Caroline Weeks Interview of Bat For Lashes fame: Songs For Edna

conducted by Hugo Lunny

It’s definitely a rarity that I’ll see a music video on an MTV-esque network and wish to interview the artist or group. It’s even more rare that I first see the video while on holiday in Australia, but that was the case with Caroline Weeks while she performed with Natasha Khan in the group “Bat For Lashes.”

After some further exploration into the group, and this singer, I found out that Caroline Weeks is the mastermind behind a variety of different artistic monikers and a member of various groups. She will soon be releasing an album under her real name dedicated to a little known poet named Edna St Vincent Millay, entitled “Songs For Edna.”

MVRemix spoke with Caroline Weeks about Songs For Edna, Bat For Lashes and more…

Caroline Weeks Interview of Bat For Lashes fame: Songs For Edna

MVRemix: As an artist, do other people’s opinions of your work matter to you?

Caroline Weeks: No not really, I think I will always write music that I enjoy and the odds are there will hopefully be someone else out there who likes it too.

MVRemix: As a songwriter, who has influenced you?

Caroline Weeks: I was listening to a lot of Smog (Bill Callahan), John Fahey and Elliot Smith when I seriously took up song writing, I respect them loads. But I think poetry has had more of an influence on my songwriting and the way I connect words to melodies. My new album (“Songs For Edna”) is entirely made up of settings of poems by Edna St Vincent Millay, who was writing in the 1920s and 30s. The most thrilling thing about it is that her poems are little-known, especially in the UK, and I really hope it’ll inspire people hearing my music to seek her out.

MVRemix: Do you remember the first song you wrote?

Caroline Weeks: Well the very first song was an off-the-cuff ditty which I sung for a homemade radio show which I did with my older brother. I can still remember the melody now; I called myself Gloria and sung about the sun shining in the sky. I was probably about 6 or 7.

MVRemix: You’re a part of many groups, does entering a different persona influence your creativity underneath each name/group?

Caroline Weeks: Oh definitely, being in many different groups allows me to fulfill every creative side of my personality. Depending on what suits the music, I will perform in all sorts of manners – I can be very playful. Dancing in a cat costume whilst playing my flute to a march in “Pthhhh” (an all girl experimental chamber group); wearing lots of glitter and losing myself in the atmosphere of the music of Bat For lashes; Imagining I’m a Victorian/Romanian ghost whilst playing accordion in Euchrid Eucrow. And then performing solo, I try to be as strong as I can, I think of all the great solo woman of the past and present like Karen Dalton, Joni Mitchell, Diamanda Galas, and they give me courage to sing out.
Caroline Weeks Interview of Bat For Lashes fame: Songs For Edna

MVRemix: What’s the current situation with Bat For Lashes?

Caroline Weeks: Well, Natasha has been working hard in the studio, recording her second album, it’s sounding amazing! There are still some finishing touches to be done… I’m actually meeting up with Tash and Abi today to jam out a little musical intro to the album. The album comes out in March and then touring will begin.

MVRemix: How did the group name come about?

Caroline Weeks: It’s a bit of a mystery even to Natasha herself, I think she was inspired by a painting she saw and then the words just popped into her head.

MVRemix: What’s next for the group?

Caroline Weeks: Well, Natasha will be getting her band together very soon and will start rehearsals for touring.

MVRemix: What about Caroline Weeks? How did that moniker arise?

Caroline Weeks: Caroline Weeks is my birth name, simple as that.

MVRemix: You gave up the moniker Ginger Lee, were you aware of the porn star when choosing the name?

Caroline Weeks: Unfortunately I had no idea, it was only when I decided to Google my name to see if anybody nice had written a review about me that pages and pages of a naked blonde lady appeared on my computer screen. Oh dear, I thought, this won’t do.

MVRemix: Tell me more about “Songs For Edna.”

Caroline Weeks: As I said, I sing the poems by Edna St Vincent Millay to picky Spanish guitar; the recordings are very minimal, with the odd warm tone of a clarinet or a little tinkle of piano. I suppose one would describe it as alt-folk music along the same vein as early Josephine Foster, and early Devendra Banhart… It’s very difficult to describe one’s own music… Anyway it’s being released on Jan 27th on Manimal Vinyl Records and will available on LP/CD/Download.

MVRemix: Are there any videos in the works?

Caroline Weeks: I have made a video to the song/poem “Wild Swans” with director Rupert Noble, it will feature on my MySpace very soon.

MVRemix: What’s the most romantic song you’ve ever heard?

Caroline Weeks: I really like “Strangers in the night”. I don’t remember hearing this song for the first time, and it isn’t something I associate with any one person. But it is a song I often sing to myself when I’m feeling in a romantic frame of mind.

MVRemix: How did you hook up with Manimal Vinyl?

Caroline Weeks: I met Paul Beahan of Manimal backstage at a Bat For Lashes gig and gave him a demo of my songs. Manimal Vinyl had already released Bat For Lashes’ “Fur and Gold” on limited edition vinyl and he has released music by other new and interesting artists such as Rio en Medio and Hecuba, therefore I thought this is a nice home for my music.

MVRemix: In a sentence or less, what do you do to relax?

Caroline Weeks: A walk in the country always rejuvenates me, or a nice cup of tea in front of an open fire.

MVRemix: Have fun with this one, a la “Fight Club” – “If you could fight any celebrity, who would you fight”?

Caroline Weeks: I don’t agree with fighting, sorry. Could it be a one on one dance showdown? If so, I think I would bedazzle Michael Jackson, with a few spins and twirls (Isadora Duncan style).

MVRemix: What next do we have to look forward to from you aside from “Songs For Edna”?

Caroline Weeks: I will be playing lots of live shows next year, in between Bat For Lashes shows, and possibly I will play solo before a few BFL shows. I have also done a cover of “The Drowning Man” for a Cure tribute album called “Perfect As Cats” which I think will be out by the time you read this.

I’ve just started a Bulgarian choir singing group with my friends Mary Hampton and Jo Burke who are both incredibly talented folk musicians too, and I’ve just started working with the singer Lucie Wren who will be helping me out with vocal harmonies for my solo performances.

MVRemix: Any last words?

Caroline Weeks: In the words of Edna St Vincent Millay:

“All your lovely words are spoken. Once the ivory box is broken, beats the golden bird no more.”

Caroline Weeks of Bat For Lashes Interview

Bat For Lashes – What’s A Girl To Do video




11/21 – LA @ The Redwood Bar
11/28 – Prescott, AZ @ Raven Cafe
11/30 – Oklahoma City, OK @ The Conservatory
12/01 – Denton, TX @ Rubber Gloves
12/2 – Austin, TX @ Beerland
12/3 – New Orleans, TX @ Circle Bar
12/4 – Nashville, TN @ The Exit In
12/5 – Atlanta, GA @ The Star Bar
12/6 – Athens, GA @ Caledonia Lounge
12/8 – Cincinnati, OH @ Gypsy Hut
12/10 – New York, NY @ Cake Shop
12/11 – Brooklyn, NY @ Don Pedro
12/13 – Detroit, MI @ Corktown Tavern
12/14 – Chicago, IL @ The Abbey Pub
12/15 – The Turf Club, MN @ The Turf Club
12/16 – Kansas City, MO @ The Record Bar
12/17 – Lawrence, KS @ Replay Lounge
12/18 – Denver, CO @ Larimer Lounge
12/21 – Seattle, WA @ The Comet
12/22 – Portland, OR @ The East End

See Golden Animals ON TOUR and agree with what others have had to say…

“When they rock out in the faux-blues readymade “The Steady Roller,” you can practically inhale the pungent aroma of their pirate shirts. They’re a marriage made in psychedelic desert-blues heaven.” Blender

“unpolished sound from ghostly echoes of 60’s West Coast Psychedelia 50’s rock and roll and swampy old blues. They have a nice, semi-chaotic way about them” Mojo

“Their ragged eclecticism is a winning one, taking detours into slide country, beat up folk and starry desert ballads” Uncut

“Eisner’s voice is deep, dark, and moving, like Johnny Cash’s gruffness meeting Devendra Banhart’s serenade, while Beecroft’s croon is soft, light, and sweet. Though different as night and day, the twocombined in harmony strike a balance that is beautiful and haunting.” Venuszine

“Golden Animals truly does sound dust-blown, leather-tethered, and sun-washed ala 1960s love children. Tommy has the lax slur of a cowboy and a startling vocal similarity to JIm Morrison. Morrison lives? Relish it like a 1960s frolicking naked hippie for a day and it’ll wash the pain away.” RCRD LBL

GOLDEN ANIMALS’s are Tommy Eisner and Linda Beecroft, and their brand ?of West Coast indie Rock is built on austere beats, slide guitars and ?fuzzed-up California harmonies, Produced by Chris Coady (Yeah Yeah Yeah’s, T.V. On The Radio, Blonde Redhead)? mixed by Thom Monahan (Brightblack Morning Light, Devendra Banhart, The Entrance Band).It’s the sound they ?were born to make – if you believe the fortune-teller whose mysterious ?predictions were the catalyst for the formation of the band back in ?the day when their worlds collided in a cozy European Cafe, one very ?rainy evening. The band’s chief inspiration is the blues,be it the ?foundation blues artists of the ’20s and 30’s – “Those early blues recordings are the fountain,” ?they say. “Even in 200 years, people will find completely new ways to ?create all within those rules and algorithms.” The band is currently posted up in Laurel Canyon- the?nexus of the West Coast Rock sound and counterculture – Golden Animals are carrying on the grand tradition of Love,?The Byrds, Buckingham Nicks, and The Mama’s and The Papas. Make no mistake- “Free Your Mind And Win A Pony” is? a timeless rock and roll debut. True soul, be here now.
“Make no mistake: this is psychedelic pop-rock for the flower generation, still going strong in 2008. It is pure old style California: all guitar driven attitude and bluesy stomp. Free Your Mind and Win a Pony has got all the hip-slung fun and holler of alt scene favourites, The White Stripes, but presents itself without dark edges.”

“If there’s a more instantly infectious opener than “The Steady Roller” this year I haven’t heard it – guitars snarling on a “Moonlight Drive” while tambourine shakes, snare snaps and the music moves like blood after a good tongue kiss. Eisner’s low, manly pipes and Robby Krieger-esque guitar snaking and Beecroft’s tumbling, infectious time keeping and girlishly bright voice make such a nifty environment to spend time in, regardless of whether or not you pay attention to the contents of their simmering, psychedelic, Bible touched tunes. A strongly non-traditional interpretation of the blues and an appreciation for the kind of fist in the air guitar antics that fuel AC/DC and Thin Lizzy further push this one into the winner’s circle.” Jambase

“Psychedelic blues-rock, long on reverb and chugga-lugga drum/guitar rhythms okayed by the light of a baritone moon” Independent on Sunday “Delicately crafted songs such as such as Follow Me Down are interspersed with chugging psychedelic blues and infectious, mescalin-around-the-campfire feel.” The Guardian

“Transcends the limitations of their rudimentary set up. Album highlight “Queen Mary (The Flop) features multiple tempo changes and builds to an electrifying frenzy which must go down a storm in a live setting. “Ride Easy” begins as a tender country plodder, but undertakes several detours with satisfying results”

“An intense blend of scratchy blues riffs, woozy psych, and Walloped drums” NME

“They know how to riff with atomic force” Dazed and Confused

“They do thrive on the blues and this album is also absolutely and purely informed by the 60’s; the psychedelic end that enjoyably rattles with progressive rock ‘n roll moments. Golden Animals have
gone for refinement where other acts may have just opted for a pleasurable clatter”

“Who thought that dusty, fusty rock and roll would be one of the sounds of the brave new 2008?”

“Unreconstructed late ’60s/early ’70s bluesy folk, stripped of all pretensions towards folktronica, nu folk or the freakish edge Devendra Banhart likes to sharpen, they might as well have fallen through a
timewarp from thirty odd years ago.”

“The twinning of Tommy Eisner’s (USA) guitars and Linda Beecroft’s (Sweden) drums roll out tunes that get stuck in your throat with the catchiness of a fish bone.”

“Golden Animals are one of the most exciting acts to emerge this year.” Planet Notion

“Golden Animals: have unleashed eleven tracks filled with solid blues guitar work that resembles The Doors and Cream, as well as 60s-era pop melodies reminiscent of The Zombies and The Beatles. Heavy guitar-driven tracks like “The Steady Roller” and “Queen Mary (The Flop)” sound straight out of the golden age of rock and roll rather than their origin in today’s era of increasingly mixed, sampled and electronic music.” Anthem

“Their music evokes a blend of sun-drenched psychedelic, acid-tinged blues-rock that calls to mind an era of music when folk, country, blues, and rocknroll could blend together. ” Venuszine

“A timeless collection of tracks rooted in those who have influenced Golden Animals the most – from the Doors and the Grateful Dead to Fred McDowell – “Balancing their psychedelic folk, popularized by fellow artists like Devendra Banhart through his similar atmospheric and naturalistic sound with a modern blues edge.” Aquarian

“If you like your rock dusty and your song-length escapes surreal, give Golden Animals a chance or two” I Guess I’m Floating

“As an experimental mash of yesteryear’s sonic signatures and today’s technological upgrades, Golden Animals’ smoky effort is a timeless pleasure” Metromix

Golden Animals

“Free Your Mind And Win A Pony”

Album released on HappyParts Recordings

1.The Steady Roller
2.Queen Mary (The Flop)
3.Ride Easy
4.Try On Me
5.My My My
6.Follow Me Down
7.Turn You Round (Don’t Let Nobody)
8.My Friend Bill
9.I Want You To Come
11.Darkness & Light




“Let their sodden, anti-anthemic rock make you feel like a giddy kid stumbling upon something for the first time all over again.” – PITCHFORK 8.4 (Gala Mill)

“The Drones are more than salvation for the waiting faithful, they’re taking the form forward.” – ROLLING STONE

The new world of The Drones is an exotic place, one populated by dark corners, rarely explored avenues, sparse canvases and dense, exhilarating peaks and troughs – and that’s just the neighbourhood surrounding their recording studio.

Actually it’s not just a studio. It’s a house in the middle of a forest that the Melbourne band’s singer Gareth Liddiard and bassist Fiona Kitschin, his partner, discovered in January this year and decided to make their home. Once settled, they realised it was also the perfect setting to record The Drones’ fourth album, Havilah, which will be released in Australia by ATP Recordings on February 17, 2009.

The splendid isolation in which Havilah was created lies in the foothills of Mt Buffalo, once goldfield territory, outside the town of Myrtleford in country Victoria.

In February Liddiard began writing new songs for the album there. Two months later guitarist Dan Luscombe, the Drones’ most recent addition, and drummer Michael Noga joined Liddiard and Kitschin to rehearse the new material.

Then producer and engineer Burke Reid (The Mess Hall, Gerling) lugged his recording gear through the door and off they went – two weeks flat out – until it was done.

“It’s like a little world unto itself in the forest,” says Liddiard. “It’s a beautiful place. You can’t always find a good spot to record, but if you can find a house like this that’s a bonus.”

Havilah, like everything The Drones have done, is an album of contradictions, where bombast meets beauty, melancholy wrestles with violent guitars and singer Liddiard’s incendiary voice lights up his angular poetry, this time on the nature of, in no particular order, the moon (Penumbra), divorce (The Drifting Housewife) and the acquisition of godlike power and the cult of John Frum (I Am the Supercargo).

It’s an album that’s brimful of the innovation and artistic integrity that has made The Drones one of Australian rock’s most critically acclaimed acts here and overseas during the past four years.

It was that spark of originality and blunt-edged chaos that won the Melbourne band the inaugural Australian Music Prize in 2006 for their breakthrough album Wait Long By The River and Your Enemies Will Float By.

That same need to push boundaries took them to an old mill in Tasmania to record the follow-up album, 2006’s award-winning Gala Mill, and in 2009 their invention, innovation and isolation have combined to produce the fireworks of their most accomplished work to date, Havilah (the name, in case you didn’t know, refers to a biblical land near the Garden of Eden and the valley in which the album was recorded).

There are vaguely familiar nods to Neil Young’s paint-stripping guitar spasms on Supercargo and Oh My, while the deliciously meandering pop dirges of Suicide and the Velvet Underground echo in Careful As You Go and Luck in Odd Numbers.

The outstanding ballad here, Cold and Sober, is a song The Drones have recorded several times during their eight-year reign without it ever making the grade.

“This time it just worked,” Liddiard says. There’s also the relative immediacy but still complex structure of the first single The Minotaur, Liddiard’s scathing rant on the wasters of the world, while the lengthy opening Nail It Down perhaps best reflects The Drones’ grand scope, flitting as it does between acoustic ambience and rumbling rock ‘n’ roll meltdown.

It’s melancholic, certainly, but Havilah, in its tone and its delivery, is also a celebration. It’s a more positive statement than its predecessor.

“Gala Mill is pretty fucking depressing,” is Liddiard’s take on that particular work. “It’s not like going on a summer holiday. This time we were ready for something that was less of an ordeal every time we had to play it. And I wanted to write songs that were a bit more abstract, so you can make up your own mind about them.”

Once you’ve been around these 10 songs for a few hours, it’s not hard to make up your mind about them. They are bold. They are romantic. And they are dangerous.

Track Listing

1. Nail it Down
2. The Minotaur
3. Drifting Housewife
4. I am the Supercargo
5. Careful as You Go
6. Oh My
7. Cold and Sober
8. Luck in Odd Numbers
9. Penumber
10. You’re Acting Like it’s the End of the World



Equal Vision Records is proud to welcome THIS TIME NEXT YEAR to its roster. The band – vocalist Pete Dowdalls, guitarist/vocalist Brad Wiseman, guitarist Denis Cohen, bassist Tony Allio, and drummer Aaron Seminoff – is set to record their debut full length with producer Brian McTernan (Circa Survive, Senses Fail, Thrice) at the top of 2009.

Listing Saves The Day, New Found Glory, and The Movielife as major influences, THIS TIME NEXT YEAR has released two EPs – A Place For You in 2007, The Longest Way Home in 2008 – on indie DIY labels Escapist Records and Run For Cover Records (respectively). With several full US tours under their belt, the five-piece has shared the stage with many of the scene’s current pop-punk heavyweights including Cartel, Set Your Goals, and Four Year Strong.

Earlier this year, AbsolutePunk listed the band as one of their “Absolute 100”, citing “They are the ultimate summer pop punk band of the late part of this decade.”

On the decision to sign with Equal Vision Records, Wiseman explained “EVR believes in us as much as we believe in ourselves and that’s all we can ask for. Since day one they have shown a strong sense of belief in this band and have welcomed us with open arms into what we are proud to call our new home. We are extremely grateful of all they have done so far and all that’s to come in the new year.”

The band has prepared a video regarding the announcement available for viewing here.

Tour Dates

12/05 – Livermore, CA @ Burnin Burro w/Fight Fair, First To Leave, Hear The Sirens
12/06 – Oakland, CA @ The Metro w/Set Your Goals, Trash Talk, Comadre & Among The Living
12/07 – Santa Cruz, CA @ 418 Project w/Hear The Sirens, Among The Living
12/20 – Chicago, IL @ Subterranean w/2*Sweet

Xbox To Launch NXE, the New Xbox Experience With T-Pain, Tenacious D, All American Rejects, Kerli, and Hinder

Xbox To Launch NXE, the New Xbox Experience With T-Pain, Tenacious D, All American Rejects, Kerli, and Hinder

Be Expressive, Be Social, Be Entertained

Launching November 19th 2008, NXE (New Xbox Experience) connects you effortlessly to friends, family and the world’s largest online entertainment center, allowing you to play games, watch movies, and share moments on the couch or around the world.

To help kick-off NXE, Estonian breakout pop-star Kerli, hip-hop superstar T-Pain, rockers All American Rejects and Hinder, as well as Jack Black’s brainchild, Tenacious D will participate in the fully interactive Game With Fame sessions. Game With Fame connects artists with fans through their favorite games and allows each artist to play fans directly.

Allowing optimum expressivity, NXE boasts customized avatars, virtual party hosting, as well as remote capabilities. Promoting shared entertainment experiences NXE features Party Video and LIVE Party/Photo applications, allowing users to directly video chat, instant message and send photos. As a one-stop shop for all entertainment needs, NXE puts a plethora of interactive entertainment options at your fingertips! Users can utilize NXE Overview Video, which highlights a broad variety of available gaming options, view over 10,000 feature films via Netflix, as well as view all of the above options through the only gaming console to provide HD and standard-definition resolution.

Find out more about NXE here:

Dates and session info is as follows:

Kerli – November 20th in Los Angeles city from 2PM-4PM PST playing new Bond 007 game (Quantum of Solace).

Tenacious D – November 20th from 5:30PM to 7:30PM PST on-site @ Tonight Show in Los Angeles playing Rock Band 2 game. GAMERTAG: TenaciousD GWF (*space between TenaciousD and GWF)

Hinder – November 24th playing Guitar Hero World Tour from 3PM-5PM CST in Starkville, MS. GAMERTAG: Hinder GWF (*space between Hinder & GWF)

All American Rejects – November 24th in NYC from 6 to 8pm EST playing Frogger and Rock Band 2. GAMERTAG: AAR GWF (*space between AAR and GWF)

T-Pain – November 28th in Chicago, time TBD playing Rock Band 2. GAMERTAG: T Pain GWF (*space between T and Pain and GWF)


They’ve opened up for artists such as Klaxons, The Presets and Simian Mobile Disco. Tommie Sunshine and Joel from the Faint have mixed their tunes, and they’ve appeared on Grand Theft Auto IV with LCD Soundsystem and The Rapture…. now they’re ready to unleash their debut EP 1 and EP 2 which can be best described as an Unholy mix of Modular and Wax Trax…

We’re thrilled to introduce you to…

The Prairie Cartel
EP1 / EP2


“Cranks the hedonism… a roughed-up, rocked-out take on disco.” – Chicago Reader

The Prairie Cartel began in Chicago when some ex-musician friends began DJing because hauling laptops around is easy and hauling amps and drums around sucks. After spinning a few house parties they started to make their own tracks to fill in some gaps in their DJ sets. These songs soon were getting requested and gave the guys the idea of hooking up a mic and performing the vocals live over the backing tracks here and there during their sets. This set-up made everybody slightly uncomfortable and the band soon deeply missed the instruments they had callously abandoned in the previous months. However, this brief experiment on the underground DJ circuit gave them a taste for nontraditional venues and after making up with their keyboards and guitars (aw baby, it’s going to be different this time, promise) they set about playing the same type of parties as a band. As pictures from these shows document, it was chaotic, exuberant, and a little scary. The local press were there and called them “a crazy electro ruckus,” a “hedonistic roughed up take on disco,” “sizzling,” and a “three-headed electro-rock beast,” even though there are four of them. It could have gone on like this, but eventually the Prairie Cartel were coaxed on to real stages that had things called monitors and lights and got to open for the likes of The Klaxons, The Presets and Simian Mobile Disco. Around the same time the phone rang; it was the makers of Grand Theft Auto IV asking if they would like to be in the game on the same radio station as LCD Soundsystem, The Rapture and The Black Keys. They didn’t have a label, or any music available for sale for that matter, so they said yes.They would have said yes anyway.

Their first releases—a pair of EPs simply titled EP1 and EP2—were surprisingly well recorded in the band’s basement with two cruddy mics and a bipolar laptop. They have one foot in the grimy parties and warehouses of their conception and the other in… something else. Spread over two pieces of clear vinyl, these EPs have been described as “an unholy mix of Modular and Wax Trax.”

From the Giorgio Moroder meets Modern Lovers groove of “Cracktown” to the WTF freak out of “Fuck Yeah That Wide,” this record captures the anarchy and spirit of a midwestern band giddy to warp their electronics with the necks of their guitars. Pretty awesome remixes were generously donated by international sex-god Tommie Sunshine, The Faint’s Joel Peterson, Australian drug enthusiasts Acid Jacks, and the francophiliacs of Hey Champ. Enjoy what the Prairie Cartel sound like now, the band just discovered Pink Floyd.

“A journey of rock, driving punk funk bass action we can’t help but love. Well cool.” – Phonica U.K.

“A sizzler of a debut EP.” – Time Out Chicago

“A crazy electro rock ruckus. Their SXSW set was absolutely a highlight of the week.” – Out The Other

“The Prairie Cartel excel where other electro-based groups just pose.” – Illinois Entertainer

“Esta banda a la primera escuchada me llamo mucho la atencion traen una onda electro rock, bien experimental muy interesante, si acaso yo le au,klmentaria el volumen a ese bajo para que sonaràn mas chido, estos dudes mandaron su nuevo Ep llamado “The Prairie Cartel”, producido por ellos mismos, la portada del disco esta bien chingona me gusto un buen su artwork, chekenla por aca. El Ep esta muy bueno y ademas viene con un remix de Acid Jacks bastante prendido.” – Synthetic Rocks

“A three-headed electro rock beast.” – New City

Check out James Morrison’s new music video for Nothing Ever Hurt Like You

We now have the new music video from artist James Morrison for his song “Nothing Ever Hurt Like You” from his latest album entitled Songs for You, Truths for Me. Please feel free to post or embed the video on your site. We also have a link to some acoustic rehearsal video that James recently has done. Please see below for those links as well as the embeddable music player and downloadable assets (cover art, photos and bio) and if you have not already done so, please let me know if you are interested in a CD for review or giveaway to feature on MV Remix.

“Nothing Ever Hurt Like You” video

A testimony to the strength of the songs on James Morrison’s debut album Undiscovered is that it yielded no fewer than five singles – You Give Me Something, Wonderful World, The Pieces Don’t Fit Anymore, Undiscovered and One Last Chance. The songs were simple yet beautifully written, each giving James’s raw, bluesy voice a platform to work its powerful magic. There was no bullshit, no clichés, no schmaltz. And a lot of people liked that.

Undiscovered went to No 1 in Britain, Top 20 in America and won him the 2007 Brit Award for Best Male (he was also nominated for Best Single and Best Newcomer). James’s debut sold over two million copies worldwide and he became the biggest selling British male solo artist of 2006. He was just 21 – but had already accumulated enough life experience to give his candid folk-soul songs genuine emotional content. By many people’s standards he’d had a tough, itinerant childhood, a broken family and endless house moves – although he’d be the first to shrug and say it was no big deal. But he’d also admit that most of the emotion in his singing has come from his upbringing.

James’s reputation as a must-see live performer soared. Following his jaw dropping, first ever TV performance on Later With Jools Holland he went on to play amazing shows to adoring crowds: including the V festival twice in one day – in 2006 so many people came to see him in one of the smaller tents that he was invited to give an impromptu performance on the main stage; last year he played a full set on the main stage. Then there was the Royal Variety Performance, the Concert for Diana and the more traditional 3 sold-out UK tours. He did the Peace One Day concert at the Royal Albert Hall – and had one of those moments where he suddenly realized that his life had changed forever. “Just before I went on I was watching Yusuf Islam and I thought, I’m on after Cat Stevens! I remember being at home with my dad listening to his albums during the darkest times, the best of times…” James has subsequently provided vocals on Yusuf’s new album.

He toured Europe, Australia and Japan, did three separate tours of America, gigging coast to coast. He also supported John Mayer on his large outdoor ‘sheds’ tour in the US. He gave an acoustic rendition of You Give Me Something on national TV on NBC today as well as Jimmy Kimmel and performed on Jay Leno’s show twice at the host’s invitation. James loved the musical appreciation in the American South, in particular. “People were awesome in Alabama – really friendly, loud and lairy. Even if you play a quiet song, afterwards they just go YEAH!!!”

It was an amazing time. But sometimes, when he wasn’t onstage, or with the band, he’d feel an acute sense of being increasingly cut off from the people who mattered: his friends and family back in Cornwall – where his mother had finally settled with James, his brother Laurie and sister Hayley when James was 11, and where James had refined his self-taught singing and guitar-playing by busking in Newquay. Most importantly of all, he missed his long-term girlfriend Gill, who had inspired You Give Me Something and, during a rocky patch in their relationship, The Pieces Don’t Fit.

The further James Morrison travelled, both physically and career-wise, the more he craved the people he loved. “Everything I’d felt close to just disappeared,” he says. “You do lose your mind a bit; you haven’t got any routines. And sometimes all I’d think about on the road would be Gill – but we’d lose contact. So when I got home it’d feel like we were starting again.”

He finally stopped in August 2007. For two weeks. And then he sat down to write and record the Notoriously Difficult Second Album. And at first it did prove difficult. He tried to write rockier, harder tunes – as glimpsed on Undiscovered’s Call The Police, which touched on the subject of domestic violence. “I went for something with a bit more electric guitar but in the end it just sounded contrived.”

The pressure was on and it was making him try too hard, too self-consciously. “As soon as I’d get something good I’d think about it and screw it up.” And then the penny dropped: “Just go for what you’re feeling at the time. That’s how I worked on the first album, and in a way I think that’s some of the reason why people liked it. It wasn’t trying too hard.”

And so the people who really made him feel, the ones who became the subjects of his songs on Undiscovered – his family and friends – his relationship with each of them, and the new chapters in all their lives, became central to the new album. James went with whatever and whoever was on his mind, and took it from there. The songs began to flow.

“I’ve called the album Songs for You, Truths for Me because that’s what I feel it is. It’s songs for Gill and everyone else. But for me they’re truths. They’re how I feel. I’ve got a song called Love is Hard. In fact, there are three songs with ‘love’ in the title – and I never thought I’d do that, but that’s the way it went. Love is Hard is about when you’re deep in it and it hurts a lot of the time. You’re fighting, or not always agreeing, you might be away from each other and you’ve still got to be strong. So the album’s a collection of truths I’d learnt in the previous year. It just turned out that way: I knew I didn’t want to write about being on the road. I can only write about what I feel.”

In the end, James enlisted many of the same collaborators from Undiscovered to work with him on Songs for You, Truths For Me hooking up once more with co-writers Martin Brammer, Steve Robson and Eg White. He also added a new fan, One Republic’s Ryan Tedder to that list. The Nashville string quartet feature once again. “I know we work well together now – it’ll take a lot for me to work with someone new.”

There is also a notable collaboration on this record, one of the only things his debut album didn’t have, a fantastic duet with Nelly Furtado on the epic Broken Strings.

Songs for You, Truths For Me is a classic James Morrison record that once again showcases his distinctive, raw, soulful style – but takes it to the next level. “It’s less playful, more to the point,” he says. “But I haven’t consciously gone for a different sound. With me, it always comes down to the lyric, the melody, and the rest flows from that. But I’ve definitely tapped into my feelings about life more on this album, rather than writing about characters on the bus (Wonderful World), or whatever. I was just letting stuff flow through me.”

James Morrison’s big, unashamedly romantic heart and generous spirit shines through like a beacon. Songs For You, Truths For Me sees the wide eyed soul-boy become a wiser man. With this he shines once more on a brilliant new collection of songs and cathartic truths.

Spectacle: Elvis Costello with… premieres Dec 3 on Sundance Channel, full schedule revealed

“Spectacle: Elvis Costello with…” is premiering December 3rd on Sundance Channel and I wanted to fill you in about this great show. The show mixes the best elements of talk and music television, inviting viewers to enjoy an in-depth conversation between host Costello and his guests, punctuated by rare musical performances by Costello, his guests and a wide variety of musicians.

Guests of the series’ debut season are Lou Reed, Jenny Lewis, Sir Elton John, President Bill Clinton, Tony Bennett, Julian Schnabel, Smokey Robinson, The Police (Sting, Stewart Copeland and Andy Summers), James Taylor, Herbie Hancock, Rufus Wainwright, Rosanne Cash, Kris Kristofferson, Diana Krall, John Mellencamp, Jakob Dylan, She & Him (Zooey Deschanel and M. Ward), Norah Jones and Renée Fleming.

Full schedule and press release below.

Sundance Channel To Premier “Spectacle: Elvis Castello with…”
On December 3, 2008

13-Episode Season of Talk/Performance Series Kicks off
With Guest Sir Elton John

One-Hour Program Airs Wednesday Nights at 9:00PM ET/PT

Sundance Channel will launch the debut season of the new talk/performance series “Spectacle: Elvis Costello with…” on Wednesday, December 3, 2008. “Spectacle: Elvis Costello with…” fuses the best elements of talk and music television, inviting viewers to enjoy an in-depth conversation between host Costello and his guests, punctuated by rare musical performances by Costello, his guests and a wide variety of musicians. Comprised of 13 one-hour episodes, “Spectacle: Elvis Costello with…” airs on Wednesday nights at 9:00pm et/pt.

The featured guests of the series’ debut season are Sir Elton John, Tony Bennett, Lou Reed, Julian Schnabel, Smokey Robinson, The Police (Sting, Stewart Copeland and Andy Summers), James Taylor, Herbie Hancock, Rufus Wainwright, Rosanne Cash, Kris Kristofferson, Diana Krall, John Mellencamp, Jakob Dylan, She & Him (Zooey Deschanel and M. Ward), Norah Jones, Jenny Lewis, Renée Fleming and President Bill Clinton.

Elvis Costello is an internationally acclaimed figure with a captivating presence and vast knowledge of music and songwriting. Recognized by his peers, critics and fans alike as one of the world’s great songwriters, Costello has written and recorded in musical genres as diverse as new wave, jazz, country, opera, classical and rock/pop. He is noted musicologist, and has contributed articles on music (and musical legends) to Vanity Fair magazine.

“Spectacle: Elvis Costello with…” features everything from intimate one-on-one conversations with legendary performers and notable newcomers to thematic panel discussions. Guest artists not only talk but perform — demonstrating the development and creation of their music and playing new, stripped-down or solo versions of some of their best and most loved songs. Costello also performs, starting each episode with an original, never before seen (or heard) interpretation of a song by the featured guest, or a song connected to them. And on top of all that are extraordinary, once-in-a-lifetime collaborations and pairings.

Additional musical special guests include Davey Faragher, Pete Thomas and Steve Nieve of The Imposters; guitarist James Burton, who played with Elvis Presley; legendary producer, pianist, writer, arranger and singer Allen Toussaint; three-time Grammy® Award winning jazz bassist Charlie Haden; jazz guitarist and composer Pat Metheny, who has collected 17 Grammy® Awards; jazz pianist Bill Charlap; Larry Campbell and Tony Garnier of Bob Dylan’s touring band, and violinist/vocalist Jenny Scheinman.

Spectacle: Elvis Costello with… is produced by Rocket Pictures, SpyBox Pictures, Prospero Pictures and reinvention entertainment, in association with Sundance Channel, CTV, Channel 4 and FremantleMedia Enterprises. Executive Producers are Sir Elton John, Elvis Costello, David Furnish, Steve Hamilton-Shaw, Jordan Jacobs, Martin Katz and Stephen Warden. Co-Executive Producer is Alex Coletti.

The schedule for Season 1 of “Spectacle: Elvis Costello with…” is as follows:

Wednesday, December 3rd at 9:00pm

“Spectacle: Elvis Costello with Sir Elton John” – Elvis welcomes the British pop-rock superstar John.

Wednesday, December 10th at 9:00pm
“Spectacle: Elvis Costello with Lou Reed + Julian Schnabel” – Elvis welcomes rock icon and Velvet Underground founder Reed and artist-filmmaker Schnabel.

Wednesday, December 17th at 9:00pm
“Spectacle: Elvis Costello with Bill Clinton” – Elvis welcomes former President Clinton.

Wednesday, December 24th at 9:00pm
“Spectacle: Elvis Costello with James Taylor” – Elvis welcomes the iconic American singer-songwriter.

Wednesday, December 31st at 9:00pm
“Spectacle: Elvis Costello with Tony Bennett” – Elvis welcomes the premier living interpreter of the Great American Songbook.

Wednesday, January 7th, 2009 at 9:00pm
“Spectacle: Elvis Costello with The Police” – Elvis welcomes the recently reunited rock trio of Sting, Andy Summers and Stewart Copeland.

Wednesday, January 14th at 9:00pm
“Spectacle: Elvis Costello with Rufus Wainwright” – Elvis welcomes singer-songwriter Wainwright, one of the most acclaimed new artists of the past decade.

Wednesday, January 21st at 9:00pm
“Spectacle: Elvis Costello with Kris Kristofferson, Rosanne Cash, Norah Jones, John Mellencamp” – Elvis welcomes actor/singer-songwriter Kristofferson; singer-songwriter Cash; international sensation Jones; and recent Rock & Roll Hall of fame inductee Mellencamp.

Wednesday, January 28th at 9:00pm
“Spectacle: Elvis Costello with Renée Fleming” – Elvis welcomes the great American soprano.
Wednesday, February 4th at 9:00pm
“Spectacle: Elvis Costello with Herbie Hancock” – Elvis welcomes the jazz legend, winner of this year’s Grammy® Award for Album of the Year

Wednesday, February 11th at 9:00pm
“Spectacle: Elvis Costello with She & Him, Jenny Lewis, Jakob Dylan” – Elvis welcomes indie duo She & Him, comprised of actress Zooey Deschanel and M. Ward, singer-songwriter Lewis; and singer-songwriter Dylan.

Wednesday, February 18th at 9:00pm
“Spectacle: Elvis Costello with Diana Krall” – Elvis welcomes his wife, international jazz sensation Krall; she is interviewed by the program’s executive producer, Elton John

Wednesday, February 25th at 9:00pm
“Spectacle: Elvis Costello with Smokey Robinson” – Elvis welcomes the legendary Motown singer and songwriter.