About normanweatheredmusic

I listen to music.

Collect Call Chase The Light

I have been on a bit of a hiatus in my music listening, and then this EP landed in my inbox and am I ever glad it did. I didn’t know who Collect Call was on my first listen, but since then, I now have a google knowledge base of not them, but a single person, Joseph Thorpe. A chap who hangs his hat in Brighton, England. I really must go there sometime post Covid.

On this EP, Chase The Light, Collect Call/Joseph Thorpe have created emotionally charged songs that dance around a pallet of sounds that mix piano, percussion and various electronica to create a soundscape that matches the lyrics marvellously.

I’ll let Joseph Thorpe elaborate: “The recording of this EP came at a point where I was feeling very lost as a musician and writer. I had been sitting on a large collection of songs and wanted to try every conceivable avenue I could musically that didn’t really have any sense of cohesion; I became depressed and questioned what direction I was going in, as well as the other two members of the group at the time departing the project for personal reasons.” 

“When the world plummeted into lockdowns, I began tinkering with an idea that would later become ‘Pretense.’ I had been listening to Sufjan Stevens and Kings of Convenience at the time and felt that finishing the song helped me break out of my fugue state, and I could get back into making music that I enjoyed. I then went back and whittled what originally was a 7-track EP to just 4, incorporating two old songs that I reworked and two new ideas that were all but completely recorded in one day at Brighton Electric Studios. The Golden Hour for me is a cathartic reminder of staying true to yourself, chasing the light as it fades over the hill and that sometimes less can indeed be more.” 

I like that ethos, staying true to yourself. More of that and a magical, dreamy soundscape will carry you along as you absorb this recording. It is a short and sweet ride that leaves me wanting more.

The Golden Hour‘ is out now, available digitally across online stores and streaming platforms, including Apple Music, Spotify and Bandcamp.

‘Chase The Light’ https://youtu.be/-6vAdytIhlw

Spotify https://open.spotify.com/track/1usgKxwGzGQpYSfxUkPH2D

‘Simple’ https://youtu.be/qk-nLQmsqxI

EP order / Bandcamp https://collectcall.bandcamp.com/album/the-golden-hour

Spotify https://open.spotify.com/album/6AIJW9fKGDqGHIJ9w8GpGf Soundcloud https://soundcloud.com/collectthecall/sets/the-golden-hour-master-2 

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Deep Purple are Turning To Crime

I suppose an argument could be made that Deep Purple had turned to crime a long time ago with some of their less than classic albums. I enjoyed Deep Purple up to the Mark IV version (Wikipedia), with some reservations about the Come Taste The Band album in 1975. Then the wheels fell off for thirty years. And then their new album, Turning to Crime, came out on November 26, and I fell in love with Deep Purple all over again.

I liked the original Deep Purple and still have most of their early albums, which I occasionally go back and listen to, Shades of Deep Purple, Machine Head and Live in Japan in particular. Those albums captured an era in both my life and in the history of rock and roll music. They are considered one of the founding father bands of heavy metal music.

Back to the future, Deep Purple released Turning to Crime, and it grabbed my attention right off the bat with the first track, 7 and 7 Is, a retake of the classic rocker from Arthur Lee. The current lineup of Deep Purple, Mk VII, amazingly retains three members from their earliest years as a band. Ian Paice has been on percussion since 1968, Roger Glover and Ian Gillan have done their work with Deep Purple since 1969. Steve Morse is a relative newcomer not joining the Purple parade until 1994, and Don Airey has been on the keys since 2002, an impressive run in its own right of close to 20 years. I never had a single job for 20 years in my career; 14 and 16 were the longest I was at any position. Kudos to all the members of Deep Purple for hanging in there as long as they have.

The Deep Purple attack track #2, Rockin Pneumonia and the Boogie Woogie Flu, they don’t just do a cover; they pull out the jams with this number.

The next song is a bit of an outlier from Fleetwood Mac, Oh Well. This song never featured on an album and was initially released as a single. Peter Green was the writer and singer, and this is a bit of a forgotten gem that makes it an interesting choice as a cover for the Deep Purple lads.

Next in the queue is Jenny Take A Ride which was initially a medley by Mitch Ryder & the Detroit Wheels‘ built around the blues standard See See Rider. The Deep Purple are giving us a history lesson with their choice of songs on Turning To Crime.

Continuing the blues feeling, we have Watching The River Flow, yet another song initially released as a single; this one is by Bob Dylan. Watching The River Flow eventually found an album home on the 1971 Bob Dylan’s Greatest Hits Vol. IIDeep Purple ramps up the energy and breath new life into the song.

Track six takes us into twelve-bar blues with the song Let The Good Times Roll, originally the B side of a release by Louis Jordan, Ain’t Nobody Here But Us Chickens. The Hammond organ sounds Deep Purple had in their early years, through the contribution of Jon Lord, are featured on Let The Good Times Roll, played by Don Airey on their cover of this all out rock and roll tune. It still amazes me that the original versions of these songs are seldom recognized as being early versions of rock music. Yes, they had jazz, blues or even big band sounds but they still rocked.

On the topic of chickens, the next track is Dixie Chicken, arguably the signature song for the band Little Feat. I need to get a copy of this and the rest of the Lowell George era albums by this often overlooked band. Fortunately, Deep Purple didn’t ignore them, and they give us this energetic cover of Dixie Chicken.

Next up, we have the song Shapes of Things which The Yardbirds initially recorded. I like the Deep Purple version better myself.

The next track is The Battle New Orleans, written and originally recorded by Jimmy Driftwood but popularized by Johnny Horton. There have been umpteen covers done of this song, and Deep Purple have recorded a respectable job of it, but the Johnny Horton version is so ingrained in my brain that I find it hard to get my mind around alternate versions. Just for the fun of it, give the Nitty Gritty Dirt Band‘s performance from their album Symphonion Dream a spin on your virtual turntable.

Lucifer, by Bob Seger taken off his third studio album, Mongrel, is a deep-cut cover. I must have handled hundreds of copies of Against The Wind, but I don’t remember ever holding a copy of Mongrel. Apparently, Deep Purple had because they do a cover of it on Turning To Crime. Heck, Apple Music didn’t even have a copy of it. I had to listen on YouTube to hear what the original sounded like, which reinforced why I don’t own any Bob Seger albums.

The second to the last track is my favourite cut on this album, White Room. Cream, of course, did the original, which is a staple of any rock and roll collection. Yes, I do have a copy of it in my collection. Deep Purple do an excellent cover of this iconic song, which I applaud because the original is so deeply embedded that hearing a new version can be jarring. Deep Purple pull it off with great aplomb.

The album Turning To Crime ends with a medley that they title Caught in the Act. The listed songs are thus, Going Down, Green Onions, Hot ‘Lanta, Dazed and Confused, and Gimme Some Lovin’. Caught in the Act an ok closer, but I feel it is too scattered and doesn’t have enough glue holding it together to make it a strong closing statement.

At the end of the day, I consider Turning to Crime a good album. I would give it 8 out of 10. A better closer would have brought it up to 9, and the last digit is scattered through the album. Congrats to Bob Ezrin for suggesting this project to Deep Purple, and congrats to them for pulling it off as well as they did. Just because we are old don’t mean we’re slow, rock on Deep Purple, rock on.

VONAMOR will Take Your Heart

I’m not big on posting singles. I prefer albums. However, this one caught my ear, so I thought I would pop this short note and share it with you. It is Take Your Heart by the band VONAMOR.
I look forward to the album’s release in February 2022 and posting proper post at that time. Thanks for listening.


‘Take Your Heart’ on Spotify https://open.spotify.com/track/1Z1PVhoEKKebDJ6ZpOdwLm
‘Take Your Heart’ elsewhere https://linktr.ee/vonamor_band
Album pre-order https://timetokillrecords.bigcartel.com/product/vonamor
Spotify https://open.spotify.com/artist/4wJiz8P8rtW1vIjem5Hmsy
YouTube https://www.youtube.com/watch?v=9wFRAIUiBGU
‘Never Betray Us’ https://youtu.be/Ll7nO0cXI_A
‘Fast-Forward Girl’ https://youtu.be/kJX7Uujc9E4
Italian band biography https://www.vonamor.it

Illuminating a Revolution that is Above Disorder

Postpunk / nugaze / electro artist Revolution Above Disorder presents his debut offering ‘Illuminate,’ a 3-track offering produced, mixed and mastered at Jacknife Sound by Jason Corbett of ACTORS. A melting pot of postpunk, psychedelic rock and electronic music underpinned by raw, sincere vocals, guitar-based rock augmented by synths, drum machines and heavily treated instrumentation with a spine of pure melody.

Revolution Above Disorder is Dubliner Stephen Nicholas White, who is currently based in Vancouver. Revolution Above Disorder’s music is electronic-tinged postpunk with raw, honest lyrics driving the songs.

Illuminate‘ is the song that kickstarted Revolution Above Disorder. When the COVID-19 pandemic hit, I’d just come off a European tour with Magic Shoppe, and I found myself having to cancel scheduled plans with The Orange Kyte. In my downtime, I began to reevaluate where I was headed musically, and I realized I’d become dissatisfied with what I’d been doing. As I searched through old demos from the past, some going back over a decade, I was excited to hear songs with real potential that either I’d abandoned or just plain forgotten about. I grew interested in the idea of this modern-day version of myself collaborating with my chaotic and directionless former self. I wanted to finish what I’d started many years prior. ‘Illuminate‘ was the first one I needed to record,” says Stephen Nicholas White.

The original version of Illuminate is a powerful and euphoric postpunk/shoegaze single rooted in new wave and electro rock’ Shannon Hemmett and Kendall Wooding on backing vocals, bandmate Adam Fink on drums, and Josiah Webb of Magic Shoppe on guitar. The original version is a powerful and euphoric postpunk/shoegaze single rooted in new wave and electro-rock. The accompanying video was directed and edited by Eliot Galán of Galán Films, a key creative in Vancouver’s film & tv industry, starring Analissa Longoria and Mat Durie.

This release also features the more dance-oriented ‘Illuminate (Delta Omega Remix),’ produced by Delta Omega, a.k.a. Dublin-based Conor Paxton. “The formidable sonic wizard that is Mr. Conor Paxton AKA Delta Omega is a long-time friend and musical collaborator of mine. After initially bonding over a mutual love of Death in VegasMy Bloody Valentine and Primal Scream, we formed House of Dolls and duly embarked on many gloriously heady adventures and misadventures across Ireland, the UK and Europe,” says Stephen Nicholas White.

“This remix he has done for ‘Illuminate’ is indicative of just how well he understands the essence of what I’m doing with Revolution Above Disorder. Coming at it with a dreamy, psychedelic sensibility, it calls to mind peak Ecstasy-driven New Order, early seventies Germany, all filtered through an Eno-Esque ambient shoegaze lens. I fucking love it. And I think you will too.”

As of October 22, the ‘Illuminate’ maxi-single was released digitally everywhere, including Apple Music, Spotify and directly from the artist via Bandcamp.

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Tiny Fighter’s Rewind

Swedish-Australian indie-pop outfit Tiny Fighter presents their new single ‘Rewind,’ the first taster and the title track of their new album of the same name, slated for release in the first week of December. Filmmaker Christian Rutegård and Therese Karlsson created a relaxed grounding video for this track. Formed in 2017, Tiny Fighter grew from a collaboration between Therese Karlsson (a truck driver from Kalmar in the deep south of Sweden) and Tim Spelman (a doctor from the deep south of Australia) into a full band with members from all over the globe (Poland, Israel, UK, Australia, Sweden). They have released a string of singles and EPs, a live album, a remix collection and the full-length debut album ‘Going Home.’

After racking up 1 million views on YouTube, over 700,000 Spotify streams and successful tours through the US, Canada and Europe, Tiny Fighter were on the brink of a small but significant slice of world domination. Then came COVID, effectively putting the brakes on the whole machine. Faced with an extended period of no touring, a fan campaign led by a collection of locked-down Tiny Fighter supporters began to follow up the band’s celebrated ‘Loft Sessions (Live in New York)’ album. The problem –there was no live music, much less any touring. The solution –record an entirely new record combining brand new songs with re-interpretations of some of their fan-favourites. Thus, the ‘Rewind‘ album was born.

Different times call for other methods. The ‘Rewind‘ recording sessions saw the band bring in a whole sack full of new instruments, including mandolins, dobro, trumpets, flugelhorns, pedal steel and drum machines. In their most Scandinavian moment to date, Tiny Fighter recorded vocals in the studio sauna (arguably because of the excellent sound-proofing and bonus warmth. Tim Spelman comments, “This record represents somewhat of a departure from our previous pop-rock-based releases, with a heavier reliance on acoustic instruments and bringing in new layers including brass, mandolins, pedal steel and drum machines. The pop is still there, but it’s more intimate and stripped back –that’s why we recorded the vocals in our sauna”. This long player again sees Tiny Fighter team up Swedish metal legend and multi-Grammy award-winning producer Thomas “Plec” JohanssonTiny Fighter recorded Rewind at The Panic Room Studio in Skövde and Stockholm, Sweden.” Our new album is a more acoustic take on our songs that already exist, except for one cover and a Swedish version of one of our songs. It has been fun looking into our own rearview mirror and now bringing some of our songs to light once more with an acoustic touch. So for this album, we are rewinding time, and, at the same time, we look forward to seeing what lies ahead of us,” says Therese Karlsson.” Usually, I receive the music from Tim, so first, I get particular feelings from the music, and that feeling turns into words and, in the end, it becomes a story. The lyrics are inspired by other people, their life stories or my own inner feelings or observations about society. This ‘Rewind‘ album sees a mix of all of that.”

On December 3, the ‘Rewind‘ album will be available via Bay Terrace Records and everywhere, including SpotifyApple Music, and Bandcamp, available for pre-order.

Norman, a WeatheredMusic co-founder, adds, “This album piqued my interest due to the unlikely pairing of a Swedish truck driver and an Australian doctor. Somehow or another, magic happens, and they have created a splendid album. Therese Karlsson has a mesmerizing voice, and the music envelopes that voice and brings life to the lyrics. Rewind is good music, all day, any day, and it is just plain good listening.

‘Rewind’ https://youtu.be/EskCxxqGM9M

Album pre-order / Bandcamp https://tinyfighterz.bandcamp.com/album/rewind

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If you have any questions, contact Shauna McLarnon from
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A Modest Xmas Present

I’ll Be Home For Xmas is a funny, peculiar and mischievous video to start the Xmas season way too early. I like to wait until December 24 and do my gift shopping at 7/11.

I smiled at the magical colour-changing guitar, the saxinette, and the wild guitar solo that looks like he’s playing for Guitar Hero. Enjoy Modesty Blaise as they have fun with their interpretation of the Xmas classic, I’ll Be Home For Xmas.

The Pink Moon of Tilde

I like it when I blog about Canadian musicians to support my hometown artists. I haven’t had any from the Isle of Harris, my paternal grandmother’s roots; I am sure they have a few that I just haven’t heard yet. I also like getting Swedish musicians, my maternal grandparent’s birthplace. And today, I dip my pen into the inkwell to jot down some words about Tilde, who found her musical muse in Gothenburg, a long way from Korpilombolo, where my grandfather was born.

Enough of the genealogy; let’s get down to the reason for this dispatch, the music. Tilde has a solid and expressive voice that draws the listener in and then holds them there. She doesn’t just tell a story; she builds it within the framework of compelling music. The smooth reverb on the guitar is luscious. The strings are gentle but mighty. The percussion is understated but able to hold the rhythm with ease. And the voice. The voice. Oh my, what a voice. Tilde draws inspiration from Nina Simone to  Amy Winehouse and then belts the songs out with a voice that is all her own. Do your ears a favour and listen to this album, you will not regret it.

I am a stickler for details, and little quirks that I don’t think should be there. I can’t find any on this album. It is as solid as the rock that Sweden sits on. We just had a lunar eclipse that turned the moon a dull red, not quite the Pink Moon that Tilde has crafted but close. A total eclipse is a beautiful sight to behold, and a Pink Moon is beautiful music to hear.

‘Pink Moon’ comes out on 19 November 2021 via Vacanze Records.

L I S T E N

https://soundcloud.com/tilde/sets/pink-moon/s-ZhspvBpq8Ky?si=76f5cfaf71a8446fb092baf22d7377d4

https://music.apple.com/us/artist/tilde/263514809

D I S C O V E R

Facebook

Instagram

Twitter

Spotify

https://www.tildemusic.com

Press | Radio | Events

http://www.mysticsons.com 

Sam Walwyn

Having grown up in Jersey and the Caribbean, Sam Walwyn developed a sound rich with his experiences, blending indie-folk and alt-pop, tinted with flamenco influences. His curiosity for different musical cultures influenced his songwriting and use of rhythm. 

Sam spent six months travelling, writing, and gigging before joining the Royal Northern College of Music in Manchester. He also learned flamenco guitar alongside a maestro based in Australia. Only one year into his studies, Sam fell seriously ill and had to go back home to Jersey. Before he could walk or even talk properly again, he found he could play his guitar and began writing every day. 

Sam took this time to develop his sound and uploaded live clips and short films to Instagram with his lo-fi bedroom demos behind them. Early support from fans attracted the interest from local promoters leading Sam to open for Gabrielle Aplin and share the stage with Newton Faulkner

Sam’s debut single, “For You,” released in 2020, received significant traction, gaining over 300k streams. For You was featured on two major Spotify editorial playlists, ‘Easy’ and ‘Your Coffee Break,’ and was picked up by the BBC Introducing as ‘Track of the Week.’

After releasing his second single, “Clutter,” which was selected as ‘Track of the Week’ by the Introducing team, Sam started posting on TikTok, sharing guitar melodies and originals. One of his posts went viral, reaching more than 6 million views and helping build an audience of more than 100k followers. 

In February 2021, he was selected to represent Channel Island on BBC Radio 1. He was chosen as a ‘2021 One To Watch’ artist by the BBC Channel Islands

Sam Walwyn has made a considerable impression with his singles First PlaceLittered Sense Of You, and Mama Plum that were stagger released throughout 2021. Now the fast-rising singer-songwriter has just dropped his debut EP ‘How Would I Know’ along with the title track of the same name. The EP brings all of his singles together for a pleasant 14 minutes of music.

I am sure that we will be hearing more from the Channel Island troubadour Sam Walwyn. I enjoyed the easy-going familiar feeling of his songs. This is music hungry for a bigger slice of the pie, so grab a place at the table and enjoy the music of Sam Walwyn and his EP How Would I Know.

https://www.tiktok.com/@samwalwyn?lang=en)

Sam Walwyn – How Would I Know

For press inquiries, contact Johan Larsson

johan@mysticsons.com 

Memory Box

On November 17, London-based synthpop artist Rodney Cromwell will release two remixes of his new ‘Memory Box’ single via Happy Robots Records with distribution by Cargo Records. Presented as a 4-track offering together with the original version and the ambient track ”Memory Stops’. Features remixes by MOOD TAEG (Düsseldorf / Shanghai) & UK synthwavers AUW

‘Memory Box’  https://youtu.be/aY1Uza7pz8M  

Spotify https://open.spotify.com/album/6t05EvrYYzpd4AhHinhNPf 

Bandcamp https://rodneycromwell.bandcamp.com/album/memory-box-single 

Rodney Cromwell curated playlisthttps://open.spotify.com/playlist/1o40AoFq36g3VjKjmautGM

‘Fax Machine Breakup’ https://youtu.be/kNBW651pGXE 

‘Comrades’ https://youtu.be/CmRBkZYyo_Q 

‘Black Dog’ https://youtu.be/0RRYNKdSWCw 

‘Barry Was An Arms Dealer’ https://youtu.be/l8jfuc20QQ4 

Ambiguous Poems About Death

I listened to this excellent album and found that I could offer little more than this, which I borrowed heavily from the press release. I liked what I heard, it is immensely catchy music, and the lyrics are witty, funny and acerbic at times. I endorse Ambiguous Poems About Death. I also nominate it for the album title of the year award.

Ahead of releasing their new album ‘Ambiguous Poems About Death’ via Manchester’s Analogue Trash label on November 26, British synthpop electro duo Spray present ‘Blurred In The Background,’ a clever and catchy taster of this 12-track collection, following up two ever-danceable witty singles – ‘Hammered In An Airport’ and ‘Félicette (Space Cat).’

Spray is music-addict siblings Jenny McLaren (vocals, guitars) and Ricardo Autobahn (synths). They have managed to build an enviable following of devotees to Spray’s brand of danceable and subversive indie disco pop since their 2002 debut ‘Living In Neon’ LP. They are also responsible for a smashing cover of Lisa Lougheed’s ‘Run With Us’ (also ‘The Raccoons’ theme song). Their unique brand of oblique synthpop is catchy as hell, both lyrically and musically, bringing them mainstream pop success in an alternate universe.

Spray’s musical DNA traces back to The Cuban Boys, who recorded one of the best Peel Sessions ever and went head-to-head with Sir Cliff Richard in a Christmas Chart Battle. Their hit single ‘Cognoscenti Vs Intelligentsia’ (a.k.a. The Hamster Dance Song) sold a million copies, reached number 4 in the UK single charts and landed them on Top of the Pops. In the words of John Peel, it was “the most requested song I’ve had since God Save The Queen.” They topped the John Peel Festive 50 Charts twice.

Spray was the secret weapon behind the UK’s 2006 Eurovision hit ‘Teenage Life,’ written and produced with Daz Sampson. Their treated vocals were used on the track. Ricardo Autobahn and Sampson’s dance version of ‘Rhinestone Cowboy’ (as Rikki and Daz) with the legendary Glen Campbell went Top-10. Spray recorded music with anarchic BBC star Hacker T. Dog. Ricardo also plays keyboards with Welsh punk-pop icons Helen Love.

Spray is again ready to entertain us with their new long-player – they’re second with Analogue Trash, following 2019’s ‘Failure Is Inevitable.’ Jenny and Ricardo have used the intervening time wisely. They have been writing, terrorizing social media, and working with puppets. They have also done several live shows, including August’s first post lockdown live offering in Liverpool.

“In early 2020, we bought a Behringer TD-3, one of the company’s excellent Roland TB-303 knockoffs. We had an idea of putting out a quick acid house-style album in the summer, something short, spiky and electropunk. This did not come to fruition as, like many, Spray found themselves locked down in separate locations, in their case on either side of Lancashire,” says Ricardo Autobahn.

“This album evolved into something a lot more elaborate as the pandemic went on. We tried not to write songs about the global situation because we figured everybody would be doing that. Still, the outside world couldn’t help seeping in.”

Undeterred by distance, recording and production duties were split between Spray Studio 1 (decaying, seen better days) and Spray Studio 2 (shiny, newly refurbished, sweet-smelling) and the album took shape with the TD-3 employed in all the songs, somewhere.

Packed full of acerbic wit with tongue firmly in cheek when needed for maximum effect, ‘Ambiguous Poems About Death‘ will delight fans new and old from the first listen. The long-player will be released on November 26 digitally and on CD, the latter format featuring separate blue cover artwork). It can be pre-ordered at http://snd.click/poems.

‘Blurred In The Background’ https://youtu.be/DzCdVXubulQ

‘Hammered In An Airport’ https://youtu.be/Rah_nr5OHx8

Bandcamp https://spray.bandcamp.com/track/hammered-in-an-airport 

Album pre-order http://snd.click/poems 

Bandcamp https://spray.bandcamp.com/album/ambiguous-poems-about-death 

Félicette (Space Cat)’ https://youtu.be/70VCY9Iu6qc 

Spotify https://open.spotify.com/album/0TVC52v8Pmy0QzTZoOoZmf 

Keep up with Spray

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Keep up with Analogue Trash

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