Palaces Of Montezuma
14th March 2011
Vinyl & digital
01. Palaces Of Montezuma (Cenzo Mix)
02. Palaces Of Montezuma (Barry Adamson Remix)
03. Palaces Of Montezuma (Album Version)
04. When My Baby Comes (Cat’s Eyes With Luke Tristram)
Palaces of Montezuma, the new single from Grinderman, will be released in March 2011. The track is the third single to be taken from the album Grinderman 2, which has been widely acclaimed as one of the top albums of 2010. Palaces of Montezuma will be available as a download and 12’’.
Grinderman have been invited to perform as special guests at the UK’s first “I’ll Be Your Mirror” event. Co-curated by Portishead and All Tomorrow’s Parties, the event takes place at Alexandra Palace on Sunday 24th July 2011.
Tickets are on sale at http://www.atpfestival.com
Having recently finished touring the US, Grinderman will be heading to Australia and New Zealand in January to play The Big Day Out Festival as well their own headline shows in Melbourne, Sydney and Brisbane.
A new video for the track Evil, directed by John Hillcoat can be seen at http://www.grinderman.com. Hillcoat’s video for Grinderman’s Heathen Child was recently nominated for The J Award Video of the Year (Triple J station in Australia).
Grinderman are Nick Cave, Warren Ellis, Martyn Casey and Jim Sclavunos.
“Palaces Of Montezuma (Album Version)”
“When My Baby Comes (Cat’s Eyes With Luke Tristram Remix)”
“Palaces Of Montezuma (Barry Adamson Remix)”
Central Control International
16th May 2011
01. Main Title
02. A Portrait of Monika
03. Bigger Pictures
04. How Did He Find Me?
05. Monika’s Living Nightmare
06. How Are You Feeling?
07. Glove Touch
08. Aaa Kotki Dwa
09. And Always Will Be
10. A Portrait of Anna
11. Our Father?
12. I Guess That’s Me… Done!
13. The Letter/End Titles
CCI just announced the exciting news that Barry Adamson’s directorial debut film Therapist, is ready for release.
Written, directed, edited and scored by BA, Therapist is a 40 minute noir thriller starring David Hayman, Ray Fearon, Ofo Uhiara and Iza Sawicka and includes original music by Barry Adamson, Rafael Toral, Gielarek and Antoine Lang.
It will be released in May of 2011 as a DVD and CD Soundtrack set. The first 1000 copies from the Central Control webstore are signed by Barry Adamson.
With more grit and grime than the underpasses of a decaying city, Barry Adamson’s first film THERAPIST (2011) is both the culmination of an artistic dream and the dawn of a new chapter in the artist’s life.
In 1988 Barry Adamson released his first solo album, the critically acclaimed Moss Side Story. Masquerading as a sound track to a film that did not exist, it became his calling card to the world of movie scoring. Now 23 years later having scored several movies for directors such as Danny Boyle, David Lynch and Derek Jarman; Barry joins their ranks of dark noir directors with a fantastic first film that draws upon his unique talents as an artist. Bringing the haunting melodies he is known for to the center of the creative process he integrates chilling chords with highly stylized visual images, resulting in a unique viewing experience that assaults all of your senses.
THERAPIST tells the story of Monika, a Polish immigrant searching for both her sister and an escape from her past. But is her story real or the metaphor for another man’s emotion – a story straight from the therapist’s couch? As the stories build to a uniform climax, we are asked to question the very nature of what we are experiencing, ultimately finding ourselves led further down a blind alley, into a place where memory, fantasy, truth and experience contradict themselves in an endless interplay of shadow and light.
The initial pressing comes as a limited 2 disk edition: THERAPIST on DVD (with bonuses: ‘The Gemini Complex’ featurette and an interview with Barry Adamson) plus the Original Soundtrack on CD. Therapist has been screened at the East End Film Festival, the Brighton Film Festival, Yach Film Festival (Poland) and shown at the Renoir (Curzon) in London.
Barry Adamson, musician and filmmaker was born in Manchester England and left his first year at art school to play bass in Howard Devoto’s Magazine. Five albums later he became a founding member of Nick Cave and the Bad Seeds before going solo and making a series of soundtrack albums scored without actual movies, including Moss Side Story, Soul Murder (which was nominated for the inaugural Mercury Music Prize) and Oedipus Schmoedipus. This work took him into scoring work on movies for Oliver Stone, Alison Anders, Danny Boyle, David Lynch and more, as well as working in TV and on commercials. Adamson then went on to make highly acclaimed vocal, full band albums such as 2008’s Back to the Cat, As Above So Below and The King of Nothing Hill.
BA continues to work as a musician and now a writer – his short story Maida Hell, featured in London Noir, won the Best Short Story award at the Piemonte Noir festival in Italy – as well as a filmmaker.
On Monday February 7th, there will be also a special cinema screening of Therapist in London – including a Q&A with Barry Adamson. Visit the Curzon Cinemas website (just click here) to order your ticket.
On the 2nd June 8th June there will be an in-store screening at Rough Trade East – plus Q&A with Mr. Adamson.
Barry Adamson also did a remix for the upcoming Grinderman single Palaces of Montezuma (Mute Records, 14th March 2011).
Josh T. Pearson
Last Of The Country Gentlemen
14th March 2011
CD, Vinyl & digital
CD1-01. Thou Art Loosed
CD1-02. Sweetheart I Ain’t Your Christ
CD1-03. Woman, When I’ve Raised Hell
CD1-04. Honeymoon’s Great! Wish You Were Her
CD1-05. Sorry With A Song
CD1-06. Country Dumb
CD1-07. Drive Her Out
CD2-01. Sweetheart I Ain’t Your Christ (Electric Version)
CD2-02. Woman, When I’ve Raised Hell (Electric Version)
CD2-03. Sorry With A Song (Alternative Version)
CD2-04. Sweetheart I Ain’t Your Christ (Electric Instrumental Version)
CD2-05. Woman, When I’ve Raised Hell (Electric Instrumental Version)
Bonus-01. Woman, When I’ve Raised Hell (Electric Version)
Vinyl-07 Last Of The Country Gentlemen
Track Bonus-01 is digital-only for UK. CD2 is extra stuff for Rough Trade Shop Exclusive bonus disc version is sold out. Track Vinyl-07 is vinyl-only and comes before “Drive Her Out”
Josh T. Pearson’s debut solo album is a collection of seven songs drawn from the lessons of what he describes as “a rough year”; songs that are personal, powerful, painful, songs that move with their honesty, that offer hope from the trials he’s suffered and survived. The songs were recorded in a Berlin studio in two nights, freshly written and committed to tape after Josh saw how they affected audiences when he played them. It is the bravest album you’ll hear in 2011.
But the story of Josh T Pearson begins a decade or so ago, several thousand miles away in Texas. It was there that the Lone Star State native formed Lift to Experience, who would cut a mesmerising double album for British label Bella Union, and perform a slew of live shows that left all who saw them changed – nights when the audience sang like choirs to their ache-laden existential hymnals, nights when their speakers burst aflame in sympathy with the deep portent of the mercurial trio’s music. So beloved by John Peel were they that he had them record three sessions in five months and were included in the Best Peel Sessions of all time.
The Texas-Jerusalem Crossroads, their 2001 opus, came to Pearson fully-formed, the composer following the currents he felt guiding him to deliver what he describes today as “My own teenage symphony to God.” These crossroads were where spirituality and earthly angst collided, where Pearson led bassist Josh ‘The Bear’ Browning and drummer Andy ‘The Boy’ Young to crescendos of symphonic beauty and grand drama. Wholly earnest in their pursuit of Coltrane-esque levels of intensity and transcendence, they declared themselves “The best damn band in the whole damned land (and Texas Is The Reason)” as their sweeping, overdub-eschewing sound swelled to heroic volume. And then everything went silent. Lift to Experience vanished from the face of the Earth, leaving so much promise teasingly unfulfilled.
Josh T. Pearson describes the years that followed Lift to Experience’s dissolution as a period of “soul-searching… Music is really precious – it’s the most precious thing to me, it’s almost too precious to share. I needed to explore the world, discover some things. I just needed to grow up and be a man, you know? And I didn’t want to do that in public.”
Pearson believes a second Lift to Experience album would have brought a success to match the acclaim The Texas-Jerusalem Crossroads had enjoyed. But such a prospect only increased Pearson’s growing ambivalence towards the role of “rock star” his music was seemingly cornering him into.
“Selling some records was probably the worst think that could have happened to us,” he says. “Out there in Texas, where there wasn’t anyone to hear the music, it was like art to me. There were no expectations, so we could do anything we wanted. When it became a commodity, and the idea of money got involved, and the other boys’ livelihoods were resting upon my shoulders, it sort of jumbled my head up.” A series of awful tragedies in the band-members’ private lives convinced Pearson “everything was gone on a road to Hell. If the band had continued, there would be consequences I didn’t want to be responsible for, in terms of souls.”
The group ended, and Pearson retreated as far from any kind of limelight as he could to a miniscule town deep in the heart of Texas where he took odd jobs to pay meagre rent. “I was scrubbing toilets at a church as a janitor, moving hay, doing construction work, for six dollars an hour,” he remembers. “I was volunteering at a Christian retreat centre out there, just helping how I could, fixing things and whatnot. I was making just enough to get by, and having the rest of the time to concentrate.”
In the absence of that second album, internet word of mouth built a legend around The Texas-Jerusalem Crossroads, as the album continued to sell steadily to new fans with no hope of ever seeing Lift to Experience perform live. Out in the desert, however, Josh remained oblivious to his growing cult-dom. He never stopped writing music, he never stopped playing. But his new songs rarely left the bedroom where he’d pen them, and the audiences who heard him play were fellow musicians, amateurs, at guitar circles in town, where they’d strum rudimentarily through old Hank Williams tunes together, finding comfort within those chords and words.
As the decade wore on, Pearson left Texas, living in Berlin and, now, Paris. He would occasionally resurface to perform low-key but rapturously-received live shows, performing new songs and covers that would stoke anticipation that one of a series of unfinished projects might soon be released: a rumoured album of country songs, gospel covers, or the ‘Angels Vs Devils’ songs Pearson debuted during a solo tour of the UK in 2003, maybe.
But expanding his discography was not Pearson’s aim at this moment: “I played guitar live only when I had to, just for scratch, for 50 bucks here and there: ‘Blue collar’ playing, the circuit. I played Hull six times, way off ‘the grid’, to prove to myself that, as an artist, I could convince a room full of strangers that I was ‘the shit’. I say that humbly, with head bowed. I kept their attention with my complete honesty, absolute sincerity, and desperation. The material I was playing was just really painful, just kinda lost, angry stuff. There was an intensity there: this was stuff you don’t usually take out of the bedroom.”
Indeed, Pearson says he might not have recorded the songs that make up his debut solo album, had it not been for the response these songs enjoyed when he played them while touring with the Dirty Three in Ireland in December 2009. These starkly autobiographical new songs, as you can hear, speak with similar honesty, sincerity and desperation. Abandoning Lift to Experience’s widescreen wall of sound, they are sparsely arranged, Josh’s vocals and guitar lent an aching bitter-sweetness by violin accompaniment. Four of the seven songs run longer than ten minutes, because they examine the painful existential tangle of love and loss with a depth and emotional vividness not easily contained by the pop format. They are songs to be lived with and lived through, full of the pain and glory of life itself, searingly communicated by Pearson.
“I wrote these songs right everything within them was happening, singing from my own perspective,” he says, “and played them live on the Dirty Three tour because I thought it would good for me, as therapy, as something cathartic. I wouldn’t have thought of putting them out as a record, but two tough Irish blokes came up to me afterwards with tears in their eyes, moved by the songs… They were just strangers off the street, they didn’t know who the fuck I was, but they were crying. They were really tough on the outside, you could tell they wouldn’t usually do that kind of shit, but they came up and said ‘Thank you’, and let me know how moved by the music they were. And that’s when I thought that maybe it might be important to set aside my own personal feelings and put these songs out there.
“It’s funny, after all this time, to come back and release such a sad, sad record,” Pearson ponders. He’s not listened back to since it was finished, the wounds still too raw, too fresh. Still, he’s rightfully proud of the album. “I wanted it to be a record that, if I don’t put out another one for ten years, then it’s a good enough record to end on. It’s absolutely honest, full of despair. You really have to sit down and listen to it, and it takes something out of you, but it’s worth it.”
Lacerating it may well be, but it’s also the most remarkable album you will hear all year.
Last Of The Country Gentlemen is released on Mute in March 2011.
The single “Country Dumb” will be the precursor for the album. Get a free paino version at www.joshtpearson.co.uk. Or download an alternative version of “Woman, When I’ve Raised Hell” at soundcloud.com.
Mute Store (CD)
Mute Store (vinyl+cd)
Rough Trade (CD + exclusive Bonus-CD)
Rough Trade (Vinyl + exclusive Bonus-CD)
Amazon UK (CD)
Amazon UK (Vinyl)
Amazon UK (digital)
Amazon GER (CD)
Amazon GER (Vinyl)
Amazon GER (digital)
more links soon
23 February: The Slaughtered Lamb, London, UK
24 March: Queens Social Club, Sheffield, UK
25 March: Stereo, Glasgow, UK
26 March: The Workman’s Club, Dublin, IE
27 March: The Deaf Institute, Manchester, UK
29 March: Brighton Ballroom, Brighton, UK
30 March: Bodega, Nottingham, UK
1 April: Purcell Rooms, London, UK
4 April: Comet, Berlin, DE
5 April: Gruner Jager, Hamburg, DE
6 April: Studio 672, Cologne, Germany
7 April: Ponyhof, Frankfurt, DE
8 April: Motel Mozaique, Rotterdam, NL
9 April: Botanique – Witloof Bar, Brussels, BE
14 April: La Carene, Brest FR
15 April: Le Café de la Danse, Paris, FR
16 April: Chapelle Du Conservatoire, Rennes, FR
17 April: La Dynamo, Toulouse, FR
19 April: Le Colisée, Colmar, FR
20 April: L’Hospice D’Havré, Tourcoing, FR
25th October 2010
3 x CD
CD1-01 Tuesday Is Nearly Over
CD1-02 Mountains 1
CD1-03 As Far As I Can See
CD1-05 A Little More Information
CD1-06 Homing Devices
CD1-07 Navigating The Nursery Slopes
CD1-08 Comrades (In A Moscow Hotel)
CD1-09 Personal Stereo
CD1-11 Slow Roller
CD1-12 Fast Music
CD1-13 Pre-Rocket Science
CD1-15 Throwing A Curve Ball
CD2-01 West Waves
CD2-02 All The Words For Snow
CD2-03 Sleeping Machines
CD2-05 Nocturnal Walker
CD2-06 Homing Devices
CD2-08 Loop The Loop
CD2-09 Return To Telemark
CD2-10 We Are Not Built To Last
CD2-12 Spies Of Rota
CD2-13 Rev A
CD2-15 Weightless Conditions
CD3-01 Number Three Channel Is Clear
CD3-02 King Of The Flight Simulator
CD3-03 In The Event Of Just Looking
CD3-04 Ursa Major
CD3-05 For Tonight
CD3-06 Mach One
CD3-07 Slow Drive
CD3-08 We Are Not Stationary
CD3-09 This Is The Place
CD3-11 Pleasure Driving
CD3-13 Concentration To Brightness
CD1 = BBC Peel Sessions, CD2 = B-sides, CD3 = Early EPs
This autumn, post-rock band Appliance release an epic 44 track compilation of Peel Sessions, B-sides and early EPs – their first release since 2003’s ‘Are You Earthed’ album. The 3-CD compilation, entitled ‘Re-conditioned’, is being released through the independent record label RROOPP, which specialises in high-quality compilations for independent bands.
The album brings together many of the band’s best moments in one package. CD1 features the four Peel Sessions that were recorded at the BBC Maida Vale studios between 1998 and 2002. This complete set of sessions includes a hypnotic early version of ‘Food Music’, which featured in John Peel’s ‘Festive 50’ in 1999, as well as a previously unreleased track, ‘Electra’.
CD 2 compiles unpolished and unheard demos, B-sides, and other rarities spanning the six years of the band, from low-fi beginnings to multi-layered productions. And CD3 assembles the band’s critically acclaimed three EP’s – two of which are available on CD for the first time – originally released before signing to Mute Records in 1999.
‘Re-conditioned’ highlights Appliance’s interest in experimentation and repetition, combined with a desire to produce first-class melodic songs. Throughout the compilation the band’s instrumentation approach varies from their original guitar, drums and bass set up, but the results are consistently inventive.
Appliance’s David Ireland said: “This is a major accomplishment for the band bringing together some really great creative moments that many Appliance fans won’t be aware of. CD 3 for example could easily have become the band’s debut LP, so it is great to finally see the 10” trilogy come together.”
James Brooks continued: “We never thought we would get to release the four BBC Peel Sessions. Not many bands would have enough material to fill a CD and it is a real pleasure to release these special recordings.”
And Michael Parker added: “We were impressed by the RROOPP label when they approached us to put together this record. Their previous releases have been great packages and very comprehensive. It’s taken a long time to put together but we are really happy with the results.”