldie. "He was outside having a cigarette, a bit of a breather. We chatted for a bit, looked at each other, grinned and then plunged back into it all. It was just that kind of place."
Goldie is one of only a handful of artists ever to co-write with Bowie - on the track Truth from the drum'n'bass pioneer's second album Saturnz Return. Released in 1998, the album also saw his vision become more expansive (the opening track, Mother, clocked in at just over an hour). The album's collaborative approach included guest spots from rap legend KRS-One, Sex Pistols manager and all-around provocateur Malcolm McLaren, super-producer Trevor Horn and Oasis main man Noel Gallagher (on the single Temper Temper).
Fuelled by the limitless creativity that has been the hallmark of his career to date, Goldie next turned to acting. He reunited with Bowie in Andrew Goth's 1999 thriller Everybody Loves Sunshine then took the part of Bullion in the 1999 James Bond movie The World Is Not Enough. Other box office smashes - including Guy Ritchie's crime heist caper Snatch - followed before he joined the cast of BBC1 soap opera EastEnders, playing the gangster Angel Hudson.
A series of blockbuster TV appearances - on shows such as Maestro (where he learned to conduct an orchestra), Classic Goldie (which saw him perform his own orchestral composition at the Royal Albert Hall in the summer of 2009) and Goldie's Band: By Royal Appointment.
The orchestral training proved useful. In 2014, he translated his original vision for Timeless into the stunning Timeless (Sine Tempore). Performed live with the Heritage Orchestra at the Wilderness Festival to suitably rapturous acclaim, the performance was repeated the following year as part of the Meltdown Festival at London's Royal Festival Hall. In between, he found time to unveil Fragments Of Gold, a piece inspired by medieval chants that he performed live in Glasgow Cathedral.
Drum'n'bass, of course, has remained a consistent passion, both through his Metalheadz label and his releases under the Rufige Kru moniker (2007's Malice In Wonderland and 2009's Memoirs Of An Afterlife). "Technologically," he says, "breakbeat has managed to surpass all other forms of music to date. There isn't a recording engineer alive who can tell me there's any other form of music that is more complex than the music we make." Goldie has also recently announced he will be releasing a brand new double album 'The Journey Man' this year. The album comprises two parts, 16 brand new tracks in total, all written and produced by Goldie. It also features a host of collaborators handpicked by Goldie to help realize his vision for the album.
"I often look at music not so much as a producer but like a director. You're drawing together engineers, performers and arrangers to create something special, something magical. It's like alchemy. The notes, the music, the lyrics, they're all in my head and each element has to be communicated and brought to life to create the finished track. I'm always inspired by great movie directors - people like Stanley Kubrick and PT Anderson - and, if you think about it, it's quite a similar approach. They start off with a vision and then they use that vision to deploy the actors and the cameramen and the editors in order to create the finished film."
Collaborators on 'The Journey Man' album include vocalist and songwriter Natalie Duncan, who was discovered when chosen in the three-part BBC series 'Goldie's Band By Royal Appointment' and later provided the vocals for Goldie's 2012 single 'Freedom'. Other featured vocalists on the album include Terri Walker, Tyler Lee Daly, Natalie Williams, JosÉ James, Naomi Pryor as well as Goldie's wife, Mika Wassenaar Price.
'The Journey Man' will be released through Cooking Vinyl and Goldie's own record label, Metalheadz.
Goldie's love affair with painting has remained consistent too and he continues to exhibit visual work that's just as dazzling as his sonic output. Beginning with Night Writers, the 1986 exhibition at Wolverhampton's art gallery that introduced Goldie and his Supreme Graffiti Team to the British Arts Council, his shows have defined a unique aesthetic that's all his own. And through them all, from 1987's Rockin' The City in Birmingham (where he exhibited alongside Massive Attack's Robert Del Naja) and the 1988 Crucial Creators exhibition in Walsall to more recent gallery events like 2007's Love Over Gold and 2012's Athleticizm collection (including portraits of London Olympics stars such as Victoria Pendleton, Tom Daley and Jessica Ennis), runs a consistent thread of energy, experimentalism and boundary-pushing. His 2013 collection, Lost Tribes, an innovative series of pieces fusing Goldie's style with the artistic expression of the ancient peoples of Africa, Asia and America was, he says, "my most important breakthrough".
And for the kid who lay awake, gazing at the stars, through the window of a children's home, growing up has brought some surprises. In 2012, he was selected as one of the BBC's New Elizabethans, 60 people - ranging from David Hockney to Roald Dahl, David Bowie and Tim Berners-Lee - who have helped shape British culture during the reign of Elizabeth II. Four years later, he was awarded the MBE in the Queen's New Year Honours. It's acceptance, of course, on a grand scale. But at heart, he's still the gatecrasher, amped-up on ideas, buzzing on nothing but love, hope and the certainty that, while his way might not be the easy way, it's very definitely the path of a true artist.
- Tim Barr, 2017LP 1
1. Horizons (feat. Terri Walker & Swindle)
5. The Mirrored River
1. I Adore You (w/ Ulterior Motive)
2. I Think of You
3. Truth (feat. Jose James)
1. Tu Viens Avec Moi?
2. The Ballad Celeste
3. This Is Not A Love Song
4. The River Mirrored (feat. Terri Walker)
6. Tomorrow's Not Today
7. Run Run Run$35.99Vinyl LP - 3 LPs Sealed Buy Now
Uptown SpecialUptown Special, the fourth album by producer-songwriter-musician Mark Ronson, is a tale of several cities, a wide range of collaborators, and a road trip deep into the American South. However the story of Ronson's latest project really starts back when he was New York's hottest DJ.
In the late 1990s into the early 2000s the New York club scene was percolating with booming hip-hop and glitzy R&B. In those days before he emerged as a multi-talented musical force Ronson manned the turntables of many great parties. "It was a fun time to be playing music," he says. "At clubs like Cheetah you didn't have to play a hip hop record until 1a.m. You could play early '80s classics by Chaka Khan, Boz Scaggs and Michael Jackson and rock the crowd. I'd play Steely Dan's 'Black Cow' at 11:30 and it world work. Then, at 1am you'd play 'Hypnotize' by Biggie and the crowd would go wild. I come back to those memories."
This mix of vintage R&B and pop with contemporary hip-hop is what made Ronson a star DJ. "I never get tired of hearing records like Earth, Wind & Fire's 'Can't Hide Love' next to 'Rock the Boat' by Aaliyah," says Ronson. "I wanted this record to feel like hearing that kind of musical mix on great New York club night."
Uptown Special has all of the flavor of a night with Mark rocking the ones and twos with funk, soul, and psychedelic pop in a style that echoes classic productions by Quincy Jones and Steely Dan, and funneled through its creators sophisticated understanding of arrangement and melody. Of his three previous albums Mark feels like Uptown Special is closest in spirit to his 2003 debut, Here Comes the Fuzz, which came directly out his DJ experience. "The difference," Mark says "is I was reaching for things musically I wasn't quite ready to execute. With all the experience I've gained over the years I had the maturity and knowledge to really pull this together."
The first single, "Uptown Funk," features GRAMMY® award-winning superstar Bruno Mars on vocals and drums, who sings with passion and plays drums with fire that will bring funk back on the radio. Joining Mars on the track is Mark on guitar, Mars' bassist Jamareo Artis and Jeff Brasker on keys. Mark produced Mars' massive hit single, "Locked Out of Heaven," where they developed a close musical kinship. "As a live performer no one out here now puts on a show like Bruno," says Mark. "This record has that same intensity. When you hear him sing you are always aware of how much he puts into a performance." Mark was so taken with the single's power that it inspired the album's title.
Though Ronson is now based out of London, most of Uptown Special was recorded in the United States with stops in Los Angeles, Memphis and Mississippi. Most of the music was recorded with live musicians with Mark anchoring the sessions on guitar, while surrounded by a complimentary mix of gifted young players and R&B vets. Several musicians, who worked with Mark on his historic production of Amy Winehouse's multi-platinum Back To Black and his own breakthrough album, 2007's Version, rejoined him for this album, including drummer Homer Steinweiss, bassist Nick Movshan and guitarist Tommy Brenneck. Also making guest appearances on 'Uptown Special' are bassist Willie Weeks (who played on Stevie Wonder's classic Innervisions) guitarist Carlos Alomar (who created the familiar guitar riff on David Bowie's "Fame") and drummer Steve Jordan (member of the John Mayer Trio).
Mark Ronson's Uptown Special is a unique blend. It's an album with a serious literary pedigree matched to down home greasy funk. It features a progressive pop vocalist from Australia and one reared in Mississippi, the spiritual root of American music. Hot young contemporary players dominate while some tracks are spiced with legendary musicians. It's a mix that reflects the musical taste and life experience of its creator.1. Uptown's First Finale
2. Summer Breaking
3. Feel Right
4. Uptown Funk
5. I Can't Lose
7. Crack In The Pearl
8. In Case Of Fire
9. Leaving Los Feliz
10. Heavy And Rolling
11. Crack In The Pearl pt. II$21.99Vinyl LP - Sealed Buy Now
REDD-SEA-0016xDillinger Escape Plan
Option Paralysis (Red Vinyl) (Awaiting Repress)Pressed On Red Vinyl
Limited Edition of 500 Copies
Printed Dust Sleeve & Vinyl-Only Bonus Track
At first glance, "Option Paralysis" seems like a highly inappropriate title to describe the constantly evolving output of THE DILLINGER ESCAPE PLAN. But once you're faced with the cumulative power and vision of guitarist Ben Weinman, vocalist Greg Puciato, bassist Liam Wilson, guitarist Jeff Tuttle and new drummer Billy Rymer, you'll wonder-right after you pick yourself up off the floor-why more bands don't achieve similar force-of-nature status.
"The title 'Option Paralysis' represents being in a situation where you have so many choices you can't decide, and end up being frozen," says founding member Weinman about the mindset permeating the band's fourth full-length album. "Back in the early days when I started to discover music, go to shows and find out about new bands, there were 'filters' from various circumstances - geography, economic status, etc - which deeply affected how a band sounded and what they stood for. Now, everyone is going through the same filter-namely computers and the internet-and everyone has the same circumstances: Everybody's seeing the same thing for the first time at the very same time, simultaneously all over the world. That very system is negatively affecting art and has created a situation where everything is influencing itself and art is not based on struggle, personal scarcity or unique and personal inspiration. This cultural revolutions is a big part of what determines our mission. We're not listening to any of the bands around us for some kind of input as to what we should sound like. At this point, we're using our own accomplishments as a measurement of what we need to do next."
From their early days in the late-'90s as short-haired Rutgers, New Jersey, college students delivering hyper-complex thrash to audiences of boorish long-haired surly metalheads, to performing with NINE INCH NAILS on the pioneering electronic band's farewell shows, the DILLINGER ESCAPE PLAN have merely one prerogative: to go forward in ALL directions simultaneously. Their groundbreaking 1999 debut full-length, "Calculating Infinity", is inarguably the essential technical-metal talisman for the 21st century, melding hardcore's blinding rage with a musical vision that made most progressive-rock bands sound positively lazy by comparison. "Irony Is A Dead Scene", the band's 2002 collaboration with Mike Patton, maintained their patented extremity while exploring electronic textures. The 2004 follow-up, "Miss Machine", (the first record to showcase frontman, Puciato) was a distillation of the band's work thus far, while including jaw-dropping flirtations with mainstream metal ("Unretrofied") that further enforced DILLINGER's desire-and ability-to take their music wherever the hell they wanted. 2007's "Ire Works" had the band finding inspiration from underground glitch and breakcore electronica, as well as indigenous music genres, in a world seemingly overrun with metalcore bores and screamo trend-hoppers. THE DILLINGER ESCAPE PLAN's unerring sweat equity has consistently found resonance with listeners on both sides of the stages the band trod upon.
"Option Paralysis" marks the beginning of another trajectory in the DEP mythology. After aligning themselves with the renowned Relapse label for most of their career, the band entered into a deal with the French label SEASON OF MIST to put out "Option Paralysis", tagging their new PARTY SMASHER INC label. "We signed a pretty traditional record deal with them for one record," explains Weinman. "What's exciting is that Michael [Berberian, SOM label founder] is a really big music fan and has a great understanding of how we operate. He was totally aware of the possibilities and limitations of working with a band like us-he's not expecting pop hits-and he's been extremely enthusiastic to dive right in and make it work for everyone."
Produced by Steve Evetts, Dillinger's new music is positively abundant with possibilities. Drummer Billy Rymer, whom Weinman describes as "young and hungry," now occupies the engine room that powers the band. Frontman, Puciato has always had a knack with a bellow that could make reciting a grocery list seem like an exhortation to open the mouth of Hell. But feeling some of the lyrics on "Option Paralysis", you can't positively determine if the singer is handing down indictments ("Farewell, Mona Lisa") or feeling emotionally wounded. "This record is concept driven but there is still a very emotional and personal aspect to his lyrics," says Weinman soberly. "He's going through transitional stages in his life right now." Nothing so eloquently supports that statement than the six and-a-half-minute "Widower", where the band are joined by veteran David Bowie keyboardist Mike Garson for an aural excursion that incorporates piano-trio jazz, tender balladry and anthemic power. While there's no shortage of DEP plasma-balls on "Option Paralysis" ("Room Full Of Eyes", "Good Neighbor"), the band keep things fresh with the math-rock/free-jazz convergence of "I Wouldn't If You Didn't," the electro-tweaked "Chinese Whispers" and the closing "Parasitic Twins". The latter track sports lead vocals courtesy of guitarist Tuttle, as well as Beach Boys-styled harmonies and a major-key Weinman solo that's more Clapton (ca. Derek And The Dominos) than calculus crush. Clearly, this is not your older brother's DILLINGER ESCAPE PLAN. "We're just trying to make music we can be stimulated by," says Weinman about the assorted directions and sonic vistas on "Option Paralysis". "We consider ourselves songwriters, which is kind of odd when you consider the kind of band most would consider us."
As passionate about their craft as ever, DEP are looking to ramp up things even more in 2010, with a planet-beating touring campaign that includes basement shows, a stint on the main stage at this summer's Vans Warped Tour, a performance at the legendary Cochella festival, and various points in between. But after 12 years of deliberately challenging themselves, as well as the preconceived notions of critics and the strict genre-specific zealots of the world's underground music scenes, the big question remains: What is the mission of the DILLINGER ESCAPE PLAN? It's a question Weinman addresses with equal parts melancholy, unwavering determination and humor. "I've been trying for a while to have someone explain that to me," he says, laughing. "Seriously, 'Option Paralysis' represents why we're here and why we're still making music. We started at a time when there wasn't all this access to the larger world. Our only goal was to make a small dent in the scene that we were in. The fact we've made it this far and that we're still relevant is really special to me. I feel that it is extremely important for bands like us to continue to represent the ethic and attitude that was present during a time that doesn't exist anymore."
"That," he says, pausing to smile. "And I have to pay my mortgage somehow "1. Farewell, Mona Lisa
2. Good Neighbor
3. Gold Teeth on a Bum
4. Crystal Morning
5. Endless Endings
7. Room Full of Eyes
8. Chinese Whispers
9. I Wouldn't If You Didn't
10. Parasitic Twins
11. Chuck McChip (vinyl only bonus track)$21.99Colored Vinyl LP - Sealed AWAITING REPRESS Buy Now
REDD-EAS-3418xEasy Star All-Stars
Easy Star's ThrillahFollowing up on the hugely successful reggae tribute albums of Dub Side of the Moon (2003), Radiodread (2006) and Easy Star's Lonely Hearts Dub Band (2009) comes the reggae adaptation of the greatest selling record of all time - Michael Jackson's Thriller. The album, titled Easy Star's Thrillah will be released August 28, 2012 (a day before the 53rd anniversary of Jackson's birth). Easy Star's Thrillah brings back several of the reggae stars from previous albums, such as vocalists Michael Rose (Black Uhuru), Steel Pulse, Luciano, Mojo Morgan (Morgan Heritage), alongside the diverse playing of guests Yossi Fine (David Bowie, Lou Reed, Stanley Jordan), Joe Tomino (Dub Trio/Matisyahu), Andy Farag (Umphrey's McGee), and horn tracks courtesy of Israel's highly-acclaimed funk/hip-hop band Hadag Nachash. The album will be preceded by the July 10th digital release of the Billie Jean EP, which includes two album tracks, along with non-album remixes and a dub version.
In selecting Thriller, Easy Star Records co-founder Lem Oppenheimer says, We've always tackled the greats - The Beatles, Pink Floyd, Radiohead - but while we wanted to take on another huge album, we also wanted to blaze new trails. In Thriller we found those new trails in a number of firsts for the series: the first album by an American artist, the first non-concept album, the first R&B/soul record, as well as the first release from the 80s.
For me, I was most excited for Thriller, says producer/arranger/guitarist Michael Goldwasser. I was always more of an R&B/soul and reggae kid growing up and I have an intense personal connection to Michael Jackson's music. As usual, the process initially involved Goldwasser spending a few months on arranging the songs. Writing the arrangements for this album was a cool challenge. I didn't have to try to make non-dance music into dance music as on our previous albums because the original Thriller is so danceable already, but I needed to find ways to make each song groove in a different way from the original version. I didn't want any of the arrangements to be obvious in that regard. In the end, Goldwasser's arrangements are some of the most interesting in his career.
Now that the hard work in the studio is done, the band is looking forward to bringing this music on the road, adding some dance/pop songs to their already varied sets. The band's live show, which was nominated for a UK Festy Award in 2009, already features tracks from the band's previous three tribute albums, along with original material. An extensive fall tour of the US and UK is already set up (US dates listed below), with more to come over the next year. As the original Thriller album comes up on its 30-year anniversary in November, what better way to celebrate this timeless album than to catch the Easy Star All-Stars perform their reggae-infused versions of this pop masterpiece.1. Wanna Be Startin' Somethin'
2. Baby Be Mine
3. Girl Is Mine
5. Beat It
6. Billie Jean
7. Human Nature
8. P.Y.T. (Pretty Young Thing)
9. Lady In My Life
10. Dub It
11. Close to Midnight$21.99Vinyl LP - 2 LPs Sealed Buy Now
Angels & DevilsIt's after the end of the world, don't you know that yet...
With recent reports from various think tanks predicting we have somewhere in the range of 15 years left before the collapse of society begins, it would seem like Kevin Martin's sonic predictions of dystopian London that were set out on 2008's London Zoo were pretty accurate. And if we are in fact declining rapidly to chaos, there's no better time then the present to take the focus of that sonic assault from earthly domains and blast it to the netherworlds above and below.
The aforementioned London Zoo is where Kevin Martin, found his true voice. Pulling the fringes into a collective, unilaterally hateful assault. A psychological warfare driven by bass that on one hand captured a moment of London, yet also encapsulated a global message influenced by years of timeless and classic out-music.
The latest offering from the The Bug, Angels & Devils, escapes the London cage, drawing on it for influence yet blowing it up into a world-view now seen from Kevin Martin's new Berlin home. A record that simultaneously draws on London Zoo, completes a triptych cycle which started with his Bug debut Pressure, and fills the spaces between and inserts what was missing previously. Both a year zero re-set and a continuation of what has been. Like the Bowie/Eno classic Low, or Can's Tago Mago, the album is split into two distinct themes and explorations of light & dark. Bringing the angel & devil voices together under a single common banner. Antagonist at times, but not solely for the sake of being antagonistic, there's a beauty and lush sparseness to be found within, even when at its most chaotic. Truly only The Bug could find the common ground between Liz Harris (of Grouper) & Death Grips and make it seamless. Angels & Devils stretches the polarity of its predecessor in both directions simultaneously and is even more extreme for its new found seductiveness and added intensity. Deep space is explored, and physical assault is administered. In these days of YouTube quick fixes, and single tune memory spans, its a joy to witness Martin actually charting a cohesive narrative that rejoices in celebrating life through sonic sex and violence, beauty and ugliness. This is an audio thriller that delights in pursuing its own singular path/vision.
With the Angel side(s) up first, things kick off with Liz Harris (of Grouper) in the submerged lushness that is Void. Followed by contributions from ex Hype Wiliams half copeland (Fall), the blissed out patois of touring partner Miss Red (Mi Lost), two truly zoned Bug instrumentals, and rounded out by Gonjasufi on Save Me. It's a collection of heady, dubbed out cinematic blissfulness with a lurking darkness before giving way to devils...
Devils leads off with the return of long time collaborator Flowdan on the mic and the guitar of Justin Broadrick (Godflesh / Jesu) bringing a complete about face to the proceedings and setting the tone with The One. Roll Deep's Manga steps up next with the instant Bug classic Function, which is being currently smashed on dubplate, by Mala, Kahn and Logan Sama. Death Grips raise the antagonistic bar with Fuck A Bitch. Flowdan & Justin Broadrick come back for the cinematic death crawl of Fat Mac. Warrior Queen steps in for hands down the nastiest vocal she's ever delivered (which is saying a lot) for Fuck You, and finally Flowdan steps up again to round it all off with a Devils battle cry of sorts dirty, fuck that murky....
The concept is completed by the artistic expression it's packaged in, courtesy of Simon Fowler (Cataract). Known for his work for Sunn O))), Earth, and others, Simon has delivered a stunning hand drawn illustration, that sort that would make Bosch proud, showing the duality of the proceedings.
Utopian/dystopian, black/white, complexity/singularity, negative/positive... Angels/Devils.1. Void (Featuring Liz Harris)
2. Fall (Featuring copeland)
4. Mi Lost (Featuring Miss Red)
6. Save Me (Featuring Gonjasufi)
7. The One (Featuring Flowdan)
8. Function (Featuring Manga)
9. Fuck a Bitch (Featuring Death Grips)
10. Fat Mac (Featuring Flowdan)
11. Fuck You (Featuring Warrior Queen)
12. Dirty (Featuring Flowdan)$29.99Vinyl LP - 2 LPs Sealed Buy Now