#Rozi Plain

[dustedmagazine]

Tim Clarke’s 2023: Ears on the Prize

1. Rozi Plain — Prize (Memphis Industries)

Even though it was released way back in January, Prize is such an understated album that it nearly slipped under my radar completely. It popped up on some mid-year lists, including that of Dusted’s Margaret Welsh. The initial hook for me is that Rozi Leyden plays bass in This is the Kit (see my #3), but I had no idea she wrote and released her own music. From initial listens I was utterly beguiled, the economy of the songwriting and the richly colorful arrangements drawing me into obsessive repeat listens. Prize is a supremely absorbing and gently uplifting album, and one that I’ve played and enjoyed more than any other this year. Its beauty and clarity gradually reveal subtle, intoxicating depths.

2. Jana Horn — The Window is the Dream (No Quarter)

If Prize dominated my listening in the second half of 2023, it was The Window is the Dream that took pride of place in the first half — and it was one of my picks in the Mid-Year Exchange. They’re similarly oblique and alluring albums, but Horn’s record is shot through with a shadowy disquiet that seems to evoke a love gone sour. The chemistry among Horn’s band, especially the standout turn from electric guitarist Jonathan Horne, is truly something to behold, and elevates this superficially simple album into another realm entirely.

3. This is the Kit — Careful of Your Keepers (Rough Trade)

Rozi Leyden has played a key role in not one but two of my favorite albums of the year. The second is This is the Kit’s Careful of Your Keepers, notably produced by Super Furry Animals’ Gruff Rhys. Rhys shepherded the long-standing indie-folk band to create their best album to date, on which Kate Stables’ intimate songwriting is given a fresh, expansive dimension.

4. Wilco — Cousin (dBpm)

It was producer Cate Le Bon’s involvement in Wilco’s latest that piqued my interest, but thankfully Jeff Tweedy and co. have also brought their A-game on this one. Supposedly conceived pre-pandemic and then shelved, Cousin is a gloriously deep and emotionally engaging album from a band who have always seemed, to me, on the verge of creating something great, but never quite get over the line. With Le Bon’s help, Cousin takes a confident step beyond.

5. Pile — All Fiction (Exploding in Sound)

It’s taken for granted that Pile can dole out cathartic, noisy guitar records, but All Fiction feels different. Rick Maguire, Alex Molini and Kris Kuss maintain the electric dynamic they’ve always possessed, but shift their focus onto making the music between the crescendos more immersive and textural. It works brilliantly.

6. Meg Baird — Furling (Drag City)

Furling was released so early in the year, and so much great music has been released since, that it’s easy to forget just how good it is. As noted in my Dusted review, “Baird’s voice is an instrument of rare beauty, simultaneously assured and elusive, like a soft-focus Sandy Denny wandering in a fever dream.” When you situate such a voice within some of Baird’s best songs to date and embellish them with sensitive playing by her partner, Charlie Saufley, you’ve got a record of enduring beauty.

7. Devendra Banhart — Flying Wig (Mexican Summer)

Flying Wig is the second album on this list to be produced by Cate Le Bon. Here, Le Bon’s aesthetic is writ large, from the melancholy drift of the synth arrangements to the heavily modulated saxophone parts. Through it all Banhart sounds acutely lonely, while also luxuriating in the beauty of his musical backing. It’s a heady vibe, that’s for sure.

8. King Krule — Space Heavy (XL)

There are few musicians who simultaneously come across as hopelessly spaced out and gutturally pissed off at the same time. Archy Marshall is one of them, and his latest album drifts even further into dislocation and bewilderment than 2020’s stellar Man Alive!

9. Arrowounds — In the Octopus Pond (Lost Tribe Sound)

No other album released this year has quite sounded like Arrowounds’ In the Octopus Pond. It’s a singular and immersive blend of ambient and post-rock that evokes exemplary reference points such as Bark Psychosis, Dif Juz, and The World On Higher Downs. And if you enjoy this, Ryan Chamberlain has released another three albums this year, each venturing in a different direction.

10. Cory Hanson — Western Cum (Drag City)

Wand’s Cory Hanson put out his excellent second album, Pale Horse Rider, in 2021. It features a little six-string extroversion here and there, but doesn’t quite prepare the listener for album number three. Western Cum is Hanson in full guitar-hero mode; his playing is absolutely blistering. Though nothing on the album quite surpasses early single “Housefly” for sheer wind-in-your-hair thrills, Western Cum is a supremely enjoyable rock record, built to be played loud.

Also excellent (in alphabetical order):

Activity — Spirit in the Room (Western Vinyl)

Daniel Bachman — When the Roses Come Again (Three Lobed)

BCMC — Foreign Smokes (Drag City)

Califone — Villagers (Jealous Butcher)

James Ellis Ford — The Hum (Warp)

PJ Harvey — I Inside the Old Year Dying (Partisan)

Tim Hecker — No Highs (Kranky)

Blake Mills — Jelly Road (New Deal / Verve Forecast)

The Necks — Travel (Northern Spy / Fish of Milk)

Andy Shauf — Norm (Anti-)

#dusted magazine #yearend 2023 #tim clarke #rozi plain #jana horn #this is the kit #wilco #pile #meg baird #devendra banhart #king krule #arrowounds #cory hanson

[sinceileftyoublog]

This Is The Kit & Gruff Rhys Live Show Review: 10/19, Lincoln Hall, Chicago

This Is The Kit's Kate Stables

BY JORDAN MAINZER

On This Is The Kit's latest album Careful Of Your Keepers (Rough Trade), Kate Stables asks many questions without expecting answers to all of them. "When are we gonna get there, when are they?" "If we're holding hands, will we walk at the same speed?" "Boy, I'm talking to you, are you listening?" Okay, maybe that last one is easy (he's definitely not listening), but for the most part, Stables' philosophical quandaries and mantra-like repetitions are metaphors for the uneasy and paradoxical nature of relationships and time. "This is a how shit is this measuring stick," she sings, tongue twisted, on album opener "Goodbye Bite", having difficulty pinpointing exact beginning and ending points of certain eras in her life. If vagaries are the name of the game for This Is The Kit, the band's live performance last Thursday at Lincoln Hall brought to life, via instrumentation, Stables' gently agitated state.

This Is The Kit's Stables and Rozi Plain

Take "Goodbye Bite", and its concoction of sinewy guitars, bass, synth, and woodwinds: When you're listening to it, it feels like it's encircling your brain, threatening to wedge its way in. Stables, bassist Rozi Plain, guitarist Neil Smith, and drummer Lucien Chatin made sure it finally did when presented live, with a looser structure. Holding it all together, though, was Stables' voice, smoky in contrast to the wiry guitars of "Slider", seeming like it wanted to leap off the page on "Stuck in a Room", a song about wanting to leave where you are but having to stay. Stables' deft delivery sported the stamina of an MC, but over the band's taut music, it sounded like it was bursting at the seams. The elastic-rigid dynamic made its way to even old songs, like on the interplay between Stables' spritely banjo and Chatin's controlled toms on "Bullet Proof".

This Is The Kit

I should emphasize one more time: Just because Stables--and really, almost all people--has trouble quantifying abstractions like time, doesn't mean the band can't show off their tightness. On the Nick Drake lilt of "This Is When The Sky Gets Big", Stables and Plain staggered their harmonies to stunning effect. "Inside Outside" captivated with a jazzy groove. Really, the main image on "Scabby Head and Legs", that of a pigeon who holds eggs too tight and breaks them, seems like a warning signal for the band itself, who instead follow Stables' repeated advice of "cutting once, measuring twice." Yet, they break the rules when they want to, as long as they know that they're breaking the rules. Or, as Stables sings on "Dibs", "Let's pretend to not know that we're out of time."

Gruff Rhys

Though This Is The Kit's growth is certainly organic, enlisting Gruff Rhys of Super Furry Animals as producer on Careful Of Your Keepers is as natural a match as I can remember in recent memory, his experimental whimsy bringing out just enough circular strangeness to the band's sound. Lucky for us, Rhys gave an opening set on Thursday, which meant that he did come out to do backing vocals on a couple TITK songs like on the record. It also meant we got to hear some unreleased songs from his upcoming album Sadness Sets Me Free, the title track, "Bad Friend", and the already released "Celestial Candyfloss" among them. That Rhys played mostly an acoustic set meant he didn't give away what the new songs sound like on record. For one, he admitted to not knowing them very well. The finger-picked guitars on "Celestial Candyfloss" are totally overshadowed by the orchestral chamber pop of the studio version. Sure, some back catalog highlights, like "Lonesome Words" and the metronome-laden "If We Were Words (We Would Rhyme)", were not far cries from their respective studio versions. But Rhys was able to play with volume and his ever-changing distance from the microphone to create a sonic spaciousness on "Pang!" and the melancholy hum of "Shark Ridden Waters". Best, these versions may eventually see the light of day, as Rhys claimed he was recording for a live album, as he held up title cards to a surprisingly sparse crowd that said things like, "Generic audience reaction" so we knew when to cheer. He didn't have to, though. Those of us who were there knew it wouldn't be every day we'd be able to witness two forcefully creative entities on the same night: Our cheers were constant.

#live music #this is the kit #gruff rhys #lincoln hall #rough trade #lucien chatin #careful of your keepers #kate stables #rozi plain #neil smith #nick drake #super furry animals #sadness sets me free

[punkgodzilla]

Most listened albums over the last month

#skrillex #caroline polachek #laura nyro #bruno pernadas #lil yachty #lucinda williams #gustavo cerati #mitski #12 rods #stereolab #wilco #rozi plain #bob marley #frou frou #strawberry switchblade #big thief #lana del rey #the avalanches #ween #yo la tengo #boldy james #cardiacs

[senorboombastic]

a/s/l: This Is The Kit

Remember the days of the old schoolyard? Remember when Myspace was a thing? Remember those time-wasting, laborious quizzes that everyone used to love so much? Birthday Cake For Breakfast is bringing them back!  Every couple of weeks, an unsuspecting band will be subject to the same old questions about dead bodies, Hitler, crying and crushes.   This Week: Ahead of releasing new album ‘Careful Of…

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#Birthday cake for breakfast #Careful Of Your Keepers #Get Dressed For Success #Gruff Rhys #Inside Outside #Kate Stables #la répétition #Moonshine Freeze #More Change #Northern Exposure #Off Off On #Rozi Plain #Sonic Protest #This Is The Kit

[pseudohendrix]

Painted the Room - Rozi Plain

2023

#music video #new music #indie #rozi plain #memphis industries #Youtube

[koekjesdorst]

🎥 Rozi Plain (Live from Low Four Studio)

#rozi plain

[rachelminetti]

the weekly #12

all i can see is the pollen fucking me up 

so much of this puts me back in 2021, a time i didn’t think, but could have figured, i would be nostalgic for in the future. and now future me is craving the mix of menthol juul pods and a saltwater pool. a busy street emptied out by 7:16 in the evening, the sun is orange, melting into red, pouring over the potholes and jumping the curb. may is getting close enough to plan out its days.

i’ve been drinking martinis after work, neglecting my journal, relying on zyrtec. waiting for time to loop itself back around, to bring me anything but this solitude that’s latched onto my weeknights. 

principia - en attendant ana

principia, 2023

honey - good sad happy bad

shades, 2020

pollen song - tennis

pollen, 2023

complicated - rozi plain

prize, 2022

time machine #2 - hiroshi fujiwara

slumbers 2, 2020

honey and smoke - case/lang/veirs

case/lang/veirs, 2016

unwrapped, ungiven - spent

umbrella wars - EP, 1996

#the weekly #playlist #case/lang/veirs #tennis #en attendant ana #good sad happy bad #hiroshi fujiwara #rozi plain #spent #Spotify

[nelit]

Help by Rozi Plain

#rozi plain #music #:))

[dukedebut]

new album every day [15.01.23]

Rozi Plain - Prize

Plain's first album release in four years, Prize is a really relaxing and INCREDIBLY atmospheric lo-fi album. the album itself, i think, is a very easy one to listen to - something you could definitely have on in the background as study/focus music. with that said, there's a complexity to these songs that also demand your attention! there's a little something here for all types of listeners, but these songs were my favourites:

Complicated

i think a lot of songs on this album have a real hidden depth, but i must say that i think this idea is encapsulated best in Complicated. the repeating guitar and drum rhythm carry you through what, to me, feels like a forest walk of a song - peaceful, but with a subtle complexity that is undeniable! the layered vocals used throughout the song are beautiful, and the lyrics speak to the subversion that shines through this album - pleasant, easy listening on the surface, but with a little more depth, if you're willing to pay attention.

Conversation

one of the shortest tracks on Prize, Conversation does a great job of saying a lot using a little, the very clear throughline on this album. layered vocals - similar to those i described in Complicated - are used to emphasise the point "move the conversation on", which brings to mind the idea of trying to skirt past uncomfortable conversations, or thinking it best to leave certain things unsaid. a really fascinating narrative, and one that helps cement Conversation as a pretty distinctive song on the album as a whole!

Standing Up

there's something about this song that i find really entrancing. maybe it's the instrumental swells that occur between the verses, or the synthy melodies that trickle by occasionally in the background. either way, i fell in love with this song immediately, and only fell further in love with it at every passing second! the lyrics - again! - are quite simple, while also conveying a deeper message - to me, it feels like a song about the feeling of being on the cusp of change, and being prepared to face it. a beautiful song on all fronts!

--

i think what Plain has done here is, frankly, fantastic. the songs are pleasant, but subversive, and offer a huge amount to listeners on both the surface and in digging deeper. the composition on these songs is complex, and Plain's musical style is immediately apparent - i think Prize is an incredibly creative album, and i can't wait to see what else i get from it as i listen to it again and again!

#music #new album every day #rozi plain

[newmusickarl]

New Year, New Music – Welcome to 2023!

I’m not going to lie, 2022 may have been one of my favourite years for music since I started my blog back in 2013. Every week last year, there seemed to be great album after great album dropping, with lots of my favourite artists of recent years releasing career best efforts, or at the very least solid additions to their expanding discography. More than anything else though, there were some great new artists to discover.

Whether it was artists like Gang of Youths or Kevin Morby who may have been around for years but I was only newly introduced to in 2022, or breakout acts like Bob Vylan, The Haunted Youth and Opus Kink, it was a year that showed the future of music is shining bright. In the end though, it was two veteran artists at the top of their game that were jointly awarded my Album of the Year title, with rap stars Kendrick Lamar and Little Simz sitting atop the throne by the end of December (have a flick through my blog archives if you want to read more!).

So with 2022 being such a strong year and a lot of my favourite artists dropping albums, I had in my mind that 2023 might be a bit of a quieter year by comparison. However, if January is anything to go by, it seems this next 12 months could easily match up to 2022 if this current pace continues. 2023 may not even be a month old yet, but it has already delivered a mountain of great new music to feast upon – here’s the songs and albums I’ve enjoyed the most across the first few weeks of the year.

Album & EP Recommendations

Prize by Rozi Plain

There is no album I have enjoyed more in January then this gorgeous fifth album from Winchester-based, alt-folk musician, Rozi Plain. Having not been familiar with Rozi’s previous work, the album landed on my “to-listen” pile through seeing numerous positive reviews for this latest opus. It would remain there for a few weeks, before Twitter pal Joe (@jackabouting) gave me the nudge to finally dive in – and I’m so glad I did.

The first stretch of the record will pull you in right away, with the magical instrumental flourishes of Alabaster Deplume collaboration, Agreeing For Two, majestically gliding across your headphones. Before long, the whirring organs of Help and sparkling acoustic splendour of Prove Your Good then wash through to put you completely under this record’s spell. That said, it is the second half where my favourite moments occur, with the synth-driven pulse of tracks like Painted the Room and Standing Up beautifully complimenting Rozi’s soft whispery vocals. If I was to pick just one standout though it would be Sore, with it’s hymnal-like vocal harmonies and utterly entrancing orchestral sways – without a doubt, one of the best songs I heard all January.

This is a simply stunning album from start to finish, one that will grab hold of you tightly and fill your ears with beautifully woven, intricately crafted arrangements.

Listen here

Gigi’s Recovery by The Murder Capital

The Dublin music scene has been set alight by post-punk in recent years, with Fontaines D.C. of course leading the charge. However following closely behind is The Murder Capital, who have successfully built on their roaring debut with their more mature and accessible sophomore outing, Gigi’s Recovery.

Whilst the similarities and comparisons to Fontaines are inevitable, Gigi’s Recovery feels like The Murder Capital breaking away and starting to forge their own voice. After short ominous opener Existence, the album kicks off properly with the spiralling vortex of Crying, which actually has more in common with Primary Colours-era The Horrors than their Irish compatriots. The whirlwind indie rock of Return My Head and the menacing jangle of The Stars Will Leave Their Stage impress early on, before the album hits a peak bang in the middle.

The Lie Becomes The Self is undoubtedly my favourite here, a moody, vulnerable piece which sees James McGovern’s passionate vocals take centre stage, surrounded by stripped-back, atmospheric guitars. At one point towards the end there is a nod back to Crying with the same riff flickering in the background. It really highlights the band’s maturing songwriting capabilities, with A Thousand Lives then continuing the album’s strong purple patch with its hard-hitting snares, spacey vocals, glistening guitars and invigorating outro. The near six-minute title track then sees the band continue to boast their rhythmic chops, before acoustic closer Exist brings the album wonderfully full circle.

As someone who really struggled with The Murder Capital’s debut I’ve taken to Gigi’s Recovery straight away, with arguably more parallels to the likes of Nick Cave & The Bad Seeds and Radiohead here than their contemporaries from the post-punk scene. An album I’ve already returned to several times over, this one is a big step up in class for the Irish band and another of my favourite records of the last couple of weeks.

Listen here

Derealised by Jadu Heart

Back in 2019 (which was another exceptionally strong year for music) dream pop duo Jadu Heart made a lifelong fan out of me with their incredible debut Melt Away, a record that would go on to finish 11th in my final Album of the Year list. However as is always the case with having such a strong, captivating debut, matching that record’s magic was always going to be a tough ask and although I still enjoyed parts of follow-up Hyper Romance, I never quite took to it the same way.

Now back with their third album Derealised, this one has already kept me returning more than their previous effort. With Cocoon and Blame setting things alight early doors, the swirling, distorted guitars on tracks like Freedom, I Shimmer and Derealisation bring welcome shades to the hazy sounds of 90s alt-rock.

So whilst it has still not captured me quite like their debut, it’s great to see Jadu Heart continue to evolve. Although this record feels like it could do with tightening down slightly, maybe being a couple of tracks shorter, there’s also plenty of enjoyable moments here to keep you coming back. It’s also made me want to revisit their second album to see if I hear anything I missed three years ago - always a positive sign.

Listen here

Cautionary Tales of Youth by Låpsley

As a big fan of the ambient electronica of Låpsley’s second album Through Water, I was keen to hear if her third record would have the same impact. I’m pleased to say it does, as Cautionary Tales of Youth sees the English singer-songwriter share feelings of romance and domestic unease, along with describing her lockdown adventures across the album’s blissful twelve tracks. If you are looking for a chilled-out record to stick on in the background or get lost in on your headphones then this is the one for you, with tracks like the Msaki featuring Close to Heaven, Pandora’s Box and Lifeline all standing out.

Listen here

Cacti by Billy Nomates

“Now with the previous record for reference, the growth on Cacti is immediately ear-catching. Thanks to Maries’ middle-class upbringing and her experiences of trying to fit into an office setting while yearning for a more creative outlet, she is poised to explode onto the scene with a rooted base that’s often lacking in an industry built upon backroom handshakes of connected parents who have come before.

Not only have Maries lyrics matured, but so has the music. Cacti still revolves around the slinky bass and drum machines of her debut, but now the keyboard synths and guitar textures are given more room to breathe. Maries once again recorded most of the album at home, but teaming up with co-producer James Trevascus, who has worked with fellow badass women like PJ Harvey, pays off with a more expansive, warmer scope this time around.”

Read Kiley Larsen’s full review here

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Turn The Car Around by Gaz Coombes

“Turn The Car Around finds Coombes on a new level though, leaving behind the rollicking snot-nosed days of being “Caught By the Fuzz” in favor of effervescent fully-fledged observations by someone who has lived a few lifetimes since the height of Brit Pop fever. 

Whether it’s the title track or the Bowie-esque grooving “This Love,” much of the record deals with a marriage’s transition from early excitement to navigating everyday domesticity, and Coombes is determined to sing his way out of the stagnation - it’s easy to find yourself rooting for him with this lovely record. Turn The Car Around and the record’s January release fits the mood perfectly, as it’s the kind of thoughtful singer-songwriter record that demands full attention while pushing through the itchy sweater months. Oh, and don’t forget your good headphones, thanks to co-producer Ian Davenport’s warm and inviting mix.”

Read Kiley Larsen’s full review here

Listen here

Lobes by We Are Scientists

“We Are Scientists' eighth studio album Lobes has been presented as a sister album to 2021’s Huffy and is best described as a late-night synth-heavy record designed for post-midnight city driving. Speaking to Psychedelic Baby Magazine, Keith Murray recognises their new direction, describing it as being “more electronic, dancier, ambitious in their production and arrangements, but still easy as hell to down like a spectacular, fruity cocktail on a light-up dance floor.” It’s hard to disagree, Lobes has so many earworms in its arsenal. The late-night aspired sound sees We Are Scientists explore unfamiliar funky territory. They may be removed from their garage rock origins, but the record just sounds so refreshing, the band able to escape the one-dimensional criticisms which often followed them in the past.

We Are Scientists new late-night vision finds the perfect balance in its retro disco feel and futuristic synth-pop style. Despite the change in approach, the charisma and punchiness still remain. All in all, it slaps...pretty hard for the most part. The underappreciated heroes of the indie sleaze era are here to bring a little mood and light to your evening.”

Read Matt McLister’s full review here

Listen here

Also worth checking out: Every Loser by Iggy Pop, Atomic Mango Drive (DJ Mix) by Hot Chip, Higher Lonely Power by Fireworks, Geodesic by Weak Moves, Frightful Places EP by Frightful Places

Tracks of the Week

Emily I’m Sorry by boygenius

Rumours began swirling when their name appeared on this year’s Coachella line up, but it has now been confirmed that the trio of Julien Baker, Phoebe Bridgers and Lucy Dacus will deliver their much-anticipated debut album this March. Five years on from their much-loved EP and several star-making solo albums later, everyone’s favourite indie rock supergroup finally returned with three brand new tracks to serve as the first sampling of The Record.

There is the raw, grunge thrusts of $20 and the emotional soar of True Blue, but it’s Emily I’m Sorry that is my personal pick of the bunch so far. Led by Phoebe and backed by a light sprinkling of strings, when the trio’s harmonies come together for the chorus swells the goosebumps on your arms and neck are sure to stand on end.

Listen here

Tropic Morning News by The National

Another huge return, indie darlings The National also announced their ninth studio album will land this April, intriguingly titled The First Two Pages of Frankenstein. Even more intriguing, we already know it will feature collaborations with heavyweight stars like Sufjan Stevens, Phoebe Bridgers and Taylor Swift.

Tropic Morning News is the first taste of the record and while it very much sticks to the usual National playbook, that’s not necessarily a bad thing. Co-written with Matt Berninger’s wife Carin, it’s a depression fuelled belter that comes alive midway through thanks to a vintage Dessner guitar solo.

Listen here

UK Grim by Sleaford Mods

The UK’s most productive band announced their twelfth studio album will be arriving this March, with aggressive, electro-driven opener and title track the first taste. With Jason Williamson taking no prisoners as he unleashes his sardonic fury on the current state of Tory Britain, it’s best experienced with the accompanying Cold War Steve animated music video.

Watch the video here

Love From The Other Side by Fall Out Boy

Finally this week, pop punk royalty Fall Out Boy also announced their first new album in five years this month. Titled So Much (For) Stardust, it also arrives this March and we have already had two teaser singles to give our first taste of their new material. My pick of the two is Love From The Other Side, which will serve as the album’s opening track and raises the curtain with a flurry of classical strings and piano. It doesn’t take long for the full-throttle guitar riffs to crash in, forging a dramatic and ultra-catchy returning anthem for the veteran outfit.

Listen here                                                                        

Also out, also great: Fold by Bonobo & Jacques Greene, (pls) set me on fire by Enter Shikari, Modernise by The Slow Readers Club, Get Out of My House by Miya Folick

#new music #best new music #song recommendation #album recommendations #rozi plain #prize #agreeing for two #billy nomates #gaz coombes #we are scientists #boygenius #phoebe bridgers #the national #fall out boy #sleaford mods #the murder capital #lapsley #album of the week #song of the week #Youtube

[radiomax]

Friday 1/13/23 9pm ET: Feature LP: Rozi Plain - Prize (2023)

Friday 1/13/23 9pm ET: Feature LP: Rozi Plain – Prize (2023)

Rozi Plain is a London-based musician originally from Winchester, England. Rozi Plain was born Rosalind Leyden in Winchester, England, in 1986. In 2006 she moved to Bristol to study art, and she participated in the Cleaner Records group there. She recorded two records published by King Creosote’s Fence Records, Inside Over Here (2008) and Joined Sometimes Unjoined (2012). In 2012 she moved to…

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#Feature LP #RadioMax #Rozi Plain #Wikipedia

[weirder-fishes]

Standing Up by Rozi Plain

#rozi plain #prize #standing up

[senorboombastic]

“You have so much to learn when you collaborate with other people” - An interview with Rozi Plain

Words: Andy Hughes The preamble for this interview has literally been derailed in the past 24 hours with the news that Rozi Plain, the Winchester raised artist of solo adventures and This Is The Kit fame, will be opening up for Paramore this spring! Bloody nora! Alright, right back down to earth. You see, before that massive slice of news received this week, there was a slightly smaller matter…

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#Agreeing For Two #Alabaster DePlume #Birthday cake for breakfast #Cole Pulice #Complicated #Dinked #Lost Map Records #Memphis Industries #Painted The Room #Prize #Rozi Plain #Silent Fan #Total Refreshment Centre #What A Boost

[sinceileftyoublog]

Rozi Plain Album Review: PRIZE

(Memphis Industries)

BY JORDAN MAINZER

Take a listen to English musician Rozi Plain’s discography over the past decade and a half, and you can hear it as a precursor to a lot of today’s best jam-jazz-folk fusion. After touring her 2019 album and Memphis Industries debut What A Boost, she spent a week on the Isle of Eigg recording new music with Jamie Whitby Coles and Gerard Black; lockdown persisted, and what was supposed to be an EP became a full-fledged album’s worth of material. PRIZE, the result, is chock full of contradictory feelings, divergent instrumentation, and ambiguous wordplay, the perfect soundtrack to reemergence.

What immediately stands out on PRIZE is its qualities, namely warmth and playfulness. Lead single and opening track “Agreeing For Two” is an effective microcosm of the record as a whole. With words in reference to empathy and humility, Plain sings beneath a swaying melody, staccato guitars, panning synths, Alabaster dePlume’s buttery saxophone, Black’s springing piano, and backing vocals from This Is The Kit’s Kate Stables. “If nothing’ll do, it’s nothing we’ll do,” Plain winks, supportive and in solidarity of whoever she’s simply existing with. She knows that humans are imperfect. On “Prove Your Good”, she, Coles, Black, and banjo player Rachel Horwood gently chant, “What do we want? / Less / Do you want more? / Yes,” confident in only their confusion atop layers of disintegrating guitar that mirror their state of mind. On the off-kilter “Help”, Plain sings, “If it’s a feeling that’s going / When it goes, you won’t even know,” not quite a mantra, not quite absurdist, fitting comfortably between instruments that emulate other instruments, like Cole Pulice’s saxophone swelling like an orchestra and James Howard’s guitar processed like an accordion.

PRIZE is also forward thinking and reflective at once. Though to these ears it mostly fits within Plain’s already prescient discography, it prominently adds electronics and further percussion to the mix. Danalogue of The Comet Is Coming duels with Black on “Painted The Room”, transforming a pulsating trip hop song into a solo-laden shuffle. Synths waver around Eiichi Shimasaki’s steel drums on “Complicated”. On the retro end of the spectrum, “Sore” recalls the drama of Aughts-era Baroque indie, highlighted by Emma Smith’s weepy violin and Yoshino Shigihara’s choral harmonies, while “Spot Thirteen” is like a Hail to the Thief jazz freakout, dePlume’s honking saxophone recalling live Bon Iver-era Colin Stetson. It’s these tracks that are the most effective on PRIZE. That is, when the words coming out of your mouth are enigmas, it’s best to let your music express itself to the fullest.

#rozi plain #album review #memphis industries #Eiichi Shimasaki #prize #what a boost #jamie whitby coles #gerard black #alabaster deplume #this is the kit #kate stables #rachel horwood #cole pulice #james howard #danalogue #the comet is coming #emma smith #yoshino shigihara #hail to the thief #bon iver #colin stetson

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Rozi Plain - Help (Official Video)

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Rozi Plain - Painted the Room

#Rozi Plain