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PollinatorYou catch yourself when you ask Debbie Harry and Chris Stein,
one of the most captivating creative pairings in music ever, about the
creeping gentrification of New York City. You catch yourself because
Blondie was formed during a 1970s era of urban decay - a time when
the travails of being in a band, seeking an artistic outlet, or instigating a
scene as a means of existence was a survival of the fittest among streets
of heightened crime and social unrest. Certainly, those 1970s New
York streets have been glamourised in the onslaught of retrospective
looks at the punk, new wave, disco and hip-hop scenes that found their
fundamental roots in that era. But it certainly wasn't an easier time to
live there. The challenges and intensity of the city were just different.
Blondie emerged the fittest. They've outlived the groundbreaking moment
that birthed them and have adapted to time, space and industry
evolution as much as the face of New York itself. Walk into any dance
club tonight and hear a 'Call Me' or a 'Heart Of Glass'. Talk to
any hip-hop historian and recall that Debbie was an original Beastie
Boy who took rap music to the masses when it was still a block party
concern. Read any tome on the history of punk and they're interwoven
into the fabric of the one genre that still inspires most and every
band to pick a name and find a practice space. Their active presence
in our lives 40 million albums sales and countless accolades later
(including a Rock And Roll Hall Of Fame induction in 2006 and
NME Godlike Genius Award in 2014) isn't something anyone wants
to take advantage of.
That's what their 11th album 'Pollinator' sets out to establish. In true
pop art fashion it's as post-modern as a concept gets and the perfect
way to move on from 2014's 40th anniversary celebrations and the
subsequent release of 'Ghosts Of Download'. In 'Pollinator' exists a
giant feedback loop - one in which Blondie created, then generations
were inspired, then those generation created and inspired, and are
now teaming up with Blondie. When the time came for Chris, Debbie
and drummer Clem Burke to "get the band back together" and make
an album, choice pioneers from the decades since Blondie's birth
were called upon to contribute songs for the record, thereby weaving
their own way into the living, breathing story of the band, a group that
directly affected their own genetic makeup. The list is enviable and
reflects the dynamism of Blondie's very own cross-pollinating past:
Johnny Marr, Sia, Dev Hynes, Charli XCX, Dave Sitek (TV On
The Radio), Nick Valensi (The Strokes) and The Gregory Brothers
all lent their creations for Blondie to interpret, each building upon the
aspect of their heroes that's bolstered their own sound.1. Doom or Destiny
2. Long Time
3. Already Naked
5. My Monster
6. Best Day Ever
8. When I Gave Up on You
9. Love Level
10. Too Much
11. Fragments$22.99Vinyl LP - Sealed Buy Now
ControlFollowing on from last year's 'Nebula Dance' album, Ital Tek comes with a 25 minute EP that frees itself from easy catagorisation. And the 160bpm cross-pollination of footwork and drum & bass is just the jump off point.1. Fireflies
5. Challenger Deep
7. Jupiter Ascent
8. Doom/Dream$11.99Vinyl LP - Sealed Buy Now
X Marks The SpotWhen we at Alternative Tentacles see words like reunion or recently reformed, we tend roll our eyes and pay no heed. Even so, we weren't too surprised when the reformed Zolar X wrote and performed some new songs that were seriously rockin'- and fit snugly next to their 1970s masterpieces as heard on the Zolar X anthology Timeless.
X Marks The Spot features all new songs that are the triumphant result of an intergalactic cross-pollination of glam, power pop, proto-punk and a little bit of metal-and, of course, some advanced space elf aesthetic.1. Oveon Triopp
2. Retro Rockets
3. Hyper Space Drive
4. I'm Plugged In
5. Saucers On Sunset
6. In Orbit Around You
7. Astro Tots
8. Back In Hollywood
9. Message Transmitting
10. Plutonian Marmalade
11. Speed Of Thought
12. A Moment In Time
13. Holiday On Mars
14. X Marks The Spot$10.99Vinyl LP - Sealed Buy Now
Constricting Rage Of The MercilessFrom the combatant onset of Poisonous Existence In Reawakening, and the tense, hammering momentum of Unraveling Paradise, to the punkish urgency of FBS and the fiendish cascades of Schadenfreude (literally meaning the pleasure derived from the misfortunes of others), Goatwhore spew their unadulterated, subterranean metal as channeled through the historic likes of Motörhead and Bathory, with the insatiable hunger of a pack of wild boars. These are true requiems of revolt, at once predatory, epic, hate-fueled and sadistic. Due at least in part to the sheer synergy that comes from living in a van together for weeks on end, Constricting Rage Of The Merciless is razor sharp in musicianship literally writhing beneath the weight of its own sonic enormity. Duet's thick, gnarled guitar tones and bestial vocal accents coil seamlessly around Simmons' and Harvey's, brash, chest-heaving rhythms. It's all punctuated by the imposing voice and cynical prose of Falgoust who literally ran laps around the studio before taking to the mic to summon a more frantic, rasping edge to his signature tirades, now more enunciated than ever before. When Falgoust howls, WE ARE COMING TO SMASH YOUR IDOLS! (in traditional metal rager Baring Teeth For Revolt), souls weaken, forests die, planets implode. In a saturated metal landscape where sub-genres spawn sub-sub-genres and the very definition of metal seems repeatedly distorted by cross-pollinating madness, sacred are the bands who to stay true to their proverbial roots without repeating them.1. Poisonous Existence in Reawakening
2. Unraveling Paradise
3. Baring Teeth for Revolt
4. Reanimated Sacrifice
5. Heaven's Crumbling Walls of Pity
6. Cold Earth Consumed in Dying Flesh
8. Nocturnal Conjuration of the Accursed
10. Externalize This Hidden Savagery$23.99Vinyl LP - Sealed Buy Now
Full Cold MoonCold Cave is the creative rebirth of acclaimed musician and writer Wesley Eisold. Cutting his teeth in underground bands American Nightmare (Give Up The Ghost) and Some Girls, Eisold's body of work has truly effected a generation of listeners. Through constant cross-pollination Eisold has gained mass appeal, influencing underground and popular culture with his ever evolving artistic vision.
With an already prolific number of releases, Cold Cave has become a name synonymous with the contemporary resurgence of Darkwave and Synth Pop sub-genres. Propelling Cold Cave to perform at world class museums The Getty and the Guggenheim, as well as performances with legends Sonic Youth, The Jesus and Mary Chain, Nine Inch Nails, among others.
Deathwish are proud to announce "Full Cold Moon" from Cold Cave, now for the first time on 12"LP vinyl format (a CD collection was released on Eisold's Heartworm imprint in 2014).
"Full Cold Moon" is a compilation of EP recordings originally individually released in 2013, now presented as one collection; "A Little Death to Laugh", "Oceans With No End", "God Made the World", "Black Boots", and "Nausea, the Earth and Me". Notably this is also the first vinyl appearance of the song "Dandelion" as well as the entire "Nausea, the Earth and Me" EP (previously only available on limited CD and Digital formats). This is Cold Cave at it's most artistically skeletal, similar to the celebrated "Cremations" and "Love Comes Close" releases. Twelve minimal compositions driven by Eisold's synth derived hooks, alluring vocals, and compelling character.1. A Little Death To Laugh
2. Young Prisoner Dreams of Romance
3. Tristan CorbiÉre
4. Oceans With No End
5. People Are Poison
6. God Made the World
8. Black Boots
9. Meaningful Life
10. Nausea, the Earth and Me
11. Don't Blow Up the Moon
12. Beaten 1979$15.99Vinyl LP - Sealed Buy Now
My Life In The Bush Of GhostsNow approaching its 25th anniversary, Brian Eno and David Byrnes My Life in the Bush of Ghosts appears downright visionary. With its found vocals, cut-and paste arrangements, funked-up rhythms and embrace of influences from all around the globe, the duos controversial work anticipated the creative cross-pollination and technological innovation of contemporary electronic dance music, world music, hip hop and alternative rock. You can hear echoes of My Life in the Bush of Ghosts in the anthems Moby built around vintage vocal samples, in the outrageously exotic beats of Missy Elliot and Timbaland, in the Middle Eastern-accented chill-out tracks of Thievery Corporation or Bjorks otherworldly soundscapes.
Back in the day, however, critics were divided and audiences were, well, confused. Eno and Byrne themselves didnt know quite what they were looking for at first. They shard an enthusiasm for African music, especially the hypnotic grooves of Nigerian Feka Kuti, and a desire to free themselves from the constraints of conventional songwriting. They embarked on a nomadic journey through studios in New York City, Los Angeles and San Francisco. The players who accompanied them on these sessions included drummers Chris Frantz (Talking Heads) and Prairie Prince (The Tubes), bassist Bill Laswell (Material) and Tim Wright (DNA), avant-garde percussionist Dave Van Teighem and conga player Steve Scales, part of the Remain In Light live band. The result of their labors was an album that married West African and American R&B rhythms with the impassioned voices of talk-show hosts and evangelists taped off the radio or the evocative sound of prayerful singers culled from Middle Eastern field recordings. Byrne recalls their entire adventure in fascinating liner notes that detail the recording process and address the resulting critical furor. My Life in the Bush of Ghosts was cut between Talking Heads Fear of Music (1979) and Remain In Light (1980), but sample clearance issues, an almost unheard-of-problem in the analog era, kept it on hold until 1981.1. America is Waiting
2. Mea Culpa
4. Help Me Somebody
5. The Jezebel Spirit
6. Very, Very Hungry
7. Moonlight in Glory
8. The Carrier
9. A Secret Life
10. Come With Us
11. Mountain of Needles$24.99Vinyl LP - 2 LPs Sealed Buy Now
WARB-NON-2058xShannon And The Clams
OnionShannon & The Clams' forthcoming release Onion was produced by The Black Keys front man Dan Auerbach at his Nashville studio. On their new LP, the band explores themes of origin and self-determination, loss and recovery, and the power of community to heal after tragedy. "It's okay for people to interpret the songs," Shannon Shaw says. "You can put your own story into it if that helps you heal. I just want people to feel something, whatever it is."
Shannon & The Clams had already begun writing for the Onion sessions in Fall 2016, when their world was rattled by the Oakland Ghost Ship warehouse fire in early December. In the wake of the fire, the band looked back at their origins in the Oakland underground and the importance of that world to their genesis. They could recognize the community as a delicate incubator for fringe art, and an unstable but nurturing place for performers to practice and cross-pollinate where there otherwise is no platform. The song "Backstreets" is Cody's response to the Ghost Ship fire, and particularly the issues of artist housing and being forced to make your own way in a society that is not arranged to accommodate artists. Album closer "Don't Close Your Eyes" is Shannon's response, an inspirational ballad urging those suffering through loss to not give up in the midst of tragedy.
Over the last decade, Shannon and her chief collaborator guitarist Cody Blanchard have released four albums of 60s-inspired pop on indie labels, toured tirelessly and have gradually solidified a lineup of devoted Bay Area musicians. In this current iteration, Shannon and the Clams, consisting of Shannon Shaw on bass and vocals, Cody Blanchard on guitar and vocals, Nate Mahan on drums, and Will Sprott on keyboards.1. The Boy
2. It's Gonna Go Away
4. If You Could Know
5. I Never Wanted Love
7. Did You Love Me
8. Love Strike
9. I Leave Again
11. Tell Me When You Leave
12. Strange Wind
13. Don't Close Your Eyes$19.99Vinyl LP - Sealed Buy Now
Listen Like Thieves (Awaiting Repress)Listen Like Thieves on Numbered Limited Edition LP from Mobile Fidelity Silver Label
Breakthrough 1985 Album Charted Three Great Singles
Australian Band Finds Its Groove With Bluesy Grooves, Pop Hooks
Includes "What You Need," "Listen Like Thieves," and "Kiss the Dirt"
Mastered on Mobile Fidelity's World-Renowned Mastering System and Pressed at RTI
True to the title of the record's smash single, INXS gives you what you need on Listen Like Thieves. Originally released in 1985, the breakthrough album marked the group's deserved entrance into the mainstream radio sphere and commercial charts. With its sound honed from prior records, INXS develops an enviably balanced combination of dance grooves, bluesy persuasion, acoustic framing, and pop bluster on this batch of supremely catchy fare, equally memorable for its melodic nature and stylistic fusion.
Working with producer Chris Thomas (John Cale, Pete Townshend, Roxy Music), INXS expands its versatility and reach. Vocalist Michael Hutchence, too, comes into his own, singing more confidently, soulfully, and warmly than in the past. While avoiding cheap imitation, the Aussies turn to the Rolling Stones as influences, churning out thick riffs and slithering rhythms that aim for the hips and stimulate the feet. Hutchence splits the difference between the sexual bravado of Mick Jagger and primal depth of Jim Morrison, and in doing so, establishes himself as an original who's always careful not to overdo anything or overstay his welcome.
Bolstered by a series of can't-miss singles-the swaggeringly funky "What You Need," sharp thrust of "Listen Like Thieves," and wistful "Kiss the Dirt"-Listen Like Thieves teems with glorious hooks and intertwining instrumentation that cross-pollinates jazz, R&B, new-wave, and pub rock. Honking saxophone lines surge throughout, punctuating the spare chords and driving bridges with an insouciant edge missing from most of the decade's pop. A knack for atmospheric production also plays a large role. On "Shine Like It Does," a majestic moodiness takes hold, while "This Time" gives U2 a run for its money.
Mastered on Mobile Fidelity's world-renowned mastering system and pressed at RTI, Silver Series' numbered limited edition LP significantly enhances the midband, textural qualities, and ample spaciousness-all previously boxed-in on prior editions. The character of the bass notes, as well as the depth and breathiness of the vocals are also noticeably improved, bringing out the music's personality and dynamics like never before.
This title is not eligible for discount.1. What You Need
2. Listen Like Thieves
3. Kiss the Dirt (Falling Down the Mountain)
4. Shine Like It Does
5. Good & Bad Times
6. Biting Bullets
7. This Time
8. Three Sisters
9. Same Direction
10. One X One
11. Red Red Sun$24.99Vinyl LP - Sealed AWAITING REPRESS Buy Now
Home AgainFew records make such an instant impression as Home Again, the debut album by Michael Kiwanuka, winner of the prestigious BBC Sound of 2012 prize. Immersing the listener in a sound that is both modern and at the same time as familiar as the classics, it manages to strike the balance between being contemporary and somehow utterly timeless. For Kiwanuka, key musical touchstones include Marvin Gaye, Otis Redding, Bob Dylan, Paul Simon, Shuggie Otis, Roberta Flack's First Take, Bill Withers' Live At Carnegie Hall and D'Angelo's modern soul landmark Voodoo.
Born in Muswell Hill to Ugandan ÉmigrÉ parents, Kiwanuka was brought up in a home from which music was largely absent, with his first introduction to rock (Nirvana, Radiohead) arriving at the same time as he began to hang with the skater kids in the north London suburb during his early teenage years. Later coming across a soul compilation album given away with a music monthly, he was enthralled by the sound of Otis Redding's studio talkback discussions with his engineer while recording an outtake version of (Sittin' On) The Dock Of The Bay. From this point on, he resolved to make music that sounded raw and authentic.
Though deeply into soul and jazz, he found real inspiration in the cross-pollination of the two styles with folk in the music of Bill Withers. "Bill Withers was very rootsy and earthy," he points out, "but people branded him as a soul singer. To me, he was a folk artist. So that encouraged me to keep going, 'cause I didn't know where I would fit in as a black guy with an acoustic guitar."
While performing on the acoustic circuit around London, Kiwanuka quickly attracted interest and made connections, not least with his current manager who in turn garnered the attention of Communion Records, the label that in 2011 released the singer's first two acclaimed EPs, Tell Me A Tale and I'm Getting Ready. Both of these EPs, as with Home Again, were produced by Paul Butler (The Bees) in his vintage equipment-stuffed basement studio at his house in Ventnor on the Isle Of Wight. Together the pair played almost every instrument to be heard on the album, with Butler's remarkably intimate, detailed productions adorned with everything from flute to brass to sitar to aching strings, perfectly matching Kiwanuka's visions for his songs.
"The way we made the record was very modern," the singer points out. "There was loads of editing. We manipulated it to get exactly what we wanted." From the opening bars of the stirring Tell Me A Tale, it is instantly clear that Home Again is a very special album. While its more upbeat characteristics are embodied in the Prince Buster-like loping of the lovelorn but irresistibly catchy Bones and the rolling soul groove of I'll Get Along, elsewhere it proves itself to be a record of real stripped-down beauty.
In I Won't Lie, with its gospel-infused echoes of The Staples Singers, Kiwanuka offers something akin to a modern spiritual, while in Rest he turns in a tender love lullaby and in Always Waiting, he blends classical elements with the confessional intimacy of Roberta Flack. It is with the title track of Home Again, however, that Michael Kiwanuka feels the record's sounds and themes are ultimately encapsulated. "That's the song that really for me ties everything together," he says. "It's one of the earliest songs I wrote for the album and even though I progressed and changed stuff in the studio, it was the one I could never throw away. Like a lot of them, it's a hopeful song. I use home as the metaphor for contentment and peace within."
Other parts of the record, on the other hand, find Kiwanuka struggling for peace of mind and using his songs as a form of self-empowerment, not least in the soulful I'm Getting Ready, the darker, unburdening Any Day Will Do Fine and the self-explanatory Worry Walks Beside Me. "It can really paralyze you, if you worry too much," the singer admits. "I do tend to overthink things. All of these songs are me talking to myself, really. Trying to encourage myself to believe."1. Tell Me A Tale
3. I'll Get Along
4. Home Again
5. I'm Getting Ready
7. Always Waiting
8. I Won't Be Long
9. Any Day Will Do Fine
10. Worry Walks Beside Me
11. Lasan$19.99Vinyl LP - Sealed Buy Now
UNIM-BMX-9984xThe Band Perry
The Band PerryDaddy rocked us to sleep with the Rolling Stones; Mama woke us up with Loretta Lynn. So we get it honest. - Kimberly Perry
Inheriting a cross-pollinated love of country and rock & roll from their parents, The Band Perry - siblings Kimberly, Reid, and Neil Perry - say that they bleed the bright red blood of American music. The three have always felt the drive to perform and create music, sweating out the summers in Mobile, Alabama playing in any dusty roadhouse or church that would have them. Kimberly strapped on her first Gibson - and fronted her first high school band - at age 15, employing Reid, then 10, and Neil, only 8, as her roadies. Changing guitar strings and polishing cymbals for their big sister lost its charm after awhile, so the brothers formed their own band, opening for Kimberly's band.
My bass and I've been attached at the hip since I was 10 years old, says Reid. While most of my friends were playing little league, I was sitting in my room learning Rolling Stones' and Beatles' bass lines. It's really all I've ever known. Even as the three worked in different bands, the siblings would spend nights at home playing together: I remember sitting out on our front porch singing old Hank Williams and Bobbie Gentry songs in three-part harmony, hoping to channel the spirits of old country through musical sÉance while fighting off the southern Alabama mosquitoes, says Kimberly. We always knew we'd take the stage together - all we were waiting on was the right moment. That moment came in July of 2005, when - after years of writing together - the siblings decided to join forces as one band. The Band Perry was then invited by the Coca-Cola Bottling Company to open all of the dates on their New Faces Of Country Tour that year.
In the summer of 2008, after spending a few years on the road honing their sound, TBP met longtime Garth Brooks manager Bob Doyle. Partnering with Bob and Josh Pegram, The Band Perry spent the fall and winter of 2008 writing in Nashville and collecting songs for their first country recording session.
The three of us bring different strengths into the writing room, Neil points out. Kimberly carries in a bag of melodies and lyrics, Reid always has some really great musical ideas in his back pocket, and I bring in a sense of humor and some thread that ties it all together.
The new recordings caught the ears of Scott Borchetta and Jimmy Harnen, the CEO and President of Republic Nashville, signing to the new label in the summer of 2009.
When talking about The Band Perry, each member of the trio stresses how much family figures into the mix: Reid, Neil and I share genes and a musical pedigree, Kimberly explains. We read the same classics and cook from the same recipes. With all of our likenesses though, I believe it's our distinctions that stir up the magic when we create. When the three of us sit down to write songs together, we pull from all of our individual perspectives and happenstances to create the most interesting song concoctions.
There's a tightness between the three of us that goes way beyond even best friends, Neil adds. Family vocal harmonies can't be fabricated. And, besides - the three of us know that through the thick and thin of life and the music business, we're watching after each other.
Blood runs thick. The music business can be hard, but the three of us are committed not only to our lives in music, but to living them together, Reid says. I think the security of knowing that about each other allows us to be uninhibited when we create. It's a democracy. It's a safe haven.
We've walked a long way to find your ears, Kimberly Perry finishes with a grin. So play us long and play us loud. The Band Perry is here, and we just have so darn much to say.1. You Lie
2. Hip To My Heart
3. If I Die Young
4. All Your Life
5. Miss You Being Gone
6. Double Heart
7. Postcard From Paris
8. Walk Me Down The Middle
10. Quittin' You
11. Lasso$19.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now