320 kbps | 88 MB | LINKS
Recorded in LA, Pasadena and Joshua Tree, With Animals is the second album by Mark Lanegan and Duke Garwood, two artists who’ve spent their careers stalking the peripheries and mapping sounds of the small hours. As befits a record called With Animals, these dusty songs feel like they were created in the company of the denizens of the night. Analogue and dust flecked, it’s as if Lanegan and Garwood have been holed up in a ’60s recording studio while the apocalypse rages outside. Over the last decade, Lanegan and Garwood have worked in tangent on 2013’s Black Pudding as well as on Lanegan’s solo records (2012’s Blues Funeral and 2017’s Gargoyle after which Garwood toured as part of Lanegan’s band).
320 kbps | 75 MB | LINKS
The Austin quartet have long pulled hard at the parameters of rock & roll, admitting garage punk, soul, psychedelia, prog, jazz and blues while holding onto its vital goodtime core. Their up-tempo drive has produced a body of work defined as much by stellar musicianship as off-the-chain exhilaration. Energy and adventurism have always been paramount. Here are nine songs with clarity and renewed purpose as well as a truckload of attitude. A new studio, new collaborators, and new techniques for writing and recording influenced the elastic possibility and liberation felt throughout. Theirs is music that aims for the whole body, while equally satisfying the mind. While it has morphed, expanded, and even burst apart, White Denim’s sincere, human drive and ability to spark true exhilaration have been unerring constants of the band’s existence. Ever progressing, never content to camp out on a plateau of their creative accomplishments, there is no other band quite like White Denim – unique in talent and legendarily potent as a live band, they are quite simply a very special band.
320 kbps | 102 MB | LINKS
The Other Shore is the eighth studio album from Louisville, KY-based indie Americana trailblazers Murder by Death. It’s an epic space-western about a ravaged earth, it’s fleeing populace, and a relationship in jepoardy. Here, the group explores untapped genres, dynamic and emotional touches, intersecting and introspective storylines, and remote edges of the galaxy. Welcome, after nearly 20 years, thousands of performances around the world, and eight albums, you’ve landed on your new Murder by Death. The band’s name is derived from the 1976 Robert Moore film of the same name. Murder by Death released it’s first studio album (Like the Exorcist, but More Breakdancing) in 2002.
320 kbps | 104 MB | LINKS
‘Lioness’ is Beccy’s 12th album and is nothing short of stunning. The album is a collection of self-penned, personal and poignant songs perfectly displaying Beccy’s strength of character, huge heart and razor-sharp wit. In an Australian first, Beccy procured the talents of some of Australia’s finest female musicians to make the only ever 100% female produced album.
320 kbps | 114 MB | LINKS
Because dad Neil and son Liam have been popping up on stages and recordings together for years, you tend to take their collaboration for granted. But Lightsleeper marks the first time the two songwriters have made a full album together. This feels more surprising than it should.
What’s not at all surprising is how musically rewarding a listen it is; the tension between Neil’s pop supremacy and the nous of Liam’s lo-fi experimentalist tendencies finding a comfy common ground that’s a lot more out there and experimental than you might imagine.
With musicians of this pedigree you’re not going to find a dud track. Each song is filled with little sonic details that are gradually revealed and melodies that take sudden turns to catch you off guard, but never sound anything less than completely natural and effortless.
For my money the 7-minute long opus Where’s My Room is the best example of their respective strengths coming together. Kicking off as a languid, loose funk jam, the guitars eventually slip away as the song takes a Beatles-esque turn into classic Neil pop territory, before baroque disco strings hit and the whole thing breaks down into a wildly hallucinogenic, clattering freakout. It’s brilliant.
320 kbps | 93 MB | LINKS
Gilbert O’Sullivan’s unique blend of melodic craftsmanship, witty wordplay, topical acuity and surrealist humour has given him an enduring and endearing career. His songwriting knack has outlived and transcended fashion, global million-sellers, critical acclaim, court cases and an occasional tendency to reclusiveness. Now recognised as one of our great singer-songwriters, he’s been championed in recent years by everyone from Morrissey to Paul Weller, from Difford & Tilbrook to Neil Diamond. There’s a case for him being our own Randy Newman or Harry Nilsson. Certainly Ethan Johns (Ryan Adams, Laura Marling, Kings of Leon, Ray LaMontagne and Paul McCartney), who produces his new album Gilbert O’Sullivan, is a clued-up enthusiast. “I’ve been a fan of Gilbert’s for years,” he says. “He’s a true original.”
Gilbert’s 19th studio album since his 1971 debut Himself feels in some ways a kindred spirit to that record, which yielded his first hit, the poetic and powerful breakthrough Nothing Rhymed. It’s organic, almost live feel is encouraged by Ethan and the songs sail on the perennial O’Sullivan strengths of evocative tunes and wry insight.
The album was recorded on analogue equipment at O’Sullivan’s Frobisher Drive Studios, Jersey, in easy-going sessions with players hand-picked by Ethan. The band featured guitarist Paul Stacey (Oasis, Finn Brothers), bassist Nick Pini (Johns’ The Black Eyed Dog), drummer Jeremy Stacey (Noel Gallagher’s High Flying Birds, The Waterboys), Stephanie Jean, AKA Ida Mae (hammond organ, Fender Rhodes, mellotron, harpsichord), and O’Sullivan on vocals and piano. There are also guest appearances from several incredible musicians: Andy Fairweather Low (guitar), Chas Hodges (piano) and Geraint Watkins (piano – Van Morrison, Nick Lowe).
The resulting album is a collection of some of the finest songs Gilbert has ever written and recorded. Ranging from the melancholy charm of At The End Of The Day or I’ll Never Love Again to the brisk, buoyant Penny Drops, What Is It About My Girl and Ethan’s favourite, the rollicking This Riff. There are musings on ageing and mortality, and also, of course, crisp comic touches, something Gilbert attributes to his love of Spike Milligan.
One of the album’s standout tracks is first single Where Did You Go To? which, with Gilbert’s surreal wordplay and the hammond organ to the fore, would not be out of place on long-time influence, Bob Dylan’s Like A Rolling Stone album.
Whilst the album’s centerpiece, Dansette Dreams And 45s, is a nod to nostalgia, Gilbert’s deft, droll observations on today’s world remain ever eagle-eyed. The album’s final two songs, The Mind Boggles and For The Record, both tackle serious issues, with references to Donald Trump and homelessness. These songs show Gilbert at the top of his game, as he has been since banging out Dylan and Beatles tunes as a child on the piano, in the shed at the end of his mother’s council house garden in Swindon.
“Success for me is to write what I think is a good song,” says Gilbert. “When I’m pleased with it, that, for me, is a magical moment. I never lost that buzz.”
Gilbert O’Sullivan represents a talent as vibrant and in touch with its own truth as it has ever been, and should ensure a new generation discovers this truly remarkable artist.
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