Heavenly

Mark Lanegan Band “Somebody’s Knocking” (Heavenly)

2019-10-18T03:53:15+00:00October 18th, 2019|

Heavenly Recordings are thrilled to announce Somebody’s Knocking, the new 14–track album from Mark Lanegan Band.

From the opening bars of Disbelief Suspension onwards, it’s clear that Somebody’s Knocking is an album made by someone deeply obsessed with how music – with all its primal, spiritual healing power – truly penetrates the soul. As a result, there’s joy in the music, as if created from a perfect set of inspirations smashed and grabbed from God’s own record shop.

Some of the influences are oblique, others direct and fully respectful. From the Raw Power-esque garage metal grind of that opener to Letter Never Sent’s rocket-powered take on Love-era kaleidoscope-psych, through the pensive subterranean murk of Dark Disco Jag and on to Playing Nero’s sun-bleached riff on Joy Division’s Atmosphere, there’s the glee of infatuation running deep in the tracks. And, in some ways, that display of infatuation serves to change the very perception of Lanegan the artist – this album being less the tale of a brooding, crepuscular rock’n’roll veteran and more that of someone consumed by a lifelong love of words and sound fused together.

At the end of the day though, Somebody’s Knocking doesn’t need to be either commentary or allegory. Like Lanegan’s best work, it tells its own stories and weaves its own wonders, conjuring up feverish hallucinogenic visions to sit atop roughly hewn rock and glassy, brilliant bright electronics. And then it leaves them to penetrate their own ways right down to our deepest, darkest roots.

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Drinks “Hermits On Holidays” LP (Heavenly/Birth)

2015-10-12T18:54:55+00:00October 12th, 2015|

“Cate Le Bon, born in West Wales, raised under the shadow of a woolen mill, dressed by the field and by the rain. Tim Presley (a.k.a. White Fence), from San Francisco, grew under and over the bridges and streets, combed by corners and by concrete.”

“As consummate musicians and students of pop, Le Bon and Presley aren’t able to revert to Shaggs-like naivete, but they’re able to suspend their aesthetes’ sensibility in order to embrace chaos, even silliness. There’s unmistakable precedent to the sound where they meet, the dub inflections and buzzing guitar welts. Hermits evokes the captivating disconnect of a late-’70s John Peel show, where the Slits and Delta 5 segued into Strictly Personal-era Beefheart’s blues-pop abstractions—you half expect to hear Ivor Cutler pop up to recite a poem in between tracks.” –Pitchfork 7.8/10

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