Podcast appearances and mentions of pete astor

Dear Readers,I got what I needed Going for a Burton (that's an English RAF term from WWII, like we're going off to die). I'm at the press conference for the biggest show the Design Museum has ever hosted, with 32,000 tickets sold in advance. Much as I'm falling out of love with absorbing myself in the worlds of other people, I ask this most powerful man (who has maintained his independence through an autonomous style that stems from a wonderfully 20th-century cardboard clunkiness) a single question. I extend the invitation to enter his temple and listen to the wisdom of this master world-builder, the creator of Wednesday on Netflix, Mars Attacks!, Edward Scissorhands, and a canon of identity-inspiring creations, by pressing PLAY on the little film I've made reporting on the experience above.He talks about techniques and emphasises that it's all about mastering these in whatever art we choose to deliver. The first rule of witchcraft is to keep a tidy house, but how we define "tidy" is up to us. Living in other people's worlds has been a habit of mine. Art activates, allowing me to find myself sitting opposite Tim Burton who is exceptionally rare. He is unique. He is special. A mega-talented embodiment of the gothic who articulates his critical mind in these onscreen dramas of G-pop's [general population/consumers] relationship with home duties in the sanitised Americana of 50s suburbia. Burton's drawing descends from growing up in the suburban “Horrorwood” of California's Burbank where he took an unpretentious revenge upon the superficial. I grew up in the suburbs too.“Burbank made me want to make monster movies.” I get it.There he sent his work into art competitions, which led him to be fast-tracked on a sponsorship into the Walt Disney-founded CalArts school where he was enabled to explore his interior world, with confidence, as an obsessional artist. This is his legacy.“Each [film] leaves it's emotional scars.”Engaging with his work is like stepping into alternative, often scary, magical kingdoms. Speaking to Maria McLintock, the curator as she guides us around the show (a true privilege of being a war-torn member of culture press) her Vivienne Westwood skeleton earring swings with the same charm as her knowledge and integrity. “It's about 60%” of what's been seen in the World of Tim Burton shows which have shown everywhere from New York's MOMA to Lafayette Art and Design Center in Shanghai over the past 10 years.How does it differ to the Labyrinth shows I've seen advertised for Madrid? She's dying to see them: “They're more immersive,” says the former RIBA editor, whose knowledge of architecture creates the perfect ‘housing' for a tunnel of Allison in Wonderland to walk through. “People keep on saying this is immersive. It's not, it's more of document.”Whether Burton is a higher-res Edward Gore or an all-new Edgar Allan Poe, a tripped-out Goethe, or a Nick Cave of the Movies, it doesn't matter in a graveyard. These characters haunt us with their sublimity, ultimately embodying rebellion. Goths are eternal because death is eternal (as far as we know), and death carries powerful imagery: headstones, spiders, skulls. It's perfect that he pairs with Alexander McQueen, as proper goths canonise the act of not being mainstream cool. They embrace the coffin-cold fact that we're all going to die, but they do it on their own terms.Whether gaming is replacing movies or any art form or media is taking over is irrelevant, this is the show which views Burton as an all-seeing artist. This is why the big screen has allowed him to become an unusually family-friendly weirdo, defying the odds. His drawings of characters trap us in the simplicity of fairy tales, where children find solace in extremes. Although this show demonstrates versatility, this is a filmaker exploring the boundaries of victimhood, blurring the internal and external. The peripeteia of turning our wounds into badges of shame, then into medals of honour. It voices a universal truth. Do we walk through the broken vessels that smash to the ground around us, attacked and reacting? We can engage, ignore, sweep our house, or become injured. We all inhabit the houses of others, seeking answers from what has been missing, the art is to feel full of self (not full of oneself) and content in that rather than shamed or unworthy.Yet, what we allow into our systems (or whatever is present) shapes our journeys. Be it unfiltered water, chemically-sprayed coffee, or the myths of others. I was married to a director, so can tell you they are the gods of their creations, little would get finished without them. We enter the temples of other people through literature, music, gaming, and we choose alt Heavens and Underworlds, immersing ourselves in Utopian fantasies where impossible romanticism reigns. But what we create, we can only create ourselves. Sure we collaborate, as is discussed in the film above. Yet I am here to make an inquiry. I seek escape through the ‘Burtonesque' existential monochrome, mirroring a cartoon fear of darkness as a companion in the ironic danse macabre to the inevitable: death. I am here because the Burtonesque beats black like my coffee and heart. The gothic lifeblood channels life as an outsider. Yet I wish to belong. The dilemma of being a true rebel yet accepted by those we perceive to be “inside” requires a humble acknowledgment of our shared flaws as we walk towards the grave.There is no dumbing down or fading out the "black jeans on the beach of life" joke of being here one minute and gone the next. We choose to enjoy the ride, striking a Beetlejuice meets Robert Smith hero's pose against the paradox of beauty standards which true rebels are able to defy. (I am sure Cathi Unsworth and John Robb's goth books say much of this, with far more detail.)Burton discusses ‘the system' that tells us we aren't allowed to operate. What do you do? For me, seeking magic in others is a quest to find it within myself. In my worst of times I have had no protection against this. Hail the new witchery, the return to paganism, the need to understand and create order using more ancient traditions than this era of madness where we can see injustice in rising fundamentalism against females (I'm talking about Trump and the decline of western civilisation, mirrored in Jack Nicholson's presidential performance in Mars Attacks! as we forward-march toward a dumbed-down spectacle the Salem-esque dumbed-down fear states of 'merica) but it's so basic we can only loveheart a reaction. We are frustratingly disabled to affect geopolitics as we drop our mouths in awe at the online superficiality of the post-Covid 2020s. It's akin to the Wellness Dilemma, where justice is offered as the responsibility of the individual rather than as a responsibility of community management. The Wellness Dilemma is a mirror on consumer rights operating in carelessness for anything other than profit. We are facing serious issues of climate change, wars and over-consumption, walking hand-in-hand with trauma as victimhood flexing in a drama ritual, where space is taken up by injured parties, average accidents competing against violence rites of stabbings parading beneath a lack of societal management of equity. Everyone deserves a voice, and the power to use it, but in what system? Armies of protein-rich gym babies train for a war of healthy positivity against a past generation who self-medicated beneath banners of smiley faces or war-hangovers and first-generation struggles. I sense this may be one of my last occasions where I need to confront the ghastly aesthetic of a world policed by beauty standards imposed by ‘beauty' companies in the free-market warzone of brands, houses, offices, and entertainment institutions built to annihilate our financial empowerment. Subtle demands to comply with regimes that layer us with artificial masks of botox and filler that protect us from emotional empathy and the risk of deeper connections. Look at Madonna. Look at Robert Smith. We are symbolic parodies of the flaws of illogical systems in poorly designed worlds, we are perfect in an imperfect world, where it's challenging to determine if these designs are intentional. In the end, does it matter? Culture is a natural defense system like hitting ouch on instant messaging, to receive an animal vid or guru-shared platitudes that feel (sleepy) hollow against the backdrop of authenticity solved in a world of Wednesday.Sure, we manage our houses, filling our wells with what serves us, our revenge is to take space. To be nourished physically and metaphysically is essential, but it's hard to compare these acts as great as the spectacle of the movies, the big screen paintings which allow us to escape. I vow to write more fiction (my most popular posts here). Navigating a landscape where choice is often intertwined with financial empowerment and cultures, we must invent our own, but when they're symbols of the slavery? O Lord, yes, I would like an electric Mercedes Benz. Manifest!We must remember we're in a perpetual negotiation with the structures that seek to confine us, but not relive the horror of living in a world of overconsumption. And forgive ourselves for what we cannot afford. Our power is how we boundary our responses to outer worlds that govern us. Sometimes that requires sitting in stagnant waters, plunging to the depths of our malnourished wells, and rediscovering our needs. For me, this journey has taken me to an Andalusian mountain, battling with my soul and demons to face the hermetic dawn. I still would like an electric Mercedes Benz. That's my reaction to the Trauma Scale which operates universally; male, female, trans, everyone is entitled to suffer. Whether it's rape on a refugee camp to the bullying on social media, or sharing micro-details of foodbank trauma as drama ritual of victimhood, where space is occupied by the injured and the injuring. How is there equality in these rubrics of competing for attention amid societal neglect? What we do with our injuries defines our agency, resilience, and leadership potential, applicable to all teams. We all engage with pain, and there's a comedic tragedy in empathy, but black and white as Burton's lens is, it does not patronise with guilt; instead, he explores these wounded vessels with a perception of agency and resilience. Like any creative act, we can criticise rather than celebrate (particularly under a Beschdel lens) but there's an intimacy which the exposure-driven antics of contemporary pop culture are born from. “If it inspires you, if it makes kids want to draw, then that's a thing.” Resilience is my new tidiness. I want to claim my power with the stories I tell myself, as I know it shapes our realities. We can become interdependent with the worlds which inspire us. This is the point in having successful figures, artists and ideas, rather than just pedestal creations as being better than us. Much of our system amplifies the celebrity culture born from movies, where the industrialisation of the Star Machine creates a Warhol-esque religion of gossip and behaviors, often driven by sociopathic tendencies, glorifying chaos. It's like any dogma, astrological or otherwise, there is unlikely a single code. How we navigate the complex matrix of media and art as information in this digital age is on us. The lines between success and worthiness blur in a quest for ethical sameness. Burton is an outstanding artist in world where secretly, the weird are celebrated, because the world has gone weird, governed by dull tech bros and cartoon boardrooms with no control on government. Has it ever been different? That is what makes fairy tales eternal and keeps the town criers' crying. The aspiration to conform, through patronage or substandard revolutionary rebelliousness, leads to feelings of low self-esteem and comparison, dragging us into voids of negative capability. If we harbour a damaging self-fulfilling lack of belief in our own houses, we merely assign our power to others. “Do it from your heart because you want it, not what it leads to.” This mantra speaks volumes. We have to own our own shadows, remember not relive, and know gossip or faux-concern of the Other, and what they do or think, rarely serves anyone, merely enabling averageness. We are in a tidal onslaught of individual ‘empowerment' being exploited to sell things to or from, we owe it to ourselves to heavily police what content/art/entertainment/news/information/people/other is worthy of our short lives. This duality can be a terrifying preoccupation, the management of self-control when most of life can appear to be beyond our control. We are forced to be consumers, indexed by popularity. We have all smiled whilst being f**ked. I'm not getting into a feminist critique here, the self-portraits drawing clowns (on napkins) is a get out of jail card, from this distance. The personal, whatever (although I did enjoy the trooping of the mystery front-rowers backstage after the Q&A, who were they?!). I vow to watch Sophie Koko's animations. There is so much to consume, to create, but for me, the tensions in myself have been preventative from doing what I need to do for myself, so to hear this God speak, gives palpability to the distractions of explaining the issues of the day being explained as art versus industry, or how the rational coexists with the irrational, or progressive philosophies versus conservative risk aversion. Our biggest challenge is building our own capacity to prove our capability, to hold our own houses strong, and be as fabulous as Edward Scissorhands.Last day to enter Burton's World: April 21st 2025https://designmuseum.org/exhibitions/the-world-of-tim-burtonMy news: I'm proud to support one of the stars in my life, Pete Astor, with his THE ATTENDANT project on 21st November. I love the music, with Paul Weller's bassist and Ian Button on keys, they're also joined by the voice of fine London talent, Sukie Smith. Pete was one of the first signings to Creation Records (Oasis, Primal Scream, Jesus & Mary Chain), and we last played together when Psychomachia was first published. It's a really early show. I'm on by 7, so come early. Tickets are limited and available here:https://www.eventbrite.co.uk/e/the-attendant-tickets-1039379641487I'm excited to build on what I've been doing over the past year, and I won't keep you long. I will be using the date to complete the audiobook of Psychomachia, and will be releasing it exclusively to paying subscribers here. I share these words for free to all, in the hope to inspire.From the desk of Kirsty Allison is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber.      To hear more, visit kirstyallison.substack.com

In this week’s episode, Tom Crook, Paul Whitty & Ben Smith return from their quiet corner of Oxfordshire to share their favourite new tracks alongside the latest updates of their own life and times. Artist “Track” [Album] edit radio podcast 722 – Right Click and Save as to Download The post Podcast 722 | CMAT, Pete Catt & Pete Astor appeared first on .

This week's show, after a 1964 Beatles blast: brand new Ride, GospelbeacH, Bevis Frond, Mammoth Penguins, Ducks Ltd., DIIV, and Pete Astor, plus Hollies, Every Brothers, Culture (with Roots Radics Band), Claude Gray, Wilson Pickett, Nervous Norvus, and...

This week's show, after a 1965 Shangri-La's (Barry & Greenwich) site: a guest DJ “tribute to 1980” set by Jim Santo, (pt. 4) + brand new Pernice Brothers, Pete Astor, J. Robbins, Emma Anderson, J Mascis, Jesus & Mary Chain, and Laetitia Sadier, plus Ro...

JOIN THE PATREON The Replacements have a complicated history to go along with their impressive discography. Danny and Jon get into it and beyond with the assistance of the many brilliant contributions of the artists featured in this episode! Featured Artists: The Replacements, Mike Felumlee, Bullyclub, Pete Astor, Philip Steven, Scribe Wolf & Giant Rat, Samantha Lu, Michah Schnabel, Arms & Hearts, Sleepies, Radiator Hospital, Destroyed Room, Kindling, Featherfoot, Fabulous Bird, Pittsburg Tribute Fest, Wlkrz, K for Kridens, Shiloh, Outer Banks, and Sam Rasitosis --- Send in a voice message: https://podcasters.spotify.com/pod/show/blanketingcovers/message

“Time On Earth” In the early ‘80s, the British born singer-songwriter Pete Astor was the frontman for the band The Loft and when that outfit split up, he formed the Weather Prophets who put out a trio of albums including the fabulous Diesel River and the miraculous Judges Juries and Horsemen. Astor kept the dream alive after the Prophets split up, emerging with fabulous projects like The Wisdom of Harry and Ellis Island Sound. Currently, Astor is a senior lecturer at the University of Westminster, and in 2014, his book on Richard Hell and the Voidoids' Blank Generation, was published as part of Bloomsbury's ongoing 33⅓ series on seminal rock and roll albums. Over the years Astor hasn't stopped putting out solo albums which are practically peerless. From Submarine to One For The Ghost to his outstanding new one Time On Earth, Pete Astor remains one of the most compelling figures in modern music. He's quietly released a discography that's redolent with thought, lyrical dexterity, observational smarts and hooks galore. Astor is one of the most listenable artists out there. Of Time On Earth, Dave Cantrell of Stereo Embers Magazine wrote, “…it's punchy in the melodic, reassuring way we've come to expect, somehow poignant and unsentimental in equal measure, it's a worthy addition to an already-bursting canon of sublime pop jewels.” www.peteastor.com www.bombshellradio.com www.stereoembersmagazine.com www.embersarts.com www.alexgreenonline.com Twitter: @emberseditor IG: @emberspodcast Email: editor@stereoembersmagazine.com

On this week’s podcast, Tom, Paul and Ben talk about 10-goal defeats to Didcot as they chat and natter about their favourite music both new and used. Artist “Track” [Album] James Yorkston, Nina Persson & The Secondhand Orchestra “Hold Out For Love” [The Great White Sea Eagle] English Teacher “A55” [Polyawkward EP] Self-Esteem “Fucking Wizardry”... The post Podcast 654 | English Teacher, Pete Astor and Anna B Savage appeared first on .

Pop por la cara, como decía el añorado Gonzalo Garrido, radiofonista con un gusto único en la radio musical española de aquella maravillosa Onda 2 de Radio España que creó el añorado Jorge de Antón. La versión de Stevie Nicks de “For What It’s Worth” de Buffalo Springfield es de lo mejor de este otoño. Las otras canciones actuales son de Wallis Bird, de la mallorquina Mdmar y de Pete Astor. El resto son temas rescatados salvadores. DISCO 1 FLEETWOOD MAC Book Of. Miracles DISCO 2 PETE ASTOR Fine and Dandy  DISCO 3 STEVIE NICKS For What It's Worth  DISCO 4 REAL ESTATE Darling  DISCO 5 DUCKTAILS Headbanging In the Mirror  DISCO 6 MARTIN COURTNEY Corncob  DISCO 7 WALLIS BIRD Go  DISCO 8 GARY OLSON Giovanna Please  DISCO 9  CHRIS REA Girl in A Sports Car  DISCO 10 THE GO! TEAM A Bee Without Its Sting  DISCO 11 MDMAR Little Girl  DISCO 12 JIMMY NAIL Cowboy Dreams  DISCO 13 PREFAB SPROUT Appetite  DISCO 14 FRANCIS DUNNERY Too Much Saturn  Escuchar audio

Arranca la 32ª temporada de Música de Contrabando (orm.es; 22 a 24,00h).El primer homenaje al fallecido batería de Foo Fighters, Taylor Hawkins marca la vuelta de la banda a los escenarios tras cancelar todos sus conciertos este año dejando gratos recuerdos.El próximo 23 de septiembre verá la luz "Exister", el quinto álbum del estadounidense Luis Vasquez, más conocido como The Soft Moon, que verá la luz de la mano de Sacred Bones. Pero lo mejor de la noticia es que lo estará presentando en varias ciudades de la península ibérica en octubre. Gprillaz publican 'NEW GOLD', su pista con Tame Impala, y anuncian su nuevo album; 'CRACKER ISLAND'.Pete Astor de The Weather Prophets y The Loft lanzará un nuevo álbum en solitario, Time on Earth, el 7 de octubre a través de Tapete.Firmado Carlota revisa "La Niña Imantada" de Love Of Lesbian."Sin Vergüenza" es el resultado del encuentro de seis amigos que se juntaron para hacer una canción: Arde Bogotá, Dani Fernández y el productor Paco Salazar. Para conocer más sobre Arde Bogotá, el capítulo 2 de “On the road” ya está disponible y en abierto.“Bajo la luz perfecta” es el título del nuevo single de Varry Brava en colaboración con Soleá Morente y que cuenta con la participación del joven artista urbano barcelonés Samuel Nagati. Marsella versiona en español el ya mítico As it was de Harry Styles. SOHN publica Trust, su nuevo disco, que estará presentando en España a finales de mes. Sofía Ellar ha firmado hoy ejemplares en Murcia de su nuevo álbum de estudio "Libre". Tras publicar varios adelantos de este nuevo trabajo durante los meses pre-estivales, por fin llega este disco en formato “DISCO LIBRO”, donde la artista revela de su puño y letra, los "porqués" y los "cómos" de cada canción. Viva Suecia estrena "Lo siento", con la colaboración especial de Dani Fernández. Después de una larga espera, y de anunciar su próximo disco de estudio para el mes de octubre, Arctic Monkeys acaba de sacar un nuevo single titulado “There'd Better Be a Mirrorball”, el primer adelanto de su venidero álbum The Car. Además, la canción fue publicada con un videoclip dirigido por el mismo Alex Turner. Khruangbin y Vieux farka touré estrenan "tongo barra", nuevo adelanto lleno de groove incluido en ALI, nuevo disco colaborativo dedicado a la figura de Ali farka touré. Broken bells (proyecto de danger mouse y james mercer de the shins) anuncian Into the blue, su nuevo disco, con el redondo pop retro moderno de "saturdays" . AngelPOp presenta "Oh nena si" ,un hit directo al centro de la pista, donde el protagonista relata su intensa relación con Madrid y su mística nocturna. Con Toni Peña repasamos la última hora del 17 BSide Festival. MARTINA EFEDRA nos descubre ‘DECIRTE HOY', su nuevo single y segundo adelanto de su futuro EP, "Excusas".

After a bit of a break we’re back with the August episode of our radio show. 53 minutes of musical sunshine, containing new and recent releases by Cozy Slippers, The Crystal Furs, Pete Astor & others, the comebacks of Fazerdaze & Chorusgirl, as well as older favourites from two Melbourne bands. Enjoy! Listen to the … Continue reading "Indiepop Radio Episode 22-08"

En Música de Contrabando, revista diaria de música en Onda Regional de Murcia (OJO, vamos de 22,05 a 24,00h)Vittorio De Scalzi, fundador del legendario grupo italiano de rock progresivo New Trolls, murió el 24 de julio, a los 72 años. Eurovisión se celebrará en Reino Unido en 2023, por octava vez en su historia.Esta mañana se ha dado a conocer la lista de nominados al Mercury Prize (Little Sinz).Jarvis Cocker ha confirmado que Pulp darán «varios conciertos» en 2023.La XII edición del Festival Sierra Nevada por Todo lo Alto se celebra el viernes 19 y sábado 20 de agosto en la Estación de Esquí granadina, yretoma su agenda veraniega con nombres importantes del rock underground nacional como BELAKO y LOS PUNSETES.Mañana miércoles dará comienzo la octava edición de Iboga Summer Festival New York Ska-Jazz Ensemble).Pete Astor de The Weather Prophets y The Loft lanzará un nuevo álbum en solitario, Time on Earth, el 7 de octubre.Ya está disponible el segundo avance, ·"Cobarde", de "Reality Show", el nuevo álbum de Sr Chinarro que se publicará en octubreLEAN YEAR presentan nuevo single END, hipnótico soft-rock adelanto de su segundo álbum SIDES.“Another Way”, nuevi single de Loganz. Kiwi jr mantienen el don de la melodía indie rock en "unspeakable things", vigorizante adelanto de Chopper, su nuevo disco. Glassio llega a España esta semana. Su música mezcla elementos de la electrónica, la new wave y el pop con armonías al estilo de míticas formaciones como The Beach Boys y texturas de producción que recuerdan a grupos como Air o Massive Attack. Oh Bro se estrena con su primer disco de temas propios.

** Fifty Years of Fun's Patreon page: patreon.com/fiftyyearsoffun ** It's a huge one!! Maybe the first CLASSIC single on Creation, and boy are we excited about it. It's worth the wait! Did you doubt us? I bet you did! Moves, technical problems, floods! Shit happens, as one says. At the end of the episode, you'll hear how Pete Astor's flat flooded and we had to put off the interview (but it's mainly our fault!) And, we apologize but Matt's mic is fucked up in the first segment. But we did it! 80s glam metal tragedies get coverage! Links: The Loft: All songs available on the recent Ghost Trains & Country Lanes compilation: https://www.cherryred.co.uk/product/the-loft-ghost-trains-country-lanes-studio-stage-and-sessions-1984-2015-2cd/ Richard Hell “Time”: https://www.youtube.com/watch?v=toNDJOItyqg Push with Seal and Oisin from The Weather Prophets “Traffic”: https://www.youtube.com/watch?v=xSN0TTvZSTE Damp Jungle “Picture of a Girl”: https://www.youtube.com/watch?v=j_sehoQZots Devon Irons & Doctor Alimantado “Vampire”: https://www.youtube.com/watch?v=m7gtK3LyLUE Heidi Berry “Firefly”: https://www.youtube.com/watch?v=i-g1gwo_4OI —————————————————— Stuff that comes up: Creation Records Roky Erikson Farmer's Boys Andrew Weatherall The Jam Eric Clapton Biff Bang Pow! Pacific Heidi Berry Oasis Dave Morgan Funkapolitan The Canaries DC Gore The Attendant Lou Reed 4AD The Out Club John F.C. Turner Vivian Kubrick Tom Verlaine The Fuck Pigs Alan Lomax The Stooges The Damned Fleetwood Mac Stevie Nicks Hanoi Rocks Lee Perry Devon Irons Doctor Alimantado The Subterraneans Nick Kent Razzle The Sex Pistols The Clash David Westlake The Servants Wild Summer, Wow! The Living Room The Beatles Pop Group Otis Redding Curtis Mayfield Scritti Politti The Loft Weather Prophets Leonard Cohen Go-Betweens The Anal Dwarves Push Featuring Seal Orange Juice Danny Kelly Seal Primal Scream Bobby Gillespie Alan McGee Richard Hell Television Personalities Peter Astor A-Ha Joe Foster Neo Boys 23 Skidoo Rolling Stones “Aftermath” Bob Dylan “Love and Theft”] Stimulin Galliano ——————————————————————— ** Fifty Years of Fun's Patreon page: patreon.com/fiftyyearsoffun ** Special thanks to The Reds, Pinks & Purples for our theme music.

Ambit magazine, est. 1959, bids adieu to Briony Bax, editor from 2013-2021, who speaks about her Lament collection about mental health (Rough Trade Books), with music from Pete Astor's The Attendant, Malik Ameer Crumpler's new Brazilian collaboration, presented by author, poet, and incoming editor, Kirsty Allison To hear more, visit kirstyallison.substack.com

Ambit magazine, est. 1959, bids adieu to Briony Bax, editor from 2013-2021, who speaks about her Lament collection about mental health (Rough Trade Books), with music from Pete Astor's The Attendant, Malik Ameer Crumpler's new Brazilian collaboration, presented by author, poet, and incoming editor, Kirsty Allison

Tons of new music featuring these artists: Kitchen Sink # 114 Playlist Submotile – Cyanotic (Sonic Day Codas, new, Irish-Italian shoegaze duo of Daniela Angione and Michael Farren) Bellavista – Dream Quest (new single, SF dream pop) Denise Le Menice – Heart (2018 single from former member of Dream Rimmy, Perth musician Ali Flintoff) Break 1 Eleventh Dream Day – Cracks In My Smile (new, Since Grazed, first album in 6 years from Rick Rizzo and Janet Bean, Illinois indie rock) The Loft – Like (from Pete Astor’s 80s group, from the new collection on Cherry Red called Ghost Trains & Country Lanes) Black Tambourine – I Was Wrong (from s/t, Mike Schulman’s old band, DC indie pop, 2010 Slumberland compilation) Cheap Star – Wish I Could See (new single, Geneva Switzerland project of Rémi Vaissiere with help from some friends: Jon Auer, Brendan Benson, Brian Young) Lavender Blush – Sundays (new single, SF dream pop) The Kinks – Dead End Street (2014 Remastered Version, The Anthology 1964-1971) Break 2 The Coral – Vacancy (new, Coral Island, UK psych pop) Beachy Head – All Gone (s/t, Christian Cavill from Slowdive collaborating with various friends, including Ryan Graveface, Steve Clarke, and Rachel Goswell) JAIALAI – For Today (new, As Sweet As I Was EP, Miami psych rock) Grazer – Nostalgia Seed (new single, Melbourne based dream pop) Lucid Express – Well Wave (from forthcoming s/t, Hong Kong shoegaze) There’s Talk – A Slow Return (new, Great Falls EP, Oakland dream gaze) Break 3 Adult Books – Holiday (new, Grecian Urn, LA post punk) The Cure – Signal To Noise (B-side from Cut Here single, also on Join the Dots: B-Sides and Rarities 1978-2001) Cold Cave – Promised Land (single from Fate in Seven Lessons, forthcoming release, LA darkwave) Last Ice – End (new, from s/t, collaboration between bloody knives and We Are Parasols, dark wave) White Ring – Light Hours Linger (new, Show Me Heaven, NYC based dark wave used to be Witch House, changed their style) Mint Julep – Pulse (new, In a Deep and Dreamless Sleep, Portland OR dream pop, Keith and Hollie Kenniff) VVOLVES – Well-Loved Tales (new, title track from new release, UK post punk) Break 4 Graywave – Like Heaven (new, Planetary Shift EP, solo project of UK shoegaze artist Jess Webberley) Peach Gardens – Sunset Drive (new single, Moscow dream pop) doused – Again (new, Murmur full length, Philly shoegaze) The Baltic – Fortitude (new, Archipelago, LA band renamed itself to drowsy, shoegaze) Shine – Shine (new, Stare Into the Sun EP, Seattle shoegaze) Un.Real – Sun Like Star (new single, from P.R. shoegazers) New Candys – Begin Again (from forthcoming Vyvyd, Venetian psych) Velvet Sunset – Drive Me (new single, Parisian shoegaze) Break 5 Echodrone – View Master (new, Resurgence, SF shoegaze)

The Loft & The Weather Prophets special with Pete Astor in conversation with David Eastaugh Pete Astor was born in England, in 1960.The Loft formed in 1983, the band signing to Creation Records and releasing two singles, "Why Does the Rain" and "Up the Hill and Down the Slope". The band split at the Hammersmith Palais in 1985. Astor then formed The Weather Prophets, continuing to be managed by Creation founder, Alan McGee, and signing to his short-lived Elevation label under the auspice of WEA4 releasing the album Mayflower in 1987. Returning to Creation for Judges, Juries and Horsemen, the band split in 1989. Astor then embarked on a solo career with the albums Submarine (1990) and Zoo (1991) on Creation. Finding success in France, Astor moved to the Danceteria label to release Paradise (1992, as Peter Astor and the Holy Road), and God and Other Stories in 1992. After becoming disillusioned with the music business, he disappeared from view for a number of years, returning in the late 1990s with his Ellis Island Sound and The Wisdom of Harry projects, both releasing music on 7", 12" and 10"[5][6] for a variety of emerging independent labels such as Static Caravan Recordings,Wurlitzer Jukebox and Astor's own label, Faux Lux. The Wisdom of Harry eventually signed to Matador Records, while Ellis Island Sound, Astor's collaboration with David Sheppard, signed with Heavenly Recordings. In 2005, Astor released Hal's Eggs, a solo album including radical reworkings of folk standards on Static Caravan Recordings. At around the same time, Cherry Red released compilation albums featuring his work: The Weather Prophets' Blues Skies and Freerides (The Best Of, 1986–1989),Injury Time (Solo 89–93), a selection of solo work from his two Creation and Danceteria albums. The label also re-issued The Loft's Once More Round the Fair, a collection of their Creation recordings and session tracks. As well as reforming The Loft at this time for a limited number of shows, Astor continued to write, perform and release records with Ellis Island Sound on the Peace Frog label. The solo album, Songbox was released on the Second Language label in 2011, featuring an extra disc of cover versions of the albums' songs by Let's Wrestle, The Raincoats, Darren Hayman, Comet Gain, The Proper Ornaments, Mathew Sawyer, Dollboy and Piano Magic. He works as senior lecturer at the University of Westminster, where he teaches, researches and writes about music; in 2014, he published his study of Richard Hell and the Voidoids' Blank Generation, as part of Bloomsbury's 33⅓ series. At the beginning of 2015, Astor signed to Fortuna Pop, releasing the single "Mr Music", followed by an album, Spilt Milk, recorded with James Hoare of Ultimate Painting, Proper Ornaments, and Veronica Falls.

Je hoort Cale Tyson, Joan Baez, The Rolling Stones, Pete Astor, Calexico, Desi Ducrot, Larry Jon Wilson en Mahalia Jackson.

Je hoort Cale Tyson, Joan Baez, The Rolling Stones, Pete Astor, Calexico, Desi Ducrot, Larry Jon Wilson en Mahalia Jackson.

Pete Astor joins John in the studio for a live session and chat

Episode 8 of the Under The Influence podcast. We return with an exclusive live session and interview with Amaroun, who perform their recent single and a brilliant and unusual cover. We also have new music from Pete Astor, Meatraffle, Brix & The Extricated, Pistols At Dawn and K Anderson. Presented by James Dillon & Nathan Loughran Recorded at City of Continue Reading →

Pete Astor chats with John about some of his favorite tracks - pulled from the racks of Rough Trade East. See more releases here roughtrade.com/artist/pete-astor

THE HOUSE OF LOVE. SHINE ON – 3:15Shine on (single), Creation, 1987 FELT. THERE'S NO SUCH THING AS VICTORY – 2:15The Final Resting Of The Ark (EP), Creation, 1987 THE WEATHER PROPHETS. SLEEP – 3:20Mayflower, Elevation, 1987 PETE ASTOR. THE GETTING THERE – 5:35Spilt Milk, Fortuna Pop, 2016 HEFNER.  THE GREEDY UGLY PEOPLE – 4:00We […] Cet article Errance #73 : De The House Of Love à Papa M est apparu en premier sur Eldorado.

Pete Astor live in session with John Kennedy on X-Posure, Radio X

Esta semana la actualidad llega de la mano de Parade, Viva Suecia, Iggy Pop, Pete Astor, Emmy the Great, Ethan Jones and the Black Eyed Dogs, Stone Pillow, Alice's Garden, Luis Prado, Plaitum, Odio Paris, Tourista, Primal Scream, Pelicano y Ley DJ. Además recuperamos algunos discos del pasado año, como los de Eagles of Death Metal, Tuff Love, The Vaccines, Sophie Hunger, Kristoffer Bolander y San Leon. Te damos los últimos detalles del festival de Les Arts de Valencia mientras suenan The Fratellis, Miss Caffeina y Love of Lesbian. Y en nuestro habitual repaso festivalero también te hablamos del Madrid Pop Fest, el FIB y el Azkena Rock Festival. El Instituto Francés de Valencia nos descubre las nuevas canciones de Feu! Chatterton, nuestra versión de la semana la firma Ricardo Vicente con un clásico de Radio Futura y completamos el programa recuperando el disco que Gasca publicó hace ahora 15 años.

Suenan: Grimes, Deerhunter, EL VY, Yo La Tengo, Hurricane #1, Blaenavon, Landshapes, Lanterms on the Lake, Dry the River, The Twilight Sad, Lowly, Lusts, Xoel López, Family, Flowers, Promise & the Monster, Pete Astor, Olivia Ruiz, Summer Camp, Remington Super 60, Jens Lekman, Stormclouds, Santiago Delgado y los Runaway Lovers, Band a Part, Mirafiori, The Hives & Cindy Lauper, Edine avec Lisle Mitnik et son Orchestre, Andy Burrows, Colajet Set y Maronda.