Music Releases 07-06-18
The Nude Party – one of 2018’s most groovy and dynamic rock records is produced by Oakley Munson of The Black Lips and recorded in Woodstock, NY at Dreamland Recording Studios, the circa-1896 former St. John’s Church. The self-titled album finds that formidable music machine cranked all the way to cosmic. Maybe it’s the electric waters of Lake Norman, NC where the band spent a primordial summer, or the upstate New York vibes that have beckoned American spiritualists and storytellers for a dozen generations, but something gives these cats a glow. At very least the numerology scans. Even when heartbreak crashes the party, like on the hilarious “Records,” the buoyancy of the band’s demeanor negates the inevitable bummer. From the self-aware irreverence of “Chevrolet Van” to the apocalyptic resignation of “War Is Coming,” The Nude Party surfs heavy wavelengths with elegance and grace.
A band intuitively connected to great, homespun British pop, “Palo Santo” announces Years & Years’ ascension to the world stage, through an escapist futuristic fantasia created by Olly Alexander. A once-in-a-generation frontman who understands more than most his responsibility as a pop star, his personal leap forward in scope and ambition is reflected in the album’s colorful mix of collaborators, which range from Greg Kurstin, Julia Michaels and Justin Tranter to Steve Mac and Sarah Hudson.
Erasure are delighted to announce a brand new live album, World Be Live, via Mute. Taken from their recent sold out European tour in support of 2017’s World Be Gone, the album was recorded across the band’s recent London shows at the Eventim Apollo in Hammersmith and completes the trilogy of album releases around the World Be Gone project which started with 2017’s World be Gone album and continued with the orchestral re-imagining of those songs, World Beyond, in March of this year. Featuring twenty-four classic tracks from throughout their career (including an exclusive cover of Blondie’s 1981 classic “Atomic”), World Be Live will be released as 2CD, 3LP, and digitally on July 6, 2018 via Mute.
Founded in 1991 Immortal has often been the bench mark when it comes to quality extreme metal. The Norwegian natives released their debut album “Diabolical Fullmoon Mysticism” in 1992. Since then they have released eight full length releases, the last two, “All Shall Fall” (2009) and “Sons of Northern Darkness” (2002), were released on Nuclear Blast.
Going against the grain comes naturally for DevilDriver. The globally-renowned California Groove Machine have been a constant and effective force in the heavy metal world for the best part of two decades now. Thanks to widely lauded albums like 2005’s epoch-shredding The Fury Of Our Maker’s Hand, 2011’s ante-raising, ultra-brutal Beast and 2016’s acclaimed career peak Trust No One, the band led by vocalist Dez Fafara (ex-Coal Chamber) are firmly established as one of the most consistent and best loved bands in modern metal. But in 2018, expectations are about to be torched in the mother of all campfires! A monstrous collection of savage and slamming metal interpretations of Dez and his comrades’ favourite outlaw country songs, Outlaws ‘Til The End is both a startling curveball and a ferocious statement of individuality from a band with cojones to spare. “The blues and outlaw country are what made rock’n’roll. They were around before rock’n’roll...and in my head, I’ve always heard these songs heavy“, explains Dez. From the opening seconds of DevilDriver ‚sface-flaying version of Hank III’s ‘Country Heroes‘ (featuring the man himself on guest vocals) onwards, Outlaws ‘Til The End is simply one of the most vicious records the band have made yet. More importantly, these evocative, irresistible songs have all been wholly rebuilt from the ground up, powered by the classic DevilDriver sound and embellished with Dez’s unmistakable feral roar. Completing this unprecedented project is a host of metal and country luminaries providing unforgettable cameos: Wednesday 13, Brock Lindow (36 Crazyfists) Burton C. Bell (Fear Factory), Lee Ving (Fear), Randy Blythe and Mark Morton (Lamb Of God) and none other than John Cash Jr, son of Johnny Cash. The perfect marriage of badass country grit and neck-wrecking groove metal supremacy, it’s a pistol-packing game-changer delivered by true heavy metal outlaws.
The Melbourne nine piece funk-soul powerhouse The Bamboos return with a new single “Lit Up” taken from their forthcoming al- bum, Night Time People, the group’s eighth studio album due out June 8 through Pacific Theatre/BMG. Millions of listeners globally are already familiar with the winning combination of The Bamboo’s guitarist / leader Lance Ferguson and vocalist Kylie Auldist, thanks to “This Girl” by Kung Vs. Cookin’ On 3 Burners. One of 2016’s biggest chart hits, “This Girl” was a remix of a 2009 track co-written by Ferguson that showed that the world was craving pop music with genuine soul.
Mute announces a special deluxe edition of Silver Eye, Goldfrapp’s acclaimed seventh album from 2017. If 2013’s Tales of Us, a set of noirish folk fables, roamed the same pastoral landscape as Felt Mountain and Seventh Tree, then Silver Eye (a reference to the moon) belongs to the pulsing, electronic lineage of Black Cherry and Supernature only deeper and darker. The common thread between these two modes, apart from the consistently exquisite arrangements and Alison Goldfrapp’s extraordinary voice, is a set of enduring preoccupations, which inform both the lyrics and the visual aesthetic. “Mysticism, ecstasy, ritual, contemplation, metamorphosis, the elemental,” says Goldfrapp, who took all of the photographs and creatively directed all artwork visuals. “I’ve realised that there are things I feel passionate about on a deep level and they’re in this record.” On Silver Eye, for the first time, Alison Goldfrapp and Will Gregory sought new collaborators as the songs were taking shape. They spent 10 days in Dallas with John Congleton, Grammy-winning producer of St. Vincent, John Grant and Wild Beasts. In London, they teamed up with electronic composer Bobby Krlic, aka The Haxan Cloak. Alison Goldfrapp describes Goldfrapp’s music-making as “a constant quest. I don’t think you ever feel like you’ve achieved everything, it’s impossible. You’re always searching, trying to attain some kind of utopia in what you do.” With Silver Eye, that search has taken them to yet another new place, one that’s full of mystery, menace and transcendent beauty. Goldfrapp’s quest continues. Featuring the original album plus remixes of such classic tracks as “Anymore” and “Systemagic” alongside two previously unreleased tracks (including a newly recorded version of “Ocean”), Silver Eye: Deluxe Edition will be released July 6, 2018 as a 2CD set and digitally via Mute.
YUNGBLUD’s debut album 21st Century Liability will be released on July 6, 2018 via Geffen Records & Locomotion Recordings. “Blending poetic, provoking lyrics with explosive hooks”, lead single “Medication” follows up his alternative charting track “I Love You, Will You Marry Me”, performed earlier this year on Late Night with Seth Meyers. YUNGBLUD will perform on this summer’s final Vans Warped Tour and embark on his first North American headlining tour this fall.
On his second album Fantast, the Claptone universe is at its deepest and most vivid. An enigma with a tireless desire for creativity and collaboration, Claptone has brought together a diverse group of collaborators such as Kele Okereke (Bloc Party), Blaenavon, Katie Stelmanis (Austra), Clap Your Hands Say Yeah and more to produce his most artful offering yet. The 13 assured tracks come together to form an album full of supple house grooves and emotional, atmospheric textures. If you think you know everything about Claptone, Fantast will prove you wrong.
Phantasy and Mute announce the release of Daniel Avery’s Quick Eternity (Four Tet Remix) 12” single on June 29, 2018. Complimenting the long-awaited release of sophomore LP, "Song for Alpha", this 12” includes new versions of the album’s majestic closer, featuring a dramatic and thought provoking remix from Four Tet alongside a club edit of the transient and blissed out psychedelic “Quick Eternity.” The release will drop at Field Day where Four Tet and Daniel Avery share a bill and released in a limited quantity to retail following this special event.
• All three Warner-Seven Arts albums remastered on 2 CDs. • Includes 4 previously unissued bonus tracks. • Liner notes by Guaraldi biographer, Derrick Bang. Many people got to know Vince Guaraldi through his 1963 Grammy®-winning song, “Cast Your Fate To The Wind,” or via the group, Sounds Orchestral’s top 10 cover of it two years later. Lee Mendelson heard Guaraldi’s version while working on a Peanuts documentary, and contacted Guaraldi, asking him to score the upcoming Peanuts Christmas special. It was a match made in television and musical history. With songs like “Linus And Lucy” and “Christmas Time Is Here,” the special a hit and for over five decades not a holiday season goes by without an airing of the television classic. So potent and successful was the Peanuts/Guaraldi combination that Guaraldi went on to score a total of 15 Peanuts television specials and the first feature film. In 1968, Vince made a label switch from his long-time home, Fantasy Records, to his new label, Warner Bros. Records. For his inaugural album, he decided to re-interpret his Peanuts classics on Oh, Good Grief! In addition to the instantly recognizable Guaraldi sound of piano, bass, and drums, this time he added electric guitar and electric harpsichord to the mix. 1969’s The Eclectic Vince Guaraldi lived up to its title and found Guaraldi experimenting with everything from a large string section, to his first recorded vocal debut (covering the singer/songwriter, Tim Hardin), to original compositions that could be described as lengthy rock jams. Guaraldi’s last album for the label and last ever album, came in early 1970 and was called Alma-Ville. It certainly ranks among his best-ever albums. Six of the nine songs that appear on this ‘return to jazz’ project were Guaraldi originals and recorded with several different ensembles. Besides the original compositions, Alma-Ville finds Guaraldi covering The Beatles’ “Eleanor Rigby” which had become a staple of his live performances, Duke Pearson’s “Cristo Redentor” and the Michel Legrand/Norman Gimbel song “Watch What Happens.”