Art rock is a subgenre of rock music that reflects a challenging or avant-garde approach to rock, or which makes use of modernist, experimental, or unconventional elements. Art rock aspires to elevate rock from entertainment to an artistic statement, opting for a more experimental and conceptual outlook on music. Influences may be drawn from genres such as experimental rock, avant-garde music, classical music, jazz, its music was created with the intention of listening and contemplation rather than for dancing, is distinguished by the use of electronic effects and easy listening textures far removed from the propulsive rhythms of early rock. The term may sometimes be used interchangeably with "progressive rock", though the latter is instead characterized in particular by its employment of classically trained instrumental technique and symphonic textures; the genre's greatest level of popularity was in the early 1970s through British artists. The music, as well as the theatrical nature of performances associated with the genre, was able to appeal to artistically inclined adolescents and younger adults due to its virtuosity and musical/lyrical complexity.
Art rock is most associated with a certain period of rock music, beginning in 1966–67 and ending with the arrival of punk in the mid 1970s. After, the genre would be infused within popular music genres of the 1970s–90s. Critic John Rockwell says that art rock is one of rock's most wide-ranging and eclectic genres with its overt sense of creative detachment, classical music pretensions, experimental, avant-garde proclivities. In the rock music of the 1970s, the "art" descriptor was understood to mean "aggressively avant-garde" or "pretentiously progressive". "Art rock" is used synonymously with progressive rock. The term has been used to describe at least two related, but distinct, types of rock music; the first is progressive rock, while the second usage refers to groups who rejected psychedelia and the hippie counterculture in favor of a modernist, avant-garde approach defined by the Velvet Underground. Essayist Ellen Willis compared these two types: From the early sixties … there was a counter-tradition in rock and roll that had much more in common with high art—in particular avant-garde art—than the ballyhooed art-rock synthesis.
While art rock was implicitly based on the claim that rock and roll was or could be as worthy as more established art forms, rock-and-roll art came out of an obsessive commitment to the language of rock and roll and an obsessive disdain for those who rejected that language or wanted it watered down, made easier … the new wave has inherited the counter-tradition. Art rock emphasizes Romantic and autonomous traditions, in distinction to the aesthetic of the everyday and the disposable embodied by art pop. Larry Starr and Christopher Waterman's American Popular Music defines art rock as a "form of rock music that blended elements of rock and European classical music", citing the English rock bands King Crimson, Lake & Palmer, Pink Floyd as examples. Common characteristics include album-oriented music divided into compositions rather than songs, with complicated and long instrumental sections, symphonic orchestration, its music was traditionally used within the context of concept records, its lyrical themes tended to be "imaginative" and politically oriented.
Differences have been identified between art rock and progressive rock, with art rock emphasizing avant-garde or experimental influences and "novel sonic structure", while progressive rock has been characterized as putting a greater emphasis on classically trained instrumental technique, literary content, symphonic features. Compared to progressive rock, art rock is "more challenging and unconventional" and "less classically influenced", with more of an emphasis on avant-garde music. Similarities are that they both describe a British attempt to elevate rock music to new levels of artistic credibility, became the instrumental analog to concept albums and rock operas, which were more vocal oriented. Art rock can refer to either classically driven rock, or to a progressive rock-folk fusion. Bruce Eder's essay The Early History of Art-Rock/Prog Rock states that "'progressive rock,' sometimes known as'art rock,' or'classical rock'" is music in which the "bands playing suites, not songs; the boundaries between art and pop music became blurred throughout the second half of the 20th century.
The first usage of the term "art rock", according to Merriam-Webster Online Dictionary, was in 1968. As pop music's dominant format transitioned from singles to albums, many rock bands created works that aspired to make grand artistic statements, where art rock would flourish; as it progressed in the late 1960s – in tandem with the development of progressive rock – art rock acquired notoriety alongside experimental rock. The earliest figure of art rock has been assumed to be record producer and songwriter Phil Spector, who became known as an auteur for his Wall of Sound productions that aspired to a "classical grandiosity". According to biographer Richard Williams: " created a new concept: the producer as overall director of the creative process, from beginning to end, he took control of everything, he picked the artists, wrote or chose the material, supervised the arrangements, t
New Musical Express is a British music journalism website and former magazine, published since 1952. It was the first British paper to include a singles chart, in the edition of 14 November 1952. In the 1970s it became the best-selling British music newspaper. During the period 1972 to 1976, it was associated with gonzo journalism became associated with punk rock through the writings of Julie Burchill, Paul Morley and Tony Parsons, it started as a music newspaper, moved toward a magazine format during the 1980s and 1990s, changing from newsprint in 1998. An online version, NME.com, was launched in 1996. It became the world's biggest standalone music site, with over sixteen million users per month. With newsstand sales falling across the UK magazine sector, the magazine's paid circulation in the first half of 2014 was 15,830. In 2013, the list of NME's The 500 Greatest Albums of All Time and the way it was conceived was criticized by the media; the printed magazine NME was relaunched in September 2015 to be distributed nationally as a free publication.
The first average circulation published in February 2016 of 307,217 copies per week was the highest in the brand's history, beating the previous best of 306,881, recorded in 1964 at the height of the Beatles' fame. By December 2017, according to the Audit Bureau of Circulations, average distribution of NME had fallen to 289,432 copies a week, although its publisher Time Inc. UK claimed to have more than 13m global unique users per month, including 3m in the UK. In March 2018, the publisher announced that the print edition of NME would cease publication after 66 years, leaving it as an online-only title. NME's headquarters are in Southwark, England; the brand's current editor is Charlotte Gunn, replacing Mike Williams, who stepped down in February 2018. The paper was established in 1952; the Accordion Times and Musical Express was bought by London music promoter Maurice Kinn, for the sum of £1,000, just 15 minutes before it was due to be closed. It was relaunched as the New Musical Express, was published in a non-glossy tabloid format on standard newsprint.
On 14 November 1952, taking its cue from the US magazine Billboard, it created the first UK Singles Chart, a list of the Top Twelve best-selling singles. The first of these was, in contrast to more recent charts, a top twelve sourced by the magazine itself from sales in regional stores around the UK; the first number one was "Here in My Heart" by Al Martino. During the 1960s the paper championed the new British groups emerging at the time; the NME circulation peaked under Andy Gray with a figure of 306,881 for the period from January to June 1964. The Beatles and the Rolling Stones were featured on the front cover; these and other artists appeared at the NME Poll Winners' Concert, an awards event that featured artists voted as most popular by the paper's readers. The concert featured a ceremony where the poll winners would collect their awards; the NME Poll Winners' Concerts took place between 1959 and 1972. From 1964 onwards they were filmed and transmitted on British television a few weeks after they had taken place.
In the mid-1960s, the NME was dedicated to pop while its older rival, Melody Maker, was known for its more serious coverage of music. Other competing titles included Record Mirror, which led the way in championing American rhythm and blues, Disc, which focused on chart news; the latter part of the decade saw the paper chart the rise of psychedelia and the continued dominance of British groups of the time. During this period some sections of pop music began to be designated as rock; the paper became engaged in a sometimes tense rivalry with Melody Maker. By the early 1970s, NME had lost ground to Melody Maker, as its coverage of music had failed to keep place with the development of rock music during the early years of psychedelia and progressive rock. In early 1972 the paper found itself on the verge of closure by its owner IPC. According to Nick Kent: After sales had plummeted to 60,000 and a review of guitar instrumentalist Duane Eddy had been printed which began with the immortal words "On this, his 35th album, we find Duane in as good as voice as ever," the NME had been told to rethink its policies or die on the vine.
Alan Smith was made editor in 1972, was told by IPC to turn things around or face closure. To achieve this and his assistant editor Nick Logan raided the underground press for writers such as Charles Shaar Murray and Nick Kent, recruited other writers such as Tony Tyler, Ian MacDonald and Californian Danny Holloway. According to The Economist, the New Musical Express "started to champion underground, up-and-coming music.... NME became the gateway to a more rebellious world. First came glamrock, bands such as T. Rex, came punk....by 1977 it had become the place to keep in touch with a cultural revolution, enthralling the nation's listless youth. Bands such as Sex Pistols, X-Ray Spex and Generation X were regular cover stars, eulogised by writers such as Julie Burchill and Tony Parsons, whose nihilistic tone narrated the punk years perfectly." By the time Smith handed the editor's chair to Logan in mid-1973, the paper was selling nearly 300,000 copies per week and was outstripping Melody Maker, Record Mirror and Sounds.
According to MacDonald: I think all the other papers knew by 1974 that NME had become the best music paper in Britain. We had most of the best writers and photographers, the best layouts
MusicBrainz is a project that aims to create an open data music database, similar to the freedb project. MusicBrainz was founded in response to the restrictions placed on the Compact Disc Database, a database for software applications to look up audio CD information on the Internet. MusicBrainz has expanded its goals to reach beyond a compact disc metadata storehouse to become a structured open online database for music. MusicBrainz captures information about artists, their recorded works, the relationships between them. Recorded works entries capture at a minimum the album title, track titles, the length of each track; these entries are maintained by volunteer editors. Recorded works can store information about the release date and country, the CD ID, cover art, acoustic fingerprint, free-form annotation text and other metadata; as of 21 September 2018, MusicBrainz contained information about 1.4 million artists, 2 million releases, 19 million recordings. End-users can use software that communicates with MusicBrainz to add metadata tags to their digital media files, such as FLAC, MP3, Ogg Vorbis or AAC.
MusicBrainz allows contributors to upload cover art images of releases to the database. Internet Archive provides the bandwidth and legal protection for hosting the images, while MusicBrainz stores metadata and provides public access through the web and via an API for third parties to use; as with other contributions, the MusicBrainz community is in charge of maintaining and reviewing the data. Cover art is provided for items on sale at Amazon.com and some other online resources, but CAA is now preferred because it gives the community more control and flexibility for managing the images. Besides collecting metadata about music, MusicBrainz allows looking up recordings by their acoustic fingerprint. A separate application, such as MusicBrainz Picard, must be used for this. In 2000, MusicBrainz started using Relatable's patented TRM for acoustic fingerprint matching; this feature allowed the database to grow quickly. However, by 2005 TRM was showing scalability issues as the number of tracks in the database had reached into the millions.
This issue was resolved in May 2006 when MusicBrainz partnered with MusicIP, replacing TRM with MusicDNS. TRMs were phased out and replaced by MusicDNS in November 2008. In October 2009 MusicIP was acquired by AmpliFIND; some time after the acquisition, the MusicDNS service began having intermittent problems. Since the future of the free identification service was uncertain, a replacement for it was sought; the Chromaprint acoustic fingerprinting algorithm, the basis for AcoustID identification service, was started in February 2010 by a long-time MusicBrainz contributor Lukáš Lalinský. While AcoustID and Chromaprint are not MusicBrainz projects, they are tied with each other and both are open source. Chromaprint works by analyzing the first two minutes of a track, detecting the strength in each of 12 pitch classes, storing these 8 times per second. Additional post-processing is applied to compress this fingerprint while retaining patterns; the AcoustID search server searches from the database of fingerprints by similarity and returns the AcoustID identifier along with MusicBrainz recording identifiers if known.
Since 2003, MusicBrainz's core data are in the public domain, additional content, including moderation data, is placed under the Creative Commons CC-BY-NC-SA-2.0 license. The relational database management system is PostgreSQL; the server software is covered by the GNU General Public License. The MusicBrainz client software library, libmusicbrainz, is licensed under the GNU Lesser General Public License, which allows use of the code by proprietary software products. In December 2004, the MusicBrainz project was turned over to the MetaBrainz Foundation, a non-profit group, by its creator Robert Kaye. On 20 January 2006, the first commercial venture to use MusicBrainz data was the Barcelona, Spain-based Linkara in their Linkara Música service. On 28 June 2007, BBC announced that it has licensed MusicBrainz's live data feed to augment their music Web pages; the BBC online music editors will join the MusicBrainz community to contribute their knowledge to the database. On 28 July 2008, the beta of the new BBC Music site was launched, which publishes a page for each MusicBrainz artist.
Amarok – KDE audio player Banshee – multi-platform audio player Beets – automatic CLI music tagger/organiser for Unix-like systems Clementine – multi-platform audio player CDex – Microsoft Windows CD ripper Demlo – a dynamic and extensible music manager using a CLI iEatBrainz – Mac OS X deprecated foo_musicbrainz component for foobar2000 – Music Library/Audio Player Jaikoz – Java mass tag editor Max – Mac OS X CD ripper and audio transcoder Mp3tag – Windows metadata editor and music organizer MusicBrainz Picard – cross-platform album-oriented tag editor MusicBrainz Tagger – deprecated Microsoft Windows tag editor puddletag – a tag editor for PyQt under the GPLv3 Rhythmbox music player – an audio player for Unix-like systems Sound Juicer – GNOME CD ripper Zortam Mp3 Media Studio – Windows music organizer and ID3 Tag Editor. Freedb clients can access MusicBrainz data through the freedb protocol by using the MusicBrainz to FreeDB gateway service, mb2freedb. List of online music databases Making Metadata: The Case of Mus
Jon Fratelli is a Scottish musician and songwriter best known for his work with the band The Fratellis. He has played in a band called Codeine Velvet Club, performed as a solo artist. Little is known about Lawler's life, he went to college before dropping out within three hours. Before joining the Fratellis, he played in an Blur cover band, he was born to father. In 2005, Lawler responded to an advert placed in a music shop by drummer Gordon McRory, which stated "Opportunity of a lifetime... seeks band to make our mark on the music industry". On this advert he put his name as "Graeme" to avoid detection of his current band mates finding out he was seeking a new band. After calling the number, asking for "Graeme" he got told that he had the wrong number, he nearly gave up but tried one more time and got a hold of McRory and the band started to form, with Barry Wallace joining the band on bass. Lawler's role in the band is songwriter, lead lead guitarist, he was accompanied on guitar by Mince Fratelli, but Mince switched to drums after the initial drummer did not work out.
Writing credits for Costello Music are for The Fratellis, for Here We Stand and We Need Medicine, they are credited to him. After playing the Coachella festival in California in 2007, during promotion of Fratellis' debut album Costello Music, Lawler decided to flee from the US tour and return to Glasgow, stating that he was too tired to continue the rest of the tour, he saw this as a mistake, but it allowed him to be more grateful for the success of the band. The band spent much of 2008 touring and after playing a few dates in 2009, the band parted ways for the foreseeable future. During this time, Jon finished Codeine Velvet Club and a stint as a solo artist. On 4 June 2012, The Fratellis announced they had reformed to raise money for The Eilidh Brown Memorial Fund on 15 June 2012, marking nearly 3 years since they last shared a stage together. After a couple of initial gigs, to see how playing together again felt and to test audience interest, they recorded and released their third studio album before embarking on an extensive tour of the UK, the USA and Europe, with more dates coming in 2014.
News of a new The Fratellis album was announced on 1 June 2015, to be called Eyes Wide, Tongue Tied and released through Cooking Vinyl on 21 August 2015. The band gave away the first song from "Me and the Devil", through their website; the band announced 3 small gigs in London and Glasgow for August 2015. During promotion of Here We Stand, Lawler stated that he wished to create a solo album to keep himself busy once the band were done touring the album, with the band scheduled to take a break, it emerged that he planned on teaming up with singer-songwriter Lou Hickey, whom he met through her friendship with Lawler's wife, creating an album. NME reported in an article. While playing in this band Lawler reverted to using his proper surname; the band's debut album was to be released on 16 November 2009. Lawler shares songwriting duties with Hickey for about half the tracks on the album, penning the other half by himself; the duo took a live band for a tour of the UK in 2009 and the US in 2010, playing UK dates in 2010 also.
However, Lawler decided that he could not commit to the band anymore and called an end to the band, finishing off what live dates they had and announcing his solo career, with Hickey returning to her solo career also. Lawler started hinting towards a solo career when he set up a new MySpace page, with the track "Bonnie & Clyde" streaming on it, it was noted that he began using the name Jon Fratelli again. While discussing the end of Codeine Velvet Club, Lawler confirmed his intentions of going solo, taking the backing musicians with him due to them playing well together. Since announcing he is going solo, Lawler has given away some tracks in demo form, including "Dead Street Affair", "She's My Shaker" and "Sometimes You Just Can't Win". For live shows in 2011, Lawler announced that Mince Fratelli would be joining him on the tour, sharing drumming duties with Ross McFarlane. Lawler played some solo shows before heading to Los Angeles in late 2010 to record his debut solo album, Psycho Jukebox with Tony Hoffer, who produced the first Fratellis' album.
The title is a reference to the Fratellis' song "Nina", featured on the "Whistle for the Choir" single. During February 2011, Lawler released a free track via his website called "Rhythm Doesn't Make You a Dancer", to be on the album, gave away a free EP called The Magic Hour EP. Lawler stated that these songs couldn't fit on the album but he "still had a lot of time for them"; the first single from the album was "Santo Domingo", released on 28 February 2011. The second single, "Baby We're Refugees!", was released on 12 June 2011. After embarking on a Scottish tour in March/April 2011, Lawler added two new tracks to Psycho Jukebox, which pushed its release date back to late July 2011, he stated in a live podcast that he was no longer able to add any more tracks to the album, owing to the label's schedule, but added that they were worth adding to the album. Pictures were posted onto Lawler's Facebook page, showing him in the
Neil Carlill, is an English singer, poet and musician. He is known for his work with experimental and alternative rock bands including 1990s UK acts Delicatessen and Lodger, more with bands and collaborations including Vedette, Shoosh, 5 Little Elephants, Me Me the Moth and Three on a Match, his lyrics reflect the influence of DaDa and James Joyce, his voice has a unique, multifaceted, "strangely alluring" character. Carlill founded the group Delicatessen in Leicester, England in 1993, joined the British supergroup Lodger in 1998. Both groups charted in the UK, with Lodger's single, I'm Leaving, charting in the top 40. Lodger disbanded after one album, 1998's A Walk in the Park. Delicatessen, having released three critically acclaimed albums, broke up in late 2002. During the late 1990s, Carlill contributed to TV Mania, a side project of Duran Duran members Nick Rhodes and Warren Cuccurullo. Having relocated to the United States in 2000, Neil Carlill temporarily slowed his musical output until, in 2004, he resumed working with Warren Cuccurullo, this time on the eponymous debut album from the project titled Chicanery.
During this period he founded the bands Vedette, Shoosh, 5 Little Elephants, Me Me the Moth, Three on a Match through collaborations with numerous musicians in the US and Europe. He has developed a solo project dubbed Airport Studies, performs live under the pseudonym Harvey Mapcase; as Airport Studies, Carlill contributed a song for the Fire Records James Joyce Tribute album, Chamber Music. Under his own name Carlill was a featured vocalist on Lost-Wax by Lena and the Floating Roots Orchestra; some of Neil Carlill's written work was published in 2007 in Galleon, a literary journal that features adventurous short fiction. Delicatessen was formed by Neil Carlill, Craig Bown, Pete Capewell and Stuart Dayman, taking their moniker from the 1991 French film, they started in Leicester, England in 1993 and while playing shows in London they were spotted by manager Tony Beard, soon started to garner support from the Melody Maker and much of the UK music press. After signing to Starfish Records, the Indie offshoot of Jazz Summers' Big Life Publishing, their debut single Inviting Both Sisters Out To Dinner was released in October 1994, followed by the single C.
F. Kane in April 1995. In a Melody Maker review of C. F. Kane, the reviewer placed Delicatessen in the class of bands that were "influenced by good books or good films, rather than just their late-Sixties record collections." Subsequently, their single, I'm Just Alive charted. Delicatessen created the soundtrack to the Independent short film George and Ramona, released in 1995; the first album, Skin Touching Water, was released to stellar reviews in May 1995. Melody Maker called the band "The salvation of pop music". Early in 1995, bassist Pete Capewell was replaced by the multi-instrumentalist Will Foster; that summer saw Delicatessen headlining the 3rd stage at Reading Festival, the addition of Jonny Wood on keyboards, backing vocals, violin. With their live band complete, they toured in the Netherlands and France, were featured at the Phoenix Festival in 1995; the second album Hustle into Bed, characterised as a darker, more orchestral work, was issued in 1996, produced by longtime Nick Cave and the Bad Seeds and The Birthday Party producer/engineer Tony Cohen.
After a great deal more touring there was a brief hiatus in which the Lodger'supergroup' came about, Delicatessen reappeared in early 1998 with a new label, Viper Records, a third album, There's No Confusing Some People. Carlill and Foster continued with the Lodger project for the rest of 1998. Following Lodger's split, Carlill emigrated to the US, despite attempts by him and Dayman to keep recording, Delicatessen called it quits late in 2002. Delicatessen recorded two sessions for John Peel's BBC Radio 1 show, both in 1995; the first was a four track studio session and the second six tracks recorded at the Reading Festival. After the completion of Delicatessen's second album, Neil Carlill and Will Foster joined forces with Pearl Lowe, who had fronted the Britpop band Powder, Danny Goffey of Supergrass to form one of the most noteworthy of Britpop superbands, Lodger. Signed to Island Records, Lodger released a 3 track single in 1997, its a-side, I'm Leaving, received heavy radio exposure nationally, the single entered the UK pop charts in the top 40.
Sometime thereafter came the album A Walk in the Park. From that album, Always Round Here and Small Change charted; the videos produced for I'm Leaving and the subsequent singles were praised in the media for their humour and originality. It is for these same qualities that Lodger's A Walk in the Park is considered an important release for 1990's British music. Lodger played at that summer's Reading Festival. Vedette began life in Los Angeles at the end of the Chicanery recordings, during which Carlill made the acquaintance of electronic artist Manuel Stagars; the pair conceived an album of bizarre musical sketches derived from ambient recordings of Stagars, which were cut to song length with Carlill adding inspired vocal concoctions laced with surrealist touches and evocatively weird lyrics. Warren Cuccurullo contributed his singular guitar stylings to several tracks, Carlill played ukulele and keyboards on select songs. Vedette's self-titled debut album was released on the Stilll label in 2007.
Jayrope joined Vedette in 2008 for a series of concerts in Ge
The Tears were an English rock supergroup formed in 2004 by ex-Suede bandmates Brett Anderson and Bernard Butler. The duo were a much anticipated reunion and music critics praised their first concerts and debut album, Here Come the Tears. However, the project was short-lived as they disbanded in 2006, which allowed Anderson to focus on his solo career and Butler to become a full-time producer. In 1994, when Bernard Butler walked out of Suede, they were the biggest new band in Britain, he was pilloried in the music press and characterised as "demanding and egotistical" by Brett Anderson. "When he left the band we pretty much hated each other as much as two people can hate each other," admitted Anderson in an interview with The Times. The pair parted company in July 1994 while recording Suede's second album Dog Man Star, which resulted in a major fallout due to musical differences and Anderson's hedonistic lifestyle; as Suede soldiered on and Butler forged a solo career, both with varying degrees of success.
Though Butler and Anderson had not spoken to each other for nine years, Anderson claimed getting back in touch with Butler was not difficult. The band decided on being named after a line from a Philip Larkin poem, Femmes Damnées, which ends with the line: "The only sound heard is the sound of tears"; the band played their first live show on 14 December 2004 at the Oxford Zodiac. Things went as expected for the "new" band, most new songs were received well by those attending the first set of shows; when asked during a concert by a fan to play Suede song, "The Drowners", Anderson replied saying, "Did somebody say they wanted to hear The Drowners? You’ve come to the wrong gig, mate."Apart from minor reviews of the first clutch of live shows, The Tears first press, a review of "Refugees", interview with Anderson and a poster was in The Sun on 15 April. The next major article was by Alexis Petridis in The Guardian, which ended on an optimistic note: "the pair seem artistically reinvigorated by each other's company.
Anderson talks excitedly of Tears songs like the ballad Asylum, inspired by his father's struggle with depression, as having moved away from ‘Suede cliches or Brett Anderson cliches... it's not, you know, opiated fop territory.’"From the start, Anderson was insistent that the band would not be playing any songs by Suede. Things would change over time, however, as the band ended up playing the B-side, "The Living Dead", to an enthusiastic reception, during an encore for their show at the Sheffield Leadmill in April. In April 2005, the band's first single, "Refugees", was released; the single peaked in the Top 10 in the UK Singles Chart. The band's debut album, Here Come the Tears followed on 6 June 2005, it was released to favourable reviews that helped solidify the duo's comeback. However it failed to crack the Top 10 of the UK Albums Chart. Anderson felt that the project was eclipsed by the curiosity in the reconciliation with Butler, saying: "...the story of me and Bernard getting back together again was far too juicy, it overshadowed the music completely.
I am proud of the record we made, but the obsession with us stopped us enjoying it." In late June, the band played a set at the John Peel stage at the Glastonbury Festival. The second single from the debut album, entitled "Lovers", was released in June. Though a lower charting than the previous single, it still managed to reach number 24. More than a month Anderson announced that he would release his long-awaited solo album in between the touring for Here Come the Tears, the release of the band's follow up album. After playing several festivals including Glastonbury and T in the Park along with international gigs, the band announced a European tour with dates in October and November. However, the tour was soon cancelled and the band were dropped from their label. In late April 2006, Anderson posted a message on the band's message board announcing the band were on temporary hiatus because "no one wanted this thing to get caught up within the drudgery of the whole tour/record/tour cycle anyway".
In addition, he announced that he had completed his debut solo album and that it would see light in early 2007, hinting that the second Tears record would most come after that. In August 2006, the band's official site and forum were closed. In 2007, Anderson admitted in an interview that The Tears were about to write their second album, however they decided to split because they were not enjoying it. Asked about a second record, Anderson replied. "The chance of there being another Tears record in the future is pretty good actually." These hopes were short-lived, however when Butler announced his retirement from performing in 2008 to concentrate on producing. Brett Anderson – lead vocalist Bernard Butler – lead and rhythm guitarist, backing vocalist Will Foster – keyboards, piano Nathan Fisher – bass guitar Makoto "Mako" Sakamoto – drummer, percussion Here Come the Tears - No. 15 UK "Refugees" No. 9 UK "Lovers" No. 24 UK Brett Anderson Official Site Bernard Butler Official Site
Heather Nova is a Bermudian singer-songwriter and poet. As of 2015 she had released numerous singles and EPs. Heather Nova was born Heather Allison Frith on a British overseas territory, her mother is a native of Nova Scotia and her father is a native of Bermuda. Nova spent most of her childhood with her family, including one sister, television reporter and fashion model Susannah, one brother, reggae singer Mishka, on a 42-foot-long sailboat built by her father, where the Friths spent most of the 1970s and part of the 1980s, sailing throughout the Atlantic and Caribbean waters and coasts. Since her idyllic childhood, Heather has played over 600 concerts, sold over 2 million albums and has a career of 20 years in the music industry. Nova started playing guitar and violin at an early age, writing her first song when she was 12. Nova enrolled at the Rhode Island School of Design, where she majored in film in 1989, she sat in on poetry classes and wrote music to go with her student films. But songwriting remained her passion.
After graduating from RISD, Nova moved to a place she called home for twelve years. In 1990, she released her first recording, Heather Frith, an EP; the new name debuted in 1993 with her second EP entitled Spirit In You and her first full album, the critically acclaimed Glow Stars, produced by Felix Tod, after being discovered by Big Cat label manager Steven Abbott. The success of the album led her to release her first live album Blow the same year. In 1994, she released Oyster, her breakout album, produced by Youth and Felix Tod and began two years of touring. Another live album, Live From The Milky Way, was released in 1995. Siren, the follow-up to Oyster because of the hit single "London Rain", was released in 1998, after which she joined Sarah McLachlan and others on the North American Lilith Fair, a music festival with only female performers. After the release of Siren and a world tour to promote the record, Nova took a break while various television show and film soundtracks licensed some of her songs and her record company released various singles from the album, which received only moderate play on America's MTV2, Europe's MTV and Canada's MuchMusic and on mainstream radio, although she was popular on college radio.
During this time, she recorded a version of the covered traditional song "Gloomy Sunday", for the German WWII feature film drama Ein Lied Von Liebe Und Tod. In 2000, Nova released yet another live album entitled Wonderlust. Over the years, Nova has recorded over 120 songs. With the release of South, she returned to the international spotlight with an appearance on the soundtrack of the John Cusack movie Serendipity, she appeared on the soundtrack to the Sean Penn film, I Am Sam and sung on The Crow: City of Angels. A collaboration with Swedish indiepop band Eskobar, for a song called "Someone New", led to its music video being played on America's MTV. Storm, Nova's fifth studio album, recorded with Mercury Rev as her backing band, was released in late 2003 on her own Saltwater label, went top 5 in Germany, followed by a tour during which Nova became pregnant, she followed the birth of her son with her next record Redbird, released in 2005, again Top 10 in Germany. In December 2005, Nova released Together As One, an EP supporting the Bermuda Sloop Foundation which operates the Bermuda sloop Spirit of Bermuda.
In 2002, she self-published a 72-page book of her poetry and drawings. An album of the same name was unofficially released in March 2006, which featured Nova reading the poems from her book set to ambient music, she collaborated with the German trance artist ATB on tracks like "Love Will Find You", "Feel You Like A River" and the international hit "Renegade". In 2008, she released an album called The Jasmine Flower, a solar powered acoustic album recorded in Bermuda, before touring as an acoustic tour. In late 2010 she embarked on another European tour promoting her The Jasmine Flower album. On this tour, she played four unreleased songs that are included on her most recent album, 300 Days At Sea Produced by Felix Tod.. This full-band album was released on May 27, 2011. In late 2014, she began work on her most recent project, a new studio album called "The Way it Feels", released to critical acclaim in May 2015, her new album, will be released in Spring 2019. 1993: Glow Stars 1994: Oyster 1998: Siren 2001: South 2003: Storm 2005: Redbird 2008: The Jasmine Flower 2011: 300 Days at Sea 2015: The Way It Feels 2019: Pearl 2006: The Sorrowjoy 1993: Blow 1995: Live from the Milky Way 2000: Wonderlust Heather Nova is popular in New Zealand with "Oyster" peaking at #23 and "Siren" peaking at #18 in the RIANZ Top 40.
The single "still gets occasional radio play. 1990: Heather Frith 1993: Spirit in You 1995: Live from the Milky Way 1997: The First Recording 2005: Together as One 2011: Higher Ground 2004: Live at the Union Chapel The Sorrowjoy, ISBN 0-9542115-0-2 Official Heather Nova website Discography and song list POTSI: Heather Nova Biography POTSI: Heather Nova Discography Biography at AllMusic