Music Releases 09-13-19
KORN vocalist Jonathan Davis elaborated on the forthcoming LP: “Deep, within our Earth lives an extraordinary force. Very few are aware of the magnitude and significance of this place where good/evil, dark/light, bliss/torment,loss/gain and hope/despair all existas one- pulling at us every moment of our lives.It’s not something we can choose to navigate, but rather anawarenessof this ‘presence’ that surrounds us with every breath, as if we are being watched at every moment. It’s the place whereblack and white energiesattach themselves to our souls, and shape our emotion, choices, perspective and ultimately our very existence. There is amiraculous and small realm within this vortex and it’sthe only place where balance between these dynamic and polarizing forces exists-where the soul finds its refuge. Welcome to…..THE NOTHING.”KProduced by GRAMMY® Award-winner Nick Raskulinecz, THE NOTHING follows the band’s acclaimed 2016 LP, THE SERENITY OF SUFFERING, which debuted at #4 on the “Billboard 200,” #1 on both the “Top Rock Albums” and “Hard Rock Albums” charts, #3 on the “Current Albums chart,” and includes the GRAMMY® Award-nominated single “Rotting In Vain.”
Two-time GRAMMY-nominated band The Lumineers are back with their third album, III, a cinematic piece presented as a narrative in three chapters, with each one centering on one main character. III’s concept began while the band was writing in the Catskill mountains, where producer Simone Felice works. Decidedly darker than their previous work in concept, but replete with their trademark expressive vocals and dynamic arrangements, III boldly and expertly goes in an artistic direction not yet traveled by the band. The Lumineers have enjoyed substantial commercial success; their 2012 self-titled debut featuring the hit single “Ho Hey” was certified triple-platinum in 2018, and their sophomore album Cleopatra was certified platinum in the same year after its 2016 release. They’ve had multiple #1 hits on the Triple A and Alternative radio charts, and have sold out tours across the world; over 300,000 tickets were sold on 2017’s Cleopatra world tour. The Lumineers have also supported icons and their musical heroes on the road, including Tom Petty and the Heartbreakers and U2’s Joshua Tree tour.
The last album was called The Rise of Hobo Johnson, and it really lived up to its name. Self-produced, self-recorded, and originally self-released in late 2017, it powered a breakout year that most musicians can only dream of, beginning with the backyard performance of “Peach Scone” that brought Hobo Johnson (née Frank Lopes Jr.) YouTube viewers by the millions, and ending with a huge, intensely devoted fan base early, anticipating his next move.
That next move is called The Fall of Hobo Johnson, which is (Frank hopes) more of a metaphorical title. It’s about all of the things that Frank (the person) has gone through while Hobo Johnson (the persona) has been blowing up. Namely, a lot of falling: falling in love, falling out of it, and falling apart when it was over.
Ma is a dedication to motherhood.The title of the album comes from the realization that the word 'Ma' is a very good candidate for our first utterance and our very last whisper, the word itself means 'Mother' in countless languages. The record contains 3 parallel narratives all pointing back to motherhood. The first is one of loss and helplessness, the narrative of a mother who reluctantly had to put up her child for adoption, still loving them, but unable to be with them. This became a metaphor for my own personal experience of observing my family in Venezuela, not being able to help in any meaningful way, and the constant feeling of complete helplessness. The second narrative is everything I would ever say to the children I may or may not have. The third narrative is one of celebration, of recognizing the Mother in each being, and of gratitude for music and its mothering qualities.
Ma was recorded in Big Sur and Los Angeles, CA and was produced, arranged, and recorded with my longtime collaborator Noah Georgeson. It features appearances by many, including Cate Le Bon and Vashti Bunyan, the archetype of a mother. It will be out September 13, 2019.-Devendra Banhart
Coming September 13th: Brand new recordings from Glasgow’s finest, Belle and Sebastian. Is releasing a soundtrack a different prospect from releasing a regular album? Would a Belle and Sebastian fan notice the difference if they didn’t know? “Everything we do that becomes an album is a big deal for us,” says Murdoch. “We’re quietly pleased with how the collaboration went, but the truth is that you don’t know what’s going to hap- pen when it goes out into the world, and people hear it.” Martin thinks it is slightly different from other records they’ve put out. “It’s more consistent, probably, than most of our albums. Soundtracks are a deeper cut. They’re not a big pop statement.” But is making music for film that different than making it for a listener? “The whole thing with music is to make a good moment better,” Murdoch says. “Deeper, more thrilling, more heartfelt.” Days of the Bagnold Summer is the latest outside- the-box accomplishment from storied Glasgow 6-piece Belle and Sebastian, comprised of Stuart Murdoch, Stevie Jackson, Sarah Martin, Chris Geddes, Richard Colburn, Dave McGowan, and Bobby Kildea. The last two years have seen them go against conventional practice by releasing a trilogy of EPs to some of the best reviews of their career, and launch and curate their own four-day music festival at sea in The Boaty Weekender, continuing the individualist streak that has characterized them from day one.
"If you write the truth and you're writing about your life, it's going to be country. It'll be country 'cause you're writing what's happening. And that's all a good song is." Loretta Lynn COUNTRY MUSIC, the eight-part, 16-hour film by Ken Burns, chronicles the creation of a truly American genre of music through the songs and stories of its greatest trailblazers. Country Music A Film By Ken Burns (The Soundtrack) includes 29 timeless classics as heard in the film on 2 LPs, including songs by The Carter Family, Jimmie Rodgers, Bob Wills, Hank Williams, Johnny Cash, Loretta Lynn, Charley Pride, Willie Nelson, Dolly Parton and many more.
Attempting to designate a musical category for Geraint Watkins is not without its challenges, but the perspicacious Nick Lowe once observed that he could be filed as "the missing link between Paulo Conte and Howlin' Wolf."
For so many years, a keystone of the bands of Nick Lowe, Van Morrison, Bill Wyman's Rhythm Kings, Dave Edmunds and countless more, Geraint Watkins is also a revered creator of his own sublime music, much of which has already been perfectly captured in a handful of solo albums.
For Rush Of Blood, Watkins found a new and unlikely collaborator in Simon Ratcliffe of The Basement Jaxx to push his boundaries even further. This unique aggregation-aided by some master musicians-has produced what will surely come to be regarded as his finest solo project yet.
Tiny Moving Parts has always been a vehicle for catharsis, and that's nothing new on breathe. The fifth full-length by the Benson, Minnesota, trio sees vocalist/guitarist Dylan Mattheisen and his cousins, brothers Matt (bass) and Billy (drums) Chevalier, tackle issues such as mental health, anxiety and mortality while also expanding their sound. Recorded with longtime collaborator Greg Lindholm and established pop producer John Fields (Jimmy Eat World, Goo Goo Dolls, All Time Low), breathe is a valuable reminded that we're all in this together, channeled through the band's trademark blend of math-rock, pop-punk and emo, albeit with a few new musical tricks (including some electronic flourishes and a banjo). More than just a collection of songs, breathe serves as an important emotional crutch. It's the friend we all need at our darkest times. It's the sound of a band coming to terms with their own mortality, their own anxieties, their own self-doubts. And it's a reminder that, as long as there are songs sung back as if our lives depend on them, we are never alone.
Ty Herndon is a master of the ties that bind. The Grammy-nominated and Dove award-winning recording artist has the ability to connect with an audience far beyond his onstage performance. More than 20 years into his career, Herndon has a passion and commitment to his music that continues to play out in his lyrics. "If I haven't lived it, I haven't sung it" as Herndon says. Having a career spanning two decades, 20 Billboard charted singles and five million albums sold, Herndon sees no signs of slowing down. For those who know him, his passion and commitment to music is not surprising. He continuously performs shows and withholds a heavy appearance schedule; proving Herndon as unstoppable.Herndon is gearing up for the release of a new album, titled Got It Covered. The 10-track album, released through BFD/The Orchard, is a compilation album featuring reimagined hits and covers of some of Herndon's most favorite songs. In addition, an alternative version of his 1995 debut single and his first Number One, "What Mattered Most," is also on the highly-anticipated new release.
Released ahead of 1995's The Gold Experience, the first album credited to Prince's infamously unpronounceable symbol, The VERSACE Experience (PRELUDE 2 GOLD) was a gift to attendees of the designer's collection at Fashion Week in Paris. Produced at the time as only a very limited edition promotional cassette, it featured remixed versions of future favorites ""Pussy Control,"" ""Gold"" and ""Eye Hate U"" as well as rare and commercially unreleased selections by The New Power Generation and Prince's jazz-fusion project Madhouse. The rare promotional cassette went on to be incredibly sought after, with one copy setting a record as the highest priced cassette ever sold, fetching over $4,000.
Emancipation was as expansive an album as anything Prince had ever release. A triple album constituting exactly three hours of music, Emancipation found Prince celebrating the release of music solely on his terms. ""This is my most important record,"" he proclaimed upon its release. ""I'm free, and my music is free."" Much like Paisley Park, the recording complex in which Prince created Emancipation, the album represents the incredible variety of his influences and moods. Romance and family are key themes (""Somebody's Somebody,"" ""The Holy River,"" ""The Love We Make""), reflecting his recent marriage to back-up dancer and muse Mayte Garcia that year. Elsewhere, Prince reflects on technology (""My Computer"") and sex (""In This Bed <0> Scream""), and offers new, upbeat grooves (""Face Down,"" ""Jam Of The Year"") as well as four unique covers (Bonnie Raitt's ""I Can't Make You Love Me,"" the Philly soul classics ""Betcha By Golly Wow"" and ""La, La, La Means I Love U,"" Joan Osborne's then-recent rock hit ""One Of Us"").
Released in July 1996, Chaos and Disorder came with a rare disclaimed penned by Prince (then known as the unpronounceable love symbol): Originally intended 4 private use only, this compilation serves as the last original material recorded by [The Artist] 4 Warner Bros. Records. Princes contentious relationship with the label was at its lowest point, and this recorda taut 39 minutes of dexterous guitar and simple but addictive pop melodieswas a crucial final link in the chains that kept him from releasing the music the way he wanted. Any internal turmoil was not represented in tracks like Dinner With Delores (a minor U.K. hit) and the rollicking title track, a staple of his live shows. Someone told me that Van Halen did their first record in a week, Prince told the Los Angeles Times of the albums quick creation. Thats what we were going forspontaneity, seeing how fast and hard we could thrash it out.
The concept of STARSET is a multimedia experience with a cinematic rock band at the center. The narrative, branding and music driving the new campaign is fully integrated and is set in a near future and centered around showcasing the positive and negative effects of technology on society - futuristic on one side, post-apocalyptic on the other. Think Tron meets Mad Max. They’re harnessing the power of their rabid core fan base and influencer supporters to hack traditional forms of music promotion and do something truly innovative, as appealing for the Comicon crowd wanting to deep dive into the story as casual listeners.
At first listen, The Practice of Love, Jenny Hval's seventh full-length album, unspools with an almost deceptive ease. Across eight tracks, filled with arpeggiated synth washes and the kind of lilting beats that might have drifted, loose and unmoored, from some forgotten mid-'90s trance single, The Practice of Love feels, first and foremost, compellingly humane. Given the horror and viscera of her previous album, 2016's Blood Bitch, The Practice of Love is almost subversive in it's gentleness-a deep dive into what it means to grow older, to question one's relationship to the earth and one's self, and to hold a magnifying glass over the notion of what intimacy can mean. As Hval describes it, the album charts it's own particular geography, a landscape in which multiple voices engage and disperse, and the question of connectedness-or lack thereof-hangs suspended in the architecture of every song. It is an album about "seeing things from above-almost like looking straight down into the ground, all of these vibrant forest landscapes, the type of nature where you might find a porn magazine at a certain place in the woods and everyone would know where it was, but even that would just become rotting paper, eventually melting into the ground." Prompted by an urge to find a different kind of language to express what she was feeling, the songs on Love unfurl like an interior dialogue involving several voices. Friends and collaborators Vivian Wang, Laura Jean Englert, and Felicia Atkinson surface on various tracks, via contributed vocals or through bits of recorded conversation, which further posits the record itself as a kind of ongoing discourse. "The last thing I wrote, which was my new book, had quite an angry voice," says Hval, "The voice of an angry teenager, furious at the hierarchies. Perhaps this album rediscovers that same voice 20 years later. Not so angry anymore, but still feeling apart from the mainstream, trying to find their place and their community. With that voice, I wanted to push my writing practice further, writing something that was multilayered, a community of voices, stories about both myself and others simultaneously, or about someone's place in the world and within art history at the same time. I wanted to develop this new multi-tracked writing voice and take it to a positive, beautiful pop song place... A place which also sounds like a huge pile of earth that I'm about to bury my coffin in."
There is a core element to Chelsea Wolfes musica kind of urgent spin on Americas desolation blues thats existed throughout the entirety of her career. Wolfe has always been a conduit for a powerful energy, and while she has demonstrated a capacity to channel that somber beauty into a variety of forms, her gift as a songwriter is never more apparent than when she strips her songs down to a few key components. As a result, her solemn majesty and ominous elegance are more potent than ever on Birth of Violence. The songs stem from humble beginnings little more than Wolfes voice and her Taylor acoustic guitar. Her longtime musical collaborator Ben Chisholm recorded the songs in their own studio and helped fill them out with his modern production treatments and auxiliary flourishes from ongoing contributors Jess Gowrie (drums) and Ezra Buchla (viola). Every Chelsea Wolfe album introduces new unorthodox textures and approaches, and the trajectory of her creative arc has generally aimed for larger and more imposing sounds, but Birth of Violence deliberately alters that course in favor of a more intimate atmosphere. The result yields Wolfes most devastating work to date.
Pang! is a futuristic psychedelic world pop album, a cross-cultural collaboration between Welsh musician and Super Furry Animals frontman Gruff Rhys and South African electronic producer Muzi. Having met while recording the track “Vessels” for Damon Albarn’s world music collective Africa Express, Rhys and Muzi decided to continue working on transcontinental music projects together, first on a remix of Rhys’ song “Bae Bae Bae” and eventually on a Gruff Rhys solo album recorded in Wales and produced and mixed by Muzi in both Cardiff and Johannesburg which, at Muzi’s request, consists of Welsh-language songs (with bits in Zulu). As Rhys recalls, “Sometimes like on Eli Haul, [Muzi] would leave songs alone - often simplifying them further. On occasion he would jump to the mic and join in with some vocals. Some songs he would take a loop of a particularly interesting section, build a beat and rework the song from scratch, and by the song Ôl Bys / Nodau Clust - which we mixed by coincidence following a conversation about Daft Punk and industrial music - Muzi completely takes over, scrapping my bad bossa guitars, only retaining the original’s vocals. In that sense it’s a kind of remix album where adventure is favoured over predictability and where the radical remixes are the finished articles. Pang!” Rhys also drew inspiration for Pang! from a trip to Paisley Park on a tour for his 2018 solo record Babelsberg:“visiting the gloss of Prince’s democratic music palace confirmed in me that my move into day-glo processed pop with this record was justified and in particular, albums like Around the World in a Day (and in particular the title track) became a reference point for attempting to make psychedelically joyful, internationalist and deeply personal digital pop music.”
THE GLORIOUS SONS announce their incisive new album ‘A War On Everything’ - out September 13th on BMG/Black Box - a daring 14-track collection of stadium-ready, “dirty, sweaty rock” (Alternative Press)rife with devastating moments of vulnerability and searing insight into universal truths about anxiety, sadness and isolation in the 21st century.
Produced by Frederik Thaae (Kate Nash, Atlas Genius) and recorded at North of Princess studios in the group’s hometown of Kingston, ON,‘A War On Everything’ marks the start of a new chapter for a band who in 2019 alone landed their first Billboard #1, played massive shows withThe Rolling Stones and Twenty-One Pilots, and toured with The Struts- and that’s just the beginning.
Loudwire named THE GLORIOUS SONS an up-and-coming rock band“you need to hear,” and Billboard has praised the band’s “infectious energy.” Their most recent single “Panic Attack” is currently #1 on theCanadian Active Rock and in the Top 15 at US Active Rock.
Nashville-based performer Jeremy Ivey has operated in the background for years, initially performing in bands like Secret Handshake and country-soul group Buffalo Clover with his wife, celebrated country-rock luminary Margo Price. But now Ivey is ready to take a much-deserved step into the spotlight with a debut LP, The Dream and the Dreamer via Anti- Records). Recorded in a “little bitty house studio” in Nashville and produced by Price, the nine-song album hosts a collection of homespun, deeply introspective tracks. Ivey, who writes prolifically and cites everyone from the Beatles to Neil Young to Leonard Cohen and Bob Dylan as influences. Unlike his country-soul aesthetic in Buffalo Clover, which disbanded in 2013, Ivey’s solo material is much more straightforward yet still travels through a wide spectrum of classic folk, gently frayed psychedelia, pop, and yes, even a bit of Southern rock and Americana. Ivey is invested in his own version of the American Dream—specifically, offering up a melting pot of genres, ideas, and stories. “The best thing I could say is that I’m trying to fill the holes that I can see in the scene,” he says. “Whether it be Americana or country or rock or whatever. There’s a certain type of song that isn’t being written.”
Brandon Williams' second full-length record as Chastity, Home Made Satan, is a new direction for the Whitby, Ontario-native. It's an emotional and political concept album from the perspective of a young man who's spent too much time alone, inside, isolated from the world. It's about fear, and radicalization; an intense meditation on youth and extremism in an increasingly irrational and violent Western World. Williams, who produces all his own music, set out to create something with a strong cinematic nature. "It's so visual to me," he says. "I'm scoring this picture I have, and trying to get it as close to people's ears as it is in my mind." The new songs are gothier and poppier than ever, recalling '80s staples like The Cure and Siouxsie and the Banshees. Home Made Satan's got "a bit more eyeshadow" than 2018's genre-bending shoegaze-meets-post-hardcore Death Lust, and it's got pop-punk hooks for days. Home Made Satan, with it's lines about commies and American masochism and the Christian right, is meant to sing along to. And when you do, you'll mostly be singing about America. About hyper alienation and xenophobia, about the people who don't have access to community, how people get stuck in their own worlds and become afraid of what's outside. "It constantly feels like America is falling apart," Williams says, and that affects the whole world.
With two gold albums and over one million records sold in the US alone, Jacksonville, Florida's COLD are amongst the most relevant and creatively soaring alternative rock artists of our time. 13 Ways To Bleed On Stage (2000), Year Of The Spider (2003), A Different Kind Of Pain (2005) and Superfiction (2011) are true milestones of a unique career. The Things We Can't Stop is a wonderfully varied and gripping entry in the bands discography. From the anti-bullying anthem ‘Shine‘ to the driving, hard grooving force that is ‘Without You‘ or the unforgettable beautiful ‘Quiet Now‘, COLD’s new album shimmers in timeless colors.
With over 30 years together as a band, over 12 million albums sold, and 14 number one and Top 10 hits at Hot AC -- Miracle Pill finds the band at the top of their game with a collection of songs that are complete with emotion, incredible melodies and sweeping guitars. The album observes and reflects on our current landscape of instant gratification and relief that everyone seems to be seeking.
Alex Cameron's newest and most musically expansive LP, the glistening Miami Memory, takes a surprising turn. Cameron's flair for narrative and character are still on full display; yet Miami Memory's most frequent narrator is, for the first time, Cameron himself - singing with stunning candor of his three-year relationship with visual artist and actor Jemima Kirke. "When you listen to these songs, and you're waiting for the twist, or the joke, or any kind of discomfort, I can assure you none of those things were there when I wrote them," says Cameron. "These are true stories, of actual events. Specific but never esoteric. And graphic but never offensive. Miami Memory is the story of a couple balancing sex positivity with contemporary family values... It's my gift to Jemima, a symbol to hoist on the totem of love." Though remnants of his synth-driven earlier work sneak in to unsettle the tone, the bulk of Miami Memory, produced by Jonathan Rado (Weyes Blood, Father John Misty) and recorded and mixed by Marta Salogni (Björk, Kelela), revels in the emotional overdrive of classic dad rock, it's warm, anthemic songs driven by bass, guitar, sax, and layers of Vegas wedding chapel-ish organ. Cameron's dad rock funhouse of an album ultimately twists and subverts the genre: it recalls classics the white male ego has historically visited for it's regular adrenaline injection, and morphs them into a singular "stepdad" rock that largely turns it's lens away from the dads, celebrating the demise of old norms of gender and power. In his depiction of his relationship with Kirke, Cameron reveals a striking honesty about love and sex in a time where a palpable fleetingness hangs over everything from relationships to human life on this planet - but also where constricting mores have deteriorated enough to let "family life," in all it's morphing forms, exist outside of social obligation. With arresting straightforwardness, Cameron now sings as himself, paying tribute to sex positivity, female empowerment, family and responsibility, and, to his love, Jemima.
Los Angeles punk quartet The Paranoyds channel revelry and revulsion into their debut album Carnage Bargain-a raucous blend of garage rock grit, new wave swagger, horror film soundtrack campiness, and a myriad of other influences. The Paranoyds' beginnings can be traced back to a friendship forged between Staz Lindes and Laila Hashemi in their teens. With the additions of Lexi Funston and David Ruiz, the band found the personnel for their sonic balance of jubilant energy and foreboding undercurrents. Carnage Bargain captures this chemistry through guitar-and-keyboard, genre-mashing weirdness on "Laundry," the fever-dream kitsch of B-52s on "Ratboy," krautrock's motorik groove on "Hungry Sam", and Blondie on the sweet-and-salty highlight "Courtney." Title track "Carnage Bargain" is a perfect example of the band delivering scathing lyrical observations under the guise of a quirky pop hook. The notion of rejecting the status quo and creating your own destiny is evident on the lead single "Girlfriend Degree," which the band calls an ode to "being a badass woman who's taking time to make sure she's doing things for herself." The band may be paranoid, but they offer a solution to our modern ills through the act of being an inspiring, independent, and unflappable force.
Finland's dark rockers THE 69 EYES recently announced that they will release their 12th studio album on September 13th. Right in time for their 30th band anniversary, “West End” will see the light of day, so prepare for 11 up-tempo rock anthems full of heaviness, black memento mori moments and dark humor featuring several top notch guest vocalists including Cradle Of Filth's Dani Filth, Wednesday 13 and Beastö Blancö's Calico Cooper.
Fare Trax' is a new album by Portland Oregon based Campfires. The last one, 'Tomorrow, Tomorrow', came out about 5 years ago, also on Fire Talk. During those 5 years Campfires existed as a live band, watched seasons pass and eventually Jeff and his wife had a baby daughter named Lucy, named after 'Lucy in the Sky with Diamonds'. He wrote a song for her while she was still in the womb. Unsurprisingly, that one is called 'Lucy's Song', and is the last song on this album. Recorded on the Oregon coast a few months ago in a house overlooking the sea and finished in Portland in a practice space that shares a wall with some local favorites, so you can hear Lithics practicing as 'Grand Central Song' fades out. The record is an amalgamation of influences, the Kinks are in there and early Byrds with the aesthetics of raw 60s garage and early 80s punk or anorak pop like Television Personalities & stuff from Sarah Records. Some of the poppier Velvets tunes are a touchstone too, then there's ambient music and experimental tape work. A guazey take on folk music, refined and perfected over 10 years, it's tenderness is complimented by honest and sincere songwriting presented in all it's ramshackle glory.
Jonah Tolchin has wrestled with a wellspring of emotions in his 26 years, and in the process, has consistently found the means of integrating his sentiments into his songs. Its been a relatively brief progression as far as his career is concerned, but the maturity and musical progression hes tallied in that short time has been shared in sync with his coming of age. On his upcoming Yep Roc album, Fires for the Cold, Tolchin lays bare the conflicts and quagmires that have engulfed him over the course of the last few years. Indeed, by his own admission, its been a difficult time. The ending of a marriage and an upheaval in his mindset left him shattered, confused and struggling to find the solace that had eluded him for too long a time.Fortunately, he found all the support he needed once he was ensconced in the studio. Recorded at Carriage House Studios and co-produced with Grammy winning musician, engineer and producer Sheldon Gomberg, the album includes a number of notable guests -- Jackson Browne and Rickie Lee Jones -- both of whom lend their voices to a stunning and sublime cover of Little Feats Roll Um Easy. Sara Watkins sang on two other songs, Supermarket Rage and Honeysuckle. Several A-list players -- drummer Jay Bellerose, Little Feat guitarist Fred Tackett, Pedal steel player Greg Leisz and guitarist Ben Peller -- lend their efforts as well. The limited edition first LP pressing of Fires for the Cold arrives on blue & black splatter vinyl and features a download card for the bonus track Touched by Fire which is not available at digital services.
New Vinyl: $24.99 Buy
Gospel music that is not about God or Jesus, but instead how we deal with each other. Sourced from small label gospel singles from the 1970's from fairly obscure groups.Jonathan Lethem -These songs are resplendent with love and yet are not love songs, not in the sense of man-addressing-woman, or woman-addressing-man. The material here speaks of life and death, care and disrepair, exultation and release, sorrow and pain, and exhort the listener to hold on, seek peace, let light shine, know joy, recognize the love in one's fellows ' nearly every ecstasy excluding the erotic variants is on offer here. All this music fits naturally into a context of people trying to speak to other people about the condition of being alive, and the fact that the emotions are universal and collective ones doesn't make them any less intimate, passionate or devastating.