Bella Union Announce All In One Reissue

Bella Union are pleased to announce the reissue of the self-titled album by All In One, due for release 22nd July 2022. The beautifully packaged vinyl, which comes with liner notes by Jen Monroe and Kieron Tyler, is available via Bandcamp and select record stores. You can pre-order the vinyl as well as listen to clips from the album HERE.

In late 1968 or early 1969, a six-piece group walked into a Chicago recording studio to record an album. As they weren’t signed to a label, they had made the booking themselves. The group featured three singers, all female. One of whom also played acoustic guitar. There was also double-bass player and a drummer, both male. A female guitarist filled out the band. After the tapes had finished rolling, what was recorded was quickly pressed onto an album: a private pressing, organised and paid for by the band. Not many copies were made, perhaps 100, maybe 500. The albums were sold at live shows or given to friends and relatives. And that was it.

The band was called All In One, and the outline of their story is similar to many do-it-yourself musicians from the Sixties and later who wanted to document their existence, what they sounded like. It’s good to have a physical object saying “here we are, this is what we do.” During the Seventies punk era, it’s what Buzzcocks did with their Spiral Scratch EP. Taking the DIY path had precedents.

It was an approach which meant there was no mediation. Control was in the hands of those being recorded. Naturally, these obscure and rare records can attract interest. Some Sixties examples, like All In One’s untitled album, are great and need to be heard more widely. This first-ever reissue reveals the band to have been mysteriously spectral, with an intensity which would have been reined in had they been on a mainstream label and given a regular production. The rough edges would have been smoothed off. From its opening moments, the album telegraphs that All In One were uncultivated: a band in the raw, and one with its own ideas of its identity.

The recording took place at Boulevard Studios, on the edge of central Chicago (early on, the building housed the Chicago Historical Society: it was constructed in 1892. In the second half of the 1980s, it housed The Limelight Club). Boulevard itself was independent and on the edge of Chicago’s music business. Anyone could hire the facility and All In One were amongst the clients who walked through the door. Vee Jay Records used it in the 1950s, as did the blues-jazz-vocal label United. Rockabilly singer Sparkle Moore recorded there too. The Crestones’ 1964 garage rock classic She’s A Bad Motorcycle was made at Boulevard. The Chicago religious publisher F. E. L. Church Publications Ltd hired Boulevard in 1968 to make Sarah Hershberg’s Women Of The Old Testament album.

Boulevard had no tie-in pressing facility, so the band would have organised that themselves. The plain orange front cover of the original album suggests the budget was limited. Why orange? Why not put the photos of the band on the front rather than the back? Yet despite what can be gleaned about All In One and their world, they remain out of reach, ultimately unknowable, as enigmatic as the album’s cover. Presumably they were from Chicago. Maybe all five band members look back fondly on their album and time in the studio. Perhaps the reappearance of their affecting album will jog memories? It is feasible that All In One may, now, step out the shadows to become tangible.

Father John Misty Premieres “Buddy’s Rendezvous” Video

Father John Misty was part of history in April when his hugely acclaimed new album Chloë and The Next 20th Century entered the UK album chart at Number 2, with Wet Leg at number 1 and Jack White at number 3, the first time in more than a decade that independent artists have taken the top three positions! Today, Father John Misty is sharing the official video for “Buddy’s Rendezvous”, directed by filmmaker and photographer Emma Elizabeth Tillman (The History of Caves; The Wheel), and is a highlight from the album.

Emma says of the video: “‘Buddy’s Rendezvous’ is a world unto itself. It is a place out of time. My dream for the video is that it would surrender itself to the power of the song. An unnamed man (played by Craig Stark), fresh out of jail and down on his luck makes his way across the fractured landscape of Los Angeles to meet his daughter (played by Arrow DeWilde). All the while he is beset by memories of a more innocent time. Despite her hesitance, his daughter and her boyfriend (played by Gilbert Trejo) agree to meet her father and find moments of sadness and sparks of tenderness in the connection made. Although the video and the song can be considered love letters to Los Angeles, the themes are universal. Disappointments, regrets, forgiveness, tenderness, perseverance, and love. The incredible performances by Arrow, Craig, Gilbert, and David Haley all coalesce to bring this vision to life. Cinematography by James Wall on 16mm evokes the down and out feeling of LA, merging past and present. This video could not have been accomplished without the talent of producer Bria Little and creative director and editor Jonathan King.”

Also out today is Lana Del Rey’s gorgeous cover of “Buddy’s Rendezvous,” available now on all DSPs. Her interpretation of the song was previously only available as a 7” single included with the limited edition box set of Chloë and The Next 20th Century. 

Chloë and The Next 20th Century and its singles are earning “Best Albums” and “Songs of 2022 (So Far)” placement from the likes of The Guardian, StereogumConsequenceUproxx and more. 

Father John Misty’s previously announced international headlining tour schedule in support of Chloë and The Next 20th Century begins June 26th and runs through to March 17th, 2023.

Happy Release Day To Deep Throat Choir

Following the success of their second LP In Order to Know You, released late last year, Deep Throat Choir today share a new 5-track EP titled 3am. To coincide with the release the collective have shared the EP’s title track which was written by the choir and Peggy Sue member, Katy Beth Young. The song is about the liberation that comes in finding yourself again, after you have lost yourself to someone else.

Additionally, Deep Throat Choir have announced news of a London headline show at Kings Place on 24th July, tickets of which are available here, and will also be performing at this year’s Glastonbury Festival on the Park Stage on Sunday 26th June.

3am is in many ways an extension of the larger body of work that made up In Order To Know. These are all songs that have been collaboratively written by the choir, harnessing a richer and more extensive instrumentation than the first record. This grouping of songs sits together as a sunnier and brighter collection, better suited for the warmer months. Two of them have big brass moments for which the choir enlisted players from the London-based all-female latin-influenced band, Collectiva

Laura Veirs Debuts “Eucalyptus”

With her 16-date UK tour starting tomorrow – including a Glastonbury performance later in the month – and her new album Found Light due out 8th July via Bella Union, Laura Veirs today shares a third track “Eucalyptus” from this anticipated release.

Commenting on the track Veirs says: “This is a song about the community love I felt when I went through my divorce. It’s also about new love and about rediscovering myself as a solo person post-divorce. I reminisce here about “finding the old girl I was” back when I visited my brother in California when he was in college where they have lovely eucalyptus trees. Some eucalyptus trees will drop their branches suddenly on you, though, so those are the varieties you don’t want to plant in your backyard. This was the trickiest song to record on the new album. It started out with a Bossa nova rhythm but I found that cheesy. My co-producer Shahzad Ismaily and I tried many different drum and bass ideas on this track before we landed here. I recorded the rain sounds spontaneously with my phone while sitting outside Shahzad’s studio in Brooklyn when we recorded the record last September. I love the unexpected places this song goes.”

Laura Veirs June UK tour:

Thursday 9th June – Norwich – Norwich Arts Centre

Friday 10th June – Nottingham – The Bodega Social Club

Saturday 11th June – Cambridge – Storey’s Field Centre

Sunday 12th June – Birmingham – Hare & Hounds

Tuesday 14th June – Gosforth – Civic Theatre

Wednesday 15th June – Edinburgh – Summerhall Arts Venue

Thursday 16th June – Glasgow – Stereo

Saturday 18th June – Leeds – Belgrave Music Hall

Sunday 19th June – Manchester – The Deaf Institute

Tuesday 21st June – Pentrych – Acapela Studios

Wednesday 22nd June – Bristol – Thekla

Thursday 23rd June – Exeter – Phoenix

Saturday 25th June – Glastonbury – Glastonbury Festival

Monday 27th June – Portsmouth – Wedgewood Rooms

Tuesday 28th June – Guildford – The Boileroom

Wednesday 29th June – Brighton – Komedia

A.A. Williams Announces “As The Moon Rests”

A.A. Williams today announces news of her much-anticipated second album, As The Moon Rests, released 7th October via Bella Union and available to preorder here. To celebrate the announcement Williams has shared an intense and beautifully shot b/w video for lead single “Evaporate” directed by Fraser West.

“Traditionally, your second album is the worry; where there’s the weight of expectation,” A.A. Williams contends. “But I must create music I like myself, and I’ve had more time on this record; I’ve felt more confidence and conviction. As The Moon Rests is both heavier and softer, there’s more texture and weight, and a string ensemble. It’s Forever Blue times ten!”

Released in July 2020, Forever Blue was the London-based singer-songwriter’s album debut, a brilliantly dramatic, unique and intimate walk on the dark side that fused bold and smouldering hues of post-rock and post-classical. By turns, it was glacial and volcanic, blissful and violent, through moments of disarming quiet and explosive volume, equally appealing to alt-rock and metal camps. 

“The shifts between moments of high drama and quiet tension point to her kinship with Chelsea Wolfe and PJ Harvey,” stated Uncut. “Stirring and evocative… The chances of a more heartrending and fully formed debut emerging this year are practically zero,” reckoned Metal Hammer. 

As Williams contends, As The Moon Rests amplifies the scale of her ambitions, crystalised by ‘Evaporate’, the first track released from the sessions. It comes with a video that embodies the thrilling tensions of Williams’ world, where emotions walk a fine line between control and chaos. Likewise, the impact of William’s deep-trawling voice and lyrics that ask all the right existential questions throughout As The Moon Rests: who am I? What can I change? What can’t I change?

Forever Blue had already set in motion Williams’ quest for self-improvement, but the pandemic presented more challenges. As Forever Blue was about to be released, she started posting solo videos – cover versions suggested by her fans, such as Radiohead’s ‘Creep’, Nick Cave’s ‘Into Your Arms’ and Deftones’ ‘Be Quiet and Drive’, alchemised to fit her own crepuscular sound and vision. Songs From Isolation, as she called it, “was a positive experience to focus on through the overwhelming reports of bad news. And I could have a dialogue with my listeners.” 

Songs From Isolation subsequently turned into a nine-track album of covers, a definite and heartaching document of solitude and fortitude. Next came arco, a re-imagining of Williams’ debut (self-titled) EP for just voice and strings. She’d played the string parts (as well as guitar and piano) on Forever Blue, but here she wrote the arrangements for a ten-piece ensemble, transposing the rhythm and low end of a rock band into sumptuous and elegant orchestrations.

The string ensemble returns for As The Moon Rests, bolstering the album’s cinematic dimensions and underlining the palpable drama of Williams’ quest to forge a more liberating path. The album’s opening track ‘Hollow Heart’ sets out the emotional terrain: “Give me time and I will learn / that I am only human,” she sings before the instruments begin their slow climb to boiling point. Williams’ voluminous guitar and keyboards are embellished by co-producer (and husband) Thomas Williams’ bass guitar, Geoff Holroyde’s drums and engineer / mixer Adrian Hall at his London studio Clever Pup (as opposed to the Williams’ two-bedroom flat for Forever Blue). “We had better equipment, and more experience at hand,” says Williams. When they were finished, As The Moon Rests clocked in at a mighty 62 minutes. “I was expecting to take a few recordings away after we’d finished, but the consensus was that everything was good, and worked as a collection.” 

The album takes its title from the closing track. “For me, ‘As The Moon Rests’ jumped out as evoking a change in direction in the lyrics,” she explains. “It’s a love song, not necessarily romantic, but between two people with an unwavering bond. It seemed poignant and prominent enough to work as the title.”  

That unwavering bond could equally exist between two conflicting parts of the self. “Most of Forever Blue’s text was quite insular,” she recalls. “I was trying to understand myself, trying to cure, or eradicate, parts of myself. But I realised that if you remove things; you might remove parts of your personality too. You just need to learn how to manage things, to be kinder to yourself. It’s all a journey, a progression.”

Williams would rather not specify any incidents, triggers or memories behind each individual song. “It’s all part of an overriding arc,” she says. “With hindsight, some songs I figure things out, others I disappear into a hole. For example, in ‘Evaporate’, I’m trying to keep a lid on fizzy complicated thoughts, which just explode. Other times, I’m more relaxed. Mostly, writing is more retrospective, not about the here and now. The lyrics are the place where I figure things out.”

Now Williams and her live band – Thomas Williams, Wayne Proctor and multi-instrumentalist Matthew de Burgh Daly – get to figure out a proper headline tour in support of an album, since lockdown meant that their first headline show on London’s South Bank in early 2020 became her last for well over a year, until a short headline tour in Autumn 2021 that at least gave them the chance to commune with fans and feel the white heat and spark of performance. In August of this year, they’re supporting Japanese post-rockers MONO, Williams’ collaborators for the 10” vinyl single ‘Exit in Darkness’; in September, to launch As the Moon Rests, comes their biggest headline show yet at London’s Queen Elizabeth Hall. Following that, Williams will undertake her first comprehensive headline tour: a 6-week trek across the UK and Europe, taking in 34 shows over 12 countries. Williams’ journey may have been held up by events, but in all other aspects, everything that culminates in As The Moon Rests is incontrovertible proof that it continues to build and thrive.

Tim Burgess Announces “Typical Music”

Following the Easter release of taster single “Here Comes The Weekend”, today Tim Burgess announces the release of new album Typical Music, out 23rd September via Bella Union and available to preorder here. To celebrate the announcement Burgess has shared a visually striking Kevin Godley-directed video for the album’s compulsive title track.

Commenting on the video Kevin Godley says: “Typical Music sounds like an out of control ‘something’ moving at improbable speed, hoping bits don’t fall off before it crashes, and that chaotic propulsion is what this film is about. We shot in a tiny room using 3 hand-held cameras, the most effective being a GoPro with a 360-degree lens that Tim filmed himself with whilst literally bouncing off the walls, his performer’s understanding of its potential giving the film exactly the kind of warp speed jeopardy I was looking for.”

Typical Music is a 22-track double album, a blockbuster set of songs that are as expansive and diverse as they are rich: “OK, we all know about double albums, right?” begins Burgess, a keen as mustard a student of pop and rock history. “Historically, they’ve been thought of as indulgent. But I came to the conclusion that what I was doing was the opposite of that. I wanted to give people everything that I’d done. And everything that I brought to the studio and worked on with the guys, I coloured them all in equally. Every idea was treated as if it was the best thing and had to be treated with extreme care. I wanted to give everything of myself. That was it.”

The studio was Rockfield, the storied farmyard recording establishment in Wales that held memories both good and bad for Burgess. Good, because The Charlatans recorded some of their greatest moments there (including 1997’s Tellin’ Stories, led by landmark single ‘One To Another’). Bad, because during the recording of that fifth album, the band’s original keyboard player Rob Collins died in a car crash at the bottom of the lane. Burgess hadn’t properly been back to Rockfield in almost 25 years, but now it was time.

Burgess spent 30 days in the studio with Thighpaulsandra and Daniel O’Sullivan. The former is the authentically legendary keyboard, synthesiser and production wizard who’s played with Coil, Julian Cope and Spiritualized. The latter is the ex-Grumbling Fur multi-instrumentalist who’s released records on Burgess’s O Genesis label and is a member of his live band. Dave Fridmann then sprinkled his magic over the album, mixing all 22 tracks.

“I just wanted more,” smiles this hyperactive polymath. “I wanted to challenge us all. I wanted to do more electronic things. I wanted to expand the sound. We were limited in what we could do because of Covid, but we had orchestras in our brains. But we just did it as the three of us.”

Where did they go? Where didn’t they go? To highlight but three songs from Typical Music: ‘Revenge Through Art’ is loose-hipped, chewy funk. ‘Kinetic Connection’ offers up sparkling psyche-pop, wiggy electronics weaving in and out of rippling piano. ‘Take Me With You’ is a space-soul love song.

“I fell in love with the world again,” he explains of the latter’s lyrical origins. “During Covid, I read a pile of books, got better on guitar. I had new perspective. I wanted to learn how to be Tim Burgess who makes solo records. People have a vision of me as the singer in The Charlatans. That’s not going to change. Then there’s me as the Twitter guy. But I just fell in love with the world again and wanted the world to take me with them.”

Elsewhere there are songs for his young son, and for his dad, who passed away in April 2020. There is, too, the twangy gallop of the title track. Or, as the encyclopaedically-minded Burgess puts it, excitedly: “It’s definitely sci-fi, and primal as well. Brian Jones on teardrop guitar. Or Will Sergeant, early Bunnymen. Banshees, even. Daft Punk! And then ‘Sooner Than Yesterday’ is the same,” he adds of another moment of absolute torch’n’twang, “but in monochrome. It’s more English.”

Overall, that fed into his vision for Typical Music, to wit: “I wanted to write sci-fi punk songs, or sci-fi surf songs. I was listening to a lot of Joe Meek and Kim Fowley, and lots of the songs are two minutes long. I think the average length is just over three minutes. I like that.”

Together Burgess, “Thipes” and O’Sullivan – let’s call them The Rockfield Three – have crafted a colourful, kaleidoscopic cosmos, created when the world outside was so black and white and beaten down. “That was totally the goal,” affirms Tim Burgess. “In my most far-out thoughts, I thought of it as like we built a spaceship that was hermetically sealed, a crew of three. And we just wanted to transcend the mire.” With Typical Music, it promises to be some trip.