Guns N’ Roses have officially released their new single ‘Perhaps’. The track accidentally leaked when it was made available on digital jukeboxes across the United States over the weekend. Although a rough demo of the song has been circulating on the internet for years, ‘Perhaps’ was “written and recorded by Axl Rose, Slash, and Duff McKagan this year,” and marks the band’s “first collective new composition and recording together in 30 years since 1993’s The Spaghetti Incident?,” per a press release. Listen to it below.
‘Perhaps’ follows Guns N’ Roses 2021 songs ‘Hard Skool’ and ‘Absurd’, which appeared on the Hard Skool EP. Like those tracks, it dates back to the Chinese Democracy sessions but was reworked with the current lineup. Guns N’ Roses are currently in the midst of a global stadium tour.
Gary Young, Pavement’s original drummer, has died at the age of 70. “Gary Young passed on today,” Pavement frontman Stephen Malkmus wrote on Twitter/X. “Gary’s pavement drums were ‘one take and hit record’…. Nailed it so well. rip.”
Born in Mamaroneck, New York, played in local bands while living in Stockton, California, including the Fall Of Christianity, and booked acts like Dead Kennedys, Circle Jerks, and Black Flag. When Stephen Malkmus and Scott ‘Spiral Stairs’ Kanneberg co-founded Pavement in the late ’80s, they recorded at Young’s Louder Than You Think Studio. Young provided studio drums, which led to him becoming their first drummer.
Young played with the band through their 1992 record Watery Domestic, after which time Steve West took over. He also produced two tracks on Pavement’s 1999 EP Major Leagues and reunited with the band on two shows in 2010. After Pavement, Young put out three albums under the moniker Gary Young’s Hospital. A documentary about Young’s life and career, Louder Than You Think, premiered at SXSW in 2023.
Pavement have shared an official statement on Young’s passing, writing:
He was made to play drums in rock and roll bands. He came from the “Keith Moon school of drummers.” It’s an unofficial school. But, Gary graduated from it with honors. We’ve had the great pleasure of seeing insanely talented drummers. He drummed very hard from a different planet despite being born and raised in Mamaroneck, New York on the easiest birthdate ever to remember (5/3/53).
To us and all who knew him, he was a fearless fireball. His enthusiasm for playing live music was relentless and unrepentant.
He was the best storyteller we’ve known and a unique judge of character. The things he experienced before we knew him blew our minds.
Gary loved tension. He wanted to make people excited and anxious. He accomplished both. We embraced him and he taught us myriads of things that we never thought about. He was an educator. In ways, we were his apprentices.
Pavement has been an extremely fortunate endeavor from the start and, somehow, continues to be.
Without Gary, many people would not have noticed us. In all of the best ways, he was a freak show. He was magnetic. He was magical. He was dangerous. We could think of him as an uncle, an older brother that none of us had. But, he was a rare breed called Gary aka The Rotting Man. We loved his parents, Bob Young and Betty Quick. On many occasions, they looked after us.
We all loved him and it was life changing to have a staggering weapon to play music with.
Collectively, our hearts go out to Geri Bernstein, Gary’s wife, who was with him for nearly 50 years and kept him going and staying as vibrant as possible past the age of 70.
Love you Gary. We’re sure you’re doing handstands off of roofs, biting high hat cymbals, fake drowning at the bottom of your pool and dodging rocks glasses and police-fired bullets aimed at your head.
Never fear.
The Plant Man lives on every time Pavement steps on a stage and will continue to do so.
Pavement’s record label, Matador Records, also paid tribute to Young on Instagram. “We were exceedingly lucky to know the amazing human, drummer, producer and solo artist Gary Young. Much love today to his family, friends and bandmates,” the label posted.
Born in Bradford, a city in West Yorkshire, England, Laura Groves released her debut album under the moniker Blue Roses fourteen years ago. Following the self-titled record, she formed a project called Nautic alongside the producer Bullion, who also provided additional production on two subsequent EPs, 2013’s Thinking About Thinking and 2015’s Committed Language. Honing her skills as a producer and multi-instrumentalist, she put out her next EP and first under her own name, A Private Road, in December 2020 via Bella Union. Last week, the London-based singer-songwriter returned with her a new LP, Radio Red, which is rooted in the intimacy of folk music while showcasing a fascination with the immersive layers, world-building, and large-scale shimmer of synthpop. Made mostly in solitude – with help from mix engineer TJ Allen and vocal contributions from Sampha – the album’s soundscapes are lush and dreamy yet bleak and labyrinthine, evoking the geography of West Yorkshire in ways that create an ineffable link between past and present, not too unlike the romantic push-and-pull that Groves’ lyrics often unfurl around. For such a hazily introspective album, it never puts itself at too much of a distance, pushing instead for a deeper kind of togetherness.
We caught up with Laura Groves for the latest edition of our Artist Spotlight series to talk about growing up in Shipley, the years leading up to Radio Red, collaborating with Sampha, and more.
What are some of the strongest memories that you associate with growing up in West Yorkshire, in terms of the landscape or images that have stuck with you?
I’ve thinking about this a lot, because I think this record is really rooted in that place. And I think to an extent a lot of what I do, I won’t even be consciously thinking about it, but it often does come back to that environment and the landscape. I grew up in this town called Shipley, which is kind of on the edge of this bigger city called Bradford, which is quite built. But it’s an interesting area, because Bradford’s built in this valley, and it’s surrounded by the moorland; quite expansive, open countryside, but it’s got a bit of a harshness to it. When you’re in the center of the city, you can see that in the distance. I used to go up onto the tops of the moors quite a lot, just to get out of town, but then you can see this big city all built up down there. I feel like growing up, I was always kind of looking off into the distance, the hills in the distance. They were always this presence, it was always there. I’ve always felt quite sensitive to all these stories that exist there. It’s just this contrast – there is a strangeness and a bit of a melancholy to the place, and I love it, it’s where I grew up. I feel like I’m often exploring that place in most creative things I’m doing, but it’s quite a complicated set of emotions and feelings.
In a press release, you talk about the radio tower on that hill you just mentioned, and there were two radio towers watching over the studio where you recorded the new album. Beyond the immediate symbolism of that in relation to the theme of communication on the album, did that feel evocative of the past in any way that was significant to you?
It’s funny because the radio tower was opposite the house that I grew up in – it was this long street straight out of the front door, and then in the distance a hill, and the tower on top. There’s bits of green, but houses are built up on the side of the hill, and the lights in people’s houses glowing at night, that kind of imagery has stuck in my head. But I didn’t even make the link between that tower and this album and these towers until I’d finished the album, and I think it was actually somebody that mentioned it online. They were like, “Oh, I wonder if she’s talking about the tower that’s in Shipley.” I think because it was such a familiar site – every day coming out of the front door I’d see it – it was such moment because I was like, “Oh, yes.” I think the feeling that that gives me when I think about it now is just having a view out onto something. In London, obviously it’s very built up and often you don’t get those kinds of views, but I think there’s something about having that here where I live as well that it’s become such a feature of where I’ve been working and living. I’ve ended up living on a big hill with a view out of London, so there’s definite links there, but I guess a lot of the time they’re subconscious. It’s just things that I seem to end up being drawn to somehow, and they work their way in.
How did your relationship with your hometown change when you moved to London? Did the strangeness that you’re describing look any different when you moved out?
When I first started making and releasing music, which is a really long time ago now, I still lived in Yorkshire, but I would come to London. There were certain aspects of that that were difficult, just moving between the two places. I think there was a big part of me that needed to move out of Yorkshire at the time I did. It’s been a long process of being away from that place to kind of understand a lot of the ways that growing up has affected me, and I probably needed some distance from it to understand it in a different way. But a lot of my family still lives there, so I do go up and visit every so often. I’ve been in London for a long time now, over ten years, which is still surprising. I can’t believe I’ve been here for that long. I do still feel the pull to go back and visit and see places.
How do you feel when you go back? Is it any different to how you remember it?
It’s just so familiar. The streets that I walk – I’ve always done a lot of walking around and exploring, and I feel like I know it so well. You know when you go back somewhere and you just the geography and your way around immediately? I do kind of just slip back into it.
I read that you were introduced to artists like Kate Bush and Fleetwood Mac through the records that your mom gave you. Did they also feel like an escape, something that took you out of this world and into another?
Yeah, definitely. I remember my mom giving me a small pile of her records that she had when she was a teenager, just playing them over and over again. It’s like a feeling of discovery, discovering another world. Especially artists like Kate Bush, that really opened my eyes as an artist in terms of an inspiration of somebody who, yeah, she writes songs, but it’s so much more than that. It’s a whole artistic world – video and photography and being in the studio and being the producer. That kind of blew my mind, because it really resonated with me. That way of working just really makes sense to me – you get the sense that it’s all the same thing, it’s all just this expression of this world that’s in her head, maybe, and there doesn’t need to be such separation between those things. Musicians who also record themselves, I’ve always been so interested in that from the start. That’s kind of how it all started, just by accident, discovering, “Oh, I can layer everything up, I can do all this in my house on the computer.” [laughs] That self-producing thing has been a big part of everything.
Even going back to to Blue Roses, there’s this excitement I hear in you layering all these sounds, which is part of what makes it so delightful. I’m curious how you look back on that record and the time it represented in your life.
I haven’t actually listened to that music for a really long time until very recently. It’s almost like making this one has allowed me to revisit it again and and listen back. In a lot of ways, making that was such a joyful time, because you’re just free of the constraints of “I should do it in this way” and there’s a bit of a naivety to it. We just did it without overthinking too much. It’s weird as well, because I actually recorded that album with my good friend Marco [Pasquariello] at his parents’ house, and that is near that radio tower. [laughs] It was a local thing, and I met him through making music. It was this very peaceful, free time, really. And then releasing it, it goes through this whole other journey. It has been difficult to go back and listen to it again because certain aspects of that time of life were difficult, and it just becomes so linked and connected. So it’s really amazing to be able to go back and listen to it again and be really at peace with it now. It’s the same as what we were saying about Bradford itself and the landscape and everything – there were a lot of contrasting emotions around it, but it feels really nice to treasure that time now.
You’ve released several EPs and collaborated with a number of different artists since then. When did you feel ready to take that leap and self-produce another full-length record?
I think one big one major element of that was I started playing keyboards and went on tour with Bat for Lashes. I was working on my own music, that was just always an ongoing thing, and I got this opportunity. I feel like that was a bit of a turning point, because even though it it took a lot of focus, learning someone else’s music, it gave me a lot of more confidence in myself, because it was challenging and it took me out of my world a little bit. I met some really amazing people, Natasha, and my friend TJ Allen, who was also in the band. He’s a studio engineer and he has his own studio in Bristol, and he offered me some time in his studio to work on my music. Suddenly I was taking all this stuff that I’ve been working on, hiding away a little bit and unsure of, into this new place with new ears. Tim was so encouraging and kind and generous, bringing his skills to it as well, and he went on to mix the whole record. I felt able to be vulnerable, because it is a vulnerable thing sometimes – it felt like such a hill to climb to even play any of it at one point. It made me realize how important that is, because otherwise you can wind up never finishing anything. Not having the confidence to say that for yourself, like, “Oh yeah, it’s done now.” I could have just been stuck in that forever.
Could you talk about your connection with Sampha and what it was like having him in the studio?
I’ve known Sampha for such a long time. He just came round to the studio, which is also my living room. [laughs] It was lovely, just making music together and having our voices side by side like that. We’ve sung together a little bit over the years since meeting. It just felt very natural, because we’ve known each so long. This is something I’ve been thinking about a lot recently, just singing with other people and the power that has – just voices together. Obviously, his music is inspiring, and his devotion and dedication to his music is inspiring to me. There’s so much to be said for making music together.
I find it fascinating that the album was made mostly in solitude, even though a lot of it revolves around communication. I love that contrast and the way you embody it musically and vocally. How did the dynamic shift by having Sampha’s voice come in?
It’s something I think about a lot – communication, loneliness, isolation, especially in the world that we live in where we’ve always got our phone and we have access to so many ways of talking to each other, but it can still feel very lonely. Even with the radio towers looking out, the red lights that are on them at night, just knowing that there is something out there and using the music to explore that and access it somehow. There’s so much that can keep us separated from accessing that. I’ve often felt like I have to do everything on my own – that sort of hyperindependence, like I have to look after myself. And it’s a little bit of an opening up of that and finding joy in that as well. I’ve been putting on this music night called Desire Paths, which is also the name of the radio show that I do on NTS. And we’ve just been improvising – at the root of it, it’s just purely improvised music. It’s just been so beautiful playing music together where it’s not necessarily through performance or a recorded product; it’s just being in the moment, and getting through that fear. Because it is scary the first time you do it, it’s not something I’d really done before. All feeling so together in the moment has been so eye-opening, and it’s made me think a lot about the power of playing music together. I want to do more of that for sure.
When you sing “for the love of trying” on the opening track, that one line seems to somehow encapsulate this constant reaching that stretches out across the record. Did it feel significant to you, writing that down?
It’s interesting that you pinpoint that line, because you could use that as the overarching attitude of the whole thing, really. So many times it’s been like, “Why am I doing this?” [laughs] I know I’m here to create things and make thing, and it’s just trying to get through those values, whatever they might be. I think everybody should be able to access creativity. “For the love of trying.” There’s so many things I could say about that. It does all come back down to love, at the end of the day. That’s what you can condense it all down to, and that’s what’s kept me going.
This interview has been edited and condensed for clarity and length.
Simple, affordable, and classic. That’s a Casio watch. From the mailman to the red carpet celebrities, this brand’s superb watches fit every budget. Casio’s cannot be undermined, so in celebration of Casio, we have selected five gorgeous timepieces by Casio. These timepieces are affordable and could make for an ideal addition to your fashion wardrobe or extensive watch collection.
Casio ‘Collection’ Gold and Digital Dial Stainless Steel Quartz Watch
Priced at a total retail price of £69, it isn’t the most affordable piece by Casio. However, it can be worn on many occasions with its iconic gold look. This iconic piece includes an alarm, stopwatch, and an LED light if you like your watches to have day-to-day practicality.
Casio ‘G-Shock’ Off white and Black Plastic/Resin Quartz Chronograph Watch
In the pricier range, we have Casio ‘G-Shock’ Off White & Black Plastic/Resin Quartz Chronograph Watch. This lovely piece is thicker than Casio’s standard calculator or classical-styled pieces. Still, it is durable and great for people who love a more oversized wristwatch, as it measures 45mm in diameter. This special edition of the G-Shock includes a chronograph function and a lovely strap that can be matched well with a monochromatic wardrobe or a more playful outfit.
Casio ‘G-Shock’ Rose Gold and LCD Stainless Steel Tough solar Chronograph Radio-Controlled Watch
Keeping in with the stylish looks, we have another G-shock on the list. This one reminds us of the Cartier pieces with its stainless steel bracelet. The rose colour pallet attracts attention and certainly appears significant on the wrist at 49mm. With its iconic digital dial, the piece will certainly fit within formal and informal occasions.
Casio ‘Collection Vintage’ Silver and Grey Plastic/Resin Quartz Watch
Aimed at ladies but can certainly be worn by fashionistas of all genders, the Casio Collection Vintage silver and grey quartz piece is a stylish piece that retains the looks of the iconic LA670 and LA680 pieces by Casio. With a 27mm, it will wear more like a bracelet on bigger wrists but certainly is suitable for all shapes and sizes.
Casio ‘Core Collection Calculator’ Black and LCD Plastic/Resin Quartz Chronograph Watch
Calculator watches are tough to beat, and this Casio proves it. Coming in at a lovely diameter of 34mm, it ticks the boxes for the “smaller” watch fanatics and acts as a superb daily watch with its practicality and humble look. Famous characters like Walter White and Marty McFly have worn this watch — making it all the more cool.
Hum are reissuing their first four albums on vinyl: 1993’s Electra 2000, 1995’s You’d Prefer an Astronaut, 1998’s Downward Is Heavenward, and 2020’s Inlet. They’re set for release on December 8 via the band’s Earth Analog Records and Polyvinyl.
The band oversaw “every step of the re-mastering, lacquer cutting, and manufacturing stages while working with original designer Andy Mueller/OhioGirl in updating the artwork,” according to a press release. “On a personal note, we remain grateful and humbled by the ongoing interest in our music from fans old and new,” they commented. “Sincerest thanks for the decades of support and kindness.”
The press release also states that Hum currently “do not have plans for new music or live performances/touring.” The band’s longtime drummer Bryan St. Pere passed away in 2021.
Joni Mitchell has announced Archives, Vol. 3: The Asylum Years (1972-1975), the latest in her series of archival releases. Set for release on October 6 via Rhino, it features rare recordings from the period that spawned 1972’s For the Roses, 1974’s Court and Spark, and 1975’s The Hissing of Summer Lawns. These include live sets from Carnegie Hall, Royal Festival Hall, the James Bay Benefit Concert, Wembley Stadium, and more, as well as tracks from sessions with James Taylor, Graham Nash, and Neil Young. Listen to an early demo of Court and Spark’s ‘Help Me’ below.
Joni Mitchell Archives, Vol. 3: The Asylum Years (1972-1975) also comes with a 40-page booklet of photos and a conversation about the time period between Mitchell and Cameron Crowe. It follows 2020’s Vol. 1: The Early Years (1963-1967) and 2021’s Vol. 2: The Reprise Years (1968-1971).
Joni Mitchell Archives, Vol. 3: The Asylum Years (1972-1975) Tracklist:
5xCD
CD One:
Graham Nash David Crosby Session
Wally Heider Studios, Hollywood, CA, Dec. 13, 1971
1. Cold Blue Steel and Sweet Fire
2. For the Roses
For the Roses Demos
A&M Studios, Hollywood, CA, late 1971 / early 1972
3. Banquet
4. Lesson in Survival
5. Like Veils Said Lorraine
6. See You Sometime
Live at Carnegie Hall
New York City, NY, Feb. 23, 1972
7. This Flight Tonight
8. Electricity
9. Cold Blue Steel and Sweet Fire
10. Big Yellow Taxi
11. Blue
12. For Free
13. Banquet
14. All I Want
15. Intro to a Case of You
16. A Case of You
17. Intro to Carey
18. Carey
19. Lesson in Survival
20. Woodstock
21. Intro to You Turn Me on I’m a Radio
22. You Turn Me on I’m a Radio
23. Intro to For the Roses
24. For the Roses
CD Two:
Live at Carnegie Hall [cont.]
New York City, NY, Feb. 23, 1972
1. Both Sides Now
2. My Old Man
3. Intro to the Circle Game
4. The Circle Game
For the Roses Early Sessions
Wally Heider Studios, Hollywood, CA, Apr. 16-21, 1972
5. Medley: Bony Moronie/Summertime Blues/You Never Can Tell – with James Taylor
6. Electricity – with James Taylor
7. You Turn Me on I’m a Radio – with Neil Young & The Stray Gators
8. See You Sometime (early version with bass & drums)
9. You Turn Me on I’m a Radio (early version with bass & drums)
Live at Royal Festival Hall
London, England, May 5, 1972
10. Intro to Judgement of the Moon and Stars (Ludwig’s Tune)
11. Judgement of the Moon and Stars (Ludwig’s Tune)
For the Roses Sessions
A&M Studios, Hollywood, CA, Jul-Aug, 1972
12. Blonde in the Bleachers (alternate guitar mix)
13. Let the Wind Carry Me (piano/vocal mix)
14. Barangrill (guitar/vocal mix)
15. Cold Blue Steel and Sweet Fire (sax guide vocal)
16. Sunrise Raga
17. Twisted (early alternate version)
James Bay Benefit Concert
Paul Sauvé Arena, Montreal, Quebec, Canada, Apr. 15, 1973
18. Intro to Big Yellow Taxi
19. Big Yellow Taxi
CD Three:
Court and Spark Demos
A&M Studios, Hollywood, CA, Summer 1973
1. Piano Suite:
Down to You
Court and Spark
Car on a Hill
Down to You
2. People’s Parties
3. Help Me
4. Just Like This Train
5. Raised on Robbery
6. Trouble Child
Wild Tales [Graham Nash] Session
Rudy Records Studios, San Francisco, CA, Aug. 25, 1973
7. Raised on Robbery (early working version)
8. Raised on Robbery – with Neil Young & The Santa Monica Flyers
Court and Spark Sessions
A&M Studios, Hollywood, CA, Sep.-Oct., 1973
9. People’s Parties (early alternate take)
10. Trouble Child (early alternate take)
11. Car on a Hill (early alternate take)
12. Down to You (alternate version)
13. The Same Situation (alt vocal/piano mix)
14. Bonderia
Live at Dorothy Chandler Pavilion
Los Angeles, CA, Mar. 3, 1974
15. Introduction
16. This Flight Tonight – with Tom Scott & The L.A. Express
17. You Turn Me on I’m a Radio – with Tom Scott & The L.A. Express
18. Free Man in Paris – with Tom Scott & The L.A. Express
19. The Same Situation – with Tom Scott & The L.A. Express
20. Just Like This Train – with Tom Scott & The L.A. Express
CD Four:
Live at Dorothy Chandler Pavilion [cont.]
Los Angeles, CA, Mar. 3, 1974
1. Rainy Night House – with Tom Scott & The L.A. Express
2. Woodstock – with Tom Scott & The L.A. Express
3. Cactus Tree
4. Big Yellow Taxi
5. Intro to People’s Parties
6. People’s Parties
7. All I Want
8. A Case of You
9. Intro to For the Roses
10. For the Roses
11. Cold Blue Steel and Sweet Fire – with Tom Scott
12. Blue
13. For Free – with Tom Scott
14. Trouble Child – with Tom Scott & The L.A. Express
15. Help Me – with Tom Scott & The L.A. Express
16. Car on a Hill – with Tom Scott & The L.A. Express
CD Five:
Live at New Victoria Theatre
London, England, Apr. 22, 1974
1. Intro to Jericho
2. Jericho
Live at Wembley Stadium
London, England, Sep. 14, 1974
3. Woman of Heart and Mind
The Hissing Of Summer Lawns Demos
A&M Studios, Hollywood, CA, 1975
4. In France They Kiss on Main Street
5. Edith and the Kingpin
6. Don’t Interrupt the Sorrow
7. Shades of Scarlet Conquering
8. The Boho Dance
9. Harry’s House
10. Dreamland
The Hissing of Summer Lawns Sessions
A&M Studios, Hollywood, CA, 1975
11. In France They Kiss on Main Street (alternate version)
12. The Jungle Line (guitar/alternate vocal)
13. Edith and the Kingpin (alternate version)
14. Don’t Interrupt the Sorrow (alternate version)
15. Shades of Scarlet Conquering (alternate version)
16. The Boho Dance (alternate version)
17. Dreamland (early alternate band version)
4xLP
Side One:
Graham Nash David Crosby Session
Wally Heider Studios, Hollywood, CA, Dec. 13, 1971
1. Cold Blue Steel and Sweet Fire
For the Roses Demos
A&M Studios, Hollywood, CA, late 1971/early 1972
2. Like Veils Said Lorraine
For the Roses Early Sessions
Wally Heider Studios, Hollywood, CA, Apr. 16-21, 1972
3. Medley: Bony Moronie/Summertime Blues/You Never Can Tell – with James Taylor
4. You Turn Me on I’m a Radio – with Neil Young & The Stray Gators
5. See You Sometime (early version with bass & drums)
Side Two:
Live at Carnegie Hall
New York City, NY, Feb. 23, 1972
1. This Flight Tonight
2. Electricity
3. Lesson in Survival
4. Blue
5. Banquet
6. Intro to For the Roses
7. For the Roses
Side Three:
Live at Royal Festival Hall
London, England, May 5, 1972
1. Intro to Judgement of the Moon and Stars (Ludwig’s Tune)
2. Judgement of the Moon and Stars (Ludwig’s Tune)
For the Roses Sessions
A&M Studios, Hollywood, CA, Jul-Aug, 1972
3. Blonde in the Bleachers (alternate guitar mix)
4. Barangrill (guitar/vocal mix)
5. Sunrise Raga [3:41]
6. Twisted (early alternate version)
Side Four:
Court and Spark Demos
A&M Studios, Hollywood, CA, Summer 1973
1. Piano Suite:
Down to You
Court and Spark
Car on a Hill
Down to You
2. Help Me
Side Five:
Tonight’s the Night [Neil Young] Session
S.I.R., Hollywood, CA, Aug. 26, 1973
1. Raised an Robbery – with Neil Young & The Santa Monica Flyers
Court and Spark Sessions
A&M Studios, Hollywood, CA, Sep.-Oct., 1973
2. People’s Parties (early alternate take)
3. Trouble Child (early alternate take)
4. Car on a Hill (early alternate take)
5. Bonderia
Side Six:
Live at Dorothy Chandler Pavilion
Los Angeles, CA, Mar. 3, 1974
1. Introduction
2. Free Man in Paris – with Tom Scott & The L.A. Express
3. The Same Situation – with Tom Scott & The L.A. Express
4. Just Like This Train – with Tom Scott & The L.A. Express
Live at New Victoria Theatre
London, England, Apr. 22, 1974
5. Intro to Jericho
6. Jericho
Live at Wembley Stadium
London, England, Sep. 14, 1974
7. Woman of Heart and Mind
Side Seven:
The Hissing of Summer Lawns Demos
A&M Studios, Hollywood, CA, 1975
1. In France They Kiss on Main Street
2. Edith and the Kingpin
3. Don’t Interrupt the Sorrow
4. Harry’s House
Side Eight:
The Hissing of Summer Lawns Sessions
A&M Studios, Hollywood, CA, 1975
1. The Jungle Line (guitar/alternate vocal)
2. Shades of Scarlet Conquering (alternate version)
3. The Boho Dance (alternate version)
4. Dreamland (early alternate band version)
The National have shared two new songs, ‘Space Invader’ and ‘Alphabet City’. They mark the band’s first new music since First Two Pages of Frankenstein, which came out in April. The tracks come with videos drawn and animated by Pauline de Lassus, aka longtime National collaborator Mina Tindle. Watch and listen below.
Next month, the National will host their 2023 Homecoming Festival, sharing the stage with acts including Patti Smith & Her Band, Pavement, Bartees Strange, and more.
Irreversible Entanglements have released a new single, ‘Our Land Back’, from their forthcoming album Protect Your Light. Following lead offering ‘Free Love’ the track is “an anthem to struggles for self-determination by peoples who have been dispossessed of their land and denied their right to return,” according to the band. “It swings for autonomy and solidarity and against forgetting.” Check it out below.
Protect Your Light comes out September 8 via Impulse!.
Alabaster DePlume has released a new single, ‘Naked Like Water’. Set to appear on the musician’s upcoming album Come With Fierce Grace, the track features drummer/vocalist Donna Thompson, a member of his touring ensemble. Check it out below.
“Whilst we were making this music a lot of different stories and energies were swapped,” Thompson commented. “I feel like this particular moment in the session was about choosing to develop our decisions both on and off the tape and it was like a summoning to say ‘Right, this is where we go next’, something that is not always an available statement when dealing in our day to day.”
Jamila Woods has unveiled ‘Boomerang’, the second single from her forthcoming third album Water Made Us. Following lead cut ‘Tiny Garden’ (featuring duendita), the track arrives with an accompanying video directed by Jordan Phelps and Vincent Martell. Check it out below.
“I co-wrote this song with Nao, GRADES and George Moore on a sweet London day last year,” Woods said in a statement. “It was amazing to work with Nao and meet her longtime collaborators and feel the synergy that they have together. It’s a song about that kind of relationship that keeps popping back up throughout your life, that magnetic attachment you have to someone and the excitement and anxiety that comes with wondering ‘will we or won’t we?'”
Water Made Us is slated for release on October 13 via Jajaguwar.
