Legendary party-starters Dub Pistols release their new single ‘Moving On’ featuring MC and D.J. Natty Campbell. After announcing their forthcoming album Frontline to be released March 10th through Cyclone Records, this notorious touring band are carrying the summer atmosphere into these winter months with their infamous blend of dub, hiphop, ska and jungle. Dub Pistols will also be playing a series of exclusive release week shows partnered with some of the UK’s best independent record stores- they will also be signing physical copies of the record. Listen to ‘Moving On’ Here. Watch ‘Moving On’ Here.
Having recently celebrated their 25th anniversary, the collective release the third and final offering before releasing their forthcoming LP. New single ‘Moving On’ sits amongst multiple genres as frontman and legendary DJ, Barry Ashworth wanted to write something in a different vein to anything the band have done before. He explains, “‘Moving On’ is kind of dark with a ‘Ghost Town’ feel. But it still has an uplifting message”. After going over ideas and melodies that he had written with Ashley Slater, Barry then worked with King Yoof to give the track its darker edge before bringing in Natty Campbell to voice the verses.
Natty Campbell adds, "It was a pleasure as always to collaborate with Barry and King Yoof on ‘Moving On’, it was one of those tunes that came very easily, the beat is a bit different and it was good fun to showcase different styles of vocals while lyrically sending a positive message. It's one of those tunes that goes off live and has everyone singing, so it's great to be involved in the dub pistols musical family and contributing more tracks"
Not many acts stay together for a quarter of a century and still remain firing on all cylinders. However, Dub Pistols juggernaut rolls on, exploring fresh sonic pastures and accelerating into 2023. The multi-cultural collective has involved dozens of artists and musicians over the years — some remaining for years, a few for the duration, and others just popping in for a guest appearance. Their sound has accordingly morphed a variety of times since their inception: taking in dub, punk, jungle, ska, breakbeat, hip-hop and a whole lot more, it’s been a long road travelled.
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"This was one of the last songs I wrote for the album, I was really embracing some of my earlier musical influences - the ones that first got me really excited about music like Syd Barrett and Brian Wilson. So it's kind of this psychedelic journey through time, looking through a lens of bright eyed bliss and innocence, and using that lens to try to make sense of or understand the chaos of recent years."
Long Daze, Dark Nights is the upcoming album from Waldo Witt. The artist embraces 60s and 70s psychedelia inspirations like Todd Rundgren, King Crimson, and Brian Wilson, alongside a continued adoration of 80s soft rock and disco, resulting in a vibrant sounding record, full of hooks and charismatic structural twists.
Even in its nostalgic glow, Long Daze, Dark Nights doesn’t linger too long in the past. Hook-heavy throwback odes are abundant, though also resonating with modern production and thematic pursuits. Offering poignant reflection following the past several years of tumult, the release explores themes of uncertainty, instability, and unpredictability. Waldo, his wife, and their van road-tripped through much of the pandemic, and many of the release’s lyrics were written while traveling in isolated areas throughout the country, like rural Montana and Colorado.
The result is filled with introspection and soul-searching, representative of how artistic creation can lead to great self-discovery. The release, in particular, pursues how one feels the need to create and make art. “It leads you to the experience of being completely in the moment, which is what it’s all about,” Waldo says. “The ups, downs, in betweens – all are expressions of the aliveness of being.”
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H.Hawkline (Huw Evans) has shared a new track, “Empty Room” which is taken from his upcoming fifth album, Milk For Flowers out on Friday March 10, 2023 on Heavenly Recordings. This follows previous album tracks “Milk For Flowers”, “Suppression Street” and “Plastic Man”.
Talking about the track, Huw said: “A song about the middle, written before and after. I used to think that if I stayed very still, I could stop time. Houses possess this ability: moments become trapped in stillness, the whole room frozen, too big to fit through the door. I think it was me who moved. My coat buttons are made of snow, I fasten them on the beach as I think of you.”
Having used the same video for “Milk For Flowers” and “Plastic Man”, Huw extends and slightly alters the concept by again using the video for “Empty Room”, except this time with a different ending, as he explains: “This is the last time you watch the video. The ending is different but we arrive the same way as before. I wanted the ending to feel like reality but to be honest, I've never ordered a White Russian in a Stetson.” His most personal and confessional record to date, the album, was produced and features musical contributions from long-time collaborator and celebrated solo artist Cate Le Bon.
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Right on the heels of Valentine’s Day, klezgrass practitioners Zoe & Cloyd release two new Organic Records singles — and with that kind of timing, what could be more appropriate than a pair of love songs that showcase the complementary musical legacies embodied in the title of their forthcoming full-length album, Songs Of Our Grandfathers?
From the rich bluegrass heritage of John Cloyd Miller’s grandfather comes “We’ll Meet Again Sweetheart.” Says Miller, “This classic bluegrass number was one of four sides my grandfather Jim Shumate recorded with Flatt & Scruggs for the Mercury label in 1948. That early lineup of the Foggy Mountain Boys — featuring Jim, Mac Wiseman, Cedric Rainwater and, of course, Lester Flatt and Earl Scruggs — was a force of nature and set the standard for bluegrass moving forward. We were excited to revisit the energy and tastefulness of that iconic recording."
With Miller’s smooth lead vocal, bassist Kevin Kehrberg’s echoes of Rainwater’s active bass work, ace banjo man Bennett Sullivan's recap of some of Scruggs’ signature licks alongside a few twists of his own and Natalya Zoe Weinstein’s loving recreation — on the same fiddle used in 1948 — of Shumate’s original work, it’s a track that will bring a smile to those who know every note of the vintage recording even as it reflects Zoe & Cloyd’s unique creative touches.
Paired with the Flatt & Scruggs favorite is an even more widely known song with long-obscured roots in the once lively world of New York’s Yiddish language theater: “Bei Mir Bistu Sheyn.” The spelling reflects the duo’s reversion to the song’s original Yiddish, as explained by Natalya, whose winsome vocal is framed by well-crafted solos from Miller (here on mandolin), Sullivan (guitar) and Kehrberg that reveal the influence of klezmer music on the more widely known “gypsy jazz” of subsequent versions:
“‘Bei Mir Bistu Sheyn’ was originally written in 1932 by composer Sholom Secunda and lyricist Jacob Jacobs for the Yiddish theater. The title means ‘To Me You Are Beautiful.’ The Andrews Sisters recorded the English version in 1937, and the song became a worldwide sensation. Not surprisingly, this song was in my grandfather’s repertoire as well, and I used to play it with my father on piano. For our recording, I even learned the Yiddish lyrics!”
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