Tag Archives: Partisan Records

Emily Wells Streams New Single, Mama’s Gonna Give You Love

Just after Emily Wells’ headline show at The Lexington in London last night, the Brooklyn-based multi-instrumentalist has unveiled a new stream of her single Mama’s Gonna Give You Love which includes a beautiful acoustic version and a remix by Jeremiah Jae. The track is taken from her album Mama which was released earlier this year through Partisan Records.

The startling contrast of the three versions of Mama’s Gonna Give You Love only emphasises what a diverse talent Emily Wells is; from the catchy original version of the song to nothing but Emily’s beautiful voice and delicate strings in the acoustic recording, all the way to unsettling, industrial drones in the Jeremiah Jae remix.

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Emily Wells’ Releases Cover Of Haddaway’s What Is Love To Celebrate Her UK Tour Starting This Week

As Emily Wells prepares to embark on a full UK tour which starts this week, the Brooklyn musician reveals a striking cover of Haddaway’s dancefloor classic, What Is Love. Wells will also release her forthcoming single, Mama’s Gonna Give You Love, on December 16 through Partisan Records. The single is taken from her album Mama which was released earlier this year.

The mesmerising tones of Emily Wells are clear to see as she takes on this 90s dancefloor classic, completely transforming the track to make it her own. It offers a glimpse of what to expect from Emily’s enthralling live show as delicate violin strings are strewn against subtle dance-beats in a way that fall together so naturally.

You can catch Emily Wells live on the following dates:
7 Dec – Start The Bus – Bristol
8 Dec – Ruby Lounge – Manchester
9 Dec – Belgrave Music Hall – Leeds
10 Dec- King Tuts – Glasgow
11 Dec – Whelans – Dublin
12 Dec – Cookie Jar – Leicester
14 Dec – Bogeiz – Cardiff
15 Dec – Sticky Mikes – Brighton
16 Dec – The Boilerroom – Guildford
17 Dec – Lexington – London

Emily Wells

Emily Wells

Best known for a combination of subtle hip-hop inflections strewn against her recognisable feline vocals, Emily Wells’ music is somehow simultaneously delicate yet deeply effective. The UK release of Mama followed Emily Wells’ contribution to the soundtrack for Park Chan-Wook’s psychological thriller, Stoker, for which she recorded track, Becomes The Colour.

From the start of her career, Wells’ musical interests were simply too wide ranging for just one instrument. Trained as a classical violinist, the Texan soon created her own sonic spaceship; an ever-growing pulsating arsenal of synthesisers, effects pedals and toy instruments all tied together with live sampling and a genre-agnostic approach that is diverse, distinctive and utterly her own. Honing her sound on a series of independent releases including an acclaimed cover of The Notorious B.I.G.’s classic, Juicy, it was these initial glimpses and the countless live dates both as bandleader and solo performer that carved out the musician she has become today.

Emily Wells is an artist whose innate complexities lift her out of that particular stable and into a realm all of her own and with a live show that is diverse, distinctive and utterly her own, it’s a performance not to be missed.

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Emily Wells Announces UK Tour For December

The Texan native, Emily Wells, is preparing to embark on an exclusive 10 date tour around the United Kingdom.

Wells celebrates her debut UK double-album Mama which was released earlier this year. The 10 track album came complete with a separate disc of acoustic recordings of the record.

Emily Wells broke into the public eye with her album The Symphony Dream Memories and Parties which included the popular Symphony 1 Barrel of a Gun. Since then she has continued to catch the attention of the music industry with her unique blend of instrumental accompaniment to her emotive slam poetry–esque lyrics.

Emily Wells

Emily Wells

Wells looks to build on her coverage with gigs from the 7 December right through to the 17 December. Wells opens the tour with an intimate gig in Start the Bus located in the centre of Bristol. The gigs continue around the United Kingdom stopping off at Manchester, Leeds, Glasgow, Dublin, Leicester, Cardiff, Brighton, Guildford with the tour coming to an end at the Lexington located in the nation’s capital. The majority of Emily Wells’ tour dates over the years have been in the U.S however these 10 gigs in early December give Wells’ UK following the chance to catch her live.

Tour dates below:
07 Dec- Start The Bus – Bristol
08 Dec – Ruby Lounge – Manchester
09 Dec – Belgrave Music Hall – Leeds
10 Dec – King Tuts – Glasgow
11 Dec – Whelans – Dublin
12 Dec – Cookie Jar – Leicester
14 Dec – Bogeiz – Cardiff
15 Dec – Sticky Mikes – Brighton
16 Dec – The Boilerroom – Guildford
17 Dec – Lexington – London

By Luke Bennett

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Lumerians Release Video For Smokies Tangle

Following the release of their The High Frontier LP in the summer, Lumerians have now released the video for album highlight Smokies Tangle.

The video is a short film entitled Smokie and Lady Chronus, written and directed by Geoffrey Lillemon, that chronicles a bizarre, otherworldly love affair.

Lumerians Smokies Tangle

Screen shot from Lumerians’ Smokies Tangle video

Lumerians is Tyler Green, Chris Musgrave, Jason Miller and Marc Melzer. Formed in early 2006 while most of the members were working at an experimental music label in San Francisco, their shared affinity for Krautrock and esoteric occult mythologies resulted in after-work jam sessions and recording.

In their new LP, out now through Partisan, the Oakland band thrust forward with inspired exploration, Afrobeat’s ritualistic rhythms, post-punk guitar noise and cracked-glacé synth-lines culled from perverse 1970’s sci-fi soundtracks.

It’s a cacophony of sound in which Lumerians acknowledge the role noise and rhythm has always played in transcendent and ecstatic rituals the world over. From the repetitious drums of tribal animists to the penetrating electronic pulses of neon dance clubs, The High Frontier sets scope outward, points blindfolded at a star map and sets off full blast without making course corrections.

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Lumerians The High Frontier Review

Lumerians announced the news a little while back that they will release their new album titled The High Frontier on June 10 through Partisan Records. The name for the album comes from a term coined by Gerard K. O’Neil in his illustrated 1976 book depicting human colonisation of space. The High Frontier contains Krautrock inspired exploration, Afrobeat’s ritualistic rhythms, post-punk guitar noise and cracked-glacé synth lines culled from perverse 1970′s sci-fi soundtracks.

It’s a cacophony of sound in which Lumerians acknowledge the role noise and rhythm has always played in transcendent and ecstatic rituals the world over, from the repetitious drums of tribal animists to the penetrating electronic pulses of neon dance clubs.

The six tracks and 33 minutes that make up The High Frontier were recorded and produced in Lumerians’ self-built studio/brewery: a room housed in a converted store-front church in a neighbourhood affectionately referred to as the “Murder Dubbs”.

The High Frontier brings back the sound of prog rock that was so familiar in the 70s. Uncut described the album as: “a fruitful collision between Boredoms, Neu! and the Grateful Dead” and they are spot on.

Lumerians

The High Frontier artwork

Track one Dogon Genesis could easily fit itself into the 70s with no questions asked. Dogon Genesis is a fantastic first track that prepares the listener for the rest of the album. Dogon Genesis could refer to the Dogon tribe of Mali which gives a good indication of how bonkers the record is.

Title track The High Frontier has a completely different sound to that of Dogon Genesis. It’s a slower tempo with more deep, bass tones coming through. The drum beat produces a mesmerising rhythm alongside the swooping synth sounds.

Previously disclosed track, The Bloom follows the same theme as The High Frontier. It’s strange and eery. It is probably the most experimental song on the record which introduces lots of sounds and plays with the concepts of prog rock to create a brilliantly atmospheric track. The synth sounds heard at the beginning almost sound like sirens, building a sense of tension and fear into the listener.

Koman Tong breaks the album away from eery and unnerving and plunges it into summer happiness. Koman Tong is still very experimental but it starts to introduce the idea of world influences into Lumerians’ music, the guitar is distorted leading it to sound faintly like  a sitar in parts while gongs and bells can be heard in the background. It’s the best track on the record by far. There is just so much to catch and involve yourself in that you will instantly become lost in the music – cliched as it may sound.

Smokies Tangle turns the album back to its 70s prog rock style while the last track, Life Without Skin again oozes world influences, foreign vocals and jazz inspired drum beats to create a superb end track. It has a fantastic rhythm and melody and can easily be placed as one of the best songs on The High Frontier. It’s also one of the only tracks on the album that uses influences from Lounge – think Bonobo vs prog rock and you’re almost there.

The High Frontier is a mesmerising account of weirdness and oddity that will leave you wanting to hear more. Each track has so many layers to it that you really will become immersed in this record. It’s 33 minutes of experiments, fusion of genres and rule-breaking in the music world. A triumph.

Lumerians is Tyler Green, Chris Musgrave, Jason Miller and Marc Melzer. Formed in early 2006 while most of the members were working at an experimental music label in San Francisco, their shared affinity for Krautrock and esoteric occult mythologies resulted in after-work jam sessions and recording.

After self-releasing their debut EP in 2008, they signed to Knitting Factory Records in 2011 for their debut LP release Transmalinnia – a record which, during the two years it took to record, was almost entirely scrapped and re-recorded several times. In 2012 supplementary small-pressing instrumental records Transmissions from Telos Vol. IV and The Weaning and the Dreaming quickly sold out in the hands of collectors.

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Emily Wells Mama – Album Review

After appearing alongside Clint Mansell and Philip Glass on the soundtrack for Park Chan-Wook’s recent psychological thriller Stoker with her track Becomes the Colour, Emily Wells prepares to release her debut UK album.

Her album Mama is out on June 3 via Partisan. It combines subtle hip-hop inflections and wide-ranging sounds with Emily’s distinctive feline vocals, creating a record that is simultaneously light and delicate with a bold punch of personality. Contrasting with the heavy layering and electronics of the original album, the UK version of Mama sees Wells re-imagining the entire record acoustically for a second disc and mirror version. These fresh renditions of an already unique record are stunningly austere, recorded solely with voice and guitar. Emily Wells has stripped off her own armour, leaving only her crystalline voice and equally unambiguous songwriting on display.

Mama was recorded in a cabin on a horse ranch in Tapanga Canyon last year. Most of the instruments featured on the record were recorded and produced by Wells. With Wells’ background being classical (she is a trained classical violinist), you wouldn’t expect her to play or produce the music she does.

Emily Wells

Singer songwriter Emily Wells

The first track Piece Of It breaks the album in very gently. It’s deceiving in some ways as it’s an extremely simple and slow song unlike the rest of the album. Even so, it’s a fantastic track with whispering vocals, soothing acoustic guitar and pleasant ringing tones. Usually, an explosive song is used for a first track on an album but not in this instance. Piece Of It draws the listener in with its meditative style music and memorable lyrics.

Track two Dirty Sneakers and Underwear is where Wells’ hip-hop influences shine through. The  male vocals which she harmonises with add another layer to an already intriguing track. Musically, Dirty Sneakers and Underwear has a Lounge feel to it with hip-hop style rapping. Wells’ really does know how to produce unusual songs that leak so many different influences. Dirty Sneakers and Underwear swaps from hip-hop to lounge to world to alternative and back again. The next track Mama’s Gonna Give You Love blends R ‘n’ B drum beats with folk inspired vocals. Wells’ raps again in this number but combines it with deep bassy, Lounge inspired tones. It works surprisingly well although this song may be one of the more difficult tracks to get into on the record. The chorus will continually float around in your head as will those deep bassy tones that will continue to ring in your ears.

Johnny Cash’s Mama’s House is a great summer track with relaxed vocals against the back drop of lazy strings and softly played drums. The banjo towards the end introduces faint folk influences. The whole song is very cleverly mixed and produced so certain instruments can be heard at different times. It highlights all the diverse influences that make Wells’ music so intriguing.

Let Your Guard Down is the most breath-taking track on Mama. It’s the only song with strong blues influences seeping through every layer. Wells’ vocals will send a shiver down your spine. It’s a raw track with outstanding vocals, raw drums and a soft blues rock feel. This song wouldn’t sound amiss in the 60s or 70s as it has a very experimental rock sound to it. This track would be amazing performed live. Wells’ vocals are packed full of emotion and passion while the gentle blues music that accompanies them help to bring all that emotion to a head. The lyrics in this song are also some of the best on the record. The lyrics “You got a house in the desert/Got a house by the sea/You got everything you wanted yeah everything but me/You let your guard down/Baby let your guard down…” and “All I ever knew about being in love is what I learnt from you/I let my guard down…I got a house in the country got a house by the sea/I got everything I wanted yeah everything but me/I let my guard down…” I’m sure everyone can relate to these lyrics. Let Your Guard down tells the same old story of trust and breaking that trust in relationships – the break down of a relationship leaves you with a sense that you’ve lost part of yourself. This song highlights humanity’s vulnerability.

Emily Wells

Emily Wells

No Good is another fantastically written song which showcases people’s lack of faith in themselves and the struggles some people face when entering into new relationships. The lyrics, “I’m no good at being loved…Wake up in your bed/Wake in a cherry tree/Falling out on the dewy ground you know how to touch a bruised body…” These lyrics really highlight the message behind this song. It’s a song about a vulnerable person who has scars from previous relationships and the willingness of the new partner to take that on. It has a wonderfully relaxing beat and brilliantly skatty vocals.

Darlin’ is one of the more dramatic tracks on Mama. It has a psychedelic feel to it with bassy tones combined with floating, airy harmonies. It’s anthemic to say the least. It’s also Emily Wells’ latest single to be released. Darlin’ can be heard here. Although this song sounds reasonably upbeat, there’s definitely deeper more sombre undertones to be heard. It’s also another track that expresses humanity’s vulnerability through the lyrics, “If I had any sense/If I had my innocence/I’d take you home with me…”

Emily Wells has produced a breath-taking album in Mama. It’s an album that showcases Wells’ talents in a raw and overly honest way. The lyrics capture the vulnerability of the human race. Mama captures the ups and downs of being human. It’s a rollercoaster ride as is life. Mama will inspire you in more ways than one.

Mama is out on June 3 through Partisan Records.

Emily Wells has just this week announced her first ever UK live date at Water Rats in London on June. Emily Wells will also be supporting Kurt Vile on his tour for three dates across Europe (dates below).

June 6 – Berlin, Germany Bi Nuu*
June 7 – Cologne, Germany Gebaude 9*
June 8 – Paris, France La Maroquinerie*
June 9 – Gent, Belgium Huiskamer Ernest
* supporting Kurt Vile

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Field Report Album Review

Field Report is the creation of Chris Porterfield who cut his musical teeth with Justin Vernon (Bon Iver) and the members of Megafaun in the now-legendary band DeYarmond Edison. Now Field Report are set to release their self-titled debut album on May 27 through Partisan Records.

The self-titled album features the previous releases I Am Not Waiting Anymore and Evergreen. A new video for Evergreen was posted online yesterday with a free download of the track also available from Soundcloud. The video for Evergreen was produced by The Blind Club.

Field Report

Chris Porterfield of Field Report

Field Report’s sound is similar in style to Bon Iver yet it definitely has more traditional folk influences which can be heard throughout the record compared to Bon Iver’s indie folk approach. Field Report’s self-titled album has a good balance – a few of the tracks like Chico The American and The Year Of The Get You Alone feel more modern and experimental compared to the other ballad type songs such as I Am Not Waiting Anymore and Circle Drive.

Track one Fergus Falls is very heavily folk inspired to begin with, with a lonesome guitar being picked. It has a distinct raw feel to it. Slowly and intriguingly it builds to include a light drum beat in the background. The vocals stay prominent with the guitar at the forefront but slowly strings are introduced blended very cleverly with the rest of the instruments. The lyrics are fantastic, “This is the one in which I miraculously pulled out of a free fall dive over Fergus Falls…” It’s very simple music combined with simple, relaxed vocals and wonderfully thought of lyrics. The harmonies towards the end build the song to its maximum leaving you ready to hear the rest of the album.

The second track , The Year of the Get You Alone has dark, husky vocals mixed with a jazz inspired drum beat. The mix of the jazz drums and the blend of acoustic and electric guitar all create the perfect backing track to beautiful lyrics, “In the year of the get you alone I got you alone/And I showed you that I’d been drinking in a handful of words…Oh my love what have we become/Crippled by joy/And pursuit thereof/In the year of the get you alone I got you on a boat/I did all my drinking at home before we got to shore/Don’t look down now/But this waters got a sinister motive/It’s carving out my confidence/Flooding my crumbling home…” It has a very sad message about a broken relationship but lyrically, this is the strongest song on the album which tells the best narrative. This song will allow you to zone out as soon as you hear the first snare drum being hit with the brushes.

Taking Alcatraz is your typical acoustic guitar picking song which can be compared to Jose Gonzalez’s style. The harmonies are blended really well together which is something that makes this track easy to listen to. Yet again, it contains brilliantly crafted lyrics and a fantastic melody in the chorus, “If I die here/At least I made a choice/If I’m fine here/ Just please tell the boys/That the line in the sand don’t matter/You don’t care…” It’s kept very simple giving it a very empty feeling with just the guitar, vocals, lightly played strings and piano in the background being heard. None of the instruments steal the limelight from the others, there’s nothing too dominant. It’s empty but in a good way. It keeps it stripped back and raw.

Incommunicado has a great drum beat and descending guitar riffs. It’s the ultimate relaxation song on the album. Again, there are spot-on harmonies. The whole song builds slowly from acoustic guitar picking and peaceful lyrics “I’ve been incommunicado…” to the slight note of a bass guitar being heard in the background to the added top hat and bass drum. The electric guitar then steps in with its sequential chords all aiding to create a wonderfully relaxed, jazz inspired acoustic number.

Chico The American has a heavily influenced Lounge drum beat, it could easily be something you may hear in Bonobo’s music for example. The whole style of the music is more Lounge than the previous tracks which are heavily influenced by jazz and folk. If you remove the vocals on this song, the music is intrinsically Lounge yet the vocals remain stereotypically folk. It’s by far the best track on album. There are lots of different instruments that you can tune in and out of – at one point the vocals are dominant, the next the electric guitar, then the softly played drums. It’s really good production and mixing.

Field Report have released a breathtakingly brilliant debut album that tells narratives, expresses emotions and requires a little time to explore over a period of time to peel back the many laters and get to its centre. Field Report produce gorgeously crafted folk with a delicately experimental edge.

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