John Cale announces a new album, “Poptical Illusion,” out June 14th.

Photo Credit: Madeline McManus

Today, John Cale announces his new albumPOPtical Illusion, out June 14th via Double Six / Domino, and shares its lead single/video, “How We See The Light.” Despite the album’s playful title, Cale’s second album in just over a year still contains the same feelings of fierce and inquisitive rage that were present in Cale’s much-lauded 2023 album MERCY, “a deeply atmospheric collection about encroaching doom and the life-saving power of art and community” (Wall Street Journal). He remains angry, still incensed by the willful destruction that unchecked capitalists and unrepentant conmen have hoisted upon the wonders of this world and the goodness of its people. But this is not at all MERCY II, or some collection of castoffs, as throughout his career of more than six decades, Cale has never been much for repetition. His vanguard-shaping enthusiasms have shifted among ecstatic classicism and unbound rock, classic songcraft and electronic reimagination with proud restlessness. And so, on POPtical Illusion, he foregoes the illustrious cast to burrow mostly alone into mazes of synthesizers and samples, organs and pianos, with words that, as far as Cale goes, constitute a sort of swirling hope, a sage insistence that change is yet possible. Produced by Cale and longtime artistic partner Nita Scott in his Los Angeles studio, POPtical Illusion is the work of someone trying to turn toward the future – exactly as Cale always has.
 
Lead single, “How We See The Light,” is one of the most beautiful and redemptive tracks in Cale’s catalogue, featuring pulsing pianos shifting in and out of phase with steadfast drums, all while assorted whorls of noise billow in the background. Cale considers another relationship’s end and sees it not as a waste of time, but as a chance to learn, an opportunity to get to somewhere unexpected. “Can I close another chapter in the way we run our lives?” he sings, the curious curl of his voice suggesting this is the first time he’s ever asked that. “More decisive in the future, or deliberate in the end?” This longing is reflected in the song’s video, which presents Cale collaborating once again with Pepi Ginsberg, a director noted for “[adding] depth to an already unfathomable piece of art” (FADER) on their previous work together.

 
Watch John Cale’s Video for “How We See The Light”

Cale has often said that something shifted inside his mind during the pandemic, realizing that, nearing 80, he was living and working through something that many of his past contemporaries weren’t. He wanted to document it. He wrote more than 80 songs in a period of a little over a year, collectively surveying the range of human experience in the process—humor bled into frustration, regret gave way to forgiveness, sadness tangled with surrealism. What’s more, Cale has never relegated himself to the old guard, to sitting on the sidelines and kvetching about modernity and the way things used to be done. The classically trained violist who studied with John Cage and Aaron Copland has long been a hip-hop zealot, especially the creative ways it wields technology to create multi-dimensional textures or build surprising melodies. POPtical Illusion synthesizes those emotions and enthusiasms into a dozen electronic playgrounds, Cale’s magisterial voice webbing across it all with puns and insights, grievances and quips, and some version of truth.
 
John Cale has always been a musician of the times, helping to usher in titanic shifts in sound and culture. The bleeding edge drones of his Sun Blindness Music opened the path to The Velvet Underground. The frantic rock of Fear and Slow Dazzle, not to mention his production with Patti Smith and the Stooges, framed a half century of punk, post-punk, and art-rock to come. And his curiosity about the way electronics could be more than a gimmick in rock music served as an inspiration to an uncountable number of crucial scenes. Once again, on POPtical Illusion, Cale stands as a musician of these times. He looks at the orchestrated turmoil of recent history, furrows his brow in disgust, and then turns on his heels toward a future, even if he—like all of the rest of us, really—doesn’t know just what he’ll find or who exactly he’ll be there. He’s simply happy to be going toward it all.
 
POPtical Illusion will be available on 2xLP, CD, and digitally. The Domino Mart pink & mint vinyl 2xLP edition pressing of 1000 includes a 7″ featuring 2 exclusive tracks, and a POPitem – a limited edition illusionary twirling paper Objet.

 
Pre-Order POPtical IllusionDomino Mart | Digital

Keep your mind open.

[Don’t forget to subscribe while you’re here.]

[Thanks to Jessica at Pitch Perfect PR.]

John Cale salutes 1970s New York City on his new single, “Night Crawling.”

Photo by Marlene Marino

Today, John Cale presents “Night Crawling,” his first new music since 2020 when he released the single, “Lazy Day,” and collaborated with Kelly Lee Owens on “Corner of My Sky.” “Night Crawling” is a taste of much more to come from Cale, and precedes his fall UK tour, which includes his first performances since pre-pandemic (more to come on the touring front in 2023, as well). Cale wrote “Night Crawling” with a nod to ’70s NYC pre-disco, recalling times when he and David Bowie would traverse the city at night. Throughout the track, Cale layers his inimitable vocals with a skipping beat and hovering bass. As it expands, it becomes nearly danceable with jockeying percussion and whirs of synth. Cale played nearly every instrument on the track, aside from additional drums by Deantoni Parks and backing vocals by Dustin Boyer, and it was mixed by Seven Davis, Jr.. The accompanying video, animated by Mickey Miles, visualizes the song’s vibrant sounds with colorful, retro animation.
 
Cale further explains: “It’s been a helluva past 2 years and I’m glad to finally share a glimpse of what’s coming ahead. There was this period around mid-late ’70s when David and I would run into each other in NY. There was plenty of talk about getting some work done but of course we’d end up running the streets, sometimes until we couldn’t keep a thought in our heads, let alone actually get a song together! One night we managed to meet up for a benefit concert where I taught him a viola part so we could perform together. When I wrote ‘Night Crawling,’ it was a reflective moment of particular times. That kind of NYC that held art in its grip, strong enough to keep it safe and dangerous enough to keep it interesting. I always figured we’d have another go at the two of us recording together, this time without the interference of being perpetually off our heads! The thing about creating music is the ability to divine a thought or feeling even when reality says it’s a logical impossibility.”

Watch John Cale’s Video for “Night Crawling”

John Cale Tour Dates
Sun. Oct. 23 – Edinburgh, UK @ The Queen’s Hall
Mon. Oct. 24 – York, UK @ Barbican
Fri. Oct. 28 – Cardiff, WLS @ Llais Festival *
Mon. Oct. 31 – Whitley Bay, UK @ Playhouse Whitley Bay
Thu. Nov. 3 – Birmingham, UK @ Birmingham Town Hall
Mon. Nov. 7 – Bexhill on Sea, UK @ De La Warr Pavilion
Wed. Nov. 9 – London, UK @ The London Palladium
Thu. Nov. 10 – Cambridge, UK @ Cambridge Corn Exchange
Fri. Nov. 11 – Liverpool, UK @ Liverpool Philharmonic Hall
 
* = John Cale + special guests, 80th Birthday Celebration

Keep your mind open.

[Crawl over to the subscription box while you’re here.]

[Thanks to Jessica at Pitch Perfect PR.]

Review: Kelly Lee Owens – Inner Song

It takes guts to open your new album with a Radiohead cover, but that’s exactly what Kelly Lee Owens does on her (no shocker, if you’d heard her amazing self-titled debut – which was my top album of 2017) excellent new record, Innner Song. Owens has stated in press releases that Inner Song follows “the hardest three years of my life,” and one could view the record (and her) as a phoenix rising from ashes.

That aforementioned Radiohead cover is “Arpeggi” (from 2007’s In Rainbows) and she starts it with subtle, humming bass that’s almost subliminal. Owens sings about letting go of things in the past that cannot be fixed on “On” – which has her voice moving and sounding like birds released from a cage. It builds into a thumping, bumping floor-filler. Owens excels at tracks like this that take you on a journey from peaceful meditations to booty-shaking workouts.

“Melt!” – a song about global warming that samples collapsing glaciers and people ice skating – deserves to be on every DJ’s hot list of dance tracks this year. “Free yourself with the truth that’s already in you,” Owens sings on the haunting “Re-Wild.” It’s advice all of us can use, and Owens’ use of echoing synths helps it sink in like acupuncture needle. “Jeanette” is all bouncy synths and beats that make you want to dance and then hug everyone and then dance some more.

“L.I.N.E.” (“Love Is Not Enough”) has Owens realizing that “love is not enough to stay…love is not enough alone” as she walks away from a dead-end relationship with someone offended by truth. “Corner of My Sky” features none other than John Cale on vocals singing and speaking poetry over Owens’ lush synths. “Night” blends house, ambient, and chill wave, and “Flow” is perfectly named as it bumps, grooves, sways, and, yes, flows along like a happy balloon bouncing down the street on a summer wind. The album ends with sort of a reverse lullaby on “Wake-Up.” The soft song is great for relaxation, but Owens tells us (and herself) to open our eyes and move forward (the only direction we can move in this life, really).

That fact that Owens could create an album as lovely as Inner Song after “the hardest three years of my life” is a testament to her fortitude. I’m glad she made it through the trials and came out, like a phoenix, stronger.

Keep your mind open.

[Don’t forget to subscribe while you’re here.]

[Thanks to Jessica at Pitch Perfect PR.]

Kelly Lee Owens teams up with John Cale for “Corner of My Sky.”

Producer/musician Kelly Lee Owens collaborates with John Cale on a foreboding new single, “Corner Of My Sky (feat. John Cale),” from her forthcoming album Inner Song, out August 28th on Smalltown Supersound. The two Welsh artists first met in London while working on a song for Cale, which prompted a future collaboration for Inner Song. In “Corner Of My Sky,” Cale sings in both English and Welsh over Owens’ droning, psychedelic lullaby. The track follows a string of previously released singles and videos – “On,” “Night,” and “Melt!

Cale comments, “It’s not usually this immediate that a productive afternoon brings a satisfying conclusion to a task. Kelly sent me a track she’d written – an instrumental that was a gentle drift – something comfortably familiar to what I’d been working on myself. On the first listen, the lyrics came with ease and a chorus and melody grew out of it. Even the Welsh phrases seemed to develop from a place of reflective memory which was a surprise since I hadn’t written in Welsh for decades. Once finished, I realized there existed a built-in thread we’d created together and apart – and her kind spirit pulled it all together and in quick order.”

Owens elaborates, “I knew with this album I needed to connect with my roots and therefore having the Welsh language featured on the record felt very important to meOnce the music for the track was written and the sounds were formed, I sent the track straight to John and asked if he could perhaps delve into his Welsh heritage and tell the story of the land via spoken-word, poetry and song. What he sent back was nothing short of phenomenal. The arrangement was done during the mixing process and once I’d finished the track, I cried – firstly feeling incredibly lucky to have collaborated with John and his eternal talent and secondly for both of us to have been able to connect to our homeland in this way.” 

Listen to Kelly Lee Owens’ “Corner Of My Sky (ft. John Cale)”

Inner Song is the follow-up to Owens’ self-titled debut, which was recognized as one of the most critically praised albums of 2017Inner Song finds Owens diving deep into her own psyche—working through the struggles she’s faced over the last several years while embracing the beauty of the natural world. Sonically, Inner Songs hair-raising bass and tickling textures drive home that Owens is locked into delivering maximal aural pleasure, whether it be on a techno banger, a glimmering electro-pop number, or a Radiohead cover. 
Watch “On” Video

Listen to “Night”

Watch “Melt!” Visuals

Keep your mind open.

[Why not subscribe while you’re here?]

[Thanks to Jessica at Pitch Perfect PR.]

Levitation Austin 2019 recap – Day Three

We would spend about twelve hours in downtown Austin on the third day of Levitation Austin 2019. We had tickets to see a lot of bands, and it was the busiest day of the festival for everyone involved.

We began at, once again, Barracuda, where the RidingEasy Records showcase started off the afternoon. We missed the opening of Warish‘s set due to having to eat lunch beforehand at a nearby Thai restaurant. We knew we’d need fuel for the day. Warish was blaring on the inside stage, making my wife say, “There’s nothing ‘ish’ about it!” Their cover of Nirvana‘s “Negative Creep” was solid and much-appreciated.

Next up, and outside, were Here Lies Man, whose last two albums have been in the top ten of their respective years for me. They put on a groovy set to a crowd that was loving their heavy “Black Sabbath plays Afrobeat” sound and the warmer weather.

My wife became a fan of Blackwater Holylight after we went back inside to see their set. It was a cool, trippy, and sexy mix of psychedelia.

She also appreciated the killer set by The Well, who were among the band’s I was most excited to see at the festival. They threw down one of the best sets I’ve seen all year. It was hard-hitting, solid groove stoner-doom metal and a great mid-day lift.

We kept that theme going with Acid King, who flattened what little was left of the outside stage by now. It was great to see and hear these legends live. They still shred.

It was a quick walk to Stubb’s BBQ to see the Black Angels and John Cale. The Black Angels put on another fine set. I’ve lost count of how many times I’ve seen them live now, and they never put on a bad show.

“I think we’re more excited than you are,” said the Black Angels’ lead singer, Alex Maas, before John Cale took the stage to play tracks that ranged from fun to creepy and covered his solo work and Velvet Underground cuts. The Black Angels joined him and his band onstage for an encore performance of “Sister Ray” that was a thrill for everyone on stage and in front of it.

The Black Angels (left) and John Cale and his band perform “Sister Ray.”

As cool as that was to see and hear, we still had more sets to catch. We zipped back to Barracuda to see Night Beats and Cosmonauts. Night Beats were first, with Danny Blackwell rocking his awesome hat as usual, and they put on a great show on the outdoor stage. Blackwell is a gunslinger with his guitar. I’d almost forgotten how much he shreds.

I’d heard good things about Cosmonauts’ live sets, mostly that they were guitar onslaughts. That description wasn’t far off, because they shook the walls of the building and were a great end cap to a long, wild day.

We were exhausted by the time we got back to the garage apartment we were renting in Austin, but it was a fun day. The next would bring death by audio.

Keep your mind open.

[Don’t forget to subscribe.]