Nick Cave GHOSTEEN – New LP Nick Cave - GHOSTEEN – The New Album GHOSTEEN, the new two part album from Nick Cave and The Bad Seeds, was released globally on all digital platforms on Friday 4 October. Vinyl and CD will be released on Friday 8 November. Track Listing: Part One 1 Spinning Song Part Two 1 Ghosteen “For all the cinematic attractiveness of their arrangements and the title track’s opening meditation on the beauty of the world, the long songs on album two seem darker in tone, filled with sleepless nights, departures and desperate fantasies of escape. Perhaps the most straightforwardly beautiful set of songs that Nick Cave and the Bad Seeds have ever recorded… “ The Guardian (October 2019) The album was recorded in 2018 and early 2019 at Woodshed in Malibu, Nightbird in Los Angeles, Retreat in Brighton and Candybomber in Berlin. It was mixed by Nick Cave, Warren Ellis, Lance Powell and Andrew Dominik at Conway in Los Angeles. Nick Cave – vocals, piano, synthesizer, backing vocal “The songs on the first album are the children. The songs on the second album are their parents. Ghosteen is a migrating spirit.” - Nick Cave 2019 Tour 8.12.2019 Lamb Live in Manchester Manchester Academy 2, 21 October 2019 Touring Band Andy Barlow - keyboards I first heard Lamb Back in 2001. The album was WHAT SOUNDS which I loved and is still one of my favourite albums of all time. I loved its song-writing; I loved its mix of jazz, pop and dance; and I loved its originality, sincerity, transparency and passion. Then came BETWEEN DARKNESS AND WONDER in 2003 which was equally moving and which led to me interviewing the band that year. Over the band’s twenty-year existance it has been one of the UK’s most consistent bands but I have never witnessed a live performance - until now. The Academy 2 is Manchester University’s second-largest venue and which has boasted some superb performers over the years. Good sound management is critical though, something I’ve found has been generally getting worse in more recent years. The young DJ support act Ekcle perform in front of a sparse crowd but still encourage a couple of mystical dancers with their average mix of ambient and drum ‘n’ bass music. As if by magic, the venue filled to capacity ready for Lamb’s arrival. Following a short delay and the deposit of a warm drink flask by the vocalist mic, band members wandered onto the stage followed by Rhodes looking more than glamorous with her flowing white dress and black feather hair decoration. She looked stunning but as soon as the opening song, ‘Phosphorous’ (from the new album), started I sensed a problem. Rhodes looked uncomfortable and after the first song she admitted that she had a cold and sore throat, apologising in advance if her voice was not at its best. ‘Phosphorous’ provided a gentle, intimate vocal warm-up for Rhodes before the drum and bass driven ‘Armageddon Waits’. I’ve yet to hear the new album but already I’m making a mental note to acquire it on the strength of these two opening numbers. The song explodes for its chorus before Rhodes croons gently before exploding again. It was superb and how the lady could perform like that with a sore throat is beyond me! Brilliant vocal harmonies complete a fantastic song. The beautiful vintage ‘We Fall In Love’ is next before another new song arrives. ‘Illumina’ is a rhythmic marvel where Rhodes’ vocal comes to the fore in all its expressive beauty. The song is a mid-paced ballad bursting with drama and atmosphere. ‘Imperial Measures’ is another new song with Barlow’s keyboards leading the slow march and another majestic Rhodes vocal. The song has a strong Celt folk ambience and is utterly beautiful. ‘The Secret Of Letting Go’ is a slice of distinctive, original adventure with its instrumental treatment and almost talking pace vocal. ‘Deep Delerium’ pushes the pace and dramatics before the vintage and fan favourite ‘Gabriel’ from the wonderful WHAT SOUND album arrives. Orchestral sounds and another stunning Rhodes vocal made this one of the nbight’s special moments. It’s also an example of how great the setlist is mixing as it does the brand new with some very special vintage moments - the ideal balance. The audience is genuinely enthusiastic and encouraging which visibly moves Rhodes. The instrumental and electronic performances on the night were perfect and while I felt the sound management could have been better, the band’s unique quality and emotion came through loud and clear. Another new song in ‘Bulletproof’ is launched with its percussive brightness bursting forth. ‘The Silence In Between’ then gently wanders in and is anotehr very special moment. Rhodes is unique in the way she can interpret a song and reveal its inner truth. The violin moments too are special while keyboards anchor the whole. Totally stunning! I’ve seen a few gigs in 2019 but I have to say this one was unique in the way it moved me. Lamb is a band that in recording terms that gets better with each record. The music and its performance were masterful, and this was a night to cherish. ‘Górecki’ arrived during the demanded encore and for me was another special moment that sealed the deal for me. It also summarises what this band and especially Rhodes and Barlow are all about… ‘Górecki’ Lyrics If I should die this very moment About LAMB’s ‘Gorecki’, is based on the Third Symphony by the Polish composer of the same name. It’s a track that builds with orgasmic certainty into a very personal recognition of the wonder of one-in-a-million love and the obliterative bliss it can generate. In an interview Rhodes explains: “It’s about when I first heard Gorecki’s Third Symphony with someone who is very important to me. It was one of life’s perfect moments. I was completely moved to tears, and still am, when I hear the Third Symphony; I can safely say it’s one of the most moving pieces of music ever written, and that’s not just because of the context in which l first heard it.” The single reached 30th position in the UK chart in march 1997. Setlist Phosphorous Lamb Interview Having just witnessed a magnificent performance by Lamb in Manchester and while my performance review is being concluded I offer this interview from 2003. London, 24th October, 2003 To coincide with the band’s latest and greatest album, BETWEEN DARKNESS AND WONDER, we interviewed Lou Rhodes to find out more about the album’s creation. Lou also talked about the band’s musical journey, and hopes for the future. We at Shakenstir believe that the new album will lead to securing the broader audience the band seeks and deserves. I included your last album in our list of the best albums of the year. But it seemed to me that it did not receive the recognition it deserved (i.e. radio or TV airplay, award nomination…). It was beautiful, distinctive, and very accessible. So what do you think are the reasons why it didn’t succeed as it should have done? Or perhaps it met your expectations? No, it definitely did not meet our expectations. I think it was because it was a timing thing. It kinda came out and disappeared in a way because of all the shake-ups in the record company at the time. I think it didn’t get the kind of promotion that it needed. It just fell into the record shops and people who wanted it bought it. It just didn’t happen. So that was quite frustrating but I think it was just a timing issue really. Did you feel disappointed at the time? Yes, because we really did feel it was a really strong album and we wanted it to get out there to people. And it’s really difficult with our kind of music because we’re not the sort of band that get on mainstream radio and that’s one way to sell albums. You just need to be a bit more creative when promoting our stuff and there was people getting fired all over the place when the album came out. So it was really bad timing. Following up from that would you say that commercial success is a major factor for you in the production of a record? Not really for us. I guess it’s a kind of necessary evil (laughs). Our main concern is making music that we love and I guess the only way we can sustain that is for people to keep buying records. I do get a bit frustrated with the fact that we are still kind of in a ghetto. I think our music has the potential to reach a lot broader population. I think there’s a misapprehension as to what Lamb is out there. A lot of people haven’t heard of us, and if they have they say ‘aren’t you kind of trip-hop…?’ The people who do a lot of our press issued a press kit including ‘20 things you didn’t know about Lamb‘ thing. And most people called her back and said, ‘wow, they’re young, we thought they were travellers…‘ People have weird conceptions of what Lamb is. It’s just strange - a lot of people say, ‘yeah, I’ve heard of you and I think I should have heard your music but I don’t know it…‘ There seems to be a kind of block in people actually getting to hear of us… So succinctly, commercial success is not a great concern but reaching a broader audience definitely would be very nice. We’ve been doing this for a long time and you would expect more people would have been able to hear us by now… Your new album is a natural, progressive and excellent follow-up. What are your hopes, aspirations for it? I guess more of what I was saying just now. I would like to kind of break out of the ghetto a little bit. There’s a price you pay with that. I think one of the things is that our fans are really, really devout followers. We get emails to the site and many are really incredible and moving. Some of it is really extreme stuff, like life and death stuff. And I do kind of wonder if we reached a broader audience whether some of those people would feel like we weren’t theirs any more; that we kinda sold out… so there is that kind of consideration. But I don’t want to live in a ghetto for the rest of my existence and I’m really proud of it as an album. And when you’re proud of it, you just want to show it to the world. Tell me about the meaning of the new album’s title. Well it’s partly because there is a song on the album called Darkness (laughs). I guess we wanted a title that kind of left people intrigued, to draw people in… I guess the lyrics are kind of enigmatic in some ways. And also the thing with the album is that (something I’m really proud of) it’s very human, it’s just very honest in the way it deals with the human experience - I hope. I think people in the past have thought ‘oh God, Lamb are so happy all the time…‘ And this album actually deals with the darker sides of existence as well, the sort of shadow stuff that a lot of us don’t want to look at. And it deals with those extremes and hopefully highlights the whole thing that without darkness there isn’t light, and visa versa. You don’t see the wonder of the world unless you’ve seen the darkness in it. There seems to be more emphasis and clarity in the vocals on the new album. Could you tell me about this? Yes. We’ve been on a bit of a journey with the vocals, with the relationship between vocals and the music. I think there’s been a lot said in the press about the arguments between Andy and I - I mean when we formed Andy came from an instrumental/electronic-based background. To him, at that stage, vocals were just another instrument and he always had this thing about each instrument is okay but you have to get them to shut-up. I think that’s how he felt about vocals - that there was a place for vocals but you have to get them to shut-up as well. And to give the electronic music space, and so on… And of course there was always this conflict because I came from a song writing background and so for me the journey of the song was the most important thing. But for him, getting all the sounds that he wanted into the soundscape was key. We couldn’t cram all that in. The Struts Live For the past few months I’ve been starved of good, live rock music but saturated in Brexit stupidity. It’s a shame and very disappointing that so many of best musicians have remained silent on this prospective Brexit disaster, and the seemingly relentless march of the far right. This harms us all, including musicians who need full freedom of movement in their nearest overseas markets. Lesson over… I have to declare that I know just one of the bands performing tonight after having heard and read about The Struts which really sparked my interest in covering this show in Manchester. But first the junior support act Kyle Falconer. After five hit albums, a Mercury Prize nomination and countless sold-out shows with The View, the band’s frontman Kyle Falconer releases his debut album. A raw and honest collection of songs, much of the record finds Falconer exploring a tumultuous time in his life. The majority of the songs cover a period which commenced when he entered rehab in the summer of 2016, right through to the present day where he’s now embracing a new life and outlook as a father. Plenty of influential names have recognised Falconer’s talents over his career to date. He performed on Mark Ronson’s hit ‘The Bike Song’ and also joined his live band The Business Intl. for some memorable performances which often included their take on the Amy Winehouse / Zutons classic ‘Valerie’. Ronson and the legendary producer Quincy Jones also teamed up to provide a testimonial to support Falconer’s application for a visa for him to be able to work in America. Kyle Falconer was a founding member of The View, the band signing their first record deal when he was just 18-years-old. Their debut album HATS OFF TO THE BUSKERS went straight to #1 in January 2007 and was later nominated for a Mercury Prize. Two of the band’s subsequent four albums also hit the Top 10, and they also released an unorthodox ‘best of’ in the shape of SEVEN YEAR SETLIST. The Show Falconer backed by drums, guitar and bass showed his extensive musical experience with a confident and fluid vocal performance. Vocally, he skillfully covers the range while his stagecraft and song-writing underline his quality. This was indie, laced with strong melodies and a hint of country rock. My only criticism was the band’s sound management which had me straining to comprehend what was playing. The Struts later proved that Manchester’s Academy is capable of producing great sound. Next Up came a somewhat more athletic, animated band called King Nun (I wonder what this name means…). The Band: Theo Polyzoides - vocals This year they’ve really been given their time to shine in their live performance, a highlight being their great sets at Reading and Leeds, “it was a fantastic experience just to get to that place that you always keep hearing about, it was really nice to be behind that curtain,” Theo explains, adding: “Everything’s still very new to us, playing festivals is very new to us, so it was a really nice place to find our feet.” “I remember going when I was 16 after finishing our GCSE’s and it’s the first time away from your parents, it’s really nice to have done that from both sides now,” Caius offers. It’s not just Reading and Leeds that they conquered however, after playing The Great Escape for the first time this year, they’ve now been announced in the festivals ‘First Fifty’ for next year. “We are extremely grateful to whoever made that decision,” Theo tells us. “It’s just such a great experience,” adds Nathan, “it’s nice walking through the street and bumping into so many other bands, it’s just such a good time!” Having recently played the warm up show alongside Ten Tonnes, Freak and Coventry’s Feet at Birthdays in London, not to mention DIY’s class of 2018 gig and DORK’s Christmas Party this month. Not only that but they also recently joined indie heavyweight INHEAVEN and infectious newcomers Bloxx on tour; it might be the end of the year, but it’s proving to be quite the beginning for these London lads. When it comes to an EP release, they’re keen to keep things close to their chest, “we have made something and it might be an EP,” they all laugh. “We’ve recorded something, we’ve spent a lot of time on it… we’re going to spend some more time on it, we’re incredibly proud of it.” The new album is called MASS which is about to be released in October 2019. The Show With a set largely drawn from the band’s latest debut album, leadman Theo led the charge in front of an appreciative and enthusiastic audience. I’ve yet to hear any of the band’s music but the opening salvo including the emotional ‘Chinese Medecine’ provided the justification for this band’s popularity and (seemingly) large fan base. Theo’s voice stretched to an effective falsetto but throughout the set that saw a leadman become more and more extrovert, sound management did the band no favours. Besides the great leadman, credit must go to his other players and especially Caius on drums who’s work provided a rock solid foundation to songs like ‘Cowboy’ and the cutely named ‘Low Flying Dandelion’. Punkish, heavy rockish and passionate as hell describe this performance, spoiled only by poor sound and at times a little over-exuberant Theo who eventually ended up topless. Setlist Transformer# # = From New MASS album David Gray White Ladder Special DAVID GRAY ANNOUNCES WHITE LADDER: THE 20TH ANNIVERSARY TOUR: IN ARENAS FOR SPRING 2020 / LONDON’S 02 – MAR 26th 2020 In 1999 I attended an incredible music festival in Ireland called Liss Ard. It lasted for ten days and featured some of the very best acts from around the world performing under trees, by ponds and in small and large tents. I got to know a large number of Irish music fans and when chatting around camp fires they told me about a young singer/songwriter who was being played extensively on Dublin’s major quality music radio station. The artist’s name was David Gray who was in fact from the UK but someone I knew nothing about. When I arrived back in England I chased up information on him and after several weeks managed to acquire his latest album called WHITE LADDER. I was more than impressed with it and very surprised that other critics hadn’t latched onto it. In fact no other critics reviewed it for many months - radio ignored it too. That changed dramatically once word started to circulate and glowing reviews printed. Radio started to play tracks from it which eventually became the year’s best selling album by a country mile in 2000. So it’s with both enthusiasm and much pleasure to pass on the below information: RELEASING: DELUXE EDITION FEATURING UNRELEASED RARITIES AND B-SIDES, PLUS REMASTERED EDITION OF WHITE LADDER OUT FEB 14TH 2020 ON CD, DIGITAL AND FOR THE FIRST TIME EVER ON VINYL HEAR: RARE TRACK “OVER MY HEAD” WHICH PREMIERES TODAY: https://davidgray.ffm.to/overmyhead.jdb Multi-platinum, multi-Brit and Grammy-nominated, British singer-songwriter David Gray is today announcing a 12-date UK and European arena tour; White Ladder: The 20th Anniversary Tour, to celebrate the trailblazing album’s 20-year anniversary. The 7 million record selling and one of the greatest and most heart-warming word-of-mouth successes in music, White Ladder will be performed by Gray with all the original band members and with all the original equipment to recreate the record in its entirety, plus a set of the greatest hits. Commencing at Liverpool’s M&S Bank Arena on March 20th 2020, the tour will include London’s The 02 on March 26th and Dublin’s 3 Arena on April 2nd. Tickets for the tour will go on sale at 9am on Friday October 11th. Fans can have access to presale tickets on Wednesday October 9th by pre-ordering products from the remastered collection here: www.DavidGray.com An expanded 20th anniversary edition of White Ladder will be released on 2xCD, 4xLP, and digital formats. This will include a special remastered edition of the iconic album plus White Ladder era previously unreleased rarities, B-sides and demos. Physical versions will be accompanied by an extensive booklet with writings by Gray about the whole White Ladder experience - from the people involved, to the stories behind the songs and memorable shows. The newly-remastered original album will also be released on 2LP white-coloured vinyl, CD and digital, available here: https://davidgray.lnk.to/wl20th This is the first time White Ladder has ever been pressed on vinyl. www.DavidGray.com will feature music and White Ladder merchandise. Exclusive collaboration with Vinyl Me Please coming soon. Listen to rare track “Over My Head” live now: https://DavidGray.lnk.to/overmyhead. This haunting track originally featured as a B-side on various single releases of Babylon and This Year’s Love, as well as being the bonus track on the Japanese White Ladder release. Talking about the announcement, Gray says: “It’s the 20th anniversary of White Ladder, a unique record with its own remarkable history. Jammed full with big, open hearted songs and flooded with a raw emotional energy. It’s an album that came from nowhere to steal the hearts of millions all over the world, completely transforming my life in the process. Twenty years on and it feels like White Ladder is just as alive for people now as it was back then - so to celebrate this milestone, I will be releasing a special anniversary version of the album and assembling all the original band members with all the original equipment, in order to take White Ladder out on the road and recreate the record in its entirety”. WHITE LADDER was born of difficult circumstances. Gray had been struggling on the margins for a decade, a lonely figure with an acoustic guitar swimming against the tide of Britpop, grunge, hip hop and electro. With three albums to his name, he found himself advertised at a gig third on the bill to beer and a barbecue. “Futility was so thick on the ground it was utterly soul destroying.” He came close to quitting. But instead, he asked himself some difficult questions: “Can you make a better record? Can you write a better song? The decision was to open up and give it everything I’ve got.” Written and recorded on minimal budget by Gray in the bedroom of a tiny terraced house in Stoke Newington, David experimented with drum machines and electronic elements, creating a blend of folktronica that has since become a familiar part of the musical landscape, aided by drummer Craig McClune and engineer Iestyn Polson. Self-released at first on his own kitchen sink label, White Ladder slowly (very, very slowly) found an audience. It took a year to creep into the lower reaches of the British charts, then worked its way all the way up to number one. White Ladder eventually spent 3 years (from May 2000 to March 2003) in the UK top 100, spawning classic hit singles ‘Babylon’, ‘Please Forgive Me’ and ‘Sail Away’. It remains in the top 30 best-selling British albums of all time and the best-selling album ever in Ireland (a nation who know a good song when they hear it). Celebrating its 20th anniversary, it’s interesting to consider the extraordinary aftermath of White Ladder. Its success spawned a new wave of singer-songwriters in an acoustic boom that resonates to this day, a soul-baring lineage that can be directly traced from David Gray to the all-conquering Ed Sheeran. Indeed, Ed is a fan, known to cover ‘This Year’s Love’ live. Fellow world beating British superstar Adele is also an admirer, citing ‘This Year’s Love’ as one of her all-time favourite break-up songs. WHITE LADDER remains an album of great depth and startling beauty, a superlative collection of emotional songs capturing a very special moment in time, as raw and immediate as when it was recorded. It’s one of 11 complex, ambitious and heartfelt albums Gray has recorded in a career than spans 25 years. Some, like WHITE LADDER, have been big commercial successes (2002’s A NEW DAY AT MIDNIGHT and 2005’s LIFE IN SLOW MOTION were UK chart toppers), others have been more intimate and experimental. All feature music that is both intimate and broad, intensely personal yet capable of speaking to the masses. Says Gray, “What happened with White Ladder involved more than music. It was a sort of heart and soul moment of total surrender for everybody involved, for me and the audience. That was it. It doesn’t get any better than that.” |
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