Wednesday, 29 March 2017

Aussie artist, Allday debuts new video: "In Motion ft. Japanese Wallpaper"

Song: Produced by Japanese Wallpaper Recorded by Charlie Daly Mixed by Rob Kinelsi Mastered by Chris Athens.

Video: Prod Co. // Young Black Youth Director/Producer // Nima Nabili Rad DOP // Nima Nabili Rad Production Coordinator // Phil Sandell 1st AC // James Ward Miller 2nd AC // Rory Pippan Gaffer // Josh Koster Editor // Nick Eades Colorist // Nima Nabili Rad BTS // Ryan Cantwell PA // Dale Brumfield, Nikita Kimiye Make up // Sam Vlassis Hair // Abi Wales Styling // Chloe Spalding Special Effects Make up // Leigh Madden Special Effects Make up assistant // Emma Niven-Aitken Runner // Jake Viskic Visual inserts DOP // Nima Nabili Rad Compositing // Nick Eades

Tuesday, 28 March 2017

BODY COUNT - “Black Hoodie” music video

Ice-T’s BODY COUNT just launched the new track “Black Hoodie” (taken from the band’s forthcoming album “Bloodlust”) via this explosive music video directed by Treach Tribe, so click on the link below now to check it out.

Ice-T states: "This type of thing happens everyday and nobody marches or it never makes the news. The video speaks for itself." “Black Hoodie” and the previously released tracks “No Lives Matter” and “The Ski Mask Way” are available as instant-grats on iTunes, Amazon etc. as well as on all major streaming platforms.

BODY COUNT’s new album “Bloodlust” will be released as Digipak CD, Gatefold LP (including the entire album on CD) and digitally on March 31st.

Vinyl-maniacs: “Bloodlust” is available in the following vinyl colours:

Black vinyl: unlimited Transparent-orange vinyl: limited to 200 copies, exclusively available in France Lilac: limited to 600 copies, exclusively available in Australia Transparent-red: limited to 100 copies, exclusively available at CM Distro Europe White vinyl: limited to 200 copies, available at various online stores Transparent-blue: limited to 200 copies, exclusively available at EMP

Ice-T and BODY COUNT have perfected their mix of thrash, punk and bottom heavy doom across five albums, hitting a zenith with the unstoppable “Manslaughter”. They embody the monumental Southern California tradition of street born punk bands like Suicidal Tendencies combined with the aggressive aural napalm of Slayer. This is abrasive, in-your-face heavy metal at its very finest.

BODY COUNT line-up: Ice-T – vocals Ernie C – guitars Juan Garcia – guitars Vincent Price – bass Ill Will – drums

Monday, 27 March 2017

Lola Marsh to release debut album "Remember Roses"

Tel Aviv based indie duo Lola Marsh had great success with their 2016 EP “You’re Mine.” Both singles from the EP, “Sirens” and “You’re Mine" totaled 10 million streams on Spotify, principally in the US. Now, their eagerly anticipated debut album, Remember Roses is set for release on June 9, 2017. The album kicks off with a new single “Wishing Girl” – an unstoppable song carried by memorable whistling and an addictive melody, which premiered on PopMatters yesterday.

Written by vocalist Yael Shoshana Cohen and instrumentalist Gil Landau, the forthcoming album sees their sound inspired, matured and smooth. Yael and Gil have managed to free themselves from overwhelming influences – be it Bon Iver, Fleet Foxes, Nick Drake, Sufjan Stevens, Edith Piaf – and compose a feel-good soundtrack for the summer season. The album shines with suave romanticism and sweet nostalgia. Friendship, love and fears from childhood are recurrent themes that flow throughout the eleven songs.

The record’s coherence owes a lot to Yael and Gil’s special connection, as they used to be a couple on and off stage. As they are often quoted as saying, “ working together has always been a source of inspiration.” Melodies, choruses and additional arrangements on Remember Roses seem to run so effortlessly from this emotional harmony. If the tracks “You’re Mine” and “Sirens” need no more introduction, they sit alongside new songs on the album that show how far Lola Marsh has evolved in the space of a few years.

Yael Shoshana Cohen belongs to a category of singers that instantly captures the audience’s attention; together with producer Gil Landau they created Lola Marsh. Many discovered their intoxicating sound on the duo's debut EP “You’re Mine” released in 2016, which established the Tel-Avivian duo as one of last year’s major pop folk sensations.

Following a successful test drive and a widely celebrated European festival tour, we can only anticipate that the best has yet to come.

Rammstein release a concert film masterpiece on May 19 with "RAMMSTEIN: PARIS"

On Friday, March 24, official presale for the concert film "RAMMSTEIN: PARIS" began ahead of its worldwide release on May 19. The film, which will be released in many configurations, sets new standards. In March 2012, during the "Made in Germany" tour, Swedish director Jonas Åkerlund shot two acclaimed Rammstein concerts at the Palais Omnisports arena in Paris in front of 17,000 spectators. Featuring 22 songs from the band's entire repertoire, the resulting film is not only the most spectacular collection of imagery about the most successful German rock band of our time, but also a masterpiece of music cinema, capturing Rammstein's energy as a unique visual and sonic experience.

Åkerlund is notorious for his radical, pioneering video clips for bands such as The Prodigy, Metallica, the Rolling Stones and also Rammstein. Absurd details, upended perspectives, shocks of contrast and sensory confusion flicker through his music productions, and in "RAMMSTEIN: PARIS", he celebrates this from the very first minute. Rammstein play 22 songs (128 mins), ranging from "Wollt ihr das Bett in Flammen sehen?", the first song from the very first album, to "Frühling in Paris" from the last studio album "Liebe ist für alle da".

Artistically and dramaturgically ingeniously staged, like an overwhelming video clip, "RAMMSTEIN: PARIS" is one of the best rock concert films of all time. "Absolument"

A first impression of this masterpiece can be seen HERE.

Saturday, 25 March 2017


Released on DECCA on 7th April

At last Imelda has become Madame May and I am not talking about her new hairdo, making her look like a young and sexy Chrissie Hynde. I am not speculating either about the mum of one reinventing her image after a heartfelt break up... And if that’s what you want to read about you can pass your way folks.

We are here to talk about 'Life. Love. Flesh. Blood', Imelda May’s new and latest album which will be released on Decca (!!!!). I will be honest with you, I have never been too much of a fan of her previous era (but I respect it) but it has changed now because... gosh, this album is ahead of anything produced recently in Ireland. The mix of jazz, blues, gospel, ballads is classic but so refreshingly crafted that I cannot fault any title. Well obviously, everybody will talk to you about Black Tears which is obviously good, but not only because Jeff Beck is on it. For me the opening title Call Me is one of the best, insofar as it is setting the tone of the album. It is clear: the punkie butterfly has clearly morphed into an accomplished artist with a capital A. The rockabilly tunes of the past look very pale when compared to Human or even the Calexico-ish Sixth Sense.

An average title though in my own opinion is Bad Habit, but we can settle our disagreement by agreeing this is maybe a good-bye song to her rockabilly past. The quality of the following tracks which are Levitate or the superb When It’s My Time may leave you breathless so much. There is such a soft intensity in those songs. I quite like Leave Me Lonely too. Not that the song is innovative in any shape or form, but it is catchy and insidiously infectious in its own way.

Despite being recorded in only seven days, the overall production is top notch. But should we be surprised when all the musicians on board have come with a huge studio experience, acquired with top artists such as Costello, Plant or even Elton John, so no wonder why all the tunes are so meticulously delivered. Now, and this maybe a paradox, but I am really smitten by the vocals. Imelda’s voice is in control at all time and is clearly relegating the other musical instruments to a figurative role.

Finally, I could not help smiling at the title closing the album: The Girl I Used to Be. So, paraphrasing Imelda’s lyrics I would say that once upon a time there was a Dublin girl whose hairdo and music was very popular and then one day it became stellar.

Overall: When a surprise is surprise.
If I was to pick 3 only: Call Me, Sixth Sense, Human
Live Test: I hope I will be able to tell you soon

Review by Pascal Derrien