lunes, septiembre 30, 2024

Primicia: Beaches

           

Beabadoobee presents "Beaches" their latest single before the release of her highly anticipated third studio album, "This Is How Tomorrow Moves", according to artist: is not just a song but a musical representation of a transformative period in her life and career. During that time Bea “reveled in her new surroundings: eating healthily, soaking up the sun, going for dips in the ocean and constantly writing and recording”. With its catchy chorus “I’m sure now, I’m sure now”, it serves as a celebration of her newfound level of confidence, the sound might take us back to 200's indie rock-pop with a sense of freedom and optimism, with a polished production, the video direction was on charge by Jake Erland.

domingo, septiembre 29, 2024

New Music: Mirrors

           

She Drew The Gun has dropped the new cut from her forthcoming album "Howl", the title is "Mirrors", and comes accompanied by a brilliant new video, directed by Scott Jones, talking about the new single, she said: Like a therapy session with your shadow self. It’s a looking in the mirror song, a song to my subconscious, my shadow, look at this shit we’re in we need to heal some stuff before we go any further. So it's about trying to heal, and about getting sick of trying to heal but also about how healing in a neoliberal world is also recognising your oppression. Am I healing myself to accept these conditions? To be happy in these systems that exploit me and others? I’m born into wage slavery, I can’t just be. Maybe the chemicals didn’t help, maybe my appointed angels already got burned out by me. I'm trying here but I can’t just live on self care and therapeutic metaphors.


New Music: Not Now Kids

          

Dolores Forever the London-based band are about to released their debut studio album "It's Nothing" and now they're sharing their brand new single "Not Now Kids", according to band, the singles takes aim at patronising politicians, “It’s a bit of a scathing look at the world and the people who are running it with impunity, the feeling of being told to shut up while watching your house burn. What can we say, we love an apocalyptic bop.”, the video was directed by Francesa Allen and told about the making of the video: “Working across the visuals allowed me to play with the narrative of female friendship – which is not only a theme that runs through my personal work – but is prevalent throughout their lyricism and attitudes.

viernes, septiembre 27, 2024

New Music: Lights Camera Action

           

Kylie Minogue is back with her brand new single "Light Camera Action" the single came after the announcement of her new algum "Tension II" the sequel of last year's "Tension" and features collaborations by Diplo, Bebe Rexha and more, unde Lewis Thompson production, who also helped to wrote some other tracks alongside Minogue and Ina Wroldsen, the music video directed by Sophie Muller showcasing a sexy, elegant and vibrant Kylie in different scenarios.

New Music: The Lighthouse

           

Stevie Nicks is back and release a topical new single titled "The Lighthouse", She wrote the song in the wake of the Supreme Court’s overturning of Roe v. Wade in 2022. The track arrives with a music video featuring footage from a number of women’s marches and abortion rights rallies, as well as a fleet of protesters carrying signs with slogans like "Keep Abortion Legal" and "Get Mad" as Nicks leads them in a march on the beach.

New Music: Ejército De Salvación

           

The Catalan band Love Of Lesbian are back with a brand new single "Ejército De Salvación" the first cut of their tenth studio album, a heartbreaking and emotive lyric to open their self-titled album due to be released next 11 October, the song is about unconditional support to those invisible links pero powerful that bear us when everything seems to crumble.  

Rocktrospectiva: The Engaging "Antics" Turns 20

 
Released on 27 September 2004, "Antics" was the sophomore studio album by American indie rock band Interpol, the album peaked No. 15 on the Billboard 200 and No. 21 on the UK Charts, spawning four singles "Slow Hands", "Evil", "C'mere", & "Narc". 
 
After two years on endless tours, the band returned to studios in early 2004 to record their second studio album, with a fistful of songs ready to record "Lenght Of Love", "Narc", & "C'mere", the band decided to revintented and revisited their sound empowering new strenghts, it was a time in which there was more room available for experimentation in these songs with more arrangements and intricacies on individual parts on each song. 
 
The band delivered a more engaging sound than its celebrated predecessor album, the band was able to avoid sacrificed the depth that made them importante and of course gave their identity sound, the songs here are catchier and variegated, the band really put a lot of effort on the album, claimed more confidence and quality than their first album. 
 
The critics regarded it as a generally positive review, an irresitible record full of interesting arrangements with sharp melodies that inspire the listener eager for more, a little bit predictable but with a more solid and magnificent sound, the band dared to be a little bit pop in order to progressed into the mainstream with an improved formula. 
 
Antics Track List: 
 
1. Next Exit
2. Evil
3. Narc
4. Take You On A Cruise
5. Slow Hands
6. Not Even Jail 
7. Public Pervert
8. C'mere 
9. Lenght Of Love 
10. A Time To Be So Small

Rocktrospectiva: The Wonderfully Synth Album "Forever Young" Turns 40

 
Released on 27 September 1994 "Forever Young" was the debut studio album by German synth pop band Alphaville, the album spawned four singles "Big In Japan", "Sound Like A Melody", "Forever Young", & "Jet Set, the album charted well in ix European countries, but in the UK and the United States failed to make a huge impact. 
 
The band decided to released first "Big In Japan" before to finished to record the album, achieving huge success, practically, the single boosted the fame of the band while they were in the middle of finish the album, certainly, the sudden success affected the rest of the album, inspired by a British band named Big In Japan, Marian Gold the singer recalled, talking about a huge market music in Japna, so if you wanted to become huge, then you have to released an album there first, and that what happened then, the story is about about a couple of drug addicted lovers and moreover provided the title for the prospective song.
 
The first three tracks the band recorded were "Big in Japan", "Seeds", which was released as the b-side to "Big in Japan", and "Forever Young", which was originally recorded as an up-tempo track. The band was not happy with the fast version of "Forever Young", and recording of the track had come to a halt while the band figured out what to do with the song. It was producer Andreas Budde who suggested turning the track into a ballad, which is how the song was released, so the band wanted to released it as a second single but the label decided to released "Sounds Like A Melody", according to singer Gold, this was something the band don't want it, writing music exclusively for the sake of commercial success seemed like the sell-out of our virtual beliefs, in the end, this cause huge pressure on singe who refused to play it live for over 15 years. 

Other tracks for the album were sung exclusively in German "Blauer Engel", "Traumtänzer", and "Leben Ohne Ende",  but none of the songs ended up making it on the actual release, instead being released as b-sides or on later retrospective albums, others such as "Summer in Berlin" contains references to the East German uprising of 1953, which occurred on 17 June 1953. When the compilation album Alphaville Amiga Compilation was assembled for release in East Germany in 1988, the song "Summer in Berlin" was submitted for inclusion, but rejected "for political reasons. "Fallen Angel" was written after "Big in Japan" was released, and the band said "everything changes when you're Number One. The world becomes a big shopping mall where all is for free, people, objects, what-everm so there is something vulgar about all this. The track "'In The Mood" is very likely about us, about how we felt in 1984, though we didn't realize that when we wrote it. The rocket-like success of "Big In Japan" was mind-blowing and irritating at the same time and we were scandalized by a horror of losing our artistic innocence ever since we had signed that record-deal,  the track "The Jet Set", Gold said of the song, "We didn't intend to write a proper song; it was supposed to be some kind of jingle that advertises things money can't buy: anarchy, freedom, love, fun and a piece of the end of the world.
 
The album did well in many parts in Europe, in some other countries in Latin America, the singles "Big In Japan" and "Forever Young" were the only ones to gained radio exposure, and performed-well too., in the United States the single "Big In Japan" achieved No. 66 in the Billboard Hot 100, and "Forever Young", reached No. 65 despite the single was re-released several times, same situation in the UK in where "Big In Japan" reached No. 8 and "Forever Young" only managed to reached No. 98.
The critics reviews were generally positive, with one called it a classic synth pop album enjoyable from start to finish, with catchy and consistently songs, a good production, to make the album perfect and emotionally compelling statement of the 1980s electronic pop rock music 
 
Forever Young Track List:
 
1. A Victory Of Love
2. Summer In Berlin
3. Big In Japan
4. To Germany With Love
5. Fallen Angel
6. Forever Young
7. In The Mood
8. Sounds Like A Melody
9. Lies
10. The Jet Set

Rocktrospectiva: The Melancholic "Spring Hill Fair" Turns 40

 
Released on 27 September 1984, "Spring Hill Fair" was The Go-Betweens third studio album and the first real attempt to stardom, the band now quartet thanks Robert Vickers joined the band and this enable Grant McLennan to lead guitar, the album spawned two singles "Part Company" and "Bachelor Kisses". 
 
Named after an annual fair in Spring Hill, Queensland, suburb of Brisbane Grammar School, Robert Forster's high school. Some of the band had also lived there in the early eighties. Grant McLennan said of the title, "It was generally not that we were home sick, I think we just wanted to have, In another interview McLennan stated "we all lived there and the main reason was that in September, October of every year in Brisbane, there is, in Spring Hill, a fair, and as the album came out around then we thought it would be nice to have a parochial mention in a title because we hadn't done that for a long time." 
 
McLennan and Forster later said that they were uninspired and felt the songs on their previous album had been better. They were also unhappy with the production, despite using the same producer as on Before Hollywood. McLennan said, "John Brand, the producer, he did change between the second and third, which we did as well, but he went and made a very produced 1984 English pop record.
 
According to band, recording in France was much more expensive than their earlier recordings, with the Miraval studio booked for a month. Forster recalls that the band initially thought that they would set up and play in the recording studio in a similar way to how they had recorded previously. About half the tracks had programmed rhythm tracks, leading to conflict between the producer Brand and drummer Lindy Morrison.
 
Morrison claimed the relationship had also soured after Brand attempted to seduce her and was rebuffed on their first day in the studio. Brand spent the first week trying to gate the drums and set click tracks with the rest of the band feeling trapped. Furthermore, Morrison recalled the relationships within the band were poor. "They were fucked. There were little power struggles going on all over the place. We were a neurotic mess.
 
About the lyrics on this album, Forster said: I wrote when I've been drinking. I wanted to speak a lot more directly and I wanted to speak about certain topics in a very straightforward way. And the best way I found of doing that was by sitting down and drinking. A conversational-type lyric. Most of the lyrics I've done on that album were started at night. I'd start drinking, smoking cigarettes, and I'd write all the lyrics in one sitting. I think it shows.
 
The album opened with the brilliant "Bachelor Kisses" the band's first real attempt at a commercial single,  a brilliant melodic tune that despite all the bad vibe and the awful video, the single is considered one of the best tracks ever recorded by the band, "Five Words", is one of the set most-defiant tunes with McLennan and Forster joining voices in their best way possible creating an imperfect and heartbreaking tune, "Part Company" was the counterpart of "Bachelor Kisses" it was the first single to released but failed to make an impact on the charts, the raw "River Of Money" sound like the band joined forces with John Cale and the rest of the Velvet Underground, the band's darkest way to sound, a remarkable lead guitar solo on "You Never Lived" was another plus for the album.
 
The critics were fairly mixed, some considered the album a a disappointing and disjointed record, on the other hand, the album is considered a classic on the band's career with a relentless beauty and also one of the band's most underrated album alongside with Tallulah. 
 
Spring Hill Fair Track List: 
 
1. Bachelor Kisses
2. Five Words
3. The Old Way Out
4. You've Never Lived
5. Part Company
6. Slow Slow Music
7. Draining The Pool For You
8. River Of Money
9. Unkind And Unwise 
10. Man O'Sand To Girl O'Sea

jueves, septiembre 26, 2024

The Re-Issue: Thompson Twins's "Into The Gap" 40th Anniversary Edition

 
Talking about "Into The Gap" one of the era-defining album of the 80s by Thompson Twins, is getting its 40th anniversary reissue now, and is the most comprehensive reissue of this album ever, remastered at Abbey Road Studios and compiled with the full blessing of all three band members from the classic line-up.

The album stands as one of the band's most successful albums, emblematic of the synth-pop era's peak. The album features hit singles like ‘Hold Me Now,’ ‘Doctor! Doctor!,’ and ‘You Take Me Up,’ which highlighted the band's knack for creating catchy, synth-driven pop tunes. At the time, Thompson Twins were a leading force in the new wave movement, and the album peaked at number one on the UK Albums Chart and selling over 1 million copies in the US. The album's success was bolstered by the rise of MTV, where the band's visually striking music videos played a crucial role in their global appeal. "Into the Gap" encapsulated the spirit of 1980s pop culture, combining innovative sound with a strong visual identity, making it a defining record of the decade.

Both physical formats feature digitally restored artwork and new liner notes, written by John Earls and features contributions from all three band members. The LP format, on desirable red vinyl, lovingly recreates the original release, complete with fold-out insert; the triple CD format includes 30 bonus tracks, 12 of which are previously unreleased and a 24-page booklet.

"Into The Gap" was the Thompson Twins’ fourth album and their second as a three-piece of Tom Bailey, Alannah Currie and Joe Leeway. Like its predecessor, Quick Step & Side Kick, it was co-produced by the much missed Alex Sadkin.

There are three formats of the 40th anniversary of Into The Gap on offer: a 3CD deluxe with 30 bonus tracks, a red vinyl remaster (album-only) and the SDE-exclusive blu-ray. I’m pleased to say that the blu-ray includes all 30 bonus tracks in stereo (cassette mixes, single edits, B-sides, 12″ mixes) as well as offering the 1984 album in the following streams:

  • David Kosten 2024 Dolby Atmos Mix (48/24)
  • David Kosten 2024 5.1 Mix (96/24)
  • David Kosten 2024 Stereo Mix (96/24)
  • David Kosten 2024 Dolby Atmos Instrumental Mix (96/24)
  • David Kosten 2024 5.1 Instrumental Mix (96/24)
  • 2024 Stereo Remaster (by Frank Arkwright) (96/24)
  • 1984 Original Stereo Mix (48/24)
Into The Gap 3CD Deluxe Track List: 

Disc 1 

1. Doctor! Doctor! (2024 Remaster)
2. You Take Me Up (2024 Remaster)
3. Hold Me Now (2024 Remaster)
4. Day After Day (2024 Remaster)
5. No Peace For The Wicked (2024 Remaster)
6. The Gap (2024 Remaster)
7. Sister of Mercy (2024 Remaster)
8. Storm On The Sea (2024 Remaster)
9. Who Can Stop The Rain (2024 Remaster)
10. Let Loving Start**
11. Nurse Shark (Instrumental)
12. Out Of The Gap**
13. Passion Planet
14. You Take Me Up (Instrumental Remix)
15. Doctor! Doctor! (Phil Thornalley Mix)

Disc 2

1. Leopard Ray
2. Doctor! Doctor! (Cassette Mix Version)
3. Panic Station (Day After Day)
4. Down Tools
5. Hold Me Now (Cassette Mix Version)
6. Funeral Dance (No Peace For The Wicked)
7. Compass Points (The Gap)
8. Still Water (Storm On The Sea) (Edit)
9. Hold Me Now (Pete Hammond Mix)**
10. Sister Of Mercy (Pete Hammond Mix)**
11. Doctor! Doctor! (Single Edit)**
12. Doctor! Doctor! (Edit)**
13. Sister Of Mercy (Single Mix)**
14. You Take Me Up (Single Edit)**
15. The Gap (Single Mix AKA AOR Mix)**

Disc 3 

1. Hold Me Now (Phil Thornalley Extended)**
2. Hold Me Now (Pete Hammond Extended Mix)**
3. Let Loving Start (12" Version)
4. Out Of The Gap (Megamix Extended Version)
5. Sister Of Mercy (12" Version)
6. Sister Of Mercy (Pete Hammond Extended Mix)**
7. The Gap (Club Remix Version)**
8. You Take Me Up (Machines Take Me Over) (12" Version)
9. You Take Me Up (High Plains Mixer) (US 12" Remix)
 

** Denotes previously unreleased and new to CD

New Music: Alone

           

The legendary English goth-rock band The Cure are back with their first new song in 16 years, and it's called "Alone" an almost-7-minute-long track, harking back to the sound of their classic '80s and '90s records, Disintegration and Wish mainly, with an atmospheric synth line and angular lead guitar, the haunting voice by frontman Robert Smith's appears after the 3-minute with this statement: "This is the end of every song that we sing / The fire burned out to ash and the stars grown dim with tears."Alone' is the opening track from The Cure's forthcoming record, Songs of a Lost World, due out November 1. It's produced by Smith and Paul Corkett.

New Music: The Unloving Plum

          

Haircut 100 are back with a new single "The Unloving Plum", their first single sinde 1984, going back in time, the band had two albums "Pelican West" from 1982, and "Paint And Paint" from 1984. Formed in London in 1980. Lead singer and principal songwriter Nick Hayward left after the first record, later admitting to Stress and Depression as the cause of his departure. The second album featured songs by the band with Marc Fox taking over as lead singer but it was a bad idea before it even began. The album stiffed and Haircut 100 were no more.The band reunited in 2004 for VH1’s Bands Reunited. They got together again in 2009, 2011 and in 2013 announced they were working on new material. It never eventuated, finally Heywood hinted at another reunion in 2017, then announced in 2022 that there would be a 40th anniversary edition of "Pelican West". The video was shot by another 80's icon, Tom Bailey from the Thompson Twins.

Rocktrospectiva: The Rare And Fan Only "My Iron Lung EP" Turns 30

 
Released on 26 September 1994, "My Iron Lung" was the third EP by English alternative rock band Radiohead, produced by John Leckie and Nigel Godrich, it marked Radiohead's first collaborations with Godrich and the artist Stanley Donwood, who have worked on every Radiohead release since. 
 
Radiohead recorded most of the songs during the sessions for their second album, The Bends, released the following year. So this EP consists of the Bends song "My Iron Lung" plus several non-album tracks. Radiohead wrote "My Iron Lung" in response to the success of their debut single, "Creep". The EP spawned a single "My Iron Lung" that reached No. 24 on the UK singles chart.
 
Radiohead recorded most of the songs on My Iron Lung at RAK Studios, London, during the sessions for their second album, The Bends. According to Thom Yorke, the EP was "just for fans", and described it as a collection of songs that did not fit on the album rather than outtakes: "We think they're good, otherwise we wouldn't have plugged them on, as an especial raritie, the EP also includes an acoustic version of Radiohead's debut single, "Creep" which was taken from a performance on KROQ-FM on July 13, 1993. 
 
This EP was Radiohead's first collaboration with the producer Nigel Godrich, who was assisting the producer John Leckie at RAK as a tape engineer, also it was also Radiohead's first collaboration with the cover artist Stanley Donwood. Donwood was not a fan of rock music, and said he took the work because he knew Yorke from their time as art students at the University of Exeter.
 
As a rare fact, only "My Iron Lung" was included on The Bends album and practically the song marks the counterpart of success of "Creep" their responde to label EMI who wanted the band to record a similar track was: The caustic lyrics use an iron lung as a metaphor for the way "Creep" had both sustained and constrained them: "This is our new song / Just like the last one / A total waste of time / My iron lung". There was an awful feeling for the band in terms of the success of "Creep", so Yorke said in 1995: "People have defined our emotional range with that one song, 'Creep'. I saw reviews of 'My Iron Lung' that said it was just like 'Creep'. When you're up against things like that, it's like: 'Fuck you.' These people are never going to listen."
 
"My Iron Lung" was released as a single in the UK in September 26 in four versions, each with different track order, to encourage fans to buy multiple copies, EMI released two CD singles; one included the B-sides "The Trickster", "Punchdrunk Lovesick Singalong", and "Lozenge of Love", while the other included the B-sides "Lewis (Mistreated)", "Permanent Daylight", and "You Never Wash Up After Yourself". EMI later issued a My Iron Lung EP compiled all the B-sides.
 
The single reached number 24 on the UK singles chart, meanwhile in the US, it topped the college radio charts, but sold only around 20,000 copies. Obviously for Yorke and Greenwood there was a sense of disappointment that Capitol, EMI's American subsidiary, had not promoted it more. As a response, The A&R vice president, Perry Watts-Russel, said Capitol had not pursued radio play as "My Iron Lung" was intended for fans rather than as the lead single for The Bends, and unlike the UK, the US was not a major market for singles, and that the sales instead indicated that Radiohead had built an audience in America.
 
The EP and especially the single initially received mixed reviews, with critics likening its verse-chorus dynamic to the 1993 Nirvana song "Heart-Shaped Box". Although there is a growing sophistication and diversity in their songwriting that felt Radiohead were building their own identity, other tracks such as "The Trickster" and "Punchdrunk Lovesing Singalong" are more developed tracks in the line of Sonic Youth. Some other critics praised the EP because of the tracks consistence and the perfect sequencing, it plays and feels more like a real album than a B-sides collection
 
My Iron Lung Ep Track List: 
 
1. My Iron Lung
2. The Trickster
3. Lewis (Mistreated)
4. Punchdrunk Lovesick Singalong
5. Permanent Daylight
6. Lozenge Of Love
7. Yo Never Wash Up After Yourself (live)
8. Creep (Acoustic)

Rocktrospectiva: The Definitive "Protection" Turns 30

 
Released on 26 September 1994, "Protection" was the second studio album by English electronic outfit Massive Attack, the album spawned three singles "Sly", "Protection" & "Karmacoma". In order to avoid controversial, the band decided to change its name for Massive in order to avoid certain polemics during the war on Irak, also the original band wasnt the same anymore, so, the remaining members decided to move all over. 
 
The music of the album defies R&B (title track and "Sly") to hip hop/rap ("Karmacoma" and "Eurochild") to reggae-tinged synth-pop ("Spying Glass") to classical-influenced electronica instrumentals ("Weather Storm" and "Heat Miser"), Tricky again appeared on the album, rapping on the tracks "Karmacoma" which featured a sample from The KLF's "Dream Time in Lake Jackson" at the 2:00-minute mark) and "Eurochild" which featured samples from Startled Insects' "Cheetah" and Liquid Liquid's "Lock Groove (In)". 
 
The controversy on the record was to prove the band can managed to produce a good record without founding member Shara Nelson, and on the other hand, the band was about to take a new direction that no everyone could appreciate, even tought the album has certain surprises, with Tracey Thorn singing on "Protection", with a heartbreaking voice encompassing the beats, the reflective "Better Things", is another highlight, there is a brilliant version of Smokey's Robinson song "The Hunter Gets Captured By The Game" in which Tracey Thorn again adds her voice, this song was featured on Batman Forever soundtrack, another former member Tricky, adds his voice in "Karmacoma" and "Eurochild". 
 
The album helped to established the reputation of the band as a spearhead of the trip hop movement, paving the road for other acts such as Portishead, Beth Orton and Sneake Pimps, also, the album is considered one of the first records to showcase the genre well-known as trip-hop, not as a fashion statement but a solid genre whose influence you can experienced and appreciate on every record in which you can heard good beats. 
 
Protection Track List:
 
1. Protection
2. Karmacoma
3. Three
4. Weather Storm
5. Spying Glass
6. Better Things
7. Eurochild
8. Sly
9. Heat Miser
10. Light My Fire

New Music: Ready To Go Home

            

Primal Scream are gearing up for the release of their 12th album "Come Ahead" releasing a new danceable single "Ready To Go Home", according to Bobby Gillespie: After I wrote it, I sang it to my dad the night before he died. It was just me and him in the hospital. His body had given up. I think, when you get old and tired and your body just goes, ‘I’ve had enough. Time to go.’ I was trying to write about that feeling, I don’t know why — maybe I was feeling tired myself. Sometimes I do. When I wrote this song I was thinking, there must be a point in your life where you think, time to go home., the video was directed by Jim Lambie.

Rocktrospectiva: The Noisy And Heavy "Monster" Turns 30

Released on 26 September 1994, "Monster" was the ninth studio album by American indie rock band R.E.M., produced by Scott Litt, the album was an intentional shift from the style of their previous two albums, Out of Time and Automatic for the People, by introducing loud, distorted guitar tones and simple lyrics. The album spawned four singles "What's The Frequency, Kenneth?", "Bang And Blame", "Crush With Eyeliner", "Strange Currencies", & "Tongue". 

Recorded in early 1993, pre-production took place at Kingsway Studio in New Orleans under the supervision of Mark Howard, guitarist Peter Buck said that the band wrote 45 songs, including "a whole album's worth of acoustic stuff" which they demoed.According to Howard, the sessions were experimental. The sessions were hampered by several events, including Berry and bassist Mike Mills falling ill on separate occasions, Buck and Stipe leaving to visit family members and the deaths of Stipe's friends, as Kurt Cobain and actor River Phoenix, the band wrote and recorded "Let Me In" in tribute to Cobain and dedicated the album to Phoenix, whose sister Rain provided background vocals on "Bang And Blame".

Unlike R.E.M.'s previous two albums, Monster incorporated distorted guitar tones, minimal overdubs, and touches of 1970s glam rock. Peter Buck described the album as "a 'rock' record, with the 'rock' in quotation marks." He explained, "That's not what we started out to make, but that's certainly how it turned out to be. Mike Mills said: on past albums we had been exploring acoustic instruments, trying to use the piano and mandolin, and we did it about all we wanted to do it. And you come back to the fact that playing loud electric-guitar music is about as fun as music can be. Stipe's vocals were pushed down in the mix. Buck's guitar work on the album was inspired by the tremolo-heavy guitar playing of Glen Johansson of Echobelly, who supported R.E.M. on some of the Monster Tour. The album's music has been described as grunge, alternative rock, and glam rock. 

The cover art features a blurred drawing of a bear's head against an orange background. The concept originated when Stipe showed cover artist Chris Bilheimer a balloon he wanted to use as the album cover and told him to play around with. Bilheimer changed the color of the balloon (which was originally green), and re-photographed the bear head. When he was down to the last few frames on a roll of film, he took a few photos without bothering to focus the shots, which he and Stipe ended up liking the best.

The album was generally praised. The album sounds like the album they 'had' to make, to clear out their system, a simple prop to occupy our time, also the album doesn't have the conceptual unity or consistently brilliant songwriting of Automatic for the People, but it does offer a wide range of sonic textures that have never been heard on an R.E.M. album before."
 
Monster Track List: 
 
1. What's The Frequency, Kenneth?
2. Crush With Eyeliner
2. King Of Comedy
4. I Don't Sleep, I Dream
5. Star 69
6. Strange Currencies
7. Tongue
8. Bang And Blame
9. I Took Your Name
10. Let Me In
11. Circus Envy
12. You 

Rocktrospectiva: The Rhytmical And Stronger "Big Trash" Turns 35

 
Released on 26 September 1989, "Big Trash" was the seventh studio album by British pop indie band Thompson Twins, produced by Tom Bailey and Alannah Currie and two track by Steve Lillywhite, the album spawned two singles "Sugar Daddy" & "Bombers In The Sky", the first one reached No. 28 on Billboard Hot 100, and No. 97 on the UK singles charts, the second one was a commercial failure, despite the huge budget the duo enjoyed on the making on this record, the album only managed to reach No. 163 on Billboard 200. 
 
"Big Trash"  was the duo's first release for Warner Brothers. According to Currie in 1989: "Warner Brothers came to us and said "Here's a pile of money, go make the sort of record you really want to make", which is every musician's dream. So we made Big Trash, the album had the collaboration of Debbie Harry, who contributed spoken-word vocals to "Queen of the U.S.A.", recorded by Bailey over a transatlantic telephone connection, it was great fun, it was a new era and we were trying out some new ideas as well as a new way of working. We saw that video and being studio-oriented was the way of the future. 
 
The track "Sugar Daddy" "cheerfully borrows from earlier tunes, while the rest shows remarkable growth and depth, the tracks are short, Alannah Currie's gone easy on the percussion for a change and Tom Bailey has decided to start playing around with his vocal a bit more. This work brings up some superb creations such as "Queen of the USA", "Salvador Dalí's Car" and of course the hit single "Sugar Daddy" a pleasant single, though not as amusing as the observant title track. 
 
The album found Bailey and Currie calling upon guitars again as well as beefier rhythms, with a  great improvement on its predecessor, other cool track are "This Girl’s On Fire" containing enough echoes of the older Twins to satisfy long-term fans, it nonetheless failed to prove distinctive, "Wild" and "Bombers In The Sky" mixed contemporary funk-pop with mainstream rock, echoing INXS similar sound back then, in the case of "Queen Of The USA" the band had a certain Jesus Jones vibes.
 
The critics were mixed, some felt the album was "just a bit too serious" and "an attempt to change their squeaky-clean but catchy pop image by tackling current and controversial issues", others considered the album was a successful attempt to add a stronger rhythmic sensibility to The Thompson Twins' sound, but the album failed to produce any hit bigger than the number 28 "Sugar Daddy," although there were several other strong numbers on the record.
 
Big Trash Track List: 
 
1. Sugar Daddy
2. Queen Of The U.S.A.
3. Bombers In The Sky
4. This Girl0s On Fire
5. T.V. On
6. Big Trash
7. Salvador Dali's Car
8. Rock This Boat
9. Dirty Summer's Day
10. Love Jungle
11. Wild

miércoles, septiembre 25, 2024

Rocktrospectiva: The Masterpiece "The Seeds Of Love" Turns 35

 
Released on 25 September 1989, "The Seeds Of Love" was the third studio album by English pop rock band Tears For Fears, the album retained the band's epic sound while incorporating influences ranging from jazz and soul to Beatlesque pop. The album spawned the title hit single "Sowing the Seeds of Love", as well as "Woman in Chains", and "Advice for the Young at Heart", both of which reached the top 40 in several countries, and finally "Famous Last Words". 
 
The album became an international success, entering the UK Albums Chart at number one, and top ten in other countries including the United States, France, Germany, Canada, and the Netherlands. Despite its success, personal tensions during recording led to band members Curt Smith and Roland Orzabal splitting up at the conclusion of their 1990 world tour, with Orzabal remaining as the band's sole official member until the two reunited in the early 2000s. 
 
Created during a profound period of catharsis, in which Curt Smith was going through a divorce while Roland Orzabal was in primal therapy. Musically, it's their most sophisticated outing record, it took four years, four producers, and over a million pounds to complete. The duo sought to distance themselves from the synth pop of their earlier records in favor of a more organic approach using live musicians. Included their very own band Kate St. John, Jon Hassell, Robbie Macintosh, and Ian Stanley. The album's Muse is American vocalist/pianist Oleta Adams. Orzabal caught her set in a hotel bar in 1985 and asked her two years later to duet on the transcendent album-opener "Woman in Chains." It set the tone for the entire proceeding with the glorious drumming on the cut is by Phil Collins. 
 
Adams also contributed gospel vocals to "Bad Man's Song," which features a Holland piano intro strongly suggestive of Weather Report's "Birdland." The production chart-topper for "Sowing the Seeds of Love" borrows heavily from the Beatles' "I Am the Walrus," but ends up as a spiritual, sociopolitical anthem in its own sonic universe. On "Advice for the Young at Heart," Smith's and Holland's vocals entwine in a melody grounded in blue-eyed soul, jazz, and elegant pop that recalls the Style Council.  "Standing on the Corner of the Third World," clearing the way for a melody that melds Bacharach-esque pop to folk, rock, and chamber jazz, with riveting singing from Smith and Orzabal. "Swords and Knives" melds squalling prog rock guitar to Afro-Latin polyrhythms and orchestral arrangements woven through psych-pop overtones. The rave-up rocker "Year of the Knife" is loaded with effects. Its siren-like strings provide ballast for ripping, multi-tracked guitars, samples, atmospherics, punchy drums, and a soul revue chorus and the closer "Famous Last Words" opens with ambient sounds and a lone piano as Orzabal delivers a love song about mortality. 
 
For all these reasons, The Seeds of Love has dated better than either of its predecessors and is inarguably Tears for Fears' masterpiece. The first single from the album, "Sowing the Seeds of Love", was released in August 1989. It became a worldwide hit, peaking at number 5 in the UK, number 2 in the US, and number 1 in Canada. Two other singles from the album, "Woman in Chains" (recorded as a duet with Adams) and "Advice for the Young at Heart" (the only track featuring Smith on lead vocals) reached the Top 40 in UK and internationally. "Famous Last Words" was released as fourth single in mid-1990 by the record company without the band's involvement, though this only peaked at number 83 in the UK. 
 
Critics loved and praised the album considered a radical departure from their earlier productions, astonishing record with a heavy production, a more adult and mature effort that turned the joyful pop simplicity to a rich complexity
 
The Seeds Of Love Track List:
 
1. Woman In Chains
2. Badman's Song
3. Sowing The Seeds Of Love
4. Advice For The Young At Heart
5. Standing On The Corner Of The Third World
6. Swords And Knives
7. Year Of The Knife
8. Famous Last Words

martes, septiembre 24, 2024

New Music: Speyside

           

Justin Vernon aka Bon Iver presents his brand new single "Speyside" the first cut of his forthcoming album "Sable" actually it's an EP, a beatiful and melancholic tune with nothing more than Vernon's emotive and rich voice and his acoustic guitar and Rob Morse Viola, the power of simplicity at its best, a song about apology, melodic and interior, and one of the most touchy single of the year so far, Erinn Springer is the video director in full black and white.

Rocktrospectiva: The Epic Live Album "Stop Making Sense" Turns 40

Released on September 1984 "Stop Making Sense" was a live album to accompanied the epic concert film of the same name byhe Americ tan indie rock band Talking Heads, it features nine tracks from the film, albeit with treatment and editing. The album spent over two years on the Billboard 200 chart. It was their first album to be distributed by EMI outside North America.

The concert film was recorded during December 13-16, 1983 by director Jonathan Demme, and practically since its release, purists have found Stop Making Sense slickly mixed and, worse yet, incomprehensive, basically because the nine tracks included jumble and truncate the natural progression of frontman David Byrne's meticulously arranged stage show. 
 
The lead singer Byrne is in fine voice here: Never before had he sounded warmer or more approachable, as evidenced by his soaring rendition of "Once in a Lifetime." Though almost half the album focuses on Speaking in Tongues material, the band makes room for one of Byrne's Catherine Wheel tunes the hard-driving, elliptical "What a Day That Was" as well as up-tempo versions of "Pyscho Killer" and "Take Me to the River." If anything, Stop Making Sense's emphasis on keyboards and rhythm is its greatest asset, making the album a fantastic choice for a generation that may have missed the band's seminal '70s work, so Stop Making Sense proves to be an excellent prime album.
 
The album was a highlight on bands career, ranked as one of the best records of all time and of the 1980s, something like a perfectly measured snapshot of a widely loved and respected band playing at the height of their powers in a time in which no other band could do this and no other music movie soundtrack sounds this good.
 
Stop Making Sense Track List: 
 
1. Psycho Killer
2. Swamp
3. Slippery People
4. Burning Down The House
5. Girlfriend Is Better
6. Once In A Lifetime
7. What A Day That Was
8. Life During Wartime
9. Take Me To The River

Rocktrospectiva: The Remarkable And Developped "Some Great Reward" Turns 40

 
Released on 24 September 1984, "Some Great Reward" was the fourth studio album by Depeche Mode, the album was a huge success in the UK and the United States, spawning three singles "People Are People", "Master And Servant" & "Blasphemous Rumours"/"Somebody". 
 
The album is considered a landamark on the bands career, using samplers much like they did in their previous album, and this would mark the path to follow in their forthcoming albums, additionally it also saw the band addressing more personal themes such as sexual politics "Master and Servant", adulterous relationships "Lie to Me", and arbitrary divine justice "Blasphemous Rumours".
 
This was the first album where they achieved chart success in the US with the single "People Are People" which reached No. 13 on the charts in mid-1985 on the Billboard Hot 100, it was also the first album that peaked at a higher position on a chart that was not from the band's home country as it peaked at No. 1 in Germany. 
 
Considered one of the best electronic music albums yet recorded, Some Great Reward still sounds great, with the band's ever-evolving musical and production skills matching even more ambitious songwriting by Martin Gore. The brilliant "People Are People" was the first classic for the band unfortunately it was outclassed by some of Depeche Mode's undisputed classics, the moody, beautiful "Somebody,"  the ballad that mixes its wit and emotion skillfully; "Master and Servant," an amped-up, slamming dance track that conflates sexual and economic politics to sharp effect; and the closing "Blasphemous Rumors," a slow-building anthemic number supporting one of Gore's most cynical lyrics, addressing a suicidal teen who finds God only to die soon afterward. 
 
Other cool tracks are  "Lie to Me" and the weirdly dreamy "It Doesn't Matter" with a brilliant Alan Wilder arrangements and of course the singing style by Gahan on "Master And Servant" that will stick and use for the next ten years.
 
The critics loved the album and considered a truly remarkable development especially on Gahan's voice, also it was considered it a great record to feel the balance of powerful music and personal lyrics as well, making the combination of the bands strenght on vocals an delicacy sound as a trademark, on the other hand, there were some negative reviews considered the record as an under-rated Depeche Mode turn out, in which the real strenght on the singles rather than the album, even though, the album remains as the first real intention to conquer the world with consistent and perfectly crafted singles. 
 
Some Great Reward Track List: 
 
1. Something To Do
2. Lie To Me
3. People Are People
4. It Doesn't Matter
5. Stories Of Old
6. Somebody
7. Master And Servant
8. If You Want
9. Blasphemous Rumours

Rocktrospectiva: The Fairly Decent "Tonight" Turns 40

 
Released on 24 September 1984, "Tonight" was the sixteenth studio album by English artist David Bowie, it was the follow-up to his most commercially successful album Let's Dance, under the production of Bowie, Derek Bramble and Hugh Padgham, indeed,  much of Bowie's creative process was the same as he used on Let's Dance, similarly playing no instruments and offering little creative input to the musicians, the album spawned three singles "Blue Jean", "Tonight" & "Loving The Alien". 

The music has been characterised as pop, blue-eyed soul, dance and rock. Much of the album's sound is the same as its predecessor's, due to Bowie's effort to retain the new audience that he had recently attracted, although some tracks contain R&B and reggae influences. Devoid of new ideas from touring, Bowie wrote only two new songs himself. Three songs, including the title track, were covers of Iggy Pop songs, who was present during most of the sessions and co-wrote two tracks. The title track is a duet with singer Tina Turner. The artwork, featuring Bowie blue-painted against an oil painting backdrop, was designed by Mick Haggerty.

The album was a commercial success due the singles "Blue Jean", "Tonight" and "Loving the Alien", Tonight was a commercial success, reaching number one on the UK Albums Chart, unfortunately the critical reception was poor, with most finding a lack of creativity, due of that, Bowie felt this album wasn't one of this stronger efforts, despite its success, Bowie found himself at a creative stalemate; he realised he no longer knew his audience and later admitted that touring left him devoid of new ideas.

The process wasn't rushed althought it took five weeks, two more than "Let's Dance" recordings, because according to Bowie, there wasn't so much of my writing, during the tour, I hadn't assembled anything to put out, one of the album's major contributors was Iggy Pop, who later said: "There's a lot more work there than is reflected in just the simple co-writing credit for two songs and some of the old stuff. The two's new collaborations resulted in "Tumble and Twirl" and "Dancing with the Big Boys".

The album features a guest appearance from singer Tina Turner, who sings a duet with Bowie on the title track, "Tonight". Padgham hated many of the songs, specifically the "too poppy" "Blue Jean" and "Tonight", preferring the "more left-field" compositions that were left off the final album. 

The album starts with "Loving the Alien" a very personal bit of writing that he did not feel fitted in with the rest of the album because it is such a dark song amidst lighter fare. Alomar thought the song concerned the Major Tom character from 1969's "Space Oddity", a claim Bowie rejected. The lyrics are religious and politically charged, next one is Bowie's rendition of "God Only Knows" incorporates strings and saxophone, and he sings his vocal in a croo, but is considered one of the worst recordings ever done by Bowie, the reworking of "Don't Look Down" is influenced by reggae music. Bowie had attempted it in different ways, including jazz rock, march and ska, eventually settling on reggae. For "Tonight", Bowie eliminated Pop's original spoken word introduction, believing it an "idiosyncratic thing of Pop's that it seemed not part of my vocabulary", his cover, a duet with Tina Turner, is reggae-influenced; her vocals are placed low in the mix. 

The second part starts with "Neighborhood Threat" features a heavier guitar sound than Pop's original, although Pegg says that Bowie's version lacks the original's "doom-laden percussion and wall-of-sound atmospherics". "Blue Jean" is generally viewed as the best song on the album, it is an "uptempo throwback" to 1950s and 1960s artists, particularly Eddie Cochran, next one is "Tumble and Twirl" recounts Bowie and Pop's exploits while holidaying in Bali and Java at the conclusion of the Serious Moonlight Tour. On the cover of "I Keep Forgettin'", Bowie said at the time that he "always wanted to do that song", and finally "Dancing with the Big Boys" is, according to Bowie, about the "little guy" being crushed by "oppressive corporate structures".

The critical reception was diverse, although it did receive some positive attention. some called the album as a dizzying variety of mood and technique, while other said the album takes yet abother turn, highlighting a number of strong songs and stating that Bowie "loses none of his unique songwriting and vocal adventurousness" with an album that lies in the "same commercial vein" as Let's Dance. On the other hand, many reviewers criticised it for lacking creativity, a throwaway, and David Bowie knows it. A disappointing by Bowie's standards. Bowie later distanced himself from his 1984–1987 period following the critical dismissal of Never Let Me Down In 1989, he stated that both efforts had "great material that got simmered down to product level", believing the demos were superior compared to the studio recordings.
 
Tonight Track List:
 
1. Loving The Alien
2. Don't Look Down
3. God Only Knows
4. Tonight
5. Neighborhood Threat
6. Blue Jean
7. Tumble And Twirl
8. I Keep Forgettin'
9. Dancing With The Big Boys

domingo, septiembre 22, 2024

Rocktrospectiva: The Triumphant "This Is All Yours" Turns 10

 
Released on 22 September 2014, "This Is All Yours" was the second studio album by English indie rock band Alt J, the album spawned four singles "Hunger Of The Pine", "Left Hand Free", "Every Other Freckle", and "Warm Foothills", the album topped the UK album charts, the album received a positive review in the United States and was nominated for the Grammy Award for Best Alternative Music Album. 
 
The band came to win the Mercury Prize for its 2012 incredible "An Awesome Wave", it was a cool year for the band receiving widespread support and positive review, a couple of years later, the band started the recording of their next one, unfortunately, bassiste Gwil Sainsbury left the band early that year 2014. The majority of the songs on the album were written while touring their debut album, while newer ones such as "Hunger of the Pine" were written in "a really cool little converted Warehouse in Hackney, very cliché East London". Unger-Hamilton said that the "song cycle" of the album is made up of "Arrival in Nara", "Nara" and "Leaving Nara", now "Hunger of the Pine" was one of the songs written after their bass player Gwil Sainsbury left in January 2014. The song features a sample of "4x4" by Miley Cyrus, of her singing "I'm a female rebel". The sample originally came from a remix Thom Green, Alt-J's drummer, made for Miley Cyrus. Joe Newman said "I was playing the guitar and Thom was responding to what I was doing on Ableton and before we knew it, we'd come up with this really interesting structure, and I came up with lyrics for it quite quickly." Gus Unger-Hamilton said "it sounded cool with what Joe was playing on the guitar." The band asked Miley Cyrus if they could use the sample; according to Newman, she was "cool with it".
 
The album features interesting tracks such as the punchy, carnally minded "Every Other Freckle" and the meaty, "Left Hand Free" so thrilling, but hardly unexpected, the crucial Miley Cyrus-sampling on "Hunger of the Pine," the bucolic, recorder-led "Garden of England," and the oddly soulful, midnight-black posturing of "The Gospel of John Hurt," and it gets under your skin, where it somehow manages to both hurt and heal.
 
The album received generally positive reviews from music critics, considered a huge step forward for the band, in terms of musicmanship and creativity, it was nominated for a Grammy Award, and for the Impala as an album of the year. 
 
This Is All Yours Track List: 
 
1. Intro
2. Arrival In Nara
3. Nara
4. Every Other Freckle
5. Left Hand Free
6. ❦ (Garden of England)
7. Choice Kingdom
8. Hunger Of The Pine
9. Warm Foothills
10. The Gospel Of John Hurt
11. Pusher
12. Bloodflood Pt. II
13. Leaving Nara