CIMS Now Hear This
So That You Might Hear Me is the third album from UK duo Bear's Den and its debut release on US label Rounder Records. The album was recorded in Seattle with Phil Ek (Band of Horses, Fleet Foxes) and mixed by Craig Silvey (Arcade Fire, Kassabian). Bear's Den consists of multi-instrumentalist Kev Jones and Ivor Novello-nominated songwriter Andrew Davie, who have spent the first five years as a band touring tirelessly around the world. Stepping into their next chapter, So That You Might Hear Me is the band's most ambitious record to date.
“All anyone wants to be is what they can.”
In an era when networked access to information is nearly universal and wearing influences on your sleeve is normalized, it often feels like everything’s been done. Which begs the questions: What’s the point of creating? Does the world need another still life of fruit? Another film about love? Does the world need another melody?
On Raw Honey, his second album as Drugdealer, Michael Collins colors these existential conundrums with lush arrangements, memetic melodies, and a vulnerable tunefulness that tries to make sense of self-doubt and connected loneliness in our shared simulacra.
Collins, who never played an instrument, let alone received musical training in any formal capacity, began experimenting with sounds in 2009 after traversing the US on freight trains. After a few years crafting abstract sampledelia, he decided to forgo his experimental exercises in favor of teaching himself how to write the traditional song. In doing so, he made the decision to approach songwriting from the perspective of a listener, rather than a “musician.”
In 2013, Collins headed west and enmeshed himself in the Los Angeles underground scene. It was then that he began collaborating with players in the orbit of Ariel Pink, slowly over time crafting what would become Drugdealer’s debut album, The End of Comedy, a collection of sunlit songs as indebted to Laurel Canyon psych pop as it is Bacharian orchestration.
Raw Honey continues where The End of Comedy left off, with Collins once again leading an ace crew of collaborators to coalesce the spirit of Drugdealer’s classically modern pop. Built on the foundation of a creative partnership between Collins, Sasha Winn (vocals) and Shags Chamberlain(bass, production), Drugdealer is more a collective than band. Raw Honeyfeatures contributions of Josh Da Costa (drums), Jackson MacIntosh(guitar), Danny Garcia (guitar), Michael Long (lead guitar), and Benjamin Schwab (backing vocals, guitar, organ, piano, wurlitzer), as well as guest vocalists like country balladeer Dougie Poole (“Wild Motion”), Harley Hill-Richmond (“Lonely”), and frequent collaborator Natalie Mering (Weyes Blood) whose dulcet tones sing low before soaring on “Honey,” a track as silky as the nectar itself.
Throughout Raw Honey, Collins and crew display their influences as a new tapestry, one woven with the recycled fibers from thousands of tapestries that have colored our collective listening histories. As evidenced throughout Raw Honey, Collins has an ear for penning numbers that would sound as at home on Classic Rock radio as they would at Zebulon in Los Angeles, where any of the contributors to Raw Honey could, perhaps, be found on any night of the week, on stage, or in the audience supporting another Angelino’s modern pop aspirations.
Rather than hiding behind a curtain or casually sidestepping AOR tropes, Raw Honey adheres to a modern kind of creation — one that cultivates influences and espouses reverence. An honest totem, Raw Honey isn’t tangled up in social norms, with Collins prefering to air his self-doubt as a northern star to guide like-minded people wherever they need to go.
Drugdealer’s Raw Honey will be released on April 19, 2019 via Mexican Summer.
Altin Gun was inspired by founder Jasper Verhulst’s passion for both Turkish folk music & psychedelia. Their new record Gece firmly establishes the band as masterful interpreters of Anatolian rock/folk & leading voice in the emergent global psych scene. It’s electric Turkish history reimagined for the 21st century, filled with funk-like grooves & explosive psychedelic textures. It’s the sound of a band both committed to its sources & excitedly transforming them.
King Gizzard & The Lizard Wizard return with Fishing for Fishies, perhaps their most perfectly-realized album to date. FfF is a blues-infused blast of sonic boogie that struts & shimmies through several moods & terrains. King Gizz are no longer just a band, they’re a youth movement, a cult, an exploration, a double-drumming trip, a cottage vinyl industry.
Inclusivity is at the heart of Barrie, the Brooklyn five-piece made of Barrie Lindsay, Dominic Apa, Spurge Carter, Sabine Holler and Noah Prebish. And on their debut LP Happy To Be Here, their multidimensional take on classic pop sounds awake and present, like a group that's daydreaming but firmly there with one another. Barrie, the band, is primarily her project; on the record, which she co-produced with Jake Aron (Snail Mail, Solange, Grizzly Bear), Lindsay plays guitar, piano, synth and bass. But still, Barrie is distinctly not a solo project, and Happy To Be Here-out May 3, 2019 via Winspear-is very much a full band record. Happy To Be Here offers snapshots of the band coming together in the city, after having lived all over: Boston, Baltimore, upstate New York, London, São Paulo via Berlin. "The scaffolding of this album is moving to New York and finding these people that make up the band, " Barrie says. "We're very different, but we cover each other's gaps personally and creatively, and are eager to learn from each other."
Andrea Bocelli has teamed up with some of the hottest musical stars on the planet for his forthcoming album Si reuniting with his friend Ed Sheeran after their chart-topping Perfect Symphony on a brand new song called Amo Soltanto Te (written by Ed with lyrics by Tiziano Ferro) and joining with pop sensation Dua Lipa on the single If Only . Crossover superstar Josh Groban and classical soprano Aida Garifullina also duet with Bocelli on the record, which is released on Sugar/Decca on 26th October. It is his first album of new material in 14 years 16 brand new songs which celebrate love, family, faith and hope. At the centre of the new record is a spine-tingling duet between father-and-son, as 20 year-old Matteo Bocelli steps into the limelight to duet with Andrea on Fall On Me a beautifully poignant song which reflects the bond between parent and child. It will appear in the end credits of the hotly-anticipated new Disney film, The Nutcracker and The Four Realms, starring Keira Knightley, Mackenzie Foy, Helen Mirren and Morgan Freeman, to be released on 2nd November. Andrea explains how his voice compares with Matteo's: Technically they are very different, but there is one thing that makes them most similar: the attitude. That characteristic way of expressing yourself through your voice. This makes Matteo and I very similar. But that is something that you cannot learn, that cannot be taught. That is something you are born with.
Relinquishing inhibition and apprehension fosters creativity in its purest form. By letting go, an artist invariably flourishes. SOPHIE AUSTER embodies this phenomenon. The New York singer and songwriter leverages the freedom to soulfully speak her mind and share truths by way of vivid songwriting cast over swaths of lush acoustic guitars and dense piano chords. Emblematic of her growth, the first single “Mexico” plays out like a long lost fifties South-of-the-Border-set film noir. Punctuated by boisterous horns and an irresistible chant, the track illuminates both vocal charisma and a knack for storytelling. Elsewhere on NEXT TIME,“Black Water” invokes the smoky soul of bluesy jazz standards “influenced by a solitary feeling.” Finally, album closer “Tom C” leaves an intoxicating last word chased by faint guitar and hypnotic crooning, which bottles “this lonely hazy night of being alone in a bar.” In many ways, the title signals the start of a new chapter for the songstress. In the end, this is time for Sophie to tell her story.
While he was working on Oxnard, the ever-ambitious Anderson .Paak was recording Ventura at the same time. As he explains it, both albums showcase the duality that has inspired the Grammy-award winning artist throughout his career. “Growing up in Oxnard gave me the grit and the church to find this voice of mine. One town over I went further and found my depth. [I] held one [album] back because that would have been too many songs to perform live!” Now with a more soulful sound representative of the beautiful, scenic Ventura, Anderson .Paak gives us “King James”, “Make It Better”, and more – with features including Smokey Robinson, André 3000, Nate Dogg among others. Welcome to Ventura!
The experience of Daniel Norgrens music is marked by connection: the artist to the band, the audience to the music, and the body to the soul. His latest album, Wooh Dang, out April 19, 2019 on Superpuma Records, will be Norgrens first worldwide release. Recorded live and entirely on a 16 track analogue rig the album captures the close chemistry between Norgren and his band, comprised of old friends Anders Grahn (bass), Erik Berntsson (drums), and Andreas Filipsson (guitar and banjo). An intertwining of analog instrumentation, live performance, and rural field recordings, Wooh Dang is rife with a deeply hopeful creative intention. It's red blooded, alive, and coursing with equal parts adrenaline and seratonin. Wooh Dang was a real fun album to make and to me its been the world for the last few years, says Norgren. Thanks for taking the time. I hope you enjoy it.
Lowdown Ways is the new album from the New York City-based trio known as DADDY LONG LEGS. Produced by Jimmy Sutton (JD McPherson, Pokey LaFarge) at Hi-Style Studios, Lowdown Ways shows a natural progression for DADDY LONG LEGS. Songs like 'Pink Lemonade' and 'Mornin' Noon & Nite' exhibits the band's signature lo-fi contemporary blues sound mixed with edges of garage rock and punk. The band has played with legends such as The Damned, ? & the Mysterians, Dr. Feelgood and more, and tracks like 'Célaphine' play up those influences while bringing their own unique brand of blues to the table. The album features songwriting contributions from both JD McPherson and Jimmy Sutton and is the most cohesive release from the band so far.
2019 release. Frank Carter & the Rattlesnakes return with their third studio album End of Suffering. Recorded at Chapel Studios with Cam Blackwood (George Ezra/Jack Savoretti) and mixed by Alan Moulder (Nine Inch Nails/Queens of the Stone Age) - End of Suffering (named after the Buddhist term for enlightenment) is the sound of a band entering an entirely new realm of the senses, a forty minute rock 'n' rollercoaster of molten-hot bangers, scorched-soul ballads and grunge lullabies laced through with a lacerating lyrical honesty.
Based in Los Angeles, The Beta Machine’s McJunkins and Friedl are well known for their roles in the rhythm section of A Perfect Circle. The two first rubbed shoulders when they auditioned for Ashes Divide, led by A Perfect Circle’s Billy Howerdel. Recognizing a powerful creative bond that went beyond that band’s ranks, the duo was soon asked to join Puscifer, led by Tool frontman and APC co-founder Maynard James Keenan. Their associations still extend far beyond that cluster of bands: to Filter, Devo, Thirty Seconds to Mars, and Eagles of Death Metal. Friedl and McJunkins would take material incompatible with their other collaborations and stow it away for then-mysterious future use. As the pair continued to work together, the creative energy started flowing freely. The pair put a name to the energetic, futuristic sound they were developing: The Beta Machine. But they wouldn’t be alone in their mission. They had already worked and palled around with vocalist Claire Acey (of Nightmare of the Cat) and guitarist and keyboardist Nicholas Perez, who both gamely stepped up to join them for The Beta Machine’s lineup. The debut album is now available.
The Professor Longhair live album documents a performance underwritten by Paul and Linda McCartney. The album was recorded March 24, 1975 on the Queen Mary cruise ship docked in Long Beach, California, USA at a private party hosted by Paul and Linda McCartney. Highlights include the rollicking Mess Around, and the standards Stagger Lee, Everyday I Have the Blues, 'I'm Movin On,' and his hits Mardi Gras in New Orleans and Tipitina. Henry Roeland 'Roy' Byrd (December 19, 1918 January 30, 1980), better known as Professor Longhair, was a New Orleans blues singer and pianist. He was active in two distinct periods, first in the heyday of early rhythm and blues and later on during the resurgence of interest in traditional jazz surrounding the start of the New Orleans Jazz and Heritage Festival. He influenced other New Orleans musicians such as Fats Domino, Allen Toussaint and Dr. John with his rumba, mambo, and calypso piano based blues sound.