[Severian]

You know what to do.

Or, well, maybe you don’t.

This is a multi-purpose thread for talking about what albums you’re looking forward to in 2019 and *also* — when albums come out — letting folks know which ones blew off your balls/ovaries.

So far I’m looking forward to the following, in spite of myself:

• Flaming Lips have a new album due out called “King’s Mouth” that will be narrated (?) by The Clash’s Mick Jones.

 

• Whatever the fuck the new Kanye album is called (almost certainly not “Yandhi”)

 

So... yah.

[!@#$%!]

is there a thread for the disappointments?

[Severian]

Originally Posted by !@#$%!

is there a thread for the disappointments?

Quick look at the board says no. Make one

[!@#$%!]

Originally Posted by Severian

Quick look at the board says no. Make one

ok then i officially make this one also the disappointment thread— since that feeling so often follows anticipation

right?

[Severian]

Originally Posted by !@#$%!

ok then i officially make this one also the disappointment thread— since that feeling so often follows anticipation

right?

Sure!

I’m almost 100-percent sure the Flaming Lips album will be disappointing to this one-time Lip-freak, and I verily want Kanye to shut his fucking hole! So yeah!

[!@#$%!]

ha ha yes

my latest disappointment is from 2018 so not ready for this yet but bookmarked for future use

[Severian]

Originally Posted by !@#$%!

ha ha yes

my latest disappointment is from 2018 so not ready for this yet but bookmarked for future use

Sounds good.

Off to a good start here, folks! 2019 here we come!

[choc e-Claire]

Do reissues count? If yeah, then there's a 25th anniversary edition of R.E.M.'s Monster coming at some point.

[Severian]

Originally Posted by choc e-Claire

Do reissues count? If yeah, then there's a 25th anniversary edition of R.E.M.'s Monster coming at some point.

Sure they do.

Cool!

That’s a great album!

What more will it have than the 2000-whatever 2-discer?

[choc e-Claire]

Originally Posted by Severian

What more will it have than the 2000-whatever 2-discer?

It's in the middle of R.E.M.'s 25th anniversary rerelease project, so it'll probably be either a live show or demos. My money would be on demos, because Live at the BBC had a show from the Monster tour on it. Then again, R.E.M. have had an absurd amount of stuff come out, so maybe we'll get another live record.

[d.sound]

Hopefully Uffie and Yelle will release their albums in 2019. They've both already released 4 singles and there are still no release dates or album titles.

[Severian]

I hope the new Blackstar album comes out in 2019.

Was supposed to come out in 2018.

Probably will never come out or will come out and be terrible but whatever

[sy2004]

Motorpsycho - The Crucible
Release date set for February 15th, 2019

[_tunic_]

like I mentioned a couple of months ago already:


New MONO album Nowhere Now Here will be released in January 2019! Two of the tracks can already be streamed on their bandcamp

 

RELEASES 1/25/2019

The conflict and correlation between dark and light is a universal theme with a historically rich history. Musically, perhaps no band in the 21st Century has mined that relationship more consistently or effectively than Japan’s MONO.

Across 10 albums in 20 years, MONO have convincingly reflected the quietest and most chaotic parts of life through their music. Their ever-expanding instrumental palette – which began in earnest in 1999 with the traditional guitar-bass-drums rock band setup – has evolved to include as many as 30 orchestral instruments. Now, on Nowhere Now Here, the band add electronics to their repertoire – perhaps inspired by guitarist/composer Takaakira ‘Taka’ Goto’s recent collaboration with John McEntire, the beguiling Behind the Shadow Drops. Nowhere Now Here also sees MONO’s first-ever lineup change, adding new drummer Dahm Majuri Cipolla (The Phantom Family Halo) to the core trio of Goto, Tamaki, and Yoda. Tamaki also makes her vocal debut here, singing into the shadows of vintage Nico on the poetically hazy “Breathe.”

The unlikely career of MONO has taken them to virtually every corner of the planet, several times over. Those corners have all left indelible marks on their music, as it drills deeper towards the sound of feeling not quite human and all too human – often at the same time.

[Moshe]

My wish list so far:

Masaki Batoh - Nowhere
The Cure
Deerhunter - Why Hasn’t Everything Already Disappeared?‎
The Dead C - Rare Ravers ‎
Earth
Elder Ones
Flaming Lips - King’s Mouth
Flying Lotus
Grails
Ariana Grande – thank u, next
Grimes
Steve Gunn - The Unseen In Between
Health - Vol 4: Slaves of Fear
Chrissie Hynde
Joe Jackson - Fool
Julia Kent - Temporal
Laniakea
The Lemonheads - Varshons II
Jenny Lewis - On The Line
Mamiffer - The Brilliant Tabernacle
Meat Puppets - Dusty Notes
Mercury Rev - Bobbie Gentry’s Delta Sweete Revisited
Cass McCombs - Tip of the Sphere
MONO - Nowhere Now Here
Monolord
Tears For Fears
My Bloody Valentine
Pelican
Purple Mountains
Lee Ranaldo
Rihanna
Sade
Saint Vitus
Maria Schneider
Sunn O)))‎
Sunwatchers - Illegal Moves
These New Puritans
This White Light
Yann Tiersen - All ‎
Sharon Van Etten - Remind Me Tomorrow
Waste of Space Orchestra
Weyes Blood
A.A.Williams – A.A.Williams
Nate Wooley - Columbia Icefield
Zaum
Zen Mother

[Severian]

Originally Posted by Moshe

My wish list so far:
...

You’re gonna get a lot of those wishes.
Let’s see...

Deerhunter - (This one’s happening, like, soon... I didn’t care much for the classic rock vibes on their last album... hoping for more noise and weirdness this time around, or an altogether new direction. Nothing against Tom Petty, but I didn’t fall for Deerhunter more than 10 years ago because they sounded like Tom Petty... fell in love because they sounded like the 10th circle of hell)
The Dead C - Rare Ravers ‎(oh snap!)
Flaming Lips - King’s Mouth (yo!)
Grimes - (pretty sure happening; probably not as good as “Visions” though)
Health - (this is happening)
MONO - (definitely happening)
Sade (I think this is happening)
Sharon Van Etten - (this one’s happening)

Zen Mother — MAN HOW DO YOU KNOW ZEN MOTHER?! I LOVE ZEN MOTHER! I have a friend who’s played with them; turned me onto them a couple years ago. Good fucking shit.

[_tunic_]

my wishlist is a lot smaller than that:


1. Silver Mt Zion: their last full length album was already in 2014, so it's way time for a new one. Very curious how it will sound like as over the years their musical style has been changing rather drastically from very very soft to very very loud and I don't think they can get much louder than on their last release. Don't even know if they still exist actually, with both Efrim and Jessica having solo albums out and touring for them



2. anything that Bert Dockx brings out is gold for me! Doesn't matter if it's solo or under the Strand moniker (which is also solo but in Dutch/Flemish language), or with one of his band projects Flying Horseman or Dans Dans. Or his new project Ottla which will apparently be more jazz oriented. There will likely be an Ottla album early next year as he's already scheduled a tour in January/February, and then later on a Flying Horseman album as they have already recorded some new tunes.


3. Oiseaux Tempête: they've been visiting the Hotel 2 Tango studio in Montreal earlier this year to record with Constellation Records artists



4. Neil Young will probably release some more treasures from his archives


5. Mono as stated above, but I wasn't impressed as much as I used to be with the new songs when I heard them live


edit/update/addition/whatever:


6. Bill Callahan. It's time for a new album dude. He's got a brand new twitter account but no new album? What's there to tweet about then?

[Severian]

Originally Posted by _tunic_

my wishlist is a lot smaller than that:


1. Silver Mt Zion: their last full length album was already in 2014, so it's way time for a new one. Very curious how it will sound like as over the years their musical style has been changing rather drastically from very very soft to very very loud and I don't think they can get much louder than on their last release. Don't even know if they still exist actually, with both Efrim and Jessica having solo albums out and touring for them

Shit, yeah. A Silver Mt. Zion (or “THEE Silver Mt. Zion” or just “Silver Mt. Zion” or whatever they were when they left off) used to be one of my top 10 favorite bands.

I’m ashamed to admit that I haven’t thought about them much in the last couple years, but you’re right: “Fuck off, Get Free...” was really something — and, frankly, a step up from “Kollaps Tradixionales” and a MAJOR improvement over “13 Blues for 13 Moons.”

It demanded more of my attention and playtime than any of the last three GY!BE albums.

I have no idea what they’re up to as a group now, if anything, but I’d love to see them circle back to the electronic atmospherics and genre-splitting sound of what I believe are their stringest releases — the “Pretty Little Lightning Paw” and “This is Our Punk Rock...” EPs. *Man* that was some unearthly good shit.

I’d say “Microphones in the Trees” is like a hypercondensed improvement on everything Radiohead was trying to do at the time, and “More Action! Less Tears!” is as anthemic as any Godspeed track.

Miss that iteration of that particular assortment of that larger collective of Canadian post-rockers.

[choc e-Claire]

Originally Posted by Moshe

My Bloody Valentine

Kevin Shields claims that they have two albums prepared for next year.

So I guess we'll see them in 2030.

[The Soup Nazi]

Alright, some of these have already been "anticipated" by Moshe. Just giving a few more details, starting with my own SVE post from the 2018 thread:

 

http://jagjaguwar.com/release/JAG331/

Sharon Van Etten's Remind Me Tomorrow comes four years after Are We There, and reckons with the life that gets lived when you put off the small and inevitable maintenance in favor of something more present. Throughout Remind Me Tomorrow, Sharon Van Etten veers towards the driving, dark glimmer moods that have illuminated the edges of her music and pursues them full force. With curling low vocals and brave intimacy, Remind Me Tomorrow is an ambitious album that provokes our most sensitive impulses: reckless affections, spirited nurturing, and tender courage.

"I wrote this record while going to school, pregnant, after taking the OA audition," says Van Etten. "I met Katherine Dieckmann while I was in school and writing for her film. She's a true New Yorker who has lived in her rent controlled west village apartment for over 30 years. Her husband lives across the hall. They raised two kids this way. When I expressed concern about raising a child as an artist in New York City, she said 'you're going to be fine. Your kids are going to be fucking fine. If you have the right partner, you'll figure it out together.'" Van Etten goes on, "I want to be a mom, a singer, an actress, go to school, but yeah, I have a stain on my shirt, oatmeal in my hair and I feel like a mess, but I'm here. Doing it. This record is about pursuing your passions." The reality is Remind Me Tomorrow was written in stolen time: in scraps of hours wedged between myriad endeavors - Van Etten guest-starred in The OA, and brought her music onstage in David Lynch's revival of Twin Peaks. Off-screen, she wrote her first score for Katherine Dieckmann's movie Strange Weather and the closing title song for Tig Notaro's show Tig. She goes on, "The album title makes me giggle. It occurred to me one night when I, on auto-pilot, clicked 'remind me tomorrow' on the update window that pops up all the time on my computer. I hadn't updated in months! And it's the simplest of tasks!"

The songs on Remind Me Tomorrow have been transported from Van Etten's original demos through John Congleton's arrangement. Congleton helped flip the signature Sharon Van Etten ratio, making the album more energetic-upbeat than minimal-meditative. "I was feeling overwhelmed. I couldn't let go of my recordings - I needed to step back and work with a producer." She continues, "I tracked two songs as a trial run with John ['Jupiter 4' and 'Memorial Day']. I gave him Suicide, Portishead, and Nick Cave's Skeleton Tree as references and he got excited. I knew we had to work together. It gave me the perspective I needed. It's going to be challenging for people in a good way." The songs are as resonating as ever, the themes are still an honest and subtle approach to love and longing, but Congleton has plucked out new idiosyncrasies from Van Etten's sound.

For Remind Me Tomorrow, Van Etten put down the guitar. When she was writing the score for Strange Weather her reference was Ry Cooder, so she was playing her guitar constantly and getting either bored or getting writer's block. At the time, she was sharing a studio space with someone who had a synthesizer and an organ, and she wrote on piano at home, so she naturally gravitated to keys when not working on the score - to clear her mind. Remind Me Tomorrow shows this magnetism towards new instruments: piano keys that churn, deep drones, distinctive sharp drums. It was "reverb universe" she says of the writing. There are intense synths, a propulsive organ, a distorted harmonium.

The demo version of "Comeback Kid" was originally a piano ballad, but driven by Van Etten's assertion that she "didn't want it to be pretty", it evolved into a menacing anthem. Cavernous drones pull the freight for "Memorial Day," which fleshes out an introvert in warrior mode. The spangled "Seventeen" began as a Lucinda Williams-esque dirge but wound up more of a nod to Bruce Springsteen, exploring gentrification and generational patience. Van Etten shows the chain reaction, of moving to a city bright-eyed and hearing the elders complain about the city changing, and then being around long enough to know what they were talking about. She wrote the song semi-inter-generationally with Kate Davis, who sang on a demo version when the song was in its infancy.

Since her last album, Van Etten has had a young son, and family life is joyful. Preparing and finishing these songs, she found herself expressing deep doubts about the world around him, and a complicated need to present a bright future for him. "There is a tear welling up in the back of my eye as I'm singing these love songs," she says, "I am trying to be positive. There is strength to them. It's - I wouldn't say it's a mask, but it's what the parents have to do to make their kid feel safe."

Alongside working on Remind Me Tomorrow, Van Etten has been exploring her talents (musical, emotional, otherwise) down other paths. She's continuing to act, to write scores and soundtrack contributions, and she's returning to school for psychology. The breadth of these passions, of new careers and projects and lifelong roles, have inflected Remind Me Tomorrow with a wise sense of a warped-time perspective. This is the tension that arches over the album, fusing a pained attentive realism and radiant lightness about new love.

https://sharonvanetten.bandcamp.com/...nd-me-tomorrow