Author Archives: shaynewithmwl

Lisa Hannigan – “Knots” [VIDEO]

The nautical theme of her debut Sea Sew continues a glimpse at Lisa Hannigan’s forthcoming sophomore LP, Passenger, arrives in the form of “Knots,”. The appropriately sunny, ukulele-backed “A Sail”. Meanwhile, the album’s tracklist is here as well:

01. Home
02. A Sail
03. Knots
04. What’ll I Do
05. O Sleep
06. Paper House
07. Little Bird
08. Passenger
09. Safe Travels (Don’t Die)
10. Nowhere To Go


By: Shayne Byrne | Beat-Play Ambassador Ireland | @shaynewithMWL | Music Without Labels & Beat-Play, LLC

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Cian Nugent – Doubles [NEW MUSIC]

Doubles Cover Art

Cian Nugent : Doubles

released 13 June 2011

Players:
Cian Nugent: Guitar, Organ & Saz.
David Lacey: Drums & Percussion
Ailbhe Nic Oireachtaigh: Viola
Seán Mac Erlaine: Clarinet & Bass Clarinet
Bill Blackmore: Flugelhorn & Trumpet

Recorded by Jimmy Eadie at Asylum Studios, Dublin.

What people have said about Doubles —

“Nugent smartly focuses on developing a pair of immersive environments that are continuously compelling for more than 20 minutes at a time. He nails it.”
– Grayson Currin, Pitchfork, 7.7 rating.

“Nugent’s already mastered dynamics tone and articulation. He introduces each new melody or change of emotional tenor at precisely the right moment to keep you on the edge with him, and his tunes are sturdy and lovely things […] Mighty good.”
– Bill Meyer, The Wire

“Sixes & Sevens” begins soli with light percussion, but at 3:09, the band enters and suddenly we’re snatched off the curb for a cinematic drive. With drums, woodwinds, viola, brass and organ, the 24-minute track studies a soul in rapturous torrent.”
– Lars Gotrich, NPR

“It’s just another example of Nugent’s Gemini-like ability to weave in and out of opposing forces with finesse. He has no confusion about his ability to do so, playing with light and dark, buoyant and sinking, fast and slow [..] He is undoubtedly an acoustic master”
– Kate Hensley, Dusted

“An ambitious but unquestionably rewarding record – and one crucially devoid of pretension, too.”
– Lauren Murphy, The Irish Times, 4 stars

“Doubles is a complete joy to listen to, ambitious and fulfilling. It sits comfortably alongside the better works of Ben Chasny and Jack Rose, Jim O’Rourke’s guitar-centric albums, and John Fahey’s latter-day experiments on Table of the Elements.”
– Stephen Bush, Brainwashed

“What he’s constructed with these meandering, yet never sprawling narrative pieces is never mere virtuosity or showiness: there is coherence, power and emotional depths within these sinewy lines and forms. […] It suggests so many potential avenues you can’t help but be excited for what Nugent might produce next.”
– Matt Poacher, The Limina

I dont need to say much more other than take a listen below and enjoy

pick up your own copy at  itunes, boomcat, emusic or through his label site here

By: Shayne Byrne | Beat-Play Ambassador Ireland | @shaynewithMWL | Music Without Labels & Beat-Play, LLC

Radiohead – Give Up The Ghost (Remix) – [NEW MUSIC]

http://widgets.beggarspromo.com/tick006/widget.php

Radiohead have made available for listening the latest installment of theirseries of remix singles of tracks from The King of Limbs. Below, stream Brokenchord‘s take on “Give Up the Ghost”, Blawan‘s mix of “Bloom”, and Altrice doing something called “TKOL”. It will be for sale on August 29

By: Shayne Byrne | Beat-Play Ambassador Ireland | @shaynewithMWL | Music Without Labels & Beat-Play, LLC

The River Valley Band – The Death of William.R Sands [NEW MUSIC]

The River Valley Band have been gigging extensively since 2008.

Their energetic and infectious live performance has earned them residencies in Cork, Waterford, Kilkenny and Dublin, appearances at some of Ireland’s premier music-lovers festivals – Rhythm ‘n’ Roots, KnockanStockan, The Happy Valley – and guest slots at events such as Smithwicks 300 and IRFU Magner’s League.

They released their debut single ‘KIMBERLY’ which charted at 21 and earned them an slot on Pat Kenny’s RTE Radio show and ‘song of the week’ title on Midlands Radio.

Having put the finishing touches to their debut album ‘William. R. Sands’ with Leo Pearson (Elvis Costello, U2, Christy Moore) listen below

for more gig info and new go to the band’s Facebook page

By: Shayne Byrne | Beat-Play Ambassador Ireland | @shaynewithMWL | Music Without Labels & Beat-Play, LLC

Getting Great Vocal Sounds With Doubling [MUSIC HELP]

Getting Great Vocal Sounds With Doubling

Sometimes I find that doubling a vocal is a powerful way of getting the point across. Doubling a vocal can do things that no reverb or delay could ever hope for if executed properly in the right song and context. However, sometimes vocal doubling doesn’t work out exactly like you think it would. In these cases, there quite a few options we have to get that “doubled” vocal sound we are looking for.

It’s important to note that the effectiveness of vocal doubling varies tremendously from singer to singer. Some vocalists will sing a line differently every single time. This can make doubling hard. Some vocalists are so precise that you can barely tell if they have even doubled at all. It’s up to you to work with or around your singer to get the doubled sound to work (if that’s what you are going for).

Many times I will spend hours tweaking the extra layers to get them to fit with the lead vocal. I’ll automate the living crap out of those tracks to give me exactly what I want. If they jump out in weird places, I’ll turn them down so they don’t jump out anymore. If the high end is distracting in the vocals, I’ll quickly yank it out. I find myself rolling out everything above 4Khz quite often when working with layers (except in the lead vocal).

Here are a few examples of doubling tricks.

Straight Double

A straight double is a track that is set at the same volume as the lead vocal. Essentially you have two tracks giving 50% a piece. This can work well for some singers, but the takes need to be very similar. Volume automation can help, but is often tough to get right because it can make drastic differences in tone. You will here timing differences in the highs with this method quite a bit.

It is the most intense of doubled effects. Essentially the wet/dry ratio is 50/50 from the lead vocal to the double. This is where I start when doubling.

Straight Double With Crazy EQ

Sometimes there will be frequency buildups that can sound weird with doubling when both tracks are the same level. Sometimes it’s necessary to use drastic EQ settings to get what you are looking for. Don’t be afraid to boost or cut any frequency to get what you are looking for.

Double Down 6 Decibals

Sometimes you have to turn down the double because it’s simply too much. I find that if a straight double is too much, turning the doubled track down 6dB can make the doubling effect much more subtle. You can get away with inconsistencies in the tracks much more with the double down. You don’t have to use 6dB. You may want to yank it down only 3dB or you may like it -20dB.

Just make sure that when you set the level of the double that you can still hear it’s effect. It’s easy to fall in love with a dry vocal, but if you force yourself to leave the doubled sound on there, you will adapt to it most of the time and end up loving it.

Triple Panned Wide

Sometimes I like to record on great lead vocal track which we work very very hard on and then I like to slap 2 additional vocal tracks on there. I’m usually not concerned about pitch or even timing too much. I just want 2 new tracks. I’ll take each of these and pan them anywhere from 100% wide to 30%. Then, I’ll knock the high end off and compress them extremely hard. I’ll play with the level enough until I get what I’m looking for. This type of sound is more of a stereo vocal and a straight double.

In many songs, I like this effect. Remember that you will really have to automate the layered tracks to make it work.

Double Reverb Send

Another trick that I’ve found to be amazing is tracking two vocals, keeping the lead vocal dry, and then only sending the doubled vocal to a reverb. This can be amazing for epic 80s ballads using tons of reverb. Something magical happens when you use a doubled track exclusively for reverb and nothing else. It’s hard to explain. Try it!

16 Layers of Vocals

I’ve heard stories of Avril Lavign’s first record using this trick a lot. They say it’s the modern vocal sound. Basically, you just track vocals over and over and over. You pan them from 100% wide to center usually keeping the hardest panned tracks the lowest in level. Then you EQ them all differently.

I’ve tried this a few times and couldn’t make it work for me. However, the concept still makes sense.

I’ve heard that Def Leopard employed the 16 layers trick when they were doing their “football vocals” that sound like a large crowd yelling at a football game or whatever.

Double Whispers

A really creepy effect is to double whispers. That’s right, have the singer whisper the entire verse or whatever. Forget singing. Then have him/her do it again. You can do some amazing things with this trick. You can add lots of air to track by creatively using layered whispering, you can add long reverbs to just the whispers to basically extent the high end.

Actually, I’d love to try a long reverse reverb on whispers. That may sound really creepy for a song that calls for this sort of thing.

Straight Double Panned Wide With Delay

Another cool trick is to use a straight double but then using a stereo delay with 2 bounces set to the lowest setting. You want one bounce panned hard left and one bounce panned hard right. Basically, this is a stereo simulator. (You may need to knock some top end off of this one). Send your doubled track entirely to that. It can make your vocals sound really huge without lots of layering.

Double Distorted

Sometimes distorting the doubled track can add a really cool texture if you can find the level which it belongs. I don’t use this one that often, but it has came in handy over the years. It can add a sense of air to the track if you do it correctly.

Single Track Copied and Split Into Multibands

Of course, you don’t have to double to apply some of these tricks. Recording software makes it easy to make copies of a track. Well keep your lead vocal put and then make 3 copies of it. On one track, label it “vocal-hi-end” and roll off everything under 4Khz. Label one mid and label one low end and set Eq appropriately. Then smash the living crap out of each one with compression. Blend them to taste. Usually the vocal-hi-end is useful for adding air, but experiment. There are no rules.

By: Shayne Byrne | Beat-Play Ambassador Ireland | @shaynewithMWL | Music Without Labels & Beat-Play, LLC

Ryan Adams – Lucky Now [NEW MUSIC]

Ryan Adams officially shared the first single off his upcoming Glyn Johns produced LP, Ashes & Fire, in the form of “Lucky Now” a beautiful, sparse acoustic tune washed in light drums, a melodic electric guitar solo, and some piano from Benmont Tench (Tom Petty and the Heartbreakers’ ).

Stream the (all-analog) recording below

Ryan Adams - Lucky Now

The full album now with official cover art is available to pre-order on vinyl, CD, or with “Ryan Adams 3D glasses” here.

By: Shayne Byrne | Beat-Play Ambassador Ireland | @shaynewithMWL | Music Without Labels & Beat-Play, LLC

 

Richard Buckner – Our Blood [NEW MUSIC]

Richard Buckner is an American singer-songwriter born in California. After living in Edmonton, Alberta for a number of years, he currently resides in Brooklyn, NY. A critically acclaimed artist hailed by Bon Iver as a big influence and most often associated with the alternative country movement, Buckner had in recent albums eschewed his initial acoustic approach and displayed an increasing interest in more abstract music styles until reintegrating his acoustic approach on 2011’s “Our Blood”.

Buckner’s career began with Bloomed (1994), a lyrically-dense suite of songs recorded in Lubbock, Texas (produced by Lloyd Maines) and heavily influenced by that state’s tradition of whiskey-soakedpoet/troubadors, probably best embodied by Townes Van Zandt. (Since 1999, the album has been kept in print (with additional bonus tracks) by Rykodisc offshoot Slow River Records at Buckner’s request, the artwork on the back cover was edited to remove his then-girlfriend from the picture.) In January 1996, while living in San Francisco, he recorded an album’s worth of acoustic songs, all of which would reappear in more fully realized forms on his second and third albums. This CD was self-produced and self-released, and was sold exclusively at his early shows.

Later that year, he signed with MCA Records, for whom he recorded two albums, both produced by J.D. Foster. Devotion + Doubt was released in 1997, displaying a more adventurous, almost avant-gardeapproach to songwriting and arranging, and featuring backing from members of the band Giant Sand, as well as Maines and Marc Ribot, among others. Its follow-up, 1998’s Since, continues in this style, with an even greater emphasis on detailed production, this time featuring contributions from John McEntire, Dave Schramm, David Grubbs, Syd Straw, and others. Although these albums garnered considerable critical approval for Buckner, they did not perform well enough for his label, and he was released from his contract with MCA (whom he then nicknamed ‘Musical Career Assassins’) shortly thereafter.

Since then, he has returned to recording for smaller labels, to continued critical acclaim and cult status. His 2000 album The Hill – his first for Chicago-based indie label Overcoat Recordings – features poems from Edgar Lee Masters’ Spoon River Anthology(1915), which Buckner set to music. The album plays as a single track, nearly thirty-five minutes long. He returned in 2002, first with the “teaser” EP Impasse-ette, then a full-length entitled Impasse one month later. In early 2003, his self-released, self-titled album was reissued by Overcoat, and was his final release for the label. In 2004, an edited version of Richard Buckner’s song “Ariel Ramirez”, from the album Since (1998) was featured in one of the television ads for Volkswagen’s Touareg. The song, in its original form, would be featured prominently in the 2008 horror film, The Strangers.

 

He is currently aligned with North Carolina-based indie label Merge Records, who have released two of his albums so far: 2004’s Dents and Shells and 2006’s Meadow. Between the two, he released an album with Jon Langford (most notably of The Mekons) called Sir Dark Invader vs. The Fanglord (2005, originally recorded in Sally Timms’s house in 2002) on Buried Treasure Records. Merge Records released Buckner’s long awaited new album “Our Blood” on August 2, 2011. The album was licensed in Europe and Oceania to Decor records.

for more info and updates go to : http://www.richardbuckner.com/

By: Shayne Byrne | Beat-Play Ambassador Ireland | @shaynewithMWL | Music Without Labels & Beat-Play, LLC

Jonathan Wilson – Gentle Spirit [NEW MUSIC]

File:Jonathan Wilson at Troubadour 2.jpg

Wilson completed a solo album titled, Frankie Ray in 2007. The record was never officially released. Since, Wilson has recorded the full length album, Gentle Spirit, which will be released in 2011 on Bella Union. Gentle Spirit features many special guests including Barry Goldberg, Chris Robinson, Gary Louris, Andy Cabic, Otto Hauser, Josh Grange, Gary Mallaber, Z Berg, Adam McDougall, Johnathan Rice, among others. In July 2011 Wilson will will perform and collaborate with Jackson Browne and Dawes on several shows in Spain. Wilson was invited to perform on the 2011 benefit concert for Musicians United for Safe Energy (MUSE) at Shoreline Amphitheater. Joining Wilson is Crosby, Stills & Nash, Jackson Browne, Bonnie Raitt, John Hall, The Doobie Brothers, Jason Mraz, Tom Morello, Kitaro, Sweet Honey In The Rock and others. In 2010 and 2011, Wilson collaborated with Erykah Badu in the studio on several songs, only one of which was officially released. Wilson also appeared as a special guest with Erykah Badu at her 2011 Coachella performance.

Wilson currently maintains his recording studio, Five Star Studio, in Echo Park, Los Angeles, which he relocated from its original location in Laurel Canyon in 2009. The space is renowned for its sound and analog recording equipment. In 2010, Wilson produced and collaborated with Bonnie ‘Prince’ Billy on a series of songs for release on Spiritual Pajamas Records, a boutique 7″ label associated with Folk Yeah Presents. Wilson co-produced and played on the new solo record by J. Tillman of theFleet Foxes which was mixed by Phil Ek, whose album credits include Built to Spill, Fleet Foxes, Band of Horses, Modest Mouse, The Shins, etc. Wilson recorded and produced Dawes’ debut album, North Hills, at his Laurel Canyon studio. Wilson recorded and produced Dawes’ second album, Nothing Is Wrong, in 2010 at Five Star Studio. As part of Wilson’s project, What You Need Is What You Have, The Songs of Roy Harper, Wilson has produced songs performed by Will Oldham, Andy Cabic,Chris Robinson, Benji Hughes, Dawes, Jenny O., Johnathan Rice, Josh Tillman, and others. Wilson also produced Jason Boesel’s album, Hustler’s Son, and Mia Doi Todd’s album, Cosmic Ocean Ship. Wilson has also recorded and/or produced many other artists in his studio, including Gerald Johnson, James Gadson, and Josh Tillman.

Wilson is credited with revitalizing the Laurel Canyon music scene with the help of his many friends and is featured in the 2009 book Canyon of Dreams by rock historian Harvey Kubernik. Wilson had hosted private jam sessions at his compound in Laurel Canyon that involved Andy Cabic, Pat Sansone and John Stirratt of Wilco, Gerald Johnson, Johnathan Rice, Gary Louris and Mark Olson of The Jayhawks, Chris Robinson of The Black Crowes, David Rawlings, Benmont Tench of Tom Petty and the Heartbreakers, Jacob Dylan, and other notable artists who’ve played professionally with and/or in Electric Flag, Paul Butterfield Blues Band, Van Morrison, The Cars, Bruce Springsteen, Steve Miller Band, and Pearl Jam. The jam was founded by Wilson and Chris Robinson.

For more info & Tour Dates etc check out http://songsofjonathanwilson.com/

By: Shayne Byrne | Beat-Play Ambassador Ireland | @shaynewithMWL | Music Without Labels & Beat-Play, LLC

 

Four Tet and Others Remix Radiohead [NEW MUSIC]

http://www.xlrecordings.com/radioheadrmx/lone_four/rdh_rmx.swf

Radiohead is in the midst of releasing a series of 12″ singles, each of which collects remixes of tracks from the band’s 2011 album The King of Limbs. The third 12″ in the series is now streaming on-line; it includes Lone taking on “Feral”, Pearson Sound reworking “Morning Mr. Magpie”, and Four Tet going to town on “Separator”. Listen to all three tracksabove, via The King of Limbs Part 2. It’s out August 1 everywhere except North America, where it’s out August 9.

Listen: Four Tet and More Remix Radiohead

 

By: Shayne Byrne | Beat-Play Ambassador Ireland | @shaynewithMWL | Music Without Labels & Beat-Play, LLC

Stephen Young & The Union [MUSIC]

Songwriter Stephen Young first appeared on the music scene in late 2008 when the release of his debut EP: ‘A Boat Called Lottery’, garnered vast critical acclaim.
Described as ‘a visionary ricochet for the times we live in’ (The Daily Star), it is Young’s capacity to deliver a song with pounding heartfelt retrospect that will set him apart from his luminaries.

The singer joined forces with producers Gavin Glass, Tommy O’Sullivan and engineer Stephen O’Brien to complete his debut album.
The album’s title is ‘Wilderness Machine’ and Young explains: “the concept of the album is loosely based on a character, who left his hometown after the break-up of a relationship and the death of a close friend. He moves to a remote house in the mountains where he writes a series of letters that lead to a novel”.

A highly-praised performance on RTE’s The View, along with two tracks from the album being playlisted by stations across the country – including RTE, BBC Northern Ireland and Dublin’s Phantom FM – have boosted Young and the band. As have extensive features in The Irish Daily Star and Hotpress.
With the LP out March 25 – available from HMV and Tower Records nationwide – the band took the album on the road.

On a three-week tour, Young & The Union played in a number of the country’s top venues. Launching the album in Crawdaddy, they went on to play The Spirit Store, The Stables, McCarthy’s in Dingle, JJ Harlows in Roscommon and Cleere’s Theatre in Kilkenny. Young also performed at a selection of singer-songwriter nights across the country. Accompanied by their Cello and Violin string section, SY & The Union deliver a show that is simply not to be missed.

for more Stephen Young & The Union news check out

@ Facebook

@ Myspace

By: Shayne Byrne | Beat-Play Ambassador Ireland | @shaynewithMWL | Music Without Labels & Beat-Play, LLC