Changes Bacavi Remix

Live Dates:

17/04 – The Railway, Winchester 
18/04 – The Sage, Gateshead
19/04 – Captain’s Rest, Glasgow
20/04 – Start The Bus, Bristol
21/04 – Water Rats, London

Tickets & more info: www.jessesykes.com


Beautiful, beguiling, timeless, avant-garde – Seattle songstress returns with genre defying fourth album.

Jesse Sykes & The Sweet Hereafter follow up 2007’s critically acclaimed ‘Like Love, Lust and the Open Halls of the Soul’ with ‘Marble Son’, their fourth release from Fargo Records. 

Sykes and Phil Wandscher (co-founder of Whiskeytown with Ryan Adams) took on full production duties for ‘Marble Son’; recorded entirely in and around their hometown of Seattle (engineered by Mell Dettmer and mixed by Martin Feveyear). ‘Marble Son’ exemplifies a band at their creative pinnacle—heavier and more complex than previous records; the music resonates among the parallel worlds of the avant-garde and the timeless. Sykes’ voice and sometimes-mystical leanings and her band’s incomparable musical rapport culminate in what the New York Times has described as “spellbound music, rapt in fatalism and sorrow.” Syke’s trademark thematic darkness and acclaimed songwriting have never been more present; yet ‘Marble Son’ speaks of evolution, which Sykes describes as, “a sonic mirror of the most chaotic, turbulent times of our lives, where beauty triumphed, and the tears that spilled became this record". 

The album begins with ‘Hushed By Devotion’, an 8 minute, swelling, rock opus— reminiscent of 1960's San Francisco inspired psychedelia, which provides Wandscher (who co-wrote more of this record then previous) the sonic space to explore the depths of his guitar genius. Characterized by an emblazoned guitar solo, ghostly layered-vocal murmurings; and trademark lyrical poignancy—it’s a brilliant, ambitious statement of intent that commands attention.  

The record is an extension of their previous work, influenced in part by an association with the heavy doom and art-metal movement centered around Los Angeles label Southern Lord. This “unlikely” musical friendship between Sykes and influential underground bands SunnO)) and Boris was immortalized on the 2006 album ‘Altar’, culminating in a headlining performance at the ATP festival last summer. The band also toured with Earth, a group commonly acknowledged as one of the major progenitors of heavy-doom (and another member of the Southern Lord roster),  psych-rock maestros Black Mountain, and will soon share the stage again with SunnO)) at Holland’s Roadburn festival, curated by SunnO)) themselves, this April. 

Their musical kinship is audible in ‘Marble Son’—an utterly unique, yet subtle genre crossover. ‘Marble Son’ is a journey—a gutsy romp laced with moments of shimmering, retro beauty, underpinned by pastoral images of Syke’s interior world unfolding. Listen to the standout track ‘Pleasuring the Divine’, a gritty roar of a song, fed by Wandscher’s frenetic riffs, sludgy feedback, combined with frantic drumming—it’s entirely unexpected and totally mesmerizing.   

That’s not to say that there aren’t moments of hushed acoustic wonder amongst the 11 tracks. ‘Be It Me, Or Be It None’ is a glorious four minutes of hazy, Tim Buckley-esque folk, while album closer ‘Wooden Roses’ is an ethereal meditation on finding love only too late--guitars sparkle, strings stir, and Sykes’ voice swells and creaks beautifully right up until the final second.
 
‘Marble Son’ is the sound of a band evolving—urgently expanding to mirror the chaos of modern culture while not forgetting the beauty of the past—the result is more relevant than ever… and what a wonderful sound it is. 


Jesse Sykes & The Sweet Hereafter - Come To Mary

Morcheeba - The Moon (Kutiman Remix Ver B) 1644

Morcheeba - The Moon (Kutiman Remix Ver A) 1644

SONG OF THE WEEK is a new weekly showcase aimed at music fans within the creative industries.
KARTEL can clear both MASTER &amp; COPYRIGHT on all songs.
ALL ENQUIRIES: info@kartelcreative.co.uk // 02072410237
-- 
*Instrumental calypso recording from Cyril Diaz, renowned for the “rich and smooth tone” of his tenor sax playing.
*Inspired by the Haitian/Voodoo musical style.
*Features a choral vocal chant, minimal piano, upbeat percussion and an uplifting horn section.
*Four minutes &amp; ten seconds in length, with fade out.
*Taken from the recent Cyril Diaz vinyl EP release by Soundway Records - http://www.soundwayrecords.com


SONG OF THE WEEK 19.05.11 >> 'Voodoo' by Cyril Diaz & His Orchestra

Bostich & Fussible, one half of Nortec Collective, Mexico’s groundbreaking Tijuana-based genre-alchemists, return with their Grammy nominated release ‘Bulevar 2000’ released on the 25th July through Because Music. Bostich & Fussible will be appearing at this summer’s Lucha Future shows here in the UK; a marvel of live performance and a show like no other. Good takes on evil, heroes are born and super heroes are made in a night of adrenalin fueled Mexican wrestling. In conjunction with Lucha Future, Bostrich & Fussible are offering a free download of their track 'Punta Banda'. 

Mixing electronica with traditional Mexcian music, the new album (their second as a duo) sees Bostich & Fussible combining old synths and drum machines with traditional Mexican instruments and contemporary electronic production to create a sonic snapshot of the their hometown. 

The album features collaborations with local Mexican musicians as well as the Argentinean conductor Alberto Nunez Palacio renowned for his work with the great tango-fusionist Astor Piazzolla.  Nunez Palacio wrote string and horn arrangements on ‘I Count The Ways’ and ‘Bulevar 2000’ after performing with Bostich & Fussible in front of 25,000 fans in the streets of Tijuana. The show, a landmark event for the band, was held to celebrate 10 years of the Nortec Collective.  

Live dates w/ Lucha Future 

24th - 26th June - The Roundhouse - London 
28th June - Sage - Gateshead  
1st - 2nd July - Dome - Brighton 

http://www.bluefishtest.co.uk/lucha/tour_dates.htm

Punta Banda - Nortec Collective presents Bostich & Fussible

Darkest Hour (Extended Mix)

Darkest Hour (Original Mix)

Sea Of Brass is released on 30th October.

Pre-order the album: http://bsp.lnk.to/SeaOfBrass

British Sea Power - Once More Now

British Sea Power - Heavenly Waters

Taken from the debut album 'Prender El Alma' - due for release on ZZK Records on 30th October 2015.



Nicolá Cruz - La Cosecha

Taken from the forthcoming album The Long Road. Available from March 4th. Pre-order here: http://smarturl.it/LongRoad

Kindness - A Retelling

02 Night & Day

06 B GAME SHOW LIMIT

Various - Doing It In Lagos - Enjoy Your Love

Kenya Special 2: Selected East African recordings from the 1970's & 80's

Mucang'ang'o Ugiraga Mukindirio

The first track from Emily Barker's new album Sweet Kind Of Blue, out May 19th on Everyone Sang.

"I read a book recently about one of the greatest guitarists that ever lived. The rock ’n’ roll boys of the 50s, Elvis, Jerry Lee Lewis, and countless other singers, songwriters and musicians, cite her as being one of their heroes; many call her the Godmother mother of rock ‘n’ roll. Being African-American in a segregated country, being a woman in a man-dominated industry, being one of the first to bring gospel music to the nightclubs, and having both men and women as lovers, achieving recognition was never going to be easy."

"She was a trailblazer, a barrier-breaker, an innovator and an inspiration. Yet despite what she contributed to contemporary music, she wound up being buried in an unmarked grave in Philadelphia, and over the years slowly forgotten – history was not accustomed to keeping alive the memory of those from the marginalised groups of society, regardless of their genius."

"Her name was Sister Rosetta Tharpe."

"'Sister Goodbye', is a song I wrote from the point of view of one of Rosetta’s best friends, Marie Knight. The two of them would take off in a big, fancy car, set up their own stage equipment, do each other’s hair and makeup, and then put on a blinding show. Sister Rosetta on the guitar, Marie Knight on the piano, their two voices interweaving in the most fluid and playful way."

Emily Barker - Sister Goodbye

Released October 27th on Goddamn Records

https://sonofdave.lnk.to/musicforcopshows

Son Of Dave "Pow Pow"

Morcheeba - It's Summertime (Radio Mix)

PRESS QUOTES:

"brilliantly scuzzy and original"  **** The Fly
“a brooding menace rarely heard since Jane’s Addiction” Guardian
"bigger more epic songs ... draws the listener into a psychedelic realm..."  8/10 Rocksound
"Sweet follow up from buzz creating Georgians ..."  **** Guitarist
"Dark shoegazing sonics ... a drama that fans of MBV, Dinosaur Jr and especially Smashing Pumpkins will be sure to recognise"   Mojo 

BIOGRAPHY:

DEAD CONFEDERATE, a five-piece from Athens, Georgia, are all set to unleash their new album Sugar on the UK on August 23rd.  

Winter storms are punishingly cold and uncomfortable, but are an important source of water for spring growth. Likewise for Dead Confederate, the series of New Jersey blizzards that besieged the recording of sophomore album Sugar (a reference to the record snowfall) also heralded growth from the darker, somber realm of their critically acclaimed first album Wrecking Ball. With an evolving approach and focused, streamlined sound, Sugar explores new styles beyond the aching, bleak psychadelia of the debut. “We were expressing long, drawn-out anguish on Wrecking Ball, but it would have felt repetitive to do it again. They just weren’t the songs we were writing,” vocalist-songwriter Hardy Morris said. “It was a very natural progression to do something a little different.”

That progression was shaped by tours with legends Dinosaur Jr. and Meat Puppets, which increased Dead Confederate’s appreciation for the pioneering musicians of the 80s and 90s that laid the foundation for the band’s sound. The group also got ideas for their own work: New songs that developed were lighter and tighter (while Wrecking Ball had seven songs longer than five minutes, Sugar has none), without abandoning the driving guitarwork and unbridled emotion that has set them apart. “I’m definitely influenced by the bands I’ve toured with. They can really combine epic jam moments and classic-rock elements. It inspired me to try more upbeat songwriting,” said bassist-songwriter Brantley Senn. “You can still do that and play the songs hard.” 

And Dead Confederate certainly plays hard. With guidance by star producer John Agnello (who, aside from Dinosaur Jr., has also helmed records by Sonic Youth and The Hold Steady) Sugar pounds with a weighty, dark alt-grunge fervor that recalls Smashing Pumpkins’ heyday; at other times, the record buzzes with a frantic distortion and howling anger reminiscent of The Walkmen. Psychedelic and prog-rock elements add depth to a broad and diverse direction for the band — perhaps most evident on ‘Run From The Gun,’ which blends harmony and Mellotron into a drifting, airy commentary on war. “That developed from my thinking about our treatment, or mistreatment, of Native Americans. I’m kind of a history buff, and a lot of history makes you angry,” Morris said. “It occurred to me that the easy answer would be to go back to all times in history and tell people to run from the gun.”

For those who have been following the band since it rose to prominence four years ago in the fertile Athens, Ga., music scene, there’s still plenty of the simmering, sludgy grunge revivalism that was their early trademark. The title track finds the band once again careening between tense, hushed dramatics and thrashing, explosive release. About relationships and missing home, both ‘Sugar’ and the brooding ‘Father Figure’ will satisfy those who couldn’t get enough of snarling gloom of ‘Goner’ or ‘Start Me Laughing’ off Wrecking Ball.
Senn took on a new songwriting approach for Sugar, bringing fully written and complete home-recorded demos to pre-studio practice sessions, rather than developing them through live performance. Getting those under their belts and working through Morris’ ideas, the band spent two days putting together 20 songs, then spent a week laying half of them down. "It was challenging, but learning that much new material in that short amount of time definitely left everyone with a sense of accomplishment and camaraderie," said keyboardist John Watkins. Much of the credit goes to Agnello, who oversaw an efficient recording process (for example, bringing in a drum tech for setup and tuning, which drummer Jason Scarboro said gave him “freedom to focus on getting the sounds I wanted”) and kept the band on task throughout — which, with five musicians putting brand-new material together in such a short time, could have proven difficult. “He deals with different people’s personalities really well,” said guitarist Walker Howle.

Not having previously toured on the songs kept them malleable and fresh, encouraging the band to explore and absorb new ideas. That tactic also furthered development of the two distinct songwriting styles in the band. Morris and Senn each penned half the album; each choosing from the others’ contributions, the collection perfectly complements itself, with Morris’ material remaining dark and baleful and Senn giving the group its two most upbeat songs yet: ‘In The Dark’ and the first single ‘Giving It All Away,’ a collaboration with J Mascis that soars with energy and a little bit of a slide guitar. “I had almost written that song for Dinosaur Jr. It’s about appreciation and understanding for fellow musicians, the struggles that are the ties that bind musicians together,” Senn said. 

For the band, Sugar feels like their first true album, with Wrecking Ball feeling more like a collection of their early songs. That cohesion on Sugar is prevalent even when songs continue the foreboding feel of Wrecking Ball, such as Morris’ wailing political lament of ‘By Design,’ and somber, ominous finale ‘Shocked To Realize.’ “We wanted the album to be fun and creative, instead of just recording the songs,” Morris said. “It’s not like we decided we couldn’t have anything grungy or heavy; that’s just not all that we’re interested in. You can listen to the record a bunch of different ways. What we were doing felt right.”

The new material will certainly add an extra dimension to the already renowned live show; those well-acquainted with the band and newcomers alike have raved of the band’s thunderously powerful and viscerally hypnotic stage performances. That’s not going to change with Sugar, though the band expects to draw from its wider catalogue to create differing moods and atmospheres as they go. “These songs will change up the pace of the live show,” said Senn. “I like the feel of it. This record starts upbeat and gets darker and sadder. There’s a control to the emotional flow.”

Wrecking Ball introduced Dead Confederate as artists who had long before learned how to play together. Sugar showcases Dead Confederate as artists who have now learned how to grow together — a lesson that many bands learn too late. But Dead Confederate never thought of Wrecking Ball as a recipe for success as much as a license to explore their creativity and talents, both individually and as a group. Rising from a darkly affecting debut, Sugar is the realization of the many sides of Dead Confederate that the band is now finding ways to express. “We have more room to breathe,” Morris said. “You just have to be honest and natural about the whole thing. This is special to us, and that’s where we get our gratification.”

For more information, please contact KARTEL on 0207 241 0237
Charles Kirby-Welch – charles@kartelcreative.co.uk


02 Run From The Gun

In 1993 I found myself opening for the great Irish band Clannad on their N. American tour. On June 11th we played the first of two nights at the Somerville Theatre, Boston, Massachusetts. The following day there was a great review of the show written by Steve Morse in the Boston Globe. Steve wrote glowingly of Clannad’s brilliant performance and at the bottom kindly added ‘Opener Martyn Joseph was a profound experience of his own. He combined edgy protest songs that reached a Phil Ochs intensity at times, but also had a droll sense of humour that kept the audience pleasantly off guard throughout. A fine talent.’ 

I was more than grateful for Steve’s generous words but had to confess that I didn't know anything about Phil Ochs or his music. So I started to listen to any of his records I could find and was captivated by his songwriting and live performances. I also sadly learned of his struggle with mental health and his far too early demise at his own hand in 1976. This made his music all the more remarkable for its lack of self pity or navel gazing and showed that despite his personal struggles this was a man of great compassion, empathy and action. Twenty years after the Boston Globe review I happened to meet Phil’s sister Sonny,  a wonderful woman with a big heart who is doing a great job of keeping Phil’s music alive through concerts and on her radio show. With her encouragement, and to play a part, I decided to record an album of Phil Ochs songs. 

Phil was a great and prolific songwriter. The cannon of songs he left us with is extraordinary and it was not easy to choose the songs recorded here. There were many others I could have drawn on but the idea is that this will whet the appetite and the listener will want to seek out more of Phil’s work. They won’t be disappointed. Phil had a beautiful voice and a gifted way with vibrato and timbre. He wasn't the world’s greatest guitar player and his sense of rhythm could be a little unique, but that pure lilting vocal along with his ragged meter endears him to my ears even more. Recording was interesting. I decided to primarily strum rather than work on complicated guitar arrangements that might distract and move too far away from the original work. My voice will never be as pure as Phil’s but I tried to meet the commitment that his songs demand. It will require a certain amount of grace from his fans but I hope I’ve done justice to this snapshot of the great man’s opus.

What is most striking to me is how poignant and vital his words remain to our present time. Its uncanny that as you wander through this material there are so many echoes of our current struggle with right wing populism and those who pervade their wares through lies, cynicism and fear. Phil once said that ‘In such ugly times, the only true protest is beauty’. He brought and left us with a lot of that ‘beauty’ and it’s been an honour to dwell within it for a while and hopefully give it a small nudge forward. MJ 2019

Days Of Decision : A Tribute To Phil Ochs - MP3

I Ain't Marching Anymore

03 Dub Pistols - Bankrobber

02 Dub Pistols - Soundsweet

01 -Dub Pistols - Camberwell Carrott

Narco Polo- Winnen

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