Wednesday, 16 September 2015

Guy Garvey - 'Courting the Squall' debut solo album and live dates










‘Courting the Squall’

The Debut Album, 30th October 2015 

Europe and UK Live Dates Announced

After nearly twenty five years and counting as a member of elbow and one of the UK’s most recognised and celebrated musicians and lyricists, Guy Garvey is setting off alone for the first time. On October 30th he releases his debut solo album, ‘Courting the Squall’. 

Recorded initially at Real World Studios near Bath and completed at Blueprint Studios in Salford, ‘Courting the Squall’ features a band created by Guy from his ‘favourite musicians outside elbow’ and was driven by spontaneity and experimentation amongst the assembled players with Guy firmly and exclusively in the driving seat. The band ‘moved fast and drank a lot’, focusing on live recording with minimal overdubs to create the songs. Unlike elbow, where democracy has always ruled, this is an album where Guy embraced the freedom to do exactly what he felt throughout.
The album features Pete Jobson, long time friend and bass player from I Am Kloot, as lead guitarist and Nathan Sudders from The Whip on bass, bringing an indie sensibility that was at the heart of Guy’s thinking for certain songs. Keyboards are marshalled by old V2 labelmate Ben Christophers and drums are filled by Alex Reeves. elbow’s brass section add to selected tracks whilst Rachael Gladwin, a steadying contrast to the party vibe of the team due her being pregnant, plays the harp and kora. 

‘Courting the Squall’ is powered by influences and ideas that ‘don’t fit the elbow template’. Some tracks, notably ‘Angela’s Eyes’, ‘Harder Edges’ and ‘Belly of the Whale’, come completely from groove, finding a sweet spot between Manchester’s baggy past, long term love Tom Waits and Bowie’s mid-70’s albums, particularly ‘Sound and Vision’. This change of type engendered a change of vocal approach, a clipped and more direct Garvey voice coming across, a hark back to his early days writing lyrics influenced by his listening to hip-hop where short delivery carries rhythm alongside meaning.

Lyrical concerns encompass those familiar to Guy’s past work at times, the big themes of love and friendship, the lure of his Northern homeland but tracks and lyrics were not always pre-planned. On one occasion a bird observed from the window of the recording studio became the catalyst for the music, at other times a loose jam approach crystallized both lyrically and musically into a finished composition. There were no rules. 

Having guested on various artist’s albums as a vocalist, ‘Courting the Squall’ sees Guy duet on his own music again with the sumptuous ‘Electricity’ featuring Jolie Holland conjuring up images of illicit jazz dives in fin de siècle Paris or prohibition era New York in the distinctly non urban studio setting outside Bath. Alongside Jolie’s credit, another, less familiar set of co-writers appear on the album but we’ll leave that to you to discover.

Yet not all of ‘Courting the Squall’ is a move away from the familiar. The album title track, a trip hop rhythm propelled ballad and ‘Juggernaut’, a hymnal clothed in sedate populist clothing, may feel more immediately recognizable to long term followers of Guy’s music whilst  ‘Broken Bottles and Chandeliers’, with its warmth , once again showcases his unerring ability to translate the sense of overwhelming joy into understated musical form.

It is, as with all solo albums, a glimpse into its creator’s soul. Shot through with warmth and emotional intelligence, content and comfortable in its own skin, ‘Courting the Squall’ is that most unique thing; a record made without preconditions, an album of songs made purely for the joy of its making.

Guy has also announced a short run of dates in Europe and the UK throughout November and December on which he will be accompanied by the musicians who recorded the album, including Pete Jobson of I Am Kloot on guitar, Nathan Sudders of The Whip on bass and Alex Reeves on drums. Elbow’s brass section complete the live line-up.

A special fan presale will commence at 9am on 16th September – simply follow the link at Facebook - https://www.facebook.com/GuyGarveyofficial.

Tickets go on general sale at 10am on Friday 18th September.

Dates are as follows

November
Thursday 26th                        Brussels, Ancienne Belgique
Saturday 28th                        Berlin, Postbahnhof
Sunday 29th                           Amsterdam, Paradiso

December
Tuesday 1st                            London, o2 Shepherds Bush Empire
Wednesday 2nd                     London, o2 Shepherds Bush Empire
Friday 4th                               Manchester, Albert Hall
Saturday 5th                          Manchester, Albert Hall
Monday 7th                            Dublin, Olympia
Tuesday 8th                            Glasgow, o2 ABC

‘Courting the Squall’ is released on Vinyl, CD and Download on 30th October 2015. Limited quantities of vinyl and CD feature a lenticular sleeve.

FOR MORE INFORMATION                                -               LOUDHAILER PRESS
Lewis Jamieson                                                     -               lewis@loudhailerpress.com / @LewJam
                                                                                                07718 652582 / 020 8714 0139

Thursday, 10 September 2015

An Open Letter To The Economist

Adding to a growing list of badly researched and, frankly wrong, pieces about the music industry, even The Economist is not immune to getting things badly wrong it would seem.

Have a read of this 'back of the bus' piece on the NME going free and see if you can spot the glaring errors. If you can't I got all Henry Root and sent them a letter which is below.




Whilst the initial set up of your article in the September 5th edition of the paper regarding the imminent relaunch of NME as a freesheet displayed correct analysis, your subsequent expositions regarding the fate of previous free music titles and suppositions regarding 'NME's readers' were unworthy of your well earned reputation for accurate analysis.

The Fly was not 'free for a short time' as you assert but ran from 1999 to 2014 as a free title and peaked at a readership of around 100,000. It was rightly regarded as an important source of coverage for bands large and small and was instrumental in the success of a huge amounts of now household names, including elbow who I have represented since 1999. The demise of the magazine was less to do with its free nature and much more to do with parent company MAMA Group's involvement with HMV and a distribution deal with the chain which, following the store group's collapse in 2014, left the title without a valid distribution network.

A short journey to Google would have revealed this to you via either this guardian story - http://www.theguardian.com/media/2014/mar/07/the-fly-music-magazine-closes-after-nearly-15-years - or Wikipedia - https://en.wikipedia.org/wiki/The_Fly_%28magazine%29.

Stool Pigeon, which you cite alongside The Fly, (again being 'free for a short time'), as a harbinger of doom for the new NME, also ran for years, beginning in 2005 and ending in 2013. This, according to editor Phil Hebblethwaite, was not because of bankruptcy but rather that he was 'knackered' after eight years of running the paper. Again, this is public knowledge, see the Press Gazette piece at the time of closure - http://www.pressgazette.co.uk/print-edition-music-magazine-stool-pigeon-scrapped-after-eight-years.

As regards NME, you note that it will have to broaden the bands it covers to appeal to a wider market but a public statement from editor Mike Williams has already declared that 'music is "firmly at the heart of the brand" but there will also be "film, fashion, television, politics, gaming and technology".' (http://www.nme.com/news/various-artists/86702), suggesting that the editorial team are already focused on just such a strategy.

As a subscriber I value the analysis that The Economist offers in areas where I have no expert knowledge. In an area where I have some knowledge I find it disturbing that such copy could pass for publication with multiple glaring errors and naïve assumptions devoid of fact.

Best
Lewis Jamieson
DIRECTOR LOUDHAILER PRESS