New Releases: 29th January 2021
Ben brings you all the new releases and reissues to arrive at The Vinyl Whistle this week, featuring releases ranging from indie, post-punk, electronic, ambient, rock, folk, prog, soul, jazz, punk, African, reggae, and pop. To order, you can find the items on the links below. Here's Ben's roundup of his Top 10 Picks of the week:
The Besnard Lakes have passed through death and they’r e here to tell the tale. Nearly five years after their last lightning-tinted volley, the magisterial Montreal psych-rock band have sworn off compromise, split with their long-standing label, and completed a searing, 72-minute suite about the darkness of dying and the light on the other side.
The Besnard Lakes Are The Last of the Great Thunderstorm Warnings is the group's sixth album and the first in more than 15 years to be released away from a certain midwestern American indie record company. The Last of the Great Thunderstorm Warnings is a bright-blazing requiem: nine tunes that are one tune and six musicians who make one band - unleashed and unconstrained, piercing and technicolour. At the end of the golden day, the Besnard Lakes are right where they should be.
Drive-By Truckers released The Unraveling on Jan 31st 2020 and set out for what was supposed to be a full year of touring. Needless to say it did not go as planned. The New OK is a phrase Patterson Hood found himself saying a lot these past few months. This new album, made up of songs left over from The Unraveling sessions and new ones written and recorded since, hopefully balances out the darkness of our current situation with a hope for better days and nights ahead.
Goat Girl’s new album On All Fours was produced by Dan Carey (Kae Tempest, Black Midi and Franz Ferdinand) in South London in early 2020. This new record sees the band veer away from the confrontational lyricism of their debut and indicates Goat Girl’s maturing perspectives in discussing the world's injustices and social prejudices, using the music to explore global, humanitarian, environmental and mindful well being. Goat Girl’s frequent use of sci-fi synthesisers, off-beat chord progressions, analogue drum machines, diverse vocal styles and distinct, gritty guitars fuse a musical language that expresses both former characteristics and newer developments of the band’s sound and vision On All Fours.
peter hook and the light are an english rock band, formed in may 2010 by bass guitarist/vocalist peter hook, formerly of the influential post-punk bands joy division and new order.
the band is noted for performing the joy division and new order albums live.their setlists primarily feature the two joy division albums, unknown pleasures and closer or the first two new order albums, movement and power, corruption & lies, depending on the respective tour. the very concept is bound to stir up conflicted feelings -- bafflement, interest, cynicism, anger -- in any joy division fan. here’s that band’s peter hook, singing lead and playing bass, supported by a guitarist, drummer, keyboard player, and additional bassist. in front of a melbourne crowd, the band roars through the entirety of joy division's unknown pleasures, book-ending the album with six additional reinterpretations. the musicians play their hearts out, and hook is absolutely locked into the material. one can’t deny the man’s conviction. the moments of aggression are far more suited for his gruff, seething vocals than the likes of “candidate” and “i remember nothing,” where he has some trouble dialing it down. as an in-the-flesh experience, this was probably quite thrilling. as a home listening experience, it seems unnecessary -- at best, a curiosity -- especially when the source material is a couple clicks away.
LNZNDRF’s II is a mass hypnotism, somehow both thunderous and trance-inducing. Recorded in extensive, shamanistic jam sessions at Austin’s Public Hi-Fi in September 2019 and later edited down to give it shape, these songs feel like Right Now, with some toes testing the waters of the future.
The brothers Scott and Bryan Devendorf (The National), Ben Lanz (The National, Beirut) and multi-instrumentalist Aaron Arntz (Beirut, Grizzly Bear) are in headlamps and spelunking gear, descending into a somnambulant space. Album deep cut Ringwoodite, with it’s skittering, lithe and precise drums, is a summer sparkler of song — whizzing by at such a clip it leaves you giddily following its traces. On its heels are the computer lover Gaskiers and come- on-slow motorik anthem Stowaway that, while not connected by sound, work in tandem to put LNZNDRF fully in the canon of strange and indelible krautrock.
Its incantations seem to beckon the dystopia of present day as much as they beckon the Big Mystery awaiting us when we finally bust through its barrier. It won’t be a utopia but it will at least be something different. As it goes on the lysergic post-punk standout You Still Rip: "We'll live like fruitless trees towards endless breeze linked as we please, the burning bridges smolder in our wake.” Red rover, red rover, send LNZNDRF over.
The Luka State are Cheshire Cats, Conrad Ellis (voice, guitar), Sam Bell (bass, voice), Jake Barnabas (drums) and Lewis Pusey (guitars). Their hometown is famous for salt mining, and not much else. Yet being halfway between Liverpool and Manchester – hence, every kid in the town wanting to be a footballer or pop star the minute they can kick a ball or play a guitar. The Luka State chose music. For fans of Supergrass, Kasabian and Pop.
Highly anticipated debut from 2020 breakthrough artist, London-based musician and poet Arlo Parks. Speaking about her LP, Arlo says "My album is a series of vignettes and intimate portraits surrounding my adolescence and the people that shaped it. It is rooted in storytelling and nostalgia - I want it to feel both universal and hyper specific." This album news continues an outstanding year for Arlo, who was included on the BBC Sound Of 2020 poll and Radio 1 Brit List, as well as the Dazed 100 list, and also being named as an ambassador for mental health charity CALM. Includes the Radio 1 A-listed singles ‘Black Dog’ and ‘Hurt’. First LP pressing is on limited edition 180g deep red vinyl and includes fold out poster and download code.
It is in Albertine’s own words, “a triumphant refusal to be complicit in a system that ruins us.” The universality of music can mean different things to different people. For Albertine Sarges – Berlin-based musician and producer – it’s a vessel that she uses for self-exploration and growth, never more so than on her new album The Sticky Fingers, out on Moshi Moshi Records.
After numerous collaborative projects, including projects with Colin Self and Holly Herndon, and performing as part of Italian synth- wave duo Itaca, Albertine brings together a new band, the titular Sticky Fingers for their debut LP. The Sticky Fingers has its roots in the south of the German capital – Albertine grew up in Kreuzberg during the fall of the Berlin Wall and records in nearby Neukölln - but from there its branches shoot out to take in feminist theory, musings on bisexuality, gender stereotypes, depression and mental health. These topics fall under the ever-shifting veneer of Albertine’s chameleonic pop motifs: from Viv Albertine-inspired post-punk and kaleidoscopic dream-pop to quiet-loud guitar squall and Merrill Garbus-reminiscent vocal acrobatics.
The Remixes is a compilation album by The Stone Roses, which features remixes by various producers including Utah Saints and Paul Oakenfold. Various techno luminaries ply their skills reworking some of those early classic songs, and it is immediately clear that the Roses, even beyond the genius of their songs, were a preeminent dance band.
Steven Wilson’s new album The Future Bites is an exploration of how the human brain has evolved in the Internet era. As well as being Wilson’s phenomenal sixth album, The Future Bites is also an online portal to a world of high concept design custom built for the ultra-modern consumer. Where 2017’s To The Bone confronted the emerging global issues of post truth and fake news, The Future Bites places the listener in a world of 21st century addictions. It’s a place where on-going, very public experiments constantly take place into the affects of nascent technology on our lives. From out of control retail therapy, manipulative social media and the loss of individuality, The Future Bites is less a bleak vision of an approaching dystopia, more a curious reading of the here and now.
Musically, The Future Bites gleams. Featuring gorgeous electronic sounds warped by human intervention (King Ghost), soaring acoustics that head straight upwards into the stratosphere (12 Things I Forgot), relentless bass-driven Motorik grooves (Follower) and swampish, murky funk (Eminent Sleaze), it is Steven’s most consistently brilliant work to date. The album was recorded in London and co-produced by David Kosten (Bat For Lashes, Everything Everything) and Steven Wilson.
Here are the best reissues coming out this week at The Vinyl Whistle:
22-20s is the debut self-titled album by English blues rock band 22-20s. The album was met with critical acclaim upon initial release in 2004. NME called it one of the best British rock albums of the year, praising the band’s ability to sound fresh and vital, while remaining intense. The album features the track Devil in Me, which was famously used on a Vauxhall Astra commercial in 2016. It provided the band with a rise in popularity, even though by that time they had already split up. Their eponymous debut is now available on 180 gram audiophile vinyl and comes in a gatefold sleeve.
Amber Run is a British indie rock band from Nottingham, who released three albums and four EPs. They recorded their debut album throughout January and February 2014 with Sam Winfield and Brit Award-winning record producer Mike Crossey, who previously produced albums for Arctic Monkeys, The 1975, Twenty One Pilots, Walk the Moon, Foals, Keane, Jake Bugg and Yungblud. There are comparisons with Coldplay on the single I Found, while the title track has London Grammar’s mellow trip-hop vibes. With Noah’s Mumford and Sons-like vocal melodies and the wisps of Bastille’s fist-pumping pop on single Just My Soul Responding, Amber Run maintains a legitimising rockstar edge. Upon release, 5am reached number 36 on the UK Albums Chart.
Odditties Sodomies Vol. 1 returns to vinyl as an expanded installment of Ariel Archives, Mexican Summer’s reissue project revisiting the trove of music Ariel Pink recorded and released as Ariel Pink’s Haunted Graffiti between 1999 and 2019. For this version, Odditties Sodomies Vol. 1 has been remastered from the original source tapes and mixed in true stereo, delivering in extraordinary range the full depth of Ariel’s compulsive musical enterprise.
Conceived long before its first official release in 2008, the series Odditties Sodomies was created by Ariel Pink as a means to collect the best of his orphaned music, songs which had not made it onto the Haunted Graffiti album collections Underground, The Doldrums, Scared Famous/FF>>, House Arrest, Lover Boy, and Worn Copy. As such, the first volume of Odditties Sodomiescontained songs recorded between 1997 and 2004, a period roughly encapsulating Ariel’s graduation from high school, his college years, and the beginning of his independent life as a songwriter, when he became the unlikely conduit for an epic stretch of creativity that resulted in several hundred inspired experimental pop songs.
Odditties Sodomies Vol. 3 is a new installment of Ariel Pink’s compilation series collecting revelatory unreleased material recorded during Ariel’s prolific series of releases as Ariel Pink’s Haunted Graffiti, focusing on the years 1997–2004. Released as a concluding entry of Ariel Archives, Odditties Sodomies Vol. 3 delivers more gems from the artist’s treasure chest of unheard or narrowly distributed music.
Like the other releases in Ariel Archives, Odditties Sodomies Vol. 3 has been carefully transferred from the original source tapes and mixed in true stereo, restoring the full stereophonic experience Ariel originally designed. His predecessors in this multitalented pop category are pantheon: Prince, Todd Rundgren, and Kate Bush. Pink unites disparate sides of the pop spectrum and crafts a complicated musical persona. It’s part self-parody but also earnest ambition, a quest to reinvent the self through musical knowledge and musical creation.
Considering the enthralling series of releases Ariel Pink released as Ariel Pink’s Haunted Graffiti in the late 90s and early 00s, Scared Famous/FF>> occupies a special place. The album is often the fan favorite, the kind of definitive artistic statement that rewards repeat listens and yet always surprises. Twenty years later, as the album returns in an expanded, carefully remastered form (its first release in true stereo), it sounds as fresh, disturbing, and energizing as ever.
Sit n’ Spin is a special installment of Ariel Archives focusing on the singles, EPs, and unreleased sessions recorded by Ariel Pink in the late aughts after a five-year hiatus from making new music. Documenting his first recordings with a full band, Sit n’ Spin contains the best and rarest rumblings of the artist at the beginning of an explosive second chapter.
black vinyl issue - features 2 x unreleased songs ‘dark places (soundscape)’ and ‘i am the cosmos (42420)’ brand new 2020 mixes of ‘star’, ‘hyperspace’, ‘see through’ and ‘die waiting’ + ‘uneventful days’ (st vincent remix) + ‘saw lightning’ (freestyle live).
The Waiting Game was the unsung tenor saxophonist Tina Brooks’ final album, recorded in 1961 but not released until 1999. Brooks is one of the most under-appreciated tenor players and composers of the hard bop era, with only one of his four Blue Note sessions (the classic True Blue) released during his lifetime. Brooks is joined here by Johnny Coles on trumpet, Kenny Drew on piano, Wilbur Ware on bass, and Philly Joe Jones on drums. Brooks penned five of the six tracks, showcasing his unique compositional talent in addition to his pleading and soulful tenor sound. Highlights include the Side 1 opener Talkin’ About and the modal masterpieces Dhyana and David the King.
Almost 35 years on, The Chameleons return once again, to one of Manchester’s most iconic venues, playing the original set they played that evening... The atmospheric post-vocalist / bassist Mark Burgess began with the Cliches, guitarists Reg Smithies and Dave Fielding arrived from the Years, and drummer John Lever (who quickly replaced founding member Brian Schofield) originated with the Politicians. After establishing themselves with a series of high-profile BBC sessions, the Chameleons signed to Epic and debuted with the EP Nostalgia, a tense, moody set produced by Steve Lillywhite which featured the single 'In Shreds.'.... The quartet was soon released from its contract with Epic, but then signed to Statik and returned in 1983 with the band's first full-length effort, Script of the Bridge. What Does Anything Mean? Basically followed in 1985, and with it came a new reliance on stylish production; following its release, the Chameleons signed to Geffen and emerged the following year with Strange Times. The dark, complex record proved to be the Chameleons' finale, however, when they split following the sudden death of manager Tony Fletcher; while Burgess and Lever continued on in the Sun and the Moon, Smithies and Fielding later reunited in the Reegs. In 1993, Burgess surfaced with his proper solo album Zima Junction. He and his band the Sons of God toured America the following year.
It’s been 10 years since the release of Turning On, Cloud Nothings’ debut album. Singer-songwriter Dylan Baldi was just 18 years old when he began recording the album, creating each track in his parents’ basement in Cleveland, Ohio. Over one winter, Baldi produced an album of taut, lo-fi guitar-pop songs, playing each instrument himself. His music gained traction in the increasingly popular music blog circuit, allowing Baldi to book his first shows in new places, like New York City. He gathered a band together to play live, and Cloud Nothings were on their way. The band has accomplished a great deal since Turning On, signing to Carpark Records, releasing seven albums, and headlining numerous international tours. Yet, their debut isn’t dusted over in the band’s history. Turning On still remains the stripped-back core of Cloud Nothings style: raw and grungy, filled with catchy earworms that are surprisingly pop. The album carries all the stored potential of someone ready to venture off into the world, a feeling that bursts with energy even 10 years later.
Kind of Blue is a studio album by American jazz trumpeter Miles Davis. It was recorded on March 2 and April 22, 1959, at Columbia's 30th Street Studio in New York City, and released on August 17 of that year by Columbia Records. The album features Davis's ensemble sextet consisting of saxophonists John Coltrane and Julian "Cannonball" Adderley, pianist Bill Evans, bassist Paul Chambers, and drummer Jimmy Cobb, with new band pianist Wynton Kelly appearing on one track in place of Evans. Kind of Blue has been regarded by many critics as the greatest jazz record, Davis's masterpiece, and one of the best albums of all time. Its influence on music, including jazz, rock, and classical genres, has led writers to also deem it one of the most influential albums ever recorded
Miles in tokyo is a live album recorded on july 14, 1964, by the miles davis quintet (featuring sam rivers, ron carter, herbie hancock and tony williams) at the tokyo kåsei nenkin kaikan, shinjuku, tokyo, japan.
it is the first recording of davis in japan and the only album to showcase an early incarnation of his second great quintet featuring sam rivers on tenor saxophone, following george coleman’s departure. after this, wayne shorter’s appointment completed the classic line-up which recorded such albums as esp and miles smiles, through to miles in the sky. the legendary miles in tokyo album is now available on vinyl in europe for the first time.
13 was The Doors’ first compilation album, featuring tracks from the psychedelic rock legends’ first five albums.
The compilation starts with the epic Light My Fire, written by Doors guitarist Robby Krieger, and features other classics such as People Are Strange from Strange Days, Touch Me from The Soft Parade. It also contains the blues rock classic Roadhouse Blues from Morrison Hotel; which last year celebrated its 50th anniversary.
Mikey Dread started out as an engineer with the Jamaica Broadcasting Corporation when some of the most innovative reggae was being recorded in Jamaica. He convinced his bosses to give him his own radio program called Dread At The Controls and the rest is history. You can hear his radio announcements and shout outs before most tracks of his first record African Anthem Dubwise. It is one of the finest ‘80s era Reggae records as it features many styles.
Barry Gray’s soundtrack LP to the 1962 series “Fireball XL5” from Gerry and Sylvia Anderson will be released on vinyl on Silva Screen Records, the next in a series of Anderson releases which has so far featured UFO, Supercar and Thunderbirds. Fireball XL5 was set in 2062 and followed the exploits of the eponymous spaceship commanded by Colonel Steve Zodiac of the World Space Patrol. It was produced, like most other Anderson productions, in Supermarionation, using puppetry techniques that captured the imagination of a generation. Composer Barry Gray collaborated with the Andersons on all the Supermarionation series, his jazzy style supplemented by the use of an electronically augmented keyboard, the Ondes Martenot, creating the other-worldly atmosphere which became synonymous with the sci-fi series.
Is This Desire? finds Harvey delivering on the promise of her earlier albums: without losing any of the rage of her earlier, more guitar-driven work, she further refines her psychotic tales of obsession and despair, all the while laying down a sonic groundwork which is always experimental and unexpected, including a heavy dose of electronica. Harvey's trademark whisper-to-a-scream vocal style is present throughout is this desire. The Sky Lit Up sees a casual, almost spoken vocal erupt slowly into an otherworldy wail, accented perfectly by wild guitar textures. Catherine is a sublime, evocative ballad, whose vitriolic lyrics are juxtaposed against a soft, rolling backing track. The Garden skips along at a determined pace, with keyboard textures and swelling strings making it a quintessential PJ Harvey composition: haunting, angry and thoroughly unusual.
Collection of unreleased demos of every track written for the fourth PJ Harvey studio album Is This Desire?, including demos of A Perfect Day Elise, The Windand Angelene. Audio has been mastered by Jason Mitchell at Loud Mastering under the guidance of longtime PJ Harvey collaborator John Parish. Features brand new artwork with previously unseen photos by Maria Mochnacz.
Having established Dinosaur Jr as a mainstay of, and influence over, the alternative scene by the mid-1990s, J Mascis began to venture out alone, performing acoustic sets of his band’s material.
Martin and Me documents a late 1995 US tour, and includes Dinosaur Jr classics such as Repulsion, Get Me and Keeblin alongside of covers of The Smiths’ The Boy With The Thorn In His Side, Carly Simon’s Anticipation and Lynyrd SkynyrdsEvery Mothers Son.
Originally released in 1996 and long out of print, this luxurious yellow vinyl edition is a long overdue opportunity to revisit another side of J Mascis and Dinosaur Jr.
Root for Ruin sifts through 15 years of musical experience to arrive at a diamond-edged sound that's as upfront and direct as the quintet's legendary live shows. That goes for everything from the gut-punching percussion and drunken punk subtleties of 'clear spirits' to the moonlit melodies and restless, groove of 'sleepless in silverlake'. 'poltergeist', cut in one take at the band's rehearsal space, features a downward spiral vibe that's both delirious and delightful. Root for Ruin keeps you on your toes through 11 tracks. The tightness of the band is undeniable on Root for Ruin. for some it will signal a return to the rawer energy evidenced on their early recordings. It's clear by the tracks on the album that the guys are enjoying their own legacy. Many songs carry the torch for some of the band's first influences. still, it's not nostalgic. Root for Ruin is not stylistic pose or aesthetic conceit - it's the real deal.
Building on the themes of their critically acclaimed album Among The Ghosts, "family" is at the center of Lucero's new album When You Found Me. The album reimagines family stories as modern fables, with young heroines and storybook lyrics inspired by the fairy tales lead singer Ben Nichols' reads with his four year old daughter at bedtime. Throughout When You Found Me, true stories are turned into fantasy and folktales are reimagined into pummeling rock songs.
In the spring of 1966, If You Can Believe Your Eyes and Ears represented a genuinely new sound, as fresh to listeners as the songs on Meet the Beatles had seemed two years earlier. Released just as "California Dreaming" was ascending the charts by leaps and bounds, it was the product of months of rehearsal in the Virgin Islands and John Phillips' discovery of what one could do to build a polished recorded sound in the studio -- it embraced folk-rock, pop/rock, pop, and soul, and also reflected the kind of care that acts like the Beatles were putting into their records at the time. "Monday, Monday" and "California Dreamin'" are familiar enough to anyone who's ever listened to the radio, and "Go Where You Wanna Go" isn't far behind, in this version or the very similar rendition by the Fifth Dimension. But the rest is mighty compelling even to casual listeners, including the ethereal "Got a Feelin'," the rocking "Straight Shooter" and "Somebody Groovy," the jaunty, torch song-style version of "I Call Your Name," and the prettiest versions of "Do You Wanna Dance" and "Spanish Harlem" that anyone ever recorded.
Cure for Pain is the second album by Morphine, originally released in 1993. Morphine was an American alternative rock group formed by Mark Sandman, Dana Colley, and Jerome Deupree in Cambridge, Massachusetts in 1989. The band combined blues and jazz elements with more traditional rock arrangements, giving the band an unusual sound. The band enjoyed positive critical appraisal. In the United States the band was embraced and promoted by the indie rock community, including public and college radio stations and MTV’s 120 Minutes.
Passion is the fifth and final part of a series of five double vinyl releases that bring together some of Ennio Morricone’s greatest soundtrack music. Each collection centres on a different movie genre, together they allow the listener to rediscover the unmatched genius of the greatest movie composer of all time. Passion once again reminds us that everything in Italian life is approached with gusto, energy and passion.
Passion is available as a limited edition of 3000 individually numbered copies on pink and purple marbled vinyl. The package includes a 4-page insert with liner notes written by Claudio Fuiano. The gatefold sleeve contains a diamond glitter foil spot varnish on the outside and images of iconic movie posters on the inside.
Upgraded gloss 2xLP gatefold sleeve (original press was 2lp non-gatefold and standard weight) with new liner notes and printed sleeves. With a career spanning two decades and 12 releases, L.A. hip hop duo People Under the Stairs bid farewell with their final LP last year.
Their unique self-produced legacy earned them the designation The Steely Dan of Hip-Hop and built a fan base of millions around the globe. Now, for the first time ever, they are re-issuing their long out of print, 2002 classic O.S.T. with a revamped gatefold gloss cover, updated liner notes and printed sleeves featuring 100+ print reviews from the original release date.
Almost two decades in the making and with the original vinyl constantly fetching over $125 online this highly anticipated reissue is sure to please both new and old fans alike.
Ride's second album, completed with sunshine melodies and a bold, clear production by Alan Moulder, originally released in 1992. Ride returned and delivered a shoegaze classic, a diversified sounding release, in which they restored and renewed interest in the band. features the epic shoegaze singles, Leave Them all Behind and Twisterella.
With a more pronounced element of afrobeat than its successor - ‘7’ - the exuberant trio’s debut declaration of intent blends a post-punk punchiness with deep-chilled funk ‘n’ soul and off-kilter pop.
the incredibly elusive band sault release their debut album "5" on vinyl via independent record label forever living originals. the record fuses african, soul, funk and post-punk vibes amongst other flavours. with support from radio 6's lauren laverne and usa's kwrc and kexp, the band are set to go from strength to strength becoming one of the most prolific bands of 2020 with a barrage of material up their sleeves. fans of early beck, the go! team and superorganism have to hear this to believe it!
Blending the hard bass tones of post-punk with a breezy melodic cocktail of funk, soul and wonky pop, the trio’s second record is an absolute blast of kaleidoscopic joy.
Their signature hybrid of funk, dance, post-punk, soul and disco is front and centre once again, confidently delivered with their typical fearless nature. if "5" had you out of your seat, "7" will have you dancing in the streets with its celebratory and flamboyant nature. spread the word, sault are back at it! crossing sonic gene pools as far flung as beck, khruangbin and the go! team, we don’t know how they stumbled upon this extremely mutated sound; just put it down to one of life’s little miracles.
While Thin Lizzy's previous release, Black Rose, was a focused, inspired hard rock masterwork, its follow-up, 1980's Chinatown, was a letdown. Guitarist Gary Moore was a major reason for the predecessor's success, but he quit during the subsequent tour (eventually replaced by ex-Pink Floyd touring guitarist Snowy White). Also, leader Phil Lynott and guitarist Scott Gorham were indulging heavily in hard drugs by this point, which was obviously taking its toll. And since producer Tony Visconti was not on board again, the lively production that played such a prominent part in the success of their past few releases was noticeably absent. The first side contains the best material: the anthemic "We Will Be Strong," the pop perfection of "Sweetheart," the obviously autobiographical drug tale of "Sugar Blues," plus the British hit singles "Killer on the Loose" and the title track. The second side, however, is comprised almost entirely of bland filler, such as "Having a Good Time," "Didn't I," and "Hey You." While it's not their worst album (that "honor" would go to their next studio album, 1981's Renegade), Chinatown should have been a lot better, especially coming off such a stellar release as Black Rose.
March 16-20, 1992 is the third studio album by alternative country band Uncle Tupelo, released in 1992. The title refers to the five-day span during which the album was recorded. An almost entirely acoustic recording, the album features original songs and covers of traditional folk songs in near equal number, and was produced by R.E.M. guitarist Peter Buck. With Uncle Tupelo’s popularity on the rise, March 16-20, 1992 sold more copies than their first two albums, No Depression and Still Feel Gone, did combined. Each album in individually numbered and housed in a deluxe heavyweight jacket with special leather-look laminate finish.
No Depression is cited as one of the most important albums in the alternative country genre. Due to the impact of the album on alternative country, the term ‘No Depression’ is sometimes used as a synonym for the genre - especially after a country music magazine named itself after the album. The album helped kick start a revolution which reverberated throughout the American underground. In 1999, Spin Magazine listed the album as one of the Top 90 Albums of the 90s. Its punk attitude, combined with Jay Farrar and Jeff Tweedy’s lyrical depictions of rural, blue-collar life paint grim portraits of Midwestern existence, left a long-lasting legacy. Housed in a deluxe heavyweight jacket with special leather-look laminate finish.
Still Feel Gone (1991) is the second album by American alternative country pioneers Uncle Tupelo. While its predecessor No Depression was filled with uptempo tracks, their follow-up effort showcases a band taking a closer look at the middle ground by acoustic guitars. “Still be Around” and “Looking For A Way Out” are great examples of tracks with high-strung acoustic guitars. On this album, Uncle Tupelo sounds even more powerful than before. And the broader picture of the abilities of Farrar, Tweedy, and Heidom confirms a strong combination. This reissue gives the album the special treatment it deserves. Each album in individually numbered and housed in a deluxe heavyweight jacket with special leather-look laminate finish.
Originally released in 2010, Mirage is the fourth studio album by renowned Dutch trance DJ and producer Armin van Buuren. Widely regarded as a astaple in Van Buurens impressive career, Mirage peaked at number 3 in the Dutch Album Top 100, as well as reaching the top 5of the US Top Dance/Electronic Albums. It contains the popular single ‘Not Giving Up On Love’, featuring British singer Sophie Ellis-Bextor. Asthe record lasts nearly 80 minutes total, it is released as a double LP. It is pressed on red coloured 180 gram audiophile vinyl. The packageincludes a gatefold with spot varnish and lyrics, as well as an insert with pictures and credits.
katie crutchfield’s southern roots are undeniable.
the name of her solo musical project waxahatchee comes from a creek not far from her childhood home in alabama and seems to represent both where she came from and where she’s going. waxahatchee’s latest record, ivy tripp, drifts confidently from its predecessors and brings forth a more informed and powerful recognition of where crutchfield has currently found herself. the lament and grieving for her youth seem to have been replaced with control and sheer self-honesty. “my life has changed a lot in the last two years, and it’s been hard for me to process my feelings other than by writing songs,” says crutchfield. “i think a running theme [of ivy tripp] is steadying yourself on shaky ground and reminding yourself that you have control in situations that seem overwhelming, or just being cognizant in moments of deep confusion or sadness, and learning to really feel emotions and to grow from that.” recorded and engineered by kyle gilbride of wherever audio at crutchfield’s home on new york’s long island—with drums recorded in the gym of a local elementary school—ivy tripp presents a more developed and aged version of waxahatchee. “the title ivy tripp is really just a term i made up for directionless-ness, specifically of the 20-something, 30-something, 40-something of today, lacking regard for the complaisant life path of our parents and grandparents. i have thought of it like this: [waxahatchee’s last album] cerulean salt is a solid and ivy tripp is a gas.” as far as her goals with ivy tripp, crutchfield says, “i heard someone say that you have to be the change you want to see. i just want to be the kind of musician i want to see in the world. i want to present myself in a way that reflects that.” january 2014 pitchfork best new track, “air”.
Here are the best of the rest of the new releases arriving at The Vinyl Whistle this week:
Strut present the brand new album from Alostmen, led by Stevo Atambire, a band at the forefront of kologo music in Ghana. Featured artists include Gyedu-Blay Ambolley, Yaa Pono, Medikal and Villy.
Formed by Stevo and Wanlov The Kubolor (Fok’n Bois) at the suggestion of co-producer Percy Yip Tong, Alostmen’s music is based around the Frafra traditions of the kologo, a stringed lute and uses purely traditional instrumentation in entirely new ways. “I always like to do something “out” with my instrument, I like to force it to work,” explains Stevo. “I’m a yout’man and into different kinds of music: commercial, rap music, reggae, Malian sounds. I add all of it to the band’s sound in different ways.” Wanlov continues, “The kologo is traditionally played a certain way but Stevo will play it at the shortest end of bridge and accentuate, almost Hendrix-style! He plays with a pedal sometimes and can keep it an octave down with a bass sound. He has evolved the instrument in his own way.” Having already played dates across West Africa and Europe, Alostmen continue their journey with their superb debut album, Kologo, The album was mixed by DrumTalk and mastered at The Carvery. Cover artwork is courtesy of Lewis Heriz.
Confidence Man, the most fun band since the B-52’s grew beehives, recently made a return with First Class Bitch, a track designed to make you feel like you’re on top of the world, at the top of your game, no matter where you might be in reality.
Now the track gets a re-working courtesy of the much- loved duo Groove Armada. They turn First Class Bitch into a spiralling anthem, keyboards creaking and wheezing to a satisfactory conclusion. Also mixes come from Raf Rundell and Working Men's Club.
In a Word, the sixteenth installment of the intergenerational collaboration series FRKWYS, brings together composer Daniel Lentz and vocalist and sound artist Ian William Craig for an album that embraces erosion and the potential of its loam left behind. A major figure in American composition, Daniel Lentz has worked at the middle and margins of postminimalism for more than four decades. A pioneer of “live multitrack recording” with the Daniel Lentz Group, he frequently writes for ensembles of similar instruments, from choirs to string orchestras to glass harmonicas. Like his west coast colleagues Harold Budd and Ingram Marshall, Lentz composes music of slow changes, built on fundamental harmonies and rhythms that evoke vast spaces and deep, ancient stone.
Whilst Ghedi’s previous idiosyncratic take on folk has often been instrumental, exploring the natural world and his relationship to it through his music as seen on 2018's A Hymn For Ancient Land. His new album In The Furrow Of Common Place is a deeper plunge inside himself to offer up more of his voice to accompany his profoundly unique and moving compositions.
The decision to include more of Ghedi’s vocals was a conscious one and driven by a need to say something. However, this isn’t a brash raging political polemic. As is now customary with Ghedi’s work, it is rich in nuance, history, poetry and allegory. Musically, the album is equally locked into this ongoing sense of evolution. Ghedi’s intricate yet deft guitar playing still twists and flows its way through the core, weaving in and out of gliding double bass, sweeping violin, gentle percussion and vocals that shift from tender solos to overlapping harmonies.
As with much of Ghedi’s work, there’s a rich connection between the past and the current. Musically, he continues to sit in a singular position of sounding distinctly contemporary yet also with a touch of traditional flair. This expands itself into the lyrical terrain here too.
For all the socio-political and historical backdrop to the record it is not one that feels overwhelmed by it. Much like Ghedi’s work when it was largely instrumental - and some of it still is here - it flows and unfurls thoughtfully, with space still being utilised masterfully, creating room to pause and reflect. It’s another inimitable record from an artist that truly sounds like nobody else right now.
The Third Chimpanzee EP is the brand new EP from Martin Gore, one of the founding members and primary songwriter of Depeche Mode. Over 5 brand new tracks Gore explores euphoric modular sounds and develops his career’s long relationship with electronic music. The EP follows his eponymous album MG in 2015 and SSSS, his collaboration with Erasure’s Vince Clarke for their VCMG project. The artwork was created by Pockets Warhol, a capuchin monkey based in Canada who paints for charity.
Terry Gross is an engrossing trio composed of guitarist Phil Manley (Trans Am), bassist Donny Newenhouse, and drummer Phil Becker. The trio are also connected as owners and engineers at Bay Area recording spot El Studio, where they began improvising together as a way to test the boundaries and gear of the studio. Their loose, organic chemistry burgeoned into a deep camaraderie and a sound both expansive and exacting. The three experienced musicians crafted their first full-length album through the pure joy of playing together with no expectations. With the tapes rolling on their rehearsals, the band captures the exuberance of live performance and elevates those recordings through a deft use of the studio as their collective instrument. On their debut LP Soft Opening, Terry Gross channels their cosmic powers and considerable chops into a gleefully mesmerizing odyssey fit for an arena.
Clive Hunt’s Blue Lizzard is the first reggae instrumental album of its kind to come out of Jamaica since the heyday of Channel One and Joe Gibbs’ studios in the late 1970s and Rico Rodriguez’s influential Man From Wareika. The album features original compositions and several classic adaptations, all arranged by Clive ‘Azul’ Hunt, aka Lizzard, the veteran producer of The Abyssnians, Bullwackies, Beres Hammond, Jah9, Richie Spice, and the acclaimed We Remember Dennis Brown.
The multi-generational roster of musicians contributing to the sessions included Dean Fraser, the late Bobby Ellis and Nambo Robinson, Robbie Lyn, Bubbler Waul, Wayne Armond, Squidley Cole, Kirk Bennett, and Clive Hunt, among others.
You asked for it, you got it – a double live album recorded in the studio documenting the Damned Devotion tour. Recorded live at Faraway Jazz Studios New York at the end of 2018 and mixed during lockdown, this is an oft-requested, long-awaited chance to hear Joan As Police Woman and her amazing band in all their free, live expansive glory.
Without Fear: The Complete Edition is the definitive version of global phenomenon Dermot Kennedy's debut album. Featuring the hits Outnumbered, Power Over Me and Giants as well as 7 additional songs: the fan-favourite Killer Was A Coward, released for the very first time, covers of his best loved songs such as Joey Bada$$'s Temptation and Van Morrison's Days Like This, alongside a special, intimate live session performance with strings and a choir for Outnumbered, All My Friends and The Corner.
A ‘satire about satire’, Wasteland is a wild Burroughsian adventure melding science-fiction, absurdism and magical realism, calling fora revolution against the reductive ‘good versus evil’ narratives of popular satirical music. Arguing that through experimenting with the form of the song lyric (our most widely disseminated form of creative writing) we can build more nuanced popular discourse around the implicit forms of bias that ail us, Wasteland presents complex characters changing their minds–along with their bodies and places in spacetime. Set in an unearthly liminal space populated by shape-shifters, time-travellers, talking genitalia and ectoplasmic spectres, the prose text evolves as the characters do: warping into cut-ups, soliloquies and even plays.Created over two years, the album draws from Lice’s rise in ‘the punk world’ (sharing stages with Idles, The Fall, Squid, Fat White Family, Girl Band etc.) and eventual disillusionment with the limits of its prevailing ideas.
Mosey was listed on the 2019 XXL Freshman Class list. His sound is often described as mumble rap and he was one of the breakout artists of the soundcloud rap phenomenon in the US. Certified Hitmaker has been streamed 403 million times already. Lil Mosey's single Blueberry Faygo is now platinum in the UK. In 2019 Lil Mosey became the youngest artist to successfully launch a music festival, Northsbest Fest, in his hometown. The album also features collaborations with Gunna, Chris Brown and AJ Tracey.
The Scottish wunderkind pianist’s second album, Cairn, looks set to establish his global presence as a formidable composer, pianist and bandleader with its freshness of sound and originality. - Rooted in the Scottish tradition and inspired by Scottish landscapes, Cairn combines contemporary, jazz and classical influences in a profound, mesmerising and compelling way. - Fergus works with established trio of bassist David Bowden and drummer Stephen Henderson; Cairn is a testament to their instrumental command, originality and communication.
Following a mysterious foray into music in which she declared “i’m poppy” with repeated conviction, the enigma turned star has solidified herself as an industry mainstay no matter how absurd the project.
poppy made her critically acclaimed studio debut in 2017 with “poppy. computer,” which rolling stone dubbed “one of the most surprising albums of the year that pushes against the written-by-committee blandness of top-40's offerings with effervescent hooks and deliberate weirdness”. the impressive debut, which aptly earned her the title of “the warhol of the youtube era” according to new york magazine, led to the sold out poppy. computer tour. in between the release of her debut album and her powerful sophomore follow up (2018’s “am a girl?”), poppy brought her infectious energy to red carpets across the world, landing her on best dressed lists during her first new york and milan fashion week appearances.
The third album from Dutch punk-laced noiseniks adds new maturity and a conceptual feel that pulls the extremes of their sound together. A psyche-fuelled journey into the id punctuated with rhythmic kabuki modal mood swings, thunderstorms, digital beeps, traffic noise, and just plain old beautiful cacophonous reverb-drenched sound when needed.
The ‘third chapter’ refers to the last five years that the Dutch band have spent creating their “difficult” third album. Each song spins a yarn; there are plagues, dreams, wind and fire, ‘mythical’ characters, and the search for the secret government warehouse. Lead single, Tokyo Music Experience, resonates with a conveyor belt-propelled modal guitar, reflecting the halcyon days of Japanese super-productivity; a mesmerising mantra, infected with news bulletin on-the-hour bleeps underlining its time-sensitive nature; a pristine super-commercial anthem to drive loyalty and reinforce solidarity with the party!
Ghost Dog - Original Motion Picture Score, produced by The RZA, is now available on official Vinyl and CD editions! This masterpiece was previously only given a limited Japanese release, and is the first film score produced by The RZA and features appearances by Wu Tang Clan.
Tracklist: A1. Ghost Dog Theme (w/ Dogs & FX) A2. Opening Theme (Raise Your Swords instrumental) A3. Flying Birds A4. Samurai Theme A5. Gangster Theme A6. Dead Birds A7. FastShadow feat. Wu Tang Clan (Version 1) A8. RZA #7 A9. Funky Theme A10. RZA’s Theme B1. Samurai Showdown (Raise YourSwords) feat. RZA B2. Ghost Dog Theme B3. Fast Shadow feat. Wu Tang Clan (Version 2) B4. Untitled #8 B5. Untitled #12 Free Jazz B6. Wu-World Order feat. Wu Tang Clan (Version 1)
A year and some change passed, where the Cleveland band’s relentless touring ethic and tough love caused a homegrown fan base to explode worldwide. Clothbound, like the title suggests, weaves a different narrative—one of loss, letting go, and losing patience with losers. If the first record introduced unapologetic sensitivity, Clothbound searches for the root causes of other key elements. Produced in Philadelphia during quarantine with Joe Reinhart (Hop Along, Beach Bunny), Clothbound captures a band burning at both ends. Fans of vocalist/ukulele/guitarist Willow Hawks’ exasperated kiss-offs will have plenty to unpack here, from the frantic goodbyes spat through Swing on Sight or What Are Friends For, where Hawks entertains this question while the background smolders around the punctuation—a ukulele strum here, Willow Hawks’ vocal line trailing like an asteroid collision there.
As this is the second volume in the Sondie songbook, evolved moments, like the acoustic-electric elegy Scattered sit near the band at their most sloganeering and effective. Crying is Cool, a live staple eagerly awaiting its reveal, teaches listeners of all ages that it’s okay to hole up with your feelings as long as you give them room to grow. The band’s also not afraid of taking their own advice, letting their emotions run wild on K., an absolute barnstormer of a track where the Bombs fire off all cylinders while winking to hardcore and metal. The chips are down and the deck is stacked here. The band’s all in. Are you?
The Last Exit is the fifth studio album from Still Corners, released on Wrecking Light Records. With the shimmering desert noir sound the band has become known for, The Last Exit takes you on a hypnotic journey, one filled with dilapidated towns, mysterious shapes on the horizon, and long trips that blur the line between what’s there and not there. Greg says, “We found something out there in the desert – something in the vast landscapes that went on forever." The Last Exit consists of eleven beautifully crafted songs with organic instrumentation, clean-toned guitar, spacious drums and the smoky croon of Tessa Murray. Album highlights include The Last Exit, White Sands and Shifting Dunes all of which evoke the vast space of the desert and rolling unconcerned skies.
Ugly is Beautiful is the first full-length release from Gen Z’s meme-making extraordinaire Oliver Tree, who announced his early retirement in March - only to return in May with the announcement of his debut after a hacker held Oliver hostage in exchange for 1 million Instagram likes (which Oliver logged in under 24 hours).
On Ugly is Beautiful, Oliver Tree takes his millions of followers on an unpredictable roller coaster ride through a cracked world full of comic disaster. Ugly is Beautiful then is the product of all of Oliver’s otherworldly experiences distilled into fourteen songs - the promise of his EPs, ‘Alien Boy’ and ‘Do You Feel Me?’ fulfilled. “The truth is, it’s my life’s work,” Oliver says.