“July Flame” explores the emotion of mid-summer. Drenched in wood smoke, sunlight, pastoral dales, fireworks and warm nights, the lyrics explore the dichotomy between one’s desire for permanence and security and the realisation that such things rarely exist.

“July Flame” is a magical and flawless collection of songs, highlighting Veirs’ masterful finger picking guitar and confident vocals. “Laura’s like the queen bee and my ear is her hive; she nests and makes honey in the hairs of my cochlea,” says Jim James of My Morning Jacket (who sings on several tracks).

The album breaks from Veirs’ previous full-band efforts, although many of the same players make appearances on the album, including long-time collaborators Karl Blau and Steve Moore. String arrangements are featured more on this album than on others; the brilliant improviser Eyvind Kang plays viola on many songs and legendary arranger Stephen Barber composed hauntingly beautiful string quartet arrangements for three songs.

July Flame is the sixth album that Laura and producer TUCKER MARTINE have made together. Recorded and mixed at their home, the song-writing, arrangements, production and performances create a fully realized piece of art that inspires reflection and calm in a world that spins unsteady.

July Flame is released on January 8th 2010 through Bella Union Records!

For more information on Laura Viers visit her website or her  myspace.

Beach House return in January 2010 with “Teen Dream”, their third – and first classic – album, on Bella Union records.

The Beach House you’re about to meet isn’t the same as the one you’ll remember from before. Lives have been shuffled, tangled and re-aligned. When Victoria Legrand and Alex Scally returned home to their hometown of Baltimore last winter, they were worn out from touring and travel. But deep inside them hot energies were incubating, ideas they had been whispering back and forth in the wake of their sophomore full-length, 2008’s “Devotion”. By spring they began handing themselves over completely to these impulses, holing themselves up and exchanging ideas in a new, secluded practice space for dangerously long periods of time. As the songs that would become “Teen Dream” began to live, breathe and take shape, the duo were compelled to leave much of their personal lives behind them. “We were forced to let go of people and things we were holding onto as individuals” Legrand muses. “We were dropped into a wilderness, but we had more clarity than we’ve ever had before”.

Still driven to avoid distraction, the two marched further into isolation, deciding to bottle all those wild visions away from home. They packed up their lives and settled into a converted church in upstate New York with producer Chris Coady. For a month they continued the birthing process, sweating and pushing out sounds inside a cocoon of their very own weaving. They chased down songs and dark rushes, the creative telepathy that Scally and Legrand share together taking a strangely physical hold. “There’s a different level of intimacy, and physicality, on Teen Dream”, Legrand explains… “Rhythmically, there’s a new motion. This record touches you”.

“Teen Dream” is the sound of a band bursting at its creative seams. It is without question more expansive and moving than anything they have shared before. “Teen Dream” is released 25th January on Bella Union records. Beach House have recently signed to Sub Pop in the US.

Acclaim for Beach House…

“Beach House take up the opiated fuzz of dream-pop pioneers past – My Bloody Valentine, Galaxie 500, Spiritualized – then distil it and drizzle it over skeletal torch songs, deserted-ballroom waltzes and Motown soul choruses… Beach House are a beguiling beauty – a real vacation for the mind”

NME

“Fans of Mazzy Star, Cat Power and Galaxie 500 need Beach House in their lives…”

The Fly – 4 Stars ****

“These are fabulously woozy melodies worth lingering over, infused with Legrand’s languorous vocals and pedal steel, while their retro keyboards are especially atmospheric… they should make you melt”
Metro – 4 Stars ****

“the Baltimore duo’s narco-pop drifts over lazy organs and twilight waltzes… A lush mix of sun and shade”The Independent – 4 stars ***

“Delicate, lovelorn pop”
Pitchforkmedia – 8.5/10

“a record of autumnal beauty, all golds and browns, which evokes with extraordinary vividness a picture of a seaside resort shutting up shop and preparing for less populous months to come… A great new find.”
Sunday Times

“evoking the autumnal hues of latter-day Yo La Tengo… a slice of unadulterated dream-pop joy”
Rock Sound – 8/10

“Drifting into view on waves of slide guitar and a chorus of dreamy harmonies, this is seductive music, built in Baltimore with love and care”
WORD

“a lovely, rewarding listening experience, transporting you a million miles from our frantic modern lives”
The Sun – 4 Stars ****

“should be the soundtrack to a misty French film… deeply atmospheric and stirring”
The Guardian – 4 stars ****

“To say this record elevates the band far above the swollen ranks of shuffling shoegazers currently doing the rounds is putting it mildly”
Drowned in Sound – 9/10

“Ever wondered how Nico might sound after a day’s sunbathing? Well, wonder no longer because the gorgeous debut album by Beach House gives you some idea…”
The Times

“Classic 60’s pop arrangements filtered through the fuzzy prism of a dream… All of it as high on charm as it is on lo fi”
MOJO
“magical folk-pop from Franco-American duo. Recorded in Baltimore but haunted by opium dreams of Paris… there are exquisite moments here that recall Mazzy Star, Nico-era Velvets and even Radiohead.”
Uncut

“like an album’s worth of Femme Fatales”
Q

“Mellow, sunny and intimate… Nine tracks of soft focus music half sung / half whispered that sound like a late night transmission from the stars… broadcasting to Earth folks relaxing below a hazy late summer Sun”
Clash magazine

Teen Dream is released on  January 22nd 2010 on Bella Union Records!

For more information and news on Beach House check out their website here

This evening I had the pleasure of heading to The Macbeth on Hoxton Street to hear the new Beach House record Teen Dream. The album is done and ready to go, and Bella Union kindly hosted an album playback a full three months in advance of the release date.

I was excited, obviously. There were free drinks and postcards with the track listings on. I decided to draw smiley faces by the songs that I thought were good. By the end there were smiley faces by every single track; the album is superb. Much like Devotion, I think that it’s the type of record that rewards repeated listens, and I can’t wait to own the album and sit with it on repeat.

The album opens with, my personal favourite, Zebra. It’s gorgeous, completely-swoon worthy. It feels warm and familiar (the new material isn’t much of a departure from the old songs) and is quite breathtaking. Victoria’s voice is rich, and so powerful. I made notes on the album, but, as with whenever I am given a pen and paper, it’s mostly doodles and the odd word. For Zebra I drew a Zebra (see what I did there?) and wrote ‘AMAZING WOW WOW WOW WOW’. It is exactly that. The song is superb and I can’t think of any way it could be any better. The album has the same dreamy feel as with all of Beach House’s material.

The slide guitar, egg shakers and tambourine… your foot taps along for the whole record. In fact, I really have no idea how long the album is… it just washes over you and is done in no time. Perhaps I should have taken better notes. For track two, Silver Soul, I wrote ‘Swoon’ and ‘the slide guitar is lovely. Track three is Norway, for which I wrote: ‘egg shaker is nice. Victoria’s voice is A-MAZING’. Victoria has a wonderful voice, both live and on record. It’s spot on. Track four was another giant favourite, as soon as I get the album and listen to Zebra on repeat, next up I’m listening to Walk In The Park on repeat. There’s this one part where Victoria sings this line that goes ‘in a matter of time‘. The way she sings it gives you chills, her voice just rices and it is completely brilliant.

Next is a re-working of 2008’s single Used To Be. It’s not too dissimilar, apart from the ending has changed. They’ve got rid of the even if I tried so hard/we could wait until the summer lyrical overlap. I’m not entirely sure how I feel about this, because I think the song was perfect to begin with, but nonetheless I enjoyed the song very much. Lover of Mine is track six, I wrote ‘mmm foot tappy’ and drew a foot. For the next track, Better Time, I put ‘nice intro, nice guitar, the ending is brilliant’ and also noted ‘they did this one at Cargo!!!!!!!!!!!!’. Last December I saw the band at Cargo and this was the only new song they played, which I loved. I was hoping to hear it again at Union Chapel but they didn’t play it; I’m glad it made it on to the album.

The next two tracks, 10 Mile Stereo and Real Love are both lovely but I definately feel like they could be Teen Dream’s Turtle Island; songs that I will come to love hugely over time. I don’t know why, but I was never grabbed by Turtle Island, but then it just twigged that it was absolutely brilliant and became one of my favourites from Devotion.

The album closer, Take Care, is another highlight. The epic drums, and Victoria’s voice as she sings ‘I‘ll take care of you/if you ask me to‘ is so beautiful. Absolutely wonderful. Gush gush gush.

And there you have it: one of the best records of 2010, no doubt. The production is perfect, the songs are great… it’s definately a grower. I’ve always found that to be the way with Beach House, the more you listen, the more you love. I’ve had a constantly rotating chart of favourite songs, because every song has so much richness that you can find new parts to love, which give new reasons to listen on repeat.

Youtube is kind. You can watch Take Care being performed here, and check out the tag-team of brilliance Zebra and Walk In The Park here.

Also, I just drafted my list of my favourite 40 live acts of the year. Beach House are obviously there. This band are brilliant. The album is out over here on January 25th via Bella Union.  I can’t wait.

Lil Wayne's No Ceilings mixtape leaked today

Lil’ Wayne’s No Ceilings has leaked four days prior to its scheduled debut of Halloween, reports RS. The mixtape is the most recent release after Weezy pleaded guilty to weapons charges, and includes hints at his pending incarceration like, “T.I., hold your head.” Carter rhymes over tracks like  The-Dream’s “Fancy” and the Black Eyed Peas’ “I Gotta Feeling”. Check out the leak courtesy of our friends over at Nah Right.

Midlake has finally released the details regarding their third release, which is apparently set to be titled The Courage of Others, reports Stereogum. The record, which will come to us via Bella Union Records, will feature a sound more reminiscent of, “British folk scene of late 60’s stuff,” says the group. With three years having passed since their last release, we’re expecting quite the album. Stereogum has a look at the track list and a few of the first dates of their 2010 US tour.

Billy Corgan hasn’t released anything worth its salt from the past couple of years, but apparently he’s feeling confident enough to take on the Swine Flu in his blog. In an 800-word rant against the disease and the “propaganda machine” behind it, Corgan explains why he won’t be taking the vaccine, reports Pitchfork. Corgan claims that the disease is man-made, according to “people” whom he has spoken to “as doctors”. He further goes on to boldly proclaim that, “I am willing to question anything: the existence of God, the existence of me or you or Robert Zimmerman.” That’s right, folks, even Bob Dylan.

For those of you who couldn’t make it to this year’s Bonaroo, fear not. On December 15^th, the powers behind one of the indie communities most massive festivals will be releasing a DVD of this past year’s show, the aptly named Live From Bonaroo 2009, reports Pitchfork. The DVD will include performances from The Beastie Boys, Bruce Springsteen, Santigold, Passion Pit, and the Decemberists, to name a few.

– John Luposello

One of Bella Union’s most successful and celebrated acts – MIDLAKE – make their long-awaited return in February 2010 with “THE COURAGE OF OTHERS”, their extraordinary third album…

It’s ironic that Midlake’s new album is titled “The Courage Of Others” because, if anything, the courage is all theirs. Namely, the courage to do what feels right and stay true to the spirit of artistic independence whilst ignoring any pressure to conform to expectations. The result is the Texas quintet’s third album, their most complete and beautiful body of work yet, best appreciated as a whole in the old-fashioned sense of an album – which makes perfect sense when you know Midlake linchpin Tim Smith’s fondness for the look and feel of past times.

So what’s changed since The Trials of Van Occupanther, their second, hugely loved breakthrough album? Just as that record was in part inspired by the soft(er) rock of the early-to-mid 1970s – from Neil Young and America to Fleetwood Mac – so Midlake’s new album also looks to a slightly earlier, and definitely British, trad-tainted folk sound. It may share the same gorgeously analogue-warm electro-acoustic template as Van Occupanther but it’s a slower, darker and more carved record, both eerier and dreamier. Perfect, in other words, for its February release date, at the height of winter.

Neither do the new songs feature any hermit-scientists like Van Occupanther, or the mythical Roscoe. The songs that constitute The Courage Of Others, Tim says, are closer to his heart than those of their first two albums because, “I don’t feel I’m looking at the songs through someone else’s eyes. I’ve tried to keep it as true to myself as I could.” Guitarist Eric Pulido adds, “We didn’t want to make the same album as Van Occupanther, so we carried on moving and creating and pushing for a newer sound and emotion.”

“The Courage Of Others” is released on Bella Union records on 1st February 2010. Track-listing below…

Acts of Man

Winter Dies

Small Mountain

Core of Nature

Fortune

Rulers, Ruling All Things

Children of the Grounds

Bring Down

The Horn

The Courage of Others

In The Ground

Press acclaim for “The Trials of Van Occupanther”…

“The songwriting is rich, delivering an almost hallucinatory mix of pianos, horns, guitars and painfully wistful reminisces… One of 2006’s best.”

The Guardian – 4 Stars ****

“It’s so rare for an album to come from nowhere and sound as if it has existed for ever, but Midlake’s extraordinary second release is just such a gem. This deserves to become a major word-of-mouth hit.”

Evening Standard – 4 Stars ****

“This unimpeachable record is a part-pastoral, part-rock curiosity, with trace elements of Neil Young, America and Grandaddy. All exquisitely sung and played, and as with Sufjan Stevens’ “Illinoise”, we’re dealing with an invigorating, many-faceted work of diverse instrumentation and durability.”

MOJO – 4 Stars ****

“Skilfully textured and beautifully written… Fans of Flaming Lips, Wilco and Grandaddy should get it immediately. And fall in love.”

WORD

“This Texas quintet could fill the gap left by Grandaddy. It’s all here: the dreamy folk-rock, the sadly stoical laments for the simple life progressleaves behind, the gentle and pastoral shadings. Mapping the territory between Neil Young and Mercury Rev, their warm, charming and wistful second album seems to glow from within.”

The Independent (Information) – 4 Stars ****

“Texans Midlake deliver on their gorgeous, escapist second album – an organic, pastoral thrill that updates 1970s Fleetwood Mac and Crosby, Stills and Nash for a new generation. Classic, elegant songwriting.”

Metro – 4 Stars *****

“Midlake seek to uncover the spiritual magic hidden beneath the veneer of everyday life… Singer-songwriter Tim Smith imbues his songs with a beguiling mystery. The results recall the genial eccentricity of Van Dyke Parks”

The Independent – 4 Stars ****

“This is one of those rare albums that comes out of nowhere and knocks your socks off! Midlake combine warm West Coast harmony rock with the wonder and mystery associated with sonic explorers like The Flaming Lips. Exquisite.”

The Sun – 5 Stars *****

“The Trials of Van Occupanther is a bona fide classic, a record that unites Mercury Rev-styled psyche eccentricity with smooth rock’n’soul. Out on the ever-inspiring Bella Union, its very existence makes the world seem a better place”.

NME – 8/10

“Midlake make music descended directly from the golden era of American folk: the prairie-wide melodies and plaintive harmonies of Fleetwood Mac and Neil Young… This rocks.”

The Telegraph

“this is a collection of songs that will never sound dated, because they absolutely exist outside of the cycles of trends and fashions… incredibly engrossing”

Drowned In Sound – 8/10

Simon Raymonde, mastermind behind the wonderful Bella Union, has a shiny new blog which you can read here. I only have kind words to write about Simon and the label. I think one of the most special things in the world is to be able to share what you love with other people, and that’s what Bella Union does. 

This great video of Chimes & Bells was on the blog:

I adore Chimes & Bells. I think that whatever they release next is going to be unbelievably good. That song they do is new and is called Do The Right. It’s been the set highlight for me every time I’ve seen them play. It’s reason enough to see them every time they play here. It’s one of those songs that you just can’t listen to and stay sitting still. Caecilie Trier has such a magnificent voice, it’s amazing! Such a treat to have this video recording of the song, make sure you listen to it. I can’t wait to hear it on an album or EP.

Ah! Watching that video makes me want to see them live again. Check out their Myspace.

Piano Solos Volume 2 is a work by the classically trained composer Dustin o’Halloran released in 2006 on Bella Union. As its title implies, this a record with the piano as its only instrument. The shining star for this album lies with Opus 23, a calming and mellow piece.

In fact, all of these tracks are fairly relaxed, with maybe the exception being Opus 28, which has a mildly (I use that term very, very loosely) frantic feel to it; a sense of urgency that just about penetrates the record’s wholly relaxed approach.

Opus 26 is definitely the most melancholic track, an almost too-short three minutes of a varying degree of isolationism.

The album is about fifty minutes in duration and perfect for any rainy day. If you like this, be sure to check out The Early Piano Works by Erik Satie, which comes as a two CD set of very lovely music in a similar vein to this album.

For more information, check out:

- Last.fm

- Discogs

- MySpace

Support the artist, if you like what you hear, buy it at:

- Amazon

- Artist’s Website

Download.

posted by admin

Yes, it seems that the winning formula for a band right now is something like:

Appalachian Harmonies x (Adjective + Wild Animal)

Buying the Grizzly Bear album will leave you feeling like an old woman mugged at knifepoint on Tesco’s doorstep, but small consolation now comes in the form of the lovely new video directed by Sean Pecknold, who makes similar lovely videos for . . . urgh, forget it . . .

By the way, if the above formula for success fails, try:

Move to Brooklyn x (Pointless Repetition of Consonant)

A la Wavves, Lovvers, Nodzzz.

FLEET FOXES – Mykonos

GRIZZLY BEAR – Two Weeks [mp3]

So, here we are, only two days before we descend on Stradbally for another weekend of music arts and culture and a wee sprinkle of carnival!  So as I mentioned last week, Lakota have 18 – yes 18! – acts for your aural delight playing in a variety of tents. After much speculation and blog posts on the subject, the Electric Picnic released the official lineup this morning – below are the times and stages of the Lakota Media acts playing!

FRIDAY SEPTEMBER 4

Peter Broderick, Crawdaddy Stage, 4:30pm

Major Lazer, Little Big Tent, 7:15pm

Japanese Popstars, Little Big Tent, 1am (pictured)

SATURDAY SEPTEMBER 5

Ohbijou, Body and Soul Stage, 2:00pm (pictured)

The Low Anthem, Cosby Stage, 3:00pm

Jape, Electric Arena, 5:15 pm

Whitest Boy Alive, Cosby Stage, 7:45pm

Explosions in the Sky, Crawdaddy Stage, 10:15pm

Moderat, Litttle Big Tent, 12:45pm

SUNDAY SEPTEMBER 6

Halfset, Crawdaddy Stage, 12:15pm

Two Door Cinema Club, Electric Arena, 12:30pm

First Aid Kit, Body and Soul Stage, 1:00pm(pictured)

J. Tillman, Body and Soul Stage, 2:00pm

The Acorn, Cosby Stage, 3:45pm

Simian Mobile Disco, Electric Arena, 4:15pm

Bell Orchestre, Cosby Stage, 5:00pm

Fleet Foxes, Electric Arena, 6:45pm

Beach House, Body and Soul Stage, 1:15am

So folks, there it is, an action packed weekend all round, I can’t wait! Just need to find my wellies!

The full lineup is on the official website here in a handy downloadable pdf document along with other handy information!

See you there

the Lakota Crew!!!!

To celebrate our 12th Anniversary BELLA UNION records are taking over BUSH HALL for four nights in September, presenting a number of our much-loved and celebrated acts, line-up below.

AND Bella Union exclusive will be presenting the premier of ‘The White Door’, the short-film (35 mins) directorial debut of good friend JASON LEE (‘Almost Famous’, ‘My Name Is Earl’ etc) as part of the festivities.

Filmed over 3 days in Los Angeles, and starring Giovanni Ribisi and Beth Riesgraf, ‘The White Door’ follows a lonely young man as he courageously leaves his confined world to face the unexpected in search of love.

The White Door features music by Cocteau Twins and Dustin O’Halloran.

Einer klingt wie Michael Stipe, der andere sieht aus wie die Venus von Botticelli und es hat nichts mit Bollywood zu tun.

My Latest Novel machen Literatur zum Anhören

Schon unser zweiter Krach in der noch so jungen Ehe. Wenn das so weiter geht schmeißen wir wohl bald mit Tellern Mein erster Vorschlag zur Erweiterung des Hörhorizonts in dieser Woche heißt My Latest Novel mit dem Album Deaths & Entrances. Die fünfköpfige Band beginnt den ersten Song »All in All in All is All« passend zur heimischen Stimmung, nämlich mit jeder Menge Krach. Als ich das Album im Einklang entdeckt und Probe gehört habe, war ich kurz verwirrt, aber auch gleich wieder versöhnt, denn nach dem Krach folgt folkiger Rock-Alternative-Pop mit Violine, Mandoline-ähnlichen Gitarren, treibendem Schlagzeug und auffälligem Satzgesang. Wer Schubladen braucht: der Sänger klingt nach R.E.M.-Stipe, vielleicht auch nach Pearl-Jam-Vedder, die Musik bewegt sich wie oben erwähnt im folkigen Indie-Rock und passt zum Bandnamen. Es ist Erzählrock, aber für mich nicht genügend progressiv um Postrock zu sein; dennoch merklich kopflastig und intellektuell, keine leichte Kost also. Hintergründige Musik mit der man sich auseinander setzen sollte, Texte lesen, die Geschichte dahinter erfahren. Es gibt hier und da Passagen, die verstörend wirken, laut, protestierend und mächtig sind, einen ratlos zurücklassen, weil sie fast schon hilflos oder selbstaufgebend klingen. Frontmann Chris Deveney (der auch Gitarre und Bass spielt) möchte man am liebsten zum Psychotherapeuten schicken, weil sich die Darbietung stark nach Depression anhört. Das kann den ungeübten Hörer sicherlich auch nerven, wenn man nicht gerade einen ausgeprägten Mutterkomplex hat. Aber zum Glück kämpfen Backgroundgesang und wohligwarme Streicherklänge mütterlich gegen die Melancholie.

My Latest Novel - Deaths & Entrances

An Protest und Gedankenschwangerschaft denkt man auch beim Blick auf das künstlerisch anmutende Cover und bei der akustischen Wahrnehmung der »egalen« Stimme von Frontmann Deveney. Man mag das als eintönig bezeichnen, ich finde es passt zum gesamten Konzept der Band bzw. des Albums. Zu solch nachdenklichen bzw. nachdenklich machenden Songs will man sich als Sänger auch nicht so derartig in den Vordergrund singen oder spielen. Oder allzu theatralisch auf die Stimmbänder drücken. Die Theatralik entsteht durch den gesamten Aufbau der Songs, mich würde hier ein Stimmwunder eher nerven. Das Album vereint klassische Pauken mit Klavier und Folk genauso wie choralen Gesang mit Schrammelgitarren und alternativem Rock. Ruhige Passagen sind wohl dosiert und wie bei »Re-appropriation Of The Meme« wahrlich zerbrechlich.

Poetischer Ideengeber und Auslöser für das Album ist denn auch das gleichnamige, düstere, kraftvolle Gedicht von dem Waliser Dylan Thomas. Überhaupt klingt der Text der Band zum Album tatsächlich so wie ich es auch beim Hören empfunden habe. Man hat sich beim Schreiben der Songs an Literatur orientiert, die offensichtlich auch nicht gerade zur schnellen Wochenendlektüre gezählt werden kann. Als weitere Inspirationsquelle geben die Schotten »Lanark« (1981) von Landsmann Alasdair Gray an (wen es interessiert: auf deutsch erschienen z.B. bei Rogner & Bernhard 2001 unter »Lanark – Ein Leben in vier Büchern« und eigentlich nur noch über das Moderne Antiquariat wie z.B. ZVAB oder abebooks zu bekommen). Eine »Düstere Utopie mit phantastischen Elementen, nichts für schwache Nerven.« (Quelle: waslesen.net)
Die Schotten bieten mir mehrere musikalische Erinnerungen an: eingängige Melodien, manchmal wie Sting, Damien Rice oder Radiohead (auch daran erinnert die Stimme von Deveney), Rhythmen à la Willy DeVille (Gott hab ihn selig), Intros, die wie bekannte Kinderlieder klingen, das Give peace a chance-Zitat by »If the Accident Will«… In dem Album stecken  zwei Jahre Arbeit, vermutlich eingeschlossen in einem dunklen Pub im stürmisch verregneten Schottland – und das hört man den Songs an.

My Latest Novel aus dem (hier) sonnigen Schottland ©unbekannt

Schade finde ich, dass bei so inhaltslastiger Musik ein dermaßen schlecht lesbares Booklet produziert wird, das künstlerisch sicher wertvoll ist, aber eben nicht zweckmäßig. Und die Lyrics hab ich leider nicht auf der Website oder in  einem gängigen Verzeichnis gefunden (grummel). Sicherlich hätte dem Album auch ein Digipack nicht geschadet, vielleicht mit Naturpapier (träum weiter) – naja, aber das ist natürlich finanziell ziemlich aufwendig.

Großer Schwachpunkt des Ganzen ist in meinen Augen die Produktion, die sich – zumindest nach heutigen Standards – eher nach Proberaumkelleraufnahme anhört (trotz der elektronischen Finessen im Hintergrund). Vielleicht  hat man auch bewusst alles an Effekten weggelassen was geht, aber ein wenig mehr »technische« Stimmung oder Raum hätte dem Album schon gut getan. Wenn ein Schlagzeug nach Blecheimer klingt, fällt es mir schwer zu akzeptieren, dass das Absicht sein soll. Auch schade: Instrumente, die offensichtlich nicht ganz sauber gestimmt sind – und das kann nicht nur am Chorus-Effekt oder dem teilweise schiefen Backgroundgesang liegen. Und da würde ich auch die Kritik an das Label Bella Union richten: sowas geht gar nicht, auch wenn es nur Ausreißer sind, und das sollte man – bei aller Freiheit – dem Künstler auch sagen. Es ist echt schade drum, wenn sich die Musiker sonst soviel Mühe geben und die Inhaltsschwere technisch mit Füßen getreten wird. Das unterscheidet My Latest Novel in der Qualität noch von der offiziellen Vergleichsband Arcade Fire (auch wenn die nicht ganz so intellektuell wirken).

Selbst wenn es sich im letzten Absatz nicht so anhört: das Album wird einen festen melancholischen Platz in meinem hauseigenen Spielplan haben und ich werde bei Gelegenheit mal in den Vorgänger Wolves reinhören, der wohl nicht ganz so depressiv sein soll. Deaths & Entrances ist streitbar, eher anstrengend, aber mit schönen Songs, die ab und zu vielleicht nicht wirklich zu Ende gehen oder nicht bis zum Äußersten getrieben werden. Ein Album mit Pfeife und Leseleuchte, mit Schal und Brille, mit Jeans und Cordjacket. Und das kann man mögen (Jule) oder auch nicht (Thorsten).
Ach ja, Humor scheinen die Herrschaften auf jeden Fall zu haben, immerhin verweisen sie auf ihrer Internetseite auf den Monty Python You Tube Channel! Und das mögen wir beide!

My Latest Novel-Besetzung:
Gesang, Gitarre, Bass: Chris Deveney / Gesang, E-Gitarre: Gary Deveney / Violine: Laura McFarlane / E-Gitarre: Paul McGeachy / Schlagzeug: Ryan King

My Latest Novel – Deaths & Entrances
Release: 2009-05-22
Label: Bella Union

Links:
http://www.myspace.com/mylatestnovel
http://mylatestnovel.com/
http://de.wikipedia.org/wiki/My_Latest_Novel

in der Presse:
laut.de
intro.de

Ben Lee bringt uns Weisheit und ewiges Glück

So, genug geheult – jetzt kommt Musik, die Spaß macht und trotzdem zum Nachdenken anregt. Ben ist wie sein Namensvetter, den Thorsten noch vorstellen wird, ein Softie, aber einer, der die Welt mit guter Laune verbessern will (u.a.). Und das gefällt mir schon deutlich besser. Lee hält es da ähnlich wie die Beatles, geht nach Indien und kommt erleuchtet wieder zurück, allerdings ganz ohne LSD (ein hübscher Artikel in der L.A. Times über seine Hochzeit  in Indien und sein eigener Erfahrungsbericht als PDF hier). Und durch das gesamte Album The Rebirth of Venus zieht sich wohl deshalb ein Mantren-ähnlicher Backgroundgesang, der auch ohne Live-Erlebnis einen hohen Mitsingfaktor hat. Ein absoluter Pluspunkt dieser Musik, denn die Songs liefern aus popmusikalischen Gesichtspunkten sicherlich keine Neuentdeckungen, aber eine so fröhliche Interpretation, der zumindest ich nicht widerstehen kann.

Ganz nebenbei weiß Lee darüber zu berichten, dass die Welt zwar gerade nicht so rosig aussieht und wir sicher alle Fehler machen, aber eben auch etwas bewegen und ändern können. Das klingt nicht nach verbissenem Protest, sondern nach Aufmunterung, die im besten Sinne bei Ben Lee von Herzen kommt. Nicht verwunderlich also, dass ein Teil der Einnahmen einem wohltätigen Zweck zugute kommt. Und dass er das auch nicht groß herum posaunt, sondern einfach macht.

Ben Lee - Rebirth of Venus

Auf dem Cover präsentiert sich Ben Lee als Venus von Botticelli, die gerade aus der Muschel steigt, umrahmt von Instrumenten und lustigen Gesellen, und dann ist da auch noch ein Frauenzeichen auf der Gitarre. Empörung! Was erlaube Lee? Warum, geht einem bei Songtiteln wie »I’m a Woman too« oder die Huldigung an Mutter Erde »Song For The Divine Mother Of The Universe« auf – keine Schelte, sondern einen Orden bekommt er dafür. Denn er meint das wirklich ernst, nicht etwa pubertierend abwertend, und spricht zudem in einem Interview so überzeugt über die weibliche Seite, die Männer und Frauen in sich haben (ohne mit einem rosa Täschchen durch die Gegend laufen zu müssen), dass ich das fast schon unheimlich finde. Seiner Meinung nach ist gerade das Weibliche ein Schlüssel für mehr Gutes in der Welt. Wenn wir alle diese Seiten mehr akzeptieren würden, könnten wir vielen bedürftigen Menschen auch helfen und so den Planeten schöner und glücklicher machen. Die Mutter Teresa unter den Popmusikern? Nein, aber schöne Gedanken verbreiten schadet ja nicht.

Ben Lee (rechts) und Landsmannmusikerkollege Pete Murray, ©unbekannt

Ein kurzer Abstecher zurück zu den Beatles: Lee appelliert auf seinem siebten Album an Yoko Ono’s Gewissen im gleichnamigen Song und fordert sie auf, uns unter die Arme zu greifen, zu lehren, wie man richtig lebt. Er schießt bei jedem Song soviel Menge positive Energie auf uns und den Planeten ab, dass ich annehme, er wird im Falle einer Reinkarnation als Guru wiedergeboren. Der spirituelle Gedanke schwingt zwar häufig mit – Beispiel »Surrender« – aber nie esoterisch, sondern völlig selbstverständlich. Bei »I Love Pop Music« musste ich unweigerlich an Hanson und Mmmbop denken, aber zum Glück dreht der Australier früh genug ab, um Schlimmeres zu verhindern. Auch hier hört man, wie an vielen Stellen dieses Albums, glasklare 80er-Synthiesounds und das Tolle ist, sie nerven überhaupt nicht – obwohl sie für sich allein genommen wohl ziemlich albern klingen würden und an Zeiten erinnern, in denen Umhängekeyboards noch schick waren. Lustig auch die kleine Disco-Hommage an »Born to be Alive« bei »Boys With a Barbie« (wieder ein toller Text). Dass eine der wenigen ruhigen Nummern, »Rise Up«, just bei Grey’s Anatomy lief, hat mich nicht nur hoch erfreut sondern vielmehr davon überzeugt, dass dies ein grandioses Pop-Album ist (wer die Soundtracks von GA kennt, weiß wovon ich spreche).

Wem Jack Johnson auf Dauer zu eintönig ist, findet in Ben Lee eine gelungene Abwechslung, wer gerne eine Band und etwas fröhlichere Musik als bei Milow sucht, wird hier auch gut bedient. Weitere Parallelen sind schließlich auch beim Namensvetter Ben Kweller zu finden, mit dem er bereits zusammen auf der Bühne stand und gemeinsam mit Ben Folds (ja, genau dem) ein Album aufgenommen hat (die drei tourten als »The Bens« 2005 durch Europa). Oder bei Crowded House, oder bei Jason Mraz… Ich frage mich ernsthaft, warum »The Rebirth of Venus« nicht zum Sommeralbum gekürt wird bei diversen Radiosendern, das Zeug dazu hätte es, denn das ist »philosophy that you can dance to« (»I love Pop Music«). Wer mich mit einem leicht dämlichen Grinsen im Gesicht zur Arbeit fahren sieht: da war nix im Kaffee, da läuft gerade Ben Lee!

Ben Lee – The Rebirth of Venus
Release: 2009-03-20
Label: New West Record (ein eher countrylastiges Label, das z.B. Kris Kristofferson unter Vertrag hat, aktuell auch Steve Earle, der just ein neues Album herausgebracht hat auf dem auch Tom Morello von Rage Against the Machine die Saiten zupft)

Links:
http://www.ben-lee.com/
http://de.wikipedia.org/wiki/Ben_Lee
http://www.myspace.com/benlee
http://www.indiepedia.de/index.php/Ben_Lee

Das erzählt Ben Lee selbst über sein Album:

Ben Lee – Rebirth Of Venus – About The Album from New West Records on Vimeo.

Recently lauded by the beardy monthlies and yet another astute signing for the Bella Union label, The Low Anthem have the capacity to become your new favourite band. ‘Oh My God, Charlie Darwin’, their most recent album, is the most diverse collection of songs they’ve committed to wax and combines some of the most beautifully delicate folk music with tracks that emulate that constipated-seal-at-a-barn-dance sound that Tom Waits had nailed a few years back. Mix in a bit of late Sixties/early Seventies Dylan and you’re getting somewhere close. Hailing from Rhode Island, Ben Knox Miller, Jeff Prystowsky and Jocie Adams haven’t quite sprung up as quickly as it seems.

Their debut album, ‘The Low Anthem’, was released in 2006 and is long out of print and, sadly, very much out of my grasp. All the more of a pity because, were it still available, I would have been giving my money direct to the band. In a not dissimilar fashion to the first act covered as part of Futuremusic, Tom Williams & The Boat, The Low Anthem took to releasing and selling their material themselves. Knowing this, I got in touch with them and enquired about the debut, only to receive this polite and rather humorous response, “that record is sadly not available, but we will let it know you called.”

This charming and oh-so-very-splendid approach to customer service and fan interaction are yet more reasons for their inclusion in the Futuremusic feature. Their second album, ‘What The Crow Brings’, has thus far received very little attention, despite it being arguably better than ‘OMGCD‘. Less varied than the recent album (which is to say no later period Tom Waits influence) but no less beautifully made, ‘What The Crow Brings’ is currently the best album I’ve heard this year. Quite apart from buggering up my end of year lists, it is a subtle, understated performance for anyone who likes keening vocals, layered acoustic intensity and melodies that slowly hijack your everyday thought processes. You can hear this whole album on Spotify right now. ‘Oh My God Charlie Darwin’ is also on there in its 2009, Bella Union reissue with bonus track guise.

Should you like what you hear, you can order the albums direct from the band themselves and you’ll receive an immediate download of the music as part of the deal. The hand-painted copies of ‘What The Crow Brings’ are really rather lovely and, despite saying they’re currently out of stock, the service is pretty darn quick. I wouldn’t hang around though, as the hand-painted copies of ‘OMGCD’ seem to have already run out and the momentum behind this lot does seem to be gathering.

Emily Loizeau is no sedentary contemplative singer. Not for her the captive heart and cracked whisper of some Proustian maiden kept far from the world’s clamour. Emily tends more towards Rimbaud, Jack London and Kerouac. She expresses her taste for adventure and hazardous encounters musically with all the force of a tropical cyclone, and lyrically with the reflective delicacy of the bilingual child still living within her.

Following the success of her first album, particularly in her native France, Emily was afforded new freedoms and also a small house in a remote corner of the southern Ardèche region. It was to here that she chose to retreat to devise this most extravagant and generous of albums: open, irreverent and carried by the collective vibrations of an exultant band of revellers: all her friends were invited to join the party, bringing their instruments and temperament along.

Her influences have not changed, from Tom Waits to Nina Simone, via Dylan and Devandra Banhart, with a long pause on Springsteen and the Seeger Sessions. Emily’s dual nationality extends to her musical tastes and she remembers her French heritage, a childhood serenaded by Brassens, Barbara and Julien Clerc.

“Pays Sauvage” by Emily Loizeau is released 19th October on Bella Union records…

Check out new tracks on her myspace here.

Howling Bells release their sophomore album Radio Wars

PREVIEW: Download Howling Bells  ”How Long”

Hundreds of bands rise to the surface each year. Many dominate major music festivals, while a handful even get a record deal or produce highly-acclaimed albums, knocking the critics off their feet. That’s precisely what Howling Bells did when they took the indie scene by storm in 2006 with their self-titled debut released on Bella Union, produced by none other than Ken Nelson of Coldplay.

Finally Howling Bells are gracing their fans with a sophomore effort, Radio Wars. The album will hit stores in the U.S. and Canada on July 28^th, 2009, though it’s been circulating on the other end of the pond since March. It seems that this is the year Howling Bells will be leaving their most memorable mark on the indie music industry. Not only have they joined London-based label, Independiente, they had Dan Grech-Marguerat (who’s worked with Radiohead, Air, Paul McCartney) produce Radio Wars.

The new album is quite an evolution for the band. Their debut was full of folk- and blues-charged melodies that flung listeners back a few decades, while Radio Wars does the contrary. It submerges you in incredibly melodic, futuristic songs which make you feel like you just went for a walk on the moon.

On Radio Wars, the band experiment with edgier and sharper sounds, clearly a step forward from their first release. The lead track, “Treasure Hunt,” is so radically different that it makes you double check whether you are listening to Howling Bells at all. Yet it is just a taste of the haunting deliciousness laced throughout the album.  “The Cities Burning Down,” the band’s next single, is nothing short of bewitching. With a rather mellow intro, it steadily escalates into a full-blown, out-of-this world production.

“It Ain’t You” and “Nightingale” are the tracks that turn this album into a pinnacle of moody harmony. The band’s most important asset, Juanita Stein’s voice, finds its perfect fit in the track “It Ain’t You.” Her deeply soulful vocals charge every song with a shot of perfection,without which the album would not be the same.

Something we can be sure of is that the band members are in accord on this record. Howling Bells achieve a near-perfect balance in each song.  That fact is evident in “Nightingale,” arguably the best track on the album. The song is full of sad and melancholy notes that almost immediately sink into the depth of your soul. It is a dark and moving lullaby that sounds like something you may have heard growing up, given you were PJ Harvey’s offspring.

However, there are a few misses, such as “Let’s Be Kids” and “Ms. Bell’s Song (Radio Wars Theme).” Individually these tracks fall short, but they are necessary and essential to the overall unity of the album.

On the track “Digital Hearts,” the band tap into the rock ‘n’ roll rhythm that made Howling Bells such a success, but primarily it serves as a mere transition to the sensational final track, “How Long.” This song can only be described as an epic lament with the potential to tear the listener apart. An instant classic, it is a perfect finale to a very satisfying album.

Overall Radio Wars definitely doesn’t disappoint, and is an extremely worthy follow up to a successful debut, even if it took three years to get here.

– Irina Dvalidze

St. Vincent

St. Vincent, Annie Clark, deserves her own review piece. Mostly, I just want to gush some more about how amazing her show at the Wireless Festival yesterday was. I will review the rest of the day later, but in the meantime… I will go on about St .Vincent for a bit. She is, without doubt, one of the most talented performers I’ve seen this year. She was playing with four other band members, and I loved it. Her show at the Hoxton Bar & Kitchen was in my top 5, with just her performing alone, but with a band it was just a little more epic. They were all clearly having alot of fun rocking out, even if most people had no clue who they were. They opened with Marry Me and did a fairly long set, mostly of new songs from the stunning Actor. From Marry Me they also played Now, Now and closed the whole set with a brilliant performance of Your Lips Are Red. I love the dual mic setup, it’s really interesting to watch as well as to hear. The saxophone was a brilliant addition to the live sound, and songs like Marrow were just so unbelievably epic, I could have watched them do it again and again.

I can’t recommend going to the ICA show enough, St. Vincent is an artist not to be missed. Also, she is so fun to shoot. Tied as fun as Emily Haines and Andrew Bird earlier this year. See:

Fleet Foxes
Live at Vicar St. 7th September 2009
With support from Blitzen Trapper
Tickets on sale this Thursday 9th July at 9am

After so many disappointed fans were turned away from last year’s stunning sold out Vicar Street show, Fleet Foxes were keen return to the venue again and Aiken Promotions are pleased to announce that FLEET FOXES will be back in Vicar Street on 7th Sep ’09 for one night only!

Tickets will be €24 and will go on sale this Thursday 9th July at 9am from all usual Ticketmaster outlets nationwide, Vicar St booking line no.0818 719 390 and online at www.aikenpromotions.com

FLEET FOXES by now need no introduction… With their incredible songs and breathtaking harmonies, it’s easy to see why the current Mojo cover stars topped so many end of year critics lists… Fleet Foxes have drawn on a variety of influences… gospel, hymns, folk, motown, baroque pop, country-rock… to produce what is one of the finest albums of this or any other year…

“Almost too beautiful”
NME

“The beauty of this superb album simply leaves you reeling”
Observer Music Monthly *****

“a record of autumnal beauty, all golds and browns, which evokes with extraordinary vividness a picture of a seaside resort shutting up shop and preparing for less populous months to come… A great new find.”
Sunday Times *****

Check out fleet foxes on their myspace here.

J.TILLMAN returns in September 2009 with “YEAR IN THE KINGDOM”, his sublime new album on Bella Union records…

“Year In The Kingdom” unravels some kind of galactic wilderness… J.Tillman’s sixth album lyrically borders on the mystic; proffering a transcendent union. Strange and honest, this song cycle inhabits it’s own idea-scape; one seemingly obsessed with wrestling death. These are afterlife dialogues of a mysterious future. Celestial badlands.

Unknown to just about everyone, Tillman started recording in April during some Fleet Foxes downtime, tracking most of the instruments during the two week session himself. Hammered dulcimer, banjo, recorder, cymbals of varying size and wheezing air organs all feature heavily and lend “Year in The Kingdom” it’s unusual scale, conjuring tidal shifts with tiny movements. The string arrangements, performed by Jenna Conrad and transposed from Tillman’s sung direction, were intended to rest on chords almost counter-intuitively, bringing to bloom complex, de-contextualized tones. Most noticeable upon first listen, however, is the production itself. While most of Tillman’s records evidence some shambolic home recording, YITK is undisturbed throughout. Out up front of the mix Tillman’s voice is featured in a way unlike any of his previous records.

“Year In The Kingdom” sounds liberated; it is far and away Tillman’s most joyful work. Created with little input or context, it is seemingly disinterested in communicating much else than a meditation for the few who allow themselves to listen with an open heart.

Year in the Kingdom is released in September on bella union.

Check out new tracks on his myspace here.

Oh my. On a scale of 1 to 10, my love for St Vincent is 8273471230923. She is amazing. In the top 5 live acts of the year for me. Brilliant. I can’t wait to see her again on Wednesday (!!!).  I am so insanely busy, I don’t think I am going to have time to blog about this properly for a few days. So, a mini recap now:

Annie played with a band. It was rockin’. I spent the whole set in swoon mode. Marrow! Oh my. That song is so killer. After the set I wanted to speak to her so I could be all ‘ohmmmmygoodnessyouareamazing’ at her. I did just that. She was so lovely and remembered me from the interview we did and said she’s seen my photos before and that I go to alot of shows and said they’re good. What an honor. And! What a joy; we chatted about, the very dear to my heart, She Keeps Bees who she played a show with yesterday. And also lovely lovely lovely Sharon Van Etten and Scary Mansion. And she saw Wildbirds & Peacedrums in comics and said she loved them. GOOD. I love them too. I love all of these bands. A treat to speak with Annie again and a real pleasure to watch her perform, such a talented musician who I admire and respect hugely. I can’t wait to see her play at the ICA on Wednesday.

Sorry I am so excitable. I knew this would be a good week. I knew it! Hurrah!

Also, I have so much love for Bella Union. They are a fantastic record label run by truly lovely people who care so much about music. I dig that hugely.

Phew! I am tired. I spent the day at 02 Wireless Festival courtesy of the lovely Bella Union. Their stage was the saviour of an otherwise ridiculously corporate, silly festival. I had a brilliant time and can’t wait for tomorrow, here are a few photos. My shoulders are killing me. My camera + the 70-200mm lens literally weighs about the same weight as a brick, so imagine holding a brick in your hand all day and lifting it up to your eyes and stuff. HEAVY. I’m not very muscly either, you see.

Anyway:

JESCA HOOP

CHIMES & BELLS

BETH JEANS HOUGHTON

BANJO OR FREAKOUT

FANFARLO

More photos here.

This Friday sees the release of Oh My God Charlie Darwin, the highly anticipated long player From The Low Anthem on Bella Union. The reviews have been fantastic and the new single, To Ohio is getting loads of airplay. We are really excited about this one!

Here is a short Video interview the guys did recently.

Can’t wait for their show at the Electric Picnic this September!

Check out some of the new tracks on their myspace here.

This August sees the release of “In The Gardens of the North”, the Bella Union debut of Sleeping States, a work of startling beauty and originality and one of the most beguiling releases of 2009.

Sleeping states is the musical project of Bristol-based Markland Starkie, a uniquely talented artist who has been quietly evolving for the past few years. An upbringing learning various musical instruments & classical theories fused with a DIY, experimental-noise ethos is at the heart of Sleeping States. Within this experimentation and exploration there always remains a regard for melody and arrangement, while binding the whole together is Markland’s exquisite voice.

Check out Sleeping States myspace page here.