Last month, All We Are teased their return with the blistering ‘Burn It All Out’. It was the Liverpool-based trio’s first new music since their self-titled debut in 2015 and today, they share the news about their forthcoming second album and a video for the single ‘Human’.
Sunny Hills will be released on June 9th through Domino, produced by Kwes (Solange, Kano, Loyle Carner) it finds the band with a new sense of urgency and a new sound - one that takes in psychedelia, krautrock and post-punk.
Directed by Eoin Glaister, the video is part one of a trilogy about a small village having to face a developer building a motorway through the middle of it. At first, it causes issues between the residents but they begin to learn that by joining forces they stand a better chance against the developers. The video stars Thomas Gray as the motorway developer.
All We Are are Guro Gikling from Norway (vocals, bass), Luis Santos from Brazil (guitars) and Richard O’Flynn from Ireland (drums/vocals). It hasn’t escaped them that the world seems to be spiraling into a period of darkness and through their music; they want to say it’s ok not to belong and it’s ok to feel different.
The resulting Sunny Hills is an irresistibly danceable, dark yet uplifting record about what it means to be alive right now and the power of friendship and togetherness in a world intent on driving us apart.
The artwork echoes this sentiment, the band explain “it shows an old house sandwiched between two large buildings under development. The woman who owned the house refused to sell to a number of developers including Donald Trump. She resisted for years while the developers even bought the space above the house. She finally won the case and stayed there for a further decade until her death. Before that, she watched Donald Trump’s casino fail and close its doors. There is a feeling of powerful resistance in this story that we relate to along with a real sense of defiance and eventual victory against a bigger power.”
Whilst political, Sunny Hills also documents the emotional rollercoaster the three-piece have been on in the past two years. Their adopted city Liverpool affected the album as well, it’s “an immigrant city with a proud history of welcoming everyone” they state, it’s also a singularly radical and resistant city and the band see a parallel between today’s climate of alienation and fear and the era of Thatcher.
Political, poetic, danceable and affirming - for all the proud citizens of nowhere, All We Are give you Sunny Hills.
Sunny Hills is available to pre order on special edition vinyl with a stencilled sleeve (available at Dom Mart and independent stores), vinyl, CD and digital. Additionally, initial copies of the special edition vinyl bought from Dom Mart will be signed.
Known for their thrilling live shows, All We Are have announced a UK tour including London’s Moth Club and have been confirmed for Glastonbury Festival as well.
All We Are live dates
30th April – Festevol Gardens, Liverpool
20th May – Royal Circus, Brussels
26th May – Dot to Dot Festival, Manchester
27th May – Dot to Dot Festival, Bristol
28th May – Dot to Dot Festival, Nottingham
14th June – Moth Club, London
15th June – Clwb Ifor Bach, Cardiff
16th June – Brudenell Social Club, Leeds
17th June – Think Tank, Newcastle-upon-Tyne
18th June – Stereo, Glasgow
21st- 25th June - Glastonbury Festival, Somerset
13th – 16th July – Latitude Festival, Suffolk
31st Aug – 3rd Sept – End of the Road Festival, Dorset
1st-3rd September – Electric Picnic Festival, Co Laois, Ireland
John Cale will re-issue the classic live album Fragments of a Rainy Season, featuring his revered interpretation of Leonard Cohen’s ‘Hallelujah’ amongst many solo versions from his enduring catalogue and previously unreleased outtakes, on December 9th 2016 through Double Six / Domino.
Alongside the announcement, Cale has shared a new video for ‘Hallelujah’, directed by Abby Portner – watch it now below and read more on his version as featured on Malcolm Gladwell’s Revisionist History below.
Revisionist History: Hallelujah by Malcolm Gladwell
The following transcript is taken from the ‘Revisionist History’ podcast ‘Hallelujah’. Reproduced with the kind permission of Malcolm Gladwell.
One night, Cohen is playing this version at the Beacon Ballroom in New York and the musician John Cale happens to be in the audience. Cale is a legend, used to be in The Velvet Underground, a really pivotal figure in the rock ‘n roll avant-garde. He hears this song come out of Cohen’s mouth and he’s blown away. So he asks Cohen to send him the lyrics. He wants to do a version of it. So Cohen faxes him fifteen pages – who knows what the lyrics actually are at this point! Cale says, that for his version, he took the “cheeky” parts. He ends up using the first two verses of the original combined with three verses from the live performance. And Cale changes some words – most importantly, he changes the theme and brings back the biblical references that Cohen had in the album version.
Cale is really the one who cracks the code of Hallelujah according to Alan Light. This cover version appears on a Leonard Cohen tribute album put together by a French music magazine – it was called “I’m Your Fan”- came out in 1991. Almost nobody bought “I’m Your Fan”, except, weirdly, me. I think I found it in a remainder bin in a little record store on Colombia Road in Washington, DC. Another person who bought “I’m Your Fan” was a woman named Janine, who lived in Park Slope in Brooklyn. She was good friends with a young aspiring singer named Jeff Buckley. He used to house sit at her apartment. And one time, when Buckley’s there, he happens to see the CD of “I’m Your Fan” – he plays it – he hears John Cale’s version of Hallelujah and decides to do his own version of that version. He performs it at a tiny little bar in the East Village called Sin-e where he happens to be heard by an executive at Columbia Records. So Columbia Records ends up signing Buckley and he records his version of Hallelujah for the album ‘Grace’ which ends up being Buckley’s first, and only, studio album. It came out in 1994.
Now I’m guessing that Buckley’s version is the one you’re most familiar with – it’s the famous one, the definitive one. It’s not really a cover of Leonard Cohen’s ‘Hallelujah’, it’s a cover of John Cale’s cover of Leonard Cohen’s ‘Hallelujah’ only with Cale’s piano swapped out for a guitar and of course, Buckley swaps out Cale’s voice for his own extraordinary voice.
Fragments of a Rainy Season is the the first live John Cale album to feature him performing solo and "unplugged" – before that term became a mid-'90s buzzword.
In contrast to the jaundiced punk truculence of Sabotage/Live (1979) or Even Cowgirls Get the Blues (1986), Fragments gives us Cale at his most melodic and moving, a mellowed and certainly a soberer man in a Yamamoto jacket and a lopsided haircut running through a selection of his prettiest songs.
It's a Cale many of us love deeply, a man alone at a concert-hall Steinway revisiting the pop-rock of 'Paris 1919' and 'A Child's Christmas in Wales', as wistful and whimsical as any '70s singer-songwriter holding court at L.A.'s Troubadour club.
On Fragments of a Rainy Season – fragments of pain from a long and sometimes mystifying career – the rain comes down in buckets.
Fragments of a Rainy Season will be released on limited edition triple gatefold 12” vinyl, standard double 12” vinyl, double CD and digital download.
Pre-order on limited edition triple gatefold 12” vinyl from Domino Mart HERE
Pre-order on standard double 12” vinyl from Domino Mart HERE
Pre-order on double CD HERE
Pre-order digitally HERE