Tinariwen re-release rare 1992 album previously available solely on cassette.

Touareg collective Tinariwen are thrilled to announce the reissue of Kel Tinariwen, marking the project’s first-ever official release since it appeared in 1992 locally in Mali on cassette, out November 4th via Wedge. In conjunction, they share its lead single and album closer, “Arghane Manine.” The track skips with percussion, grooving bass, and twangs of electric guitar. Across “Arghana Manine,” vocals call back and forth to each other. Kel Tinariwen will see release alongside two additional Tinariwen reissues, Aman Iman: Water Is Life and Imidiwan: Companion, out for the first time on vinyl the same day via Craft Recordings.
 

Listen to “Arghane Manin” by Tinariwen

 
A revelatory discovery in the Tinariwen archives, Kel Tinariwen is an early cassette tape recorded in the early 90s that never received a wider release, and sheds new light on the band’s already rich history. Not having yet developed the fuller band sound they became internationally established with, Kel Tinariwen features their trademark hypnotic guitar lines and call-and-response vocals weaving in between raw drum machine rhythms and keyboard melodies that almost evoke an Arabic take on 80s synth-pop.
 
In the summer of 1991, four members of Tinariwen traveled to Abidjan in Ivory Coast to record the band’s first official release, Kel Tinariwen. They were Abdallah Ag AlhousseyniHassan AgTouhami aka ‘Abin Abin,’ Kedou Ag Ossad and Liya Ag Ablil aka ‘Diarra.’ The project was the brainchild of Keltoum Sennhauser, a painter, poet and songwriter of mixed parentage (her father was a Sonhrai, her mother a Touareg), who grew up partly in Bamako, partly in the Kidal region of north-eastern Mali, the homeland of all the members of Tinariwen. Like so many Touareg from that region, Keltoum and her family had been forced to emigrate by the droughts that tore the Touareg world apart in the mid-1970s and 1980s, as well as all the oppression and suffering that had followed independence in 1960. Keltoum became deeply involved in the Touareg struggle for freedom and self-determination and saw music in general and music of Tinariwen in particular as an essential part of that struggle.
 
Kel Tinariwen was never heard outside of the local community that traded cassettes back in 1992 – an activity that was important to the movement, as Keltoum explains: “I think the cassette played a crucial role as a tool of communication, a tool that was very dear to us. It served to raise awareness and awaken the consciences of those who felt that everything was already lost, or that we didn’t have the wherewithal to win our struggle. It allowed the Touareg world to develop its own conscience and move forward. In our milieu, the only thing that can make us question ourselves is music. Because we listen to a lot of music, we love music, we love poetry. We don’t read. We’re not a people who read. So, the only reading we have, about ourselves and about the outside world, is music.” Thirty years later, the album is finally seeing an official release, on vinyl, CD, and cassette to pay homage to its original format.
 
There’s distinct parallels with the sounds found on this tape and the work uncovered in recent years by crate-digger labels such as Awesome Tapes From Africa, Sahel Sounds and Sublime Frequencies. Aman Iman: Water Is Life and Imidiwan: Companion are Tinariwen’s third and fourth studio albums respectively. It’s a blend of West African traditional music and electrified rock’n’roll – a sound that critics have called “desert blues.”
 
Alongside Kel Tinariwen, Tinariwen are also reissuing Aman Iman: Water Is Life and Imidiwan: Companions – their third and fourth studio albums respectively. A blend of West African traditional music and electrified rock’n’roll –a sound that critics have called “desert blues.” Aman Iman: Water Is Life was Tinariwen’s third studio album, originally released in 2007, and recorded in Mali’s capital, Bamako. Produced by Justin Adams (Robert Plant’s guitarist and producer of the Tinariwen’s debut album The Radio Tisdas Sessions), and recording engineer Ben Findlay. The whole Tinariwen story breathes through its twelve songs, beginning with the first Touareg rebellion of 1963, which lies at the root of so much pain and trauma in the Malian Touareg mindset and which is vividly recalled by Ibrahim in his brooding song ‘Soixante Trois..’
 
Imidiwan: Companions was the band’s fourth album, and it possesses all the elements that have made them so alluring; raw simplicity, melodic beauty, songs ranging from the epic and universal to the intimate and personal. The 13-track album, produced by Jean-Paul Romann, was recorded in Tessalit, the Malian desert village home of band members Ibrahim Ag Alhabib and Hassan Ag Touhami.
 
In advance of the three reissues’ release, Tinariwen will return stateside for a North American tour this September and October. Tinariwen will kick off their North American tour in Chicago on Fri. Sept. 9th. Tickets are on-sale now and available at tinariwen.com/tour.

 
Pre-order Kel TinariwenAman Iman: Water Is Life and Imidiwan: Companions Reissues
 
Kel Tinariwen Tracklist:
1. À L’Histoire
2. Khedou Khedou
3. Adounia Tarha
4. Matadjem Yinmexan
5. Awa Idjan War Infa Iman
6. Sendad Eghlalan
7. Sendad Eghlalan
8. Arghane Manine
 
Aman Iman: Water Is Life Tracklist:
1. Cler Achel
2. Mano Dayak
3. Matadjem Yinmixan
4. Ahimana
5. Soixante Trois
6. Toumast
7. Imidiwan WinakaliN
8. Awa Didjen
9. Ikyadarh Dim
10. Tamatant Tilay
11. Assouf
12. Izarharh Tenere
 
Imidiwan: Companions Tracklist:
1. Imidiwan Afrik Tendam
2. Lulla
3. Tenhert
4. Enseqi Ehad Didagh
5. Tahult In
6. Tamodjerazt Assis
7. Intitlayaghen
8. Imazighen N Adagh
9. Tenalle Chegret
10. Kel Tamashek
11. Assuf Ag Assuf
12. Chabiba
13. Ere Tasfata Adounia
 
Tinariwen Tour Dates:
Fri. Sept. 9 – Chicago, IL @ Metro
Sat. Sept. 10 – Minneapolis, MN @ The Cedar Cultural Center
Mon. Sept. 12 – Denver, CO @ Bluebird Theater
Tue. Sept. 13 – Salt Lake City, UT @ Urban Lounge
Thu. Sept. 15 – Seattle, WA @ Neumos
Fri. Sept. 16 – Vancouver, BC @ Imperial Theatre
Sat. Sept. 17 – Portland, OR @ Mississippi Studios
Mon. Sept. 19 – Berkeley, CA @ The UC Theatre
Tue. Sept. 20 – Los Angeles, CA @ Fonda Theatre
Wed. Sept. 21 – Phoenix, AZ @ Musical Instrument Museum Theater
Fri. Sept. 23 – Austin, TX @ Mohawk – Indoor
Sat. Sept. 24 – Fort Worth, TX @ Tulips
Sun. Sept. 25 – Houston, TX @ The Heights Theater
Tue. Sept. 27 – New Orleans, LA @ House of Blues
Thu. Sept. 29 – Saxapahaw, NC @ Haw River Ballroom
Fri. Sept. 30 – Alexandria, VA @ The Birchmere
Sat. Oct. 1 – Philadelphia, PA @ Underground Arts
Mon. Oct. 3 – New York, NY @ Webster Hall
Tue. Oct. 4 – Providence, RI @ Columbus Theatre
Wed. Oct. 5 – Cambridge, MA @ The Sinclair Music Hall
Fri. Oct. 7 – Montreal, QC @ Rialto Theatre
Sat. Oct. 8 – Toronto, ON @ The Danforth Music Hall

Keep your mind open.

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[Thanks to Sam at Pitch Perfect PR.]

The long-lost “Iron Fist” Motörhead album trailer has been unearthed!

LONG LOST FILM RESTORED & RELEASED 

FEATURING UNHEARD, INSTRUMENTAL DEMO 

‘RIPSAW TEARDOWN’

WATCH HERE

SPECIAL 40th ANNIVERSARY EDITIONS OF

 IRON FIST

TO BE RELEASED ON 23rd SEPT 2022

PREORDERS & EXCLUSIVE MERCH BUNDLES HERE https://motorhead.lnk.to/ironfist40thPR

Once upon a time the loudest, nastiest, speed-freaked trio in the land – the mighty Motörhead – decided that they needed an intro-film to come on stage to, so they could tour their brand-new album Iron FistNot for them some gentle promo video, for this was Motörhead in 1982 comprising the seminal three amigos line-up of Lemmy, Fast Eddie Clarke and Phil ‘Philthy Animal’ Taylor.

What they produced has been buried in the mists of time, confined to dodgy bootleg VHS’s, but it’s a gory, brutal, hilariously OTT short movie directed by Nick Mead where knights are murdered and maidens are in distress. Shot in a Hertfordshire forest it features a medieval, battle-hardened band stomping around a darkened forest, fuelled by vodka and brandishing weapons, wearing horned helmets and looking fierce whilst punching the air with their Iron Fist!

Imagine a recklessly non-health-and-safety, amphetamine-nightmare, super low budget take on Monty Python and the Holy Grail and you’re halfway there.

And now, in honour of the 40th Anniversary of the album that inspired this piece of cinematic pastiche, the Iron Fist trailer has been re-discovered, digitised and officially released for the world’s viewing pleasure. Originally cut to Gustav Holst’s ominous ‘Mars, Bringer Of War’, it now features the previously unreleased instrumental demo ‘Ripsaw Teardown’ as its audio soundbed. It’s really quite something, and sets up the forthcoming release of the Iron Fist 40th Anniversary editions

Whilst the album was rudely dismissed by critics on release, it now reveals itself as a vital snapshot of the band at a crucial period. It followed the consecutive triumphs of Ace Of Spades and No Sleep Til Hammersmith, when the three-piece found themselves caught in the tornado of success, but in true Motörhead style, they careered into their next phase at such velocity it transcended logic or reason to become this trio’s final kamikaze joyride.

Forty years later, Iron Fist sounds like prime Motörhead with the gloves and seat-belts off. For sheer velocity, it could be fastest, most out-of-control of all their releases. To celebrate the anniversary it is being presented in new deluxe editions. There will be hardback book-packs in two CD and triple LP formats, featuring a hammer fist blow, remaster of the original album, previously unreleased demo bonus tracks and a full concert, originally broadcast on Radio Clyde from 18thMarch 1982. Plus the story of the album and many previously unseen photos. There’s also a limited edition, blue and black swirl of the original standalone album.

Keep your mind open.

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[Thanks to Maria at Adrenaline PR.]

Review: JayWood – Slingshot

Jeremy “JayWood” Haywood-Smith went through a lot, like all of us, in the last three years but he had an added gut punch to the mess – the death of his mother in 2019. He, again like all of us, wanted to put those times behind him, but he realized he needed to take an honest look back to move forward, which inspired the name of his newest album, Slingshot.

The album’s overarching story takes place in one day and covers topics ranging from childhood to religion to racial violence, and the musical styles across the record cover as much ground, if not more. “God Is a Reptile” is a bumping, thumping track with psychedelic guitar flourishes and trance bass while he encourages us to not beat ourselves up over trivial crap. In fact we should, as the next track suggests, “Pray, Move On.” “All Night Long” seems to skewer people who will party their lives away while the planet crumbles around them. The fact that JayWood makes it a lovely dance track only emphasizes the ironic point.

“Just Sayin'” has JayWood and Ami Cheon singing us a danceable Zen lesson with funky grooves and lyrics like “I’m not thinkin’ ’bout the future. We can’t go down that path. ‘Cause I’m just rooted in the here, the now, the black, the brown, the truth…” “Is It True (Dreams Pt. 3)” has a great mix of hand percussion, processed beats, soothing bass, clockwork guitars, and pulsing synths as JayWood wonders if love is real. His vocals get trippy and drippy on “Kitchen Floor” – a lyrically scalding track that has JayWood shaking up white folks, black folks, his friends, himself, and apathy in general.

“Shine” (with co-vocalist McKinley Dixon) is a plea let black people just live their lives. “Tulips” seems to be a song directed toward a lady who JayWood sees at church now and then, but it might be directed toward God – who really is the same person. He encourages us on “YGBO – Interlude” that “If you’re healing, you’re gonna be okay.” “Thank You” is a song for his “dearly parted” mother and other people he’s lost, and we’ve all lost, in the last three years. “I just want to thank you for the best years of my life,” JayWood sings, and you can’t help but clap along with him. His lyrics about dealing with grief are spot-on: “Here’s hoping time will help when feeling low. Here’s hoping it’s not that bad thinking you’re in heaven now. So I’ll just keep my head in the clouds. Seems hard to go down roads I’ve never known. Seems hard to flow forward, not thinking about what happens now, but Imma do my best to make you proud.”

Amen.

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Rewind Review: Death Valley Girls – Darkness Rains (2018)

Death Valley Girls‘ third album has an interesting title – Darkness Rains. It’s not “Darkness Reigns,” as you might think if someone told you the name of the album. After all, DVG are known to be explorers of oddities, the unexplained, and things the prowl in shadows, but they chose “Rains” instead. Does it convey an image of environmental disaster, a heavy thunderstorm overpowering a bright summer sky, or impending death?

My guess is on the last one, as the album starts with the hard-hitting “More Dead” and flows right into the heavy fuzz of “(One Less Thing) Before I Die.” The latter reminds me that I need to keep de-cluttering my house and the trend of “Swedish death cleaning” that grows more popular each year. Why burden ourselves and our descendants with our crap? Why live a life unfulfilled? If you’ve seen DVG live or had the pleasure of meeting them, you’d know they were living in a way that would produce no regrets. They encourage us to do the same before darkness rains upon us, like we know it will but try to forget that it will.

“Disaster (Is What We’re After)” is great Stooges-style skronk meant to shake things up wherever you are, and “Unzip Your Forehead” is 60’s horror-psychedelia that makes me imagine Frankenstein’s monster opening the stitches on his square head and literally opening his mind. “Wear Black” could be the dress code for a DVG show. It also has these cool organ chords throughout it that make it hypnotizing (as does Larry Schemel‘s echoing guitar work).

“Abre Camino” is one of DVG’s biggest hits, and often the opener for their live sets. Each listen seems to unveil more layers you hadn’t heard before then, much like finding a book with strange scribbles and arcane symbols that reveal power messages to you after falling asleep. Laura Harris‘ drums hit hard on “Born Again and Again,” driving you to a near panic at one point. “Street Justice” is almost a punk rager with some of Bonnie Bloomgarden‘s most frantic vocals.

“Occupation: Ghost Writer” makes me want to write at least a short story based on the title. It has a dreamy quality to it, like a spirit floating around you while writing a blog post. “We’ll be together, somewhere forever,” they sing on “TV in Jail on Mars” – another song title that deserves an entire short story. The vocals repeat and echo like a trippy mantra or a broadcast from the red planet sent by things living deep within the canals there. It’s the sound of darkness raining down in a slow shower rather than a pounding torrent.

Darkness rains all over this record, but there are moments of sunlight that peek through the clouds to remind us that what lies beyond the veil is something we can’t comprehend, but shouldn’t fear.

Keep your mind open.

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Dry Cleaning announces new album due October 21st and say “Don’t Press Me” on the first single from it.

Photo by Ben Rayner

London-based band Dry Cleaning announce their sophomore album, Stumpwork, out October 21st, and share the lead single/video, “Don’t Press Me.” Stumpwork is the follow-up to New Long Leg, their debut full-length and one of 2021’s best albums (a top 10 album of the year, according to The New York Times, Pitchfork, SPIN, The Atlantic, The Ringer, and more). The new album was inspired by a plethora of events, concepts and political debacles, be they represented in the icy mess of ambient elements reflecting a certain existential despair, or the surprising warmth in celebrating the lives of loved ones lost through the previous year. Surrealist lyrics are as ever at the forefront – but there is a sensitivity now to the themes of family, money, politics, self-deprecation and sensuality. Furious indie-pop anthems combine across the record with psych and prog influences, demonstrating the wealth of influences the band feed off and their deep musicality.

​​Clocking in at under 2 minutes, today’s “Don’t Press Me” is about the pleasure of gaming and the enjoyment of intense and short-lived guilt-free experiences. Vocalist Florence Shaw also says, “The words in the chorus came about because I was trying to write a song to sing to my own brain, ‘You are always fighting me / You are always stressing me out.’” Its animated video was created by Peter Millard, whose naïve depictions of the band is perfectly in sync with the song’s hooks and riffs.

 
WATCH DRY CLEANING’S VIDEO FOR “DON’T PRESS ME”
 

Stumpwork follows New Long Leg, Dry Cleaning’s debut album that became a huge critical and commercial success, reaching #4 in the UK Album Charts and featuring in best-of-2021 polls across the board. Buoyed by its success, Nick Buxton (drums), Tom Dowse (guitar), Lewis Maynard (bass) and Florence Shaw (vocals) returned to rural Wales in late 2021, partnering once more with Parish and engineer Joe Jones. Working from a position of trust in the same studio and with the same team, imposter syndrome and anxiety was replaced by a fresh freedom and openness to explore beyond an already rangy sonic palette, a newfound confidence in their creative vision. A longer period in the studio afforded the time to experiment, improvise, play,  and sharpen their table tennis skills. With the pressure of their debut album behind them, Dry Cleaning have crafted an ambitious and deeply rewarding new work that marks them out as one of the most intelligent and exciting acts to come out of the UK.

The album and single artwork were conceived and created by multi-disciplinary artists Rottingdean Bazaar and photographer Annie Collinge. James Theseus Buck and Luke Brooks of Rottingdean Bazaar first worked with Dry Cleaning directing the official video for “Scratchcard Lanyard” and as their creative partnership with the band continues to flourish, they have fashioned a brilliantly unique visual identity for Stumpwork.

 
PRE-ORDER  STUMPWORK

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[Thanks to Jacob at Pitch Perfect PR.]

Jon Hopkins and ANNA team up for a “night version” of “Deep in the Glowing Heart.”

Jon Hopkins has revealed a transcendent new collaboration with Brazilian techno producer ANNA, “Deep In The Glowing Heart (Night Version).” The original version of “Deep In The Glowing Heart” is found on Hopkins’ Music For Psychedelic Therapy, released last November on Domino. Talking about the original, Hopkins said there is a feeling that “music can cleanse you, music can guide you through.” Today’s “Night Version” takes you on a very different journey. Evolving over a month-long trans-Atlantic collaborative process, “Deep In The Glowing Heart (Night Version)” feels like an explosive release of energy, inspired by Hopkins’ return to regular DJing this year. With early versions of this track being premiered to huge crowds by both artists at their DJ sets across the world – including ANNA at Coachella and Hopkins at Fabric – “Deep In The Glowing Heart (Night Version)” is now available to hear widely for the first time.

Of the collaboration, Hopkins says: “I first came across ANNA’s music through her track ‘Hidden Beauties’, which I found myself playing in DJ sets all the time and always goes down so well. I then asked her to remix ‘Singularity’ and the results were so amazing I was super keen to work with her again but in a more collaborative way, rather than just handing over stems. We went back and forth a lot and it flowed really well. I love how this one turned out, it’s such a meeting of our two styles.”

ANNA adds: “It is a big honor to be able to create music together with Jon. His music is part of my daily life, part of my meditations, my long walks and contemplative moments. My remix for his track ‘Singularity’ had a huge impact on my career and getting to know Jon better since then, and collaborate on this version of DITGH, it feels like our relationship has come full circle!”

Listen to Jon Hopkins & ANNA’s “Deep In The Glowing Heart (Night Version)”
Music For Psychedelic Therapy was Hopkins’ first full-length since the release of sister albums, the GRAMMY-nominated Singularity (2018) and Immunity (2013), and it was a departure in sound from these records; “an album with no beats, not one drum sound, something that is closer to a classical symphony than a dance / electronica record.”

 
Listen/Watch/Purchase:
Purchase/Stream Music For Psychedelic Therapy
Watch “Sit Around The Fire” (with Ram Dass, East Forest) Visualizer
Watch “Music For Psychedelic Therapy (Excerpt)” Visualizer

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[Thanks to Ahmad at Pitch Perfect PR.]