InsideOutMusic are set to release the self-titled debut album from Philadelphia- duo Rise Twain on September 6th, 2019. The union of Brett William Kull (producer, audio engineer, and member of Echolyn, Grey Eye Glances, and Francis Dunnery’s New Progressives) and J.D. Beck (The Scenic Route, Beck-Fields, author & playwright) bring their collective years of direct and varied experience in writing, performing and recording music together for their impressive debut.
Today they launch the 3rd single, and final preview track, titled ‘Oh This Life’ and you can listen to it now here:
The band comments: “Sometimes a complete song appears and is constructed as if it was always here; the songwriter just a conduit to allow its declaration into being.
“Oh This Life” is a song at our most immediate – available to intimate observation, confession, and creativity.”
The track-listing is as follows:
1. Everspring 2. Golden 3. The Range 4. Lit Up 5. Death of Summer 6. Oh This Life 7. Prayers 8. Falling Skies 9. Into A Dream 10. That Is Love
Talking of how the duo came together: “I produced an album for J.D.’s original band, The Scenic Route”, says Kull, describing his first meeting with Beck in 2007. “They were a rocky, progressive kind of band, like a Jeff Buckley kind of thing. I was immediately drawn to his vocals. He’s such a strong singer.” Kull says he and Beck immediately hit it off, what he describes as an “inevitable connection.”
Adds Beck, “I just knew I had to work with Brett on a higher level. When I came in to cut the vocals on the Scenic Route album, the way we worked together…some people you just gel with, and then some people you have a barrier with. Brett and I gelled.” They spoke of one day collaborating on their own project, which finally surfaces as Rise Twain.
Discussing the album’s musical direction, Beck notes, “There’s not a typical structural theme that we use over and over and over. ‘Organic’ is a word that comes to mind. Seeking openness through simplicity and allowing the complexity of music to exist without the necessity of overly packing it or overly processing it. With that we were able to achieve such a broad spectrum of sound, and a colossal sense of its existence, without having to have a billion guitars and a billion things put over top. There’s some colouring with strings and other embellishments, but it really is something very simple and stripped down, and it’s awesome.”
Kull adds, “There’s a lot of complexity in this, but it’s not overt in the least bit. But yet, when you get into it, there’s all this really rich harmonic and dynamic stuff going on.”
RISE TWAIN are: J.D. Beck: Piano, lead and backing vocals Brett William Kull: Guitars, bass, keys, percussion, lead and backing vocals
Los Angeles – Bob Beland is an American born musician/songwriter from Los Angeles, CA, where he has performed, written and recorded original music from 1973 to the present. Much to the excitement of his fans worldwide, Bob has just released his much anticipated seventh studio album “Welcome” on his own Wrong Way Works label. Along with the release of “Welcome”, Bob recently collaborated on a track for 10cc/Godley & Creme legend Kevin Godley for his forthcoming solo album!
“Welcome” is my seventh self produced solo album release and was written and recorded over 2018 at Wrong Way Works, Mar Vista, California. Extra special credit should be given to my good friend Greg Embrey for all of his help and involvement along the way. The opening track, “Rocky Up! (love theme from “The Bang Bang Theory”) is an instrumental version of a song I co-wrote earlier last year with Kevin Godley, from the acclaimed UK band 10cc and groundbreaking art rockers Godley & Crème fame, which is called “The Bang Bang Theory” that will be included as part of his first solo album “Muscle Memory” due out soon on the UK label state51conspiracy.
Bob Beland decided to release three other studio albums that he recorded over the last three years but never released until now.
“Forward and Backworks” is a conceptual idea for orchestra that I recorded in 2015. The title refers to the four opening tracks and music that has a reverse or “mirror” counterpart. The album also contains four other original compositions. The sole guest musician on the album is classical violinist Paula Kuhr from the acclaimed multi Ethnic orchestra MESTO.
“Mar Vista” was recorded in 2016 and features the only guest musician on the album, Grammy award winning classical percussionist T.J. Troy whom I met as a member of the MESTO orchestra.
“Mano Sinistra” Latin music terminology for “to be performed with the left hand” was recorded in 2017 and features the talents of acclaimed pedal steel player Greg Leisz who has recorded and performed with renowned music artists such as k.d. lang, Joni Mitchell, Eric Clapton, Van Morrison, Bob Dylan and whom I first met as a member of the Funky Kings with Jules Shear, Jack Tempchin and Richard Stekol way back in 1975. Peter Curry on drums and bass is better known as the bassist for Los Straightjackets. I’ve also worked with Pete before on my first full album “Amnesia Lane” as well as co-writing a few instrumentals for his surf group the Halibuts. Pedal steel player and premier microphone designer Dave Pearlman, The Legendary Fontenelle DuClaw on keyboards, bass, and vocals, bassist Joe McGrath and vocalist Remy Beland round out the rest of the musical guests on the album.
Now, a little background on the players who contributed their time and talents to “Welcome.”
Greg Embrey was the co-founder of the mid 70’s L.A. rock band the Furys whom I later joined as their lead guitarist in the mid 80’s. A.K.A. The Legendary Fontenelle DuClaw
Bob Gross is someone I’ve known since the early 1970’s. Among the other acts he’s worked with was Delaney Bramlett of Delaney & Bonnie fame and currently can be seen and heard gigging with the Deanna Bogart Band. Bob is also playing on “The Bang Bang Theory” for Kevin Godley as well.
Richard d’Andrea is a friend and former Furys alumi who’s been a mainstay in the L.A. rock scene since the 70’s most notably founding the Know with Gary Valentine and working with musicians such as the Roosters and Carla Olson. Richard’s just released his first solo album under the handle Raw Terra called “Mars 12 Earth 0.”
Bobby Pickett is another dear old friend who worked extensively with the great Etta James, Sugarloaf, Detective, Jimmy Page and many other top names in music.
Doug D’Martino is from an earlier incarnation of the Furys
Marty Korth is a long standing friend of mine who also spent some time in the Furys and has played bass on other songs that I’ve written and recorded over the years. He’s a great film animator as well working on many classic Walt Disney and Hanna Barbarra features.
Stephen Linsley is a new friend I met through my old buddy Jules Shear. Stephen was the original bassist in the Jim Carroll Band and is also a fine portrait photographer.
Joe Conte is yet another former member of the Furys who came in at the last minute and played some very cool harmonica for me on “Rocky Up!’
Allie Menapace is an acoustic bassist I met through my old friend Peter Curry from Los Straightjackets fame. Pete suggested Allie for my song “Welcome Me” and she came through with flying colors.
Kevin Louden is a fine pedal steel guitarist, dobro, and multi-instrumentalist I’ve gotten to know over the past few years who’s based in Frederic, Wisconsin and plays all throughout the state.
Me? I’m just a musician. You can tell me by the way I walk… Enjoy! Bob Beland Mar Vista, Ca
All of Bob’s music is currently available at these on line music retail outlets – CD Baby, Apple MUSIC, iTunes, Pandora, Deezer, Google Play, Tidal, Facebook, Amazon Music Spotify and most other streaming subscription music services as well as SoundCloud and for licensing opportunities – Songtradr.
“65daysofstatic have always been a band unafraid to take on wildly ambitious projects” – The Independent
“A band more than well-versed in creating bold, beautiful music that often feels like the universe collapsing or a new day rising” – The Line Of Best Fit
“The music of 65daysofstatic has always sounded vast and out of this world” – NME Magazine
On September 27th, Sheffield-based experimental stalwarts 65daysofstaticrelease their anticipated, expansive new album replicr, 2019 via Superball Music. This immersive album highlights a continuation from previous releases and a constant evolution which has been evident since their formation.
Today they launch the video for the new single “trackerplatz“, the second track taken from ‘replicr, 2019’.
The band comments of the track: “Back in January, in a remote studio that would have been buried under snow had we not have collectively killed snow’s ability to thrive in the 21st century, the four of us were huddled around a warm mixing desk trying to stop Trackerplatz from falling apart. More than one song had already been unceremoniously left in the dirt whilst recording replicr, 2019. It’s always that way with us when trying to make records. We go into it expecting one thing but as soon as we manage to bring it to life it starts behaving oddly and there’s only so much we can do to keep it all hanging together. Trackerplatz we were all particularly fond of though. We really wanted it to survive.
At the last possible minute, on the cusp of us throwing the entire song into the memory hole, the song was saved by a 1998 Akai S2000 digital sampler. In the earliest days of 65, this sampler travelled with us in vans up and down the country and then around Europe. More recently it sat, lonely, in the corner of a rehearsal room, its circuits getting coated in dust and melancholy.
At 65’s darkest hour, the sampler chugged its way back to life and offered up a 16bit sine wave embued with a decade of sadness. We threw out the overwrought polyrhythmic piano tracks, replaced them with the sampler’s plaintive yearning for its lost younger years, and out of nowhere the song bloomed into the end piece of our new record.”
For a decade, 65daysofstatic could generally be found on the peripheries of any scene trying to claim them, headed in the opposite direction. From their immediately recognisable aesthetic of glitches and urgent guitars of 2004 debut ‘The Fall of Math’, the band’s sound evolved via techno, post-rock, drum’n’bass, math rock, IDM, drone, breakcore, film scores and their self-proclaimed “dustpunk”, clattering into the colossal, widescreen noise sculptures of 2013’s ‘Wild Light’. In 2016, they released their critically-acclaimed score for ‘No Man’s Sky’, the most anticipated game in the world at that time. Their generative, infinitely long, in-game score was experienced uniquely by each of the game’s millions of players.
This crash course in algorithmic music led to the band building their own procedural musical systems and generative soundscapes, crafting custom synths, live coding and writing software to make music for (and against) them. This new way of working they called “Decomposition Theory” — decomposing from the infinite possibilities their systems churned out instead of composing from the ground up, a dialectic between the band and their machines.
From the eventual smouldering wreckage of their broken software systems and entropic algorithms, the band realised their next record needed to be the opposite. An album born from the debris, but stripped down to its most focussed, intentional form.
replicr, 2019 is the album carved from the wreckage. Forty two minutes of dread. A record that stares head on into the abyssal futures of late capitalism and refuses to blink. A melancholic, tireless soundtrack of acceleration. A feeling of frayed-nerved, time-smudged, light-speed drifting through cities built upon cities. Neon seen through rain-riddled windowpanes. replicr, 2019 is a stark, angular, stripped back slab of focussed noise. It wastes no time because there is no time left to waste.
Opener pretext immediately lays out 65’s intent, a collage of apprehension assembled from a palimpsest of worn out tape hiss, the downsampled entropy of rusted hulks in a forgotten harbour, the pulse of a perpetual machine in decline.
Out of this unease explodes stillstellung’s furious heartbeat. Presumably this places us somewhere between Walter Benjamin’s ‘The Work of Art in the Age of Mechanical Reproduction’, emphasised by the music’s repetition, and his ‘On the Concept of History’ in which the stillstellung describes a frozen moment, a slice of time in which all understanding of what has gone before can manifest. A kind of historical materialist music then, a title that speaks to the politics weaved throughout this record, never explicit but made clear through its relentless re-cataloguing of multiple musical histories, its interrogations of failed futures.
Despite its title, bad age reveals the utopian impulse that drives 65 to push through their bleak strategies in the hope of getting somewhere better, as obscure time signatures, micro-tuned synths and bastardized guitars become immediately accessible, even hummable. A reminder that 65daysofstatic never knowingly wear their obscurity with pride but rather strive for music that is inclusive, human, inviting and yet always pushing towards the new.
If bad age is the search for better futures then sister is locked in the grim now, with dusk coming on. Having “2019” in the album title is a deliberate choice by the band. As drummer Rob Jones explains: “This was supposed to be the future, but that future got cancelled. History is moving but it’s got nowhere to go. It’s piling up all around us. That’s what this record is about. This atemporality is an illusion, it’s the cultural logic of late capitalism, consuming everything faster and faster, each artefact a more diluted replica of the last. Even the idea that ‘pop will eat itself’ is eating itself. We need to find a way out.”
The year in the title pins the record down, a marker in history, a lighthouse in an exponential typhoon of blind progress.
Album closer trackerplatz begins with a plaintive 16bit sine wave, a blunt distress signal cutting through the fog. A swarm of distortion rises but gone is the bombast of previous 65 outings. As the song’s spare, angular form lifts into noise and its last careful message gets lost in the storm of static, it never quite tips over into oblivion. It suggests that maybe 65daysofstatic haven’t reached the end yet.
Maybe there’s a future to be found after all.
Tracklist: 1. pretext 2. stillstellung 3. d|| tl | | | 4. bad age 5. 05|| | 1| 6. sister 7. grv—_s 8. popular beats 9. five waves 10. interference_1 11. lid 12. z03 13. u| || | th | r| d 14. trackerplatz
German instrumental-rock group LONG DISTANCE CALLING are pleased to announce their first ever live album ‘STUMMFILM – Live from Hamburg (A Seats & Sounds Show)’, scheduled for release on November 1st, 2019 through InsideOutMusic. Filmed during a special run of dates in early 2019, it saw the band performing seated shows in some very special locations for a stunning experience.
The band comments: “We are happy to unveil our first ever live album ‘STUMMFILM – Live From Hamburg’ which we recorded on the ‘Seats & Sounds’ tour earlier this year. After more than ten years on the road, we felt it’s more than about time to do a proper live album. We are very satisfied with the result, a lot of atmosphere, energy as well as some nice surprises have been captured at Kulturkirche Altona in Hamburg. We can’t wait to share this beautiful experience with you! Love LDC”
To celebrate the announcement, the band have launched a live clip of the track ‘Black Paper Planes’, and you can watch that here:
‘STUMMFILM – Live from Hamburg (A Seats & Sounds Show)’ will be available as a limited edition Blu-Ray + 2CD, Gatefold 3LP Vinyl & as digital audio download.
The full track-listing is as follows:
1. Into The Black Wide Open 2. The Very Last Day 3. In The Clouds 4. Like A River 5. On The Verge 6. Interlude 7. Out There 8. Apparitions 9. Black Paper Planes 10. 359° 11. I Know You, Stanley Milgram! 12. Sundown Highway 13. Flux 14. Metulsky Curse Revisited
For 13 years now, the Münster-based four-piece Long Distance Calling has been famed and cherished for its weightless yet massive music. After having returned to their instrumental roots Long Distance Calling sat down to carefully ponder their next step. When they got up again, they were ready for their most extraordinary live undertaking yet: Aptly entitled “Seats & Sounds”, this string of concerts saw Long Distance Calling take to the stage in very special locations in front on a seated audience.
The band took the matter almost religiously and went to great lengths in pulling off their most daring effort. “We wanted to go one step further, highlighting the audio-visual quality of the band for the very first time”, the band states, referring to the phalanx of video screens and specially curated visuals corresponding to each song.
One of those rare performances, the one at the Kulturkirche Altona in Hamburg, was captured on film and tape and is now being released. More an elegant silent film (visually speaking) than an ordinary live video, Long Distance Calling deliver a stunning performance in two acts: A “normal” Long Distance Calling set with songs from all their albums, and a special ‘Avoid the Light’ set, performing the dramatic album almost in its entirety. “This is one of the most important releases of our entire career”, the band continues, “and playing it felt like time travel.”
Meticulously prepared and rehearsed, this is Long Distance Calling on another level. Backed by guest musicians Luca Gilles on cello and Aaron Schrade on percussion and electronic beats, the experimental rock veterans show their grandeur in cinemascope – elaborately filmed and monumentally staged. In the end, Janosch Rathmer (drums), Jan Hoffmann (bass), Florian Füntmann (guitar) and David Jordan (guitar) not only played their biggest Hamburg headlining show; they also peaked their stellar career.
Debut album “What The Water Wants” out on October 18th First single launched today!
After various successful releases with his main band in the previous years, InsideOutMusic are now proud to welcome longtime Fates Warning vocalist and frontman Ray Alder to a new worldwide co-operation for his solo releases.
Ray Alder checked in with the following comment: “Hi everyone! I am so happy to announce that I have signed a deal with InsideOutMusic for my solo project and the debut album “What The Water Wants”. I want to thank InsideOutMusic for giving me the opportunity to record and share this album with the world. For the last year I have been writing with Mike Abdow, (Fates Warning touring guitarist), guitarist/bassist Tony Hernando (Lords Of Black) and my longtime friend Craig Anderson (Ignite) on drums. The album was mixed by Simone Mularoni (Rhapsody, Michael Romeo, DGM, etc.), who worked tirelessly with me to give this project the great sound we felt it deserved. I have had the ideas for a while but never had the time to actually sit down and write. But since Fates Warning had taken a break from writing and touring I finally had the chance to assemble the album. I hope you all enjoy it as much as we did writing and recording it!”
Ray Alder’s first solo album for the label is entitled “What The Water Wants” and includes 10 melodic and versatile songs created with assistance from guitarists Mike Abdow (Fates Warning touring member) and Tony Hernando (Lords Of Black) as well as drummer Craig Anderson (Ignite, Crescent Shield). The album was mixed by Simone Mularoni (Rhapsody, Michael Romeo, DGM) and will be released worldwide on October 18th, 2019.
A first single and introduction to the record has been launched today, so check out the track “What The Water Wanted” in a lyric video by Cloud Music Typography here:
Ray Alder’s “What The Water Wants” will be available as limited first-pressing Digipak CD with a bonus track (An acoustic version of “The Road”) and as LP on 180gr. vinyl with the full album on CD as bonus.
Complete tracklisting of the album
1. Lost 2. Crown Of Thorns 3. Some Days 4. Shine 5. Under Dark Skies 6. A Beautiful Lie 7. The Road 8. Wait 9. What The Water Wanted 10. The Killing Floor 11. The Road (Acoustic Version) * Bonus Track