GIITTV: NEWS: Tori Amos reveals ‘Cloud Riders’ first track from new LP

Tori Amos has unveiled ‘Cloud Riders’ the first track from her new album ‘Native Invaders’ out through Decca Records on the 8th of September. Listen below:

http://vevo.ly/zIpmuW

Tori Amos reveals the inspiration behind ‘Cloud Riders’here:

“Before the Storm, at 4:22 AM,
I saw a shooting star.
Some Storms are electrifying
but some Storms are deadly.
Life Changing.
Some resolve themselves,
Some don’t.
Conflicts can be that way.
You don’t know how a conflict is going to play out when you are in the middle of it.
And the one thing I have learned is that when the Cloud Riders are coming, they cannot be outrun.”

Amos’s 15th album is an intense feast of melody, protest, tenderness and pain. In the summer of 2016, she took a road trip through North Carolina’s Smoky Mountains. The intention was to reconnect with the stories and songlines of her mother’s family, who were from the North Carolina and Tennessee Smoky Mountain area. That winter, two seismic events knocked the plan off its axis. The fall out from the US Election. And in January her mother, Maryellen Amos, suffered a severe stroke leaving her unable to speak.

The complex influence of America’s alt-right Super PACs, lobbyists and think tanks informs much of the tension in Native Invader. “It wasn’t going to be a record of pain, blood and bone when I began,” she says. “It wasn’t going to be a record of division. But the Muses 9 insisted that I listened and watched the conflicts that were traumatising the nation and write about those raw emotions. Hopefully people will find strength and resilience within the songs to give them the energy to survive the storms that we are currently in”. The sense of semantic distortion permeates Native Invader. Amos talks of the need to form a “militia of the mind”

    1. in the face of national lies.

UK TOUR DATES

October 4th 2017 London Royal Albert Hall

October 5th 2017 Manchester Palace Theatre

October 6th 2017 Glasgow O2 Academy

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GIITTV: Track Of The Day #1054: Meghann Clancy – In Time

Almost two years on from the release of her last EP, Lay It On The Line, Newcastle-based singer-songwriter Meghann Clancy is gearing up to release her brand new album. To whet the appetite, she’s shared its first single, ‘In Time,’ a reintroduction to Meghann’s beautifully restrained, timeless melodies and poetic songwriting and the first in a series of chapters leading up to the release of Lost & Found.

Alongside producer Patrick Wood (Ryan Keen, Emily and the Woods), Roy Dodds (Eddi Reader, Fairground Attraction) on drums and Simon Edwards (Talk Talk, Billy Bragg) on double bass, she’s woven a lilting folk-pop number that smoothly glides along with gently plucked guitars and dusty percussion, punctuated by bass notes and just a little bit of vintage synth. It’s got a few surprises to prick up the ears (not least because of its unusual time signature) but the hushed nature of the track also allows Meghann’s greatest assets to shine: her sensitive, emotive vocals and knack for telling an intriguing, captivating and very human story.

Speaking of the new single, Meghann said: “‘In Time’ is a nostalgic reminiscence of the innocence and joy experienced in a relationship’s beginnings and how this can change when faced with problems […] When writing the song I was also inspired by the beautiful north east coastline where I live and drew from the imagery of the sea.”

‘In Time’ is out now. Find out more about Meghann Clancy on her official website.

Photo credit: David Wala

 

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GIITTV: NEWS: French artist MAINE announces his new album ‘V’

Parisian composer Michel Dupay makes his return as MAINE with the follow up to 2016’s much lauded IV. To compliment his strict analogue criteria, V is set to be initially released on vinyl and cassette on the 1st of September to reiterate his love for analogue techniques. Michel says ‘this is because things have to contact to create a sound or vibration. That’s as important to me as having to touch each instrument to play it. In turn, a needle has to be on the record, the machine head having to connect with the cassette. It’s hugely relevant. I like the thought of people experiencing the music via these means, I don’t really connect with iTunes, Spotify and the like.’

MAINE composes from the heart, each piece of music is he says ‘a fraction of the very fabric of what makes me who I am. “Ventoux” for instance is my tribute to the white giant of Provence, the Ventoux. A mountain so fierce and beautiful, I used to frequently dream of riding my bike up it as a child. This song is important to me as the melody had been in my head for years so I was relieved to finally get it out. We used what’s considered a holy grail synthesizer, SECONDSON’s 1974 EMS Synthi A, which was a challenge to tune let alone play, we spent weeks on that one.’

The album flows like Seine-veins though Michel’s hometown of Paris, weaving and contorting in its evocative tones and hypnotic sequences. By the time we float to the halfway point of the album, we have already explored new territory producer SECONDSON had reserved exclusively for these sessions. Cue the bold introduction of field recordings. Visiting old bank vaults, chapels or
bespoke stately homes and interesting sonic spaces to record vocal harmonies and strings. The processes involved became the norm.

For instance, “Below the Landslide” which features Berlin synth goddess NINA (known for her soundtracking of Mercedes Benz adverts), was recorded in a medieval church in the Black Mountains. MAINE has fond memories of ‘driving deep into the heart of Wales to record in this tiny church clinging to the side of a mountain. It was snowing and the sound engineers weren’t convinced we’d even make it up the tiny roads. That was forgotten when we first set eyes on the place, clinging to the side of a mountain all twisted and contorted into the landscape. It really was magical.’ In justifying his logic, SECONDSON says ‘the Crooked Church in Cwmyoy is an incredible place, we wanted to capture that in the essence of the song somehow, the acoustics in there are unique. We wanted to make a song worthy of NINA to collaborate with us, her eyes lit up when she heard the church organ.’

All of MAINE’s equipment is pre-1982 and a large factor in the retuning
SECONDSON as producer is that he too is also exclusively analogue and Michel always gets the unique opportunity to record his music through a recording console that belonged to GARY NUMAN. Which he lovingly restored and built into his incredible studio, an old sail loft in the heart of Cardiff’s old docklands. The world renowned Tiger Bay.

The acclaimed producer in an attempt to capitalise on his hip hop heritage also brought his MPC sampler to the table, meaning more drum breaks sure, but also his multi instrumentalist mentality and says ‘between us, musically, we’re capable of doing anything.’ Cue more live instruments this time around, and more experimentation with layered voices, vibraphone, traditional piano, horse hair bowed piano and bowed guitar.

http://ift.tt/2vV80HR

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Digital Inspiration Technology Blog How to Search Google Drive Like a Pro!

You have lots of files in your Google Drive and it can take some effort to find that elusive file you’ve been looking for. For instance, how do you quickly find the sales presentation that James shared with you last week? Or how do you locate a specific resume among the hundreds of other PDF files in your Google Drive folders?

Like Gmail and Twitter, Google Drive supports a plethora of advanced search operators that will help you quickly find the exact file you’ve been looking for. You can use search operators on the Google Drive website and the Drive mobile apps. Chrome users can type drive.google.com in the search bar, press tab and enter the search query.

How Search Works in Google Drive

Google Drive, by default, will return files where the search query matches the file’s title, the content or the file’s description. It can also identify objects inside photos so a search for “birthday” may retrieve images of cakes in your Drive.

google-drive-search-results.png

Drive will also perform a OCR and search for text inside images and scanned PDFs. I have stored a scanned copy of my Aadhaar card in Google Drive. I only remember the first few digits of my Aadhaar number but that is sufficient to locate the scanned image of the card in Drive.

How to Find Files in your Google Drive

You can use search operators to filter your search results in Google Drive.  Multiple search operators can be combined with boolean operators like AND or OR (in capitals) to further narrow down your results and find the exact file or document you’ve been looking for.

google-drive-search.png

Google Drive Search Tips & Tricks

Find Google spreadsheets shared by your colleague James
type:spreadsheet from:James

Find Photos or Images containing photos of cakes
type:image owner:me cakes

Find files in trash that were modified today
is:trashed after:2017-07-28

Find PDF files that are shared with me
type:pdf -owner:me

Find files that are shared with me and added to my Google Drive
in:myFiles -owner:me

Find all folders in my Google Drive that are created by me
type:folder -owner:me

Find presentations that I’ve shared with my secretary
type:presentation to:secretary@domain.com

Tip: You can also use the Google Drive Auditor add-on to generate a detailed list of users who can access your Google Drive files.

Find all files that I’ve recently viewed or added in Google Drive
Click “Recent” in the sidebar or use this link

Bonus Tip: Find the biggest files in Google Drive

Gmail offers the larger_than and smaller_than search operator to find all the space-hogging emails in your account. Google Drive offers no search by size operator buy you can use this special link – http://ift.tt/1yjGn44 – to sort files by size and the ones taking the most space would be listed at the top.

GIITTV: Katie Von Schleicher – Shitty Hits (Full Time Hobby)

Katie von Schleicher knows that these hits are anything but shitty. Shitty Hits, Von Schleicher’s self-produced and co-engineered debut, was created on a tape machine at her childhood home in Maryland. It’s a hazy album about growing up and the struggles of simply being a human. It’s not grand or profound, but just life. Packed with pop laden tunes it navigates all the vicissitudes of life, and does so in a way that makes you want to go along for the ride.

Creative life is one filled with questions and answers, and it’s explored on Shitty Hits. Open about therapy, mental illness, sadness, depression, heartbreak and love, it’s got all the feels, but all the energy that comes with the weight of living. At the same time there’s a sense of humour at play, not least so from the album’s title.

Tunes like ‘Life’s A Lie‘, the latest single from the album might make life sound a bit rubbish at times, but von Schleicher’s musical take on it is joyful and potent. A tune all about imposter syndrome the narrative follows the voice of the inner critic, that mean voice that holds you back and kicks you down, but is hidden in boisterous melodies. Opener ‘The Image‘ is soulful and rich, opening with warbly pedals and clashing drums, and the classic structure is revisited on ‘Isolator‘. The jaunty melody of ‘Life’s A Lie‘ belies darker lyrics. The first single off the record was ‘Paranoia‘, a song all about her relationship to her music. It is a crystallised feeling of the rest of the album, and dances with the subject in wrestling tones. ‘Sell It Back‘ surges with guitar melodies and its textured variations, whereas ‘Midsummer‘, a song all about being toxic for another person, sees things stripped back and chiming. “I know it’s wrong, but I can’t stop,” she moans under an affirming beat. ‘Nothing‘ squelches into existence, a distorted amp, SM58 microphones and a tape machine make for a slightly off kilter but well honed vibe as it plods funereally along.

Rough edged charm is plentiful, through the fuzz and hiss. Deeply affirming in tone even through the impassioned and varied emotions, it swings with vision through thundering keys and diving musical dreams. Uncompromisingly confident in vibe but with a deeper pain under the carefree singalong songs. Dizzyingly robust even in the face of such vulnerability, Von Schleicher’s voice rises up with firey potency and an openness that is both tender and strong. Katie von Schleicher is energetic, irreverent, emotional and unsure, all at the same time. She feels high and she feels low. Shitty Hits explores all of the undulating variation of a life on earth, the tugs and pulls, the pain and pleasure, the highs and lows. Sometimes things will be shitty, and sometimes they’ll be a hit. This album definitely contains more of the later. “I’m a fraud and I know I can’t do it alone” she sings on ‘Life’s A Lie‘. From the evidence presented on her debut album, she’s doing pretty bloody well.

Shitty Hits is released on July 28th through Full Time Hobby.

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GIITTV: Japanese Breakfast – Soft Sounds From Another Planet (Dead Oceans)

Michelle Zauner released her first album, Psychopomp, as Japanese Breakfast just over a year ago. It was a 26 minute rush of scuzzy shoegaze guitars mixed with dreamy electronic ambience. The sweet melodies and catchy hooks were a contrast to the melancholic lyrics about the tragic loss of her mother to cancer. The songs were bursting with ideas and hinted at something very special, despite the rough production. That potential has come to fruition on Soft Sounds From Another Planet.

Both of her records are deeply intimate and autobiographical, but in different ways. If Psychopomp was Zauner dealing with the immediate reaction to her mum’s illness, then Soft Sounds is her using memories and self-reflection to accept how her life has changed. She’s said this is a record that deals with the healing process; this is evident from the warmth that radiates from every song.

It’s apparent from ‘Diving Woman’ that the lo-fi edges of Psychopomp have been rounded. Zauner sings of wanting to have it all over pulsating synths and a bassline that drives the song. It conjures up the same spacey atmospherics that made Rose Elinor Dougall’s recent album, Stellular, so engaging. There’s so much attention to detail in the production and the the storytelling.

The clear production continues on the wonderful first single, ‘Machinist’. It’s one of the few songs that survived Zauner’s aborted idea of making a concept album about science fiction. She sings of falling in love with a robot: “all the times I felt so plugged in, you were tuning out, a muted channel, a cold ship, a hologram, an abyss”. It’s a testament to her skills that she can write about common themes, such as love and failed relationships, in such a unique and affecting way.

There are similarities to Angel Olsen’s last album on the powerful middle section of songs. Zauner uses a yearning arrangement on the title track to deepen the impact as she states, “there’s no part of me left that can feel or hear”. ‘Boyish’ is filled with gut-wrenching lyrics such as, “if you don’t like how I look then leave”. It hits hard thanks to her vulnerable delivery. The chorus swells with strings and harmonies, and it has a sweeping romanticism similar to the best songs by Camera Obscura. When Zauner sings, “I can’t get you off my mind, I can’t get you off in general” she cleverly combines heartbreak with sexual experiences, something she did on Psychopomp.

All of the obvious pop sensibilities that Zauner showed on Psychopomp are more focused here. Her arrangements are more expansive and her vocal performances are more prominent. You can hear it on the early 90s alternative influenced,‘12 Steps’. Zauner reminisces about an earlier relationship, “looking back, how did I keep moving?” It’s a line filled with sadness that could also be applied to dealing with her mum’s death.

The biggest emotional punch comes from the moving, ‘Till Death’ which opens with the poignant line, “all of our celebrities keep dying”. A gorgeous and comforting horn section appears after the first chorus. Zauner turns the song back on herself over a spine-tingling key change when she pleads, “teach me to breathe, teach me to move”. It’s the sound of someone knowing they have to move forward, no matter the setbacks and the pain.

The brilliance Zauner hinted at on Psychopomp has been fully realized on Soft Sounds. This revealing and heartwarming record finds Zauner mastering her craft through the therapeutic experience of making music. The more time you spend with these songs, the more you want to see life through her eyes, even in the hardest of times. Her endearing humanity combined with her gift for songwriting helps make this one of the most remarkable albums of the year.

Soft Sounds From Another Planet is out now on Dead Oceans.

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