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Flyte
This Is Really Going To Hurt
Flyte today announce their highly-anticipated second album This Is Really Going To Hurt, due April 9th 2021 via Island Records. Recorded in LA last year with collaborators Justin Raisen (Angel Olsen, Yves Tumor), Andrew Sarlo (Big Thief, Bon Iver) and mixing engineer Ali Chant (Aldous Harding), the record is a lucid documentation of lead singer Will Taylor’s formative breakup, and follows the ending of a relationship through the stages of grief and acceptance. The title is evocative of knowing the decision you are about to make will change your life forever. The first singles from the album, ‘Easy Tiger’ and ‘Losing You’, served as a stunning introduction. The three secondary school friends Will Taylor, Jon Supran and Nick Hill, are renowned for their complex and rich vocal arrangements and melodies, with lyrics steeped in literary imagery; The Sunday Times calling their acclaimed debut record The Loved Ones “The Best British debut album of the year,” but it was touring in California that recently took hold of their imagination. Inspired by their time in Laurel Canyon, the band recorded their next full-length record in LA, a much-needed new environment to confront the personally challenging subject matter written back home in London, and an opportunity to work with some of their musical heroes.
Island
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Iron & Wine
Archive Series Volume No. 5: Tallahassee Recordings
Indies exclusive LP is on 'yellow splatter' coloured vinyl.
Archive Series Volume No. 5: Tallahassee is the lost-in-time debut album from Iron & Wine. A collection of songs recorded three years prior to his official Sub Pop debut, The Creek Drank the Cradle (2002). A period before the concept of Iron & Wine existed and principal songwriter Sam Beam was studying at Florida State University with the intent of pursuing a career in film. Tallahassee documents the very first steps on a journey that would lead to a career as one of America’s most original and distinctive singer-songwriters.
Creek arrived like a thief in the night with its lo-fi, hushed vocals and intimate nature, while almost inversely Tallahassee comes with a strange sense of confidence. Perhaps an almost youthful discretion that likely comes from being too young to know better and too naïve to give a shit. The recordings themselves are more polished than Creek and give a peak into what a studio version of that record might have offered up.
Tallahassee was recorded over the course of 1998-1999 when Beam and future bandmate EJ Holowicki moved into a house together. Beam had not been performing publicly, however he was known for playing an original song or two in the early morning glow of a long night. Holowicki also in the film program and who would go onto a career as a sound designer at Skywalker Sound, had a mobile recording device and after some prodding convinced his friend to record these late-night meditations.
Together they would record close to twenty-four songs, ideas and sketches, with EJ on bass and Sam on vocals, guitar, harmonica and drums. The recordings – all captured in the house where they lived – have a “live in the room” feel akin to say Neil Young’s Harvest or Nick Drake’s Five Leaves Left, rather than the homespun lo-fi 4-track home recording experiment taking place at the time.
These recordings, minus one track, have never been made available and were instead left preserved on a hard drive for the last twenty years. The one track that floated out there, called “In Your Own Time” was shared without a title to childhood friend Ben Bridwell (Band of Horses) at some point. The song became known as the “Fuck Like A Dog” song and Ben shared it with more than a few folks during the golden era of mix cd’s. Two of those folks were Jonathan Poneman from Sub Pop and journalist Mike McGonigal, who included it on his best songs of 2001 mix cd, passed out to friends and acquaintances. And for many that is where the Iron & Wine story begins, until now…
Tallahassee is the foreword to your favorite book that you’ve somehow skipped over time and time again. It’s an alternative history mixed with some revisionist history told over the course of eleven songs. It’s also the debut record by Iron & Wine some twenty years after the fact.
Sub Pop
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Justin Sullivan
Surrounded
The new solo album from Justin Sullivan, known from his working fronting New Model Army!
Justin Sullivan steps out from New Model Army to release his second solo album, eighteen years after the first. “Surrounded” is a collection of sixteen new songs, written in the first weeks of the 2020 lockdown. These songs are again stunning guitar-vocal compositions highlighting Sullivan’s love of storytelling, wide open landscapes and unforgettable atmospheres.
Mostly recorded at home, the album also features contributions from many other musicians including Jon Thorne on bass (Lamb), on harp Tom Moth (Florence and the Machine - and brother of NMA bassist Ceri Monger), plus string arrangements from composer friends Tobias Unterberg, Henning Nügel and Shir-Ran Yinon, Also featured are the current members of New Model Army. The album was mixed by Lee Smith at Greenmount Studios in Leeds, co-producer and mixer of New Model Army’s recent albums, including 2019’s “From Here”, their highest charting album to date globally.
Earmusic
CD | LP
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Matthew E. White
Broken Mirror: A Selfie Reflection
Broken Mirror: A Selfie Reflection is a timely callout to the power of collaboration, of kindred spirits connecting in crowded rooms. More important, though, is this collision of two profoundly Southern artists, meeting to shed expectations of generation and genre, scene and situation and exchange truth, wisdom, and energy. The real world is more complicated than a pretty digital picture, bowdlerized of blemishes. As Broken Mirror: A Selfie Reflection reminds us, it can be more revelatory and transformative, too.
These racks are balls of energized contemplation, Holley crooning grievances and observations above surrealist grooves so irrepressible and heavy that the words strike with the force of gospel. Holley strolls into “I Cried Space Dust” as if he’s wandered into the On the Corner sessions and offered unsolicited insights on true transcendence. “I’m Not Tripping” is an anthem of self-worth and self-enjoyment for a society mired in self-doubt, the words breaking like light beams through clouds of atomized drums and synths. And Holley begins the title track as a character mindlessly staring into a cell phone, captivated by his own image like Narcissus at water’s edge. Holley ponders the egotism of projection over dizzying keyboards and guitars so jagged they conjure fractured glass. By song’s end, he’s mocking this infrastructure of pandering for likes, jeering us all above a savage bassline that dares you to differ.
Holley and White may seem like unlikely collaborators, divided as they are by decades and disciplines. Holley, 70, first earned attention as a sculptor far removed from the fiefdom of fine art, using society’s detritus to create curious bricolages that ferried deep narratives of ancestral pride, enduring pain, and eternal hope. His music privately stowed on stacks of cassettes before he released his staggering 2012 debut, Just Before Music, at the age of 62 aired those ideas over extemporaneous pieces for prismatic keyboards. But on Big Inner and Fresh Blood, White, now 38, came into acclaim as one of his generation’s most meticulous songwriters and arrangers. Stretching his assuredly soulful voice like a smile across little symphonies of strings, horns, choirs, and percussive cavalcades, White commanded sounds where Holley seemed to glide inside them.
Spacebomb
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