Martha Wainwright Announces UK Tour

Ahead of her upcoming album Goodnight City being released January 20th, Martha Wainwright has announced a UK tour alongside the shows currently announced with Ed Harcourt. Goodnight City is comprised of 12 tracks, half of which written by Wainwright and the remainder by close friends and relatives.

Dates are as follows:

January
Tue 17th              DUBLIN, Vicar Street
Thu 19th              BELFAST, Redeemer Church
Sat 21st              GATESHEAD, The Sage
Mon 23rd              BRIGHTON, Komedia
Tue 24th              BURY ST EDMUNDS, Apex
Wed 25th              BRISTOL, St Georges
Thurs 26th             CARDIFF, Tramshed
Fri 27th              LEEDS, City Varieties
Sat 28th              MANCHESTER, O2 Ritz
Mon 30th              BIRMINGHAM, Town Hall
Tues 31st              ASHFORD, Revelation

February
Wed 1st              SALISBURY, City Hall
Thu 2nd              LONDON, Roundhouse (with Ed Harcourt in the round)
Fri 3rd                GLASGOW, O2 ABC (Celtic Connections with Ed Harcourt)

Tickets available now.

Leonard Cohen passes away at age 82

Known for his music career that spans five decades, it is with the utmost sadness to hear that Leonard Cohen has passed away at the age of 82. As reported by Rolling Stone (you can read their post HERE) The singer-songwriter/poet’s death was announced on his Facebook page by the artists’ record label Sony Music Canada. We here at Musicology would like to extend our love and best wishes to Cohen’s family during this devastating loss. You can read the status below as well as listen to his widely-renowned track ‘Hallelujah‘ below.

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SAYWECANFLY – ‘Blessed Are Those’ Review

SAYWECANFLY is the stage name of Braden Barrie’s singer/songwriter project. Hailing from Canada, Barrie has a distinctive style that comes from a variety of influences. With this being his second album, it’ll be interesting to see the similarities and differences between this album and the previous one.

Opening the album with a huge atmospheric introduction full of violins and synths, There Are No Flowers In Heaven sets the bar high for SAYWECANFLY. Next up is the title track Blessed Are Those and it carries on the atmospheric vibe with a piano intro. The reverb used and echoic effects used on this track are reminiscent of softer parts of Bring Me The Horizon’s There Is A Hell…’. Pairing this and the massive chorus, this track was meant for huge arenas and even bigger crowds.

I Didn’t Know takes things in a different direction with an acoustic guitar taking the lead, but that’s SAYWECANFLY’s bread and butter. This is a track with lyrics that wouldn’t be amiss on a Mayday Parade album and it sounds huge in the process. The rhyming scheme in this track is bound to have you singing and bouncing along in no time, getting stuck in your head with ease. Most Of The Time kicks in with a chorus that begs to be shouted from rooftops and it’s a given that this will be a real high at live shows. The rawness of the vocals in this track is something that really sets this song apart from the songs before it as well as making you sit up and pay attention to the lyrical content. It’s quite heartfelt.

Sounding slightly like a lullaby, The Chase is a track of soaring vocals and delicate instrumentals. Lyrics like “Lost my soul in the chase, now it ain’t worth a thing, and I know I was wrong to believe, that the stars ever fell down for me” are a classic example of the songwriting on this album and the poetic, heartfelt way that SWCF writes. Rounding the album off with When We Die, it is its mixture of pounding drums that drive the track whilst strings, piano and vocals fly alongside. The real highlight of this track is once again the vocal ability displayed, some of the real gut-wrenching notes, paired with the intensity of the instrumental are truly awe inspiring. It’s a real high to end on.

Overall this album is a solid continuous piece and it makes for easy listening. Some more experimentation would be interesting to hear as it is a lot of the same formula but that’s clearly what works for SWCF and why mess with it? It’s definitely an album that lives up to expectations.

 

Luke Rainsford – I’m Nothing Like My Dad…

Birmingham native Luke Rainsford is infamous in the underground pop punk market for playing in or with practically every band around. A permanent member of Layover doing vocals and guitar in Fullshore, and having played drums for Coast To Coast, he has a wide variety of skills. He’s even played shows with Trash Boat‘s most recent support Weatherstate, so this lad gets around. On this record however, he throws away everything and everyone he holds dear to put out I’m Nothing Like My Dad Turned Out To Be, his debut solo release.
 
The record is a singer/songwriter project with elements of This Wild Life, the sense of humour of Lucy Spraggan and the self-deprecation of Charlie McDonnell, yet he manages to keep the style very much his own.
 
Vocally, Luke stays to his pop punk roots with an Anglicised accent verging on northern English that steers away from the generic American sickly-sweetness shown by so many artists in the modern market. The vocals are solid for most of the record with little pushing his range or going out of the comfort zone, yet somehow are fantastically effective and remain interesting for the whole album. The delivery draws clear and focused attention to the intelligently written lyrics, which leave a lasting impression.
 
In terms of lyrics then, the record is focused very much on Luke‘s teenage problems with women, a lack of confidence and alcohol. Luke is brutally honest with all three themes. With lines including “I treated her like shit, I’m not fucking proud of it” (Coffee) and “I guess that’s the end of being straight edge” (A Song About Alcohol), he definitely outlines the matters in a serious and almost concerning way, but can be hugely self-deprecating with his outlook too, as shown in I Am Pathetic with “I might not be poetic but oh god I am pathetic, I guess that’s close enough when it comes to writing lyrics” which always brings a smile. 
The standout track of the record is Lucid Dreams, which features Maddy Chaney, a friend of Luke’s. The guitar is very much a jazzy style and the vocal part could have been taken straight out of 60s swing album with its delicate yet confident sharps and flats scattered all over the place. Maddy’s voice brings fantastic warmth and adds to the feel as they sing about a long distance relationship. The song is reminiscent of the class of many of the acoustic artists in the chart these days, and shows just how far this young man can go.

Overall, a triumphant and catchy release that is deeper than it may appear at first listen. Luke is a man of many talents and he’ll be touring at some point near you for sure so check out the Facebook pages for his solo stuff here, Layover here and Fullshore here, and his solo project Bandcamp here to hear the record.

Luke Rainsford is also playing a mini tour with Craterface next weekend, see the poster below and check them out!

Luke Rainsford x Crater Face tour

SayWeCanFly Debuts ‘When I Come Home’ Video

Braden Barrie (AKA SayWeCanFly) has released a new video for his latest track When I Come Home from his new EP Darling which came out Wednesday 15th June.

The concept for the clip came to Barrie while in the middle of a 10-hour drive between tour stops: “It was a beautiful moonlit night in Arizona. My phone was dead, so all I could do was stare out the window and think. That’s when the universe gave me the idea for this music video,” he said. “I’ve always felt that contrast tells my stories in the most powerful way. I wanted to dive a little deeper into the darkness within. The skeleton character I play in this video is the continuation of the character in my previous video for ‘Driftwood Heart.’ He has transcended the pain and become part of it. He accepts it. Just like we all have to at some point.”

Watch the video below:

 

Mackin Carroll Releases New EP

LA-based acoustic folk/rock singer-songwriter Mackin Carroll has released his new EP, entitled Damascus.

Writing these songs was more challenging than other stuff I’ve done [with band The Nova Darlings as well as solo project]. The songs are personal in a way I hadn’t really explored yet. I didn’t plan on sharing them at first. I thought they were too specific to my experience or too revealing or strange. But after playing them for friends and eventually at shows, people seemed to respond in a way they hadn’t before. So these songs are for better or for worse who I am. I intentionally tried to include more sides of my humanity than just the obvious ones. And that lead to writing these songs about death, anxiety, parenting, self-worth, etc. Recording was amazing. I tracked guitar and vocals at the same time, so the record is basically live. I wanted the recording process to reflect the immediacy and rawness of the emotions in the songs. I got to record at New Monkey Studios in Los Angeles, CA, Elliott Smith’s private studio when he was in LA. He recorded a lot of material for the record that became “From A Basement On The Hill”. He’s one of my biggest songwriting hero’s, so it felt like hallowed ground. There are definitely a lot of ghosts that you can feel in that studio, and it brought out a certain calmness in me that I didn’t expect. Live, the songs had been a lot rougher and had a lot more shouting. But something about the wooden room, the overall vibe of that place – it centered me and sort of wiped away any pretending or bullshit I had to offer and the only thing left was a slightly quieter, but more honest self to record the songs. My favorite track off the EP is Cigarettes & Fatherhood, mostly because I expected the least from it. And it’s always rewarding when you feel like you can express an emotion through specificity and detail rather than trying to find the lowest common denominator.  Zooming the camera inward instead of outward, you know? And that song really captures, for me, a lot of how I see the world. Feeling out of place, looking for reasons to escape. Actions being informed by social pressures. It’s sort of me wrestling my anxiety and outcast-ness in real time through two relationships – one to hypothetical habit, and one to a hypothetical daughter. And oddly enough, the two subjects of the song end up informing one another in this oddly natural way that I didn’t expect when I started writing it. And the more it feels like me, the more rewarding it is to play. And for the first time, with this song, I felt like I was putting my honest self out there. Not the self that I want people to like, not the self that wants to get laid, not the self that wants to seem sensitive, just me as I am. This is all sounding really pretentious.

See one of the tracks Ashes On The Bridge below, so stream the other two here or download here.