M.I.A.'s ARULAR marks the arrival of an explosive new voice in popular music. The brainchild of Sri Lankan MC Maya Arulpragasam, the music of M.I.A. ("Missing in Action") reflects her harried, transient upbringing. The daughter of a revolutionary member of the controversial Tamil Tigers, Arulpragasam settled in London as a teenager, where she went on to study fine art and film at the Central Saint Martin's School of Art. After being hired by Justin Frischmann to document an Elastica tour, Frischmann inspired Arulpragasam to write songs of her very own.
Kurt Cobain About A Son is a rock and roll film like no other -- an intimate and moving portrait of the late musician and artist Kurt Cobain told entirely in his own voice -- without celebrity soundbites, news clips, sensational tabloid angles or attempts to mimic a grunge aesthetic. Based on more than 25 hours of never-before-heard audiotaped interviews conducted by noted journalist Michael Azerrad for his book Come As You Are: The Story of Nirvana, the film offers audiences a compelling re-introduction to one of the most interesting and important cultural figures of the late 20th century. For this unique film, director AJ Schnack assembled selections from the Azerrad interviews and merged them with newly filmed, evocative imagery of the three cities in Washington state that played a major role in Cobain's life: Aberdeen, Olympia and Seattle. Shot entirely on 35mm film, Schnack brings the Northwest to life in vivid detail: the logging industry where Cobain's father worked, the small bars where local bands played their first shows, the endlessly overcast sky.
Ryan Adams & The Cardinals: Ryan Adams (vocals, guitar, banjo, piano); Neal Casal (vocals, guitar); Jon Graboff (vocals, pedal steel guitar); Jamie Candiloro (piano, keyboards); Chris Feinstein (bass instrument); Brad Pemberton (drums, percussion).
Though Tom Waits had spent most of the '70s establishing himself as one of America's most distinctive singer-songwriters, Swordfishtrombones found him reinventing himself and creating one of the most original sounds in popular music. Leaving behind his Kerouac-influenced lyrics and lounge-lizard piano-bar stylings for an unprecedented eclecticism that merged Brecht-Weill artsong, Captain Beefheart-style avant blues, Harry Partch-inspired junkyard percussion, along with a healthy dose of everything else but the kitchen sink.
"Bullet With Butterfly Wings" won a 1997 Grammy Award for Best Hard Rock Performance. Smashing Pumpkins were nominated for five additional 1997 Grammys for Mellon Collie And The Infinite Sadness. The album was nominated for Album Of The Year and Best Alternative Music Performance; "1979" was nominated for Record Of The Year and Best Rock Performance By A Duo Or Group With Vocal; and the title track was nominated for Best Pop Instrumental Performance.
Another of these is Mickey Newbury's "I Came to Hear the Music," which opens the set and is one of the songwriter's best-known tunes. In a version that stays faithful to the melody, Weeks adds some of the soft touches inherent in the original production, and collaborative tune "I've Seen It All" could have been a Oldham is suddenly very old, looking back on a lifetime of regret. It's pretty, tender, and drenched in both love and grief. Baird's sweet, out-of-time backing vocal underscores the lines with the sense of time's passage. Glenn Danzig's "Am I Demon?" feels like it belongs right where it is and seems more like Oldham's tune than its author's. The male-centered darkness in the Björk/Thom YorkePalace Brothers tune, but Weeks keeps that from happening by texturing the space and separation between lead and backing vocal and some spidery reverbed electric guitars. The Phil Ochs tune "My Life" seems to fall a bit flat here -- not much is added, but its real power seems diminished despite that it is obviously the hinge on which the entire EP turns. The lone original here, "I'm Loving the Street," is upbeat by comparison. Its folksy old-time jaunt offers no regrets for anything or anyone who has passed into history. There is only the present. The R. Kelly tune "The World's Greatest" is a different song here, as one might expect, designed as an Appalachian ballad that could have come from anytime, anywhere, but is rooted in the present only by the presence of a ghostly electric guitar. The melody is stretched but recognizable -- barely -- and the true poetry in Kelly's words comes falling out of the mouth of Oldham like clear water from a fountain. This is a solid, less dramatic, but no less interesting -- and in places even compelling -- momentary stopgap for Oldham. To be sure, his fans will certainly want to check this out, but so will anyone interested in the interpretive possibilities of song as a living entity independent of performance.
Despite his status as one of the most iconic and enduring figures in alternative rock, Morrissey's solo output has been somewhat uneven, artistically speaking. But from its faux-classical album cover to its churning musical surfaces to its array of both bleak and celebratory themes, the artist's 2006 release, Ringleader of the Tormentors, shows that the subversive spirit driving Morrissey's unique perspective, arch posturing, and witty, literate lyrics is still alive and kicking.
New York indie rockers Les Savy Fav returned from a couple of years of self-imposed exile with their fourth full-length, Lets Stay Friends, which pretty much picks up right where they left off. Their invigorating, visceral-yet-cerebral brand of Wire-influenced art-punk-cum-modern-rock is still full of left-field lyrical sensibilities, hellbent rhythms, and knotty guitar riffs. If anything, their attack is more refined and focused here, serving both the head and the body in equal measure.
The third full-length from contemporary R&B diva Alicia Keys is called As I Am, a title that adequately reflects the album's straightforward, confessional soul-pop. Keys built her popularity making stylish, reflective, voice-&-piano music; As I Am continues that trend, albeit in a poppier vein that balances neatly between neo-soul and adult contemporary. This is reflected in the mid-tempo grooves, songs of empowerment ("Superwoman"), and stirring ballads ("The Thing About Love").
Made up mainly of simple and repetitive guitar and a drum machine, Aidan Moffat and David Gow's Elephant Shoe is a beautifully stark and intimate masterpiece. Very few musicians can come across as being completely honest and personal in their music. However, like Smog, Songs: Ohia (whose last album Moffat and Gow played on), and very few others, Arab Strap make you feel like you can see their most personal thoughts, fears, and weaknesses. They let you see their biggest mistakes, darkest secrets, weakest moments, and insecurities. "One Four Seven One" (I assume the equivalent to *69 in the US) expresses, to the backdrop of a minimally picked guitar and a drum machine, insecurities about a lover's faithfulness (or unfaithfulness). "You said it yourself, you can't help but flirt...I know it was just once, but isn't once enough?" You can actually hear the pain in his voice, and it is completely heart wrenching.
For those music fans who worry that an album with only guitar and drum machine might not be enough for them, don't worry. Not all of the music on Elephant Shoe is as basic as it sounds, the duo also use cello, keyboards, real drums, and a mix of electric and acoustic guitars to round out the sound of the album. Moffat and Gow have made an unforgettable album full of engaging and poignant stories and beautifully simplistic music that is so real and honest that you can't help but be emotionally effected.
Granted, Ian Browns solo albums have all been rather patchy hit followed by miss affairs, but this collection smashingly rectifies that, creaming off the best of the harvested crop, mining carefully for the diamonds. And boy has there been some diamonds, "My Star" and "Corpses" make for an astonsihing opening barrage guitarist, co-writer and fast friend Aziz Ibrahim magnificently poignant on both. "Dolphins were Monkeys", "Be there" and the anthemnic "FEAR" are other high points reminding the listener just how good IB solo work can be. Unfortunately the forgettable plodfest of a collabaration with Noel Gallagher, "Keep what ya Got" snuck in through the back door but hey, at least the CD format spares us the embaressing video!
On 23, Blonde Redhead's second full-length outing for 4AD, the New York City-based indie-rock trio, fronted by reedy-voiced singer/multi-instrumentalists Amedeo Pace and Kazu Makino (Simone Pace rounds out the line-up on drums), continues to refine the intense, artfully eccentric sound that it crafted on Misery Is A Butterfly. Although there are nods to the band's guitar-driven formative aesthetic (see the majestic title track and the searing "Spring and By Summer Fall"), even these more energetic moments carry a fascinating, dream-like quality, recalling the mesmerizing atmosphere of the Cure's Disintegration, while other tunes mix goth splendor with Beatlesque flourishes (as on the disarming "SW"). Easily one of the most intriguing indie albums of early '07, 23 is required listening for aficionados of intelligent, expansive rock.
The Decemberists' third full-length release takes the fanciful lyrical subjects and defiantly non-rock musical tendencies of Castaways And Cut-Outs and Her Majesty The Decemberists and infuses them with the more muscular and electric sound of the 2003 mini-concept album, The Tain. The combination provides singer/songwriter Colin Meloy and crew with their first true masterpiece, an album that not only fulfills, but exceeds, the promise of their earlier records.
The first solo album from the former frontman of Mano Negra is an enchanting trip through Latin-flavored world-beat rock, reliant on a potpourri of musical styles from traditional Latin & salsa to dub to rock & roll to French pop to experimental rock to techno.
2007 re-issue of the debut mini-album from the British singer/songwriter who was then best known as the guitarist in Longpigs and touring guitarist with Pulp. Originally issued in 2001, this self-titled release now includes five bonus tracks: 'Caned', 'Cheap Spanish Whine', 'Sick Pay', 'Troublesome Waters' and 'Aran Loop'. Since this album's original release, Hawley has become one of the most beloved of UK songwriters (and one of the most in-demand musicians behind the scenes). 12 tracks in all. Setanta.
1994's Out Of Range , quite possibly the finest of Ani DiFranco's many albums, finds the outspoken Buffalo, New York-based singer-songwriter moving away from the explicit political statements of her earlier records. Here she further explores the more autobiographical terrain of this album's immediate predecessor, PUDDLE DIVE, while also expanding on that album's tentative steps into a full-band sound.
"Baby, Come Over (This Is Our Night)" was nominated for the 2002 Grammy Award For Best Remixed Recording.
Cave's reading is very careful and deliberate, his voice reverberating and very occasionally verging on singing. Each of the read excerpts features minimal backing: the first with a stately, morose piano and harmonica; the second sports a sick, barreling barroom piano; and the third and fourth are less music and more the creepy chattering of rasping metal. The theater music is mostly instrumental, the only vocals are provided by Katy Beale on "Cosey's Lullaby" and "Beth's Sleepy River." It varies from the fairly straight-forward, if monumentally grim, intonation of tracks like "Sleepy River Piano" and "Sanctum" to the ambient industrial rattle of "Pa's Traps" and the genuinely distressing "Euchrid on the Run," with a stop along the way at sinister gospel (see "Angels"). A must for Cave fanatics, and the Ass Saw the Angel makes perfect accompaniment to reading the novel.
Just as the first two volumes in the Read and Burn series of EPs foreshadowed the triumphant reunion of Wire's original members on 2003's SEND album, so Read and Burn 03 offered hints of the band's subsequent full-length. While the earlier Read and Burns were full of in-your-face attitude a la Wire's classic debut album, PINK FLAG, 03 is a much more textured, low-key, arty affair seeming to suggest that the band's next release will be along the more refined lines of the second Wire album, Chairs Missing. Across the four tracks, a bed of moody, layered guitars and percussion supports vocals that are alternately spoken and intoned like prayers in a Latin mass. Ultimately, it's a statement to the continuing vitality of the reformed, 21st century Wire.
Since his first album in 2002, Iron & Wine mastermind Sam Beam has remained consistent in both the quality and the general approach of his songwriting, but his production techniques have expanded gradually outward with each release. If the aforementioned, unadorned debut was Beam's Meet The Beatles, Shepherd's Dog is undoubtedly his SGT. PEPPER. It bears full-blown kaleidoscopic arrangements that utilize Eastern tonalities, a panoply of effects, atmospheric textures, and exotic percussion; the results can only be called psychedelic folk, but Shepherd's Dog, with its carefully crafted tunes and backing, bears little relation to the usual psych-folk suspects. While fans of Animal Collective et al., will be able to relate, the album owes more to the great art-folk singer-songwriter recordings of the late '60s/early '70s.
No track on this trio's fifth album follows, directly or logically, the shape or style of the track preceding it. And that's ok, as Blonde Redhead's modus operandi is to produce a head-spinning musical melange, amassed from a multiplicity of sources, that will leave you and your ears dazed but happy.
The road to success is not an easy one - but some handle its hurdles better than others. In 2001 Jimmy Eat World was a widely adored but criminally underappreciated band capable of drawing capacity crowds all over the world, but unable to find a record deal to their liking. Having just been unceremoniously spit out of the major label machinery, the band opted to record a new album entirely on its own dime and let labels come a-calling. The gambit more than paid off, with the resultant Bleed America (later re-titled Jimmy Eat World), yielding the hits "The Middle" and "Sweetness," and ultimately selling over 1.4 million copies in the U.S. By the time two full years of touring had wound down, they'd made triumphant breakthroughs everywhere from Saturday Night Live, being nominated for an MTV Video Music Award and topping, "Best Of" lists at Blender, Alternative Press, SPIN, USA Today, People and Rolling Stone to name a few. Not bad for a little band from Mesa! , Arizona. But then came the problem once all your rock dreams come true, what do you do for an encore? The band's new album, Futures, is the answer to that question. It's a sprawling, gorgeous, heavy-yet-quiet epic with songs ranging from ambitious hard rock to epic ballads. With the hard driving first single "Pain" kicking off the campaign to the beautifully constructed follow up single "Work," Futures is perhaps the best sounding record in Jimmy Eat World's career.
News came yesterday from the Bloc Party camp of a new single -- news that would've excited us more a year or two ago, but still, Kele and Co.'s Silent ways have earned our ear for awhile to come. Premature evaluation says it's got a beat and we can dance to it. Except Kele sounds too much like Cher. Fair point: A lot of people like to dance to Cher. Also, they flexed their new "Flux" on Conan last night, where it featured much less autotune on the vox, sounding more like the band we fell in love with on Alarm, even more new wave-y if that's possible. Only, that "We need to talk!" is so "We're gonna win this!" We'll bring you the Conan clip when it's YouTube'd.
Part1
Sawdust includes "All The Pretty Faces" (which was the b-side of "When You Were Young"); two movie soundtrack tunes, "Shadowplay" (a Joy Division cover from Control, Anton Corbijn's biopic of Ian Curtis) and "Move Away" (from Spiderman 3); as well as a cover of Kenny Rogers & The First Edition's "Ruby, Don't Take Your Love To Town" (written by Mel Tillis)
Hail To The Thief won the 2004 Grammy Award for Best Alternative Music Album and for Best Engineered Album, Non-Classical. "There There" was nominated for Best Rock Performance By A Duo Or Group With Vocal.
Ratatat established their eclectic take on instrumental rock on their 2004 self-titled debut. The follow-up, Classics, released in 2006, improves on the band's intriguing mix of dancey, hip hop-influenced beats, stadium-sized guitars, burbling bass, swirling synths, and various instrumental exotica. Falling somewhere between post rock, electronica, prog rock, and indie rock, Classics blends genres deftly, throwing in a wealth of musical ideas and just enough postmodern irony to keep things cheeky. Ratatat's giddy fusion has enabled them to play bills with acts as diverse as Interpol and Mouse on Mars; Classics finds them honing their stylistic studio mix-mash to a fine art.
Duran Duran's next album, Red Carpet Massacre, will be released in mid-November. The legendary band collaborated with Justin Timberlake on “Falling Down,” the first single from the new album. The legendary band has placed 21 singles in the Billboard Hot 100 and 30 in the Top 40 of the UK Singles Chart, and have sold more than 85 million records during their more than thirty years together. 
Even before M.I.A. (Maya Arulpragasam) debuted in 2005 with Arular, the blogosphere was already abuzz about her, engaging in the kind of discourse normally reserved for academic dissertations. Whether hailed as a canny postmodern pastiche or dismissed as inauthentic cultural pirating, the music, a lively pan-global mash-up of regional dance music styles, seemed to be emanating simultaneously from every ghetto, favela, and council-flat within earshot. As if to call out her detractors, M.I.A. returns for another shot of explosive, politically charged and globally conscious dance music on her second album, KALA.
Three weeks ago, in their first interview together for nine years, The Verve recounted to NME the exact moment that they started making music together again.
Meant as a statement of her new direction, Kylie Minogue's fifth album no longer featured the Stock-Aitken-Waterman production gloss and found the diminutive singer working with hip dance producers like David Seaman. From the first notes of the opener "Confide in Me," you know this is not the teen pop queen of old. Kylie Minogue (also note the use of her last name on the cover) wanted to sound grown up, and she pulls it off with ease. While it is still dance-pop, there's atmosphere and style in the songs that wasn't there on Let's Get to It. Definitely the start of the second phase of her career.
Fountains of Wayne turn self-conscious alt-rock geekdom into an unassailable art form on their second album Utopia Parkway. They combine classic power-pop song structure with a knack for the killer hook and an endless supply of self-referential lyrics detailing the lives of East Coast hipsters growing up in the postmodern age. Perfect pop harmonies, ringing guitars and the occasional synth sweep (for retro new wave credibility) match lyrics about "playing in a cover band" and taking "the N train down to Coney Island."
Limited edition two CD pressing of the 2007 album from Ian Brown features a bonus disc that contains orchestral versions of eight of the ablum's tracks. The World Is Yours is the fifth studio album from former Stone Roses vocalist Ian Brown and sees the legendary Mancunian at the top of his game. A lush, orchestral workout that recalls Marvin Gaye�s classic What�s Going On, The World Is Yours is arguably Brown�s best. Lyrically tough and mature, there is a wisdom dripping out of the songs that will cement Brown�s iconic status. TWIY features collaborations with Sinead O�Connor, Sex Pistols Paul Cook and Steve Jones, Happy Mondays� Paul Ryder, and The Smiths� Andy Rourke. 20 tracks including the first single 'Illegal Attacks'. Polydor. 2007.
Kweller has no need to hang off the coattails of any of his famous friends, though--his grasp of guitar pop is totally instinctive, and sweetly accessible. Check the likes of "How It Should Be (Sha Sha)", featuring a cooing Kimya Dawson of NYC anti-folksters Moldy Peaches, or the splendidly naive emo crunch of "Commerce, TX", both of which demonstrate an impressive grasp of quiet-loud dynamics and the occasional tantrum-like flurry of raw emotion that would put the excellent Conor Oberst of Bright Eyes to shame. This is highly recommended.
Never Seen The Light Of Day is the fourth studio album by Swedish band Mando Diao. Produced By Björn Olsson and engineerd by Patrik Heikinpieti. It was recorded in 2007 while the band were on an exhaustive tour of the world. The album was preceded with a single, If I Don't Live Today, I Might Be Here Tomorrow, all around the world on September 24th, 2007. The songs are said to be calmer and more sensitive than the band's usual style. A limited edition of the album will be released (on the same day as the regular edition) in a special digipak, but with no bonus tracks announced of yet. No bonus tracks have been announced for the Japanese release either.
Bookended by lush, vaudeville-like tunes created with Apple's longtime collaborator Jon Brion, Extraordinary Machine features production work by Mike Elizondo (50 Cent, Eminem) on all other tracks. Those expecting any hip-hop flourishes will be left empty-handed; this disc presents Apple working in her signature style, with her soulful, slightly mischievous voice carrying these confident, primarily piano-driven songs. The performer's penchant for confessional, witty lyrics is still apparent, but her approach is notably more subtle and mature here. While many tracks are gilded with adventurous arrangements that incorporate an arsenal of organs (Farfisa, Optigan, etc.), marimba, Moog bass, and other unusual instrumentation, Apple also shines when left to her own devices, as on the spare, melancholy ballad "Parting Gift." Listeners worried that the lengthy hiatus might have diluted Apple's potent, inventive aesthetic can sleep well; Extraordinary Machine more than lives up to the superlative in its title.
Kings of Leon's blend of bluesy raunch, countrified inflections, streamlined Strokes-like guitar jams, sleepy psychedelia, and post-punk stylings is a fresh, yet somehow familiar, cocktail. Aha Shake Heartbreak, the band's sophomore effort, follows closely on the heels of the honky-tonk rock of their debut, but it pushes the whole even further into unexpected territory. While "Pistol of Fire" cooks like John Lee Hooker with extra backbeat and a side of beans, other tracks on HEARTBREAK mix classic-rock boogie ("Four Kicks"), swagger and desperate yowls ("The Bucket"), and hillbilly yodels ("Day Old Blues") into an engaging indie aesthetic.
2007 release of the first solo single from the former frontwoman of Siouxsie & The Banshees as well as the splinter band The Creatures. This is the first output by the legendary punk/new wave singer after the dissolution of both bands as well as her marriage to guitarist husband Budgie and comes from her debut solo album, "Mantaray".
Amidst all the punk history and revolutionary rhetoric, it's easy to forget that the Clash was one hell of a singles band, capable of releasing one propulsively catchy song after another. This collection, which moves chronologically from the band's early days at the heart of the UK punk movement to the funk experimentation of its latter career, serves as both stunning career resume and perfect introduction for the neophyte. The raging, righteous anger and blazing guitars of punk anthems "White Riot" and "Complete Control" rub shoulders with the reggae rhythms of "White Man in Hammersmith Palais."
After shocking longtime fans with her slickly produced, radio-ready self-titled album, singer/songwriter Liz Phair took a tiny step back towards her indie-rock roots on 2005's Somebody's Miracle, bringing a few new younger fans along with her. Phair sounds a bit more like her 1990s persona here, with her vocals charmingly off-key at times. However, anyone expecting a grand return to EXILE IN GUYVILLE will be sorely disappointed; although Miracle has less of a blindingly bright pop sheen than its immediate predecessor, Phair stays the mainstream course by crafting another set of infectiously catchy, teen-friendly anthems. In fact, almost every tune on Miracle--from the soaring title track to the spare, melancholy "Table for One"--expertly taps into feelings of adolescent yearning and frustration. While it's unlikely that Somebody's Miracle will win back very many older fans, Phair seems perfectly happy with her new audience, and that shows on every track of this headstrong, confident record.
For the past 20 years, Ween has established itself as a major artistic force, combining off-the-wall musical antics with brilliantly creative songwriting. La Cucaracha, Ween's new studio record, is an eclectic, dark, humorous, and bizarre assortment of songs. In other words, it's a typical Ween record. These thirteen tracks, though strongly diverse, share a common theme: relationships. It's a theme that can be at once joyful, morbid, humorous, and often frightening. From the tenderly introspective "Lullaby" to the disturbingly offensive "My Own Bare Hands," Ween pulls no punches in its latest endeavor, which acheives its power through sharp wit, clever songwriting, and brutal honesty.
Radiohead.com is open for business with pre-orders having begun today for their 7th studio album In Rainbows, which will be available from October 10 as a DRM-free MP3 download. Also available to pre-order from now is the Discbox, a special edition box set, details of which are below. Radiohead’s fan service, WASTE, is currently taking advance orders for two formats: the album MP3 and the Discbox, which includes double vinyl and CD versions of the record and a second, enhanced CD with additional new songs, artwork, and photographs of the band, all exclusive to the box. Anyone purchasing this deluxe edition will automatically receive the bundled MP3 album on
October 10.
Split second news
Lily Allen - Don't Get Me Wrong Lyrics
Seether - Fake It Lyrics
Chris Brown - Nice Lyrics
Santana - This Boy's Fire Lyrics
Taylor Swift - Our Song Lyrics
Cassie - Turn Off The Lights Lyrics
Carrie Underwood - Do You Hear What I Hear Lyrics
With all the media hype that dogged the Strokes before the release of their debut album, it's rather apt that they chose the title Is This It. On the strength of just five songs released on two singles, the Strokes were being hailed as everything from the saviors of rock & roll to the Savior himself. Surely, few bands could live up to the impossibly high standards set for this young five-piece, but the band needn't have worried: Is This It is one of the most exciting and energetic debut albums to spring from New York's long-dormant club scene. In fact, the Strokes are a New York City band through and through; like the Velvet Underground, these are a bunch of uptown artsy types elegantly slumming downtown to the tried and tested themes of sex, drugs, and rock & roll. Their singer-songwriter, the fantastically named Julian Casablancas, delivers his lyrics with a weary nonchalance that belies his age on songs like the title track, "Soma," "Hard to Explain," and the altogether wonderful "Barely Legal." And the band recalls the likes of Television and the Stooges on "Last Nite" and "The Modern Age." Let's hope this sexy, stylish, and undeniably cool band is the future of rock & roll.
We Love Life, Pulp's final studio outing before dissolving in the early 2000s, is an oft-overlooked album, but it is easily one of the Britpop band's finest. While its predecessor, This Is Hardcore, was dark, slick, and urban, Life is bright, organic, and thoroughly rustic, with the theme of nature providing a thread throughout much of the record.
Surf's up, but--oooh--what's that dark stuff in the water? Imagine if you can, the spectral spawn of the Ventures, the Ramones and the Beach Boys suddenly washing up with the high tide, and you get some idea of what to expect from The Breeders, a rogue girl group with a fresh point of view. Hard edged yet supremely lyrical, The Breeders spend much of Last Splash groping their way through the contradictions of good times in the sun and their ambivalence about the loss of innocence.
Hourglass is the second solo album by David Gahan of Depeche Mode, to be released on October 22, 2007 in Europe, and October 23, 2007 in the US. It was announced on June 26, 2007 on Dave Gahan's website. It will be the follow up to his 2003 solo album Paper Monsters and will be co-produced (and assisted by) Andrew Phillpott and Christian Eigner, who co-wrote all the songs with Gahan. (They also co-wrote his three Depeche Mode songs on Playing the Angel.) Phillpott will play Guitar and Eigner will play drums. Tony Hoffer will mix the album. The album is said to be more electronic than Paper Monsters.
Recorded at A.A.V., Melbourne, Australia and Paradise Studios, Sydney, Australia. Includes liner notes by David Wild.
The Legendary Wolfgang Press and Other Tall Stories compiles the EPs Scarecrow, Water, and Sweatbox, three strong, eclectic efforts produced by Cocteau Twins' Robin Guthrie. Displaying marked leaps in sophistication and textural variety over their earliest work, the set establishes the trio as witty and incisive pop deconstructionists: a tongue-in-cheek cover of Otis Redding's "Respect" reveals a newfound sense of humor, while Neil Young's "Heart of Gold" undergoes such a radical transformation that it even receives a new title, "Heart of Stone."
His Name is Alive is well known for their ethereal, last night meditations but on this new amazing album the band picks straight up where last years Detrola left off. Pitch fork media gave Detrola an 8.5 and described it as "someone singing softly right in your ear".
Personnel: Mick Harvey (electric piano); James Johnston (electric guitar); Rosie Westbrook (double bass); Rob Ellis, Thomas Wydler (drums); Julitha Ryan (background vocals).
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