I would so love to listen to this all the time!! Is it on an album? How do I download it??

Great song, excellent subject and execution. This is what Folk music used to be like.

many thanks for this song <3 rip Trayvon :(

intertwined

'Bodies At Bay' is taken from Cold Specks' new album 'Neuroplasticity' - out NOW on Mute. Get it here: iTunes: smarturl.it/NeuroPiTunes
CD: smarturl.it/NPCD
LP: smarturl.it/NPL

Cold Specks online:
Website: http://coldspecks.com/
Facebook: http://facebook.com/ColdSpecks
Twitter: http://twitter.com/coldspecks
Youtube: http://www.youtube.com/user/ColdSpecks
Instagram: http://instagram.com/coldspecksofficial
Soundcloud: https://soundcloud.com/coldspecks

Cold Specks - Bodies At Bay

On February 26th, 2012, Trayvon Martin was shot to death in a Florida suburb. A young black man barely 17 years old brought to his end for no reason other than suspicion. It also happened to be my birthday. As I celebrated another year on Earth, I was haunted by the fact that his life ended so soon. After a visit to the Civil Rights museum in Memphis, TN I wrote this song. Today is the one-year anniversary of his death and we must not forget him. We must not forget about the work that lies ahead of us. - Alynda lee Segarra, February 26, 2013

Alynda lee Segarra with Kate Cavazos
Recorded by Sarrah Danzinger
Mixed by Andrija Tokic

"Everybody Knows (for Trayvon Martin)" by Hurray for the Riff Raff

Written by Siv Jakobsen (sivmusic.com)
Produced by Siv Jakobsen and Charlie Van Kirk
Mixed and engineered by Charlie Van Kirk 
Recorded at Antfood Music, Virtue & Vice, and Stadiumred Studios

Piano: Christian Li
Bass: Jared Henderson

Strings arranged by Christian Li
Vln 1: Katie Kresek
Vln 2: Jesse Hanson
Viola: Rachel Golub
Cello: Yoed Nir

Assistant Engineering by Jay Marcovitz and Ben Talmi

Artwork & photography by Jørgen Nordby (jorgenordby.com)

sivmusic.com
facebook.com/listentosiv

c & p Siv Jakobsen 2014

Dark

Nadia Reid - Listen To Formation, Look For The Signs comes out Nov. 27 on Scissor Tail (U.S.) and Spunk (New Zealand).

Pitchfork -
Love is sold on the promise that it's better than any solitary satisfaction, so you might as well bet everything on it, time and time again. On "Call the Days", New Zealand songwriter Nadia Reid cuts to the heart of this deception: "I was happy on my own," she sings in a plainspoken lilt. "I would call the days as they were known." Yet there's no trace of vengeance in her deep, capable voice, and the surface of her gorgeous song remains steady, as a raga-like drone anchors rolling acoustic guitar and languid cello. Instead, like Laura Marling or Joan Shelley, the self-assurance Reid had once cultivated acts as its own safe harbor, turning the event into a meditation rather than a rupture. For a new artist, her confident grace is all the more remarkable.

NPR - 
Love is knowing what's best for yourself. We grasp at straws trying understand what that is, but even in that knowledge, we betray our best intentions to get stupid about another person. On "Call the Days," New Zealand folk artist Nadia Reid sings, "I was happy on my own / I would call the days as they were known" with a knowing yip, against a droning backdrop of closely mic'd acoustic guitars and longing cello. It's a heartbroken song, but made self-assured by Reid's warm, marbled alto.

Phoebe Mackenzie and Emily Berryman direct this beautifully shot video for "Call the Days," as the characters Nadia and Ross travel through New Zealand roads, forests and countrysides. Its muted palette is in keeping with the song's calm, yet gray skies; they betray the days ahead.

Nadia Reid - "Call The Days" (album excerpt)



Astronauts
End Codes album
Lo Recordings
6th May 2016

Dan Carney is a songwriter based in east London who releases music under the name Astronauts. He also enjoys spending time with his daughter and his partner, going for long walks, reading, writing, looking out of the nearest window, and making overly ambitious travel plans.

After the single ‘Skydive’ went viral in June 2014, the debut Astronauts album ‘Hollow Ponds’ was met with critical acclaim. This led to live performances far and wide, with Dan visiting Italy, Belgium, Luxembourg, Germany, France, and Switzerland in 2015 alone, as well as – equally thrillingly - having a song used on the BBC’s darts coverage in his native country.

Radio support also came from all over, with Radio 2 (Huey Morgan) and 6 Music (Lauren Laverne, Cerys Matthews, Radcliffe & Maconie, Steve Lamacq, Tom Ravenscroft, Gideon Coe) in the UK, to US stations such as KCRU in Los Angeles, all queuing up to broadcast Dan’s efforts to the public.

In between all of this, Dan has found the time to write and record his second full-length, ‘End Codes’. It channels the melancholic intensity and rich arrangements first encountered on ‘Hollow Ponds’ into eleven beautiful new songs, while also managing to sound more coherent and focused than its predecessor.

Lyrically, it’s Dan’s trademark intriguing blend of resignation and defiance, all delivered with a world-weary estuary twang which combines the colloquial fragility of Robert Wyatt with the eerie double-tracked smoothness of Elliott Smith. Cuts such as opener ‘Recondition’, ‘Split Screen’, and ‘Breakout’ are propelled along by a familiar sprawling, motorik intensity, simultaneously fraught and uplifting, and just repetitive enough to lodge themselves firmly in your consciousness without becoming labored or tedious.

Elsewhere, however, there’s variation and versatility in abundance. The woozy, pastoral otherness of ‘When It’s Gone’ – inspired by the cautionary paean to faded youth which adorns the grave of the Black Prince at Canterbury Cathedral - cements Dan’s status as the nearest thing Essex has got to Jonathan Wilson, while ‘Dead Snare’ mines an ominous trench of paranoia and dreamlike malevolence, dark acoustic guitar lines intertwining with creaking cello and a nagging lyric which sets out a bleak, recriminatory inner monologue.

There’s also the steady, cyclical lead single ‘Civil Engineer’, possibly the finest folk-pop song yet written about the vagaries of a career in civic planning, and the triumphant Laurel Canyon-via-Romford CSNY-style harmonies of ‘You Can Turn It Off’. Closer ‘Skeleton’, with its defiant drone-gospel coda, triumphant and boisterous over a yawning chasm of electronic sadness, channels the likes of Fugazi, Tortoise, and The War On Drugs, proving that Dan’s horizons extend significantly further than many of his supposed “indie folk” contemporaries.

Dan hopes that ‘End Codes’ will appeal to his existing small-but-probably-dedicated fan-base, while also attracting new listeners, as it’s the best thing he’s ever done. We like ‘End Codes’ very much, and we hope you do too. Dan is, as ever, available for interviews, lovingly curated playlists, and questionable sports science product endorsements.

ARTIST LINKS
www.lorecordings.com/artist/astronauts/
www.facebook.com/pages/Astronauts…71?ref=bookmarks
twitter.com/AstronautHeart

LABEL LINKS
www.lorecordings.com
www.facebook.com/pages/Lo-Recordi…/448401545307474
twitter.com/lorecordings

CONTACT
Press – John Power – john@thebestinshow.net
Radio – Sean Newsham - sean@mutante-inc.demon.co.uk
Label/licensing - Gavin O’Shea - gavin@hub100.com


End Codes

Buy on Bandcamp

Recondition

I Live Now As A Singer

Produced by Colin Stewart (Black Mountain, Cave Singers) at The Hive in Vancouver, Oh Fortune carries collaborations from many esteemed improvisational and experimental musicians including Eyvind Kang (Beck, Bill Frisell, Marc Ribot, John Zorn), Jesse Zubot (Nels Cline, Mats Gustafsson), Gord Grdina (Gary Peacock, Paul Motian), Kenton Loewen (Mats Gustafsson, Jerry Granelli), JP Carter (Fond Of Tigers, Inhabitants) and Peggy Lee (Wayne Horvitz, Veda Hille).

Currents of mortality, isolation, and desperation run through the album, and yet its title comes from a reflection of a ticker-tape parade celebrating the return of Gertrude Ederle to the United States in 1926. For a heartbeat, she was the country’s biggest celebrity. She had just become the first woman to swim the English Channel, and simultaneously the new world-record holder (previously held by a man).

There exists in Oh Fortune this chaos of juxtaposition. It could be taken as a sad or dark album, yet musically it kicks with more ferocity and tenacity than people may expect from Mangan. It debates melancholy while it anticipates incredible moments of glory and victory. It’s not sad, it’s simply honest. 

08 Leaves, Trees, Forest

Stream on Spotify: https://play.spotify.com/album/4PSi8ZyScb5BNq9EUzGCnp
―――
Recorded and produced by Mick Ross and Jake Houlsby
Mixed by Mick Ross
Mastered by TW Walsh
―――
Well I hit the road before daylight
And I caught the old and naked night
With the moon in bloom and every star in sight

And the music blurred to washed out strums
As I dreamed about the things to come
With the sky ablaze and shadows on the run 

And I never would have thought I would end up here
I thought that there was nothing left to see
And I never would have thought it would take so long
Just to learn how to be free

Well the winter sun it came up slow
And the light was pale and settled low
As the mist grew on the restless car and road

And I never would have thought I would end up here
I thought that there was nothing left for me
And I never would have thought it would take so long
Just to learn how to be free

Well I used to think that we were doomed
All the good had came and left too soon
But now I see, in fact, we've just begun to bloom
―――
Website: www.jakehoulsby.com
Facebook: www.facebook.com/jakehoulsby
Twitter: www.twitter.com/jakehoulsby
Contact Email: jakehoulsby@gmail.com

"Everybody Knows (for Trayvon Martin)" by Hurray for the Riff Raff

ATO Records

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