Tag: Melisa Auf der Maur

Led by its Pembroke, Ontario-born and-based creative mastermind, singer/songwriter and multi-instrumentalist  Jordon Zadorozny, Blinker the Star initially began as solo recording project that eventually expanded into a trio that released two albums through A&M Records — 1995’s self-titled debut and 1996’s A Bourgeois Kitten. Throughout that period, the band toured steadily, building up a profile nationally and elsewhere.

In 1997, Zadorozny relocated from Montreal to Los Angeles, where he worked with Courtney Love, helping craft songs for Hole’s acclaimed Celebrity Skin. He also began soaking up new influences and became progressively fascinated with production. Signing with Dreamworks in 1999, the band, which featured Zadorozny, Failure’s Kelli Scott (drums), longtime bassist Pete Frolander and a collective of Southern California-based session musicians recorded and released their critically applauded August Everywhere. The band toured across North America with Our Lady Peace, Sloan, Failure and The Flaming Lips. 

Returning to Pembroke in 2002, Zadorozny built his first commercial recording studio and began working with Sam Roberts, producing and contributing drums on Roberts’ breakthrough debut EP The Inhuman Condition. The Pembroke, Ontario-born and-based singer/songwriter, multi-instrumentalist and producer also worked on albums by Melisa Auf der Maur, Chris Cornell, Lindsey Buckingham and others.

During the winter of 2013, Zadorozny wrote and recorded Still In Rome as a duo with Kelli Scott. Following a brief tour, he quickly settled into the production side, working on a number of collaborative projects including Digital Noise Academy, SheLoom, Abbey and The Angry Moon. He was also kept busy with production work with an eclectic array of artists.

We Draw Lines was the first Blinker The Star album that Zadorozny wrote and recorded as a solo project in quite some time. He followed We Draw Lines with Songs from Laniakea Beach, a one-off single “Future Fires” the 11235 EP and 2017’s 8 of Hearts. Continuing a run of recent prolificacy, Zodorozny’s latest Blinker The Star album Careful With Your Magic is slated for a September 20, 2019 release.

Careful With Your Magic‘s latest single is the  synth-driven and anthemic “Sweet Nothing.” Centered around a sinuous bass line, twinkling keys, atmospheric synths, blasts of shimmering guitars, a soaring hook and Zadorozny’s plaintive crooning, the song seems indebted to 80s synth pop — in particular Thompson Twins and Tears for Fears immediately come to mind. And while there’s a similar attention to craft, the song comes from a deeply personal and lived-in place, as the song’s narrator recognizes that they’re at a crossroads: do they grow up and take a chance on a relationship that could transform their life — or do they retreat back to single life? At some point, we all face this and the uncertainties of that decision.

“My new single ‘Sweet Nothing’ was written by myself and my good friend Bob Wilcox,” Jordon Zodorozny says in press notes. “The song started as an instrumental track that I completed where I was sort of aiming for a Thompson Twins vibe. Bob heard the music and immediately had melodic and lyrical ideas. Although Bob wrote all of the words, I feel he was tuning into some things that were happening in my life that made it quite easy for me to get behind when the time came to sing it.”

 

 

 

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New Video: Mark Lanegan Releases a Hallucinogenic Visual for “Night Flight to Kabul”

Over the past few years, I’ve spilled a fair share of virtual ink covering Mark Lanegan, the Ellensburg, WA-born, Los Angeles, CA-based singer/songwriter and guitarist, known as the frontman and founding member of Seattle-based grunge rock pioneers Screaming Trees, and an acclaimed solo artist, who has collaborated with an eclectic array of artists and bands — including  Nirvana’s Kurt Cobain on an unreleased Lead Belly cover/tribute album recorded before the release of Nevermind; as a member of the renowned grunge All-Star supergroup/side project Mad Season with Alice in Chains‘ Layne Staley and Pearl Jam’s Mike McCready; as a member of  Queens of the Stone Age featured on five of the band’s albums — 2000’s Rated R, 2002’s Songs for the Deaf, 2005’s Lullabies to Paralyze, 2007’s Era Vulgaris and 2013’s . . . Like Clockwork; with The Afghan Whigs‘ Greg Dulli in The Gutter Twins; as well as former Belle and Sebastian vocalist Isobel Campbell on three albums. Additionally, Lanegan has contributed or guested on albums by Melisa Auf der Maur, Martina Topley-Bird, Creature with the Atom Brain, Moby, Bomb the Bass, Soulsavers, Greg Dulli’s The Twilight Singers, UNKLE and others.

As a solo artist, Lanegan has released 10 critically applauded albums that have seen a fair amount of commercial success. (Ironically, his solo work has seen much more commercial success than his work with Screaming Trees.) The Ellensburg-born, Los Angeles-based singer/songwriter, guitarist and JOVM mainstay’s tenth solo album Gargoyle was a collaboration between him, British-born and-based musician Rob Marshall and longtime collaborator, singer/songwriter, multi-instrumentalist and producer Alain Johannes. That album’s material was both an expansion and refinement of the Krautrock-tinged blues of his two preceding albums  2012’s Blues Funeral and 2014’s Phantom Radio.

Somebody’s Knocking, Lanegan’s 11th full-length solo album is slated for an October 18, 2019 release through Heavenly Recordings, and the album’s material finds the acclaimed singer/songwriter turning to some of his most formative musical influences and loves — electronic music. “I’ve always been into electronic music since I was a kid,” Lanegan says in press notes. “I think the reason those elements have become more obvious in my music is that my tastes have changed as I’ve grown older. The bulk of what I listen to now is electronic. Alain Johannes and I had actually written “Penthouse High” for Gargoyle but then it didn’t really fit on that record. I have been a huge fan of New Order and Depeche Mode forever and have wanted to do a song along those lines for a long time – a blatantly catchy, old-school dance-type song.”

Although Somebody’s Knocking came together during an 11 day session in Los Angeles, much of the album’s deepest musical influences are decidedly European, including the album’s two other writing partners Martin Jenkins, who records as Pye Corner Audio and the aforementioned Rob Marshall, who contribute some newer, murkier forms. Reportedly, Lanegan approached working with each of the album’s writing partners from the perspective and lens of a fan and interpreter. 

Lyrically speaking, the album purportedly sets the listener down multiple rabbit holes, as Lanegan paints psychedelic pictures inspired by the music. “I feel like I write lyrics instinctively. I let the melody come first and then it tells me what the words are going to be and I write whatever feels appropriate,” Lanegan says in press notes. “That said, I’m also influenced by everything I’m into. I don’t usually like to talk about what a song means to me; I prefer that the people who connect with a song do so with their own interpretation. It never crossed my mind what Neil Young meant by After The Gold Rush, only the personal movie it created in my head. My entire life, all the music that I’ve connected to has drawn me in like that. Joy Division, Nick Drake, Son House, The 13th Floor Elevators, The Gun Club… all the music that meant the most to me, the music that saved my life was the music that told my own story back to me.”

Naturally, some aspects of the real world can’t help but seep their way into the album’s material. “It seems to me that the entire world is in a weird, precarious place right now,” the Ellensburg-born, Los Angeles-based singer/songwriter says in press notes. “I try to not be someone in a constant state of worry and alarm but watching the massive divide that is taking place and the political situations, especially in the US and UK makes me think, ‘what the fuck are these idiots thinking?’ The hatred, racism and all this other fear-driven shit, these ‘adults’ that continually drive the machine that perpetuates this ignorance to their own ends should all be in the prison cells instead of the non-violent drug “offenders” in them now. I can’t specifically say how any of this effects my writing but I know that most of the things that occupy my thoughts have a way of coming back out in a song.”

Now, as you may recall, I wrote about the bluesy-Heaven Up Here-era Echo and the Bunnymen-like “Letter Never Sent.” The album’s latest single “Night Flight to Kabul” may arguably one of  be the album’s more dance floor friendly tracks, as it’s centered around thumping, four-on-the-floor drumming, rumbling bass lines, shimmering and skronky guitars, a tight motorik groove and Lanegan’s imitable croon. In some way, the song will likely remind listeners a bit of a bluesy take on the likes of Gary Numan and New Order. But lyrically, the song evokes a hallucinatory and surrealist fever dream, in which things aren’t quite what they seem. 

Directed by Dean Karr, the recently released video for “Night Flight to Kabul” is a hallucinogenic and feverish dream. ‘“The artistry and genius of Dean Karr is what made this video happen,” Mark Lanegan says in press notes. “5,000 still photographs taken in eight hours were painstakingly put together to give the appearance of a strange wraithlike figure moving weirdly through the desolate landscape of the Salton Sea. My third video with Dean in three different decades and I have to say this was the best. The most artistically challenging and satisfying.”

“We had been talking about doing this video for ‘Night Flight to Kabul’ for a month or two and my only concern was how could I pull this off with such a challenging budget for my friend?” The video’s director, Dean Karr adds in press notes. “Being a photographer before I was ever a director, I decided to use my Nikon D810 still camera for the entire music video and turn it into animation throughout the entire clip. What a simple solution! There’s lots of post work involved, which was done by editor and FX artist Joel Nathaniel Smith. There’s alot to be said for the simplicity of working WITHOUT a crew, it was just Mark, myself and a fan of Mark’s (Jason Hall) who drove 3 hours out of his way to meet us at the The Salton Sea, CA to help us shoot a beyond unique video! I think this is one of the freshest looking things out there today and love the ‘melty’ moments, which remind me of doing hallucinogenics back in the day!”

 

I’ve spilled my fair share of virtual ink, covering Mark Lanegan, the Ellensburg, WA-born, Los Angeles, CA-based singer/songwriter and guitarist, who known as the frontman, and founding member of  Seattle-based grunge rock pioneers Screaming Trees, and an acclaimed solo artist, who has collaborated with an eclectic array of artists and bands — including  Nirvana’s Kurt Cobain on an unreleased Lead Belly cover/tribute album recorded before the release of Nevermind; as a member of the renowned grunge All-Star supergroup/side project Mad Season with Alice in Chains‘ Layne Staley and Pearl Jam’Mike McCready; as a member of  Queens of the Stone Age featured on five of the band’s albums — 2000’s Rated R, 2002’s Songs for the Deaf, 2005’s Lullabies to Paralyze, 2007’s Era Vulgaris and 2013’s . . . Like Clockwork; with The Afghan Whigs‘ Greg Dulli in The Gutter Twins; as well as former Belle and Sebastian vocalist Isobel Campbell on three albums. Additionally, Lanegan has contributed or guested on albums by Melisa Auf der Maur, Martina Topley-BirdCreature with the Atom BrainMobyBomb the BassSoulsavers, Greg Dulli’s The Twilight SingersUNKLE and others.

Lanegan’s solo career has seen him release ten, critically applauded albums that have seen a fair amount of commercial success. (Ironically,. his solo work has actually seen more commercial success than any of his work with Screaming Trees.) The Ellensburg-born, Los Angeles-based singer/songwriter and guitarist’s tenth solo album Gargoyle found him collaborating with British-born and-based musician Rob Marshall, who’s best known for stints with  Exit Calm and Humanist and his longtime collaborator, multi-instrumentalist and producer Alain Johannes. Interestingly, the album’s material was both an expansion and refinement of the Krautrock-tinged blues of his two previously released albums 2012’s Blues Funeral and 2014’s Phantom Radio.

Now, as you may recall, Lanegan’s 11th full-length album Somebody’s Knocking is slated for an October 18, 2019 release though Heavenly Recordings, and the album reportedly less the tale of a brooding rock veteran and more that of someone consumed by a lifelong love affair with music and words. Interestingly, much of the album’s material finds Lanegan turning to some of his most formative musical influences and loves — electronic music.

“I’ve always been into electronic music since I was a kid,” Lanegan says in press notes. “I think the reason those elements have become more obvious in my music is that my tastes have changed as I’ve grown older. The bulk of what I listen to now is electronic. Alain Johannes and I had actually written “Penthouse High” for Gargoyle but then it didn’t really fit on that record. I have been a huge fan of New Order and Depeche Mode forever and have wanted to do a song along those lines for a long time – a blatantly catchy, old-school dance-type song.”

Although Lanegan’s forthcoming 11th album came together during an eleven day session in Los Angeles, many of the album’s deepest musical influences are decidedly European, including some newer, murkier forms provided by Martin Jenkins. who records as Pye Corner Audio or Rob Marshall, a collaborator on Gargoyle and on his own, forthcoming debut album as Humanist. In each case, Lanegan approached working with each of the writers from the perspective of a fan.

Lyrically speaking, the album purportedly sets the listener down multiple rabbit holes, as Lanegan paints psychedelic pictures inspired by the music. “I feel like I write lyrics instinctively. I let the melody come first and then it tells me what the words are going to be and I write whatever feels appropriate,” Lanegan says in press notes. “That said, I’m also influenced by everything I’m into. I don’t usually like to talk about what a song means to me; I prefer that the people who connect with a song do so with their own interpretation. It never crossed my mind what Neil Young meant by After The Gold Rush, only the personal movie it created in my head. My entire life, all the music that I’ve connected to has drawn me in like that. Joy Division, Nick Drake, Son House, The 13th Floor Elevators, The Gun Club… all the music that meant the most to me, the music that saved my life was the music that told my own story back to me.”

Naturally, some aspects of the real world can’t help but seep their way into the album’s material. “It seems to me that the entire world is in a weird, precarious place right now,” the Ellensburg-born, Los Angeles-based singer/songwriter says in press notes. “I try to not be someone in a constant state of worry and alarm but watching the massive divide that is taking place and the political situations, especially in the US and UK makes me think, ‘what the fuck are these idiots thinking?’ The hatred, racism and all this other fear-driven shit, these “adults” that continually drive the machine that perpetuates this ignorance to their own ends should all be in the prison cells instead of the non-violent drug “offenders” in them now. I can’t specifically say how any of this effects my writing but I know that most of the things that occupy my thoughts have a way of coming back out in a song.”

Centered around a motorik groove, shimmering guitar lines and a tight hook, “Letter Never Sent,” the album’s latest single manages to bear an uncanny resemblance to Heaven Up Here-era Echo and the Bunnymen but imbued with a bluesy tinge.

 

New Video: Grunge Pioneer Mark Lanegan Teams Up with Duke Garwood on an Atmospheric and Eerie Single

Over the past few years, I’ve written quite a bit about Mark Lanegan, the Ellensburg, WA-born, Los Angeles, CA-based singer/songwriter and guitarist, who is best known as the frontman, and founding member of  Seattle-based grunge rock pioneers Screaming Trees, and for collaborating with an incredibly diverse array of artists and bands throughout his lengthy career, including Nirvana’s Kurt Cobain on an unreleased Lead Belly cover/tribute album recorded before the release of Nevermind; as a member of the renowned grunge All-Star supergroup/side project Mad Season with Alice in Chains‘ Layne Staley and Pearl Jam‘s Mike McCready; as a member of  Queens of the Stone Age featured on five of the band’s albums — 2000’s Rated R, 2002’s Songs for the Deaf, 2005’s Lullabies to Paralyze, 2007’s Era Vulgaris and 2013’s . . . Like Clockwork; with The Afghan Whigs‘ Greg Dulli in The Gutter Twins; as well as former Belle and Sebastian vocalist Isobel Campbell on three albums. Additionally, Lanegan has contributed or guested on albums by Melisa Auf der Maur, Martina Topley-Bird, Creature with the Atom Brain, Moby, Bomb the Bass, Soulsavers, Greg Dulli’s The Twilight Singers, UNKLE and others.

While developing a reputation for being a highly sought-after collaborator, Lanegan has also managed to maintain a solo career that has seen him release ten, critically applauded and somewhat commercially successful albums; in fact, ironically, his solo work has seen more commercial success than his work with Screaming Trees. Lanegan’s tenth solo album, 2017’s Gargoyle found the Ellensburg, WA-born, Los Angeles, CA-based singer/songwriter and guitarist collaborating with British-based musician Rob Marshall, who’s best known for stints with  Exit Calm and Humanist and his longtime collaborator, multi-instrumentalist and producer Alain Johannes. Sonically speaking, the material was both a refinement and an expansion of the Krautrock-tinged blues of his previous two albums Blues Funeral and Phantom Radio.

Duke Garwood is a British-based blues/indie rock multi-instrumentalist and singer/songwriter, who has written and released six albums as a solo artist — 2005’s Holy Week, 2006’s Emerald Palace, 2009’s The Sand That Falls, 2011’s Dreamboatsafari, 2015’s Heavy Love and 2017’s Garden of Ashes. He’s also collaborated with renowned The Orb,  Archie Bronson Outfit, Savages, Shezad Dawood and the aforementioned Mark Lanegan among others; in fact, Garwood has released an album with Lanegan — 2013’s Black Pudding and as has recorded and toured as a member of Lanegan’s backing band for the renowned grunge pioneer’s last three albums. Interestingly, Garwood and Lanegan continue their ongoing collaboration with their forthcoming, second album together With Animals, which is slated for an August 24, 2018 release through Heavenly Records, and the album, which was split between old-fashioned studio collaboration and Trans-Atlantic file sharing is a decided sonic departure for both artists, as it finds them crafting spectral and sinewy music, focusing on the spaces between notes while employing much different instrumentation — dusty, analog synthesizers and drum machines. The album’s first single, the sparse, mournful and aching “Save Me” is centered around Lanegan’s imitable vocals, fluttering, synths and metronomic drum machines, and in some way the track sounds like a discarded remnant of life just before the apocalypse; but underneath, the song feels made of some older stuff, as though it channels an ancient pagan ritual.

 
As Harwood says of his lengthy collaboration with the renowned grunge pioneer, “Over the years, we’ve recorded together and apart. This time, I started this record alone with many animals as company. It flowed, I set to work and out it came. Our music is instinct, there is not much talking about it, just creating. I think that if you are at peace with your work, and feeling it right, it flows, and can feel ‘easy’. Music isn’t meant to be hard. Though sometimes it can burn you to ashes. Making music for a singer, so they can inhabit it with a song means hitting the right soul buttons. There is no hit without a miss. It is a healing record, for us the makers, and for the listeners. It grows natural. We are gardeners of sonic feelings.  The recently released video features footage of 80s wrestlers but in heavily filtered negatives, which further emphasizes the song’s trippy vibes.