Posts Tagged ‘Fundraiser’

SPV Records – 2 October 2020

Christopher Nosnibor

It’s easy to forget just how absolutely massive The Mission were at their peak, packing out headline shows at Wembley Arena, Finsbury Park, and Reading Festival.

There was a time when Wayne Hussey looked like being the new Bono. Or something. And now he’s gone and done Band Aid for goths, with a rerecording of ‘Tower of Strength’ featuring a truly immense roll-call of luminaries from the gothier end of the alternative / post-punk scene to raise funds for covid charities around the world.

The press release reports that alongside Mission frontman Hussey, the project involves Andy Rourke (The Smiths), Billy Duffy (The Cult), Evi Vine, Budgie (Siouxsie and The Banshees), Gary Numan, James Alexander Graham (The Twilight Sad), Julianne Regan (All About Eve), Kevin Haskins (Bauhaus, Love & Rockets), Kirk Brandon (Theatre of Hate, Spear of Destiny), Lol Tolhurst (The Cure), Martin Gore (Depeche Mode), Michael Aston (Gene Loves Jezebel), Michael Ciravolo (Beauty in Chaos), Midge Ure (Ultravox), Miles Hunt (The Wonder Stuff), Rachel Goswell (Slowdive, The Soft Cavalry), Richard Fortus (Guns N’ Roses, The Psychedelic Furs, Love Spit Love), Robin Finck (Nine Inch Nails, Gary Numan, Guns N’ Roses), Jay Aston (Gene Loves Jezebel), Steve Clarke (The Soft Cavalry), Tim Palmer and Trentemøller, the latter of whom has provided a remix of the new recording.

Having properly got into The Mission by hearing ‘Tower of Strength’ during the weekly top 40 (I was 11 and my exposure to ‘alternative’ music had been quite limited at that point), the song has a certain special place on a personal level, and the likelihood is that it’s the same for many fans. Reworking a classic is risky, potentially an act of desecration or sacrilege (referential word-choice half-intended).

The EP contains four 2020 versions in total, with the regular single version, a radio edit, and three remixes.

In term of the instrumental backing tracking track, the single-version sound very like the original, only with some additional extraneous details and the meat where the bass and extra layers kick in stripped out. Meaning it’s ok, but while one of the major criticisms of The Mission has ben that they lean toward the bloated and bombastic, the fact is that was always a part of the appeal. But overall, it’s nicely done: the guest contributions, both instrumental and musical weave into one another pretty seamlessly, and there are no instances of any one person stealing the limelight with their overstepping delivery of a line. There’s no ‘tonight thank God it’s them instead of yoooouuuu’ moment, and this feels very much like a collective, collaborative, egalitarian effort, and I almost feel as if I could give it a virtual hug for that.

The nine-and-a-bit ‘Beholden to the Front Line Workers of the World’ mix comes closest to the basking, expansive glory of the original. It’s a song that’s meant to just keep going, and this version does just that.

Trentemøller goes technoambient with his reworking, and kudos for breaking the mould, and double for the fact that it works. It’s all in the strings, of course. The Albie Mischenzingerzen remix is drummy but doesn’t seem to bring quite as much to the party.

It might not quite pack the power of the original, but it’s not far off: the people playing on it are worth hearing, and it would be churlish to criticise a release made with such positive intentions. In bleak times, Hussey and his pals aren’t only a tower of strength, but a beacon of humanity, and it’s a powerful thing.

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ReMission International (cover artwork)

We absolutely love what Human Worth are doing, both in terms of their humanitarian work and the promotion of some stunning underground and emerging acts. And so the arrival of a second lockdown-period fundraising compilation is a most welcome thing, and the proceeds from this latest release are going to Harmless, a charity that supports metal health, and to assist in the prevention of self-harm and suicide.

For this reason, we’re immensely proud to be serving up an exclusive premier stream of ‘Serenity’, by AJA, the first of the album’s massive twenty tracks.

AJA works with the charity Harmless that they’re donating the funds of this release to – It was her suggestion and she said "I work for an organisation who give their profits from training people in mental health awareness and suicide prevention / intervention directly back into helping support people with free therapy. They are self funded and have been massively affected by covid and they do really amazing work!” For more info, go to https://www.facebook.com/HarmlessUK/

The album drops via BandCamp on Friday 7th August. Check out ‘Serenity’ here:

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Workin’ Man Noise Unit mark the 50th anniversary of The Stooges’ second album, Fun House with the release of their take on ‘1970’. It’s a belter, and captures the blistering intensity of the original with a sinverity that’s impossible to fake. What’s more, it’s priced a pay what you feel, with everything you feel being given to Gendered Intelligence.

Good people doing good things via the medium of good music.

The world needs this right now.

Listen to and download  ‘1970’ here:

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As part of their fundraising efforts, Wakefield’s Long Division Festival – which has now been postponed until 2021 – have announced two new records available to order as part of this Friday’s Bandcamp fee-free day.

The first is  ‘A Romantic Destination’ – a live album by Jamie Lockhart, leader of critically acclaimed DIY Wakefield band Mi Mye. Recorded at Long Division 2018, ‘A Romantic Destination’’ see’s the songwriter and producer reimagining music from a book of songs that has been passed down by his family in Skerray in the Highlands for 166 years.

A songbook from 1851 used by two brothers; one a folk songwriter, the other the 1st Piper To Queen Victoria was passed down six generations before ending up in Jamie’s hands – accompanied by Mi Mye bandmate Morgan Evans, ‘A Romantic Destination’ captures this incredibly special one-off and sold out performance.

The second of these new albums is ‘New Additions: Vol 2’ – the second in a run of compilations from Long Division Festival, ‘New Additions’ features brand new songs and recordings from artists who had been scheduled to play at this year’s Long Division Festival.

Pressed onto 12” vinyl thanks to support from independent label ‘Last Night From Glasgow’ , New Additions features 10 new songs from a host of exciting new artists including Priestgate, Cowgirl and Mt. Doubt with all proceeds distributed evenly amongst the artists.

Full Track listing:

· Cowgirl – Wasn’t Listening

· Priestgate – Now

· Life Model – Walking Backwards

· Lemon Drink – Manic

· Mt. Doubt – Stairwell Songs

· HerTiltedMoons – Orange Grove

· In The Morning Lights – Milk And Honey

· Bunkerpop – C’est Comme De Robots N’est Pas

· Macroscope – Reveal

· The State Of Georgia – Little Tiny Ones

Both records are available to buy now from Bandcamp: https://longdivisionfestival.bandcamp.com

Long Division’s Crowdfunder is sitting just below 50% of its goal after its first week, more information on the fund, how it will be spent and how you can contribute can be found here.

Leeds trio Magick Mountain have shared new single ‘The Shitty Beatles (Live)’, the first to be heard from ‘Come Stay With Me’, a fundraising compilation by and for Leeds based artists.

Made up of Lins Wilson (Grammatics), Tom Hudson (Pulled Apart By Horses),  and Nestor Matthews (Sky Larkin / Menace Beach), Magick Mountain are a trio who embody the long running collaborative spirit that has made the city home to some of the UK’s finest new DIY bands and, thanks to a number of ferocious live performances, have built a strong reputation as one of the most exciting new bands from the West Yorkshire city.

New single ‘The Shitty Beatles (Live)’ captures the band at their noisy and riotous best. The two-minute whirlwind of frantic garage rock was recorded live last year in Mabgate Bleach, a small independent arts space in a decommissioned textile mill just outside Leeds city centre. Just one of a number of treasured small venues in the city currently crowdfunding to try and survive through a difficult time. The band want to highlight these campaigns with their live single explains singer and guitarist.

Lins Wilson: I think this track is probably as punk as Magick Mountain gets. A 2 min ankle biter that’s over before you can cry ‘Help!’. Usually the last track of our set – it’s like a snarling ‘full stop’ that’s been released from Iggy Pop’s clenched butt cheeks. This track was recorded live at one of our favourite Leeds DIY venues, Mabgate Bleach whilst supporting Aussie fuzz queens, Stonefield and we think it has a sort of feral charm about it. We’re massively missing live music right now, I think this is the longest we’ve ever been without any of us playing or going to a show. It’s great that people are finding new ways of connecting and performing online, but absolutely nothing can beat a live gig, where you truly feel the force of music.”

‘The Shitty Beatles’ will be released on ‘Come Stay With Me’, a collection of 13 new songs from bands and artists across Leeds including Talkboy, Dialect, Team Picture, Van Houten, Dead Naked Hippies and more. Set for release in July on eco-vinyl, all profits from Come Stay With Me will be shared between the contributing artists.

While the vinyl won’t be arriving until July, Come Play With Me have launched a new crowd funder for the compilation where it can be pre-ordered now.

Launching in 2015, Come Play With Me is a record label, promoter, magazine and development organisation based in Leeds working to support artists in the region and releasing a series of 7” record splits, compilations, magazines and more.

Listen to ‘The Shitty Beatles (Live)’ here:

Order the compilation here.

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Credit: Jessica Ciantar

Tavern Eightieth – TVEI24 – 29th April 2016

Christopher Nosnibor

Described as ‘a large compilation of diverse and exciting music from new and exciting artists,’ VA1+2 is, first and foremost, a fundraiser for Alzheimer’s Research UK. Arguably, that’s reason to purchase it in itself, but of course, in truth, any compilation sells on the basis of the music. The immense range of music on offer on VA1+2 is its real strength, and offering over two hours of music (that’s 22 tracks by 22 different artists packing out a brace of discs), it’s a veritable boon of contemporary electronic, ambient, experimental, electro-acoustic, improvisational and more.

From the semi-ambience of Midoro Hirano’s ‘Regrowth’ and the swampy Latina stylings of Manouchi Bento’s ‘Anpre dans tanbou lou’, there’s much to soak in on disc one. Band Ane’s bleepy, space-age ambient Krautock is particularly intriguing.

Disc two spans the dolorous yet delicate piano-led instrumental of International Debris’ ‘Translucent Orb’ to the eerily ominous ‘Kiki and Bouba’ by Isnaj Dui, via the ethereal transcendental post-punk folk hymnals of ‘This Thought Won’t Last’, the contribution from Zelienople and Glacis’ elegiac epic ‘As long as water flows’.

One of the common pitfalls of compilations, and in particular compilations to raise funds for charity, is that they’re often a bit of a hotch-potch mess, no better than the naff giveaway discs that come with magazines (or used to come with magazines: I don’t know as I stopped buying magazines some time ago, at the point when the quality of features and reviews vs cover price became unfavourably skewed toward the latter) plugging whatever was hot at that moment in the eyes of that publication, with a bunch of album tracks and B-sides taking up the majority of the space. VA 1+2 feels – and sounds – very different. Tavern Eightieth haven’t just taken anything that’s been floating around, and while I despise the overuse of the word in our post-postmodern hipsterised word, there’s a sense that they’ve actually curated a compilation which represents the label. There’s clearly a lot of thought and effort gone into this, from the selection of material itself to the mixing and sequencing of the tracks. And so, while it is a fundraiser, and for an extremely meritorious cause (I’ll spare the lecture here on the underfunding of research into Alzheimer’s given the number of people it affects).

Finally, mastered by Fraser McGowan with an ear on optimal clarity and dynamic range over volume, there’s a sense that every aspect of this release is about doing the music justice. And in turn, they do the charity and the listener justice. Everyone wins.

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Tavern Eightieth – VA1+2 at Bandcamp