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The Night We Met'
13 Reasons Why - Season 2 (A Netflix Original Series Soundtrack) (Pre-Order)The original soundtrack to 13 Reasons Why (Season 2) is set for release on vinyl via Interscope Records.
The 13 Reasons Why (Season 2) soundtrack features brand-new music from Selena Gomez ("Back To You"), OneRepublic featuring Logic ("Start Again"), Billie Eilish featuring Khalid ("lovely"), YUNGBLUD featuring Charlotte Lawrence ("Falling Skies"), and Lord Huron featuring Phoebe Bridgers (a new version of "The Night We Met"). Like its predecessor, the soundtrack also features a mix of '80s New Wave favourites including classics from New Order, Echo & The Bunnymen, Orchestral Manoeuvres In The Dark, Tears For Fears, and Siouxsie and the Banshees.
The second season of 13 Reasons Why picks up in the aftermath of Hannah Baker's death and the start of the characters' complicated journeys toward healing and recovery. Liberty High prepares to go on trial, but someone will stop at nothing to keep the truth surrounding Hannah's death concealed. A series of ominous polaroids lead Clay Jensen and his classmates to the discovery that Hannah wasn't the only one to suffer at the hands of Liberty's elite. This season the truth will come out - in and out of the courtroom.
After 13 Reasons Why launched last year, it ruled THR's Top TV Songs chart with a record-setting seven songs - the most ever for a single television series. The original version of Lord Huron's "The Night We Met" topped the TV Songs chart for two consecutive months and has 219 million Spotify streams to date.1. Back To You (Selena Gomez)
2. lovely (Billie Eilish featuring Khalid)
3. Start Again (OneRepublic featuring Logic)
4. Falling Skies (YUNGBLUD featuring Charlotte Lawrence)
5. The Night We Met (Lord Huron featuring Phoebe Bridgers)
6. Tangled Up (Parade of Lights)
7. Time (Colouring)
8. My Kind of Love (Leon Else)
9. Your Love (HAERTS)
10. Love Vigilantes (New Order)
11. The Killing Moon (Echo & The Bunnymen)
12. Promise Not To Fall (Human Touch)
13. Sanctify (Years & Years)
14. Tin Pan Boy (YUNGBLUD)
15. Souvenir (Orchestral Manoeuvres In The Dark)
16. Watch Me Bleed (Tears for Fears)
17. Cities in Dust (Siouxsie and the Banshees)
18. Of Lacking Spectacle (Gus Dapperton)
19. Falling (In Dreams) (Telekinesis)
20. Strength (The Alarm)$35.99Vinyl LP - 2 LPs Sealed PRE-ORDER Buy Now
UNIM-JMB-7821xJames Vincent McMorrow
We MoveWritten in constant transition - and recorded between Toronto, Dublin and London - 'We Move' is James Vincent McMorrow's most expansive, generous and ambitious record to date. There is, on the other hand, something more stripped-back - vulnerable, even - surfacing for the first time: far from the dense, protective imagery at the heart of 'Post Tropical', 'We Move' is ultimately a record open in its portrait of anxiety and social unease. For McMorrow, it's about celebrating mental fragility - and how we move forward in life - rather than "people listening to my songs and believing that I'm out in the forest all day long, thinking about trees. Because I'm actually at home, trying to convince myself to go out and get milk."
The first steps to 'We Move' took place in 2014, when James - having been asked to write for different artists' projects - started sketching out ideas for others on tour (and subsequently stopped over-analysing his own work). Intent on doing the opposite of everything he'd done thus far, McMorrow then came off the road, but kept exploring: first through Barcelona, then Canada, and stopping in Los Angeles for six particularly fish-out-of-water months, where the songs for the album crystallised. He returned to Dublin determined not to just produce another album himself, but to work with people who could articulate the unique world he heard in his head ("I grew up wanting to write songs like Neil Young but produce them like The Neptunes"). And so James reached out to a few key co-producers he'd met whilst travelling, who formed the backbone of 'We Move': namely, Nineteen85 (Drake, DVSN), Two Inch Punch (Sam Smith, Years & Years), and Frank Dukes (Kanye West, Rihanna). Mixing took place largely in Miami with one of McMorrow's all-time heroes, Jimmy Douglass - known for his work from Donny Hathaway through to Timbaland - who finessed the record's warm, vintage yet forward-thinking feel.
The result is an album about movement - geographically, mentally, emotionally - which remains focused on finding your place in that future. First track 'Rising Water' is starkly-produced and skyscraper-sized in its sense of catharsis ("I never once was sad for what I've done"): 'Evil', meanwhile, questions whether you might in fact be a bad person, because you don't see life the way other people do (its tone is celebratory rather than ominous, however). Heavier still is 'I Lie Awake Every Night', which sees James address for the first time the eating disorder he has battled since he was a child ("it's about lying in hospital when I was a kid, thinking I shouldn't be there, and trying to reconcile those two things"). 'We Move' reacts against McMorrow's instincts to obscure ideas such as this, and ultimately embraces a shared, collective awkwardness, and the idea that maybe we're all putting on a brave face in some way.
Beginning with Rising Water, 'We Move' continues a remarkable journey for the Dublin-born singer and songwriter, whose early work offered little clue as to the sounds and situations that would follow. It's a remarkably assured collection, informed by this idea that you might not have to listen to others when they tell you how they think life is supposed to go; and that as you grow up, you lose things along the way. Rather, 'We Move' suggests it's possible to keep what you want to keep, and lose what you want to lose.1. Rising Water
2. I Lie Awake Every Night
3. Last Story
4. One Thousand Times
6. Get Low
7. Killer Whales
8. Seek Another
10. Lost Angles$19.99Vinyl LP - Sealed Buy Now
Late Night Tales: Django DjangoDjango Django is the latest band invited to curate a prestigious Late Night Tales collection, set for release on 5th May. Like many of the best British groups, the Djangos met at art school, specifically Edinburgh College Of Art, before reconnecting in London. Django Django released their self-titled debut album on quirky French indie Because in early 2012 to some acclaim, winding up in many critics' end of year lists (Top Ten in the NME and Top 30 in Rolling Stone, among them).
Their oddball approach to music, which sounds like the rich harmonies of the Mamas & Papas beamed through a refracting prism pointing towards Bo Diddley, Chicago house and outer-space (it's no surprise to learn that Django producer/drummer Dave Maclean's brother John was in the Beta Band, who also shared the same cinemascopic view of the pop landscape).
"Rollicking sing-alongs, galloping into disco sunsets like whisky-addled and leather-saddled bandits on the stolen backs of prairie wild mustangs," is how Django Django describe themselves. Which is another way of saying they're pop adventurists, as at home with Mad Mike's Underground Resistance as they are the blues rumble of Canned Heat. A bit like this delightful mix, then, which darts about like a gurgle of guppies after two too many espressos.
Check out mixes that rock between two-step delights like Roy Davis Jr's 'Gabrielle' to Nilsson's lyrically winsome 'Coconut'. At one end of the Django spectrum there's James Last, the terminally unhip Teuton, whose 'Inner City Blues' shows you can never underestimate the Germans, while at the far reaches of the mix, they manage to sneak in Ramadanman ('Bass Drums') and Hudson Mohawke and Lunice collaboration TNGHT's 'Bugg'n'. You can hear the echoes of influences in some of the selections, like The Beach Boys whose peerless 'Surf's Up' makes a welcome appearance halfway through, while Seals & Crofts' "Sweet Green Fields" show what sun-drenched pop can sound like when it's done well. And because it's Late Night Tales there's a sparkling cover version of 'Porpoise Song', the theme from The Monkees daffily brilliant 'Head', an admirably lysergic termination to this waltz through pop's nooks and cranberries. "You should never be afraid to make a fool of yourself for art," Dave Maclean once said. Let's raise a dram to Scotland's favourite fools on the hill.
"We wanted to produce a mix that represented the band. It's what we're all into, so everyone put forward suggestions. It's what we are as a band; and we're kids that have grown up with an obsession about our mum and dad's record collections, like '50s and 60s stuff and then got into hip hop and dance music as we grew up. At the heart of it all is our parents' collections, with our tastes mixed in. Our Late Night Tales pays homage to that."
Dave Maclean (Django Django)LP1
1. Leo Kottke - The Tennessee Toad
2. Gulp - Game Love
3. Bob James - Nautilus
4. James Last - Inner City Blues
5. Philip Glass - Floe
6. Map Of Africa - Bone
7. Seals & Crofts - Sweet Green Fields
8. The Millennium - To Claudia On Thursday
9. The Beach Boys - Surf's Up
10. Primal Scream - Carry Me Home
1. Massive Attack - Man Next Door
2. TNGHT - Bugg'n
3. Outkast - Slum Beautiful
4. Timmy Thomas - Why Can't We Live Together
5. Harry Nilsson - Coconut
6. Canned Heat - Poor Moon
7. Rick Miller - Future Directions
8. Django Django - Porpoise Song
9. Benedict Cumberbatch - Flat Of Angles pt.4$35.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
Starry Starry Night (Pure Pleasure)Paul Clarvis is one of the UK's most respected and talented percussionists and has played with everyone from Mick Jagger and Nina Simone to Herbie Hancock and Andy Sheppard. As one of the most requested session musicians, he has played on numerous film soundtracks including Star Wars, Thunderbirds, The Constant Gardener, The Passion, Troy, King Arthur, Kingdom Of Heaven, The Bourne Ultimatum, Lord Of The Rings, Batman, Spy Games, Captain Corellis Mandolin, Shakespeare in Love, James Bond, Billy Elliot, Notting Hill, and many others. He co-leads his own band Orquestra Mahatma which specialises in improvisations on folk tunes from all over the world, and also leads an improvising trio For All the Saints with Stan Sultzmann and Tony Hymas. Starry Starry Night finds him teamed up with pianist Liam Noble, best known for his quirky, individual compositions and improvisations. Liam has also worked with Stan Sultzmann, as well as many other artists including Ingrid Laubrock, Anita Wardell, Harry Beckett, Christine Tobin, Chris Bisco and with cult minimalist composer Moondog, where he and Paul Clarvis first met.
- Paul Clarvis (drums)
- Liam Noble (piano)
About Pure Pleasure
At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.
During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existent tools from the 80s and 90s for manufacturing.
A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.
We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.
We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.
To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.1. Mood Indigo
2. Shadow Of Your Smile
3. Dear Someone
4. Maple Leaf Rag
6. Poor Butterfly
8. So Long, Frank Lloyd Wright
9. Embraceable You
10. Do You Know What It Means To Miss New Orleans
11. Paris$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
The World Is Just A Shape To Fill The NightDebut Solo Album from Dutchess & the Duke Songwriter, Jesse Lortz
Most of these songs were recorded with friends during Feb. 2011 by Greg Ashley (Gris Gris), in a secluded cabin in Sequim, WA. The cabin sessions marked the third time most of the songs had been recorded. Two of the songs on this album are from a previous recording session done at the Pool in Portland by Alex Yusimov. 'The Day We Met' is from a demo recording session I did at my grandfathers cabin on Lake Inez in Montana. A woman some of these songs are about flew out to visit me there. It was the last of the good times we had together.
Milana, Julia, Nicolas, Keegan, Greg, Suzie, Lisa, and Andrew came to the cabin to contribute to the album and take photographs and video. I wanted friends to join me because making records had always been a lonely process for me and I was ready to change that dynamic. Because this project is not a band, the focus has shifted so that I can play shows alone or with other people. I started writing the songs for this record when I was still married, and the most recent song was written on my 32nd birthday. This project also incorporates drawing, jewelry making, non-musical creative writing and a host of disciplines that I never got the chance to explore in previous bands. I am genuinely excited to be making music for probably the first time in my life. - Jesse Lortz1. From the Blade of My Love
2. The Eagle or the Serpent
3. My Silver Hand
4. You Folded Up My Blanket Like We Were Already Lovers
8. Texas Ghost Story
10. California Ghost Story
11. The Day We Met$18.99Vinyl LP - Sealed Buy Now
SomeKindaWonderfulFateful encounters at Cleveland bars rarely lead to musical mythology, but SomeKindaWonderful have a different kind of story to tell.
A three-piece featuring Jordy Towers (vocals/lyrics), as well as Matt Gibson (guitar) and Ben Schigel (drums), the genre-bending group came together after Towers became a casualty of the major label system. Once signed to Interscope as a solo act, he refused to become yet another faceless persona and the label left him hanging on the vine. Towers knew it was time for a reset and headed to Ohio to re-examine his life.
"Im not the type to be defeated easily," says Towers. "You know, most people move to LA to make it, but I had to leave LA to find my path."
In January 2013, Towers took a trip to visit family in the suburban Cleveland town of Olmstead Falls (pop. 9,000). It was there that he fatefully crossed paths with Gibson and Schigel. While the local musicians were just intending to just grab some beers at a local bar, they found much more than they had anticipated when they came across Jordy.
"We were basically a band without a lead singer and he was a lead singer without a band," says Schigel. "We headed back to our studio the night we met and, literally three hours later, our first song Reverse was done."
To call "Reverse" the product of fate is an understatement. Endlessly catchy, the song feels both modern and classic, nodding to 60s soul and contemporary R&B with the dynamic range of big-room pop-rock and cinematic emotion. Its structure, which features Towers unraveling a backwards narrative with a cadence that merges rap and soul, provides a novel lyrical framework to a unique sound.
"Its an R&B soul rock record," says Towers. "It sort of mirrors my move from LA to Cleveland. That path is reversed from what youd expect. Nothing is deliberate. Just like how we met, its natural and all about the music. I still cant believe I met my musical soul mates at a bar in Ohio."1. Cornbread
3. Hard for Days
8. Devilish Man
9. Laugh out Loud
10. In Chains
11. Shine on Me
12. Burn$19.99Vinyl LP - Sealed Buy Now
Vide NoirVide Noir was written and recorded over the past two years at Lord Huron's Los Angeles studio and informal clubhouse, Whispering Pines. The album was mixed by Dave Fridmann (The Flaming Lips/MGMT) and engineered by Sonny DiPerri (Portugal. The Man, Animal Collective). In conjunction with the album announcement last month, the band released "Ancient Names (Part I)" and "Ancient Names (Part II)," which received critical praise from NPR Music and SPIN who called them, "An eery, unresolved tale of a crystal ball vision that amplifies the band's characteristic thematic darkness into distorted garage rock."
Singer, songwriter, and producer Ben Schneider found inspiration wandering restlessly through his adopted home of L.A. at night: "My nighttime drives ranged all over the city-across the twinkling grid of the valley, into the creeping shadows of the foothills, through downtown's neon canyons and way out to the darksome ocean. I started imagining Vide Noir as an epic odyssey through the city, across dimensions, and out into the cosmos. A journey along the spectrum of human experience. A search for meaning amidst the cold indifference of The Universe," he says.
As a true multi-media artist, Schneider has once again created an adorned world to inhabit within Vide Noir: the album will be accompanied by a wealth of imagery, videos, and immersive experiences crafted to expand upon its narratives and themes. This builds on Schneider's past work which used videos, a comic book, a choose-your-own-adventure hotline, and assorted Easter eggs as means of deepening the listener experience. Watch the trailer for Vide Noir at lordhuron.com.
Originally a musical and visual solo project by Michigan native-turned Angeleno Schneider, Lord Huron now includes members Mark Barry (percussion), Miguel Briseño (bass), and Tom Renaud (guitar). After a pair of independent EPs, Lord Huron released two full-length albums, Lonesome Dreams (2012) and Strange Trails (2015) on IAMSOUND Records, followed by extensive touring and prestigious festival appearances both stateside and abroad. After appearing in the hit Netflix show "13 Reasons Why", the band's song "The Night We Met" (from Strange Trails) was officially certified Platinum in January 2018.1. Lost in Time and Space
2. Never Ever
3. Ancient Names (Part I)
4. Ancient Names (Part II)
5. Wait by the River
6. Secret of Life
7. Back from the Edge
8. The Balancer's Eye
9. When the Night is Over
11. Vide Noir
12. Emerald Star$23.99Vinyl LP - 2 LPs Sealed Buy Now
The Puppet MasterAn underground icon and purveyor of all things dark and mysterious, KING DIAMOND and his cohorts continue to terrorize humanity with their latest and most extreme album to date, The Puppet Master. This gruesome tale set to take place in 18th century Budapest, Hungary involving a puppet show and many fascinating characters. One cold night in December the main character known as Unfortunate Man goes down to see a Christmas puppet show and after the show he is standing outside and sees a young woman. He is strangely drawn to this young woman, Victoria, almost as if one of the puppet's ghosts is sitting on his shoulder whispering in his ear to go and kiss the girl. The two get along immediately due to their fascination with the puppet show and end up going out. About a year later everything is going very good until one night Victoria heads down to the puppet show by herself and never returns. The Unfortunate Man goes down to the puppet show to investigate and sees the Puppet Master's wife leaving with a wheel barrel and follows her only to see her murder a homeless man and put his body in the cart. From here the story twists and turns as it takes you through the horrific tale of the Unfortunate Man, Victoria, The Puppet Master, his wife, the puppets and the events leading to the climactic end of the story.
As King describes it this album is going to make the hairs stand up on the back of listeners neck. The rules of censorship are being thrown out the window...this is going to be the rawest story/album we have ever done. King was also quick to point out that if you are into horror; you're definitely going to get it with this album! The Puppet Master is sure to be considered one of King's goriest and most extreme stories yet!1. Midnight
2. The Puppet Master
5. Blue Eyes
6. The Ritual
7. No More Me
8. Blood to Walk
10. So Sad
12. Living Dead$39.99Vinyl LP - 2 LPs Sealed Buy Now
Up In Arms (Awaiting Repress)We work hard, and we have a lot to say. Look around the planet - people are fed up with the corrupt ruling class. They destroy the planet and kill millions for profit, and the formula for our response is simple: Anger + applied knowledge = results. Don't just bitch. Change it.
- JOHN JOSEPH
At its purest, there is little that can match the visceral thrill and empowering spirit of hardcore. As frontman of New York City hardcore kings Cro-Mags, this is something John Joseph knows very well, and with Up In Arms, he and his Bloodclot compatriots deliver a furious collection that hits hard on every level. "In this band we're doing what each of us have always done: give it our all," he states plainly.
The results reflect the roots and passions of the individual members. Danzig/Murphy's Law guitarist Todd Youth was the first piece of the puzzle. "We've always talked about doing this record together, Todd had songs written and I had notebooks full of lyrics. In late September 2015, I went out to LA to do a triathlon and injured my calf muscle, so I couldn't race, and Todd said he could get some studio time. So, we went in and cut the demo. While there are things we may perceive as a negative in our lives, in fact the universe has a bigger plan, and that experience ultimately resulted in the record." Having been friends with Queens Of The Stone Age and Danzig powerhouse drummer Joey Castillo for three decades, the two musicians had long admired each other's work, and their collaboration has been a long time coming. Following Castillo's suggestion of bringing in Nick Oliveri (Queens Of The Stone Age/The Dwarves) to handle bass duties, the lineup was complete. The songs that comprise Up In Arms manifested after the quartet plugged in and let the music speak for them. "We didn't decide to try to play anything, these are the songs that happened when we started jamming, and I love this band because there are no egos involved. Our goal is to make the best music possible, period. I love it when those guys contribute with melodies, etc., and I've even helped with some of the arrangements. Because we all think alike, our lyrics deal with the issues of the day, and that makes for better songs."
Every track on Up In Arms lives up to the rallying cry of the album's title - the bursts of high energy hardcore act as the perfect accompaniment to Joseph setting his sights on injustice and the seemingly endless flaws of the contemporary world. The breakneck thrashing of "Slow Kill Genocide" is an anthem for everyone sickened by those responsible for "killing the planet and all its inhabitants through industry and war. They're fucking maniacs and must be stopped." The suitably titled "Manic" attacks with bared fangs, Joseph making it clear that you can only push someone so far before they will react with violence - a call to arms for the disenfranchised who want tomorrow's world to be better than today's. Tracked at NRG in Los Angeles, the raw, old-school production that leaps out from the speaker comes courtesy of producer Zeuss (Hatebreed, Revocation), and the record was mixed by Kyle McAulay at NRG. From the moment the opening title track explodes to life, it's clear that everyone involved is having a blast and playing from the heart, and that this is no frills / no bullshit music at its most passionate - every song evoking mental images of utter chaos in a heaving mosh pit.
For anyone approaching the album for the first time, Joseph has only this to say: "Turn the volume way the fuck up!" And with plans to tour everywhere, Bloodclot will be getting in a lot of faces in 2017 and beyond. "We are already writing material and the next album is in the works. But, for now, all we want is to hit the stage to support 'Up in Arms', and every single night leave every ounce of ourselves up there."
John Joseph (Cro-Mags) - Vocals
Todd Youth (ex-Murphy's Law, ex-Danzig) - Guitars
Nick Oliveri (ex-Queens of the Stone Age) - Bass
Joey Castillo (ex-Queens of the Stone Age, ex-Danzig) - Drums1. Father Of Lies
2. This Is Exile
4. To All That Are Dead
6. Somatically Incorrect
7. Death Becomes Him
9. Eternal Refuge
10. Of Legions
11. Messiahbolical$19.99180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
My Midnight ThingsSince 1983, the name Lizzy Borden has been synonymous with heavy metal music of the highest caliber. With My Midnight Things he has reaffirmed this standing, delivering the biggest, most dramatic, moving and cinematic record of his career, and one of the most essential additions to the genre in 2018. While showcasing a diverse range of sounds, tones and moods, it is unmistakably the work of the man who released a string of classic albums in the 1980s and two more in the 00s, but with a new fire burning at the heart of the record, it is one that he has lovingly crafted for those who scream along with every word at his shows. "On our last tour across Europe, Asia and South America, I noticed that the audience had changed," he states. "It got a lot younger. I looked out to see all these kids in every country singing at the top of their lungs to songs that were written before they were born, and that made me want to start writing some full-blown albums just for them. I wanted to make songs that would be theirs, albums that they could be a part of."
Having not dropped a record since 2007's mighty Appointment With Death, fans have understandably champed at the bit waiting for new material. Though penning numerous songs throughout that period, when it became time to seriously focus upon writing an album, the multi-instrumentalist did what needed to be done to be sure of creating the best possible music. "I knew the only way I could find what I was looking for was to lock myself away and experiment, so that's what I did. I wrote and recorded in my studio in North Hollywood in a very industrial area all night every night, with only sirens from fire trucks and these songs to keep me company. It was a lonely time, but very fruitful. You might even hear some of those sirens in some of the songs if you listen closely." Starting with between forty and fifty songs, he steadily whittled these down to fifteen, and finally to the ten that made the record, only wanting the very best to make the cut. As with all of his albums, once Borden hones in on a core subject matter he builds the album around it, and in the case of My Midnight Things, the theme is that of love. However, adopting a different approach to writing than usual, rather than starting with music, he instead focused on the lyrics, and penned the music later to best serve the stories being told, wanting every song to stand up on its own while keeping the storyline of the record moving forward. "I just let the lyrics drive the mood and the way I would sing each song, but overall I kept it varied and engaging enough so that listeners will want to devour the whole album in one sitting, without you hearing me repeat myself."
The diversity of the record makes it abundantly clear that he succeeded, and it makes for a thrilling ride from start to finish. Opening with the titanic stomp of the title track, the cinematic feel kicks off from the start, a serpentine seductiveness coiling through it, and the likes of "A Stranger To Love" and the bruising "Our Love Is God" inhabit similarly dark territory. The more stripped down, haunting strains of the reprise of the title track - which was in fact the first version penned - is achingly frail, and then counterpointing all of the record's darker and more brooding moments are the upbeat "Long May They Haunt Us", the hugely anthemic and uplifting closer "We Belong In The Shadows", and the frankly glorious "Run Away With Me". While the title of the album "means many different things" to Borden, he chooses not to disclose these, allowing listeners to find their own meaning in it, which is something important to him. In terms of the record's central theme, he acknowledges that while "love" seems somewhat obvious, he tried to find a way to see it through a different lens. "Sometimes being in love is the worst thing that can happen to you if you're with the wrong person and you can't stop it, and sometimes it's the best thing in the world. I knew I could find things in between every other song that's been written about it. So that was the challenge. But, even though I write with a theme in mind and with different personalities singing each song, I never write in storyboard form. I always try to write in poetry form. I think you can search for more meaning that way, from one line to the next there can be multiple meanings, as opposed to being trapped telling a story."
Having signed a new contract with Metal Blade on the strength of three demo tracks, Borden opted to produce My Midnight Things himself, with Joey Scott as co-producer, who also handled all the drumming duties. Having an old school approach to his drumming, feeding off the vocals, lyrics and melody rather than just acting as a time keeper, he was perfectly suited to Borden's approach to the record, which also applied to his role as co-producer. "I knew what I was going for and had doubts that I could find a producer who would understand that. My approach is very different than what is happening in today's music, but Joey got that and wanted the same thing." With Marliese Quance Mildenberger handling the majority of the keyboards, her unique melancholy playing style added even more "emotion and dimension" to each song, while Borden himself handled all of the bass, guitars, some keys and all of the vocal parts. Anyone exposed to My Midnight Things will find it hard to deny that like all of his records, it is a true vocal tour de force, each track endowed with a phenomenal amount of layering to create something that is uniquely Lizzy Borden. "The style that I record vocals harkens back to The Beatles and Queen. It's time consuming and tedious, but the result gives you a more multi-dimensional feel than you would get with a single vocal. When I recorded 'Master Of Disguise' (1989), I was clocked in at a seven-octave vocal range between all the backing and lead vocals. It gave the feel of multiple personalities within my voice, and I've used that technique on the last four albums."
That every song on the record could be released as a single is testament to just how strong this collection is. While truly a record for his fans, its appeal will easily reach much further, and Borden is as eager to get back on stage as his devout followers who cannot wait to see him back up there. "I've already started working on the 'My Midnight Things' Show, and I really can't wait to play these songs live. There are so many talented players out there in the world, I know I will find the right guys or girls to be on stage with me in my touring band, and just based on what is being talked about, so far it will be the best show I've ever done. I really do feel a new excitement that I have not felt in years. The best is yet to come."Tracklist coming soon!$25.99Vinyl LP - Sealed Buy Now
Includes CD With Bonus Tracks
The March entry in our 25th anniversary reissue series is Bloomed, the 1994 debut album
from Richard Buckner. The album will be remastered and released on 180-gram
vinyl and will include a CD containing 11 bonus tracks of radio sessions, live
performances, and original recordings of songs that appeared on future releases.
Spin magazine described Buckner as "equal parts Bay Area bohemian and dust bowl
traditionalist" and named Bloomed one of its best albums of 1994, while Pitchfork
wrote, "It's a traditional outsider-country record in the lineage of Townes Van Zandt.
Buckner's voice is all honey and oak, his guitar style elaborately twanging, his constant
subject matter heartache."
Richard Buckner provides some background on the album:
Bloomed was originally (erroneously?) released on an unnamable German label in 1994.
I was living in San Francisco at the time, having just moved out of a residential hotel
and into the 1906 hilltop prefab that adorns the cover. At the time, I was heading a
band called The Doubters. We were playing high profile events such as The Covered
Wagon Saloon's Musical Barstools, but weren't making much headway. We had been
turned down consistently every year by SXSW, but I was somehow finagled in as
an unannounced guest onto an already unofficial SXSW showcase created by Butch
Hancock at his gallery in downtown Austin. There, I met up again with Lloyd Maines,
who agreed to produce my first record.
Maines and I met in Lubbock, TX, a few months later, where we worked with
Lubbock musicians in a small recording studio walled in wooden shingles Sharpied
with bible passages from various church groups that also enjoyed working there.
It was 112°F the morning I arrived under the suspicious (Californians are merely
B-grade yankees) gaze of downtown's Buddy Holly statue. That first night there, it
hailed so hard that heaven's angry pellets were storming in under my motel door. It
only let up for a few moments that first night, allowing me to run across the street to
get a butter burger and fries to go. We finished four days later and I flew back to San
Francisco, dismembered the band, and embarked on a tour that would last about 20
years (or a few days, if you count what I actually remember).
Nothing's changed. I'm still dodging the sky and busking to strangers.LP
1. Blue and Wonder
5. Six Years
6. This is Where
7. Gauzy Dress in the Sun
10. Up North
11. Surprise, AZ
12. Cradle to the Angel
1. The Last Ride
2. Settled Down
3. The Worst Way
5. Hutchinson (Recorded in 1995 at Black Eyed Pig in San Francisco by Kyle Statham)
6. Surprise, AZ (Recorded in 1996 at World CafÉ)
7. Blue and Wonder (Recorded in 1997 at KCRW)
8. Still Lookin For You-Townes Van Zandt (Recorded in 1997 at World CafÉ)
9. Up North
10. Six Years
11. Gauzy Dress in the Sun (Recorded live at The Starry Plough, Berkeley CA 2/25/1995)$19.99180 Gram Audiophile Virgin Vinyl LP + CD - Sealed Buy Now
Live At St. Pancras Old ChurchIn October 2013 Melora Creager and Daniel from Rasputina arrived in London to join us and multi-instrumentalist, Neil Walsh, on a small tour of English churches and halls. With only a day to practice we were all a little apprehensive as we unpacked our instruments and set up some amps in our kitchen but after a few moments as the strings, voices and guitars filled the room we knew the shows ahead were going to turn out just fine.
Melora's and Daniel's cellos and Neil's viola provided new textures and direction to our old songs and it was a tour that left us very grateful for the opportunity to play with such talented friends, to attentive audiences in some spectacular, historical places.
The last night of the tour was recorded in St Pancras Old Church, London and we will be releasing it as a limited edition LP album. The sleeve is hand-drawn and the record will be pressed on heavyweight vinyl.
In the six years since Smoke Fairies first entered a recording studio, they have made three critically acclaimed albums, supported the likes of Bryan Ferry, Laura Marling, Seasick Steve and Richard Hawley, and were the first UK act to be flown to the states to record a single with Jack White for his Third Man Records label.
Jessica Davies and Katherine Blamire met at school in Chichester, West Sussex and have been inseperable ever since, travelling to tour their music across the world.
Having earned a reputation for impressive live performances, for harmonies and intricate guitar playing.1. Fences
2. The Water Waits
3. Morning Light
4. Living With Ghosts
7. When You Grown Old
8. We Had Lost Our Minds
9. Summer Fades
10. Blood Speaks$29.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Spreading RumoursSpreading Rumors is Grouplove's second full-length album.
Hannah Hooper met Christian Zucconi late one evening on the lower east side of Manhattan. They had both been living in New York for years and had never crossed paths before. But from that night forward the two could hardly be pulled apart. Soon after their connection Hooper was invited to an art residency in Greece on the island of Crete and Hooper insists without any hesitation she invited Zucconi to join her on this journey. Seriously, we had only known one another for a few days but are both so inspired and alive when we are together that going to Greece seemed like a magical and natural thing to do recalls Zucconi.
On Crete, in a small remote mountain village, Hooper and Zucconi met the members of their future band Grouplove a year before it was officially formed. Sean Gadd, a natural songwriter and guitar player, born and bred in London instantly bonded with the two eccentric New Yorkers. Their relationship became apparent through the music they were making day in and day out. Andrew Wessen, a pro surfer and musician from Los Angeles and his childhood friend Ryan Rabin, an accomplished drummer and producer, were also at the residency and quickly joined in with the musical trio. These five musicians make up the members of what we now know as Grouplove.
Like all good things, the summer and the residency came to an end and the five friends scattered back to their homes all over the globe. With Sean in London, Christian and Hannah in Brooklyn and Ryan and Andrew in Los Angeles Grouplove was faced with the challenge of what to do now. We all understood how rare it is for five strangers to feel as close as family and create passionate music together. We couldn't just return to Brooklyn and let the music we all made fade into a memory of that summer we had in Greece, explains Zucconi. Everyone pulled their funds together and Sean, Christian and Hannah made their way to Ryan Rabin's studio in LA to record their album. We seriously had the best time of our lives doing that record, says Zucconi. And the result is an incredibly special album where soaring harmonies coupled with sweeping anthems lead you through their powerful journey. Like the members of Grouplove, their music is diverse in influence and style but bonded together by an undeniably creative kinship.
Their experience back together and recording together was so potent that Hooper and Zucconi packed up their lives in Brooklyn and moved to LA to live and play their music.
We never could have dreamt this up says Zucconi, but at the same time we're not at all surprised - GROUPLOVE is meant to be. Our story a testament to fate, and our music is something we are ready to share.1. I'm With You
2. Borderlines And Aliens
4. Ways To Go
5. Shark Attack
6. Sit Still
7. Hippy Hill
8. What I Know
9. Didn't Have To Go
10. Bitin' The Bullet
11. News To Me
13. Save The Party For Me$20.99Vinyl LP - Sealed Buy Now
The BeltHe's from Memphis, equally steeped in Link Wray and Phil Collins. She's a small town girl raised in Muskegon, Michigan, who found her songwriting
inspiration while living on a small boat in the West Indies. Jeffrey Jacob and Angela Gail met in Los Angeles, playing guitar and bass, respectively, in a
loud, grungy guitar band, but the seeds of In the Valley Below were planted one night at SXSW, when they realized there was something special in the
passion and chemistry they shared on-stage.
The two wrote, produced, engineered and recorded their own songs in a home studio. Two of the 11 songs on their debut are mixed by the band, with the
others handled by John Congleton [St.Vincent, David Byrne], Dave Sardy [Oasis, Band of Horses], Lasse Marten [Lykke Li, Peter, Bjorn & John] Angela
and Jeffrey never even intended for In the Valley Below to be a performing band, so it turned out to be a pleasant surprise when the songs were so good
they demanded to be played for people. Filled with emotions from guilt to hope, and encouraging voyeurism, when they announce to their audience, "We
are In the Valley Below," they immediately invite us to join their communal world, one with no boundaries and whose limits are only defined by our
collective imagination.1. Peaches
3. Last Soul
5. Stand Up
6. Dove Season
7. Take Me Back
8. Searching for a Devil
10. Palm Tree Fire
11. King Tide$21.99Vinyl LP - Sealed Buy Now
ADAD-SUB-6015xHead and the Heart
Let's Be StillIt wasn't that long ago that the members of Seattle's The Head and the Heart were busking on street corners, strumming their acoustic guitars, stomping their feet and singing in harmony as they attempted to attract the attention of passersby. After capturing that unbridled energy on the band's 2011 debut album for hometown label Sub Pop, the band went from playing open mic nights to selling out headlining shows in prestigious venues. The album became one of Sub Pop's best-selling debut releases in years. And, slowly but surely, ideas began to form for the band's second album, imbued with the experiences of traveling the world and playing to ever-growing crowds.
The Head and the Heart's new album, Let's Be Still, is a snapshot of a band that didn't exist four years ago. Virginia native Jonathan Russell and California transplant Josiah Johnson formed the core songwriting partnership, which was rounded out by drummer Tyler Williams, keyboardist Kenny Hensley, vocalist/violinist Charity Rose Thielen and bassist Chris Zasche, who'd met Russell and Johnson while tending bar at an open mic they frequented. The nascent group dove headrst into writing, recording and performing, and even moved into the same house.
After the breakaway success of their debut and countless shows on the road, the band is in a distinctly different situation. "There is a condence gained from having such an amazing fan base," says group member Jonathan Russell. "You start to trust yourself more. When we were busking, we were lling so much space to keep the listener from walking away." Says Johnson, "We wanted to write songs that felt bigger, and didn't need to be so frantic. I think for the most part we wanted to record an album that sounds like the way we play now."
Adds Russell, "Has there been an impact on our lives since we have become full-time musicians? Sure. On one hand, it's everything you have ever wanted. On the other hand, you start to miss the things you've lost and had to give up. And that's just life. My job is to write about it."
Let's Be Still was recorded at Seattle's Studio Litho with assistance from prior production collaborator Shawn Simmons, and mixed in Bridgeport, Conn., with Peter Katis, revered for his work with bands such as the National, Interpol and the Swell Season.1. Homecoming Heroes
2. Another Story
5. Josh McBride
8. Let's Be Still
9. My Friends
10. 10,000 Weight in Gold
12. These Days Are Numbered
13. Gone$19.99Vinyl LP - 2 LPs Sealed Buy Now
Sky SwimmingAmelia Rivas and Christian Pinchbeck don't just sing about feverish, frayed and fractured romances - in the three years since forming elephant, they've been living one.
It's fitting that sky swimming, their debut full length release is a seductive, night time delight of an album. After all, it was in the twilight hours of a may morning three years ago that Pontefract native Amelia Rivas and Bristolian Christian Pinchbeck met at a house party and in alcohol-soaked all-nighter sessions that sky swimming was written.
A fibrous collection of songs about relationships - their own included, which broke down during the making of the album - hazy memories, twisted dreams, the metaphysical bleeding in to the physical - sky swimming - all trilling keyboards, swooping melodies, broken hip hop beats, looped strings and Amelia's uniquely curvy vocals - that makes you want to clamp your headphones tighter on your ears, letting you swim in its every detail and emotion. Influenced by everything from Toro y Moi to composer Angelo Badalamenti, everything but the girl to rap originators arrested development and Joe Meek's productions, it's an intensely varied listen.
"the first time we worked together, I went round to his house in Peckham and didn't leave for 3 days. I barely knew him," Amelia remembers. "She turned up with some £10 casio she bought from a charity shop in France and the whole demo EP was made on that," recalls Christian. Elephant have grown beyond their lo-fi roots since then, with Andy Dragazis being drafted in on co-production duties, while retaining the emotional rawness of those early songs. Tracks vary from psyche-delving ballads about growing up - torn tongues and skyscraper ("I want to understand what's wrong with my brain," Rivas laughs), to the thrilling pop of elusive youth, a eulogy to a friend who "wears a city crown", to the everyday trials of being young and poor in London (see ants about Amelia's crumbling tooting bedsit and TV dinner, a paean to rubbish telly and cheap booze) and the heartbreaking title track sky swimming written in the eye storm of their relationship meltdown with the refrain "do your eyes turn blue before you cry, I see the blue in you".
With winning appearances at Primavera and Eurosonic festivals behind them, not to mention support slots with cult hero Matthew E. White, under their belts, Elephant have in Sky Swimming one of the year's most seductive sounds. . "I flew to the moon to mirror you" sings Amelia on album closer Shapeshifter, with the sort raw melancholy that could only be cribbed from a blue valentine romance. "I saw the future." It should be a very bright future ahead for Elephant indeed.1. Assembly
5. Elusive Youth
7. Torn Tongues
8. Come To Me
9. TV Dinner
10. Sky Swimming
12. Shapeshifter$17.99Vinyl LP - Sealed Buy Now
Southern AvenueSouthern Avenue is a Memphis street that runs from the easternmost part of the city limits all the way to Soulsville, the original home of Stax Records. Southern Avenue is also the name of a fiery young Memphis quintet that embodies its home city's soul, blues and gospel traditions, while adding a youthful spirit and dynamic energy all their own. "If Memphis is a genre, this is it!" proclaims American Blues Scene and Rock 103FM calls Southern Avenue "The most talked about band in Memphis."
Their self-titled debut album is a breath of fresh air with its own unique blend of gospel- tinged R&B vocals, roots/blues-based guitar work and soul-inspired songwriting. And Southern Avenue's upcoming release on the fabled Stax label is a testament to the young combo's talent and vision.
Southern Avenue features five young but seasoned musicians who came from diverse musical and personal backgrounds to create music that spans their wide-ranging musical interests, while showcasing the powerful chemistry that the group has honed through stage and studio experience.
Southern Avenue encompasses Memphis-born, church-bred sisters Tierinii and Tikyra Jackson, respectively a soulful, charismatic singer and a subtle powerful drummer; guitarist Ori Naftaly, an Israeli-born blues disciple who first came to America as an acclaimed solo artist; versatile jazz-inspired bassist Daniel McKee; and the band's newest addition, keyboardist Jeremy Powell, an early alumnus of Stax's legendary music academy.
The band members' diverse skills come together organically on Southern Avenue, scheduled for release on February 24, 2017 via Stax Records, a division of Concord Music Group. Produced by Kevin Houston (North Mississippi Allstars, Lucero, Patty Griffin), the 10-song album features guest appearances from Luther Dickinson of the North Mississippi Allstars and trumpeter Marc Franklin of the Bo-Keys. But it's Southern Avenue's own potent musical chemistry that drives such sublimely soulful originals as Don't Give Up, What Did I Do, It's Gonna Be Alright, Love Me Right and Wildflower. The band also pays tribute to its roots with an incandescent reading of Ann Peebles' Memphis soul classic Slipped, Tripped and Fell in Love.
The seeds for Southern Avenue's birth were planted when Ori Naftaly, who'd grown up in Israel with a deep-rooted passion for American blues and funk, came to Memphis in 2013 to compete in the prestigious International Blues Challenge. That experience led to Naftaly moving permanently to Memphis and successfully touring the United States with his own band. Although his talents were embraced by American audiences, Naftaly felt constrained in his own band, feeling the need to include a more expansive, collaborative musical vision. That opportunity arrived when he met Memphis native Tierinii Jackson, who'd gotten her start singing in church, before performing in a series of cover bands and theatrical projects.
According to Ori, When I saw Tierinii perform, I thought, 'This is why I came to America.' I met her and we clicked. At our first rehearsal, she told me that her sister was a drummer, and she thought it would be great to have her in the band. We had such a good vibe, and suddenly I didn't care so much about my solo thing.
I initially clicked with Ori really well, but it was his project, Tierinii remembers. Then he came to me and said 'I want this band to be a collaboration, I want this to be our vision and our music.' So we started writing together, and that's when I realized that we were really the same musically.
We started over, Naftaly continues. We threw out most of the songs I'd been playing in my solo band, and Tierinii and I wrote a whole new set, and we became Southern Avenue. The more we played together, the closer we got, and the more we became a family. We started getting a different kind of crowd, and from there things escalated quickly.
Ori said, 'My band is done, this is y'all's band,' Tierinii recalls. We all quit our other gigs and started focusing on this, working and writing and living together in a way that you don't experience when you're playing somebody else's music. Now we're playing songs that we wrote ourselves and we're playing them from our hearts. That is when I realized that we had something special. Despite not having a record deal, Southern Avenue quickly found success touring in America and Europe. They won additional attention playing some prestigious festivals and competing in the International Blues Challenge, in which they represented Memphis. Less than a year after the band's formation, they were signed to the resurgent Stax label.
I feel like being on Stax is a responsibility, says Tierinii. I grew up in Memphis, seeing the name Stax everywhere. It was a constant presence, and now it's up to us to live up that. I feel like this band can be a platform to do a lot of positive things for the city of Memphis. I want to change the world, but Memphis is home. Tierinii views Southern Avenue as a perfect soundtrack to our first year together. We wrote these songs in our first nine months of being a band. We'd all done so many things and come from so many different places, but the music represents all of us. It's been a real crash course, she continues. We've haven't been a band for very long, but what we have feels very special, and it's made us a strong unit. I think that we represent something that people need to see right now.
This band has already made our dreams come true, Ori concludes. I've waited all my life to be in a band like this, and it's amazing to me that I get to play with these people every night. Our goal is to keep doing this for a long time and leave our mark. We're trying to build a legacy.1. Don't Give Up
2. What Did I Do
3. It's Gonna Be Alright
4. Slipped, Tripped And Fell In Love
5. Love Me Right
6. 80 Miles From Memphis
8. No Time To Lose
10. Peace Will Come$21.99Vinyl LP - Sealed Buy Now
...an exemplary experiment in restraint, lush with
a slow-burning, wordless, and ambient Americana
that manages to captivate while avoiding the
histrionics of its post-rock forebears.
- THE NEW YORKER
...they create minimalist, cinematic music that
combines modern, experimental acoustic sounds
with classical qualities.
This - not steak finger baskets or soft-serve ice
cream - is what you should like about Texas.
- The ONION / A.V. CLUB
Balmorhea flashes brilliance only to highlight a
slow-burning constancy that's at the core of one
of the year's early slow wonders.
For the past eight years the duo of Rob Lowe and Michael Muller have nurtured and refined
their creative partnership as the core members of the band Balmorhea. Though their first
album on Western Vinyl Rivers Arms (2008) garnered some remarkable press, their
self-titled debut, recorded in 2006 and released in 2007 best captures the duo's unique
magic as it first blossomed. With no label, distributor, manager, publicist, or booking agent
the duo quietly self-released their first recordings and started playing live shows. Now,
seven years later Western Vinyl is honored to have the opportunity reissue the band's
self-titled album, and make it available on vinyl for the first time ever.
In preparation for this special reissue, the audio was lovingly remastered, drawing out
even more of the nuances magnifying the sounds of Muller and Lowe's fingers on the
instruments, and teasing out the textures that set these recordings apart from the rest of
their catalog. Simple and sincere, these songs and ambient sounds the duo captured in
these recordings are strangely inviting. Throughout the album the distant sounds of Texas
grackles, the warm summer rain, the steady rhythm of crickets chirping, and creaking
wooden stools, all seeping in to cradle the notes in a restrained din of primordial wonder.
It's hard to imagine Western Vinyl without Balmorhea. After our fateful meeting in 2007,
we forged a deep and lasting relationship we're all grateful for. We met at an Austin performance on the eve of their first US tour in support of their recently self-released debut
album. Their show that night was one of the most powerful performances I'd ever seen,
and as I looked around the room, it was apparent that I wasn't alone. With the help of a
cellist the group briefly transformed the dingy lounge into a vibrant pulsing cell. I had
experienced deeply moving shows before, but the ecstatic emotions they conjured were
new to me. Calling it electrifying, might sound clichÉ, but as the hair on my arms and legs
stood at attention, my eyes squinted a bit with concentration, and my head cocked to the
right, the electricity that passed over me felt very real. Over the next few years I had the
pleasure of experiencing dozens of Balmorhea shows, each with a slightly different story
to tell. - Brian Sampson, Western Vinyl1. Attesa
2. Baleen Morning
3. Dream of Thaw
4. In The Rowans
5. A Circumnavigation
6. En Route
7. If You Only Knew The Rain
8. And I Hear The Soft Rustling...
9. We Will Rebuild With Smooth Stones$16.99Vinyl LP - Sealed Buy Now
Parts Of Speech (Awaiting Repress)From its first track, Dessa's new full-length Parts of Speech announces itself as something different. The Doomtree veteran and inveterate wordsmith - having proved her mettle in the fields of creative non-fiction, spoken-word and hip-hop - jettisons all genre expectations on "The Man I Knew" and croons a heartbreaking lament to a disintegrating relationship at an explosively-building clip.
From this moment on Dessa - oft-described as "Mos Def plus Dorothy Parker" for the wit and flow shown off on previous solo albums A Badly Broken Code and Castor, The Twin - proves she has truly coalesced as an artist, transcending the restrictions of genre to reveal an astonishing multi-platform voice.
"I wanted to investigate the idea that a cohesive record isn't always made cohesive by having twelve songs that sound the same. I figured when you make a mixtape for a friend, you can get away with a range of genres and a lot of dynamic change. Why can't I approach an album like that? The sequence has to be just right, and we worked hard to nail it, but the thing that holds this record together is the sensibility of the lyrics, rather than a uniform theme."
Track two kicks off a stunning hat-trick of the record's standout numbers. "Call Off Your Ghost" is an admittedly haunting dirge on the "struggle for grace in the wake of a long relationship." An arena-sized chorus tucked into a melancholy lullaby, "Ghost" has that unique ability to perfectly soundtrack new love or bitter breakup at the same time.
Dessa then puts her fists up for "Warsaw." The track boasts a beat like Azealia Banks playing Pacman, which provides a background for our emcee's confident, hypnotic flow. Narrative takes a backseat to mood here, as Dessa spits impressionistic one-ups like "I sleep with both eyes open, standing up," daring you to blink first.
"Skeleton Key" contains Parts of Speech's mission statement: "I haven't met a locked door yet." An ode to female self-reliance that doesn't waste ambiance for message, the track plays like a great, lost M. Night Shyamalan movie, calling forth an era out of time in the story of a woman, a key and a bottomless reserve of courage.
"This record involves multiple narratives. It explores the same themes of love, loss, connection and communion as a lot of my work, but the angle and lens through which they're explored sets this album apart from my previous ones. The production techniques were new for me too - we spent a lot of time crafting a record that could include live players, Doomtree production, and sometimes a blend of the two."
While the album is born of Dessa's artistic vision, it benefits from the collaboration of her varied friends. Parts of Speech owes much of its impact to its diverse production. Dessa got her start as a member of Minneapolis hip-hop collective Doomtree - eventually going on to help manage the group's business affairs as they launched their own label - and members Lazerbeak and Paper Tiger lend their production to several tracks.
The players in Dessa's live ensemble all contributed to the record, as did several top-flight Minneapolis musicians working in rock, folk, and opera. She even enlisted a cellist she found on Pandora to make the gorgeously-layered foundation of penultimate track "It's Only Me."1. The Man I Knew
2. Call Off Your Ghost
4. Skeleton Key
5. Dear Marie
6. I'm Going Down
7. Fighting Fish
8. The Lamb
11. It's Only Me
12. Sound the Bells$17.99Vinyl LP - LP Sealed AWAITING REPRESS 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
Tyler Bryant And The ShakedownA Band On The Verge Of Rock N Roll Greatness!
After carving out a fervent fan base and drawing widespread critical applause with their heady, high-voltage brand of guitar-driven rock, shooting from both hip and heart, Nashville's Tyler Bryant & The Shakedown find themselves at the epicenter of an advanced rock 'n' roll adventure that continues to take them around the world, appearing at some of the biggest venues along the way
Starting with a guest spot on AC/DC's 'Rock or Bust' World Tour in 2016, the quartet - Caleb Crosby on drums, Noah Denney on bass and backing vocals, Graham Whitford on guitar and Texas-born Tyler himself on vocals and guitar, a musician immersed in blues music from an early age - have continued to share events and stages with some of rock's most legendary names, including Guns N' Roses, Tom Petty & the Heartbreakers, Aerosmith, Deep Purple and ZZ Top.
At the same time as projecting their music into stadiums, Tyler Bryant & The Shakedown - The Shakedown to friends and fans - have continued to build their name and reputation as a headline act, and indeed it was backstage after a sold-out, bill-topping show in London (June 2017) that the band signed their new deal with Snakefarm Records - the most immediate and exciting result being an 11-track, self-titled studio album set to be the label's inaugural release, with November 3rd locked in as the day of the launch
"So many great things have happened over the past few months," exclaims Caleb, "and it's all just so surreal. I remember seeing that Guns N' Roses were playing two stadium shows in London on June 16th and 17th earlier this year, which are birthdays for Noah and myself, back to back, and I said wouldn't it be amazing if we appeared on both of those shows and we did!"
Rewinding back to 2008, Tyler moved to Nashville by himself at the ripe age of 17 to write songs and form a band. It was here he met Caleb, and together they put together what would become The Shakedown
"The instant we started playing, I knew there was something special," reflects Caleb. "We played our first show a week later and haven't stopped since!"
The next addition to the ranks was Graham Whitford, a young guitarist from Boston, Massachusetts. Introduced to Tyler as the guy who could put him out of a job, it was clear from the start that Whitford was a force to be reckoned with. As soon as Tyler heard him play, he asked him to uproot and move to Nashville to join the band.
All that was needed now was the right bassist: enter Noah Denney, who instantly added a whole new dimension to The Shakedown's sound. As Tyler recalls, "his bass sound scared me and he brought an edge and an attitude to the band that we didn't even know we needed."
2013's 'Wild Child' album announced the quartet's arrival with a bang as they logged time on the road with the likes of Aerosmith, Jeff Beck & ZZ Top, while receiving the endorsement of Guitar World, Rolling Stone, Los Angeles Times, Nylon, Interview Magazine and Paste. Taking over TV, they lit up the stage at both Jimmy Kimmel LIVE! and AXS Live.
Following the release of 'The Wayside' EP (2015, produced by Grammy Award winner Vance Powell), the boys crisscrossed the country alongside Billy Gibbons & AC/DC on that celebrated 2016 run. April 2017 found them without a label and only a month out from joining Guns N' Roses on a European tour
"We had just decided to self-produce a record completely on our own," says Tyler. "I'll never forget driving home that morning and getting a call from our manager saying, 'You wanna go back to Europe with Guns N Roses?' That was a great kick-start to the first day of tracking."
So they hunkered down and set about writing & recording their second full-length album, with John Fields (Soul Asylum, Paul Westerberg) coming on board to handle the mix. Blending a sense of history with a youthful, energetic heartbeat, this anticipated outing features a host of brand new tracks, some of which have become staples of the live set. It also stands as the start of a relationship with the newly-launched Snakefarm label.
Housed within the global infrastructure of Spinefarm Records (a UMG label), the Snakefarm brand will provide a targeted home for international artists, both established and new, from the increasingly buoyant roots rock world - music based on authenticity and emotion, under-pinned by core values and beliefs.
In this respect, Tyler Bryant & The Shakedown - who can lay claim to a fast-growing international presence, with major UK festivals such as Download, Ramblin' Man and British Summer Time already under their belt, alongside headline shows plus guest appearances with Nashville neighbors The Cadillac Three - are a flagship representation; what's more, in 'Tyler Bryant & The Shakedown' they've delivered a genuine genre-defying labour of love, a varied and infectious statement shot through with passion, pride and a welcome dash of glamour.
"This is the definitive Shakedown record as of now, and that's why we decided it should be self-titled," explains a fired-up Tyler. "It's the definitive Shakedown record due to the fact there were no other cooks in the kitchen. We put so much energy into writing and recording each song. It's not just a guitar album; it's a song album, and I'm proud to hang my hat on this one."
The first single / video, 'Heartland', introduces Tyler Bryant & The Shakedown with a one-two punch of gritty guitars and soulful vocals before slipping into a hypnotic bridge punctuated by airy clean guitars. Tyler sings, "There's a slow beat in the heartland, going down in the quicksand, stack 'em up and watch the cards fall, if it happens to one, then it happens to all".
"It's no secret that there's crazy stuff going on all over the world right now. There's madness all around and people are constantly picking sides. Every night when the Shakedown takes the stage, I'm amazed that music brings people together. Nobody is thinking about what side they're on when they're singing at the top of their lungs next to a complete stranger. I thought maybe through music I could remind myself and our TBSD family that when one person falls, the rest of us do, too. I wanna get together with a bunch of folks and sing that sentiment because it's one I strongly believe in.
Elsewhere, 'Backfire' struts along on a stomping drum groove driven by thick distortion with lyrics "about pulling the short end of the straw and feeling vengeful". Then there's 'Aftershock'. Hinging on hummable riffing, the track simmers at a steady swamp crawl before the Sabbathian refrain.
"That's a tune about feeling the effects of a situation long after it's come and gone.
As Tyler Bryant & The Shakedown spend 2017 lighting up stages with the likes of Guns N' Roses (again), The Who & Alice Cooper - as well as making their first appearance at Rock In Rio - this new album sees them fully realize their vision with a sound that resounds above the bleachers, plus a collective desire to keep the entertainment flag fully unfurled
"I want people to put this on and literally escape," Tyler leaves off. "I hope they feel free. That's what rock 'n' roll makes me feel. You don't have to think about your bills or any of the other things that have the power to bring you down when you've got your fist up in the air, your eyes closed and you're lost in the music. Angus Young told me, 'You've got to make the audience think you're taking them on a journey, and they'll go with you. If you believe it, they will too'. I believe it with this record."1. Heartland
2. Don't Mind The Blood
3. Jealous Me
5. Ramblin' Bones
6. Weak And Weepin'
7. Manipulate Me
8. Easy Target
9. Magnetic Field
11. Into The Black$29.99Vinyl LP - Sealed Buy Now
Hurry Up, We're Dreaming (Colored Vinyl) (Awaiting Repress)Pressed On Clear Pink & Clear Blue Vinyl
With these soft spoken words on the simply-titled opening track-"Intro"- M83 mastermind Anthony Gonzalez introduces us to his sixth record and first double disc album, Hurry Up, We're Dreaming.
Dauntlessly singing into the void that was left behind since Saturdays=Youth, Gonzalez suddenly surges with overwhelming emotion as the music mounts an invisible precipice. Historically, he softly eased you into his world, introducing you to the lush and radiant spaces between captivating melodies and intimate lyrics, but not this time. Not on this record.
Graduating from the fuzzy, fumbling emotional cobwebs and draped ambiance of past records, Hurry Up, We're Dreaming careens past its audience. Brazenly stretching out along the horizon, spilling glittery, golden arms of sound across the landscape, it holds your breath hostage without you even noticing you were missing it. If it seemed that Anthony was basking in the sunshine-drenched days of his youth when he released Saturdays in 2008, then it can be said that in 2011, at the age of 30, he is tempestuously charging towards his future with Hurry Up, We're Dreaming.
Relocating to Los Angeles from Antibes, Gonzalez surrounded himself with players pivotal to completing his childhood dream of a double disc record. Producer Justin Meldal-Johnsen (Beck, NIN, The Mars Volta, Goldfrapp) and guitarist Brad Laner (from 90s band Medicine) had been hugely influential on Anthony growing up and now were central to the new record's creation.
"In France there is this show on TV where at the end there is a musical guest who plays one or two songs. I remember one night when I was a teenager being at home watching the best of performances and looking at this crazy bass player with a big afro and thinking, 'Wow this guy is so cool.' "And now I am working with him. It's so intense that thinking about it makes me feel weird. But it's weird in a super good way. Same thing with Brad, I was listening to his music when I was first getting into music and now he's on my album."
Anthony and Justin met backstage in 2009 at Scotland's T In The Park. Later, "he came to me very genuinely stating that 'he was a fan and that he would love to work with me,'" explains Gonzalez. "I love when people do that because I can tell it's coming from the heart. He was sincere and that's the way I like to work with people."
Stepping away from his work with producers Ken Thomas and Ewan Pearson on Saturday, Gonzalez freckles his new chapter with signature M83 fingerprints while pushing himself beyond the constricting emotions of a guarded musician. Bored with being frustrated and shy, Anthony is respectful of the precious time given to him and doesn't want to leave behind any regrets, thus thrusting himself into the spotlight vocally. He tests out different ways of singing, ranging from a spectral breathy whisper to a howling scream, and each voice clings to us like a dew-heavy spider web at dawn.
Fans will recognize band member Morgan Kibby, her vocals flirting with the shadowy places in between verses, leaping off the record in spoken word or blending with an adult choir. Morgan will join Anthony on tour but she was never meant to sing as much on this record as she had on pervious projects. Quenching his desire to work with a different person on each record, Gonzalez added LA-based chanteuse Zola Jesus to the mix for the completion of "Intro." "The song was already written but I really wanted a female vocal on it and I was kind of struggling to find the right person, but then I heard her music and it just made sense."
Where Saturday=Youth is drenched in lustful exploration and hungry adolescent wonder, Hurry Up is decadently cunning and seductive. "Intro" and "My tears are becoming a sea" eerily croon to you, swirling all of the glitter and growth from the past records into an epic swell, mysteriously and dramatically warning you of the impact you are about to experience. "Midnight City" (disc one) and "OK Pal" (disc two) are humid, adrenaline driven dreams unlike anything we have heard from M83 in the past. "Midnight City" adeptly sweeps you through abandoned concrete streets swimming in broken neon light and aggressively pushing and pulsating to synthetic beats. While "OK Pal" catcalls you to a locker full of mapped out Peter Gabriel-esque echoing lyrics, leaving you stranded in a post-apocalyptic landscape. These journeys are about awakening, craving and conquering. Throughout Hurry Up, We're Dreaming Anthony carries the listener to different countries of sound in his own universe, "We didn't need a story, we didn't need a real world. We just had to keep walking and we became the stories- we became the places." Drifting away from his previous records and reigned in politeness he unleashes all that he has been dreaming of and yearning for. Even when he takes a second to look back on "Echoes of Mine" the velvety, elderly voice of a woman heartbreakingly tells the story of a girl drenched in the shadows of her youth, knowing she has to grow up.
Grandiose in scale and inspired by Smashing Pumpkin's revered double disc Melancholy & The Infinite Sadness, Anthony has long had the goal to create his own monumental double disc record. "I saw when I was a teenager that I could dig into it [the album]. It was like a treasure. If I were a teenager nowadays I would try to find something as creative as this album. They had so much to say in their songs."
Impressed with the juxtaposing sun and moon artwork featured on Melancholy, Anthony focuses in on another natural duality: siblings. The cover artwork mirrors this relationship, featuring a photograph of a little boy with a little girl sitting on a bed. The photograph perpetuates the conversation for the two distinct voices we behind each disc, representing two sides of an overall piece that are almost the same. "I want people to listen to it as two different human beings that are connected somehow, but every song on the album has a secret on the other side."
Soaring and scraping up against the sky while sharing each uncharted frontier with new collaborators is what M83 does best. Gracefully coming into the next decade of his life, Anthony delivers what makes each record sincere, innocent, and full of joy: he gives us his past and his future.
"I think it is a reflection of my 30 years of being a human being. It's a compilation of all my previous music together. It's a retrospective of myself."LP 1
2. Midnight City
4. Where The Boats Go
6. Raconte moi une histoire
7. A Train To Pluton
8. Claudia Lewis
9. This Bright Flash
10. When Will You Come Home?
11. Soon, My Friend
1. My Tears Are Becoming A Sea
2. New Map
3. OK Pal
4. Another Wave From You
6. Year One, One UFO
8. Steve McQueen
9. Echoes Of Mine
10. Klaus I love You
11. Outro$28.99Colored Vinyl LP - 2 LPs Sealed AWAITING REPRESS 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
Band Of Outsiders (Awaiting Repress)
Limited Edition Black And Red Splattered Vinyl
When jazz hits you in the face with a stack of bricks, Mike Dillon is there...twisting chaos into order before turning it back on itself again. -Splinters & Candy
The Mike Dillon Band is a predictably gruesome and sublime elixir of stealthy jazz vibes, street poetry raps and post-punk sonic carnage. -Boulder Weekly
A body in motion tends to stay in motion, at least when The Mike Dillon Band is supplying the dance music. The psychedelic rock group shakes and gyrates with heavy, vibraphone driven grooves, delivering a steady stream of infectious rhythms and hypnotic percussion. -Pittsburgh City Paper
How many artists can claim being praised a punk rock provocateur, jazz vibraphone visionary and percussion virtuoso in the same sentence? There's only one: Mike Dillon. Whether through his affiliation with artists like Les Claypool, Brave Combo and Ani DiFranco, collaborations such as Garage A Trois, The Dead Kenny Gs and Critters Buggin or bands he's fronted, including Billy Goat and Hairy Apes BMX, the Texas-native has set his own standard for 25 years now.
With his latest effort, Band of Outsiders-released via Brooklyn label The Royal Potato Family-Mike Dillon has conjured the perfect storm of all these past endeavors. His manic creative vision found its match in three young musicians he met in New Orleans. Carly Meyers-whom Dillon describes as "a High Priestess of Trombone who channels the energy of Iggy Pop through the chops of JJ Johnson in second-line parade"-provides harmonic counterpoint to his vibes and percussion ("All Walks of Life") as she simultaneously ups the band's art-rock ante ("Carly Hates The Dubstep"). The rhythm section of bassist Patrick McDevitt and drummer Adam Gertner turns on a dime between snarling punk rock assaults ("Homeland Insecurity"), deep funky go-go ("Head"), ska grooves ("Here The Burro") and experimental hip-hop beats ("7AM At The Jazzfest") with all points covered in between.
Dillon recorded Band of Outsiders at Studio Center in Miami with the help of co-producers Gary Vandy and Richard Maloney Jr. Vandy is an old school engineer whose work includes over 200 platinum records predominantly in the disco and dance genres. His love of Zappa is what attracted him to Dillon's work. In the age of pro-tools chicanery, the production is straightforward, capturing Dillon and his band playing live in a room.
"Two tours of Mexico and a steady dose of Brazilian music was the jumping off point for these new songs," explains Dillon. "Add our love for The Melvins, Deerhoof, Bad Brains, Dead Kennedys, Trouble Funk and all things New Orleans and this album surpasses our intention to make the freakiest, most vibrant dance music on the planet."
Lyrically speaking, Mike Dillon draws from his love of Miguel de Cervantes, William Burroughs, Kurt Vonnegut and Robert Anton Wilson to tell stories of New Orleans debauchery mixed with age-old themes of travel, love, self-destruction and greed. Delivered with Dillon's trademark vocal rasp, the record has the intensity of a Tom Waits-meets-Frank Zappa black comedy. Rumor has it that Dillon lived for the past seven years in the same apartment that Waits shared with Rickie Lee Jones. Dillon discounts those rumors: This apartment has housed dudes from Morning 40 Federation, Ani DiFranco, an old Conga player and a bunch of heroin addicts."
Taken in its entirety, Mike Dillon's Band of Outsiders is a snapshot of four musicians hitting full stride. Having relentlessly toured the country in 2013-both headlining and opening for artists like Fishbone, Clutch, Primus and Galactic-its 13 songs bristle with a group mind, spill over the sides with the visions invoked during countless dead-of-night drives crisscrossing the country in a van and hit their target with a sonic assault only possible from a band that's played 400-plus shows over the last two years.
"People are always trying to figure out how to describe our music. Maybe we should call it New Orleans punk jazz Brazilian math rock? It's a gumbo of tribal percussion, The Meters, old school hardcore, Brazil, hard bop and anything else that might move us," concludes Dillon. "But you know, I really don't care what you call it. We kick out the jams harder than anyone, and we also know when to heed the lessons of The Minutemen's Double Nickels On The Dime and keep things straight to the point. There's a reason we called the record what we did. We're the living, breathing definition of a band of outsiders, but together we deliver simple majestic beauty, let's leave it at that."1. Head
2. Hand of God
3. Homeland Insecurity
4. Hero The Burro
5. Carly Hates The Dubstep
6. Great Lakes Tuna
8. All Walks of Life 9. Celebrate the Hate
10. 7AM at the Jazzfest
11. So Long Pal
12. Baby Flint Talk
13. Dauphine & Desire$16.99Colored Vinyl LP - Sealed AWAITING REPRESS Buy Now