Music Releases 05-11-18
7 is our 7th full-length record. At its release, we will have been a band for over 13 years. We have now written and released a total of 77 songs together. Throughout the process of recording 7, our goal was rebirth and rejuvenation. We wanted to rethink old methods and shed some self-imposed limitations. In the past, we often limited our writing to parts that we could perform live. On 7, we decided to follow whatever came naturally. As a result, there are some songs with no guitar, and some without keyboard. There are songs with layers and production that we could never recreate live, and that is exciting to us. Basically, we let our creative moods, instead of instrumentation, dictate the album’s feel. For 7, we built a "home" studio, and began all of the songs there. Whenever we had a group of 3-4 songs that we were excited about, we would go to a “proper” recording studio and finish recording them there, in the process shortening the amount of time between the original idea and the finished song (of the album’s 11 songs, 8 were finished at Carriage House in Stamford, CT and 2 at Palmetto Studio in Los Angeles). 7 didn’t have a producer in the traditional sense. James Barone, who became our live drummer in 2016, played on the entire record. We also worked with Sonic Boom (Peter Kember), who became a great force on this record by shedding conventions and helping to keep the songs alive, fresh and protected from the destructive forces of recording-studio over-production/over-perfection. The societal insanity of 2016-17 was also deeply influential, as it must be for most artists these days. Looking back, there is quite a bit of chaos in these songs, and a pervasive dark field that we had little control over. The discussions surrounding women’s issues were a constant source of inspiration and questioning. The energy, lyrics and moods of much of this record grew from ruminations on the roles, pressures and conditions that our society places on women, past and present. The twisted double edge of glamour, with its perils and perfect moments, was an endless source. In a more general sense, we are interested by the human mind's (and nature’s) tendency to create forces equal and opposite to those present. Thematically, this record often deals with the beauty that arises in dealing with darkness; the empathy and love that grows from collective trauma; the place one reaches when they accept rather than deny. While the title is simply a number that represents our seventh record, the number 7 does represent some interesting connections in numerology. 1 and 7 have always shared a common look, so 7 feels like the perfect step in the sequence to act as a restart or “semi-first.” Most early religions also had a fascination with 7 as being the highest level of spirituality, as in "Seventh Heaven.” At our best creative moments, we felt we were channeling some kind of heavy truth, and we sincerely hope the listeners will feel that. Much Love, Beach House
Marian Hill’s sophomore album ‘Unusual’ evolves the sonic and soulful adventure Samantha Gongol and Jeremy Lloyd began on their debut album ‘Act One’ & breakthrough platinum single ‘Down,’ which reached Top 10 on Top 40 radio and Top 25 on the Billboard Hot 100 charts. The duo is already confirmed for highly coveted performances at the Coachella and Firefly Music Festivals & a spring headline tour, which launches in April!
Ry Cooder’s first new release in six years, The Prodigal Son, is all America, our spiritual, hopeful voices, our raw cries and our sly provocations, voiced through the songs of the Pilgrim Travelers, The Stanley Brothers, Blind Willie Johnson, and Ry Cooder himself.
180 gram black vinyl includes a download card.
Los Angeles has often been described as a “dream factory”--both a mecca where dreamers converge to pursue long-held aspirations, and a topography of hallucinogenic contradictions: enchanting tangerine sunsets diffused by smog, crystal-clutching spiritualists mingling with deep-pocketed narcissists, rows of scenic palms competing with garish billboards for commuters’ attention. It was against this backdrop that the four members of La Luz--singer/guitarist Shana Cleveland, drummer Marian Li Pino, keyboardist Alice Sandahl, and bassist Lena Simon--conceived of Floating Features, the band’s third studio album. For this, their most ambitious release yet, La Luz consulted landscapes both physical and psychological. References to dreams abound on Floating Features. “Loose Teeth” catalyzes nightmare fuel into a propulsive, intentionally-disorienting collision of honeyed harmonies and Takeshi Terauchi-esque jetstreams of distorted surf guitar. “Mean Dream” unsurprisingly mines dreamstate imagery, and the lyrics and melody for “Walking Into the Sun” actually came to Cleveland during a particularly-vivid night of deep sleep. Looming over the album’s coterie of surreal figures (gargantuan cicadas, a monstrous “Creature,” The Sun King, aliens, the titular “Lonely Dozer”) is the magnificent “Greed Machine,” a skulking, insatiable engine of consumption--Nathanael West’s “business of dreams” fearsomely manifested. To bring these visions to stereophonic life, La Luz pivoted from the DIY trailer-park brio of It’s Alive and the gritted-up urgency of Weirdo Shrine toward lush, hi-fidelity production value. Li Pino’s drums have never sounded more thunderously muscular, Simon’s basslines more robust-yet-agile, Sandahl’s organ melodies more complementary, Cleveland’s layers of guitar more versatile, or the group’s trademark harmonies more bewitching and rapturous. For every one of Floating Features’ seismic crescendos, there are just as many small, evocative details coloring its somnambulist soundscape. Only La Luz could conjure up Floating Features’ Leone-on-LSD vibes, and the album finds the L.A. band at the height of their powers--golden rebels in a golden dream.
For nearly half a decade, The National Reserve has spent its' Friday nights lighting it up at a Brooklyn bar, winning over barflies with epic sets and remarkable breadth of songcraft and showmanship. Now, with their stunning new Ramseur Records debut, Motel La Grange, the band has captured every bit of that energy, emotion, and entertainment for all to hear.
Simian Mobile Disco return with their 5th album and, never a pair of men to rest on their laurels, James Ford and Jas Shaw have switched things up this time by choosing to collaborate with London's all-female, Deep Throat Choir. The end result is SMD's most lush and sumptuous music to date - combining their unparalleled production talents across layers of synths & percussion with Deep Throat Choir's unique brand of choral vocals. From more song-based forms such as "Hey Sister" or "Caught In A Wave" to tracks like "A Perfect Swarm" or "V Formation" where the duo directed the choir to create drones and phrases that they could then work into their more techno-based productions. Murmurations is a thrilling return from Simian Mobile Disco. 2xLP includes download code.
Luke Winslow-King's' latest album is an example of craftsmanship at the highest level, radiating a warmth and timeless elegance. Adept at mixing country, blues, R&B, rock 'n' roll, and folk influences intuitively and masterfully, Luke shapes a mood from many sources and shepherds it to a unifying place of acceptance and hope. 'Blue Mesa' is both stately and approachable, manifestly proficient but deeply personal.
Before The Dead brings together a rare collection of the earliest known performances by Jerry Garcia. From an informal and intimate 1691 performance of simple folk songs at a birthday party with future songwriting partner Robert Hunter to more polished coffeehouse gigs with old-timey and bluegrass bands through 1964, this collection showcases Garcia’s deep study of the folk music tradition and its influence on his musical journey leading to the formation of the Grateful Dead.
The Very Best of Glenn Frey, is chock-full of major chart hits, including the Beverly Hills Cop smash "The Heat Is On,” the gritty, slide-guitar-driven gutbucket groove of “Smuggler’s Blues,” the epic Miami Vice ballad “You Belong to the City,” the inward-looking poignancy of “Soul Searchin’,” and much more. The Very Best of Glenn Frey is available here as a stand-alone disc as well as part of the box set. And while Glenn clearly embraced the burgeoning video age, nabbing a vaunted 1985 MTV Music Video Award with the cinematically dramatic clip for “Smuggler’s Blues,” it’s the enduring essence of the man’s songwriting skills on display here that truly sealed his legacy as a solo artist.
“Try to keep it as plain spoken as possible…” those are some of the first words the viewer hears in Plain Spoken: From The Chicago Theatre. A self-narrated musical journey, the film encapsulates the sound and soul of John Mellencamp. Stepping outside the boundaries of a concert film or documentary, Plain Spoken blends highly personal voice-overs from Mellencamp with live footage of him performing with his full band at the historic Chicago Theatre, just 250 miles from his native Indiana. He tells us the story of his Midwestern upbringing, the trials, turns and triumphs of his career, and his overall outlook on life while the music plays, supporting his stories. The result is the essence of John Mellencamp, delivered fully on-screen.
In addition to the full film with Mellencamp’s commentary, this audio visual release offers a “non-commentary” option (available in the Main Menu) in which viewers can watch the concert on its own. The audio visual set is completed with a component CD of concert audio. The set, which includes special guest Carlene Carter, showcases Mellencamp performing his most cherished songs. “Small Town,” “Minutes To Memories,” “Pop Singer,” “Cherry Bomb,” “Longest Days,” “Authority Song,” and “Pink Houses” are just some of the gems cherry-picked from his brilliant catalogue, as well as including songs from his most recent album Sad Clowns And Hillbillies.
With a career spanning more than 35 years, John Mellencamp has elevated his legacy from pop star to one of the most highly-respected songwriters of a generation. A GRAMMY winner, member of the Rock and Roll Hall Of Fame, and Songwriters Hall Of Fame nominee (among many other accolades), he has achieved a total of 22 Top 40 hits in addition to earning the record for the “Most #1 tracks by a solo artist on the Hot Mainstream Rock Tracks” chart.
Recorded at Nashville's RCA Studio A with Grammy Award-winning producer Dave Cobb, the album features eleven songs including "King of Alabama."Already receiving acclaim, NPR Music's Ann Powers praises, "Cobb, a troubadour whose classic country-rock songs are enhanced by his warm heart and keen eye, tells Mills' story with grace and discretion, as does the charming animated video...Cobb kicks out a Keith Richards-in-Muscle Shoals riff on his acoustic guitar and it melds perfectly with the organ to form a foundation that's pure, easy locomotion. Each verse follows another like the stretch of blacktop between exits, resolving in a chorus that's breezy and uplifting without unsettling the song's groove. Far from maudlin, Cobb's tribute does exactly what Mills did: it keeps on rocking, headlights on, until the last note."
Available on 180gm bone-coloured vinyl and CD. Back in November last year, psych-rock overlords King Gizzard & The Lizard Wizard announced they'd be giving away Polygondwanaland - their fourth LP of the year - for free and for everyone to do with as they please. Naturally, it was pretty inevitable that it was to be given the Fuzz Club treatment. Priding themselves on high-quality vinyl pressings, Fuzz Club have created a must for audiophiles and record collectors alike. The lacquer was cut at half-speed by engineer-extraordinaire Miles Showell (The Beatles, Rolling Stones, The Who) over at Abbey Road Studios, which means that every tiny little detail of King Gizzards wonky, hedonistic sonic prowess has made its way into the record's grooves. Not only will it sound absolutely incredible but it'll also look the part too. With alternative artwork, the LP is housed in a deluxe tip-on gatefold jacket with printed inner-sleeves and glued inside the gatefold will be a 16-page booklet which includes lyrics and a bunch of reworked illustrations taken from the original artwork provided by the band. Aside from all of that, Polygondwanaland also happens to be the Australian band's finest record to date. Whilst on their previous albums they've dealt in everything from jazz, soul and folk through to krautrock, stoner and doom, on this collection of tracks the Australian heavyweights hone their batch to psych-freak-outs into ten mind altering prog-tainted jams
Loreena McKennitt's first release of original material since 2006, Lost Souls is a rich and culturally eclectic recording, which one has come to expect from this unique artist. It is a rich tapestry of contemporary thoughts woven with threads from the Celts to the Bedouins, stitched with the sounds of a diverse collection of musical voices, including nyckelharpa, a military band and flamenco guitar. An exotic musical journey like no other. 180g vinyl with a booklet and download card!
THE CREAM OF THE CROP FROM THE ’60s BIGGEST COUNTRY STAR! The reason my Capitol records sounded the way they did—real heavy on the treble—was because I knew most people were going to be listening to ’em on their AM car radios. At the time, nobody else was doing anything like that, but it just seemed like common sense to me. And it was one more reason that you knew it was a Buck Owens record as soon as it came on the radio—because it just didn’t sound like those other records... —Buck Owens The latter part of the 1960s represents Buck Owens’ second act. His recordings from that era are brief snapshots of a man in transition. Buck and his Buckaroos had undeniably found a winning formula, but he was growing concerned that his signature sound was in danger of growing stale and predictable. For the rest of the decade he would boldly venture into new territory that likely stretched the boundaries of what some fans might have expected. —Scott B. Bomar, from the liner notes Omnivore Recordings, in conjunction with the Buck Owens Estate, is proud to present Buck Owens and The Buckaroos’ The Complete Capitol Singles: 1967–1970. This is the second in a series chronicling every one of Buck’s historic Capitol singles from the ‘50s, ‘60, and ‘70s. Taken from the original mono and stereo masters, The Complete Capitol Singles: 1967–1970 collects the A- and B-side to all 18 singles from that period, including 14 Top Ten hits, in their original, chronological form. Newly remastered, and featuring liner notes from Scott B. Bomar, The Complete Capitol Singles: 1967–1970 presents the golden age of Buck Owens in an entirely new way. These are the records that made Buck Owens a legend and defined the Bakersfield Sound. It’s history. It’s The Complete Capitol Singles: 1967–1970.
One of the leading producers and instrumentalists in Brazilian music, Alexandre Kassin has produced roughly 100 records for singers, including Marisa Monte and Bebel Gilberto, recorded with Sean O'Hagan (Stereolab, High Llamas) and made a full album based on Nintendo GameBoy sounds. He has played bass for Caetano Veloso’s live shows and conceptualized the Orchestra Imperial band. His new album, Relax, is rooted in dreams and surrealism, yet grounded enough to reach listeners where they are. Across 11 tracks, Kassin flirts with Latin rhythms, Brazilian pop, and straight-ahead soul, using this varied stylistic array to tell imagined tales of death, drug usage, politics and fate. There's a dichotomy to Relax, with Kassin's arrangements often feeling bright and danceable, yet with incredibly sullen themes. It's a record that speaks directly to the yin and yang of everyday life, and the uncertainty that comes with simply existing.
The Good Is A Big God, by singer, composer and multi-instrumentalist Domenico Lancellotti, features contributions from Nina Miranda, Moreno Veloso, Pedro Sá and Sean O’Hagan. Son of composer Ivor Lancellotti, Domenico has collaborated with various MPB (Música Popular Brasileira) names such as Adriana Calcanho]o, Marcos Valle, Caetano Veloso and Fernanda Abreu, and also participates in several projects such as Orchestra Imperial, the +2's (with Moreno Veloso and Kassin) and Ritmistas. A collection of reflective samba partially inspired by a trip taken to a Brazilian national park called The Serra dos Órgãos, The Good Is A Big God first began to take shape when Domenico was asked to take part in an artistic collaboration in the city of London during the 2012 Summer Olympics. There, he reunited with Sean O’Hagan after previously meeting during a show that paid homage to Tropicália. Before he took off for London, Domenico sent O’Hagan a few musical sketches he’d done on guitar; by the time the Brazilian made it to the U.K., O’Hagan had string arrangements to accompany Domenico’s music. Domenico added lyrics to some of these songs once he returned to Brazil and with help from friend and label mate Kassin, and additional assistance from O'Hagan, the record was finished. One can hear a sense of isolation and oneness with nature when listening to The Good Is A Big God. It’s the type of art that arrives in a calming stream of thought and is a much- needed respite from the rigors of everyday life.
Eminem returns with his highly anticipated ninth album Revival. Production was handled by various record producers, including Rick Rubin, Skylar Grey, Eminem himself, and executive producer Dr. Dre. The albnum features guest appearances from artists Beyoncé, Phresher, Ed Sheeran, Alicia Keys, X Ambassadors, Grey, Kehlani, and Pink.
New Vinyl: $26.98 Buy