News
Headline: First Aid Kit new album for 2012
Posted: 16/09
Artist: First Aid Kit
Title: ‘The Lion’s Roar’ album
Release Date: 23 January 2012
Label: Wichita Recordings
Formats: CD/ LP & Digital Cat Number: WEBB320
Website: thisisfirstaidkit.com

Tues 6 Dec Bush Hall London www.livenation.co.uk £11

Bittersweet is the word the Söderberg sisters prefer. “We like bittersweet songs, songs that affect you differently depending on how you interpret them,” says Klara, the younger of the Swedish siblings that make up First Aid Kit. “Making the melodies and lyrics head in different directions is very deliberate,” adds big sister Johanna, “A song like ‘Emmylou’ sounds cheerful, but the lyrics are the saddest thing you ever heard.”

First Aid Kit’s first American-recorded album, The Lion’s Roar due out in January 2012, juxtaposes sadness and beauty in the best traditions of folk and country music. They even cite the Louvin Brothers cheerfully brutal version of the old murder ballad ‘Knoxville Girl’ as the perfect example of the sweet and sour they adore. And this carefully constructed collection deftly succeeds in setting references to their home town of Stockholm and long dark Scandinavian winters against an unforced backdrop of country-rock swing.

Where 2010’s debut The Big Black and the Blue was starkly intimate, The Lion’s Roar, recorded in Omaha by Mike Mogis (Bright Eyes, millions more), is a full band record. The girls’ father Benkt takes the bass, Mattias Bergqvist drums, while Mogis and Nate Walcott of Bright Eyes and a cast of Omaha-based musicians round out the sound. From the dynamic title track onwards, it’s more honky-tonk than campfire, and no less affecting for that.

‘Emmylou’ name-checks such greats as Gram Parsons, Johnny Cash, June Carter and of course Miss Harris, yet for all its upbeat appeal, it recognises the sadness in the lives and art of these heroes. “We’ve listened to those people for a very long time. We hadn’t even toured America when we started writing that song,” confesses Johanna. “We actually finished it in Australia,” adds Klara. The gorgeous ‘In The Hearts Of Men’ adds a mellotron alongside more expected textures. It sounds timeless and rather brilliant.

Initially signed in 2008 by Rabid Records, the label run by The Knife (the girls later signed to Wichita), First Aid Kit have gone from faraway teenage fans covering Fleet Foxes for fun to recording a single of Buffy Sainte-Marie’s ‘Universal Soldier’ with Jack White at his request and in his Nashville, TN Third Man studio. “I think of it now as like a dream, too good to be true,” says Johanna of the session, happily and hurriedly squeezed into last autumn’s tour schedule. Upcoming is a US tour with fellow Swede Lykke Li- “We have something in common,” winks Klara.

The exquisite ‘Dance to Another Tune’ perfectly blends Swedish sorrow and American feel while ‘Wolf’ is appropriately forest-bound, the folkiest and most European-sounding moment on the record. ‘To A Poet’ closes side one, so to speak and its elegant run-out, featuring a string quartet arranged by Walcott, particularly impressed the Söderbergs. “We recorded our last record at home. We couldn’t even have fitted them all in,” says Klara.

Despite its lonesome sound ‘New Year’s Eve’, all distant reverb and atmospherics is “actually very hopeful”. Finally the exuberant mariachi hoedown of ‘King of the World’ features The Felice Brothers, just passing through town during the session, and local hero Conor Oberst, who takes the last verse.

“We’d never worked with a producer before,” says Johanna, “Yet we never argued with Mike about anything.” The resulting record is serious fun, yet First Aid Kit are only starting. “We want to work in music forever. Our voices and songs could work in many genres,” says Johanna, “We don’t know how we’ll sound in ten years time.” But which do they prefer singing? Sad or happy songs? They roar with laughter. “We only sing sad songs.” There will never be a shortage of those and in FAK hands, they will always sound nothing short of glorious.
Headline: Liz Green announces debut album for November 14
Posted: 26/08
Artist: Liz Green
Title: O, Devotion!
Label: Play It Again Sam
Release Date: 14 November 2011
Cat Number: PIASR535
Distribution: PIAS
Formats: CD Digipack/Vinyl/Digital
Website: www.lizgreenmusic.co.uk

Liz Green ‘Displacement Song’ press quotes:
“Wonderful” ‘Single of the Week’ Guardian Guide
“A deliciously dark and serpentine journey” 4/5 Daily Mirror
“Haunting and beautiful” Sunday Times
“Her enchanting mix of muddy blues-tinged folk songs possess a warmth that gets immediately under your skin” Music Week

The least exotic thing about tragi-comic pop artist Liz Green is her name. No Alela here - according to family lore the twenty-eight year old Green is descended from a Liverpool line that includes executioners and rag and bone men. It’s at least certain that she carries on an ancestral tradition of storytelling, as her debut album O, Devotion! will testify when released by Play It Again Sam on 14 November.

Whatever took her so long? It’s now four years since Green’s first single, the critically adored, now sought-after ‘Bad Medicine’, appeared, and she won the Glastonbury Emerging Talent competition to find herself entertaining the main field from on high. Tipped everywhere from Mojo to The Sun, her uniquely lyrical blend of chanson, jazz and the starkest a capella, a distinct fingerpicking style more cable-knit than filigree and an idiosyncratic vocal style nodding to saints (or maybe martyrs) Judy Garland, Billie Holiday and Karen Dalton (Liz bashfully adds at this juncture “There’s a few more lives to be led and a few more hearts to be broken before I ever sing with as much soul as those ladies”) seemed set to conquer all. Yet a wonderful ‘Back in the U.S.S.R’ Beatles cover on a covermount CD aside, she had seemingly dropped out of sight.

Except she hadn’t. Green has toured consistently, here and abroad, and overcome her dread of the recording studio with aplomb. Sequestered in Hackney’s legendary Toerag under the aegis of Liam Watson (White Stripes, everyone else) and subsisting on the local diet of ackee and saltfish, she finally relaxed enough to enjoy the process, so different from the instant gratification provided by an audience.

“I didn’t really get on with recording. After playing live, which is so of the moment, you go to a studio and are stuck in this sterile environment with microphones pointing at you. I used to dread recording days. After three years we still weren’t any nearer and I’m sure everyone was as frustrated as I was,” she recalls, “I even tried drawing faces on the studio wall - to give the impression of an audience - or getting horrendously drunk so as to emulate my live behaviour.
“I needed someone to say, “Stop! That’s the one”. Which is what Liam did. And it finally sounded like what I thought I sounded like in my head.” Now she could really make the record she had imagined. “I thought, “Fuck it. I’m gonna get me that brass band I always wanted.” The arrangements on O, Devotion! are revelatory, Kurt Weill via New Orleans performed by the works brass band. “I’m especially proud of ‘Bad Medicine’. That’s how it was always meant to sound. A different bag of badgers altogether from the first version of it. I hummed that solo to Peri [Eskell, trumpet] through a kazoo,” Liz reveals, “Because I can’t afford to take a full band everywhere I go, I’ve built up a bit of a reputation for being a great mouth trumpet player.”

Green’s world features shadow puppetry and contraptions designed to ease her way into performance. She owes as much to a tradition of shape-shifting feminist artists from Claude Cahun and Marcel Moore, Lee Miller and Frida Kahlo to Cindy Sherman and Tracey Emin as to musicians from Lily Allen to Bessie Smith, prosaically-named exotics both. Yet young Liz, born into Britpop, devoured music growing up. “I exhausted the 80s of punk and new wave, digested the 70s of David Bowie and mined my dad’s incredibly impressive collection of 60s Motown and Merseybeat.”

Where to go but back? Musicals. Gospel and blues and country. Interwar Weimar cabaret. Bugsy Malone’s dancehall. Marlon Brando’s brilliant turn in Guys and Dolls. Johnny Cash. Dolly Parton. Son House, Blind Willie McTell. The inimitable Sister Rosetta Tharpe. Oh, and Justin Timberlake’s ‘Cry Me a River’.

“Then I began to enjoy discovering little nuggets of gold. Field recordings, songs sung at old medicine shows, cabarets and dancehalls. There’s a whole history in the songs. The distilled essence of eras gone by. I think I belong a bit in every one of them,” says Liz, unafraid to present that which others store only in imagination. She continually redefines the line between the personal and the performance. “I think it’s okay to be as many things as you want and to change from one day to the next whether through dressing up or make up or your attitude or the music you listen to. [Surrealist photographer] Claude Cahun said ‘underneath this mask another mask, I will never be finished carrying all these faces’.”

If she can imagine it, she can bring it to life. That’s why her first album includes a single inspired by Holocaust chronicler Primo Levi and sung from the part of a self-reliant refugee (‘Displacement Song’) alongside the tale of an inveterate funeral-goer a la Harold and Maude (‘Luis’ – a Metro headline ‘Luis Squasilli from Mexico has been to every funeral in his home town for the last twenty years’ was the jump off point here) and the astonishingly visceral, unashamedly bleak album highlight ‘Gallows’, exploring the inevitability of a bad end. And this is not even counting the hushed and “desperate clarity” and dignity of ‘The Quiet’ which is “about looking in through the windows of old people’s homes - at old people looking out” which delivers the exquisite gut wrench of the following lines ‘O my skin is thin now/ And I can’t hold you/ Within these paper hands/ I’m much too weak to stand.’

Even cheerier moments such as the near-anthemic ‘Midnight Blues’ and the ultra-melodic faux-chanson of ‘French Singer’ (delivered at the piano on this new version) are not so straightforward. “People have had this played at their weddings,” she says of the latter, “And I want to explain to them that it’s the romantic dream of how love might feel by a young girl who’s never had any. Perhaps the dream you have of love is the most romantic love of all.”

A lifetime in gestation, it’s no wonder the timeless classicism of O, Devotion! took its sweet time to hatch. “This has been a lesson in letting go. I think part of me wanted to keep the songs to myself. I was so scared of being misinterpreted or misunderstood. But I’m happy to give them over now, for people to take whatever they want from them,” says Green.

Incidentally that title came from a dream wherein a man, maybe Son House, sang to sleeping Liz. All she remembered of his song on waking were the words ‘O Devotion’. “I searched everywhere for it - thinking it was likely a song I had read about but not heard, but I couldn’t find it” she says. “The longer this album took to make, the more it seemed to suit it. Devotion is love and frustration, hope and desperation, exhaustion and joy. Without a level of blind devotion, it wouldn’t have ever been made.”

It has and we are swooning, or in Liz’s final words, it’s all about “capturing a little bit of soul”. Job done Liz Green.
Headline: A.A. Bondy announces album for November 28
Posted: 26/08
Artist: A.A. Bondy
Title: Believers album
Label: Fat Possum/Turnstile
Cat Number: FPTS001
Formats: CD/Digital
Release Date: 28 November 2011
Distributor: PIAS
Website: www.fatpossum.com

Much to the singer’s amusement, Guitar Player magazine turned down the chance to talk to A.A. Bondy about his third and best solo album Believers on the grounds that it’s “too quiet”. It’s their loss- this languorous, sometimes clangourous set, co-produced by Rob Schnapf (Elliott Smith’s Either/Or & Figure 8) with a sparse line-up of Macey Taylor on bass and Ben Lester doubling up on drums and impressively expressive pedal steel, is decidedly electric. Bondy himself says his guitar style is fundamentally the same as showcased on his previous records, though he deliberately used flatwound strings, notorious for their lack of sustain.

“I started with an idea of the four compass points,” explains Bondy of its genesis, “Brian Eno on one side, Motown on the other, gospel on the top and a question mark for the fourth, to represent whatever else I was taking in, be it books, movies or whatever.” This conceptual approach is audible at times. ‘Surfer King’, is a beautiful Smokey-infused soul tune, ‘The Twist’ an off-kilter soaring epic Eno would understand straight away while the ghostly march to glory of ‘The Heart Is Willing’, already available as a taster, surely nods to gospel’s brave certainties.

Bondy sings superbly throughout, with a relaxed confidence that matches any of his peers. He let these songs discover him. “I don’t know exactly what it is, but I know when I’ve found it, the briefest moment when you can stand outside yourself,” he says.

And there are several great examples on show. Maybe the gentle, but relentlessly circling ‘Skull and Bones’. Or the unexpected collision of ‘drmz’, new wave done like old country. Perhaps the moment when ‘Hiway/Fevers’ slips elegantly yet unexpectedly into its coda. Their author clearly spent time thinking about these songs. “I drove across the country four times in the last year. It’s weird driving across America by yourself. Funny things go by your window,” says the Alabama native, recently transplanted to Los Angeles, “That definitely informed some of what came later.”

Auguste Arthur Bondy is not a nostalgic, but he won’t pretend that things haven’t changed. Approvingly, he echoes Tom Waits’s complaint that people today suffer from a deficit of wonder. “They used to rely on their imaginations for entertainment,” he says, secure knowing that his latest record possesses mysteries even for its creator. Believers will likely be enjoyed by anyone who still has a sense of wonder.

Live dates (support to Felice Brothers) –
Tue 6 Dec Koko London
Wed 7 Dec Academy 2 Manchester
Fri 9 Dec ABC Glasgow
Mon 12 Dec Institute Birmingham

Praise for When the Devil’s Loose –
“When the Devil’s Loose properly marks A.A Bondy out as a fully flowering talent” 4/5 Q
“The utterly bewitching songs from the new When the Devil’s Loose album stunned” Uncut
“Sad and beautiful songs” Esquire
“Simple, beautiful songs” Word
“Sparse, beautiful songs” 4/5 The Fly
“4.5/5” The Sun
“4/5” Metro
Headline: Josh T. Pearson announces new single
Posted: 22/08
Artist: Josh T. Pearson
Title: ‘Sorry with a Song’ single
Release Date: 3 October 2011
Label: Mute
Formats: Digital
Cat Number: iMute465
Website: www.joshtpearson.co.uk

“And I know it don’t make it right singing a simple lullaby/But please accept my sorry with a song”

“A stone cold masterpiece…” 5/5 ‘Album of the Month’ Uncut
"Not since Leonard Cohen has an artist emerged who can evoke such profound extremes of human emotion through the device of a simple musical performance." 5/5 The Times
“Pearson is an emotional potholer – and he’s come back clutching diamonds”
Evening Standard 5/5
“4/5” Mojo
“His solo debut is worth every second of the wait” 4/5 Q
“Compelling” 4/5 Daily Mirror
“…smothered in stark self-damnation but also beautiful, stark and to be treasured”
8/10 Clash
“A wonderful record full of stirring, gentle power” 4/5 Record Collector
"A truly magnificent record” 10/10 Drownedinsound
"...it’s one of the greatest and most compelling albums to emerge from this decade so far” thelineofbestfit
“The greatest male vocalist of our time. This long awaited return is a tour around a beautiful, tortured soul” Guy Garvey

Josh T. Pearson announces the release of ‘Sorry with a Song’, out on 3 October, following his two Mojo Awards nominations for Breakthrough Act and Best Album. He has had a phenomenal 2011 on the back of his debut solo album Last Of The Country Gentlemen - a collection of seven songs drawn from the lessons of what he describes as “a rough year”, which was released in March to universal acclaim after a self imposed hiatus that stretched out over ten years. He also made his terrestrial TV debut on Later with Jools Holland – you can view his remarkably composed rendition of ‘Sweetheart I Aint Your Christ’ here http://www.youtube.com/watch?v=gsKs7-JuFj8.

Josh T. Pearson will also release a super limited vinyl-only live album The King is Dead – Live at the Union Chapel on September 12 through indie stores. Handy as he happens to be one of the most pure and transcendental live performers in music today. The Guardian said of his Union Chapel show, “few musicians could play for two hours and make it feel as though the gig has just begun”.

Josh T. Pearson hits the road after the Green Man and EOTR festivals for a couple of short UK jaunts in late September and November before a special show at the hallowed Barbican Centre billed as follows ‘An Evening with Josh T. Pearson and Guests’.

Josh T. Pearson UK Tour Dates:
Sun 4 Sept End of the Road Festival
Wed 21 Sept Nottingham Glee Club www.alt-tickets.co.uk 0871 2302360
Thurs 22 Sept Norwich Arts Centre www.norwichartscentre.co.uk 01603 660352
Sat 24 Sept Cambridge Junction 2 www.junction.co.uk 01223 511511
Mon 26 Sept Leeds Brudenell Social Club www.jumborecords.co.uk 0113 245 5570
Tues 27 Sept Gateshead The Sage www.thesagegateshead.org
Wed 28 Sept Birmingham Glee Club www.glee.co.uk 0871 472 0400
Mon 21 Nov Manchester Royal Northern College of Music www.alt-tickets.co.uk
Tues 22 Nov Glasgow Oran Mor www.pclpresents.com
Wed 23 Nov Leicester The Musician www.wegottickets.com
Thurs 24 Nov Cardiff The Globe www.seetickets.com
Fri 25 Nov Exeter Phoenix www.exeterphoenix.org.uk
Sat 26 Nov London Barbican ‘An Evening with Josh T. Pearson and Guests’ http://www.barbican.org.uk/music
Headline: Bon Iver announce single for September 5
Posted: 21/07
Artist: Bon Iver
Title: ‘Holocene’ single
Label: 4AD
Release Date: 5 September 2011
Cat Number: BAD 3132
Formats: 12” & Digital
Website: www.boniver.org

Bon Iver’s second album Bon Iver released on 4AD in June debuted at # 4 in the UK (it has already gone silver in less than a month). It also reached the heady heights of # 2 in the US c/o Jagjaguwar.

Following the remarkable elevation in their worldwide profile, Bon Iver will release the wonderful second single ‘Holocene’ on 5 September after the success of ‘Calgary’. Not only did that single herald the new sound for the artist but also included an exclusive cover of Bonnie Raitt’s, ‘I Can’t Make You Love Me’ which has gone on to have a life of its own. So notorious in fact that Adele chose to cover it at her recent Roundhouse show too (she is a declared fan of the band http://www.adele.tv/blog/325/bon-iver). His lovely rendition can be heard here http://www.thedailyswarm.com/headlines/watch-justin-vernon-performing-i-cant-make-you-love-me-nick-time-studio. The B-side to ‘Holocene’ is another cover in the shape of Peter Gabriel’s ‘Come Talk to Me’ that was initially released as a super limited run for Record Store Day last year (Peter Gabriel covered ‘Flume’ from Bon Iver’s debut For Emma, Forever Ago as the AA).

For his upcoming tour in October, Justin Vernon will perform with an 8-piece band that includes many musicians who contributed to the Bon Iver release. The touring band will consist of regular Bon Iver contributors Sean Carey (drums, piano), Mike Noyce (guitar) and Matt McCaughan (drums), as well as Rob Moose on violin and guitar (Antony and the Johnsons, The National), Mike Lewis on bass (Andrew Bird, Happy Apple), and a horn section including Reginald Pace, Colin Stetson (Tom Waits, Arcade Fire), and C.J. Camerieri (Rufus Wainwright, Sufjan Stevens). Please note all UK dates are SOLD OUT.

Bon Iver Tour Dates -
19 Oct Manchester Apollo www.o2apollomanchester.co.uk SOLD OUT
22 Oct Edinburgh Usher Hall www.usherhall.co.uk SOLD OUT
23/24 Oct London Hammersmith Apollo www.livenation.co.uk SOLD OUT
9 Nov Birmingham o2 Academy www.livenation.co.uk SOLD OUT
10 Nov Leeds o2 Academy www.o2academyleeds.co.uk SOLD OUT
11 Nov Bristol Colston Hall www.colstonhall.org SOLD OUT

Praise for Bon Iver -
‘Album of the Month’ 4/5 Mojo
“Bon Iver possesses all of the austere beauty and understated emotiveness of its predecessor” 5/5 Uncut
“In purely musical terms, Justin Vernon may just be the most important figure in popular music right now” 5/5 The Independent
“Bon Iver remains rooted in the emotional sincerity that made Vernon’s debut so mesmerising” 5/5 The Guardian
“If his last album struck a chord, this one strikes dozens” 5/5 Evening Standard
“Our love intensifies” ‘Album of the Week’ 5/5 Time Out
“5/5” ‘Album of the Week’ Sunday Times
“5/5” The Sun
“Bon Iver is nothing short of hypnotic” 5/5 Sunday Express
“One of the defining vocalists of our times” 4/5 ‘Album of the Week’ Daily Telegraph
“Vernon’s focus has widened but his strange siren song is just as alluring”
‘Album of the Week’ The Observer
“The self-titled follow-up drips with beauty” 4/5 ‘Album of the Week’ Sunday Mirror
‘Album of the Week’ Indie on Sunday
‘Album of the Week’ Music Week
“He’s out of the woods and the view is beautiful” 4/5 Q
“Bon Iver is a beguiling, heartfelt treasure” 4/5 Metro
“Bon Iver is a beautiful swoon of an album” Sunday Times
“Breathtaking” 4.5/5 Attitude
“Sonically he has undertaken a daringly bold, ultimately brilliant reinvention”
5/5 The Skinny
“A wonderful and worthy follow up” 8/10 Clash
“Bon Iver is a substantial step forward” Word
“Looks set to wow people all over again” Diva
“Justin Vernon’s wordless falsetto pricks your heart in places few other singers can reach” Grazia
“A glorious celebration of – and experimentation with – sound” 4/5 Record Collector
“4/5” Daily Mail
“4/5” Mail on Sunday
“4/5” Daily Mirror
“4/5” The Fly