{"id":3384,"date":"2024-05-17T17:30:04","date_gmt":"2024-05-17T16:30:04","guid":{"rendered":"https:\/\/hundredrecords.com\/blog\/?p=3384"},"modified":"2024-05-15T18:45:32","modified_gmt":"2024-05-15T17:45:32","slug":"new-releases-24may2024","status":"publish","type":"post","link":"https:\/\/hundredrecords.com\/blog\/new-releases-24may2024\/","title":{"rendered":"New releases for 24 May 2024"},"content":{"rendered":"

The first of this week\u2019s smashers comes from John Peel favourites Billy Mahonie<\/strong>, a band formed in the first wave of British post-rock in the late \u201990s alongside the likes of Mogwai, who return with Field of Heads<\/em><\/strong>, the first new music from their original line-up in some twenty-four years. Billy Mahonie always crafted their intricate music with memorable hooks and melodies and performed it with energy and gusto, and their 1999 debut album The Big Dig<\/em> is considered a classic of the post-rock genre. Theirs was not an aimless, meandering sound; instead, the songs and attitude were rooted in punk rock, and still are. Billy Mahonie put the rock into post-rock.<\/p>\n

\u201cYou called yourself broken, but that\u2019s just what people are, that\u2019s how the light gets in,<\/em>\u201d sings Bess Atwell<\/strong> in the opening moments of Light Sleeper<\/em><\/strong>, before gentle hums of strings and shuffling snares make way for the Brighton-based singer-songwriter\u2019s voice at full pelt, singing with a new-found rawness. \u201cLight Sleeper is about the willingness to feel,<\/em>\u201d she explains. \u201cSomewhere along the line I had become very afraid of feeling.<\/em>\u201d A huge part of this exploratory new era was Aaron Dessner of The National, who produced the album. His isolated cabin studio Long Pond, in Hudson Valley, New York, was once Bess\u2019s desktop background, never imagining she would end up star-gazing on its veranda and noodling away on the same instruments used by her heroes, not to mention a certain world-conquering pop star \u2026<\/p>\n

Timeless. Explosive. Romantic. Inspiring. How else to characterize Blue Electric Light<\/em><\/strong>, the 12th studio album by Lenny Kravitz<\/strong>? Kravitz\u2019s mastery of deep-soul rock\u2019n\u2019roll is a long-established fact. As a relentless creative force \u2013 musician, writer, producer, actor, author, designer \u2013 he continues to be a global dynamic presence throughout music, art and culture. Blue Electric Light<\/em> is an impassioned suite of songs that broadens this distinction and is the latest contribution of a man whose music \u2013 not to mention his singular style \u2013 continues to inspire millions all over the world. On the album, Kravitz\u2019s talents as a writer, producer and multi-instrumentalist resonate as he wrote and played most of the instruments himself, with longtime guitarist Craig Ross.<\/p>\n

Frog in Boiling Water<\/em><\/strong>, the fourth album by DIIV<\/strong> (pronounced Dive), is a collection of snapshots that explores the brutal realities of end-stage capitalism and overwhelming technological advance. Across 10 dark and dazzling tracks, produced by Chris Coady, DIIV documents the collapse from various angles with unusual sensitivity and depth of purpose while expanding their grand, hypnotic shoegaze to create a transportive, sensual work of hope, beauty and renewal.<\/p>\n

After George Orwell\u2019s widow refused David Bowie<\/strong> the right to use \u20181984\u2019 as the title of his forthcoming album, he instead used the novel as a conceptual blueprint for what became Diamond Dogs<\/em><\/strong>. Accompanied only by keyboardist Mike Garson, bassist Herbie Flowers and drummers Aynsley Dunbar and Tony Newman, Bowie played guitar, sax, Moog and mellotron in addition to his contributions as vocalist, composer, arranger and producer of the album. With the Orwellian themes as a loose backdrop, Diamond Dogs<\/em> has much of the apocalyptic sense of future-shock that informed Ziggy Stardust and the Spiders from Mars<\/em>. This classic album has been half-speed remastered<\/strong> for its 40th anniversary.<\/p>\n

Our release of the week is a future classic. In the ever-evolving landscape of contemporary music, few artists possess the enduring influence and innovative spirit of Paul Weller<\/strong>. A recording career that began in 1977 now reaches the release of his 17th solo album, his 28th in total. Weller has always demonstrated an unwavering commitment to pushing artistic boundaries while staying true to his roots. 66<\/em><\/strong> promises to be no exception, offering a captivating journey through his continuing musical evolution. This is quite a reflective and inward-thinking album that pulls back the camera lens and shines a light on the way Weller\u2019s creativity interacts with his wider world. Continually finding new ways to alchemise the miracle of living and the meaning of it all, he draws on.<\/p>\n

\"Paul<\/a>\"Billy<\/a>\"Bess<\/a>\"Lenny<\/a>\"DIIV<\/a>\"David<\/a><\/div>\n

Click on an image to order your copy.<\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

The first of this week\u2019s smashers comes from John Peel favourites Billy Mahonie, a band formed in the first wave of British post-rock in the late \u201990s alongside the likes of Mogwai, who return with Field of Heads, the first new music from their original line-up in some twenty-four years. Billy Mahonie always crafted their…<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2,3],"tags":[701,1886,317,1887,1864,36,182],"class_list":["post-3384","post","type-post","status-publish","format-standard","hentry","category-music","category-new-releases","tag-bess-atwell","tag-billy-mahonie","tag-david-bowie","tag-diiv","tag-lenny-kravitz","tag-new-release","tag-paul-weller"],"_links":{"self":[{"href":"https:\/\/hundredrecords.com\/blog\/wp-json\/wp\/v2\/posts\/3384","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/hundredrecords.com\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/hundredrecords.com\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/hundredrecords.com\/blog\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/hundredrecords.com\/blog\/wp-json\/wp\/v2\/comments?post=3384"}],"version-history":[{"count":1,"href":"https:\/\/hundredrecords.com\/blog\/wp-json\/wp\/v2\/posts\/3384\/revisions"}],"predecessor-version":[{"id":3385,"href":"https:\/\/hundredrecords.com\/blog\/wp-json\/wp\/v2\/posts\/3384\/revisions\/3385"}],"wp:attachment":[{"href":"https:\/\/hundredrecords.com\/blog\/wp-json\/wp\/v2\/media?parent=3384"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/hundredrecords.com\/blog\/wp-json\/wp\/v2\/categories?post=3384"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/hundredrecords.com\/blog\/wp-json\/wp\/v2\/tags?post=3384"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}