Well chums there’s been an extremely eclectic mix of things in this week so without further ado lets look at some of the exciting new music coming your way….
Los Angeles-based Cleopatra Records and artist-run cassette label Practical Records present Rachel Mason‘s new album ‘Das Ram’ LP on November 18th…
Avec Le Soleil Sortant De Sa Bouche release their second studio album “Pas pire pop, I Love You So Much on January 20, 2017″…
Keeping up my Antipodean musical obsession I was recently contacted about Fraudband. They are a duo from Melbourne with their own, rhythm based take on psychedelic-rock. They steer clear of the typical sounds within this genre by leaning on influences such as Sonic Youth, Dirty Three and The Birthday Party and they sound like this…
Berlin-based trio The History of Colour TV is back with new music, presenting ‘Wreck’, the first single from their forthcoming third album ‘Something Like Eternity’. You can stream the single here.
Hiphop pioneers Dälek will be touring this month for a week of live shows, following on from the release of their 2016 comeback LP, Asphalt For Eden (Profound Lore), the first new record from the NYC trio since 2009. Ahead of these shows, they have released a brand new track, ‘Molten’, and the wind-tunnel production and furious wordsmith delivery that have become the group’s calling card have been amped up to reflect the song’s theme… dates are
22/11 – The Louisiana, Bristol
23/11 – Saint Lukes, Glasgow
24/11 – Chunk, Leeds
25/11 – Thomas House, Dublin
26/11 – Corsica Studios, London
27/11 – Islington Mill, Sunny Salford
The Comet is Coming have released a new single, “Final Eclipse”, which you can stream and purchase now via Bandcamp. It is the first new music from the three-piece since the release of their critically acclaimed, Mercury Prize-nominated LP Channel The Spirits, though the band had also shared some remixes since it’s release. They are playing Band on the Wall on December 11th.
Lawrence English, composer, artist and Room40 curator returns with a brand new record “Cruel Optimism” on 17th February 2017, here’s a taster….
Camilla George is set to release “Isang” on Ubuntu Music early next year. This will be her debut album – the MOBO nominated saxophonist, composer and teacher is already an established musician on the jazz circuit ….not sure if this track is on the album but I’m having to use this rather than the ones I’ve been sent as they are can’t be shared at this stage. What i’ve heard sounds excellent so watch out for this artist…
Dallas shoegazers Bloodhounds On My Trail have released a single ‘Places Like This’ and announced their ‘Haunted Isles’ EP….
Southern Lord are reviving the music of Philadelphia’s lost punk heroes, Ruin. Long considered a treasured local delicacy of the city’s earlier hardcore scene, Ruin released two albums during their original run, 1984’s He-Ho and 1986’s Fiat Lux, both of which will be combined for a vinyl release this December. The LP will see release on December 9th and pre orders are now live via the Southern Lord store.
Canada’s budding Label Obscura has announced that it will release a limited run vinyl reissue of ‘The Coastaline Fire’ LP – the final album by Ontario indie rockers Chore before they disbanded in the early 2000s. All tracks have been remastered for vinyl. It’s a damn fine album and is well worth checking out…
And finally, Friday 18th sees the release of the latest collaboration from Ian Moss and Andy Quayle as Moss Skellington. Following on from two well received singles the duo have now completed their first album “The Lump”. Characterised by Moff’s unique musical vision and Ian’s sharp polemic and biting wit with words, the album brings together two iconoclasts to create a unique musical vision. With subjects as diverse as posh food, murderers and sibling relationships the album provides a heady mix and includes the magnum opus the 17 minute “The Mouse Engine” which was premiered in Leeds earlier this year. The album was mixed by Space Museum who also contributed to the title track.
You’ll be able to download the album from midnight 18th November via Bandcamp…
Time is escaping me at a rapid rate due to lots of other workloads, with no time for considered prose. So this time it’s just a series of videos and soundclouds of things that I reckon you should wrap your ears around. They are out now or due soon. Plus there’s a list of current favourite listens at the end of the post showing what’s on rotation on the I-Pod at the moment….and a bit of shameless self-publication at the bottom. Enjoy!
It seems inevitable that this will be the year of the Graney. he is over for a short UK (and then French) tour, including a little gig that Una Baines and I have put together at the Eagle in the heart of Salford in April. Dave’s been busy of late, including a new single (out today) recorded by himself and Clare at the Ponderosa. It’s Dave being witty, and ironic, and wonderfully laid back. I’m still waiting for the second volume of Play Mistly For Me mind you.
Details of the aforementioned gig, which is limited to 75 tickets so if you want to catch Dave, Clare, Stu Thomas and former Josef K and Orange Juice guitarist Malcolm Ross i’d book early if I were you, are on the flier below. Get your tickets here
While listening to Dave’s radio show I was, as mentioned before, impressed by Jess Ribeiro, i’ve since invested in one of her Bone Collectors releases, which is more alt.country, and I will be sharing that in future weeks, but here is the stand out track from the most recent album recorded by Mick Harvey.
Talking of Mick Harvey, Dave and Clare posted a series of pictures of Mick, David McClymont and themselves working on a single with Georgio ‘the Dove’ Valentino. Intrigued I investigated Mr Valentino and was impressed by his output. If you track him down on the tax averse search engine you can get his excellent “Mille Plateaux” double album for free and also this offering from 2011, which has recently been repackaged
Away from matters Dave for a bit, now then, I’m a sucker for girls with guitars and drums making a lot of noise, and this lot caught my eye in a recent mail-out. Of course they have been around for ages and I am, as usual, playing catch-up, They a sister duo from Oklahoma made up of Kelli Mayo and Peyton Bighorse, formed in 2009 after a jam session at the girls’ Halloween party. They describe themselves as “like Babes in Toyland, Bikini Kill, Beat Happening, Regina Spektor, Kimya Dawson and Nirvana”. Skating Polly make a good noise and are worthy of further investigation.
I’ve just received the final mixes for the new KIt B EP which is will be out towards the end of March, called “Weird Water” it’s a remarkably good trio of songs, with the title track being particularly fine. Also arrived is the new West Coast Sick Line album called “Europee” which will certainly surprise some people. I reckon it’s better than Billinge in terms of song writing strength/maturity and variety of content. At the same time I was sent the debut album by Saint Lawrence Verge, called “Ashram”. They are a quartet from Modena in Northern Italy who play an interesting amalgam of post punk and progressive rock with strong cinematic elements. Here’s a live version of one of the album tracks, it’s not the highest fidelity, but you can get a good feel for the music. I guess we will surprise a few people with this release but Ian and I both agree it’s special.
Bubbling away for release is the debut single from The Sideshow which I have posted before but I am minded to include again as it deserves a lot of attention.
After what seemed like an endless Christmas/New Year break in which hardly any new music arrived suddenly I am besieged by virtual piles of new things to report on.
Mention, before we start with the new stuff, must be made of the passing of Mr Bowie. Oddly I don’t actually own much stuff by the great man, which is strange as there are several key releases in his body of work which have had a lasting impact. He was the soundtrack to late adolescence/student years and seemed to bridge the gap between “legitimate” rock music and the “pop” music of the day – the run of albums between Hunky Dory and Diamond Dogs remain essential listening to any one who professes to love music. That he could follow that with the Berlin stuff is remarkable and that he could give-away “Dudes” to Mott shows his generosity.
And so onto 2016……
The Norwegian multi- Grammy Award Nominee (Best Female, Best Composer) called Marie Munroe is soon to release her much-anticipated LP Under My Skin. Scandinavia’s answer to electro poppy Imogen Heap and Jessie Ware has already sold out the entire upcoming tour in her home country, and has just shared the official video to her latest single Can’t Go Back.
Chicago’s celebrated torchbearers of instrumental metal, Pelican, return to Europe for a string of dates this spring. This marks the band’s first European tour since the successes of their 2013 LP Forever Becoming and 2015’s 4-track EP, The Cliff (both released via Southern Lord) and their 2014 Arktika live 2xLP.
UK Dates are:
30/04/16 – Desertfest @ Electric Ballroom – London, UK
01/05/16 – The Fleece – Bristol, UK
02/05/16 – Audio – Glasgow, UK
03/05/16 – Gorilla – Manchester, UK
The upcoming new track by the Grammy-award winning Scandi Teddybears featuring Gorilla Zoe (Boyz n da Hood, Joel Ortiz, Lupe Fiasco) proves to be an interesting ear-worm. After Teddys’ eventful 2015 which consisted of: writing hits such as Diamonds by Giorgio Moroder and Charli XCX, working on new tracks with Sia, John Newman, Ellie Goulding, Max Martin and Petite Meller as well as having tracks featured on FIFA, Peugeot and being the worldwide official Marshall Hedphones soundtrack, Teddybears have not forgotten about their “anti-pop though we make pop” vibe.
Bradford’s (UK) experimental/electro act ‘They Called Him Zone’ offers his debut album creation as an entirely free download. Self-produced in a psychedelic studio basement in West Yorkshire, TCHZ produces cinematic sound-scapes incorporating a fusion of dark electronica and acoustic instruments wrapped up with lo-fi integrity and electro -pop overtones.
Some meandering thoughts this time around….I do have a pile of new things to go through but I have been otherwise distracted on getting things sorted for the forthcoming Hamsters EP, which is rather good. Not many pictures or sounds this week either but plenty of vague utterances……
I don’t know about you but I get confused by genres. I’ve mentioned this before of course, when I was moaning on about the incorrect labelling of MP3s. But if you take a wider look at things there is a propensity these days toward over-elaborate genre classification, Bands get tagged with multiple descriptors which vary between the common place and the obscure. I struggle to put some bands into genre boxes, for example where would you put Dave Graney in terms of genres? “Alternative” is such a wide catch-all that it completely fails to describe his wide body of work on any number of levels. “Lounge” merely touches on some aspects of what he does. “Rock” or “Rock ‘n’ Roll” is what he does sometimes, and occasionally a bit of “Jazz” sneaks in as does some “Blues” and “Soul” and “Country”. So with one artist you could apply so many differing tags and still not get close to the essence of what the man does. The “Fearful Wiggings” album is a case in point, how the hell do you describe what he is doing on that release? It’s utterly unique, and Dave steadfastly refuses to be shoe-horned into any convenient box, good for him say I. So in attempting to catalogue the myriad of new music that comes my way I’ve given up with genre labels as all they do is confuse and annoy.
I was thinking of Dave Graney in the context of both his forthcoming Demos album, and in that context the city of Melbourne, which seems to have a disproportionately large amount of excellent output coming from its’ music scene. Every week I seem to come across a fine band from the city, this week, courtesy of the always reliable Tony Thornborough, I was introduced to Empat Lima
Anyhow, back to this genre thing, and what sparked off the ramblings at the start of all this, I noted that the new EP from Rodney Cromwell was described as a “futuristic feast of analogue synth disco”, and elsewhere in the same promo his last album “Age of Anxiety” was described as “the best new New Order album this year”. All of that is fair enough, other than the “futuristic” tag, it’s more retro than futurist with clear nods towards Moroder arpeggios, Guy Called Gerald vocal samples, Hooky like bass lines and song structures that would not have been out of place on Factory in the mid to late-80s. Now I don’t know about you but I’m not a big nostalgia buff, I can’t see the point of tribute bands and I do like it when musicians try to strike out on their own and create a new sound, so, whilst I like listening to the Cromwell EP, i’m also left with a slight niggle that maybe he could have tried pushing the envelope a little more, I love filter sweeps but perhaps someone could try and do something different with them? The remix of “Barry Was An Arms Dealer” on the EP is so very Kraftwerk morphing into OMD that it would fit easily into either one of their albums. Mr Cromwell is obviously a very talented guy, and there is nothing offensive about this release but I hope he turns his talents to creating his own sound in future releases.
Now then, talking of creating your own sound I was mightily impressed by the new single from ex-Stereolabber Morgane Lhote who is operating under the pseudonym Hologram Teen for a two tracker released on Deep Distance on 9th November. Whilst there are clear electronica tropes (airy Kawai K1M choirs for example) there are also so fascinating new ideas mingling under a series of synth layers. The dreamy “Post Apocalyptic Teacakes” cleverly uses differing elements to create a unique sound. The other track “Tracksuit Minotaur” is a little more obvious with a sort of heavy Kraftwerk vibe mingled with a Goldfrapp rhythm to give it a sort of Tom Ellard/Severed Heads feel. The vocoder repetition is a bit clunky but generally this cuts the mustard as something new to listen to.
Disappears embark on a European tour during November and December. The tour will see the band perform at Utrecht’s Le Guess Who Festival, before travelling through Belgium, the UK, France, Switzerland and Italy. London fans will be in for a special treat as – for one night only – Disappears will perform David Bowie’s Low in its entirety at the 100 Club. This corresponds to their upcoming live release, their reinterpretation of this classic album, on 20th November via Sonic Cathedral. You can find more information and pre-order links for this release over at the Sonic Cathedral website. The only other UK date is in Manchester at the Soup Kitchen on 24th November. Always an excellent band and well worth seeing live I would suggest.
Explosive, unapologetic and infectious, Mickey 9s are four friends from Glasgow who have been playing together since their school days. They describe seeing Daft Punk’s Alive Tour as “a spiritual-like encounter” that inspired them to try to make dance music without synths. After much experimentation, the band found their sound and everything else soon fell into place, right down to the enigmatic image of their masked lead singer, known as St. Cool. Having always chosen the unconventional route, Mickey 9s launched themselves by releasing fun music videos and comic strips to accompany their music as well as organising secret gigs, raves, and all-day pop-up festivals. Word soon spread about their blistering live performances, leading to Mickey 9s winning the 2014 Scottish Alternative Music Award for Best Live Act. After two years of gigging and unorthodox releases, the time has come for them to launch their highly anticipated debut album ‘The Party Manifesto’. The second single to come from the album is ‘Computer Inventor’, a perfect introduction to Mickey 9s’ big basslines, four to the floor pounding drums, cool riffs and intelligent, sharp vocals.
The Sneaky Nixons describe themselves as an angry, semi-political, semi-religious, part-feminist sloppy activist group who play riotous, steam-train guitar music. They have declared war on electronic dance music, guns, promoters, and non-believers of their Rock-n-Roll terrorism. Flashy, arrogant and with a startling superiority complex , the band say they have no time whatsoever for humdrum normality, preferring the out of control, dangerous and volatile, in order to live their lives in a brutal, riotous and rock-n-roll fashion. The Sneaky Nixons’ ‘Sex’ is taken from the forthcoming eponymous compliation album from Across the Ocean Waves Productions, which features the most exciting bands active on Liverpool’s vibrant music scene. All the tracks on the album have been produced by label owner Carlo Variola .
After a fast-paced year touring the UK and Europe, Hull (UK) based Counting Coins are to release ‘All That I Need’ as the second single from their forthcoming self-titled album on the 23rd of November.
The previous single ‘Don’t Look Down’ received airplay both in Europe and the U.S, with rave reviews from a range of music magazines and blogs. Follow-up ‘All That I Need’ is an infectiously upbeat ska/punk song with a bouncy feel and singalong chorus. It will be available across a global range of digital platforms including iTunes, Spotify, Amazon Music and Deezer. Counting Coins are set to continue spreading their music with their forthcoming European tour in late October followed by further UK dates being booked in for 2015 and into 2016.
I suggest you make a brew and get comfy for this one, it has been an extremely busy week. For those out there that say that there is no good new music out there, I beg to differ. A seriously eclectic selection awaits your visual and aural pleasure:
Father Murphy, the Italian duo comprised by Rev. Murphy and Chiara Lee who are troubling the underground since the early Noughties with a series of dark, disturbing recordings, this time team up with producer Fabrizio Modonese Palumbo (Larsen) for a 10” EP aptly titled Lamentations to be released by the avant-garde label Backwards on 20th November 2015. The release completes Father Murphy’s 2015 Trilogy of The Cross, which started with Calvary (a 10 minute long introductory piece released by Blue Tapes in January) and was followed by Croce (Father Murphy’s fifth album and first release for the San Francisco based label The Flenser, released back in March).
Recorded in Turin under the supervision of sound engineer Paul Beauchamp, Lamentations finds Father Murphy at a crossroad of sorts: instigated with the guidance of Fabrizio Modonese Palumbo, the core duo of Chiara and the Reverend opted for a slight alteration of their signature squalor-sound, whilst still remaining cheerfully focused on their thematic obsessions (namely: death, God, pain, forgiveness). Inspired by a tongue-in-cheek reading of the Book of Jeremiah, as well as the traditions that mark the orthodox Holy Week Lamentations, the band have produced two long compositions that Iam advised feel like classic Father Murphy material, yet are substantially enriched in respect to their usually spare sonic palette.
I will share this with you on the podcast when a review copy arrives.
Ritual Productions have announced the signing of The Poisoned Glass, a duo comprised of two members of the legendary doom band Burning Witch; vocalist Edgy59 and bassist G.Stuart Dahlquist.
After the demise of Burning Witch in 1998 and going their separate ways, the two kept in touch, occasionally making overtures towards working together and knowing that they would when it felt natural. The Poisoned Glass started with the song ‘Silent Vigil’, a twelve-tone progression Dahlquist had originally intended as a tonal bass solo. After experimenting, he felt that the resulting sound was heavier, more despondent and unforgiving than any of his existing projects and sent the rough mix to Edgy, who understood immediately that this music represented perfectly both voices as a unit. It came naturally, as though it was meant to be, and with that, the duo formed, and set out to record as The Poisoned Glass.
The instrumentation is exclusively centred around bass guitar, organ, and voice – nothing more. In spite of seemingly limiting instrumentation The Poisoned Glass is far from minimalist; the atmosphere is bleak but so dense it is virtually without air. Dahlquist’s unison bass and organ is massive, building, evolving and expanding, punctuated by Edgy’s unbridled tenor and the irregular jarring of one or two note dissonant harmonies.
The Poisoned Glass will release their self titled LP on Ritual Productions in spring of 2016. More details of that to follow in the coming months.
Philadelphia psychedelic rock trio, Wizard Eye, release a self-titled new full-length on October 10th via Black Monk Records. Recorded in three days at Haddon Heights, New Jersey’s Gradwell House Studios with Steve Poponi producing and mastering by Dave Downham, the follow-up to the band’s 2010 Orbital Rites debut includes their signature brand of mind-bending riffs , bottom-heavy grooves, churning bass, otherworldly effects and raw vocals. Their roots are planted firmly into the lysergic soil of ‘70s acts like Hawkwind, Budgie, Blue Cheer, Captain Beyond, Motörhead and Black Sabbath, Wizard Eye shows the band operating at the pinnacle of its creative and musical abilities.
Paris’ based duo AaRON return with ‘Blouson Noir’, the first track to be lifted from their upcoming, self produced, third album ‘We Cut The Night’. The duo’s debut ‘Artificials Animals Riding on Neverland’ came out in 2007, it sold over 400, 000 copies and is considered a classic by many. Years to follow saw the accolade of another chart topping album (Birds in the Storm) and the pair being awarded with a European Border Breaker Award followed by a sold out tour. ‘Blouson Noir’ tells a tale of a late, sleepless and very much lovelorn night in New York City; walking alone in the cutting darkness through the concrete, the buildings, the sirens and the overpowering nature of it all with nothing but the sounds of Grace Jones “Strange I’ve Seen That Face Before” playing. “
The Insight deliver a stong post-punk sound with a Gallic tinge. They release album White Noise on 25th September. Manc/Scouse influences are strong throughout, lots of flanged guitars and reverby drums with dramatic vocals. You can pre-order on Bandcamp.
Written whilst under the influence, the stomping new single “Kicking the Habit” out 12th October, finds Greg Hooper and Gordo Francis of The Lost Art in a playful, raucous mood. The single comes from pair’s Special Edition version of their self-titled debut album set for release 2nd November. Included with the albumrelease are special remixed songs along with a fully notated score allowing fans to enjoy the duo’s music in a new and unique way. Mixing the old with the new, the varying cocktail of quirky remixes add extra flavour to this inspired thirst quencher of an album. It’s very good in a teetering on the edge of collapse way, sdaly however I have nothing to embed for you as the promo people seem to have neglected to send a link other than for the last single which seems a trifle odd. Anyhow it will be on next weeks Aural Delights so you can hear it then.
To celebrate her signing to First Word Records and announce her forthcoming mini-album ‘Of The New World’ Sarah Williams White has released ‘Winter Sun’ as a free download.
Here’s a little background to the track from Sarah herself:
‘I wrote this track to gratify all these images from films I had in my mind like Empire of The Sun, Fist of The North Star… imagery of a post apocalyptic/war-torn world, but nature with it’s strength and beauty just standing it’s ground! The Sun, or that something at the end of the tunnel that gives hope through darker times..
All my new music seems to have this underlying theme of time and repair, and the awesomeness of earth. Its a bit of a theme throughout my upcoming record Of The New World.
‘Winter Sun’ started out as a li’l instrumental idea with my Hohner Pianet over a beat of Timmy’s (Timmy Rickard is the drummer and engineer I work with) – I’d been listening to a lot of Roy Ayers! Then it kinda filled itself out over time into a more spacey harmonic piece with the poem and vocals, new b-boy drum grooves from timmy and my juno 106 playing the glaring Sun.’
It was released on 17 September 2015 and is an inventive jazzy tune which improves on repeat listening.
Cheeky London chappies The Black Sparrows release a new single , they describe themselves as punk n roll, dapper flat caps and waistcoats would normally be a turn-off but this lot manage to grab my attention wth a sort of Libertines/Heartbreakers looseness.
Gabrielle Papillon is a Canadian singer-songwriter with a fantastic voice. Her upcoming album The Tempest Of Old captures the pick-up-and-play honesty in her song writing with each track being beautifully produced alongside a yielding sense of time and place. The album , will be available for sale and download Friday 25th September 2015. Get You Well is the first single from the album. This is her fifth album so I think a check on the back catalogue will be worthwhile given the quality of the new one.
The Melvins, who are currently in the midst of a European tour, flash back to their 2012 attempt at a world record setting tour of the United States (plus DC) with the Noember. 13th DVD release of Across The USA in 51 Days: The Movie! The tour launched on September .5th, 2012 from Anchorage, Alaska and wrapped up fifty-one days later, October. 25th, on the sunny shores of Honolulu, Hawaii. “We figured it was time for us to do something REALLY crazy,” Buzz Osborne said at the time of the band’s transcontinental trek. The band documented the outing via Spin (http://www.spin.com/tag/melvins-tour-diary/) and also through a collection of never-before-seen video footage. I’m putting together an Aural Delights special podcast on the Melvins to coincide with their Manchester appearance (October 9th at Gorilla)
To be brutally honest I’m not sure Ben Chasney’s head is at these days. Drag City release Six Organs Of Admittance‘s latest Hexadic II on November 20th. The album appears to be an acoustic variation on the tunes on the preceding album, athough it’s best described as a transformational process rather than a faithful reinterpretation. It took me a few listens but I began to get into this enjoy what he is up to. He ploughs his own furrow and does it well.
…and finally, I am most overjoyed to find that the ever excellent Monster Island have a seven song EP out hopefully later this year. They are down in that there London on 10th October for a gig at The Windmill Brixton for International John Peel day. Here’s a little reminder of how wonderful they are.
Jazz gig of the week in Manchester is at the Band on the Wall and features Transcension.
Transcension is a new group formed by Canadian drummer Franklin Kiermyer and UK saxophonist Nat Birchall, drawn together by the similarities in their respective approaches, the two musicians have joined forces in this special collaboration. Both artists have been influenced by spiritual, devotional and folk music from all over the world, and especially the music of the John Coltrane quartet.
This new quartet also features two of the strongest young players from the New York and Philadelphia jazz scenes, pianist Davis Whitfield and bassist Nimrod Speaks.
The group appears at Band on the Wall Manchester on 15th September. The quartet will be playing specially composed music for this project, written by the two co-leaders.
Kiermyer first came to prominence following the release of Solomon’s Daughter, his third album that features Coltrane alumnus Pharoah Sanders. Widely regarded for his intense passionate energy, spiritual feeling and distinctive sound, his nine albums and many performances have brought his music international recognition. His 2014 album Further, features saxophonist Azar Lawrence.
Nat Birchall’s many albums on the Gondwana record label and his own Sound Soul & Spirit label have contributed to his acclaim as one of the UK’s finest jazz musicians. Well known for his heartfelt playing and spiritual compositions, he is a natural heir to Coltrane’s modal throne. His latest album “Invocations” will be released by Jazzman Records this month.
Expect some fine modal;blowing and transformative spirital jazzl. Tickets available are here