Music Releases 04-03-20
"It was in winter 18/19 - I flew to Montreal to meet with Tim Kingsbury, Richard Reed Parry, Craig Silvey and Teddy Impakt at Le Studio Du Arcade Fire. It was a fine time with a dream team in a city I love. Winter in beautiful Quebec. Les semaines les plus froides de ma vie. I had a bunch of demos that were inspired by migration stories I had heard from friends or read in newspapers while on tour in Europe and North America. I remember being struck by the similarities of the stories I heard from both continents and how really only the names of the powerful and the powerless had changed - thinking, "Is this the future? Is this our future?"Some time went by, the stories wove together and I remember them now closer to characters in a dream of how people could treat each other than any kind of front-page news realism. I think music subconsciously - whether writing or listening - is a filter for me - helping to process all the bad news into something new to build from - some records to me are like self-fulfilling prophecies - visualizing change to wish something into being - those records inspired this one." - M. Ward
Thievery Corporation's historic concert in 2017 at The JFK Center in Washington, D.C saw their songs re-imagined with orchestral arrangements from some of today's leading young classical composers. The show is now legendary, and those fortunate to attend heard Thievery Corporation in an entirely new way. To honor this show and inspiration it provided, Hilton and Garza have created Symphonik - recorded with Prague's FILMHarmonic Orchestra; engineering and co-production by Gianmaria Conti.
Thundercat is set to release his new album It Is What It Is on Brainfeeder Records on April 3, 2020, and shares the first music; 'Black Qualls (featuring Steve Lacy and Steve Arrington). The album, produced by Flying Lotus and Thundercat, features musical contributions from Ty Dolla $ign, Childish Gambino, Lil B, Kamasi Washington, Steve Lacy, Steve Arrington, BADBADNOTGOOD, Louis Cole and Zack Fox. It Is What It Is follows his game-changing third album Drunk (2017). That record completed his transition from virtuoso bassist to bonafide star and cemented his reputation as a unique voice that transcends genre. 'This album is about love, loss, life and the ups and downs that come with that,' Bruner says. 'It's a bit tongue-in-cheek, but at different points in life you come across places that you don't necessarily understand' some things just aren't meant to be understood.'
Hinds are a four-piece garage-pop band based in Madrid, Spain consisting of Carlotta Cosials (vocals, guitar), Ana Perrote (vocals, guitar), Ade Martin (bass, backing vocals) and Amber Grimbergen (drums). Hinds' breakout debut Leave Me Alone was an album of party anthems drenched in metaphors. With their forthcoming sophomore record, I Don't Run, it's time to cut straight to the chase. Some might expect them to write songs about being happy, young and carefree -- "but we're not satisfied with that," explains guitarist Ana Perrote. "On this album the struggles are clear. We want to be brave." I Don't Run is Hinds' return, off of their next album The Prettiest Curse out April 3rd, with an honest reflection on a period that changed their lives beyond their wildest imaginations. Since 2014, the band has been on a globe-trotting run. They've never professed to being error-free, and they're all the more brazen for it having survived everything that's been thrown at them: world tours, sold-out crowds, harsh criticism, sexism, and all that lies in-between. Hinds have become better musicians, tighter friends and tougher characters.
Necroscape is the 2nd album from Mike Patton and Anthony Pateras' modernist electro-acoustic rock proposition t t ma. Joined by violinist Erkki Veltheim and drummer WIll Guthrie in quartet formation, this record continues to employ the wayward orchestrations and arresting physicality of their 2014 debut Geocidal, yet is renewed by a melodic language which grounds it's multi-coloured twists and turns in hallucinatory lyricism. Where Geocidal was loosely based on futuristic post-colonial dystopias, its even cheerier successor is sculpted around isolation in the surveillance age; and although lofty/high-concept sounding, this is still an intensely fun and heavy listen. Necroscape synthesizes a lot of territory: odd-time rock, musique concrète, otherworld grooves, soul, industrial noise, microtonal psychoacoustics .seemingly strange bedfellows on paper, yet in the ears they surprisingly coalesce into 13 songs which playfully challenge our notions of sonic logic and make you move at the same time. In a nutshell, listening to Necroscape creates the weird sensation of exclaiming "of course!" and "wtf?" simultaneously. 5 years in the making, Necroscape mushroomed organically from Pateras' production based on tape loops, analogue synthesis and rarified keyboard instruments in combination with Patton's dense vocal arrangements, Veltheim's exploratory violins and Guthrie's unique percussive strategies. The result is a handmade, kaleidoscopic tour-de-force which re-imagines songwriting as something other. Artwork features beautiful leather sculptures by Talitha Kennedy, tiled lyric sheet and limited edition white vinyl. t t ma invites you to listen.
Critically acclaimed indie rock mainstays Born Ruffians return with their sixth studio album, JUICE, on Yep Roc Records. JUICE finds the band moving into a more confident and polished direction, bringing to mind 1970s songwriting prowess with layered, and mature production sensibilities. The album was produced by Graham Walsh, known for his work with Alvvays, !!! (Chk Chk Chk), and Holy Fuck. The First Edition LP arrives on yellow vinyl and includes a postcard to send a redeemable digital download of the album to a friend!
Produced by Grammy Award winning producer T Bone Burnett, Logan Ledger’s self-titled full-length debut album matches his moody noir lyricism with a darkly toned take on country music, a sound that’s stylistically wayward yet deeply grounded in classic songmanship.
Multi-Platinum-selling country star Sam Hunt announces his eagerly-awaited sophomore album SOUTHSIDE, releasing April 3 on MCA Nashville. The album will feature his current Top 5-and-climbing radio hit “Kinfolks,” the introspective ballad “Sinning With You,” and more from the award-winning artist. SOUTHSIDE will be the first full album since Hunt’s critically acclaimed, GRAMMY-nominated, Triple Platinum-selling debut, Montevallo.
Recorded in 1982, not long after she moved to Paris, Fodder On My Wings was one of Nina Simone's favorite albums. In addition to having written the music and lyrics for all but one of the album's 13 songs, the back cover proudly states that she 'arranged, conducted and conceived' all of them. Originally recorded for a small French label and only sporadically available since its initial release, Fodder On My Wings is a lesserknown but important part of Nina's musical history. The album contains deeply personal songs, including 'I Sing Just To Know That I'm Alive' and 'I Was Just A Stupid Dog To Them', as well a searing lyrical improvisation about the death of her father on 'Alone Again, Naturally'. Recorded at a time when Nina was feeling rejuvenated by her surroundings and the African musicians she met in Paris, Fodder On My Wings is an essential Nina Simone album that is making a longoverdue reappearance.
2020 live release. Produced by The Monkees' archivist Andrew Sandoval and mixed by Christian Nesmith, The Monkees - The Mike & Micky Show Live was recorded live in March 2019. The collection includes performances of all three of the band's #1 hits: "Last Train To Clarksville," "I'm A Believer" and "Daydream Believer." In addition to those hits, the live album also spotlights many of Nesmith's finest compositions, including several songs that were never performed live during the Monkees' heyday, like "St. Matthew" and "Auntie's Municipal Court." Other Nesmith-penned tunes on the collection include live versions of "The Girl I Knew Somewhere," "Listen To The Band," "Papa Gene's Blues," "You Just May Be The One" and "You Told Me." Dolenz takes the spotlight singing hits like "Pleasant Valley Sunday," "Randy Scouse Git," "Mary, Mary," "Goin' Down," "For Pete's Sake," and "Porpoise Song." The collection also features live versions of "Me & Magdelena" and "Birth Of An Accidental Hipster" from The Monkees' most-recent studio album, Good Times (2016).
'I learned long ago, never to wrestle with a pig' reasoned George Bernard Shaw. 'You get dirty, and besides, the pig likes it.' True to form, Pigs Pigs Pigs Pigs Pigs Pigs Pigs have left the wiser of us aware that they are no band to be messed with. This is made manifest on 'Viscerals', their third proper, and an enormous leap forward in confidence, adventure and sheer intensity even from their 2018 breakthrough 'King Of Cowards'. Incisive in its riff-driven attack, infectiously catchy in its songcraft and more intrepid than ever in its experimental approach, 'Viscerals' is the sound of a leaner, more vicious Pigs, and one with their controls set way beyond the pulverising one-riff workouts of their early days. Yet Pigsx7 have effortlessly broadened their horizons and dealt with all these new avenues without sacrificing one iota of their trademark eccentricity, and the personality of this band has never been stronger, whether on the Sabbathian and philosophical warcry of 'Reducer', the debauched, Jane's Addiction-tinged swagger of 'Rubbernecker', the Melvins vs Sonic Youth demoltion derby of 'New Body' or even the demented MBV-meets-Twisted-Sister party-banger from hell that is 'Crazy In Blood'. 'We're a peculiar bunch of people - a precarious balance of passion, intensity and the absurd' notes vocalist Matt Baty. Such is the unstoppable character of this unique and ever-porcine outfit; still the hungriest animals at the rock trough.
The full-length debut from Ellis, Born Again takes place in spaces both intimate and vast, ordinary and near-mythic: warm beds and lonely church pews, restless cities and desolate forests and the furthest reaches of the cosmos. Produced by Jake Aron (Snail Mail, Solange, Grizzly Bear) and recorded partly at Aron’s Brooklyn studio, Born Again arrives as the followup to Ellis’s debut EP The Fuzz—a self-released, self-produced effort that promptly led to a deal with Fat Possum Records. In a departure from the viscerally charged dream-pop of The Fuzz, Born Again unfolds with a mesmerizing subtlety, gracefully spotlighting Ellis’s unhurried melodies, starkly confessional lyrics, and the luminous vocal work she’s shown in opening for artists like Soccer Mommy and Alvvays.
The group went back to the basics (and the basement) for WAKE UP, SUNSHINE. Throughout 2019, the four musicians—Alex Gaskarth [vocals, guitar], Jack Barakat [guitar, vocals], Zack Merrick [bass, vocals], and Rian Dawson [drums]—congregated together in Nashville at Rian’s studio and at a Palm Springs rental house. Face-to-face, they wrote and recorded the 15-song affair joined by co-writer, producer, and collaborator Zakk Cervini.
WOMB is Purity Ring's long-awaited third album, following the much-loved and extremely influential Shrines (2012) and Another Eternity (2015). The 5-year gap between albums has only served to distill the gorgeous and ethereal Future Pop for which the band is known.
FRIDAY FOREVER is the second album from multi-artist project Everything Is Recorded, helmed by producer artist Richard Russell. This follows the critically acclaimed and Mercury Music Prize nominated debut of 2018, Everything Is Recorded by Richard Russell. FRIDAY FOREVER takes on a multi-lensed perspective of a classic night out, followed closely by the sobering reflections of the next morning. The album features an array of new collaborators ' in British rappers Aitch, FLOHIO and Berwyn, Irish singer songwriters Maria Somerville and Kean Kavanagh, the inimitable voices of A.K. Paul, James Massiah, and returning vocalist Infinite Coles ' as well as established names like Ghostface Killah and Penny Rimbaud.
On April 3rd, breakout artist Kiana Lede will release debut album KiKi via Republic Records. Features current track "Mad At Me" which is climbing the Rhythm radio charts. 2019 saw the rise of Lede as her hit track "EX" achieved RIAA Gold Certification. Her YouTube channel -where her career began by posting viral cover songs like "One Dance x Needed Me mashup"- surpassed 1M+ subscribers. Additionally, she served as support on Ella Mai's sold out spring tour & sold out her own headline fall tour.
Montreal dream-pop four-piece TOPS will be releasing a new album called "I Feel Alive" on 4/3. "I Feel Alive" was recorded in a basement studio in Montreal with keyboardist Marta Cikojevic, who joined the band as a live member in 2017. “From the first time we practiced with her it was clear that we were in sync musically, and we found ourselves improvising together at the first rehearsal,” says singer Jane Penney. “Having Marta manning the keys allowed me to reach for my flute, and gave me the chance to integrate my flute playing with the writing process, using it as an expressive instrument rather than more production element which it has been in the past.”
Confusing Mix of Nations is the debut album from CMON, the Los Angeles pairing of Josh da Costa and Jamen Whitelock. Each of the ten tracks reads like a postcard from a different aesthetic era, from the heavy atmospherics and melancholic soul reminiscent of Regal Degal, the duo's prior project, to the four-on-the-floor EBM rhythm grids and sublime AOR guitar lines picked from pop's outer limits.
Returning with their thirteenth studio album Testament's "Titans of Creation" contains twelve tracks of unstoppable energy from these originators of Bay Area Thrash! Loyal to the roots of the genre they helped define Testament bring alluring brilliant and progressive ingredients to this new release an exciting new album in their consistently heavy and inspiring cannon
As Hip Hop continues to evolve, I give you Vattos Clan. Hailing from Bogota, Columbia, South America. Hip Hop is a global language and has created hotbeds of underground artists. Vattos Clan raw, boom-bap style is molded by the roots of cutting edge Hip-Hop of the late 90s and 2000s. Hardcore beats, sharp on-point lyrics and freestyles blended with world-class DJ skills are the foundation of this classic Hip Hop album that resonates with any Hip Hop fan! Vattos Clan 'Harder Stronger' album was birthed by the release of DJ Przm's ' LLABTIPS 3' (Lab Tips 3). Vattos Clan has been a follower of Dj Przm's group Spitball, solo projects and his production work on Def Jux Records. Members of Vattos Clan contacted the owner of Philly Phill Entertainment via social media, to inquire about Przm beats they could write to with hopes to produce an album. The label entrusted Vattos Clan to remix and write to beats produced by Przm. Vattos Clan put their raw Bogota style with a Spanish twist that produced a perfect blend of blasting beats, precise Dj scratches and hardcore lyrics that is the perfect formula for a Hip Hop classic. The creative team of Dj Philly Phill, Tobotius aka Casual T and the Nati Kid of the Animal Crackers DCM champion Dj Crew mixed and crafted a neck break, hard-hitting timeless Rap album that speaks the universal language of Hip Hop. Feature artist Hafrican of Everybody Else's Entertainment, Coolzey of Public School Records and Eclypse The Preternatural of Spitball and Philly Phill Entertainment rounds out the roster of unique vocal talent. Their rap talent along with Vattos Clan fuse the cultures together to a perfect blend of Spanish and English for a refreshing Hip Hop listening experience. As rap continues to grow, pure hip-Hop will always have a worldwide audience. Vattos Clan 'Harder Stronger' is a classic Hip Hop album Straight Outta Bogota, Columbia worldwide!!
Originally released in March 1983, Script for a Jester’s Tear was certified platinum in the band’s native U.K. where it reached number seven on the Albums Chart and spawned two Top 40 singles: “He Knows You Know” (#35) and “Garden Party” (#16).
MULTI-FORMAT, CAREER SPANNING ANTHOLOGY CELEBRATING AN EXCEPTIONAL AND AWARD WINNING 50 YEAR CAREER On 13th March 2020, BMG will release IN A LIFETIME, a career spanning collection from one of the most successful Irish bands ever. The IN A LIFETIME collection captures Clannad’s incredible and enduring body of work which has, over 16 studio albums, created a legacy that’s influenced a generation of fellow Irish musicians and artists. IN A LIFETIME is a multi-format, career-spanning anthology containing tracks from Clannad’s 50-year recording career. It will be available as 38 track 2CD set, 2CD deluxe, 2LP deluxe and an expanded deluxe 100+ track set as well as digital versions. Compiled in conjunction with Clannad band members. The anthology will both delight and excite Clannad’s enormous and loyal fanbase as well as introduce this legendary, influential and culturally important band to a whole new generation of music fans. Clannad (derived from the word clan meaning ‘family’ in Gaelic) was formed in 1970 by siblings Moya, Ciarán and Pól Brennan and their uncles Noel and Pádraig Duggan (who sadly passed away in 2016), and for a short time later became a six-piece with the addition of Enya Brennan who then went on to have her own successful solo career. The multi-award winning band have, without doubt, done more than any other group to take Irish music and the Irish language to a worldwide audience. Fusing elements of traditional Irish music and more contemporary folk, new age and rock they have created a beautifully unique and ethereal sound which combines haunting melodies and mesmerising vocals to transcend the sands of time whilst appealing to a worldwide audience of all ages. After a decade which saw them release five hugely influential and groundbreaking albums, in 1982 Clannad reached wider recognition when they recorded Theme From Harry’s Game for a powerful three-part TV drama depicting the troubles in Northern Ireland. The song became a commercial success upon its release as a single, peaking at number 2 in Ire-land and number 5 in the UK, winning an Ivor Novello award and later being used in the movie Patriot Games. It remains the only UK hit single to be sung entirely in Irish. In addition to the incredible achievements of this one, timeless song, in 1984 Clannad won a BAFTA for ‘Best Original Television Music’ for their soundtrack ‘Legend’ (becoming the first Irish band to win it), which featured music and songs the band were commissioned to score for the Robin Of Sherwood TV series. In the two decades since the band has won a Grammy Award (‘Best New Age Album’ for 1999’s Landmarks), Billboard Music Award, and a BBC 2 Folk Award (for Lifetime Achievement). Clannad also recorded the soundtrack albums Atlantic Realm, made for a BBC documentary about the Atlantic Ocean, and The Angel and the Solider Boy, a half hour animation without voiceovers, with the music telling the story. In 1993 their song ‘I Will Find You’ (from the album ‘Banba’) was featured as the love theme to the movie Last Of The Mohicans (which saw the band receive their first Grammy nomination). These achievements make them one of the most successful and acclaimed soundtrack artists. Clannad has collaborated with a diverse range of artists, including Bruce Hornsby, Steve Perry, JD Souther, Paul Young, and Duke Special but their most successful collaboration by far was with enthusiastic supporter and fan, Bono of U2. A fan of the band who declared singer Moya as “one of the greatest voices the human ear as ever experienced,” Bono duetted with the singer on Clannad’s 1985 hit single – and the song which gives this col-lection its title – In A Lifetime.
When asked to describe himself, Whitmer Thomas—comic, musician, skateboarder, infamous Blink182 fan—will tell you, “I’m always gonna be the one whose mom called him ‘the Golden One,’ right before she died.” This is where his debut HBO comedy special, The Golden One, finds Whitmer: age thirty, investigating this sense (curse?) of destiny-as-identity. It’s been thirteen years since he left Alabama for LA, becoming a linchpin for LA’s young, independent comedy scene with Power Violence, the monthly show he hosted with friends. But he became haunted by the question: had he already peaked, just like his mom, singer in a local band with big ambitions that never made it out of the Flora-Bama Lounge in Gulf Shores? Rather than shy away from all that messy self-mythology, Whitmer tapped the source of it all through writing this one-man show featuring his own original music. Songs from The Golden One, a companion album of songs from the special, features Whitmer’s darkwave bangers, synthesizing relatable content: millennial anxieties, therapy-speak jokes, and the annals of his own childhood tragedies. Songs from The Golden One feature ten cuts of borderline-John Maus cosplay with spasms of pop-punk absurdity. Thomas uses the gothy, nasal vocal drone as a tool of comic detachment to cover the funny-’cause-its-true territory of awkward sex, crippling insecurity, the shame of ambition, and the long tail of abandonment traumas. Each song is a capsule of initial therapy breakthroughs: those realization zingers where suddenly it all makes sense how each fucked variable from then makes up the weird shit of now. When you see it all for what it is, it looks like some sick, clever joke from the universe, driving you desperate to revise the comedy so that if you have to be reality’s punchline, at least you can write the jokes. Original tracks from the special include the shimmering, synthy euphoria of “Eat You Out,” a glorious admission to performance anxiety and the ol’ magician’s cloak of cunnilingus move. There’s “The Codependent Enabler,” a whole jungle gym of toxic relationship rationale where “I can only get it up if you are down,” and the sadboy sobriety anthem “Partied to Death,” about when you’re young in LA and you have to tell people that you’re not “Cali sober for wellness,” you’re sober because your mom actually died from addiction. At first pass, Whitmer’s special and album make a relevant, hilarious articulation of one tragic childhood, of the messiness of masculinity, of the timeless qualms of being broke with a dream in Los Angeles, and the humiliation inherent in having “a dream” at all. But in flashes of unexpected weirdo wisdom, Whitmer weaves a deeper story of a person finding reconciliation and forgiveness while finding his own self and voice. He faces his darkness with darkwave, writing the story of his objectively insane youth through a Venn diagram of cool guy music, goofy dude jokes, and sensitive boy reflections that hit in a way that feels bigger than the sum of its parts. Whitmer will say that he made The Golden One out of desperation, but there’s something about it that feels a lot more like destiny.
Worriers' new album 'You or Someone You Know' is an ambitious rock record that dares to push the genre forward. On the album, songwriter Lauren Denitzio (they/them) addresses themes of reconstructing and reexamining relationships as they relate to the current zeitgeist. 'I thought a lot about how the state of the world makes any sort of partnership stressful. The album is partially autobiographical but it's also addressing more universal questions that people have to ask these days. Do we have kids? Do we move to a place that could be underwater in 20 years? How does having no idea how you'll ever retire affect planning your future?' Sonically, the new album does an incredible job of reflecting these anxieties. To help capture the band's fresh sound, Denitzio recruited veteran producer John Agnello, best known for his work with some of indie rock's most influential acts such as Sonic Youth, Kurt Vile, Alvvays, and Dinosaur Jr. Agnello recorded with Worriers over 11 days in Jersey City, NJ at Kaleidoscope Sound and in Brooklyn, NY at Russell Street Recording. On the album, Denitzio is joined by new guitarist Frank Piegaro, and longtime drummer Mikey Erg and bassist Nick Psillas. Unlike their previous releases, 2015's 'Imaginary Life' (Don Giovanni) and 2017's 'Survival Pop' (Side One Dummy/reissued by 6131 Records), the band recorded the majority of the album live in the studio. The result is a rock epic for these times, imbued with heart that is felt throughout the album.
Safe in the Hands of Love marked the vanguard arrival of Yves Tumor. Unclassified and unannounced, the release received widespread acclaim and cemented itself as a landmark in the hallowed Warp catalog. The experimentalist voiced a new generation, creating a surreal pop stratosphere for outsiders and the masses alike. Heaven To A Tortured Mind is the next step in that searing trajectory. A mindfully crafted studio album, gracefully blending genre into alternative bliss. Effortless and inspired, Heaven To A Tortured Mind is an album for lovers, losers and the unconcerned.
BRAT is the masterful LP from beloved Chicago multi-instrumentalist NNAMDÏ. It follows his critically acclaimed LP DROOL (2017), an album that brought him to Pitchfork Fest and earned him Best Music of the Year recognition from NPR, FADER, BANDCAMP, and more. On his follow-up BRAT, NNAMDÏ starkly explores the psychological turmoil between Wanting and Needing in a manner that is both intensely personal and highly relatable. It's virtuosic fusion of Hip-Hop, Rock, Pop, Electronics, Gospel, and West African influences firmly establishes him in a genre-less class of his own. NNAMDÏ wrote, produced, and recorded BRAT by himself.
After a particularly rough solo performance in 2018 when one of her own friends talked loudly throughout her set, Christina Schneider exited the venue and told herself, "If they're not even going to listen, then I'm fucking done." It wasn't quite the feeling she'd hoped for after dedicating her life to creating subversive, genre-fluid pop music. Working under various aliases since 2014 - including CE Schneider Topical, Jepeto Solutions, Christina Schneider's Genius Grant and now Locate S, 1 - she's explored everything from groovy garage rock to minimalist bedroom pop to Syd Barrett-style psychedelia. But when she got home that night Schneider gave herself a little pep talk, and after some self-reflection she came away determined to begin another chapter. "I thought, I don't really need this world to value me, " Schneider says. "The process of writing and playing is what I really love, I'm simply getting lost in this other thing that's ruining it for me." Buoyed by her desire to create the same "crazy, powerful feeling" she gets when she hears an ABBA or Kate Bush song, she reached again for the outer limits of pop music and recorded Personalia, her sophomore album as Locate S, 1. Named after a poem by Mary Ruefle, "Personalia, " the lead single and title track, is a retelling of that emotional night in 2018 when she nearly quit. "Almost killed myself so I went home / I just cannot take these local shows, " she sings over a gloomy, despondent bass line. "Drive through thunderlight all alone just to play while they're looking at their phones / curse another crowd that doesn't get it, " she later sneers. But in-between this melancholy Schneider suddenly finds her spark. "Plug in tonight when I get to my room / pretend I'm someone that I could believe in, " she sings during the songs fizzy, euphoric chorus. "I've shorted out but if I play long enough I'll become the person that I wanna be again, " she cries, echoing some of Blondie's most triumphant moments. The song signals Schneider's desire to center Personalia in the present. Much like the character in Mary Ruefle's poem, Schneider spends much of the album trying to understand and expel a darkness that has come over her (and society at large) in order to live a more fulfilling life. While she was writing and recording the album in her home studio in Athens, GA over the past year, she was thinking a lot about her own growth and self-worth as an artist, and where her constantly evolving and always experimental music fits in the digital age. Environmentalism, money, power, and modern feminism formed part of that conversation, too. Throughout Personalia Schneider seeks to address how the attention economy is plaguing us with feelings of FOMO and anxiety, and is causing many of us to abandon their progressive values. One of the more profound statements about this topic comes via a song called "After The Final Rose, " which is based on Schneider's observations of the final two seasons of the reality TV series The Bachelor and The Bachelorette. "At the end of the season they have this episode called "After The Final Rose, " and the Bachelor or Bachelorette meets up with all the other contestants and they yell at each other, " Schneider explains. "I thought that was a very funny and unintentionally self-reflexive title for the episode, so I borrowed it to criticize corporate feminism and it's lethal effects on romance. On The Bachelorette women feel like they're powerful because they have money and can travel all over the world. It seems like that's replaced any kind of meaningful feminism or romance in the world, currently." Her partner Kevin Barnes, of the rock band of Montreal, co-produced and engineered the album, and shares a writing credit on "Even the Good Boys Are Bad, " which references a conversation she had with Barnes about his daughter beginning to date. Schneider coined the phrase "even the good boys are bad" in reference to his paternal anxiety, they then took it and it turned into the album's biggest hook-"Even the good boys are bad / even the best ones, even the good sons." The song reached it's final form after Schneider listened obsessively to Britney Spears' hit single "Toxic." You can hear this influence in the charging drums, spiraling synths and the song's enigmatic chorus. Schneider also has a sharp sense of humor, and while it's more obvious on stage, if you listen closely you can also hear it on Personalia. Opening track "Sanctimitus Detrimitus" is named after a phrase she misheard while watching the James Stewart movie "Made for Each Other". "I love songs where people completely make up words, like Steve Miller's 'pompatus of love' but I thought it would be even funnier if I just made up some Latin, though 'Sancitmitus Detrimitus' does mean something to me now" Schneider says of the devotional, MIDI-saturated jam. "Futureless Hives of Bel Air" is an apocalyptic, anti-capitalist song about how we are killing our ecosystem, yet something about the idea of the ultra rich leaving behind their empty mansions and fleeing Earth to live in space (the idea came to Schneider in a dream) seems decidedly absurd. At it's core, Personalia is about rebuilding, not rebranding. It's about evolving and moving forward despite knowing the world is falling apart around you. On the peppy, dance hit "Whisper 2000" Schneider fully embraces this idea: "If you cannot behold my miracle, step away from the vehicle, " she sings with a defiant spring in step.
Coming February 7th: Spoon's debut LP Telephono is back in print for the first time since its initial release nearly 25 years ago. Newly recut from the original masters, the 14 tracks are available as a single LP or as a CD that includes the five song 1997 EP Soft Effects.
Shine is Joni Mitchell's 19th studio album. Recorded in 2007 at Castle Oaks Productions by Dan Marnien, Shine was the first album of new songs since 1998's Taming The Tiger, featuring 10 new songs written by Joni, as well as a guest appearance by longtime friend James Taylor on the title track, and an updated version of her 1970 single "Big Yellow Taxi." Shine has been certified gold by the RIAA and won the Grammy® Award for Best Pop Instrumental Performance for "One Week Last Summer" in 2008.