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Molly Drake was an English poet and musician, best-known as the mother of the musician, Nick Drake. Molly Drake never released any official publications of her poetry or compositions in her lifetime, but she had a profound impact on the musical style of her son. As Nick Drake's music gained a larger following after his death, Molly Drake's recordings have been released, which uncover the musical similarities between her and her son. Molly was born in 1915 and died in 1993.

Nick Drake's increasing cult following led to further interest in his mother. In 2013, an album entitled, "Molly Drake", was released with the intent of focusing solely on the work of Molly Drake. The 19 songs were recorded on a rudimentary setup in the 1950s in seclusion at her home. It features Drake's soft vocals accompanied by piano on tracks that mainly last two minutes. The tracks are poetic and heavy-hearted, similar to her son's musical style. The album was first released by Bryter Music (licensed to Squirrel Thing for the USA) is now long deleted with a new edition set to appear in early 2017. Joe Boyd has stated that this compilation is the missing link in the Nick Drake story.




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Premium is the glistening debut album from New York-based Sam Evian. The sound of Premium recalls a sunbaked cassette of Pet Sounds or All Things Must Pass, composed with glowing guitar chords, aching pedal steel, Wurlitzers and iconic 20th-century synths. Inspired by the soulful classic sounds of Jackson Browne, Shuggie Otis, Sly and the Family Stone and The Band, as well as contemporary influences such as Cass McCombs, Broadcast, Cate Le Bon, and Chris Cohen, this is music meant for a close-up experience; spacious, dreamy, fun, and disarmingly open and honest.

That musical community included the group that recorded Premium. There was Austin Vaughn on drums (Here We Go Magic, Luke Temple), a long-time friend from North Carolina School of the Arts, and Brian Betancourt on bass (Hospitality, Here We Go Magic, Luke Temple). They were joined by Michael Coleman on keys, a prolific player and producer, as well as being Figure 8’s studio manager. Pedal steel was provided by Dan Iead (Cass McCombs), and recorded at New York’s legendary Magic Shop studios in the days just before it closed. The tracks were some of the very last recordings in the room that had witnessed sessions by David Bowie, the Ramones, Blondie, Real Estate, Kurt Vile and generations of others. Other guest performers include vocalists Cassandra Jenkins and Hannah Cohen, Shahzad Ismaily, Eddie Barbash (the saxophonist on the Colbert show) and Steve Marion (aka Delicate Steve).

Watch the video for 'Sleep Easy' below.




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The Coral’s past speaks volumes having sold over a million UK albums since their debut EP release in 2001, five of those hitting the top ten, including the chart-topping Magic and Medicine (2003) and eight top 40 singles. Without so much as a glance over their shoulder, James Skelly (vocals/guitars), Ian Skelly (drums/percussion/vocals), Nick Power (keyboard/vocals), Paul Duffy (bass/keyboards/vocals) and Paul Molloy (guitars) stride into the future to fortify their indefinable position in modern music. There are no full stops in The Coral’s story, but their return with a seventh album, Distance Inbetween in 2016 turns a distinct new page within it after an unapologetic five year hiatus. Picking up the band’s story from the release of 2010’s Butterfly House, theirs is a tale of uninterrupted individual creativity punctuated by the surprise release of their lost album, The Curse of Love (2014).

A collective for whom permanence is defined by bonds stronger than music, The Coral encouraged each other to go exploring alone after a relentless decade of activity. James Skelly wrote and recorded Love Undercover (2013), establishing his Skeleton Key record label and producing songs for bands including Blossoms, Sundowners and She Drew The Gun. Nick Power revealed literary talents with a book called Small Town Chase (2013); Ian Skelly found a kindred spirit in Paul Molloy (formerly of The Zutons) forming Serpent Power and Paul Duffy turned to soundtrack composition. Founding member, Lee Southall continues his own personal and artistic journeys separately while The Coral regroup, leaving his foot in the door for when his ambitions have been fulfilled elsewhere.

Their new album, Distance Inbetween was recorded at Parr Street Studio in Liverpool with co-producer Richard Turvey, a thrilling new talent and wide-eyed emergent master of studio techniques, within whom The Coral found a trusted and fearless collaborator. Additional sounds were laid down at the Coral Caves that reside at an undisclosed location beside the Mersey, with the album also featuring contributions from Alfie Skelly (bow on She Runs The River). The album is dedicated to Alan Wills, the band’s early mentor and Deltasonic label boss, who lost his life just months prior to the recording of the record in 2014.



Visuals | 24/03/16

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LISTEN & SHARE: Visuals - "The State of Things"
"It's moody yet melodic title track." - Self-Titled

LISTEN & SHARE: Visuals - "Everything Flash"
"Jumping in with reversed soundscapes and a slow, spacious, and pounding beat, Visuals' distinct and savory vocal work flies around amongst the melancholy melodies in a weightless fashion." - XLR8R

LISTEN & SHARE: Visuals - "Days of Our Youth"
"The foundation of the track is a nocturnal, electronic composition, cut through with raw post-punk guitar mixed down to an almost hush. The effect is something like standing in the middle of two night clubs at once, but the coming together produces something harmonious." - Bullett

LISTEN & SHARE: Visuals - "Waking Dream: Spies"
"Unpausing a sleep state in record digging." - IMPOSE

LISTEN & SHARE: Visuals - The State of Things
"The third track “No Handle” is a personal favorite due to it’s lethargic, atmospheric instrumental which I suspect was somewhat influenced by associate and collaborator Nic Jaar." - EARMILK

04.02- Bowery Ballroom- New York, NY

01. "The State of Things"
02. "Days of Our Youth"
03. "No Handle"
04. "Everything Flash" (Bonus Track)

Visuals will debut on thesongsays with his beautifully well-rounded novella of an EP, The State Of Things.

The label has long focused on the romantic and conceptual currents of dance music and Visuals joins the tight-knit roster with three stunning songs that perfectly fit the thesongsays ethos while bringing together the diverse elements of his musical background. The Brooklyn-based singer, songwriter and multi-instrumentalist - whose work debuted on Nicolas Jaar’s Other People imprint - excels not only through his distinctive vocal style and melodic richness, but also through the acute subtlety of his lyrical content.

The record’s A-side is a case in point: pure tropical melancholia that finds Visuals lyrically sifting through the modern contradictions of everyday life over lambent pads and off-kilter percussion: “I couldn’t tell hell from paradise / I’m so caught up in the state of things.” While the vocals recall the realm of indie, the quirky textures and post-production (courtesy of DARKSIDE member Dave Harrington and Berlin-based house producer and drummer Louis McGuire ) gesture toward the electronic.

On the flip, the buoyant bass line of "Days Of Our Youth" anticipates an infectious chorus that feels perfectly anthemic for spring and summer: "Days of our youth on fire / Burning in your eyes." It’s an expertly crafted and arranged piece of music that lends itself to adventurous DJs wanting to give the room something counterintuitive and unusual. Completing the release is "No Handle"—pensive, deep, and hypnotic for the noir corners of early morning dance floors.

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