Blondie @ Microsoft Theater 7/28

All photos taken in Los Angeles by Bradley Dupray.

The Growlers’ Beach Goth 2018 at LA State Historic Park, August 05, 2018

The Growlers’ Beach Goth 2018 at LA State Historic Park, August 05, 2018

Leland and the Silver Wells debut stunning new single, "Luck of the Draw"

LELAND AND THE SILVER WELLS  SHARES NEW SINGLE "LUCK OF THE DRAW" VIA LA RECORD LELAND AND THE SILVER WELLS OUT SEPT. 14, ON RUBIA RECORDS

Photo Credit: Larissa Jakes "LUCK OF THE DRAW" Stream: http://bit.ly/2LLYaTt Download: http://bit.ly/2M6yb62

On her latest album Leland and the Silver Wells, singer/songwriter/multi-instrumentalist Leland Ettinger creates songs that are expansive yet intimate, offering artfully layered arrangments that transport the listener while driving home the vividly personal lyrics of such intoxicating tunes as “We Dissolve,” “Was a Prisoner,” “Give Up the Gun,” “Lost My Way” and the epic, Joan Didion-inspired “Play It As It Lays” (Didion’s namesake novel also inspired the “Silver Wells” moniker). The album’s lovingly textured arrangements incorporate strings, brass and woodwinds along with conventional rock instrumentation to create a stirring musical statement that abounds with warmth and humanity. Leland and the Silver Wells is the artist’s third album, and her first in over a decade. While her two previous efforts—2004’s Forever and 2007’s The Golden West, both released under the name Leland—won Ettinger a fair amount of attention, she’s also kept busy in her parallel career as a photographer, in which she explores the visual aspect of the same iconoclastic vision that drives her music. “I wanted to make a true album that feels like an emotional journey and a singular entity, even though everybody tells me that people don’t perceive music this way anymore,” the artist says of Leland and the Silver Wells. “I think that there are still people who want the traditional emotional journey of an album. It’s like a novel, and the songs are the chapters that inform each other and give depth to one another. “This group of songs,” she continues, “comprises the protagonist’s journey through valleys and swamps, through dark alleys, across oceans, high atop the mountain, deep inside the forest, and across the desert plain to redemption. Similarly to my photography, I would like this music to affect people on a primitive level as something that first draws the listener in because of something familiar and then opens up into something new, fresh and transformative. I want the listener to be transported on an emotional journey of healing and truth.” For Leland and the Silver Wells, the Los Angeles-based artist—who plays piano, six- and twelve-string guitar and banjo on the album—assembled a large group of some of that city’s finest musicians, with the help of producers Marc Dote (who also plays bass on most of the tracks) and Steve Gregoropoulos (who arranged the album’s strings, woodwinds, brass and marimba). Leland grew up in San Francisco and attended the Rhode Island School of Design and U.C. Irvine, studying painting, photography, video and performance art. She received an Master of Fine Arts degree in painting from the California Institute of the Arts, where she also took classes in piano, harp, sitar and Indian singing. She began writing songs in her early 20s, equally inspired by the introspective songcraft of Joni Mitchell and the widescreen presentation of Pink Floyd and Led Zeppelin. “I think my expressions in both music and photography grew out of a need to collaborate and be social,” she continues. “When I write a song, I am working to complete it so I can convene with other people to make it come alive. The song to me is the blueprint or the script that allows the real magic of collaboration to unfold. It becomes greater than the sum of its parts, and it is exhilarating to give birth to something that is the result of like minds plugging into the One Mind and creating magicin that moment. That, to me, is the high of art. Music to me is the superlative high of collaboration, so immediate and beyond mind and words. “This album was the product of many years of stops and starts in songwriting after the birth of my daughter,” Leland explains. “After I had her, it became very difficult to write, and I thought I would never be able to complete a song again. The songs on this album are composed of many of the scattered fragments I could come up with over these years, which I revisited on my iPhone and which miraculously came to life. After I composed three songs, I called my producer Marc Doten and we embarked on a two-year recording process. I worked with many of the same musicians I had worked with on my previous albums, but this time we spent a lot more time rehearsing, and we were able to create some interesting tempo changes and musical shifts that evolved during rehearsal.” With Leland and the Silver Wells having reached its long road to completion, Ettinger is looking forward to bringing its songs to life on stage. “We’re excited to perform it live,” she says. “We had our first gig in March with an eight-piece band including trumpet and violin, and another one coming up in June, and I’m very excited about booking more dates.”

Leland and the Silver Wells Leland and the Silver Wells Rubia Records September 14, 2018 01. We Dissolve 02. Was A Prisoner 03. Luck Of The Draw 04. Give Up The Gun 05. Lost My Way 06. Carry Me Home 07. Coming Down 08. Shallow Tides 09. Play It As It Lays

TV ON THE RADIO ANNOUNCE SPECIAL CONCERT IN HONOR OF THE 10th ANNIVERSARY OF ‘DEAR SCIENCE’

ANNOUNCE SPECIAL CONCERT IN HONOR OF THE 10th ANNIVERSARY OF ‘DEAR SCIENCE’ TV ON THE RADIO WILL PLAY THE ALBUM IN ITS ENTIRETY IN NEW YORK ON SEPTEMBER 20th "For various reasons this record means a LOT to us and we’re thrilled have a chance to play it in its entirety, in New York, nonetheless. I’d say it’s gonna be a special night." – Tunde Adebimpe

July 31, 2018…New York, NY…Today TV On The Radio announce a concert to celebrate the 10th anniversary of their groundbreaking album “Dear Science,” to be performed on September 20, 2018, at Knockdown Center in New York. The band will play the album in its entirety. Tickets may be purchase HERE. TV on the Radio has been called “the most vital band in America” (Associated Press), "one of the most compelling rock and roll stories of the modern age" (BBC), “the most innovative band on the planet” (AV Club) and simply "superb" (Rolling Stone). In short,TV on the Radio established themselves as the most groundbreaking musicians of this generation and one of the most influential bands of the decade. The band’s 2008 album Dear Science was voted #1 by fans in Pitchfork’s Reader’s Poll and the #1 album in the Village Voice’s Pazz and Jop poll (composed of reviews by more than 800 critics). TV on the Radio consistently confounds expectations while managing to balance respect from critics and peers alike. Grammy® nominated TV On The Radio - Tunde Adebimpe, Jaleel Bunton, Kyp Malone, Dave Sitek and formerly the late Gerard Smith – has been awarded the Short List Music Prize, asked by David Bowie to collaborate, performed on every continent, sold out both the Apollo Theater and Radio City Music Hall, graced the stages of every late night show including Saturday Night Live, and shot a music video with Pee Wee Herman. Praise for DEAR SCIENCE: TV On the Radio's third album proper, managed to pull off something rather special: it boldly took guitars where no album had gone before. And it did so with more creativity, daring and flair than any record since Radiohead's OK Computer. – The Guardian Dear Science is a brilliant balancing act between pop aspiration and music-geek aesthetics.” Rolling Stone On "Dear Science," TVOTR embraces emotions of the here and now -- lust, anger, the dancer's bliss.” Ann Powers Los Angeles Times “Career-defining stuff.” The Guardian “Yes, this is shit-hot thrilling music. But it's also brainy and ambivalent, and more engaging for it.” Pitchfork “TV on the Radio traded its noisiness for clarity, the better to reveal the workings of its ambitious, multilayered songs: programming and hands-on playing, rock and funk, elegies and dance grooves, accusations and embraces. Each song follows its own idiosyncratic path from mourning to affirmation.” New York Times www.tvontheradio.com

Anna Calvi Shares Title Track From Third Studio Album 'Hunter' Out on August 31

ANNA CALVI

Shares title track to upcoming album - listen HERE

Hunter due out August 31st via Domino

Photo Credit: Maisie Cousins

Today, Anna Calvi shares the title track from her much anticipated third studio album,Hunter, due for release on August 31st, 2018 via Domino. "Hunter" sees Calvi celebrating the transcendent aspects of pleasure and finding a home and community in queer spaces.According to Calvi, the track is about "exploring a more subversive sexuality, which goes further than what is expected of a woman in our patriarchal heteronormative society."

Watch the "Hunter" visualizer HERE

Stream "Hunter" via DSPs HERE

"Hunter" follows the release of the album's first single, "Don't Beat The Girl Out Of My Boy". The accompanying video was directed by rising star and recent Kendrick Lamar collaborator, William Kennedy, and choreographed by Aaron Sillis (FKA Twigs) and is available to watch here.

Produced by Nick Launay (Nick Cave, Grinderman) at Konk Studios in London with some further production in LA, Hunter was recorded with Anna's band - Mally Harpaz on various instruments and Alex Thomas on drums - with the addition of Adrian Utley from Portisheadon keys and Martyn Casey from The Bad Seeds on bass. It has a new rawness, a primal energy into which Calvi pushes the limits of her guitar and voice beyond anything she's recorded before.

Hunter is the embodiment of the feeling of truly letting go. For the BRIT award and double Mercury Music Prize-nominated songwriter and virtuosic guitarist, it was a catharsis, an opportunity to be more truthful than ever. A queer and a feminist record, Hunter is a visceral album exploring sexuality and breaking the laws of gender conformity and is galvanising in its hunt for freedom. It was important to Calvi that it was as vulnerable as it is strong; as beautiful as it is harsh; as much about the hunted as it is about the hunter. But she's careful not to characterise any of these traits as "masculine" or "feminine" - the whole point is that one person, of any gender, can be both. The power is in the contrast itself; in the way she oscillates between extremes, sounding freer than ever before. She wanted to express herself while being "free from the story that either gender is given, free from worrying how people would judge me on what I want to do with my body and myself. For me, that's quite a utopian vision."

Hunter will be available on CD, LP, digitally and on limited edition deluxe LP 180g red vinyl with exclusive signed print, encased in a high gloss gatefold sleeve with download code.

Pre-order: Dom Mart | Digitally

Hunter tracklisting

1.) As A Man

2.) Hunter

3.) Don't Beat The Girl Out Of My Boy

4.) Indies Of Paradise

5.) Swimming Pool

6.) Alpha

7.) Chain

8.) Wish

9.) Away

10.) Eden

Follow Anna Calvi:

Website | Twitter | Facebook | Instagram | Soundcloud

Nico, 1988 opens in NY and LA this week, Tribute Concert at LPR in NY on 8/2 feat. Marissa Nadler, U.S. Girls & more!

Nico, 1988 opens in NY and LA this week, Tribute Concert at LPR in NY on 8/2 feat. Marissa Nadler, U.S. Girls & more!

TRAILER: Nico, 1988 -
YouTube

 

Join us on Thursday, Aug. 2 at LPR in NYC for this very special one-night only concert celebrating the music of Nico and the release of the new film Nico, 1988, starring Trine Dyrholm, directed by Susanna Nicchiarelli and opening in NYC on Aug 1 and in LA on Aug 3. This intimate tribute concert will feature six artists performing a mix of Nico covers and originals, including Marissa Nadler, U.S. Girls, Julie Byrne, Lizzi Bougatsos (Gang Gang Dance / IUD), L'Rain and Tammy Faye Starlite.

TICKETS

Featuring:

Marissa Nadler
U.S. Girls
Julie Byrne
Lizzi Bougatsos (Gang Gang Dance / IUD)
L'Rain
Tammy Faye Starlite
Trine Dyrholm

Le Poisson Rouge / LPR.COM / #LiveatLPR

Aug. 2, 2018
Doors at 6pm / Show begins at 7pm
21+
$20 advance / $25 at the door

Presented by Magnolia Pictures / Curated by Force Field PR & Brandon Stosuy
Poster design by Ben Barnes

***

ABOUT THE FILM:

Magnolia Pictures will open NICO, 1988, filmmaker Susanna Nicchiarelli’s authentically enigmatic chronicling of the iconic singer-songwriter’s final years, on Weds. August 1 at the Film Forum in NYC, and on Friday, August 3 exclusively at the Nuart Theatre in West Los Angeles.

On Friday, August 10, the film’s run will expand to include Laemmle’s Playhouse 7 in Pasadena and NoHo 7 in North Hollywood and the Edwards Westpark 8 in Irvine.
Driven by Trine Dyrholm’s (Thomas Vinterberg’s muse in such films as THE COMMUNE and THE CELEBRATION) electrifying performance, NICO, 1988 premiered at the 2017 Venice Film Festival, where it won Best Film in the festival’s Horizons section, and went on to play at the 2018 Tribeca Film Festival.

Dyrholm’s portrayal of the aging Nico is a tour de force, interpreting rather than impersonating the famed singer-songwriter approaching 50 and leading a solitary existence in Manchester, far from her glam days as a Warhol superstar and celebrated vocalist for The Velvet Underground. Her life and career on the ropes, Nico’s new manager Richard (John Gordon Sinclair) convinces her to hit the road again and tour Europe to promote her latest album. Struggling with her demons and the consequences of a muddled life, she longs to rebuild a relationship with the son (Sandor Funtek) whose custody she lost long ago. A brave
and uncompromising musician, Nico’s is the story of an artist, a mother, and the woman behind the icon.

93 minutes | Magnolia Pictures | Rated R

In English

 

NICO, 1988 OFFICIAL SITE

Sevdaliza & director Emmanuel Adjei team up for new film 'Shahmaran'. A spiritual symbolic story.

SEVDALIZA & DIRECTOR EMMANUEL ADJEI TEAM UP FOR NEW FILM 'SHAHMARAN'. A SPIRITUAL SYMBOLIC STORY.

Sevdaliza partnered with visionary Emmanuel Adjei to create their new film "Shahmaran". With Sevdaliza's music and energy in the film, Ghanaian director Emmanuel Adjei tells the story of the black man, that continues life in a cycle of oppression. The modern chains on black men today are the aspirations of decadence, power and success that create a false sense of autonomy and freedom. This leaves them victim to addictions to power and materialism. Unable to venture outside what is "expected" of their behavior. The film serves to show two very different marginalized individuals (Sevdaliza & Adjei) supporting one another, whilst respecting each other's space and voice. The visual featuring, three years in development came to fruition after Adjei and Sevdaliza came to a symbiotic understanding that 'Shahmaran' was her music to his story.

Shahmaran, is the creator and creation in symbiosis. It is a painting that remains unfinished. The musical process, of composition and production which was ongoing for several years, gave Sevdaliza the ability to let Shahmaran grow as she grew in her artistry.

VIDEO: https://youtu.be/2uMsLPlPfJo

FROM EMMANUEL ADJEI ON THE CONCEPT:

"Carrying the burden of their ancestors most African American men today are still born into an environment that limits their freedom. Drawn to the dream of having power and success they hold on to the image of a false like idea of autonomy and with it success. It is however this house of freedom that has enslaved these men again. Chained to a phantasy often with materialistic nature keeps them upright throughout survival. They have become a victim of their addictions to power and materialism."

ABOUT EMMANUEL ADJEI:
Emmanuel Adjei is a Ghanaian-Dutch film director and visual artist working internationally in moving image from Amsterdam, Netherlands. With a background in Fine Arts and a primary interest in storytelling, Emmanuel's work deals with human narratives, captured by his unique visual language. Creating atmospheric worlds in both a painterly and cinematic style, Emmanuel always seeks to challenge the boundaries between fiction and reality.

In 2016 Emmanuel received acclaim for his short film 'The Formula', and his music video 'Human' for Iranian-Dutch artist Sevdaliza was praised by the likes of Billboard, Vogue, The Fader, Nowness, Pitchfork, Promo News and V Magazine. In 2017 Emmanuel transcended into commercial work, most recently for Hugo Boss, Dita, and the Dutch streetwear giant Patta. This combination makes Emmanuel Adjei one of the biggest talents in an upcoming generation of European directors from the black diaspora.





VIDEO ASSETS FOR POSTING: http://bit.ly/shahmaran_assets

"Shahmaran" is part of the debut album of Sevdaliza, ISON, listen here: 

smarturl.it/SevdalizaISON

Sevdaliza is on tour, check here:
http://bit.ly/TheWanderessTour

SPIRITUALIZED “Here It Comes (The Road) Let’s Go” Second Single from And Nothing Hurt

SPIRITUALIZED
“Here It Comes (The Road) Let’s Go” 
Second Single from And Nothing Hurt 
New Album Out September 7th on Fat Possum

Spiritualized has released the track Here It Comes (The Road) Let’s Go. The new song available NOW follows the double A side A Perfect Miracle/I’m Your Man as the second single from the long awaited new album And Nothing Hurt, to be released in the US September 7th by Fat Possum Records. Pre-order available here:http://smarturl.it/SPIRIT_ANH

From the opening lullaby of A Perfect Miracle through to the fading Morse Code at the close of Sail on Through, Spiritualized wrap layer upon layer of gloriously transcendent sound together to create a mesmerizing and cinematic collection of songs.

There are points – the thunderous climax of On the Sunshine; the spectral waltz of The Prize; the towering guitar solo on I’m Your Man – where the waves of blissful noise are almost overwhelming, where one can imagine the studio’s speakers vibrating themselves off of the walls. Which is an incredible feat when you discover that the album was conceived and recorded almost entirely by one man – Jason Pierce, AKA J. Spaceman – in an upstairs room in his east London home. Sat in an edit suite in Whitechapel a month or so after finishing recording, Jason talks honestly about the painstaking, frustrating process of creating And Nothing Hurt.

“Making this record on my own sent me more mad than anything I’ve done before. We’d been playing these big shows and I really wanted to capture that sound we were making but, without the funds to do, I had to find a way to work within the constraints of what money I had. So I bought a laptop and made it all in a little room in my house.”

Whereas bedroom recording is commonplace for a generation of musicians who’ve grown up with horizon-expanding tech, Spiritualized have long used the studio as they would an extra member of the band – as a vital building block in the construction of some of the most cherished records of the modern era. This time would be very different. With no grounding in digital recording, Jason had to learn everything from scratch.

“The biggest thing for me was to try to make it sound like a studio session. But I was new to it all, I didn’t have all the short cuts people use as when they’re making records – I just sat there for weeks… for months… moving every level up bit by bit just to try to get the sounds right.”

Of “Here It Comes (The Road) Let’s Go”, Jason Pierce says, “Here It Comes (The Road) Let’s Go is a list of instructions that, if followed, allows the listener to find my house. The route is real but it’s on the west coast of America so the house being mine is a fiction. I love the line about the cop waiting up all night to add to his total busts for the day. I wanted it to all end in happiness but it leaves with just a small trace of sadness.’”

(photocredit Juliette Larthe)

For the listener, the nine tracks on And Nothing Hurt effortlessly replicate the scale and power of Spiritualized’s previous releases, whether it’s the sonic blowback of On the Sunshine, the last dime in the jukebox love letter of Let’s Dance or the swell of an imaginary orchestra that seems to lift Damaged towards the heavens as it plays out.

“With a bit of trial and lot of error, I found ways of doing something that’s quite simple if you’ve got the resources. I spent two weeks listening to classical records and strumming the chord that I wanted on my guitar. When I found something to match what i wanted, I’d sample that bit and go for the next chord and try to match that. It took weeks, trying to put together and layer convincing string sounds. But, if I’m honest, all I wanted was for someone to come and play the part and bring their own thing to the record.”

Lyrically, And Nothing Hurt touches on thoughts of passing time and acceptance of one’s age – never more beautifully than on Let’s Dance. “I didn’t want to be fighting against my age; it’s very much about acceptance. And not with any dissatisfaction either – I’m not raging against the inevitable. I spent a lot of time thinking about the way that the songs should hold together, trying to make the narratives make sense rather than just throwing together a couple of lines that rhymed.”

During the making of And Nothing Hurt, Jason kept returning to the thought that this would be the last Spiritualized record – interviews over the last couple of years made it clear that the frustration of trying to replicate the sounds in his head whilst sat on his bed were proving too much.

“I was quite sincere about that and I still feel like it might be the case. It was such hard work. I found myself going crazy for so long. It’s not like there’s no coming back, I’m fine now… it’s just such a hard thing to do, to make a record like this on your own. It’s almost as if, if I’m not pushing myself to point of madness, it’s not going to be right. And I know it’s going to be like that every time. What’s the definition of madness? Doing the same thing over and over and expecting different results. I kind of do that. I think the biggest goal is to make something that’s worthy of all that time and effort. And the more time and effort, the bigger the goal. I knew I had to make something that was good enough that it should be made. And a massive positive about making the record is that we get to play it live. That’s always the most joyous thing; everyone gets to contribute to the sound, this amazing thing that seems to come right through the roof.”

Spiritualized previously shared a video for  “I’m Your Man”, directed by Juliette Larthe, which can be viewed HERE, and announced news of select live performances in support of the album, including a headline shows at Brooklyn’s Kings Theatre and the Orpheum Theatre in Los Angeles. Dates/info below:

Friday 21st September – London – Eventim Apollo Tickets 
Saturday 22nd September – Angers, France – Levitation Tickets
Sunday 23rd September – Paris – Cabaret Sauvage Tickets 
Thursday 11th October – New York City – Kings Theatre Tickets 
Tuesday 16th October – Los Angeles – The Orpheum Theatre Tickets
Friday 2nd November – Barcelona – Razzmatazz Tickets 
Saturday 3rd November – Madrid – La Rivera Tickets
Saturday 24th November – Berlin – Synasthesie Festival Tickets

And Nothing Hurt will be released 7th September via Bella Union in the UK/Europe and Fat Possum in the US. Album artwork below:

Adam Ant @ Microsoft Theater 7/28

All photos taken in Los Angeles by Bradley Dupray.

Marc Almond (Soft Cell) @ Microsoft Theater 7/28

All photos taken in Los Angeles by Bradley Dupray.