Watch Blur Perform Their New Album ‘Live’

BLUR LIVE

BLUR LIVE

UNDER THE WESTWAY has been a productive area for Blur in recent times, so it’s not surprising they returned to a space beneath the A40 in West London to preview their new album The Magic Whip live.

Last Friday (March 20) Damon Albarn and co. performed their new recording full and in order at London club Mode – which is nestled below the iconic elevated roadway – for 300 competition winners.

The show, which also included Parklife track Trouble In The Message Centre right at the end, was filmed by streaming service Beats By Dr. Dre and you can watch footage below for one night only from 8pm (GMT) this evening.

‘The Magic Whip’ is out on April 27.

The stream is no longer live, but you can watch full-song clips from the performance below.

The Magic Whip Tracklist:
01. Lonesome Street
02. New World Towers
03. Go Out
04. Ice Cream Man
05. Thought I Was A Spaceman
06. I Broadcast
07. My Terracotta Heart
08. There Are Too Many Of Us
09. Ghost Ship
10. Pyongyang
11. Ong Ong
12. Mirrorball

Blur “Lonesome Street”

Blur “Go Out”

Rhiannon Giddens Takes A Turn On Tradition

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Rhiannon Giddens

As a member of the Carolina Chocolate Drops, Rhiannon Giddens is used to turning songs from another era into something her own. Her first solo album, Tomorrow Is My Turn, consists mostly of cover songs by different women, such as Patsy Cline, Jean Ritchie and Libba Cotton. But one interpretation stands out.

“I just started going, ‘What if I just kind of pushed it a little bit further?’ ” Giddens tells NPR’s Renee Montagne of her funky version of “Black Is the Color,” a folk song popularized by Nina Simone.

Here, Giddens talks about adding words to the iconic song, her love of Gaelic mouth music, and the idea that if a piece of music speaks to you, it doesn’t matter which tradition spawned it.

Renee Montagne: This is so far away from any other version of “Black Is the Color” that I’ve ever heard.

Giddens: Well, it’s the kind of thing [where] if you’re going to do something that’s been covered a million times, you want to do it differently, and you want to kind of put your spin on it.

You rewrote the lyrics. How so?

Rhiannon Giddens – Black Is the Color

 

Well, as I was looking at these versions of “Black Is the Color,” even the one that Sheila Kay sang, I was like, ‘This is not speaking to me.’ I love the song, I love the idea of it, but the part that I loved about the song was sort of that idea of love. That line that I took to add to my words was, “I’ll kiss his mouth 10,000 times” — I mean, that kills me. That line is just, you know, I kind of love that part of it, not the sort of sad, mourn-and-weep idea. I didn’t even really think about it that hard. I just thought, “I’ll just write. You know, this has been done a million times, so I can take it in a different direction. I’ll just write some verses.” And it just came out.

There’s a Gaelic song you perform live. What sort of song is that, and how do you manage to sing it for what is quite a long time without seeming to breathe?

Well, it’s a type of music called Gaelic mouth music. It’s a tradition in many places. The idea of mouth music [is] vocal music to dance to, basically. This particular strain of it is from Scotland, and the reason why it’s usually called mouth music is because the poetry is considered sort of throwaway lines. They’re chosen often for percussive sounds, and so they didn’t really have names. I really got into Gaelic music and the whole sound of it, and I got to go to Scotland. And I’ve studied with native singers, and it’s just beautiful music, and it reminded me a lot of Native American singing. I’ve done some powwow singing. It was just really intriguing to me, so that piece is, I don’t know — it speaks to people.

Rhiannon Giddens of Carolina Chocolate Drops – Gaelic song (Glasgow, 2013)

 

 

I’m always interested in [the fact that] the largest settlement of Scots-Gaelic-speaking Highlanders in the 1700s was in North Carolina, and there was cultural interactions between them and the natives who were there and the African-Americans. I mean, it was just kind of a fascinating history to me, and I love being able to push that musically and … try to represent that in my own way.

Well, I know you’ve recorded songs in Gaelic. Is that in your tradition? I mean, your name Rhiannon is a Welsh name from mythology.

Yeah, my mother was reading the Mabinogion, the Welsh mythological epic, when I was born.

Queen Mab.

Yeah, and decided to name me Rhiannon. That definitely got me interested in sort of Celtic culture and stuff, but, you know, that whole idea of, “Is it my culture?” It gets asked of me in a way that white people who do blues don’t get asked.

I actually thought it might be actually your culture — there might be a connection.

Well, that’s the thing. Whether I am or not, like, that’s my point. … I don’t know all of my genealogy, but my point is that if music speaks to you, I think that you have the ability to do that. Now, I think you have a responsibility to that.

When I do Gaelic music, I’ve learned about Gaelic culture; I’ve tried to learn the language. Whenever I do mouth music and there’s Gaelic speakers in the audience, and they come up and go, “Good job,” I’m always like, “Phew.” You know, I really feel a responsibility to the music, and I teach workshops in music sometimes. And folks do come to me and they go, “How do I make this blues song my own? How do I feel like I’m not an impostor doing this?” And I’m like, “That’s an excellent question.” That’s where you should start, where you go, “How does this speak to me?”

When I heard that you studied opera at a conservatory, that did seem to explain some of the technical ability to keep on moving through a very powerful song, almost as an athletic feat.

Well, it’s almost the reason why I don’t do a selection of mouth music; I do one. Because over the years, I’ve got it, and also the pronunciation — I mean, it’s hard. You learn one and you want to keep it. I mean, my training at Oberlin has been absolutely valuable. I had to learn how to adapt that training to this kind of singing. It is kind of great, because I’ll be doing that mouth music and I’ll feel, pardon me, but I’ll feel a burp going on and you can’t stop. I’ve learned how to sort of release it as I go so nobody knows that that’s happening. It’s kind of great to feel like, as a technician, that I’ve got this thing that I’ve done over the years now, that I’ve sort of developed this technique. I just do that because I love the mouth music and it’s so much fun.

Well, it’s a showstopper. People start cheering halfway through.

Yeah, I know. I mean, it’s really interesting: I don’t know what it is about that. It’s really tapped into something for people. I mean, I’ve had people come and they just feel, like, the primal-ness of it or, you know — and that, for me, that’s the strength of folk music. It’s like, here’s this piece of music that’s, like, however old it is, and you put a fresh take on it and pull in sort of the energy of today, and it still speaks to people.

Rhiannon Giddens – Tomorrow Is My Turn (Album Trailer)

Coldplay announce “final” album A Head Full of Dreams

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Coldplay

December 4 2014

Coldplay is just seven months removed from the release of its sixth studio album, Ghost Stories, but already the band is in the studio working on No. 7. Not only that, but Chris Martin already has a title for the LP, which he revealed during an interview with BBC Radio 1 on Thursday.

The new album will be called A Head Full of Dreams and Martin considers it the band’s final chapter. He explained to Zane Lowe, “We are right in the middle of [recording] … It’s our seventh thing and the way we look at it it’s like the last Harry Potter book. That’s not to say there won’t be another thing one day, but this is the completion of something. It was great to go from Ghost Stories right back into the studio. Now, we’re making things that sound different. It’s a very fun time to be in our band.”

“I have to think of it as the final thing we’re doing, otherwise we wouldn’t put everything into it,” he continued.

Martin added that the band does plan to tour behind A Head Full of Dreams, something they did not do for Ghost Stories.

Listen to Martin’s full interview below. The part about the new album begins at the 3:15 mark.

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Chris Martin @ Zane Lowe 04.12.2014

 

 

Uploaded on Dec 4, 2014

Magic has topped the Zane Lowe’s hottest songs of the year charts and Chris Martin comments on it. Furthermore, he reveals the title of the upcoming album “A head full of dreams”.

Kindness, ‘Otherness’ – Awesome!

Kindness' new album, Otherness,  available now.

Kindness’ new album, Otherness, available now.

Pooneh Ghana/Courtesy of the artist

It takes audacity to name your debut album after the seismic Eddie Kendricks song “Girl You Need A Change Of Mind,” a seven-minute soul classic with an extended breakdown and build-up that made it one of the earliest disco records. But the lanky Brit Adam Bainbridge had a firm grip on his influences for 2012’s World, You Need A Change Of Mind, an album that touched not only on disco, but also on ’80s boogie and R&B, Frankie Knuckles-indebted house music, D.C. go-go, and even The Replacements (with a dance remake of “Swingin’ Party”).

Bainbridge doubles down on that ’80s sound for Otherness. “New feelings we begin again / Old endings we begin anew,” he sings in “World Restart,” which from its compressed drum machine to its honking saxophone sounds like a lost track from 30 years ago. Midway through, he’s joined by fast-rising R&B singer Kelela, who sounds like one of the Mary Jane Girls circa 1983’s “All Night Long.” But the feelings behind the song revive those staid sounds and make them sound refreshed.

From there, Kindness pulls from various earmarks of that era, be it the go-go bells that power “This Is Not About Us” or the elegant piano that flows through “I’ll Be Back.” Rapper M.anifest joins in for “8th Wonder,” name-checking Tracy Chapman’s “Fast Car” in his verse. And when Kelela returns in “With You,” the track at one point peels back to a synthesized breath, a brief homage to Art Of Noise’s classic single, “Moments In Love.”

Much like his musical compatriot (and fellow Brit) Devonté Hynes did on Blood Orange’s sublime Cupid Deluxe, Bainbridge draws on assists from friends. Beyond the album highlights with Kelela, the sputtering backbeat, rubbery slap-bass line and church organ of “Who Do You Love?” gets a big lift from Swedish singer Robyn, who infuses the song with her pop effervescence. Hynes himself lends a hand in “Why Don’t You Love Me,” which evolves from a heartbreaking ballad to sensuous R&B to great effect. It hints that Kindness might change and advance yet again.

 

Kindness – Otherness

 

 

 

Kindness – House

 

 

 

 

 

 

 

Noel Gallagher To Return With New Album Chasing Yesterday In March

Former Oasis man confirms Johnny Marr and lost of sax solos set for second High Flying Birds LP as he post first single online.

Former Oasis man confirms Johnny Marr and lost of sax solos set for second High Flying Birds LP as he post first single online.

 

FOR A MAN WHO ONCE DECLARED he doesn’t own a computer and won’t use email, Noel Gallagher was very busy online this afternoon (October 13) announcing his return to music.

The erstwhile Oasis leader and his High Flying Birds revealed plans for his second solo album, Chasing Yesterday during a Q&A session hosted on Facebook, before posting its first fruits onto Youtube. The record will be with us on March 2, but first single In The Heart Of The Moment – below – is out next month (November 17) complete with B-side Do The Damage.

Chasing Yesterday is the first full album Gallagher has produced himself, but full creative control had its drawbacks it seems. “It was a major pain in the arse,” he explained. “It’s not that I’ve ever had people telling me what to write or what direction to go in, but managing sessions from one end of the week to the other proved extremely difficult. I had all these people looking at me and saying, ‘Right, what are we doing today?’ I was making the whole thing up as I went along.”

 

“I know I’m going to be accused of sax crimes. But fuck it. There’s nobody to tell me not to do it.”

Noel Gallagher

 

One recipient of this approach was Johnny Marr, who guests on Ballad Of The Mighty I, and apparently joined in the chaotic spirit of things by improvising his guitar parts. “I tried to get him to play on the last album but it never happened,” noted Gallagher. “So when I put this track together and knew he would be perfect for it I called him and asked if I could send him the rough mix. He said: ‘No, I don’t want to hear it. I’m just going to react to it on the day.’ He didn’t even want any pointers. Well, that was brave of him. He just arrived with two guitars and a bag of effects pedals. And I have to say, he’s unbelievable. He’s way up there, on another level to the rest of us. The result is a burst of energy that helped make Mighty I one of the best songs I’ve ever written.”

However, that’s not the only new element this freeform approach has yielded, as seasoned Oasis-watchers will be surprised to learn that Chasing Yesterday boasts several saxophone solos. “I know I’m going to be accused of sax crimes,” admitted Gallagher. “But fuck it. There’s nobody to tell me not to do it. And when you listen to that saxophone, please, don’t think about the guy from Spandau Ballet.”

An arena tour will take place March next year, with tickets going on sale this Friday at 9am (BST). See Aloud.com for full details. There’s no word yet on whether a touring saxophonist has been booked.

 

 

Pink Floyd: “The Endless River Will Be Our Final Album”

David Gilmour on Pink Floyd: ‘It’s a Shame, but This Is the End’

 

Pink Floyd David Gilmour and Nick Mason

Pink Floyd David Gilmour and Nick Mason

 

October 10, 2014

PINK FLOYD WILL RELEASE ALBUM The Endless River next month – and then that will be it for the band as far as new records go.

Speaking to BBC Radio, David Gilmour stated that the group have no plans to record together again following the death in 2008 of keyboard player Rick Wright, who appears posthumously on the LP.

“Well, Rick is gone. This is the last thing that’ll be out from us,” he declared. “I’m pretty certain there will not be any follow-up to this.”

The guitarist confirmed that The Endless River, released on November 7, is something of a tribute to his late bandmate, explaining that he felt Wright’s contribution to the band has been generally undervalued.

“He has been underestimated by the public, by the media and by us at times I hate to say,” he admitted. “I didn’t necessarily always give him his proper due. People have very different attitudes to the way they work and we can become very judgemental and think someone is not quite pulling his weight enough, without realising that theirs is a different weight to pull.”

 

“Rick has been underestimated by the public, by the media and by us at times I hate to say.”

David Gilmour

Drummer Nick Mason agreed, suggesting that in terms of the Pink Floyd legacy both he and Wright had remained in the shadows.

“I think the tendency is that the most attention is payed to the songs or the guitar part or whatever, and sad old drummers and keyboard players get left behind,” he mused. “I think it’s been a great opportunity; it is a great opportunity to recognise, remember and maybe give some credit rather late on. He was very gentle, very quiet, which doesn’t help if you’re in a band looking to promote yourself.”

 

 

 

The song sounds very much like The Division Bells sessions that are the genesis of much of the music on this upcoming album, The Endless River. Gilmour’s guitar parts are stellar, although perhaps softer than the classic jagged tone of the ’70s records. Time has softened The Floyd a bit, but this is still a beautiful song. The autobiographical lyrics, referring to the power behind Pink Floyd’s music and infighting are excellent. Gilmour told the BBC, “I’m pretty certain there will not be any follow up to this. And Polly, my wife, thought that would be a very good lyrical idea to go out on. A way of describing the symbiosis that we have. Or had.”

The Endless River is due out on November 10th, 2014. Pre-order the album on Amazon.com or Pink Floyd’s official store.

Here are the different versions that will be available (click images for full details and to order at Amazon.com):

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Full details emerge of Pink Floyd’s new album, The Endless River

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With just a month to go until its release, we’re learning more details of Pink Floyd’s first new album in 20 years, The Endless River. The full album credits recently surfaced online (via Reddit), revealing a few interesting tidbits.

For one, theoretical physicist Stephen Hawking appears on the album track titled “Talkin’ Hawkin’”. Hawking’s electronic voice was previously featured on The Division Bell track “Keep Talking”, leading some fans to speculate that “Talkin’ Hawkin’” serves as that track’s sequel.

Other interesting takeaways: Richard Wright (who passed away in 2008) is listed as writer or co-writer for 12 tracks and David Gilmour sings lead vocals on “Louder Than Words” and backing vocals on three other tracks. In addition, UK-based electronic string quartet Escala is featured on “Louder Than Words”. Click here to see the full credits.

The Endless River arrives November 10th via Columbia Records. Below, listen to the latest audio preview of the album. The full tracklist follows.

 

 

 

The Endless River Tracklist:
01. Things Left Unsaid
02. It’s What We Do
03. Ebb And Flow
04. Sum
05. Skins
06. Unsung
07. Anisina
08. The Lost Art of Conversation
09. On Noodle Street
10. Night Light
11. Allons-y (1)
12. Autumn’68
13. Allons-y (2)
14. Talkin’ Hawkin’
15. Calling
16. Eyes To Pearls
17. Surfacing
18. Louder Than Words