Robert Taira Wilson has officially premiered his new video for the track titled ‘Blackbird’ on Jammerzine. If you read our review of the original track from June, you will get a perspective of our take from the music. The video offers a visual construct of what we said. Introverted. Introspective. Reflective. All of that and more with brilliant sketch style animations with geometric shapes representing bondage and cages that fade through the looking glass showing a better world and an alternative that could be. This is magic.
Check out our other features with Robert Taira Wilson HERE.
About Robert Taira Wilson
Robert Taira Wilson is an English singer-songwriter whose music mixes folk with modern alternative songwriting. He is currently based in Tokyo and, in recent years, has released both solo and collaborative records.
About ‘Blackbird’
Due to the pandemic, I’ve taken the time away from performing to write a body of new material. For every time you may have felt disowned or dislocated, removed or redundant. This song delves deep into that moment and cries out for escape and healing. A departure from my usual sound, the song features an arpeggiated electric guitar in place of the accustomed acoustic. Written and recorded entirely from my home studio “Blackbird” will be my first release since 2019’s ‘Shine Shine Child’ EP.
LINKS:
https://www.roberttairawilson.co.uk
https://www.youtube.com/user/ROBERTTAIRAWILSON
https://www.instagram.com/roberttairawilson
https://www.facebook.com/roberttairawilson.music
https://www.twitch.com/roberttairawilson
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Flesh Eating Foundation – Futurelast (featuring Adam Probert)
Flesh Eating Foundation is comprised of John E. Smoke (songs, noises, and shouting, deafness and blindness), The Juddaman (writing, voices, and noises) and Jules (axes and shouts), with Mash and Big Un joining on guitars when the mood is right. Co-founder John E Smoke is known as one of the few deaf/blind musicians working on the scene and can often be seen with his lovable noise-loving guide dog JJ.
The new video for ‘Futurelast’ features imagery from the band members’ hometown of Stafford, England, focusing on sites and buildings that, of course, aren’t lasting. They are falling into disrepair, neglect, and dereliction, including a former job center, a former Carnegie library, a former cinema and many former shops. “The video also ties in with some work I do with charities and groups trying to save old buildings and improve the culture in my hometown,” explains John E Smoke.
Flesh Eating Foundation has been described as electro punk, experimental electronic punk, alternative electronic. A key element of their sound is their use of homemade and circuit bend instruments. The electro crowd isn’t sure how to dance to their music and the headbangers don’t think they are metal enough. The punks quite like them though. It has been said that they make too many weird noises and they look a bit strange.
Their music has been influenced by Killing Joke, Alien Sex Fiend, Sigue Sigue Sputnik, Pigface, The Fall, Swans, Godflesh, Throbbing Gristle, Prodigy, Public Image Limited, Babyland, Skinny Puppy, Butthole Surfers, Ministry, Depeche Mode, and Atari Teenage Riot.
On the side they have remixed and collaborated with many like-minded artists who share their passion for experimental noise and horror. They have recently provided the score for the killer clown film ‘Crispy’s Curse’ while John E Smoke is a filmmaker in his own right. They’ve created official remixes for Curve, Angelspit, Junksista, Global Citizen, Tunnelmental, Jordan Reyne, Tony Byker, Afterchain, Kenji Siratori, Kunt and the Gang, Emen, Zeitgeist Zero, Alien:Nation, and Mr. Strange. You’ll also them on various compilations and Tribute albums for Coil and Ministry, amongst others.
‘We Are Fucked’ represents exactly where the band are at the moment. Two decades into a career and we see no reason to be any less angry, any less outraged at what is happening in the world,” says John E. Smoke. “We happen to have built lots of new synths and noise devices to help us express our feelings.”
All songs were written, recorded, produced and mastered by Flesh Eating Foundation in their own studio. Adam Probert supplies additional vocals on ‘Futurelast’. The digital release includes additional remixes by Inertia, Mr. Strange, Paresis, Alien:Nation and XSRY.
These fleshy tunes can be found digitally across online stores and streaming platforms, and the band also has shiny discs and black grooved wax available. ‘We Are Fucked’ is available on limited heavyweight vinyl – all formats can be ordered via Bandcamp. There, the band is also offering their recently released 3-track EP ‘Fallen (A Tribute to Mark E Smith and The Fall)’ on a name your price basis.
LINKS:
http://www.flesheatingfoundation.co.uk
http://www.facebook.com/flesheatingfoundation
http://flesheatingfoundation.bandcamp.com
http://www.twitter.com/flesheatingfdtn
http://www.youtube.com/user/flesheatingfoundatio
http://soundcloud.com/flesheatingfoundation
http://itunes.apple.com/us/artist/flesh-eating-foundation/265929169
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Candy Opera – Tell Me When The Lights Turn Green
Candy Opera has released their new video for the track titled ‘Tell Me When The Lights Turn Green’ from the new album ‘The Patron Saint of Heartache’. With a broad cinematic scope, Candy Opera lends broad and beautiful visuals to their soundscape. And the song itself is one of those future memories in that the hook is evident and instant with a subtly intense set of guitars and soulful weathered vocals.
‘The Patron Saint of Heartache’ LP is available on limited-run green vinyl or limited-run black vinyl, CD with booklet, and digital download. It is available everywhere, including Bandcamp.
ABOUT CANDY OPERA
Liverpool’s rejuvenated songsmiths Candy Opera present their new single ‘Tell Me When The Lights Turn Green’. A carefully crafted, country-esque ballad that perfectly expresses Candy Opera’s new sound for 2021, reflecting on all our yearnings with openness and candour, this song has all the sensibilities of a classic ballad.
This is the second single from their new album ‘The Patron Saint of Heartache’ (released on November 30), their first collection of new material in nearly three decades. This long-awaited debut album is being released via European / UK label A Turntable Friend Records.
As with the first adrenalin-fuelled single from the album, ‘These Days Are Ours’, this reflective look at adversity was mixed by Grammy award-winning producer Guy Massey and recorded at Liverpool’s Elevator Studios and mastered by Pete Maher (Barry Adamson, The Alarm).
“The song is about trying to find a pathway through life and the realization that the waters will always be muddied but, with determination and desire, the human spirit can pull through and flourish,” says singer-songwriter Paul Malone.
“We all chipped in on filming the video… a big challenge in the pandemic! The water scene is a depiction of change from the old Candy Opera to the new… a kind of baptism or rebirth representing where we are now as a band”.
Candy Opera were formed in Liverpool in 1982 and went through various incarnations before calling it a day in 1992. By 1985, the band had played alongside the likes of The Pogues, The Go-Betweens and The Redskins, as well as appearing on Granada TV. Reviews in NME, Sounds, and Jamming magazine followed.
The band’s current line-up is drawn from all eras of the band’s existence and features Brian Chin Smithers (guitar, vocals), Alan Currie (drums), Frank Mahon (bass), Paul Malone (vocals, guitar), Ken Moss (guitar) and Gary O’Donnell (keyboards, vocals, percussion).
Following the overdue release of two archival sets – ’45 Revolutions Per Minute’ and ‘Rarities’ (released in 2018 by Firestation Records – their new album ‘The Patron Saint of Heartache’ picks up where the band left off, with 14 fresh songs ready for discovery of a sound as timeless as any Candy Opera output.
‘The Patron Saint of Heartbreak’ captures the essence of Candy Opera’s infectious energy and celebrates life with a genuine wander-lust, whilst delivering the excitement of their live performances. There is a musical and spiritual depth and breadth here, from the knockabout naïve rockabilly of ‘Hashtag Text Delete’ to the quiet acoustic reflection of ‘Freedom Song’. It is clear that every song has been painstakingly crafted in order to earn its place in this body of work. This album holds a mirror up to the lives people lead and all the triumphs and heartaches endured.
This new LP also features a swathe of friends and contemporaries, including Paul Simpson (The Wild Swans) and Phil Jones (Afraid of Mice). The result is an exquisite piece of pop craftsmanship that brings their songs into the light. This is a labor of love born of experience, but retaining the sense of wonder that brought the band together in the first place.
LINKS:
https://www.candyopera.com
https://candyopera.bandcamp.com
https://www.facebook.com/candyopera
https://www.twitter.com/candyopera1
https://soundcloud.com/candyopera
https://www.instagram.com/candyoperaofficial
https://www.youtube.com/channel/UCxG5RgI4C6HV3Ye9gMh784A
https://open.spotify.com/artist/1ckXD9OpZynmz60YNthqGr -
Only Takes A Day – Reach
Written by vocalist Shaanvir Rehal, ‘Reach’ is a conscious and dynamic display of lyricism that sidesteps the braggadocio of commercial hip-hop to arrive at something both honest and infectious. Injecting hip hop beats with a masterly display of finicky acoustic work, Shaan’s track was the spark that got percussionist Fabien Waldheim involved in the project, and together the duo explore the bleakness and banality of pop culture with a song that’s life-affirming and touchingly relatable. ‘Reach’ explores the many contradictions in the modern condition: rampant materialism is a source of anxiety to many, but the promise of a more comfortable life through it is something we all, to some extent, strive towards.
Unashamedly proud of his nerdiness, Shaan lyrically cuts something of a Gambino-esque figure, though possessed with a probing curiosity that penetrates further and lashes harder than his american peers. ‘Reach’ is a positive message. It tells us listeners that we are not alone in our thoughts, and that through expression we can find a connection with each other and the world around us that transcends our angst.
Influenced by a wide range of music from Bob Dylan to J Dilla, Only Takes A Day combines spoken word influenced rap lyrics and sung hooks with live instrumentation. Having formed at a house party jam in the summer of 2014, vocalist and guitarist Shaanvir Rehal and percussionist Fabien Waldheim cut a separate path to the americanised rap that’s homogenising commercial music right now. Their approach is uniquely their own, with Shaanvir’s lyrics often feeling like forays into his own head, while Fabien’s beats take the place of traditional sampling to provide an organic dynamism that can’t be achieved through machines.
With only one song in their repertoire back in September, the duo has expanded their setlist and their live presence in London’s music scene, headlining shows across the capital. Over the last couple of years, they’ve travelled across the UK to perform at festivals nationwide including Glastonbury, Wonderfields, Hazy Days, Subsonic and Homeless not Hopeless. Their artistic integrity remains their biggest draw, and in doing whatever they want they’ve ended up striking a chord resonant with the people they play for. Their endearing authenticity and classic musicianship feels almost radical in today’s Soundcloud rap climate, and as their art continues to expand, so too will their influence. It may not have taken a day, but rest assured their day will come.
LINKS:
https://www.youtube.com/channel/UCtOa4nbU1k8KR9JFAopch2A
https://soundcloud.com/onlytakesaday
https://twitter.com/OnlyTakesADay
https://www.instagram.com/onlytakesaday
https://www.facebook.com/OnlyTakesADay
https://open.spotify.com/artist/18ZwiU4AXEvU5YgA1sz3hb?si=gF1sglw0S6e8TJAx8PxTUw