[Moshe]

https://mute.ffm.to/NONEW

[Moshe]

https://consequenceofsound.net/2019/...d-raul-refree/

[greenlight]

is it coming out on mute?

so what do you guys think of this track? I am kind of confused.

[Chris Lawrence]

first impression: very impressive. love the sound!

[AlSonic]

https://www.barbican.org.uk/whats-on...do-raul-refree
Lee Ranaldo & Raül Refree

Tue 7 Apr 2020, 19:30
Milton Court Concert Hall, Guildhall School of Music & Drama
Barbican Centre‎, Silk St
EC2Y 8DS
London, UK

[_tunic_]

I'm also confused a bit, doesn't sound like Lee (as in not a guitar-driven song), not even the vocals, I double-checked the title to see if it was really him. But I do like it.


Here are some more dates:

https://www.eventbrite.be/e/lee-rana...f55c-265010541
Sunday April 5
Brugge, BE @ Concertgebouw Brugge - Kamermuziekzaal


https://www.tivolivredenburg.nl/agen...ee-06-04-2020/
Monday April 6
Utrecht, NL @ Tivoli / Helling

[greenlight]

Originally Posted by _tunic_

https://www.tivolivredenburg.nl/agen...ee-06-04-2020/
Monday April 6
Utrecht, NL @ Tivoli / Helling

I like Utrecht so much.

Tivoli is such a strange, but interesting how should I call it, complex, but never knew Muziekcentrum Verderburg was demolished to make a way for the Tivoli.

[Rob Instigator]

I like this track. It is like Xiu Xiu grew older and wiser.......and Paul Simon joined.....

[_tunic_]

Originally Posted by greenlight

I like Utrecht so much.

Tivoli is such a strange, but interesting how should I call it, complex, but never knew Muziekcentrum Verderburg was demolished to make a way for the Tivoli.

It is actually not demolished. The big hall is what used to be Vredenburg, around 2014 it got renovated and on top of and next to it the other halls were built. It's now called TivoliVredenburg, because the two venues were merged.
See/translate the history oage for more details

Now it gets confusing. Lee's concert will be at a different venue named De Helling, it's sort of a subsidiary venue

[Chris Lawrence]

This thread took a weird turn. Also, the spam situation is so bad that I find myself checking links in posts by even the most credible contributors...


Interesting that Raül is co-credited. I loved The Dust, but I think Lee's collaboration with Raül has opened some really interesting doors, sonically and structurally. This new track is a perfect example of that!

[The Soup Nazi]

Haven't listened to the new track yet. Am waiting to receive my shrinkwrapped copy at the end of 2020's Q1 or summat. Alright — I've seen Lee perform live three times (four if you count a full soundcheck which was rocking and at one point hilarious; in any case it's a pathetic number compared to the experience of most people on this board, I guess): once with Sonic Youth a few months before The Eternal came out; then with The Dust (Alan Licht, Steve Shelley and the late great Tim Luntzel) shortly before Last Night On Earth "dropped" ; and the third time as the Electric Trim Trio (with Raül Refree and Booker Stardrum).

The SY show was solid and imperial, a snapshot of where they were at that point: finishing the Rather Ripped cycle, coming out of the Daydream Nation revisited gigs, introducing tunes like "Calming The Snake", and throwing in "the hits" for good measure ("The Burning Spear", "Expressway To Yr. Skull", "Schizophrenia", "Kool Thing", "100%", "Bull In The Heather"); nothing from the Washing Machine to Sonic Nurse years, but what was I going to do, complain? First time they'd ever been to my country, motherfuckers! And they would eventually do only one more show here: the penultimate date of the tour from hell (which is to say, their penultimate date ever), a gig I didn't attend because it was part of one of those atrocious death-of-art events with a filthy load of bullcrap acts that don't have jack to do with each other or with ANYTHING except the mookish "I was there" factor. (If you've watched In Doubt, Shadow Him!, you've seen Lee saying to Mark Ibold that the very last show, the one in Brazil, was in a "shitty big giant festival" — the very same could be said of their next-to-last appearance. If only we had a Big Ears and/or a Solid Sound…).

The Dust performance, in a much more intimate joint, was finally what I'd been waiting for ages: LR as a singer-songwriter with a killer "backing" band, covering Neil Young and Talking Heads (and, just let me add this, playing the best R.E.M.-type song R.E.M. would never be able to come up with again after New Adventures In Hi-Fi, the absolutely wonderful "Angles"). Moving to the core musically and personally, as I got the chance to give Lee a made-up present (I suppose that made it a "fake news" present, before the term got hijacked — remember we used to say "Faux News"?).

Last year, in an even smaller venue (which I'm all about, mind you, but I also think Lee deserves to play in the most elegant and majestic theater in town), I was also able to hand Mr. Ranaldo a present and then witness the Electric Trim Trio at full fucking blast. And NOW —

 

— is where this babbling post (thank you for reading this far) connects with what's been said on this thread: great as those first two occasions were, I had never seen Lee and one of his bands explode with such total sonic abandon. A big part of the reason behind it (or in front of it, rather!) was Refree: I immediately had to reconsider what I thought I'd heard on the Electric Trim album, because as a Nels Cline junkie I assumed all those guitar rave-ups were NC's. Refree "raved-up" like a BEAST on the six-string live (don't ask me what model it was; unless the thing says Rickenbacker and has a big number printed on it I won't be able to tell jack), and as if that wasn't enough he banged on the keyboards/synths/gadgets like Eno intending to get in a fight onstage with Ferry circa 1973. Guy knocked my socks off.

Reviewing Metal Machine Music for Creem in 1976, Lester Bangs wrote, "If you ever thought feedback was the best thing that ever happened to the guitar, well, Lou just got rid of the guitars". Dunno whether Lee and Raül have literally gotten rid of the guitars this time around, but if the sound follows that raw/furious and yet heartwarming "electronic" path, you can sure as fucking shit count me IN. And if it doesn't, count me in anyway — ya think I'm gonna reject such an effort by these cats?

[The Soup Nazi]

Originally Posted by !@#$%!

anyway what was this thread about originally?

The fact that Lee has seldom been more bitchen.

[!@#$%!]

Originally Posted by _tunic_

I wouldn't even know them all of my own country and to be honest I've no clue what's the name of Australia 's current president (sorry)

it’s crocodile dundee, duh

everyone knows that

he retired from knife fighting and ran for office. been there for the last 3 decades AT LEAST.

anyway, speaking of deadheads, did i hear some mickey hart influences in this lee track?

i like all of it except for the chorus thing. just personally i am not cray about choruses. choirs? people singing the fuck together. it’s a defect of mine.

but love the percussion, i do

[The Soup Nazi]

Originally Posted by !@#$%!

ah, poor lee, betrayed by his own fans

We must cut it out (here), I agree.

[!@#$%!]

anyway i was trying to say i fucking love the percussion on this track. it’s at the same time sparse but lively. great use of silence between each beat or clang or bang or. and at the end when it picks up, it’s like that “ah! bright wings” hopkins line.

the 3 minute edit loses that best part! long version or gtfo. hahaha.

more previews por favor. i mean prelistens. i mean listens.

february is far away. a birthday thing?

[The Soup Nazi]

Lovely artwork:

 

Already pre-orderable from the dark side of the Force:

https://www.amazon.com/Names-North-W...J5C/ref=sr_1_1

[Lee is Free]

Here's a link to our new "mood board" - some casuallly filmed interviews and stuff - this will be updated pretty regularly I think...

https://namesofnorthendwomen.com/

Here's the recently released video for the title track:
https://www.youtube.com/watch?time_c...ature=emb_logo

The album is out Feb 21, next song/video drops Jan 13(?). It's called LIGHT YEARS OUT. Shows will begin in Europe in April. The album is 8 songs, new directions + experiemnts, I hope you like it-!

--LR

[The Soup Nazi]

Originally Posted by Lee is Free

Here's a link to our new "mood board" - some casuallly filmed interviews and stuff - this will be updated pretty regularly I think...

https://namesofnorthendwomen.com/

Here's the recently released video for the title track:
https://www.youtube.com/watch?time_c...ature=emb_logo

The album is out Feb 21, next song/video drops Jan 13(?). It's called LIGHT YEARS OUT. Shows will begin in Europe in April. The album is 8 songs, new directions + experiemnts, I hope you like it-!

--LR

Thanks Lee, the board looks great! ...And the room with the books instantly reminded me a LOT of David Bowie's 2016 Unbound "instaminiseries". In fact, they look so similar it's downright spooky:

https://www.youtube.com/watch?v=gZ23vPQ2A3A

[greenlight]

thanks for sharing Lee.

[Chris Lawrence]

The description on Amazon sounds very intriguing...really looking forward to this one!


Lee Ranaldo & Raül Refree have announced details of their new album, Names of North End Women, available February 21 on indie exclusive white vinyl, standard black vinyl, CD and digital platforms via Mute. Ranaldo and Refree worked together on Ranaldo’s last solo album, Electric Trim. Soon after, the pair returned to the studio to record the follow up and realized that the product would become what Ranaldo describes as “the beginning of a new partnership, a new configuration.” For Ranaldo – a cofounder of Sonic Youth and one of the greatest guitarists of his generation as ranked by both Rolling Stone and Spin – and Refree, an artist reinventing traditional flamenco guitar (his album with Rosalía continues to grow internationally), this is an album that features tracks with little or no guitar. Instead, they composed using marimba and vibraphone, samplers, a vintage 2-inch Studer tape recorder and a modified cassette machine Ranaldo had used in performances 25 years earlier. “We were mixing in all these strange analog sounds from old cassette tapes, dealing with tape hiss; using very new technology and very old technology and mixing them together,” remembers Ranaldo. The words came in a process akin to the music, a collagist philosophy prevailing, as Ranaldo recomposed poems from his archives, wrote new pieces and incorporated lines sent by Jonathan Lethem, who’d helped pen the songs of Electric Trim. The result is an album alive with the electric crackle of experimentalism, yet satisfying as a collection of songs. The album’s title came from an experience Ranaldo had walking through a neighborhood in the North End of Winnipeg, Manitoba. All the streets were named after women: Lydia, Kate, Dagmar, Juno, etc – first names only, which implied something anonymous, or universal. Who these women are or were is not indicated, which lends their choice a certain mystery. Ranaldo jotted the names down, in poem format, and explains, “somehow it became an impetus for the lyrics in terms of the people that drift in and out of one’s life, some significant, some fleeting.” “This album loosens the bonds from the idea of what songs can be, and both Raül and I are excited to see where we can push it further,”