New Releases: 8th January 2021
Ben brings you all the new releases and reissues to arrive at The Vinyl Whistle this week, featuring releases ranging from indie, rock, post-punk, blues, soul, hip-hop, electronic, pop, alt-rock, jazz and folk. 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 beautifully blasphemous Fuck Art, a statement of confidence and defiance from a group that’s now three albums into the game—i.e., the point where ambitious rock bands are supposed to call in the orchestra, experiment with electronics, and try to make their Ok Computer. The Dirty Nil, by contrast, have opted to perfect the formula that, over the past decade, has landed them on stages with everyone from Against Me! to The Who. Fuck Art melts down all of their favourite ingredients—classic-rock heroism, pop-punk horsepower, ‘80s indie scrappiness, ‘90s alterna-crunch, speed-metal adrenaline—into a radiant, chromatic solution they can then mould and harden into unpredictable shapes
Aaron Frazer is the singer, drummer and songwriter with Durand Jones and the Indications. Soft-spoken with the look of a slightly disaffected 1950s matinee idol, Aaron Frazer possesses a unique voice that’s both contemporary and timeless. On Introducing... - his debut solo album produced by The Black Keys’ Dan Auerbach, co-released on Easy Eye Sound and Dead Oceans - Aaron melds mid-‘60s soul with Auerbach’s particular sensibilities (Over You), songs with a message in the key of Gil Scott-Heron (Bad News), and uplifting tales of love told through a blend of disco, gospel, and doo-wop (Have Mercy).
On Introducing..., Aaron expertly calibrates consciousness-raising and the desire to be enveloped by love. Where previous records were written in a partial state of turmoil, Aaron’s debut LP shows maturation and range. Introducing... is both loving and gracious, critical without losing hope, and a showcase of a young artist on a seriously soulful ascent.
Homeboy Sandman’s new album Don’t Feed The Monster, is a collaboration with producer/MC Quelle Chris. It’s also his most vulnerable & poignant work to date. Having grown up in Queens, New York, hip-hop was part of everything in life. This deep-rooted connection to the culture is evident when listening to his style of rhyming- bold, classic & deeply respectful. On Don’t Feed The Monster, he pulls back any pretense to show his most honest truth - a process that he needed both artistically and spiritually.
Spells is the ethereal and enchanting debut release by Los Angeles harpist and composer Nailah Hunter. Each of the tracks offer tranquillity and a reflective setting. The release started off with Hunter wanting to reclaim the way she thought about creating and performing music.
Hunter says each of the eight tracks on the release represents a spell, allowing her to carry them out as steps of a ritual: “Each track is its own incantation, its own spell, its own world.” Ambient in nature, ‘Spells’ brings out Hunter’s intuitive skills as a composer.
For fans of Laraaji, Hiroshi Yoshimura, Enya, Pure Moods, Mary Lattimore and Alice Coltrane.
Exciting and spooky 7" from the Lathums. I See Your Ghost is a two and a half minute upbeat ska pop nugget that sits somewhere between the Ordinary Boys and the Arctic Monkeys.
His second studio album in as many years, Cheap Medication arrives as the follow-up to 2019 solo debut: Next Episode Starts In 15 Seconds and is the next instalment of what Johnny hopes will become an annual series of releases.
The new album continues a prolific spell of activity for the songwriter that has also seen him release two compilations of outtakes and rarities (Low Fidelity Vol. 1 and 2); work in collaboration with his partner Billie Piper and playwright Lucy Prebble (Succession) to score the entire soundtrack for the critically acclaimed Sky Atlantic series I Hate Suzie which is out now; plus rekindle friendships with his original band of brothers to reform: Tribes.
Songs For The Drunk and Brokenhearted, is remarkably the 13th Studio album from this utterly prolific song writer known as 'Passenger or Mike' to millions all over the world. Written through a heavy touring schedule in 2018 and 2019 the writing of this album was spread far and wide all over the world but the roots are firmly planted in England.
This is Mike's most quintessentially English album to date, there are echoes of the Kinks, The Smiths and George Harrison in much of the songwriting and the album was recorded in Mike's very own 'Black Crow Studios' in his hometown of Brighton.
Worried Songs’ third release is the debut solo LP from Matthew J Rolin. Originally released on the inimitable Feeding Tube records in 2019 and very quickly out of print, this pressing for UK and Europe will continue to showcase Matthew as one of the most creative, versatile and powerful proponents honing their craft in the canon of the American primitive (and beyond) today. Cutting his chops in a haze of punk, noise and psychedelic projects and bands in and out of Illinois and Ohio, that misspent youth can still be heard in these nine achingly beautiful compositions of solo concert steel string guitar. This is true outsider music, easily transcending the tired list of American-primitive masters – it is ragged and rustic, tired and angry, beautiful and hopeful music for these often-hopeless times.
Since their founding in 2015, Swedish post-punk band Viagra Boys have made a name for themselves burning up stages around the world. There's a little Iggy Pop spit and seethe, a David Yow drunken stumble, and a bite of Nick Cave's haunted bark. Add a dash of motorik groove, a pinch of post-punk grime, and a dose of no wave howl.
For every gruff and gritty croak in the outfit's catalog, they come back with a pair of bongos, squared-off synths, and a squonky saxophone, with songs that deftly lay waste to society's normalization of toxic masculinity, racism, misogyny, classism, and self-obsession.
The band's new album, Welfare Jazz, doesn't bargain with the anxiety in that defeated feeling, but rather a boiling certainty that nothing and no one is absolute. There's plenty of blame to go around, and things are just a lot more interesting when you admit that you're not always going to be nice, you're not always going to pick the right words in a fist-fight. So why not keep moving forward, swaying and strutting into the night.
The Time To Come is the first release from Worried Songs and the striking debut from twenty-one-year-old Chicago resident Eli Winter, noted as one of the Guardian’s ‘artists to watch in 2020’. These masterfully composed instrumental pieces for six-string, twelve-string, and electric solo guitar showcase the raw talent of this young guitar powerhouse. In The Time To Come, Winter remembers the dead, considers the dynamic nature of memory, and attempts to chronicle the nearly inexpressible difficulty of processing loss. Winter began recording sessions in Houston immediately after Hurricane Harvey, and this album's turbulent emotional landscape is in some ways a response to the devastation of the storm. The record revolves around its title track, a meditation on the passing of a close friend.
Here are the best reissues coming out this week at The Vinyl Whistle:
We Are Vinyl release - Debut studio album released by Columbia Records on August 21st 1990. The tracks "We Die Young", "Man In The Box", "Sea Of Sorrow" and "Bleed The Freak" were all released as singles. "Man In The Box" was nominated for a Grammy Award for Best Hard Rock Performance with Vocal in 1992. Facelift became the first album from the 'grunge' movement to be certified gold on September 11th 1991.
The Black Keys release Brothers (Deluxe Remastered Anniversary Edition), an expanded version of their watershed 2010 multi-platinum, Grammy-winning sixth studio album via Nonesuch Records. To celebrate its tenth anniversary, Brothers is re-released with three added bonus songs: Keep My Name Outta Your Mouth, Black Mud Part II, and Chop and Change.
Brothers, originally released on May 18, 2010, was largely recorded at the famous Muscle Shoals Sound Studio in Alabama. It was a career breakthrough for The Black Keys. Although they realised upon their arrival in Muscle Shoals, Alabama in hot and humid August that the studio had seen better days, the band – singer/guitarist Dan Auerbach and drummer Patrick Carney – brought in their own equipment and proceeded. The duo recorded nine of the original Brotherssongs in what was now "a remote recording in a historic room that had been gutted". The band recorded additional material in other locations: the album song Tighten Up in Brooklyn with Danger Mouse (Brian Burton), several others on Auerbach's eight-track in his Akron basement, and three in Mark Neill's home studio in San Diego. Chop and Change and Keep My Name Outta Your Mouth are bonus tracks on this anniversary edition of Brothers. The band then gave the music to Tchad Blake to mix.
Tony Fruscella was an under-recorded mellow, lyrical, cool jazz trumpeter (think Chet Baker). He unfortunately lived a similarly addictive lifestyle that led to his tragically premature death in 1969. His cool tone, influenced by Miles Davis and swing-era veteran Joe Thomas, made him a sideman in the early ‘50s for artists like Lester Young, Gerry Mulligan, and Stan Getz.
In 1955, the same year he recorded with Getz, Fruscella led the only session officially released during his lifetime, I’ll Be Seeing You a.k.a Tony Fruscella. He is backed here by a great horn section of Allen Eager on tenor saxophone (who played similar sounds with Gerry Mulligan), Charles Mingus’ associate Danny Bank on baritone, and Chauncey Welsch on trombone. The rhythm section is rounded out by the prominently featured piano of Bill Triglia (who also played with Mingus), Bill Anthony on bass, and Junior Bradley on drums.
Two standards, I’ll Be Seeing You and Blue Serenade, are included with seven originals. A true hidden jazz gem.
James Giuffre was an American jazz clarinetist, saxophonist, composer, and arranger, notable for his development of forms of jazz which allowed for free interplay between the musicians. His 1960 album Western Suite features an unusual trio of clarinet, guitar and valve trombone.
With the help of a symphony orchestra of 42 musicians, Hooverphonic provided one of the absolute highlights of their tremendous career with their concerts and album release of With Orchestra Live.
Singer Noémie Wolfs sounds overwhelming as leading lady during her stellar performance. She sang with determination and at the same time managed to play out her sensuality. “The girl” who replaced Geike Arnaert as leading lady two years prior, proved that she had the capacities to take on the role of front woman.
KRS-One's first official solo album, released in 1993 on the Jive Records label. It peaked on the Billboard 200 chart at number 37 on October 16, 1993. In 1998, the album was selected as one of The Source's 100 Best Rap Albums. According to KRS-One, the album has sold over 300,000 copies.
Unlike the majority of the Boogie Down Productions LP's, KRS here takes a step back from the production duties and invites rising underground stars DJ Premier, Showbiz and Kid Capri to handle the beats in addition to his four contributions. The track "P Is Still Free" appeared on the Menace to Society soundtrack labeled as a B.D.P. track. The track "Black Cop" was originally released as a 12" single and a track for the CB4 movie soundtrack, thus also labeled as a B.D.P. track.
Cyndi Lauper’s second studio album True Colors was a successful one, earning her two nominations at the 29th Annual Grammy Awards and a number 4 position in the Billboard 200 chart. With this release Lauper wanted to prove that she was no longer interested in being just an “icon”. Her intention was to create something, that could have proved her artistic values. And that’s what True Colors did for her career. It spawned several successful singles, like True Colors, Change Of Heart, and What’s Going On. The album has been certified double platinum in the United States and sold 7 million copies worldwide.
This wonderful title is available as a limited edition of 2500 individually numbered copies on flaming coloured vinyl. The package includes an insert.
A Weapon Called The Word is now thirty years old. To celebrate, On The Fiddle are releasing this limited edition picture disc but hurry - when they're gone... Often cited by fans as their favourite album, tracks such as “Carry Me”, Together All The Way” and “England My Home” still regularly feature in the band's live set.
Terror Twilight is Pavement's fifth proper studio album and perhaps their most confident effort to date. Opening with the surprisingly subdued leadoff single, the sinewy-sweet Spit on a Stranger (which sounds like the Velvet Underground after a couple of cartwheels), it's clear that Pavement is in no hurry to recreate Slanted and Enchanted's fractured and raw indie-pop. Instead of short bursts of jive poetry and razor guitars, the band opts for slightly longer songs with more subdued sonic explorations. Still, Terror Twilight never quite veers off into predictable directions; the boys' talent continues to confound expectations. Unforeseenly unironic heartstrings seem to be the thing these days for Pavement. Malkmus and crew seem to be heading in the same avant-pop direction as built to spill.
Nice compilation spread over two albums. 29 Tracks that compiles all their EPS originally released on the Creation, What Goes On, and Cheree.
Therapy? are an alternative metal band from Northern Ireland. The band was formed in 1989 by guitarist-vocalist Andy Cairns and drummer-vocalist Fyfe Ewing. To complete the lineup, the band recruited bassist Michael McKeegan. This is a reissue of their second album released initially in 1994.
Peter Tosh's most accessible' solo album, Mama Africa, would also be his best seller outside Jamaica, the only one his albums to break into the U.K. Top 50 and even push into the bottom reaches of the U.S. charts. Tosh concentrated on the music, self-producing an album that sounds fantastic from start to finish. Every track on the album is just as memorable in its own way, as the artist combines styles, genres, moods, and atmospheres across songs old and new.
The album revisits while looking to the future. Updated songs like Stop That Train, Johnny B. Goode, a U.K. Top 50 hit that boasts an intricate rhythm, are included.
Here are the best of the rest of the new releases arriving at The Vinyl Whistle this week:
To commemorate the 5 years of the disappearance of the true music Genius David Bowie , the jazz scene pays tribute to the legendary artist.
Including: Keren Ann, The Puppini Sisters, Mike Garson, Bojan Z, Delta Saxophone Quartet Jen Chapen and Rosetta Trio, Caecilie Norby, Franck Wolf, Yelloworld and Eric Le Lann.
Section of the Tracklisting was made by Jazz Magazine’s journalist Lionel Eskenazi.
Proof rings out with force and feeling on Hilang Child’s superlative second album, Every Mover, released on Bella Union. In 2018, Riman delivered a serene, textured debut album in Years, rich in sound and feeling. The “lonely, pressured” aftermath of Years found Riman grappling with “rough self-esteem and anxiety issues”, amplified in part by social media’s ‘fulfilment narratives’. Duly, he set out to navigate and overcome these mindsets, drawing deeply on his own insecurities and those he recognised in others.
These themes converge emphatically on Every Mover, an album steeped in everyday emotional states and crafted for cathartic, communal performance. Drawing on a rich spread of collaborators, sounds and themes, Riman uses his frustrations as the impetus to transform the brimming promise of Years into upfront and expansive new shapes.
Riman’s sounds are enriched wherever you turn, from the epic prog-tronica of The Next Hold to the vocal release and layered arrangement of “Play ’Til Evening”; a kind of summit meeting between Surrender-era Chemical Brothers and Fleet Foxes in the high church of ecstatic sound. The resulting album projects its own epiphanic force. The birth was not always smooth: due to Covid-19, tours were cancelled and studios closed. Thankfully, most of the main parts were recorded pre-lockdown between East London, Gateshead, Brighton, Wandsworth and elsewhere, before mixing proceeded remotely.
That sense of passion lights up Every Mover, an album that hymns the redemptive qualities of richly expressive music crafted in simpatico unison with friends.
Casper Clausen, frontman of Efterklang and adjacent project Liima, releases his first ever solo record Better Way via City Slang with the mixing handled by Sonic Boom.
Always restless and brimming with creative energy and zeal, on this first solo venture Casper Clausen exhibits a new sense of ingenuity and musical exploration, unrestricted by formats, genres and collective goals. He presents a kaleidoscopic album journeying new terrain, twisting dense textures and swirls of sound into tales of alienation and love.
Through eight tracks of sparkling, light-filled explorations Clausen channels moods and sounds with a sense of unbridled freedom, optimism and inquisitive liberty, touching on elements of krautrock, avant-pop and progressive rock, whilst the delicate, bassy vocal refrains and expansive approach to composition is unmistakably the Casper Clausen fans have come to know.
The fusing of Dorcha’s own unique concoction of experimental pop-noise with the offerings of the infamous Invada (owned by Geoff Barrow of Portishead/Beak) and its delicious collection of old school synths and analogue effects has born a beast of sound in the shape of the new album - Honey Badger.
The album sees the journey of an introverted brain being churned through a psychedelic party and the constant battle between the bitter-sweet Jekyll and Hyde creature lurking within; the Honey Badger. It is a voyage into the unknown, an attempt at losing yourself in order to find yourself. The lyrical beginning sets up the question, ‘I’ve been thinking about what to come as?’ as we pre-empt being thrown into the social maelstrom with anxious anticipation. Who will you find? Who will you be?
Dvsn (singer Daniel Daley and producer Nineteen85) have turned the page to a new chapter in their career with the release of their fervently anticipated third studio album, A Muse In Her Feelings, via OVO Sound. The album is a beautifully crafted body of work boasting an all-star cast of collaborators, including the likes of Future, PARTYNEXTDOOR, Popcaan, Buju Banton, Summer Walker, Jessie Reyez, Snoh Aalegra, Ty Dolla $ign and Shantel May.
A Muse In Her Feelings brings R&B back to tropes that built the genre. Incorporating vulnerability, yearning and lust, the album draws inspiration from the early aughts with Daniel Daley's pen sharper than ever, coupled with Nineteen85's cutting edge production. All while rooted in the tenets of golden-era R&B.
The duo displays their dynamic range from the signature pacing of title track, A Muse, which has been streamed over 21 million times cumulatively to the bounce infused floor-scorcher Keep It Going. They cap off the LP with the classic slow-jam feel of ... Again.
Rare soul tracks as sampled by Dr Dre, Outkast, Kendrick Lamar, Kanye West, Cypress Hill, Massive etc by Ray Charles, Etta James, Dusty Springfield, Syl Johnson, Bobby Bland, Millie Jackson and more.
There are few genres in which German artists play such a central pioneering role as they do in electronic music, be it techno, electropop, trance or rave. At the frontline for many years were Kraftwerk and U96, two absolute trailblazers of this musical direction. U96 had a profound influence on the global pop music, rave and techno scene of the 1990s with hits such as Das Boot, Love Sees No Colour, Night In Motion and Heaven.
Transhuman features a spectacular collaboration between U96 (Ingo Hauss and Hayo Lewerentz) and Wolfgang Flür, Kraftwerk's drummer in the years between 1972 and 1987 and therefore involved in the most seminal albums by the group from Düsseldorf. This remarkable cooperation was first announced and implemented by two joint numbers on U96's 2018 offering Reboot. Transhumansees U96 and Wolfgang Flür develop their creative exchange across a full album, creating fascinating sonic worlds. The title song Transhuman and an updated version of Zukunftsmusik (Radiophonique).