This week’s six sizzlers open up with BC Camplight (Brian Christinzio). Is there a curse that says he cannot move forward without being knocked back? That the greatest material is born out of emotional trauma? While making his new album, The Last Rotation of Earth, Christinzio’s relationship with his fiancé crumbled after nine inseparable years. The album follows this break-up amid long-term struggles with addiction and declining mental health. The outcome is an extraordinary record, with Christinzio describing it as “more cinematic, sophisticated, and nuanced than anything I’ve done before. And more desperate.”
Digging further into his catalogue, Moby has reimagined fifteen of his most iconic tracks for Resound NYC, These new versions of tracks that he wrote between 1994 and 2010 while living in New York City feature a vibrant, brass-heavy sound. From the sublime desperation of ‘When It’s Cold I’d Like to Die’ to the manic stomp of ‘Extreme Ways’ (best known as the theme from the Jason Bourne film franchise), the reworked tracks burst forth with boundless energy. Guest vocalists on Resound NYC include Nicole Scherzinger, Gregory Porter, Ricky Wilson (Kaiser Chiefs), Mylene Farmer, Amythyst Kiah, Lady Blackbird, Dougy Mandagi (The Temper Trap) and more.
Each meticulously curated release by Craven Faults moves their story forward – each one a self-contained analogue electronic journey across northern Britain, viewed through the lens of a century in popular music. Studios, venues and movements. Technology and ingenuity. Vibrations. Lines drawn to connect those moments of inspiration. On Standers, there’s a sonic shift. A new palette to paint from and further refinement of the craft.
Animal Collective are reissuing their very first record, Spirit They’re Gone, Spirit They’ve Vanished. Originally released in a very small CD-only pressing on their own Animal label in August 2000 and credited to Avey Tare & Panda Bear prior to the full collective band name being used on releases, the album has been praised by Vulture for its “starry-eyed sense of songcraft” and described by Pitchfork as “a masterful piece of electro-acoustic fairy-tale music; yet its squealing electronics, and vitrified rhythms suggest something darker. Like a Snickers bar with a razor blade in it.”
Okemah Rising is the final instalment of the Woody Guthrie / Dropkick Murphys collaboration, so the band wanted to bring it home with a bang. Whereas the goal of This Machine Still Kills Fascists was to raise consciousness, Okemah Rising intends to raise the roof. Sure, it has one or two tender moments, but all in all it’s much more of a party than TMSKF. Even a party record can have a message though, and the band felt that on the road over the last few months as they played Okemah Rising songs ‘Gotta Get to Peekskill’ and ‘I Know How It Feels’ on tour all over the world. Every night, when the audience is singing along with Woody’s words, his steadfast defence of the working class and his fight against social injustice and the abuse of political power comes across loud and clear.
Our release of the week comes from Alison Goldfrapp, who has set a towering bar for British synth-pop in the 21st century and she’s only just getting started. The magnetic London-born singer, songwriter and producer’s seven albums with Goldfrapp were fuelled by an unfailing modernity and a sixth sense for sounds that were more timeless than any trend. With the release of her debut solo album, The Love Invention – an electrifying dance-pop suite – her multi-faceted musicianship reaches a new peak.
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