Posts Tagged ‘single stream’

Celestial North’s luminary new single ‘The Nature Of Light’ was inspired by her studies as a Herbalist and by the concept of The Light Of Nature, which she describes as, ‘innate knowledge imbued within us all and accessed through intimate, synergistic and intuitive relationships within our natural kingdoms’.  Surging with a pulsing life force of wonderful cosmic pop: woven with bubbling beats, sci-fi keys, fragments of arpeggio and imbued with a euphoric rush of dreamy melodies that invoke the spirit of pagan folklore and our connections with nature and  inner hope. The song features her young daughter Iris Bluebell and was written to inspire her children to walk into an unknown future with courage and love in their hearts.

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Hailing from Edinburgh, Scotland Celestial North is a talented, multi-faceted musician and songwriter with her songs regularly played on the BBC Introducing show.  Her reworking of R.E.M.’s ‘Nightswimming’ – recorded for a God Is In the TV Zine charity album last year, received national radio play with BBC Scotland’s Roddy Hart proclaiming it “Majestic”. The release was included in Bandcamp’s Essential Releases with ‘Nightswimming’ chosen as the Editorial Director’s personal highpoint. Following a run of early singles Celestial North was touted by Under The Radar and God Is In The TV as ‘One to watch in 2021’ and one of the ‘finest new acts for 2021’, Celestial North is currently recording her debut album which will be released in September 2022.

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I feel like I should keep a tally of the number of cover of Mission of Burma’s 1981 song ‘That’s When I Reach for My Revolver’. For an obscure band whose back catalogue is impossible to find, this song seems to exist in the ether, performed live on recent tours by The Sisters of Mercy, as well as Graham Coxon, as well as being subject to a truly blistering rendition courtesy of Moby during his 90s grunge phase on Animal Rights – and I have to say, that version is hard to beat. And no, not like Hard-Fi, who blow. Funnily enough, pretty much all of the covers have been better than the original, which is something of an inversion of the norm. I’m of the opinion that when it comes to a great tune you a) can’t beat the original b) can’t go wrong with a cover. So what is it with this track? Unfulfilled potential in the execution of the original? Perhaps.

Sirens Of Light slow it down and goth it up, hard – to the point that the verses are barely recognisable and the choruses are dark and grinding. It’s once of those covers where you don’t even recognise the song until it reaches the chorus. What have they done?  They’ve certainly taken ownership (note the title change, too), stamped their mark, and all that cal. In terms of execution, it’s taut, dense, bleak, brooding. It sneers and it’s imbued with a lip-curling sneer.

While it works presentationally and sonically, it feels like they’ve stripped the guts and angst out of the song. That doesn’t mean it’s bad, and it’s all a question of intent. The chorus is well-executed, and hits hard… but seems a shade lacking somehow.  Blown away? Maybe not, but it’s still got a fair bite.

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Blood Red Shoed head out on tour this month. The tour comes in celebration of the band’s sixth album ‘Ghosts on Tape’, released earlier this year via Velveteen Records, and will see stops in Bristol, Leeds, Manchester, Newcastle Upon Tyne, Glasgow, London, Brighton and Birmingham. Support for the entire headline tour comes from CIEL.

The shows swiftly follow a brand new piano version of “Morbid Fascination” — a haunting cut of floaty key taps and visceral vocals that sees the ‘Ghosts on Tape’ track transformed from a buzzing cut of alt-rock into an emotive ballad.

New album ‘Ghosts on Tape’ marks a huge jump forwards for the band, one that develops their sound almost beyond recognition, while capturing Blood Red Shoes at their most musically and emotionally mature. As Steven explains:

“We’ve always been outsiders right from the very beginning… We have made an entire career out of being told what we are “not”, of being rejected, of not fitting in, and this album is us deliberately pushing into all of our strangeness, emphasising all of the things that make us different”.

Obsessed by true crime and murder podcasts, many songs on the record are told in character and explore the dark psyche of those at the pinnacle of outsiderdom: serial killers. ‘Ghosts on Tape’ paints a picture of a dark and unsettling world. It is the sound of a unified and confident duo who know exactly who they are, even if the wider world doesn’t really get it. The sound of two people who have spent their entire adult lives making music together and who, more than ever, are finding new pathways for their creativity.

“Ultimately this album is an invitation”, adds Steven. “It’s us saying, this is our world, these are our darkest thoughts and feelings – our ghosts – caught on tape. You are welcome to join us. Come and embrace the strange”.

In the wake of the album’s release, the band also unveiled a 15-minute short film of the same name sound-tracked by songs from the album. Premiered to a packed audience at London’s Everyman Cinema, the film was written and directed by Craig Murray and unfolds as an unsettling, brooding and psychological horror story, featuring the band plus their future ghosts, and a blue-hooded death cult reminiscent of Eyes Wide Shut. 

Listen here:

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BLOOD RED SHOES – 2022 UK LIVE DATES

JUNE

6 – TT The Races, Isle of Man

8 – The Fleece, Bristol*

9 – Brudenell Social Club, Leeds*

10 – Academy 3, Manchester*

11 – Think Tank, Newcastle Upon Tyne*

12 – King Tuts, Glasgow*

14 – The Garage, London*

15 – Chalk, Brighton*

16 – The Rainbow, Birmingham*

JULY

29 – Y Not Festival, Newhaven

*w/ support from CIEL

Tickets on sale now here:
https://www.bloodredshoes.co.uk

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I’m almost certain I saw False Heads playing live in Manchester early in their career, but I’m struggling to locate evidence to substantiate this on my cluttered hard drive.

While I was searching on my fruitless mission I pondered the accompanying blub, wondering if #’alternative grunge’ isn’t a tautology – because even when Nirvana and Hole broke the charts, they were never really mainstream – they were alternative acts that just happened to break through, as such because of the zeitgeist as anything.

Anyway: FALSE HEADS have unveiled their scathing new single: ‘Mime The End’.

Produced by Frank Turner, the clangorous new cut comes as a second glimpse into the band’s long-awaited new album ‘Sick Moon’, set for release on 30 September 2022 via Scruff of the Neck Records.

Watch the vid here:

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Defined as "The queen of the electric harp", Kety Fusco continues to surprise and subvert expectations with her new single ‘Shivers’, produced by Francesco Motta and Aris Bassetti, to be released on all digital platforms on May 13th on the international label Floating Notes Records. It is the first excerpt from a new solo album coming out in 2023.

With the addition of Carmine Luvone on cello, the Italian-Swiss harpist launches a new provocation: ‘Shivers’ represents a new form of music, a new genre. Fusco’s harp sings as if it were a voice, the sound box creates the rhythm, the resonant strings decorate the harmony, and the scratchy noises envelop the atmosphere of the composition. According to Fusco: "The search for the instrumental genre of the harp is also about discovering what kind of music and genre you can create with it. Since there is no real musical reference to the world of contemporary pop music on the harp, I have to make attempts to express myself and continue to embrace my idea of the contemporary harp, feeling its vibrations and letting myself be overwhelmed by the shivers that these resonances cause me, and continue to compose and let the world discover a new idea of the harp".

Kety Fusco’s music is a mix of insistence and passion, pop and electronic music, wild dancing, and organic research of experimental music. ‘Shivers’ follows the horror sound-track Music To Make A Dream Come True, released last March as the result of extensive sound research undertaken by Kety on her harp. Music To Make A Dream Come True, accompanied by an esoteric videoclip shot by Studio Asparagus, was the result of sampling sounds from Kety’s harp, which she then published in her personal sound library: Beyond the Harp, Extreme, Extended, Experimental, available to artists, producers and art lovers on the website www.ketyfusco.com. Fusco wants to transform the vision of the harp, moving away from the usual arpeggios and sound carpets, and instead delving into a world of timbres that are never usually associated with the instrument. Kety’s sound research on the harp will continue in autumn with the release of the experimental record The Harp by Kety Fusco Pt. I, made in collaboration with IOSONOUNCANE, the mastering and sound engineer Alessio Sabella, and Aris Bassetti. The record will premiere this summer at the prestigious Montreux Jazz Festival.

Watch  here:

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We love mental shit, and this is some mental shit.

Avant group Hifiklub has shared a new track, ‘Weird Five,’ featuring the legendary Iggor Cavalera (MixHell, Cavalera Conspiracy, Pet Brick, co-founder of Sepultura). The song is a part of the French trio’s audio-visual collaboration, ScorpKlub I & II Original Soundtracks, with the Montreal animator James Kerr (Scorpion Dagger). The double-sided record — which features Alain Johannes (Queens of the Stone Age, Them Crooked Vultures, Eleven) in addition to Iggor Cavalera —will be out digitally as well as on different colored vinyl on 27 May 2022 via Electric Valley Records.

Hifiklub bassist Régis Laugier on ‘Weird Five’: “1 Day as A Lion, 2Pac, Spacemen 3, Gang of 4, Electric 6, L7… Something was missing. What about the “Weird 5”? Let us know what’s your favorite band with numbers in their names. In the meantime, here is the first track of Hifiklub’s collaboration with Iggor Cavalera, from ScorpKlub I & II. 18 more videos to come!”

Check ‘Weird Five’ here:

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Venus Principle are premiering the melancholic and powerful new track ‘Drag Nets’ as the final single taken from the dark psychedelic rocker’s debut full-length Stand in Your Light, which has been scheduled for release on May 27.

‘Drag Nets’ makes subtle use of a wide range of instrumentation from sax to mellotron vibes and Mini Moog, and the stunning vocal chemistry between Daisy Chapman and Daniel Änghede comes into play again as well.

The band comment: “After the initial recording sessions for Stand in Your Light were postponed, we had a chance to write a few more songs”, guitarist Jonas Stålhammar tells. “The last one written was ‘Drag Nets’. It turned out to be by far the heaviest track on the album. ‘Drag Nets’ represents the waste and rejects of man. You can trawl the sea for food and treasure, but humankind will always carelessly discard all unwanted matter only for it to be rediscovered as flotsam and jetsam. The idea of adding saxophone was a last minute thought in the studio when I reached the conclusion that we had too many guitar solos on the album already. Our amazing guest on the saxophone, August Eriksson, copied my guitar solo note for note and then added some improvised sprinkles.”

Listen to ‘Drag Nets’ here:

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Having been away from the recording studios for nearly seven years, Melbourne-based black-metal collective Thrall appeared to be relegated to the fate of “cult act”, especially considering they vanished after releasing their most accomplished and critically lauded album Aokigahara Jukai.

Back with an enlivened recorded line-up that features members of Gatecreeper, Noose Rot, ex-Extinct Exist, Förfalla, Slothferatu, ex-Ruins, Mar Mortuum and Myotragus, the group picks up where they left off, merging some primeval and heinous black metal, with a ferocious thrash metal attack, a raucous crust and miserable doom atmosphere.

Ripping, engaging, and despairing, new album Schisms shows a vast number of guests joining Thrall in studio and hopefully will cement Thrall position as one of most interesting and creative bands from the current Australian extreme metal scene.

Listen to ‘Tyrant’ here:

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Plotting a rapid follow-up to their acclaimed 2021 debut album, the track arrives as the first insight of what the band confirm will be their upcoming second full studio release.

Whereas much of their debut album, ‘Deathretro’, was thrashed out during the band’s first incarnation almost 15 years ago, “Exit Point” stands as Deathretro’s first completely original composition in over a decade.

A frenzied post/punk thrill, it veers and swerves through surf-carved curvatures and barbed guitar prangs, as the band spout nihilistic lyrics for the end-of-days.

“In the bowels, the people scream. Humanity, it appeals to me. Dirty machine, a wretched beast, We give life to the old devil.” howl Deathretro here.

Touching on the darkest of themes with a white-hot intensity, “Exit Point” rages against religion and propaganda in a dystopian realm of vivid, Dantean imagination.

Having already aired the track live at a smattering of live fixtures, Adrian of Deathretro sums-up the response so far:

“This is the only second album track that we have played live and to great reception…It’s punky, urgent, does it’s job and f**ks off”

Listen to ‘Exit Point’ here:

Around the release Deathretro are lining up a run of Spring headline shows and Summer festival dates (including Bluedot and Kendal Calling) that will offer fans another opportunity to catch the band performing “Exit Point” live. Full dates are as follows:

DEATHRETRO – LIVE DATES

28th April – Oporto, Leeds
(w/ Deathretro / Neeta)

18th June – Gorilla, Manchester
(w/ Sea Fever / Riding the Low / Deathretro

+ DJ sets from Gillian Gilbert & Stephen Mortis (New Order) & Chris Hawkins (BBC6 Music))

24th July – Bluedot
30th July – Kendal Calling

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