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BECCA STEVENS — WONDERBLOOM (March 20th 20, 2020)BECCA STEVENS — WONDERBLOOM (March 20th 20, 2020)  BECCA STEVENS — WONDERBLOOM (March 20th 20, 2020) 
BECCA STEVENS — WONDERBLOOM (March 20th 20, 2020)♦  Vroucí a oduševnělá „Never Mine“ fascinuje jedinečnými zvuky a vokálními harmoniemi. Vyznačuje se krásnou instrumentací s lehkými bubínky a bicími, zatímco se bez námahy mísí s bolavými texty Beccy Stevens. Dalším vrcholem je „Response to Criticism“. Řez bere z LP kompletní U~Turn s hrubšími kytarovými riffy a ohyby. Přináší stejný sametový pocit jako pocta The Black Keys pro Junior Kimbrough v písni „Chulahoma“.
♦  „Halfway“ je také obtížné definovat, ale svítí nádhernou harfou, která se prolíná s vícevrstvými syntézami. Stopa, která dokazuje, že Stevens je skutečná umělkyně, která stále zpochybňuje svůj sound. Album uzavírá upřímným „Heather’s Letter to her Mother“, napsaným pro Heather Heyerovou, 32letou pokojnou demonstrantku, zabitou při bílé nacionalistické rally v Charlottesville v roce 2017. Je to dojemný kousek, který nakonec končí sborem dětí.
♦  “I HOPE TO FIND SOLACE, INSPIRATION, ORIGINALITY, AUTHENTICITY, HUMANNESS, FEARLESSNESS, GROUNDED~NESS, SPIRITUALITY, AND RAW EMOTION” 
Born: June 14, 1984, Winston~Salem, U.S.
Location: North Carolina ~ Brooklyn, NYC
Album release: March 20th 20, 2020 
Hair / Makeup : Me
Styling : Kara Kirkland 
Graphic Design : Katie Corman / Me 
Record Label: GroundUP
Duration:     53:52
Tracks:
01. Low on Love   3:11
02. I Wish   2:52
03. Between Me & You   3:21
04. Good Stuff   3:36
05. Slow Burn   3:17
06. Charlemagne   3:03
07. I Will Avenge You   3:46
08. You Didn’t Know   4:40
09. True Minds   5:33
10. Feels Like This   3:11
11. Never Mine   3:37
12. Response To Criticism   3:20
13. Halfway   4:28
14. Heather’s Letter to Her Mother   5:57
Review
CHANTEL DIAZ | MARCH 16, 2020 | 83%
https://gigsoupmusic.com/reviews/album-reviews/becca-stevens-wonderbloom/  
ABOUT:
Since making her debut with the 2008 album Tea By Sea, singer~songwriter/multi~instrumentalist Becca Stevens has tested the limits of musical identity, mining everything from jazz to Irish folk to indie~rock in her striving for complete and authentic expression. In her latest musical endeavor — the five~track EP WONDERBLOOM and a soon~to~follow full~length of the same name — the North Carolina~bred, Brooklyn~based artist again defies all expectation, this time dreaming up a groove~heavy, dance~ready sound infused with elements of pop and funk and R&B. But despite its brighter textures and uptempo rhythms, WONDERBLOOM finds Stevens achieving a profound complexity in her lyrics, ultimately redefining what’s possible in creating music that elevates and edifies.
Centered on the captivating vocal presence she’s showcased as a member of David Crosby’s Lighthouse Band, WONDERBLOOM telegraphs an unabashed joy that Stevens partly attributes to the project’s production. In a bold new turn for her musical career, Stevens co~produced and co~engineered WONDERBLOOM alongside Nic Hard (Snarky Puppy, Ghost~Note, The Church), overseeing every aspect of the recording and claiming a sense of agency that had long eluded her in the studio.  “Nic and I truly worked as equals, trusting each other to get the job done, and it was an incredibly empowering experience for me,” she says.
In another major departure, Stevens purposely brought a communal sensibility to the making of WONDERBLOOM — an undertaking that resulted in more than 40 musicians contributing to the album, including Vulfpeck guitarist Cory Wong, longtime collaborator Jacob Collier, and all of her Lighthouse bandmates (keyboardist Michelle Willis, Snarky Puppy bandleader Michael League, and David Crosby himself). “My earlier records were all written by me, arranged by me, then performed by me and my band,” says Stevens. “But going into making this one, I made a rule for myself that anytime I had the instinct to turn inward and tough it alone, to instead stay open and share the process. And each time I did that, I was rewarded tenfold by what we all created together. Even with so many collaborators, the end result feels more honest than ever.”
In selecting songs from the dozens of demos she’d recorded in recent years, Stevens landed on 14 tracks rooted in her finely detailed, emotionally layered storytelling. “Some of the stories are very personal, some are from other people’s lives, and the rest are a bit more like fantasy,” she says. Co~written with Grammy~nominated musician Kaveh Rastegar, WONDERBLOOM’s lead single “Good Stuff” represents the album’s autobiographical component, emerging as a distinctly timely anthem. “It’s a song about things I’ve gone through in my career, and the struggles that so many women face in this industry,” Stevens says. Proving her ingenuity as a songwriter and performer, Stevens transforms those struggles into a triumphant pop epic, channeling a radiant confidence in her vocal delivery and embedding the song with soul~stirring gospel harmonies — which is actually just 64 layers of Michael Mayo singing in 50 different personalities/vocal timbres.
A far more darkly toned track, “I Will Avenge You” shows the immense depth of Stevens’s imagination. “That was inspired by a script that Michael Showalter sent me for a pilot he was directing/producing called ‘In The Dark,’ explains Stevens, referring to the actor/producer who directed the Oscar~nominated 2017 film The Big Sick. “The show is about an alcoholic/self~destructive blind woman who’s determined to solve the murder of a young drug dealer who saved her life.” With its jagged guitar work and mesmerizing vocal performance, “I Will Avenge You” attains a cinematic intensity all on its own, gracefully unfolding as a narrative of irrepressible power and raging passion. 
While much of WONDERBLOOM embodies the sheer effervescence of tracks like “Good Stuff,” the album ends on the heavy~hearted meditation of “Heather’s Letters to Her Mother” — a beautifully slow~building piece written for Heather Heyer, the 32~year~old woman killed while peacefully protesting at the 2017 white-nationalist rally in Charlottesville. “David Crosby and I were on the tour bus one day, and he challenged me to find a song in the moment when Heather met the driver of the car that took her life… that these two humans should have met in some other way… any other way,” Stevens remembers. “After trying a thousand approaches to the song, I ended up thinking of the lyrics as little messages from Heather to her mother, leading up to the event and then finally from beyond the grave asking her mother to finish what she started.” Quietly heartbreaking and ineffably tender, the starkly arranged six~minute track takes on a subtle hope as a choir of children (including Stevens’s nieces and nephews and Hard’s teenage daughters, as well as Crosby, Willis and Michael “Maz” Maher) lend their voices to the song’s breathtaking finale.
All throughout WONDERBLOOM, Stevens imbues her songs with unfiltered emotion, an effect achieved through equal parts spontaneity and intentionality. “From the beginning I set a goal for myself to be more direct, both lyrically and musically,” she says. “I have a tendency to overthink and over~edit, but for this record I really challenged myself to just say what I wanted to say and leave it at that.” Driven by a desire to “create music that allows and inspires me to be real, raw, and human when I perform it,” Stevens sometimes introduced a deliberate physicality into her performance. In recording the album~opening “Low on Love,” for instance, she conjured the track’s delicate ennui by lying down on the studio floor. “I was depressed and run ragged when I recorded my original home demo, so it felt right to get back to that energy tracking the song in the studio,” says Stevens.
Although most of WONDERBLOOM came to life in Brooklyn, Stevens journeyed to Los Angeles, North Carolina, and France in order to capture certain performances. Those travels included a trip to Paris to work with harpist Laura Perrudin, where the two musicians spent five days holed up in Perrudin’s apartment. “Laura is like some kind of mad~scientist fairy,” Stevens says. “She’d sit there turning knobs on her pedals, then take a shish~kebab skewer and put it to the strings and whack it with a padded drumstick, and suddenly it sounded like Satan’s cocktail party or something. “Laura created so many other worldly sounds like nothing I’d ever heard before.”
In reflecting on the six~month~long process of recording and producing WONDERBLOOM, Stevens recalls the relentless focus and often 18~hour workday with an unequivocal fondness. To that end, the album’s title nods to the Titan Arum, a plant whose singularly massive cluster of flowers takes a staggering eight years to blossom. “What inspires me about the Titan Arum is how hard it works and how long it takes to bloom, and how beautiful the payoff is,” says Stevens. “It’s about working for the long game rather than instant gratification, and resisting that temptation to get hung up on all the little things on the way to something great.” 
For Stevens, the most glorious payoff in WONDERBLOOM lies in her utter delight in the album’s outcome. “This is the first record that I feel inspired to dance to, and I think that has everything to do with how much I shared the experience as I went along,” she reveals. And with the release of WONDERBLOOM, Stevens hopes that her audience might feel a similar lightening of the spirit. “I feel very strongly that music is a lifting force, and that many people don’t realize how deeply we need that right now,” she says. “I would love for people to have fun to this album, and to enjoy it in happy times and in sad times — the same way I find strength in all my favorite records.”
Review by Simon Redley. Awesome Zone: https://musicrepublicmagazine.com/2020/03/becca-stevens-wonderbloom-groundup-music-20th-march-2020/ 
Website: https://www.beccastevens.com/ 
Twitter: https://twitter.com/beccastevensbsb/ 
FB: https://www.facebook.com/BeccaStevensBand/ 
Label: https://groundupmusic.net/artists/beccastevens 
Interview:
https://kaput-mag.com/stories_en/becca-stevens-i-hope-to-find-solace-inspiration-originality-authenticity-humanness-fearlessness-grounded-ness-spirituality-and-raw-emotion/ 

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Morgan1
Zuzana Mikulcová — Slová
The Fratellis — Half Drunk Under A Full Moon (8th May, 2020)
The Fratellis — Half Drunk Under A Full Moon (8th May, 2020)
Cocteau Twins — Victorialand (April, 1986, Reissue 2020)
Coloured Clocks — Flora (May 2, 2020)
I Break Horses — Warnings (08 May 2020)
Hawkwind — Acoustic Daze (25 Oct. 2019)
Indoor Voices — Animal (Feb. 14, 2020)
I Break Horses — Chiaroscuro
Einstürzende Neubauten — Alles In Allem (May 29th, 2020)
100 Gecs — 1000 gecs (May 31, 2019)
Evergreen — Overseas (15 Jun 2018)
Kurt Rosenwinkel Trio — Angels Around (May 8, 2020)
The Feather — Room (10 July, 2020)
Eyvind Kang — Ajaeng Ajaeng (May 1, 2020)
Eyvind Kang — Ajaeng Ajaeng (May 1, 2020)
Kaitlyn Aurelia Smith — The Mosaic of Transformation (May 15, 20
Kaitlyn Aurelia Smith — The Kid (October 6, 2017)
Mr. Alec Bowman — I Used to Be Sad & Then I Forgot (May 1, 2020)
György Ligeti — Lontano (22. Oct.,1967)
OWEN PALLETT — Heartland (March 3, 2014)
Badly Drawn Boy — Banana Skin Shoes (22nd May, 2020)
A.O. Gerber — Another Place to Need (May 22, 2020)
Kaleidoscope — Faintly Blowing (11 April 1969, Reissue, Remaster
Perfume Genius — Set My Heart On Fire Immediately (15th May 2020
Perfume Genius — No Shape (5 May, 2017) BC
Perfume Genius — No Shape (5 May, 2017) FC
Sungazers — Wasting Space (May 18, 2020)
Cermaque — Lament (22nd May, 2020)
Mountaineer — Bloodletting (May 22nd, 2020)
Jetstream Pony — Jetstream Pony (May 22, 2020)
Steve Earle — Townes (May 8, 2009)
Steve Earle & The Dukes — Ghosts of West Virginia (May 22, 2020)
Sixth June ‎— Trust (17 Jan 2020)
White Tail Falls — Age of Entitlement (May 29, 2020)
Weyes Blood — “Wild Time” from Titanic Rising
Nicole Atkins — Italian Ice (29 May 2020)
Deerhoof — Future Teenage Cave Artists (May 29, 2020)
Deradoorian — Find the Sun (Sept. 18, 2020)
Bob Dylan — Rough and Rowdy Ways (June 19th, 2020)
The Magnetic Fields — QUICKIES VINYL BOX SET (June 19, 2020)
The Magnetic Fields — QUICKIES VINYL BOX SET (June 19, 2020)
This Will Destroy You — Vespertine (June 9, 2020)
Jake Blount — Spider Tales (May 29, 2020)
Jake Blount — Spider Tales (May 29, 2020)
Yoko Ono, Kim Gordon & Thurston Moore — YOKOKIMTHURSTON
Psychic Markers — Psychic Markers (29 May, 2020)
The Memories — Pickles & Pies (May 29, 2020)
Songs for the Late Night Drive Home (Feb. 5, 2016)
Spc Eco — Dark Matter (Nov. 20, 2015)
SPC ECO — June (June 1, 2020)
Yves Tumor — Heaven to a Tortured Mind (April 3, 2020)
Norah Jones — Pick Me Up Off the Floor (June 12th, 2020)
Larkin Poe — Self Made Man (June 12th, 2020)
Ezra Furman — Sex Education [Original Soundtrack] (April 24, 202
Endless Field — Alive in the Wilderness (June 12, 2020)
Wesley Gonzalez — Appalling Human (June 12, 2020)
Noveller — Arrow (June 12, 2020)
Kim Myhr & Australian Art Orchestra — Vesper (17.04. 2020)
Kim Myhr & Australian Art Orchestra — Vesper (17.04. 2020)
Andrej Šeban — Triplet (March 22, 2019) inner cover
Andrej Šeban — Triplet (March 22, 2019) cover
The Crossing & Donald Nally — James Primosch: Carthage (05/2020)
Jerskin Fendrix — Winterreise (April 17, 2020)
Zoongideewin — Bleached Wavves (June 19, 2020)
ULRICH SCHNAUSS — A Long Way To Fall — Rebound (3rd April, 2020)
Sports Team — Deep Down Happy (5th June, 2020)
Wrekmeister Harmonies — We Love to Look at the Car (2020)
Midlake — Antiphon (Nov. 4, 2013)
ANASTASIA MINSTER — Father ©Michael Haley
Jessie Ware — Glasshouse (Deluxe; 20 Oct 2017)
Teen Daze — Morning World
Jessie Ware — What’s Your Pleasure (June 26, 2020)
Art Feynman — Half Price At 3:30 (June 26th, 2020)
Bo Ningen — Sudden Fictions (26th June, 2020)
Khruangbin — Mordechai (June 26, 2020)
Pottery — Welcome to Bobby’s Motel (June 26th, 2020)
Orlando Weeks — A Quickening (June 12, 2020)
John Craigie — Asterisk the Universe (June 12, 2020)
Kavus Torabi — Hip to the Jag (May 22, 2020)
Nadine Shah — Kitchen Sink (June 5, 2020)
Paul Weller — On Sunset [Deluxe Edition] (3rd July, 2020)
Corb Lund — Agricultural Tragic (June 26, 2020)
Christine Ott — Chimères (pour ondes Martenot) (May 22, 2020)
The Beths — Jump Rope Gazers (July 10th, 2020)
Ashley Paul — Window Flower (May 13, 2020)
Grey Daze — Amends [Deluxe Edition] (July 3, 2020)
Grey Daze ©Photo credit: Anjella / Sakiphotography
Ajimal — As It Grows Dark / Light (June 26, 2020)
Ajimal — As It Grows Dark Light (June 26, 2020)
Eleanor Friedberger — Rebound (May 4th, 2018)
ELEANOR FRIEDBERGER — NEW VIEW (January 22, 2016)
Immigrant Union — Judas (June 19, 2020)
Julianna Barwick — Healing Is a Miracle [Japan Edition] (2020)
Neil Young & Crazy Horse — Colorado (Oct. 25, 2019)
Neil Young — Homegrown (19th June, 2020)
The Jayhawks — XOXO (July 10, 2020)
Joy Division — Closer (40th Anniversary) [2020 Digital Master] (
Daniel Bachman — The Morning Star (July 27, 2018)
Daniel Bachman — Green Alum Springs (June 6, 2020)
Becca Mancari — The Greatest Part (June 26, 2020)
Ytamo — Vacant (June 12, 2020)
Bright Eyes — Down In The Weeds, Where The World Once Was (Aug.
Thin Lear — Wooden Cave (24th July, 2020)
Devendra Banhart — Vast Ovoid (July 24, 2020)
Cub Sport — LIKE NIRVANA (24 July, 2020)
Sara Serpa — Recognition (June 5th, 2020)
Sara Serpa, Ingrid Laubrock, Erik Friedlander — Close Up (2018)
Klara Lewis — Ingrid (1st May 2020)
Buju Banton — Upside Down (June 26, 2020)
Son Lux — Learning Structures vol. 1~4 (Oct. 11th, 2019)
learning structures, vol. 3 distance between us (Oct. 11, 2019)
learning structures, vol. 2: end firma
learning structures, vol. 3: distance between us
The Boomtown Rats — Citizens of Boomtown (13 March, 2020)
Ralph of London — The Potato Kingdom (19th June, 2020)
Mike Polizze — Long Lost Solace Find (July 31, 2020)
Land of Talk — Indistinct Conversations (July 31, 2020)
The Heliocentrics — Infinity Of Now (Feb. 14, 2020)
TANYA DONELLY: Swan Song Series bonus tracks (FC)
The Heliocentrics — Telemetric Sounds (Aug. 7, 2020)