“Our general rule on tour is – no metal on the radio. While this tour is a nice exception, we’ve historically toured with a lot metal bands. All metal. All of the time. We found out pretty early on that keeping it mellow (with the occasional Sabbath and Bad Brains of course), makes the endless travel / sitting in the van for hours every day, more enjoyable for everyone.”
01/10 – UK Bristol, The Fleece
02/10 – UK Norwich, Arts Centre
03/10 – UK Glasgow, Classic Grand
04/10 – UK Newcastle, The Cluny
05/10 – UK Leeds, Left Bank
06/10 – BE Ghent, De Central
07/10 – NL Utrecht, Tivoli De Helling
08/10 – DE Bremen, Tower
09/10 – DE Dresden, Beatpol
10/10 – DE Wiesbaden, Schlacthof
11/10 – CH Aarau, Kiff
12/10 – FR Lyon, CCO
13/10 – ES Barcelona, AMFest
14/10 – FR Toulouse, Le Rex
15/10 – FR Bordeaux, Iboat
16/10 – FR Orleans, Astrolabe
17/10 – NL Heerlen, Nieuwe Nor
18/10 – DE Oberhausen, Drucklufthaus
19/10 – NL Leeuwarden, Into The Void
20/10 – GR Athens, Fuzz Club
22/10 – RU Moscow, Zil
23/10 – RU St. Petersburg, Zal
Talk Talk – Laughing Stock
This record has been a favorite since the mid 90’s. Laughing Stock marks the final evolution of their sound, fully abandoning pop music (much to the dismay of their label);, and fully embracing esoteric composition / experimentation. This quote can explain it better than I can! I recommend the full article. “Laughing Stock was painstakingly assembled from sessions in which a vast cast of musicians were brought in “to improvise on sections without hearing the full track,” With just a basic chord structure at most, they were encouraged to try out anything their hearts encouraged them to, and then, thanks to the emerging digital technology, any results felt appropriate were employed, sometimes in places for which they had never originally been envisioned. Most of it never made the cut. In London’s Wessex Studios, where it was recorded, windows were blacked out, clocks removed, and light sources limited to oil projectors and strobe lights. Around fifty musicians contributed to its making, but only eighteen ended up on the finished album. It was a commercial failure, critically reviled as much as it was praised, and was impossible to perform live. Then the band broke up….“ – The Quietus
Gillian Welch – Time The Revelator
I can feel this entire record inside my bones. Haunting and beautiful at the same time.
Lyrics that feel like you are lost in your favorite novel. Sparse and busy have never danced together with such grace.
Each track makes you feel like you are dreaming while you are awake. Then you want to stomp your feet on a barn floor so loud the world hears you.
The title track alone chills the soul. It’s all you can do to fight back the tears.
If you do end up crying it’s okay for you to take that one to your grave.
This record should be the model for vocal harmonies taught at every music school in every country.
Two people, two guitars and a taste of banjo and a perfect record was birthed.
This is a journey across plains, through deserts and inside oceans. Flowing with style from folk to bluegrass, by way of a broken locomotive making stops drenched in blues and country. Closing with I dream a highway.
“I watched the waitress for a thousand years” For the love of god. This is the most beautiful sadness can endure.
The only disheartening thing about this record is that it does not exist on vinyl yet.
I can tell you once it does-these songs with pops and crackles will never leave a dry eye in the house.
A Year In The Country – The Forest/The Wald
I discovered A Year In The Country this year while reading an article on Bandcamp about “Folk Horror”. Yet AYITC is so much more than Folk Horror and of the many bands mentioned, they clearly stood above the rest. The Forest/The Wald opens with ‘The Abney Ritual’ which begins with convincing, if not actual sounds of open air in the forest; birds chirping, wind blowing. After the found ambience sound, a spacious and sparsely played banjo or dulcimer sounding instrument reveals a dark melody and is later accompanied by what sounds like two rocks tapping out a metronomic rhythm. It is haunting and stark in its open space which is captured in the recording. Later tracks reveal Berlin school compositions performed to such a high standard as to make even Klaus Schulze envious! In ‘Hawthorn Heart’ electronic organ plays soft arpeggios as a female soloist sings in medieval style. There is so much stylistic variation on this album to be had – one of the most compelling and unusual records I have bought this year… or maybe ever.
O.L.D. – Formula
O.L.D. (Standing for ‘Old Lady Drivers’) started as a grindcore band and released 2 albums containing very mediocre grindcore. The band would have gone completely unnoticed if not for this album. If you have never heard of O.L.D. and you hear this for the first time you would never believe this was actually a grindcore band. Since when do grindcore bands make electronic music? There is something inherently weird about the music on this album, but still it is hauntingly beautiful. The computerized vocals are quite unique, and they bring an sense of atmosphere that are yet again quite unlike anything I ever heard. Too bad they stopped after this album though.