Echo & The Bunnymen - 'Meteorites' (429 Records)
“For
me, this is a whole new approach. It’s more edgy than anything I’ve ever done, I’m
dealing with something on this record I didn’t want to deal with for a long
time.
I
wrote from the soul, more so than the heart and the brain. It scares the hell
out of me, and surprises me, how much I’ve been able to reveal without putting
a veil over it.
There
were signs all through my life of what was down there inside me. [Debut album
Crocodiles track] Rescue touched on it as an 18 or 19 year old, but maybe it
was seeing the future more than what was happening at the time.” – Ian McCulloch (The York Press)
Neil Young - 'A Letter Home' (Reprise)
"The
opening narration's conversational tone continues in the performances. The
majority of the songs are from the late 1950s—Ivory Joe Hunter's "Since I
Met You Baby" and the Everly Brothers' "I Wonder If I Care as
Much"—and from the 1960s: compositions by Bob Dylan, Tim Hardin, Bert
Jansch, Gordon Lightfoot and Phil Ochs, all of whom helped shape Mr. Young's
approach to music. Listeners who brave their way through the recordings' occasionally
overbearing snap, crackle and pop will find Mr. Young in a melancholy mood as
he sings in sequence "Changes," Ochs's lament about shifting
memories; Mr. Dylan's ballad of lost love, "Girl From the North
Country"; and "Needle of Death," Jansch's tale of despair and
drug abuse. His version of Willie Nelson's "On the Road Again" gives
the collection a lift; it features on piano Mr. White, who contributes the
harmony vocal on the Everly Brothers cover. The deluxe "A Letter
Home" package contains a DVD that shows a diligent Mr. Young at work,
often with Mr. White looking over his shoulder, and includes his performances
without the noise of the Voice-O-Graph's disc." - Jim Fusilli (WSJ)
“We’re
about to release our new record, ‘Broke Til Midnight’ on May 23rd via Epitaph
Records. We wanted to make a big ridiculous rock record about life these days.
Not just our lives but everyone’s lives. Prior to recording we noticed this
lengthy trend of silver spoon bands recording at big fancy studios and then
mixing it to sound like it was recorded in a garage like some kind of faux
lo-fi or something. Everything had become pre-worn, pre-faded, pre-lived,
pre-tentious, etc. So we decided to record in a garage with little money and
make it sound like big and proud high fidelity rock n roll. It felt fresh and
relevant, it just felt right. There’s a built-in humor to it all between that
and the lyrical content. I guess we just felt like there was an opportunity to
say “fuck you” in a new and completely unpredictable way.” – Danny Carney (w/ Bomber bombshellzine.com)
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