Available on honey coloured vinyl, numbered and limited to 2,000 units worldwide.
This single is from the forthcoming album “Third World Pyramid” which will be released in October 2016.
The B side “Playtime” is exclusive to this release ,recorded in March 2016 in Anton’s studio in Berlin . The band start their 2nd part of their European Tour starting in August.
This single brings the traditional Brian Jonestown Massacre sound mixed with eastern influences & bringing it up to date with the benefit of all the additional weirdness that's been discovered in the past 40 years.
Two dozen band members later and numerous “ups and downs” (some have been famously sensationalized in the media ), the one thing that has always remained consistent for this psychedelic collective, is front man Mr. Anton Alfred Newcombe
The Sun Ship
FREE 7 TRACK LIVE CD E.P. WITH EVERY ORDER.
PRE-ORDER, shipping on the 2nd of September. Available on CD, Vinyl (Limited Edition run of 300).
“Jinnwoo is the most singular new folk talent I’ve heard in some time.” - The Independent
“A rising talent in the folk world.” – The Line of Best Fit
“Jinnwoo is a true original.”- Clash
The release follows Jinnwoo’s critically-acclaimed debut ‘Your Baby’ E.P. and a series of singles - the E.P.’s title track, ‘Solo Man’, ‘You Should Be Feeling This Elliott’ and ‘I Am, I Am, The World’s Oldest Man’ - all released in 2014, collectively garnering coverage across The Guardian Guide, The Line of Best Fit, Clash, 405, For Folk’s Sake – among many others –and accumulating in Jinnwoo being named one of The Independent’s ‘Faces to Watch 2015’.
2015 saw perfectionist Jinnwoo lay the finishing touches to ‘Strangers Bring Me No Light’, an album which has been years in the making and began with Jinnwoo hand-picking collaborators to work with, as he explains: “I wanted to make an album that was interesting to me so I included musicians that I appreciated and admired on the record.” As a totally unknown artist Jinnwoo found most of collaborators online - such as Malcolm Middleton and Alasdair Roberts - and emailed them demos with all of them agreeing immediately to work with this strange and exceptional new talent. Others were met on the live circuit such as Kyla La Grange, “she invited me to sing on her record (‘Cut Your Teeth’, 2014, Sony) so we swapped and did a vocal for each other”.
A few were met through Jinnwoo’s work as a photographer, he shot the artwork for Kami Thompson’s (The Rails) solo album ‘Love Lies’ (2011, Warner Music UK) and they remained firm friends and collaborators. Working with established musicians on the record gave Jinnwoo a needed distance from the lyrics and meaning of the songs, “when you hear someone else sing about your life in your words, it sort of distances you - that's quite nice for a while.” Jinnwoo’s work has been described aptly as “confessional folk” (The Guardian) and he himself has described ‘Strangers Bring Me No Light’ as ‘autobiographical’, with the artwork a self-portrait and the lyrics an outpouring of personal experiences and lingering emotions from his 20’s.
Jinnwoo’s confessional reel is one sung in a voice so distinctive no adequate comparisons can be made, but the story-telling style of Bob Dylan and the fragile delivery of troubadour Michael Stipe have been raised as a starting point. His sparse atmospheric folk-soundscapes, laced with ghostly string arrangements and his exceptional acoustic guitar work, offer a kind of ‘spooked’ ‘gothic’ folk that sounds like no other.
‘Strangers Bring Me No Light’ is nothing short of a seminal record and Jinnwoo a true original.
All tracks written and guitar and vocals by Jinnwoo.
1. Solo Man (Prod. Gerry Diver, guest vocals by Alasdair Roberts)
2. I Am, I Am, the World's Oldest Man (Prod. Weikie, guest vocals by Malcolm Middleton)
3. You Should Be Feeling This Elliott (Prod. Noah Georgeson, guest vocals by Kyla La Grange)
4. Woman (Prod. Weikie, guest vocals by Georgia Ruth)
5. Your Baby (album version) (Prod. Young Montana?, guest vocals by Kami Thompson, Score by Hannah Peel)
6. Sorrysong (Prod. Weikie, guest vocals by Caroline Weeks)
7. Waiting for P to Have a Vision (Prod. Gerry Diver)
8. Wicked Hare(Prod. Weikie, guest vocals by Georgia Ruth)
9. With Birds (Prod. Ben Walker, guest vocals by Georgia Ruth)
10. Strangers Bring Me No Light (Prod. Weikie and Christian Madden, guest vocals by Rachael Dadd)
New Heavy Sounds
Y Proffwyd Dwyll is once again produced by Chris (Conan) Fielding, and is without doubt a whopping great slab of heaviness. But that’s not all.
Those who’ve investigated beyond the name, have already discovered that both the band and their music are deadly serious, and though MWWB may share sonic alliances with likes of Conan, Windhand and Yob, the many who tuned into their impessive debut have discovered that MWWB don’t stick to the usual tropes, and are a unique proposition, with a sound all their own.
Down-tuned to ‘Z,’ the guitar tone is tar thick and the riffs massive and full of hooks ... of course.
But with the soaring, angelic, multi textured vocals of Jessica Ball, MWWB have added an extra dimension to what’s considered doom. Not your normal melodramatic dark chanteuse here pilgrims, more like MWWB’s secret weapon, a vein of crystal in the rock.
In fact it’s a combination which sounds at times startling and often beautiful. Like if Liz Fraser had fronted Kyuss or Sleep ... though that’s too simplistic a comparison.
There’s nothing approaching the 30 minute epic of their debut’s ‘Nachthexen’ (though these six tracks all clock in around the eight or nine minute mark) but the arrangements are tighter and the vocal elements are considerably upped. Add to that a smattering of cello, some swirling moog wig outs, and you have a record that also invokes Hawkwind’s cosmic synthscapes, as well as a nod to the John Carpenter soundtracks that the band love.
Anti-Ghost Moon Ray
Tough Love Records
“Guidance features a more bad-ass Russian Circles, a group that seems less elegiac, and more ready to plant their feet solidly on the ground, fighting back bloodied and bruised against each body blow.” – Pitchfork
"...the album – the group's sixth – is moody, dense and dynamic, the gripping soundtrack to an un-filmed drama." – Rolling Stone
With their sixth album Guidance, Russian Circles carry on in their quest to conjure multi-dimensional dramatic instrumental narratives and to scout out new textures from their respective instruments. Songs aren’t constructed out of highbrow concepts; they’re forged out of gut instinct and base emotional response. Nor was the band—as is often the case with artists later in their career—interested in testing their fans’ patience or securing a new broader audience with a radical reinvention. Instead, Russian Circles use Guidance to continue examining the polarity of quiet and loud, complexity and simplicity, ugliness and beauty.
Every Russian Circles album has had its share of new sonic vistas, and Guidance finds the band still searching out new sounds while continuing to play to the collective strengths of guitarist Mike Sullivan, drummer Dave Turncrantz, and bassist Brian Cook. Starting with the meditative restraint of album opener “Asa”, Guidance sets off on a path of metallic savagery (“Vorel”, “Calla”), arpeggio tectonics (“Mota”), mercurial anthems (“Afrika”), somber segues (“Overboard”), and seismic Americana noir (“Lisboa”).
With the help of engineer/co-producer Kurt Ballou and his God City Studio, Russian Circles were able to capture this broad tonal palette and wide array of emotional motifs into a cohesive journey through the tumultuous corners of human existence. We often expect artists to fall into patterns and formulas, but for Russian Circles the creative method is still a mystery.
Songs develop at their own pace. Inspiration comes from strange sources. If anything, the process of writing is every bit the enigma it was back when the band crafted their first song in 2004. Life itself is a struggle with the unknown and a search for meaning, and the creative process for Russian Circles has mirrored that pursuit.
The radical dynamic shifts and straightforward production of Enter, the lockstep metallic attack and pensive comedowns of Station, the symphonic grandeur of Geneva, the grit and grime of Empros, and the oscillation between melancholy and wrath on Memorial were all incremental steps towards an ideal, and Guidance brings the band that much closer to that realization. In the interim between albums, a veteran handed off an envelope of war photos to the spouse of a band member.
The photos depicted a man being led to his execution. There was no context for the traumatic scenes, no history, no background. Yet the dignity this anonymous figure exuded in his fatalistic march resonated with the band. Here was someone that knew his fate and marched boldly towards his destiny.
The band used these photos for the Guidance album art, knowing that we all march towards our own conclusions, and we can only hope that we face our futures with the same honor and nobility. If the band’s fourth album Empros (Greek translation: Onward) was a statement of perseverance, Guidance became a statement of striding into the future undeterred by what lies ahead.
Fuzz Club Records
Blast First Petite