BONE ON BONE is the highly anticipated 2017 album from Canadian singer/songwriter Bruce Cockburn. The album is his first in six years and is the follow-up to 2011’s SMALL SOURCE OF COMFORT. His 25th studio album overall, BONE ON BONE finds Bruce Cockburn at ease as a musician but ill at ease with the world. For those familiar with Cockburn’s work over the years, this may seem like nothing new. However, BONE ON BONE finds Bruce at the top of his game. And for an artist that has been releasing albums for nearly 50 years, this is quite a feat. Mixing Folk and Blues, the album is warm, intimate and filled with songs that are destined to become Cockburn classics. Amongst the Folk Blues stomp of songs like “States I’m In” (the first single) and “Café Society” is “Forty Years In The Wilderness”, one of the loveliest songs he’s ever written.
As Luna reassemble with their first new music in thirteen years, the group’s founder took time to discuss the band’s pair of simultaneous releases; an instrumental EP and an album of covers.
DAVE RAYBURN: With A SENTIMENTAL EDUCATION and A PLACE OF GREATER SAFETY you provide an outpouring of new music than Luna fans might not have been expecting. Why did you opt for an album of covers and an EP of instrumentals for the band’s return to the studio?
DEAN WAREHAM: I know what Andy Warhol answered when asked why he was making short films instead of painting. “Because it’s easy.” Making covers is easier of course because you don’t have to write the songs. And ditto with instrumentals, I don’t have to write any lyrics (the hardest part). So I thought an album of covers would be a nice way for us to record together after 13 years apart. Also we’ve done a lot of covers over the years and people like them. Sean Eden insisted we should do something more, and that’s how we came to record the instrumentals. So it’s cool, we’ve got two things that we’ve never done before, and personally I think that’s more interesting to people than “oh, these dudes got together and wrote some new songs.”
WHERE THE GODS ARE IN PEACE:
STEPHEN SPAZ SCHNEE: WHERE THE GODS ARE IN PEACE is just about to be released. How are you feeling about the way the album turned out and the reaction to it so far?
MARTIN PERNA: We are happy with the way the album turned out, or else we wouldn’t have put it out. It was a lot of work and represents several years of effort working through some problems that would have sunk most other bands. We had some members graduate to other projects not long after our last record in 2012, and this album proves both to ourselves and people who listen to us that we have more juice than ever.
Singer/songwriter Charlie Parr has returned with an album that mixes his Folk roots with plenty of heart and soul. Although he may sometimes write as an observer, his songs put him square in the eye of the storm. Parr writes songs that are extremely personal yet universal at the same time. Listening to DOG, you’ll stumble across people that you feel that you already know, places that you are sure you’ve been and feelings that you most definitely have experienced. This is a world where both feet are firmly planted on the ground. You can feel the heat of the sun and smell the beer-soaked floorboards. This is an album that pulls no punches. Life is hard and then you die but in between, there is light in the darkness. However, that light may be only fleeting at times. But that is understandable because Charlie experienced some truly dark moments before making the album.
handed their walking papers by the press, who latched onto the shouty, belligerent Punk kids. By ’79, you were more likely going to read about the exploits of Sex Pistols, The Damned and The Clash before you’d stumble upon a review of ELP’s latest live gig. And by that time, reviews of ELP, Yes and the like were leaning towards scathing.
OK, let’s get this out of the way: anyone expecting a new Orchestral Manoeuvres In The Dark (OMD) full-length filled back to front with songs tailor-made for radio are going to be sorely disappointed. However, if you are looking for a classic OMD album that blends commercial pop smarts with their darker experimental side are going to be over the moon. THE PUNISHMENT OF LUXURY (TPOL) is that album and so much more! While their 1983 release DAZZLE SHIPS may have pushed the experimental envelope too far for some of their fanbase, TPOL strikes the perfect balance between Synthpop maestros and Electronic Music pioneers.
It has been 33 years since Bronski Beat arrived on the music scene with their remarkably emotional debut single “Smalltown Boy.” Jimmy Somerville’s soaring falsetto was quite a wonder to behold but the music performed by Steve Bronski and Larry Steinbachek was equally enthralling. Equally enchanting, the band’s debut album THE AGE OF CONSENT was Synthpop at it’s finest. Inspired by classic Disco and the Electronic Music scene that was sweeping the UK, the trio blended their influences into a wondrous brew. Add in their thought-provoking lyrics that focused on gay-related issues and you had a band that not only made you dance but also made you think. Surprisingly, in 1985, at the height of the band’s popularity, Somerville abruptly quit, leaving Bronski and Steinbachek to carry on without him. The following year, the band returned with new vocalist John Foster and released the Pop-errific sophomore album TRUTHDARE DOUBLEDARE. Although “Hit That Perfect Beat” and “C’mon! C’mon!” were hits, the album didn’t fare as well as their debut and the band left their label (London Records). Foster left the fold and Bronski and Steinbachek’s continued to work together throughout the rest of the ‘80s and into the ‘90s. They released their third album, RAINBOW NATION, with new vocalist Jonathan Hellyer and additional musical assistance from Ian Donaldson. However, the band quietly split in 1995 shortly after that album’s release.