Paolo Nutini Afterneath Mp3 Download
Paolo Nutini has released a new music titled “Afterneath” and it’s available here on mp3 iTunes FLAC rar zippyshare + 320kbps for your free download.
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EarthQuaker effects are a creators’ pedal company, the nuance and attention to detail really puts you in control of the effects as opposed to the other way around. I have Plumes and Afterneath on my board at every show. I love how they play off of each other. I really love gear that inspires, and I can write a new riff or song every time I put an EarthQuaker effect in my chain.
— Frank Iero, My Chemical Romance
Since today would have been John Prine’s 76th birthday (born October 10, 1946), here is Amanda Shires’ new cover of “Saddle in the Rain”.
____________________________
Saddle in the Rain
Songwriter: John Prine
I wish, I hope, I wonder
Where you're at sometimes
Is your back against the wall?
Or just across the line
Have you been standing in the rain
Reciting nursery rhymes?
Trying to recall
Some long lost kind of peace of mind
Peace of mind
Try spending the night sometime
All alone in a frozen room
Afterneath you've lain
Your Saddle in the rain
I dreamed they locked God up
Down in my basement
And he waited there for me
To have this accident
So he could drink my wine
And eat me like a sacrament
And I just stood there like I do
Then I came and went
I came and went
Like a bird in a foreign sky
Couldn't even say good bye
Or come and share the pain
My Saddle's in the rain
I saw a friend who doesn't know
If I'm his friend just yet
His eyes and mouth were widely open
And his jaw was set
Like he'd fell off a cliff
And hadn't hit the bottom yet
I wish he wouldn't pull those things on me
Without a net
Without a net
I had him up to the house one time
And we was having a real good time
Then he went and lain
His Saddle in the rain
In a laundromat not too far
From the Alamo
Sits a girl who stole my records
Very long ago
And she wishes, wants and washes
Out those dirty clothes
As she shuts her eyes and dreams
About her one eyed Joe
One eyed Joe
Car parked on a dirty road
Heaven knows the load she pulled
Couldn't take the strain
A Saddle in the rain
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A11ーJHS Pedals/Little Black Buffer(バッファー)
A12ーEarthQuaker Devices/Disaster Transport SR(MODディレイ/リバーブ)
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I must admit I had completely forgotten all about Paolo Nutini’s existence. It may have only been eight years since the Scottish singer-songwriter last released an album, but that was long enough for him to fade out of my memory altogether. That’s not for disliking his music either – although I wasn’t overly keen on his debut These Streets, there were plenty of moments on his subsequent releases, Sunny Side Up and Caustic Love, that I played a lot at the time. However, in today’s current climate of hypersonic music release schedules, taking eight years out is a big risk as there’s no guarantee you’ll be able to get back the same spot that you left behind. Thankfully for Paolo though, just a few songs were all it took to instantly remind me of why he was always such a heralded songwriter.
Whilst his last two records saw him evolve from his soul-pop origins to explore more diverse sonic landscapes, bringing in elements of jazz, country and R&B, Paolo takes things even further on his fourth album, Last Night In The Bittersweet. Across the album’s expansive sixteen track odyssey that clocks in well over an hour, he bounces between those previously deployed stylistic traits, but also throws in a few new ones as well – most notably new wave, indie rock and ambient electronica. It all makes for a dazzling, eclectic and richly textured listen, however it’s not without a few niggles.
That said, none of those niggles appear in the first part of the record, which is simply one of the best opening six track runs you’ll hear all year. Opener Afterneath begins ominously before Paolo’s vocal screeches engulf the space, carrying with them strong shades of Zeppelin-era Robert Plant. From there the track rumbles on like a freeform jam session, overlaid with Paolo’s hypnotic spoken verse and snippets of 1993 classic crime film True Romance (which Tarantino even gets a songwriting credit for here). It’s a startling beginning to the record, as Paolo then brings things back to more familiar territory with stunning soulful rock track Radio, with its glistening guitars and spine-tingling, repeated cries of “I want love.”
Lead single Through The Echoes is up next, an exquisitely crafted, stripped back love song where Paolo’s heartfelt vocals are the star of the show. Acid Eyes then might be my early favourite from the record, with its instantly memorable refrain and jangly melancholic guitars, sounding a bit like Because of the Times-era Kings of Leon. Stranded Words is then branded as an interlude but is a great track in itself, with Paolo’s Celtic tones speaking softly in a hymnal-like way over some quiet synths. Subsequent track Lose It then rounds off this incredible opening run, entering from the other end of the spectrum as a raucous guitar-driven rock track but with a tinge of gospel thrown in too.
After that though, the album does become decisively more hit and miss. Although some people will enjoy the playful throwback sounds of Petrified In Love, I really can’t get on with it at all. And then whilst tracks like Abigail, Heart Filled Up, Shine A Light and Julianne all have their moments too, they don’t light up the record in ways not already generated by the other tracks.
However, there are still plenty of gems lurking in the mid-latter half of the record too. Everywhere starts off quiet and subdued before erupting into a huge crescendo of soaring guitar riffs and soulful cries. Children of The Stars is then a wonderfully mesmeric bluesy number whilst Desperation is a pulsating Strokes-esque jittery rock track, which culminates in probably the album’s finest guitar passage. The album then eventually draws to a close with epic penultimate track, the seven-minute-long ballad Take Me Take Mine. Once your ears have wandered through its labyrinth of spacey synths and dreamy guitars, Dylan-inspired acoustic track Writer then ends the record on a heartfelt and reflective note.
My overall takeaway from this record is that you get the sense Paolo is just having fun with different sounds, and this album reflects that. The album art is even Paolo sat in a room with an array of instruments around him and that really is the record’s whole vibe - like you’re sat in a room with him as he’s playing you these songs. As a result, it can often feel more like a collection of songs than a cohesive body of work, with a strong sense of Paolo essentially just showing you what he’s been making in his time off, sometimes jumping between styles in a quite jarring fashion - but these are ultimately only minor issues.
Whilst it may be a little too long and far from perfect, on the 11 or 12 tracks where it does hit, you’ll be completely swept away by the raw brilliance of Paolo’s vocal and songwriting talents. In a quiet week for album releases, you can do much worse than an hour or so with Last Night In The Bittersweet.
Listen here
Seven Psalms by Nick Cave
Elsewhere this week, Nick Cave finally released his EP of Psalms that he wrote over lockdown. Whilst it may just be Cave sharing his words of wisdom with some subtle sonic backing from Warren Ellis for 10 minutes, fans of the pair will still no doubt enjoy these short but sweet compositions.
Listen here
Tracks of the Week
Part of the Band by The 1975
The big return this week was that of indie-pop superstars The 1975 with the first intriguing taster to their upcoming new album, Being Funny In a Foreign Language. When the lead single to their last record turned out to be the heavy 90s punk inspired track People, it did seem to open the door for the Manchester outfit to really make whatever songs they wanted – they weren’t just an indie-pop band anymore.
That said, I was still very much expecting this new single to be more in keeping with their traditional sound, especially given the mixed reception to their last album, Notes On A Conditional Form. But keeping true to themselves, this one is yet another sharp left turn – an artsy, string-tinged and quite understated track, with frontman Matty Healy lyrically found in a contemplative and nostalgic mood. If you heard this on chart radio you would probably think it was a mistake, as it is far from the typical return single you’d expect from one of the biggest pop bands on the planet.
And whilst I’m not completely enamoured with the song yet, I’m just grateful that The 1975 continue to throw curveballs like this, ignoring conventional troupes and defying public expectations at every chance they get. One thing is for certain, I’m keen to hear what’s next.
Listen here
Hate by Loyle Carner
Also making his highly anticipated comeback this week was UK rap superstar Loyle Carner, with his hard-hitting new single, Hate. Usually friendly, calm and collected, this song finds Loyle in an angry and defiant mood, as he puts the world to rights over racial inequality and injustice against an infectious piano-driven beat.
Listen here
Can’t Forget by Low Island
Over the last 12 months, there has arguably been no new band killing it quite like Low Island. Having delivered one of the best debut albums of 2021, they kept that strong momentum going with their excellent Just Another Dreamer EP released earlier this year. Now this week saw them release the brilliant first single from their forthcoming sophomore album, Life In Miniature. Charged with their electro-pop sound and lyrics surrounding the fear of growing up, it all eventually erupts into a scintillating guitar solo at the song’s climax. A sensational track from a band presently operating at the absolute top of their game.
Listen here
Eleanor by Hot Chip
Also out this week, Hot Chip continue the build to their forthcoming eighth studio album, Freakout/Release. This one features a typically playful melody, catchy chorus and some trancey dance synths, but with dark lyrics at the heart about suffering through unimaginable pain. Eight albums in and Hot Chip continue to sound as fresh and vibrant as ever.
Listen here
Passenger by Boston Manor
And finally this week, Blackpool rockers Boston Manor served up the infectious second single to their upcoming new album Datura and it is a typically rapturous anthem built on a huge chorus and some blistering heavy riffs.
Parov Stelar | Paolo Nutini bei den Jazzopen in Stuttgart 2023
Parov Stelar und Paolo Nutini spielten gestern Abend am 20. Juli 2023 im Rahmen der Jazz Open auf dem Schlossplatz in Stuttgart.
Den Abend eröffnen durfte die Berliner Musikerin THALA. Mit ihrem Dreampop hat THALA die bereits recht zahlreich erschienen Besucher der Jazz Open begeistert. Ihr Stimme hebt sich ganz sanft über ihre Songs und Melodien. Kein Wunder feiern sie auch die Briten, bei denen sie mit ihrer Debütsingle Serenade durchstartete und sogar eine UK Tour machen konnte. Wir sind uns sicher, dass wir THALA nicht zum letzten Mal in Stuttgart gesehen haben.
Um 19:00 Uhr betrat dann Paolo Nutini als erste Main Act die Hauptbühne. Mit dabei hatte der Schotte seine umfassende Band bestehend aus Gavin Fitzjohn an der Lead Gitarre sowie am Saxophon, Donato Di Trapani an den Keys, Jordi Van Fuster an der Gitarre, John Blease an den Drums, Michael McDaid am Bass, Mark Watrous an den Keys und der Gitarre sowie Oli Savill an den Percussions.
Paolo eröffnete das Set mit Afterneath, dem ersten Song auf seinem aktuellen Album Last Night In The Bittersweet und stellte sogleich unter Beweis, über welche Stimmgewalt er verfügt. Und natürlich hatte er uns als eingefleischte Paolo Nutini Fans direkt um den Finger gewickelt. Paolo Nutini zum ersten Mal live in Stuttgart - Danke Jazz Open.
Trotz dass der Front of Stage Bereich sowie die Tribühne noch genug Kapazitäten aufweisen, sind die hinteren Stehplätze gerammelt voll und das Stuttgarter Publikum feiert den 36-Jährigen, der uns während des Sets einmal durch seine gesamte Diskografie führt, wobei hier natürlich zurecht der Hauptfokus auf den aktuellen Singles liegt.
Zwischen den gefühlvollen und ruhigeren Songs wie Coming Up Easy, welches es alleine auf der Bühne und in einer Akustik Version vorträgt, schiebt Paolo Nutini gekonnt immer wieder schnellere Up-Tempo Nummern in sein Set, tanzt über die Bühne und steckt die JazzOpen Besucher damit an. Spätestens bei Petrified in Love und dem fließenden kaum merkbaren Übergang in Pencil Full Of Lead hält auch der letzte Stuttgarter nicht mehr Still und schwingt seine Hüften.
Um 22:20 Uhr ist das Konzert leider schon zuende, und Paolo verlässt mit seiner Band die Bühne. Leider auch ohne Zugabe. Für uns hätte es gerne noch weitergehen können. Jedoch muss die Bühne für den nächsten Hauptact des Tages - Parov Stelar - umgebaut werden und noch während des letztens Songs wurden am Rand der Bühne Gitarren weggeschoben.
Die Setliste von Paolo Nutini:
- Afterneath
- Scream (Funk My Life Up)
- Lose it
- Heart Filled Up
- Acid Eyes
- Coming Up Easy
- Through The Echoes
- New Shoes
- Petrified In Love
- Pencil Full Of Lead
- Take Me Take Mine
- Everywhere
- Candy
- Shine A Light
Kurz vor 21:00 Uhr gibt es dann noch ein kurzes Vorab Interview mit dem Veranstalter der JazzOpen, der uns einen kleinen Einblick hinter die Kulissen gewährt. Viele Wunsch Acts hat das Jazz Open schon von seiner Liste streichen können, an einigen sind die immernoch dran. Da sich auch Paolo Nutini zuvor wunderte, was er auf einem Jazz Festival zu suchen hat war der Satz "die Qualität ist Wichtiger als das Genre" sehr interessant.
Die Jazz Open feiern bald ihr ihr 30 Jähriges Jubiläum, und wir können gespannt sein, was sie hierfür aus dem Hut Zaubern. Die ersten Gespräche für 2024 laufen auf jeden Fall schon und wir können es kaum abwarten wer da wohl kommt.
Bevor um 21 Uhr unter großem Applaus der aus Linz stammende Electro Swing DJ Parov Stelar die Bühne betritt, wechselt ein wenig das Publikum. Die zum Teil extra aus Italien oder noch weiter angereisten Fans von Paolo Nutini werden getauscht gegen eher Ü35 Stuttgarter. Mit auf der Bühne hat Parov Stelar am Gesang Elena Karafizi und Lee Anduze als Sänger und seine Band bestehend aus drei Bläsern und Bass, Gitarre sowie Schlagzeug.
Parov Stelar selbst steht immer an seinem DJ Pult mit gefühlt dauerhaft rauchender E-Zigarette. Er hat von dort alles bestens unter Kontrolle. Insgesamt erschien uns das Set als ziemlich genau choreografiert.
Unreinheiten gibt es so gut wie keine. Die Stuttgarter lieben ihn - wahrscheinlich ist es das schwäbisch Akkurate. Seine Songs wie The Mojo Radio Gang werden vom Publikum gefeiert - eigentlich wie jeder Songs des Österreichers und es wird wild abgetanzt als gäbe es in Stuttgart sonst keine Möglichkeit sich ausgelassen zu richtig guter Musik zu bewegen.
Auch auf der Tribüne ist die Stimmung unfassbar gut und um kurz nach 22 Uhr verlässt Parov Stelar mit seine Truppe die Bühne. Unter großen Zugabe Rufen kehren sie nochmal zurück und spielen bis kurz nach 22.30 Uhr ein extra Zugabe.
Letztendlich hatten doch alle 6.600 Besucher den Abend auf ihre eigene Art und Weise genossen.
Die Bilder des Abends mit THALA (Fotos noch nicht freigegeben), Paolo Nutini (Fotografie Verbot - aber schaut euch doch die Fotos vom Konzert in Köln an) und Parov Stelar.
Mehr zu den Jazz Open oder zu Paolo Nutini
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said goodbye to my dark star and enzo this week </3
the dark star's giant pre-delay was just not workable for my current endeavors unfortunately. i'll probably get an afterneath to replace it. the enzo i just hated the knobs. too loose. and also it kept resetting my settings every time i powered it down and back on. i'm probably gonna get the dark star again one day i really like the bitcrush setting.
The influential sound machine has been used by the likes of Stevie Wonder, Herbie Hancock, Dr. Over the following decades, music technologies would explore the artistic applications of the vocoder, whose robotic vocal articulations would soon find their way into mainstream music, television, films, and games. During WWII, the US military used this advancement to electronically encode classified audio messages that could be reconstituted on the receiving end. In the 1930s, Bell Labs introduced the technology as a telecommunications device that could deconstruct the most fundamental elements of human speech and then reconstruct a new electronically synthesized voice. "The history of the vocoder is as unique as the sound it produces. The Moog 16 Channel Vocoder’s analog voice circuits, derived from the original schematic, are hand-soldered at the Moog Factory in Asheville, North Carolina to preserve the original instrument’s classic sound." Originally introduced in 1978 (and heard most famously on the title track of Giorgio Moroder’s E=MC2), the instrument has been used to transmute vocals, transform synthesizers, and electronically encode sound for decades. Allowing CV control of the Drag parameter, the Afterneath can be played melodically and constrained to different scales and pitch classes based on the selected Mode, allowing sequenced reverbs that form a counterpoint against the sounds that feed them.Ī powerful new tool for sonic exploration of the unreal, the Afterneath module marks an exciting step of one of the most interesting pedal manufacturers into the world of modular synths.Īfter more than 40 years, the Moog 16 Channel Vocoder is officially back in production. Diffused echoes bounce off distant walls, and sonic ghosts emerge from soft, washy reflections and short, chattering delays. Expanding on the original Afterneath design with additional reverb modes and the addition of CV control, Afterneath Eurorack is a great way to add some space to any Eurorack system.Īfterneath excels at reverbs that evoke a sense of unrealistically huge, empty spaces. "Afterneath is Earthquaker's first foray into producing Eurorack modules, adapting their cult classic reverb pedal into a washy, shimmering tool for modular synthesists. There really is simply too many features to list and explore here." You can get stuff out of this that you simply can't get anywhere else (or without spending huge sums of money on rare individual Blue Lantern modules). Given the ton of patchpoints and built-in modulation paths, this is a tweakers dream synth. Filter FM is there, the envelopes are loopable, and the delay parameters have cv inputs to modulate them in real time. Yes - you can have more than one selected (or all 3) at a given time.įrequency Modulation (FM) of the oscillators is possible (linear or exponential). The filter - LP, BP, and HP individually selectable. There's also Noise - with a Tune knob to adjust the kind of noise being generated. All 6 outputs have individual level controls in the mixer and a waveform selection switch.
Syntorial skip plus#
The oscillators have 2 separate waveform outputs plus a Sub-oscillator. Two oscillators, filter, 2 envelopes, 2 LFO, delay.īut that's not the whole story. Pulse Width: Go back and keep tweaking the Pulse Width until the tone sounds right.You cand find some demos of the Dwarf Star in previous posts here. Reverb: Small-medium Size, and cut out most of the Reverb’s highs so it’s just a nice warm round ambience.
Syntorial skip full#
Enough Modulation amount to create a nice bright attack transient.Īmp Envelope: Same settings as Filter Envelope but make the Decay and Release a bit longer, around 170 ms so you can hear the Filter Envelope’s full shape. And then bring the Cutoff down to around Noon, which will then be modulated by…įilter Envelope: 0 Sustain, quick Decay and Release around 110 ms. And then bring down the higher oscillator a little bit.įilter: 24 dB Lowpass. And then pan one a fair amount left, and the other a fair amount right to get that width. Both set to Pulse Waves, with a Pulse Width pretty close to square, but not quite all the way square. Oscillator: Two oscillators, one octave apart. I tinkered around with this one (awesome track by the way). The FM/sync tone may just be two Pulse Waves set at just the right width.
Album Review: 'Last Night in the Bittersweet' - Paolo Nutini
Paolo Nutini really is the Carmen Sandiego of the music world. Just where in the world was he all these years?
The truth isn’t really as dramatic or mysterious as you might think: He travelled, gave random performances in random bars and clubs, wrote, listened to a lot of records during the pandemic, had his heart broken…
‘The realities of doing this and the whole experience doesn’t feel entirely natural to me,’ Nutini told Rolling Stone. ‘I’m not the most extroverted person, but when you’re on a stage you find yourself opening yourself up in that way. The more vulnerable the better, too, when you’re trying to give your audience a piece of you and you’re hoping to get something back. Once that ends, I’ve always had to recalibrate my fucking brain.’
And now, the Scottish singer returns to remind us why he’s in a class of his own on fourth album, Last Night in the Bittersweet, traversing incredibly vast sonic terrain while trying to make sense of the past eight years.
‘Afterneath’ kicks off the record with a wild howl in the darkness, a killer cut of Zepplin-fuelled post-punk that delivers seductively menacing threats while sampling audio snippets from Quentin Tarantino’s 1993 film, True Romance (‘I look back and I'm amazed/That my thoughts were so clear and true/That three words went through my mind endlessly/Repeating themselves like a broken record/You're so cool’). It’s sex and vengeance all rolled into one and, wow, I wanna listen to it over and over again.
Nutini’s thick Scottish drawl also shines through on interlude ‘Stranded Words,’ evoking the feel of a traditional Celtic paean, and the grimy, Krautrock-inspired ‘Lose It.’ ‘I could not seem to find/A way out of my worried mind,’ he admits while backed by a rousing choir, pounding the pulpit like some sort of rambling beatnik preacher before reaching a state of transcendence.
‘Desperation’ longs for escape, with a breezy, infectious energy that channels the bewitching majesty of Fleetwood Mac. ‘Petrified in Love’ is the kind of Beatles-esque, paisley-printed joy born to soundtrack an offbeat romcom montage (a compliment, I swear). ‘Children of the Stars’ is acid-tinged psychedelia that praises a ‘woman of wonder’ who moves restlessly and carefree.
Yet Last Night in the Bittersweet is very much indebted to the agonies and ecstasies of love, much more dreamy-eyed and introspective in comparison to the longing and lust of Caustic Love.
‘I want love, I want love,’ Nutini sighs on the late-night coastal rock of ‘Radio,’ riding that bassy, smooth FM kind of groove. He declares himself a ‘hopeless romantic’ on the phenomenal ‘Heart Filled Up,’ a Radiohead-style slow burn that just builds and builds until it explodes into a stunning, synth-fuelled aurora, adding hints of whimsy with piping horns and celestial bleeps.
‘Acid Eyes,’ meanwhile, sees the singer pining for a lover who’s moved to Mexico, conjuring up a vivid slideshow full of buzzing cicadas and memories melting on broken flowers. A brooding post-rock lament, the track was originally intended as a duet with Danielle Haim, but Nutini was too ‘anxious’ to ask, which is strangely endearing.
The ghostly post-rock of ‘Shine a Light’ has him laying content in another’s arms, unable to speak or think. On the country-dusted ‘Abigail,’ he’s envisioning domestic bliss, the sort that’ll make any girl listening wish it was them.
The record is raw, anxious and unpredictable, but Nutini’s penchant for old-school soul still remains.
Recent single ‘Through the Echoes’ already feels like a timeless classic, a pandemic-era ballad that combines the yearning soul of Otis Redding with the classic rock reverence of Creedence Clearwater Revival. ‘Everywhere’ recalls big band showstoppers like ‘One Day’ and ‘No Other Way’ from 2009’s Sunny Side Up, Nutini basically tearing his heart out to give us one of his best vocal performances yet.
Last Night in the Bittersweet ends with a trifecta of gut-wrenching ballads, bringing plenty of romantic regret to the fore.
The string-laced, Lennon-esque’ heartbreaker ‘Julianne’ bids farewell to an old love, making peace in a soft haze of swirling psychedelics. ‘Take Me, Take Mine’ is sweeping lounge jazz, Nutini’s voice so achingly tender at times, that it threatens to break as he begs a lover to take his peace of mind in place of their own.
‘Writer,’ however, is a rich, varied summation of the past eight years. ‘And I wanna thank you, for all that its cost you,’ he sings over weathered guitar, ‘For being the most beautiful part of my life,’ before bidding ‘thank you, good luck and goodnight,’ emerging from the experience weary, but much more clear-eyed and hopeful.
From anyone else, Last Night in the Bittersweet would be too long, too bloated and too experimental.
But in Nutini’s hands, it’s a sprawling magnum opus. It takes a couple of listens for it to truly sink in, but when it does, it’s truly euphoric.
Produced alongside longtime collaborators Dani Castelar and Gavin Fitzjohn, the singer expands his oeuvre in new and charmingly batshit ways, which helps to give the record a raw, analogue feel, as if it were all performed live in the studio. The storytelling is goddamn poetry, turning existential crises and romantic confessions into gold spun hooks; the arrangements truly sublime as Nutini & co. build walls upon walls of sound.
Although still criminally underrated, Nutini is at a rather enviable point in his career, able to present a record as diverse as this to his label and not be at the mercy of algorithms or trends; producing tracks that already sound timeless. Even his social media presence is limited to just promo stuff. In a sea of disposable pop, he’s a truly old-school act.
Hope we don’t have to wait another eight years for the next album…
PedalPCB Deflector reverb which I believe is based on the EQD Afterneath.
Only had a quick play with it but immediately dialled in some great ambient, trippy swells that sound really unique in terms of reverb. The controls seem really interactive and tbh I’m not sure what they all do at this point so will be fun to have a proper play with it but early signs are very promising!
Etched with NaOH and sprayed black and holosparkle then clear coated.