Pop & Rock Новости

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In a city full of brilliant people with dead-end jobs and dampened by bitter-cold winters, playing music offers a cheap outlet. Protomartyr’s taut, austere rock was incubated in a freezing Detroit warehouse littered with beer cans and cigarette butts and warmed, feebly,by space heaters. Short songs made for short practices, and the band learned quickly not to waste time. Despite the cold, Protomartyr emerged with a sound that is idiosyncratic but relatable, hooky but off-kilter.

Protomartyr’s economical rock elicits comparisons to possible antecedents like Pere Ubu or The Fall as well as local contemporaries like Frustrations or Tyvek (whose frontman Kevin Boyer played bass in an early iteration of Protomartyr). Singer Joe Casey’s dry declarative snarl serves as a reliable anchor, granting his bandmates — guitarist Greg Ahee, drummer Alex Leonard and bassist Scott Davidson — the opportunity to explore textures and reinforce the rhythm section. This is never more apparent than on the band’s sophomore LP and Hardly Art debut, Under Color of Official Right. Where 2012’s No Passion All Technique favored comparatively straightforward punk structures, Under Color takes a more exploratory approach. “Tarpeian Rock” places punk vitriol against a minimalist backing and “Scum, Rise!” casts shadows with guitars that alternately chime and clang.

The cheap outlet, crafted by cold hands in a poorly insulated practice space has, perhaps unwittingly, become a model of Motor City efficiency. And, more than that, it’s produced a stunner of a sophomore album.

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This October marks the release of The Agent Intellect, Protomartyrs third and finest work to date. Named after an ancient philosophical questioning of how the mind operates in relation to the self, it’s an elegant and often devastating display of all that makes Protomartyr so vital and singularly visceral an outfit. Over the course of several months, Greg Ahee waded through more than a hundred song fragments until he reached the bottomless melodies of “I Forgive You” and “Clandestine Time”, the inky depths of “Pontiac ’87” and titanic churn of “Why Does It Shake?” Lyrically, Casey is at his most confident and haunting. He humanizes evil on “The Devil in His Youth,” and, amid the charred pop of “Dope Cloud,” he reassures us that nothing—not God, not money—can or will prevent our minds from unraveling until we finally fade away. We are no one and nothing, he claims, without our thoughts. It’s a theme that echoes through the entirety of the record, but never as beautifully as it does on “Ellen.” Named after his mother and written from the perspective of his late father, it’s as romantic a song as you’re likely to hear this or any year, Casey promising to wait for her on the other side, with the memories she’s lost safely in hand.

One of the biggest selling hits by T. Rex from late spring/early summer 1971. These bare alternative versions were recorded in London during January 1971. 500 copies pressed on red vinyl in T.REX House Bags, 500 copies pressed as picture discs. All royalties go to The Light of Love Foundation (These recordings and many more were amongst the tapes stolen from Marc & Gloria’s home in 1977, some of this material was returned to The Light of Love Foundation last year). This year sees T. Rex inducted into the U.S Rock n Roll Hall of Fame in May and has already seen the profile of T.Rex heightened.

We all know the type: prolific bands that commit every loose thought, stray idea and 90-second song fragment to tape. Bands that pay no attention to little inconveniences like "release cycles" or "self-editing," and instead decide that quantity equals quality, creating a discography more labyrinthine, imposing and-ultimately-exhausting than the cast of creatures in a sci-fi novel.

Here is why none of that applies to THEE OH SEES. Because each of the dozen-plus albums they've released since 2004 possesses a distinct personality and represents a different point along the path of JOHN DWYER's slow transformation from auteur of woozy, bare-bones four-track psychedelia to goggle-eyed garage rock marauder backed at long last by a band that both shares and stokes his singular vision. Because drop a needle on any record and-to their great credit-it takes several songs before you're convinced it's Thee Oh Sees.

The seasick hundred-bottles-of-rum shanty "What the Driven Drink," from 2007's delirious Sucks Blood exists in a different galaxy than the rollercoastering "Chem-Farmer" from last year's Carrion Crawler/The Dream; the doomy doo-wop of "Blood on the Deck" hardly seems like the product of the same band that delivered the yelping "Ruby Go Home" in 2009. And the band that made last year's engrossing Putrifiers II seems like a distant cousin to the one delivering Floating Coffin-arguably the most varied and textured Oh Sees record to date. Chalk some of the group's cunning chameleonic ability to Dwyer's fifteen-year resume.

The driving force behind such beloved and sonically disparate bands as Coachwhips and Pink and Brown, Dwyer's increased fidelity to Thee Oh Sees and only Thee Oh Sees is evidence of a newfound sense of purpose and focus. Where once Dwyer used to funnel his divergent artistic ideas through a host of different channels, lately he's been finding ways to make all of those impulses function within the framework of Thee Oh Sees-who have in turn grown closer and tighter and sharper with each eye-popping, jaw-dropping live show.

That sense of unity is palpable throughout Floating Coffin, the next chapter in the story of Thee Oh Sees, the one where they fix their fury against the onrushing night. It's another blistering demonstration of Thee Oh Sees greatest trick: they're the only prolific band who doesn't put out records often enough.

A gnarlier, heavier side of band with some juicy synth smoochie action joining the party ? Packaged with drawings by Matt Brinkman and cover photo by John Dwyer.

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In The Red is happy as a pig in shit to announce the debut release by the Ty Segall Band. The Ty Segall Band is Ty Segall (obviously), Mikal Cronin, Charlie Moonheart and Emily Rose Epstein. While Segall has released many incredible solo releases, Slaughterhouse marks the first that he recorded with his touring band. For this album (it's only ten inches, but you get two!) the band recorded with Chris Woodhouse at the Hangar, turned their amps all the way up, set their fuzz pedals on obliterate and commenced to kick ass and take names. Seriously, this record will melt your face. All of Segall's usual psych-pop sensibilities are present but Slaughterhouse adds the full-throttle, go-for-the-throat bombast that the band delivers in the live setting. The fuzz riffs, bratty howl and Cro-Magnon bashing culminate with a feedback freakout that's clearly the only sensible way to end a workout of this magnitude.

A MATTER OF CONCEPTS is a very personal selection of songs by recent, active underground bands and artists that we love at DWR. Coming from the UK, US, The Netherlands, Canada, France, Russia, Australia and ranging from post-punk to coldwave to synth-pop to indie. Fast paced and dancey or romantic and moody, there's something for every soul here. We regard all of these songs as 'modern instant classics' and we bet that you'll love them, too!!

A MATTER OF CONCEPTS is presented in a limited, hand numbered edition of 205 black vinyl copies housed in a matt sleeve with printed inner sleeve (credits / band pics) and including a download code.

All songs have been mastered (or re-mastered) specifically for this vinyl release and its accompanying download.

Some of the best thrills of the Internet music revolution is the ability to find extremely rare music with great ease. But even with such vast archives to draw from, quite a lot of great songs have gone undiscovered for nearly half a decade, particularly in genres that lacked hifalutin arty pretense. Previously, only the most extremely dedicated and passionate record collectors had the stamina and prowess to hunt down long forgotten wonders in dusty record bins — often hoarding them in private collections, or selling at ridiculous collector’s prices. Legendary compilations like Nuggets, Pebbles, ad nauseum, have exhausted the mines of early garage rock and proto-punk, keeping alive a large cross-section of underground ephemera. However, few have delved into and expertly archived the wealth of proto-metal, pre-stoner rock tracks of Brown Acid: The First Trip.

Lance Barresi, co-owner of L.A.-cum-Chicago shop Permanent Records has shown incredible persistence in tracking down a stellar collection of rare singles from the 60s and 70s for the 11-track compilation. Partnered with Daniel Hall of RidingEasy Records, the two have assembled a selection of songs that’s hard to believe have remained unheard for so long.

"I essentially go through Hell and high water just to find these records,” Barresi says. “Once I find a record worthy of tracking, I begin the (sometimes) extremely arduous process of contacting the band members and encouraging them to take part. Daniel and I agree that licensing all the tracks we're using for Brown Acid is best for everyone involved.” Rather than simply bootlegging the tracks, when all of the bands and labels haven’t existed for 30-40 years or more, tracking down the creators gives all of these tunes a real second chance at success.

“ All of (these songs) could've been huge given the right circumstances,” says Barresi. “But for one reason or another most of these songs fell flat and were forgotten. However, time has been kind in my opinion and I think these songs are as good now or better than they ever were."
Brown Acid: The First Trip opens with the slithering buzzsaw guitars and hard-rock howl of Zeke’s’ “Box”, a monster that gives Blue Cheer a run for their leaden blues. Snow sways into “Sunflower” with a touch of Steppenwolf’s swagger and wind-in-their-hair wildness. Elsewhere, Zebra proves they were “Wasted” with a soul-inflected groove, while Bob Goodsite leans in on his wah-wah and phaser pedals, determined to out-Hendrix Jimi himself on “Faze.” Raw Meat’s “Stand By Girl” serves up a fierce, stomping riff intercut with Iron Butterfly style operatics. Bacchus kicks out a hostile sounding boogie, demanding to “Carry My Load.” Josefus caps it all off nicely with a hooky power-pop meets Bob Seger System meets Lollipop Shoppe anthem with the undeniably catchy chorus, “hard luck — keep truckin’!”

It’s a solid set of unknown hits you can’t believe failed to connect back in their heyday due to various unfortunate circumstances. But now in 2015, Brown Acid: The First Trip gives these long-lost gems their well deserved moment to shine.

Ed O’Brien never planned to make a solo record. As a guitarist with Radiohead, who over almost three decades and nine albums have established themselves as one of the most innovative and influential musical forces of our time, he thought his artistic side had its outlet and was happy to spend any downtime from Radiohead with his family. But suddenly a switch was flicked and the songs came pouring out of him. That creative surge resulted in an album of rediscovery and adventure by O’Brien under the moniker EOB that deftly veers from moments of delicate folk to euphoric house, its songs seamlessly pinned together by unswerving melodic hooks and candid lyricism. A spirit of collaboration runs through it, from the production team of Flood, Catherine Marks, Alan Moulder and Adam ‘Cecil’ Bartlett to the extraordinary musicians O’Brien assembled to help bring these tracks to life; Omar Hakim, Colin Greenwood, David Okumu, Laura Marling, Adrian Utley, Nathan East and Glenn Kotche. Released on CD Softpack, Black LP.

[c] 3. She Talks To Angels (feat. Lzzy Hale) [BLACK CROWES]

[e] 5. Black (feat. Mark Morales) (Video bei YouTube) [PEARL JAM]

The fifth album by Dr. John, aka The Night Tripper, is also heralded as his richest album to date. Dr John’s Gumbo was released in 1972 and is in many ways a tribute to his hometown New Orleans.

It features excellent interpretations of New Orleans traditionals (“Iko Iko”, “Tipitina”, “Junko Partner” and “Stack-O- Lee”) and contemporary R&B written or played by the likes of Huey Piano Smith (“Blow Wind Blow” and “Huey Smith Medley”) Earl King and Earl Gaines (“Big Chief”, “Let The Good Times Roll” and “Lonely Lonely Nights”). Dr. John delivers a strong set of infectious songs drenched in good vibes and spiced with a pinch of voodoo. His eccentric (stage) appearance added unique colour to his stature as master of the ivories and entertainer pur sang.

Available as a limited edition of 1500 individually numbered copies on turquoise marbled coloured vinyl. The package includes an insert.

Wrapped in soul, blending poetry and polyrhythms, the music of Hiatus Kaiyote is in a lane all by itself. The Grammy-nominated four-piece band returns to stereos worldwide with their new album Choose Your Weapon. The 18-track, 70-minute odyssey from the Melbourne, Australia-based band takes listeners on a journey through the group’s self-created ecosystem, populated with songs each embodying its own mini-cinematic sonic soundscape. “”By Fire” is a burial song,” says frontwoman Nai Palm, about the personal track. “It discusses the creative and destructive forces of fire and uses this element as a reference point to express about my father passing away in a house fire.”

Celebrating 5 years of Choose Your Weapon this title is available as a limited edition of 3000 individually numbered copies on transparent pink vinyl. A free download code is included.

Brooklyn based composer/producer/performer JG
Thirlwell (Foetus, Manorexia, Xordox) - who has
collaborated with the likes of Zola Jesus, Melvins,
Swans, Kronos Quartet and is the composer for
the highly acclaimed animated TV series ‘Archer’
and ‘Venture Bros’ - and Swedish multiinstrumentalist and theatre music composer Simon
Steensland collaborate on a new album,
‘Oscillospira’.
 Different yet complementary, both creators make
idiosyncratic music that can be characterised by
dramatic intensity, shadowy suspense, darkness
and light, sometimes breath-taking and always
evocative cinematics. ‘Oscillospira’ is an odyssey of
dark chamber prog with a cinematic bent, a largely
instrumental album with eerie choral parts.
 For fans of Adult Swim/FX animation shows, Nine
Inch Nails, Mike Patton, David Lynch soundtracks.
 “Andrew Lloyd Webber in the haus, punching
Magma in the nuts” - Mike Patton (Ipecac, Faith
No More)

"Guitar/Rebellion

The much loved Portland band Other Lives return
after five years away following 2015’s ‘Rituals’.
 Recorded at their own Cooper Mountain Sound
studios, ‘For Their Love’ is a ten track collection
that nods to the past whilst progressing positively
towards the future.
 The band have a loyal following across the UK, as
seen by their social engagement.
 Initial LP copies of ‘For Their Love’ pressed on
clear vinyl, with an exclusive orange sleeve. After
this run has sold out the LP format will revert to
the standard sleeve (beige) and black vinyl.

Staind’s album The Illusion of Progress debuted at No. 3 in the Billboard 200. The lead single was “Believe”, topping the Alternative songs chart and accumulated three weeks at number one. They recorded this album in Aaron Lewis’s barn (with all the professional essentials), which gave this album an incredible sound. Most of the songs are very melodic, they’re easy listening grunge. The album has sold over 500.000 units in the United States alone, and it is still a very popular one.

The Illusion of Progress is available as a limited edition of
1500 individually numbered copies on silver coloured vinyl. The package includes a 8-page booklet.

After a 9-year pause, Bill Gould (Faith No More),
experimental artists Jared Blum and Dominic
Cramp (Gigante Sound) release the follow-up to
their 2011 debut album ‘Talking Book’.
 While ‘II’ shares the DNA of the original, its
diversity is driven further: concrete - ambient
drone collage forms are offset with traditional
instruments and song arrangements. In other
words, this is an album of further extremes in all
directions.
 Genre is experimental but only in the broadest
sense of the word - “visual” would be more apt.
Once described as “yoga meditation for
masochists,” this will appeal to fans of Eno’s early
ambient projects and Bowie collaborations, 60s
Czech soundtracks, early 80s industrial, English
prog and dusty electro acoustic tape pieces.
 ‘Talking Book II’ is a total listening experience.
meant to be digested as two complete pieces,
preferably in headphones. All tracks are meant to
flow, one into the other, without gaps. Vinyl
release contains an entire piece per side.