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Search Result for Catalog TR 320CD
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ITR 320CD
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"The new Lavender Flu album Mow The Glass was recorded in the living room of a small house on a cliff overlooking the Pacific Ocean. One can hear it in the music: the Oregon coast, the dream life of an Axolotl, the open sound of a band playing to an audience of endless water, sun, and sky. A bald eagle flew by the window every few hours as if to remind the band where they really were. Still, the laughter was real, the freedom was magic, and the tambo was sprinkled like sugar. Heavy Air, the previous album, was a home recording project. The songs started with Chris Gunn (The Hunches) on a guitar or a synth or a bowl of cereal and were built up from there. A rotating cast of friends and family helped flesh out the material. It could have been made in deep space or at the bottom of the ocean. Transmissions from a bedroom at the bottom of Pill Hill. This new album is a reflection of the live experience. Four people playing together; working within the template of pop classicism. thirty-five minutes of music. This time, the Flu comes out of the water and spends a little more time on land: pop kicks, psychedelic derangement, beauty, spells cast via hate raga and rocker. The band moves backward, forward and sideways; often within the same piece. The music breathes. It doesn't deal in nostalgic regression or self conscious futurism. It just sounds like the Lavender Flu."
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CD
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TR 320CD
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"A welcome return for a long-lost treasure." This was how Q magazine greeted the 2014 release of Bill Pritchard's album A Trip to the Coast (TR 280CD/LP). At the year's end, the album was included in the "50 besten Alben 2014" list in Rolling Stone's German edition. It had been nine years since Pritchard's previous release (2004's By Paris, By Taxi, By Accident), and due to an unlikely set of circumstances, A Trip to the Coast began taking shape in 2013. A friend and musician, Tim Bradshaw, moved to Pritchard's vicinity by chance. "We did the album together, basically because we're mates and we thought we'd have fun doing it," Pritchard is reported to have said in 2013. "But the response was great," he says in 2015. "I had no idea what to expect, but the welcome back was amazing." He's an unassuming character who doesn't pay much attention to who said what about whom -- the five-star reviews, radio play, shows, and videos -- although he was most concerned for the record company representative who had to be airlifted off a beach on the Welsh island of Anglesey while filming the video for "Trentham," the first single off A Trip to the Coast, in early 2014. In early 2015, Pritchard and Bradshaw returned to the studio to start the follow-up. Gradually, in bits and pieces, the album emerged. "The last album was very much about a journey of sorts," says Pritchard, "whereas this one is more rooted in one place, both thematically and emotionally." It was recorded mostly in Burslem, England ("The Mother Town"), with Bradshaw, Mike Rhead, Liam Bradley, and Remy LaPlage. Horns were added in France, and it was mixed in Burslem, Berlin, and Singapore with Bradshaw's long-time studio partner, Roo Pigott. The Burslem studio is a short step away from The Leopard inn (English writer Arnold Bennett's old fictional haunt), Vale Park (the home ground of Port Vale F.C.), and Waterloo Road, the namesake for Jason Crest's song "Waterloo Road," which French singer Joe Dassin covered under the title "Les Champs Élysées." The songs on Mother Town Hall are of the classic Bill Pritchard genre. Sparkling guitars, choruses to sing along to, meltingly beautiful ballads, and personal everyday lyrics about characters both real and imagined -- a figure whose only female company is a flower; the "Vampire of New York," who married a priest from Birmingham; and many others.
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