Wednesday, February 1, 2023
David Cunningham was born in Ireland in 1954. While his work ranges from pop music to gallery installations, his first commercial success came with The Flying Lizards' electro-punk single "Money," an international hit.
Originally released in 1976, Cunningham's first solo album Grey Scale has become a landmark statement of DIY minimalist composition – continuing in the vein of the wild explosion of arthouse experimentation from the early '70s. Cunningham, then a student at the Maidstone College of Art in Kent, drafted fellow student non-musicians and crafted an endlessly shifting sonic palette with an improvisor's keen sensitivity to space, texture and tone.
Grey Scale was the inaugural release on Cunningham's own Piano label. The artist quickly integrated his experimental sensibilities to produce art-rock pioneers This Heat, whose debut appeared on Piano in 1979.
This first-time reissue is recommended for fans of Dome, This Heat and Pascal Comelade.
Tuesday, January 31, 2023
‘L’Accouchement’ will be the 10th track from the album. The whole album is performed by the Orchestre National Bordeaux Aquitaine and conducted by Romain Dumas.
The 90-minute orchestral score was originally commissioned in 2019, when French choreographer and dancer Angelin Preljocaj asked Bangalter to write music for a collaborative ballet between Preljocaj’s company and the Opéra National de Bordeaux, which premiered to the public last summer.
They announced the news via an eight minute video clip called ‘Epilogue’. It features a scene from their 2008 film Electroma, which shows the pair in their iconic robot garbs, before cutting to a graphic that reads: “1993-2001”.
Sunday, January 29, 2023
Punk might have come of age in New York, but there is an argument to be had that it was, in fact, born in Kentucky. It was there, in Lexington, that Tom Verlaine and Richard Hell grew up in the shadow of a shrouded brick block narcotics treatment facility known on the streets as Narco. This reprobate fortress was frequented by artists like William S. Burroughs and housed a covert section of the counterculture movement in the sleepy town on the doorsteps of two young proto-punks playing with toy guns in the neighboring fields.
Eventually, in October 1966, the two young buddies of Verlaine and Hell fled Lexington to find the permanent housing of counterculture rather than the repair centre for the foolhardy few who stepped one toke over the line. For a few weeks, Tom ‘Verlaine’ Miller and his best pal thumbed their way across the south in a serpentine path of wavering circumstance soon to be cut short when they were apprehended by the police. But from these first speculative steps into the no-mans-land of wayfaring adolescence, an attitude of independence was instilled in the 16-year-old daring duo, and like chickens with ambitions of batter-free longevity, they were convinced that there was a better life for them outside of Kentucky.
In 1974, on April 14th, their eventual band, Television, were booked to play one of the first-ever gigs at CBGB only a month after it was opened. They picked up where the New York Dolls had left off and helped to spawn punk as we know it. At one of their first gigs, a fellow proto-punk was in the audience working as a full-time journalist—that reviewer was Patti Smith and she wrote the headline: “Television: Escapees from Heaven”.
Thereafter her punk heralding piece reads: “Confused sexual energy makes young guys so desirable; their careless way of dressing; their strange way of walking; filled with so much longing. Just relentlessly adolescent.” Bearing in mind this at a time when they only had the New York Dolls and the Ramones for company, this youthful spirit was pretty much the Promethean punk force.
However, what set Television aside was that they were offering up a dose of adrenalised rock ‘n’ roll, there was a rich, eclectic mix in their musical welter, and that is certainly reflected in the selection that Tom Verlaine put forward as some of his favourite tracks of all time when he appeared as a guest DJ on NPR. Consisting of a slew of personal highlights from his own career and the mix of records that have inspired him, the list offers a unique insight into the music that inspires the seminal guitarist and songwriter.
Verlaine’s picks primarily comprise contemporary classical music and cinematic scores exhibiting how sonic drama has always been at the forefront of his musical thinking. For example, the seminal Bernard Herrmann piece ‘Prelude and Outer Space’ from the 1951 film The Day the Earth Stood Still is considered one of the most influential pieces of music in cinema, helping to establish the sounds that we now consider space-age. Considering that Verlaine helped to craft the sound of punk guitar and beyond, it is clear to see how he has his eye on sounds that crystalise something sonically.
With jazz from Charles Mingus and contemporary classical from the Polish composer Henryk Górecki, it is clear that musical complexity constructed in a highly listenable way is something that soars in his own music. The duelling guitars that made ‘Marquee Moon’ one of the greatest punk songs of all time might sound a million miles away from Henry Mancini’s work on paper, but in reality, the tonal cacophony of pitching notes is a bold searing style that both artists share to bring a unique energy to their songs.
And speaking of Verlaine’s own compositions, the star selected a slew of his own favourite compositions from years gone by, from the instrumental guitar work of ‘The O of Adore’ to his lyrical introspection on ‘The Day on You’. Sadly, however, due to contractual reasons, a few of these songs aren’t on Spotify, so they avoid the playlist below.
‘Hog Callin’ Blues’ by Charles Mingus
‘Second Piece’ by Henryk Górecki
‘Those Harbor Lights’ by Tom Verlaine
‘Experiment in Terror’ by Henry Mancini
‘The O of Adore’ by Tom Verlaine
‘Prelude and Outer Space’ by Bernard Herrmann
‘The Day on You’ by Tom Verlaine
Officially 2022’s biggest UK breakthrough artist of the year, rap wonderkid ArrDee is kicking off the new year with a bang, unveiling brand-new single ‘Loser’, out Thursday 19th January.
Underpinned by a typically heavy-hitting bassline and a raucous brass section from platinum selling hitmakers and frequent collaborators Jojo, Litek and Why Jay, ‘Loser’ see’s ArrDee go back to his rap roots, sparing no punches as he pokes fun at himself with bars like “little b-tech Aitch, at least Aitch is tall” as well as the haters; “he wouldn’t have no chicks without that blue tick".
‘Loser’ marks his first release since last summer’s UK Funky sampling Kyla collaboration ‘Hello Mate’, whilst debut mixtape ‘Pier Pressure’ has been BPI gold-certified, peaking at #2 in the official charts and becoming the biggest breakthrough release as the highest selling debut album for a British solo artist in 2022, amassing over 500 million streams, containing five UK ‘Top 10’ singles - ‘Oliver Twist’, ‘Flowers (Say My Name)’, ‘War’ with Aitch, ‘Wasted’ with Digga D and the groundbreaking remix of Tion Wayne and Russ Millions’ ‘Body’. A headline UK tour followed, as well as Reading and Leeds festival appearances, before embarking on debut tours of Europe, Australia and New Zealand to close out the year.
ArrDee burst onto the scene with debut freestyle ‘Cheeky Bars’ at the start of 202, a track that picked up organic radio support from Tiffany Calver, DJ Target (BBC 1Xtra), Ricky Melvin and Charlie Hedges (BBC Radio 1) and debuting at #14 in the Viral chart. Swiftly following up with ‘6AM In Brighton’, an ode to his hometown before scoring three UK ‘Top 10’ singles - ‘Oliver Twist’, ‘Flowers (Say My Name)’ and ‘War’ w/ Aitch - and two ‘Top 20’ - ‘Come & Go’ and ‘Wid It’ w/ Tion Wayne - over the past twelve months. Also landing a UK #1 with his verse on the world-conquering ‘Body’ and appearing on the #6 charting Digga D single ‘Wasted’,
With all the signs to another groundbreaking year ahead, ‘Loser’ see’s ArrDee back at the top of his game, showcasing all the jokes and quick-wit lyricism his fans have come to know and love.
The Routes are back with “Lead Lined Clouds”, their 13th studio album, and their first vocal offering since 2021’s “Mesmerised”.
Picking up where “Mesmelrised” left off (with 4 instrumental albums being released between “Mesmerised” and “Lead Lined Clouds”), “Lead Lined Clouds” consists of ten original songs, tackling subjects such as austerity, old age, corruption, propaganda, social media, and mental health.
Whereas “Mesmerised” saw The Routes very much in reverb-soaked psych territory, “Lead Lined Clouds” is a much more full-on sonic barrage. This album sees The Routes tone down (but not turn down) the guitars to make room for the addition of organ, which is prominent throughout the album. As opposed to just sounding like your typical garage rock or garage punk band, the sound is diverted not only by the dissonant organ, but also the snarly unapologetically “British” vocals (which for this album are mostly spoken or shouted, as opposed to sung).
Refusing to be just another garage band, and refusing to be predictable; The Routes have purposely changed their style for every album, and still managed to un-mistakenly sound like The Routes. “Lead Lined Clouds” is no exception. This is not another straight 60’s revival album. This is not garage-by-numbers. This is music for now that nods to music of the past.
Friday, January 20, 2023
Sunday, January 8, 2023
Peter Gabriel has shared a new single, his first since 2016. It’s titled “Panopticom.” Brian Eno plays synth on the recording, joined by bassist Tony Levin, drummer Manu Katché, and guitarist David Rhodes. Take a listen below.
Gabriel shared a brief statement about the origin of “Panopticom”:
The first song is based on an idea I have been working on to initiate the creation of an infinitely expandable accessible data globe: The Panopticom. We are beginning to connect a like-minded group of people who might be able to bring this to life, to allow the world to see itself better and understand more of what’s really going on.
“Panopticom” is the first full track that Gabriel has shared from the long-teased album I/O, which has reportedly been in the works for 20 years. His most recent album of new material was 2002’s Up. He’ll tour Europe and North America later this year, but has not shared any further details on I/O’s release.
Sunday, January 1, 2023
New year, new Miley. To ring in 2023, Miley Cyrus has announced a brand new single called “Flowers,” which will be released on January 13th. Watch a teaser trailer for the song below.
The announcement of Cyrus’ new single coincided with her New Year’s Eve NBC special which she co-hosted with her godmother, Dolly Parton. Over the course of the two-hour telecast, Cyrus performed several songs, including duets of “Let’s Dance” with David Byrne, “Wrecking Ball” and “I Will Always Love You” with Parton, “Stars Are Blind” with Paris Hilton, and “Midnight Sky” with Fletcher.
Cyrus’ last album, Plastic Hearts, was released in 2020. Last year, she put out a live album called ATTENTION: MILEY LIVE.
Saturday, December 31, 2022
Recorded by Satan himself in December of 2020, this 7″ begs the question of whether hell hath fury like that of the punks from down under.
And in the other corner of the ring, crawling from the Italian underground most filthy sewers, the insane masters of the European grimy, lumpy noisy-punk, Zoids. The only winner will be the one who gets one of the copies of this super limited and unhinged limited split 7" release.
Sunday, December 25, 2022
Showing yet another side of her scorching and sizzling style, multi-platinum superstar Coi Leray shares an emotionally charged R&B banger entitled “Wasted” today with a music video via Uptown Records/Republic Records. Listen to “Wasted”—HERE.
Asserting herself as the “Queen of Social Media,” she initially teased a clip of the song to much fanfare. Of course, the initial post skyrocketed with over 265K “likes” and comments courtesy of SZA, Ludacris, Russ, and more. Musically, she seamlessly steps into a new lane on “Wasted.” Over a slinky and slick guitar loop, her evocative vocals instantly captivate, flexing her fiery range. Her attitude shines as she warns, “Fuck around, make me call up your momma!” The cinematic music video captures her raw feelings as she navigates a romantic relationship that is a waste of her time.
It arrives on the heels of her Jersey Club Remix of “Players” by DJ Smallz 732. As an early adopter of teasing music via TikTok, Coi Leray has been praised for her mastery of the platform. With her new song “Players,” she shared a preview on TikTok, and it instantly attracted over 5 million views. Once the audio was officially released it blasted off like a rocket with over 3 million cumulative streams in two weeks and popular remixes. Most notably DJ Smallz 732 created a Jersey Club Remix that received over 650 thousand video creates on TikTok.“Players” currently has multiple sounds trending on TikTok including the original, Jersey Club Remix, DJ Saige Mashup, and a Busta Rhymes Remix.
The original song features a sample of “The Message” by Grandmaster Flash & Furious Five. Coi Leray rips through one bold and braggadocious bar after another, exuding confidence and charisma. It pops off with the instantly unshakable hook as she proves, “‘Cause girls is players too.” Upon release, it received critical acclaim from The New York Times, Rolling Stone, E! News, Essence, XXL and more. It simultaneously jumped to the top of numerous popular playlists on streaming platforms including #OnRepeat on Apple Music and Feelin Myself on Spotify. Additionally “Players” has entered the charts. Upon impact, on Apple Music entered the Hip-Hop/Rap Top 200. While on Shazam it was at #1 in New York City, Top 20 United States, and Top 200 Global Songs.
“Players” lands in the wake of “Fly Sh!t,” which has already raked in over 8 million cumulative streams. Right out of the gate, Our Generation Music noted, “At this point, it feels like every track Leray previews seems to immediately blow up across social media. If she keeps pumping out addictive tracks like ‘Fly Sh!t,’ her fan base is bound to grow as she does as an artist.” Meanwhile, Rap Radar summed the track up best, “It’s going down.”
Everything just paves the way for more music from Coi Leray soon.
Adding model to her resume, Coi Leray has stepped into the forefront as an editorial powerhouse. i-D Magazine put their lens on the photogenic star for the The Royalty Issue of the Winter Magazine and stated, “she’s ready to make an indelible mark on the culture and become a household name.” Elsewhere V Magazine included her in their Winter issue in an interview with the legendary Angie Martinez titled, “Caught up in the rapture of Coi Leray.”
This year, Coi has come into her own as one of the most exciting live performers of her era. She recently ignited the stages at Houston Pride, WOO HAH! X Rolling Loud, Longitude Festival, and Rolling Loud Portugal, to name a few. She was recently announced on the lineup for Rolling Loud California taking over Inglewood in March 2023.
Coi Leray recently released her highly anticipated debut album, TRENDSETTER which received critical acclaim. Listen to TRENDSETTER—HERE.
Friday, December 23, 2022
The new single from Deadhead Daisies is set for release Dec 9, 2022. Featuring the group's unique blend of live guitars, synths, and alt-rock and electronic influences, "Pistol" is the first single off the upcoming debut album from Toronto-based Deadhead Daisies. Private pre-release streaming links to the song are below.
The new song was written, recorded, performed, and produced by the duo in Toronto, Canada during sessions for the new album and features AI-generated cover art (pictured above).