Ezra Furman - Goodbye Small Head
MickHead
13.02.2025 - 15:39
Die amerikanische Singer-Songwriterin und Art-Pop Musikerin "Ezra Furman" aus Chicago, Illionis, kündigt für den 16.05. das 10. Studioalbum "Goodbye Small Head" an. Es folgt auf "All Of Us Flames" von 2022.
Erster Song "Grand Mal"
https://www.youtube.com/watch?v=tf_WUNZDHoE
"Goodbye Small Head" bei Bandcamp:
https://ezrafurman.bandcamp.com/album/goodbye-small-head
Sloppy-Ray Hasselhoff
13.02.2025 - 17:06
Take off your Sunglasses immmer noch leiwandster Scheiß. So etwas wie you got it von Roy Orbison in Blue Velvet ohne Dennis Hopper.
MM13
13.02.2025 - 18:28
schöner song,vorfreude ist gross!
Armin
13.02.2025 - 18:58- Newsbeitrag
Ezra Furman veröffentlicht am 16. Mai
das neue Album "Goodbye Small Head"
(Label/Vertrieb: Bella Union/Rough Trade)
Die erste Single "Grand Mal" ab sofort im Stream,
die Videopremiere ab 18.00 h hier
Ezra Furman kündigt heute die Veröffentlichung ihres neuen Albums "Goodbye Small Head" an, das am 16. Mai über Bella Union erscheint und hier vorbestellt werden kann. Goodbye Small Head ist Furmans zehntes Studioalbum und der Nachfolger von All Of Us Flames, das im August 2022 unter allgemeinem Beifall veröffentlicht wurde. Passend zur heutigen Ankündigung hat Furman die cineastische, von Streichern getragene erste Single „Grand Mal“ zusammen mit einem von Eleanor Petry gedrehten Video veröffentlicht, in dem sie die Hauptrolle spielt. Das Video wird heute um 18.00 Uhr auf YouTube veröffentlicht, wobei Ezra anwesend sein wird, um sich den Fragen ihrer Fans zu stellen. Zum Anschauen HIER klicken.
Die Pressemitteilung gibt es von Ezra selbst:
“Hi my name is Ezra Furman this is the press release for my new record.
Goodbye Small Head is the name of this record. Twelve songs, twelve variations on the experience of completely losing control, whether by weakness, illness, mysticism, BDSM, drugs, heartbreak or just living in a sick society with one’s eyes open. These songs are vivid with overwhelm. They’re not about someone going off the rails, they are inside that person’s heart. The songwriting here is a revision to William Wordsworth’s famous proclamation that “Poetry is the spontaneous overflow of powerful feelings: it takes its origin from emotion recollected in tranquillity.” I can agree with that, except for the tranquillity part. This poetry, my poetry, arrived in the midst of the storm. It was written as I teetered toward the edge. (I did the edits once I was safe again.)
The band and I had had a run of records that were very communal, very first person plural. We, us, ours. I was trying to exist in and create a shared space with my audience, make anthems for taking care of one another in dark times. But there does come a time when a woman is left alone in a room to unravel. And you need music for those times too.
GSH also reflects a band reaching a new peak of our powers. If I were a music journalist, I would call this an orchestral emo prog-rock record sprinkled with samples. Thank goodness I’m not a music journalist! I think of this music as cinematic and intense. A friend of mine said it sounded like “the coolest movie soundtrack of 1997,” and I’m quite pleased with that description. We’ve incorporated a small string section into eight of the twelve tracks, and are using samples for the first time—nothing you’d recognize, just some uncredited singing that Sam found online, chopped into beautifully evocative bits. Other than that, this record features something that’s become nearly an anachronism: a band that’s been playing real instruments together for over a decade, intuitively in touch with each other as musicians. Four players in a room together who know exactly how to respond to one another.
We recorded in Chicago with Brian Deck producing; a return to both my city of origin and my producer of origin, since Deck produced my first rock’n’roll records many years ago (Banging Down the Doors (2007) and Inside the Human Body (2008) by Ezra Furman & the Harpoons). In some way I think I was trying to return to a much younger mindset, when all the intensity and fear and emotion of life was less mediated by adult coping mechanisms. When it was all brand new with no filter.
Though I wrote parts of it earlier, I think the making of this album really began on the morning of April 11th 2023, when I woke suddenly ill, limped into the bathroom and lost consciousness. At the hospital they gave me all the tests and told me that actually, I wasn’t sick, and I could go home now. (Thanks, fellas!) I stayed in bed for months, exhausted and in pain, no doctor offering any convincing explanation or cure.
After a while I began haemorrhaging songs. Many of these songs arrived unexpectedly and left my body violently. All of them seemed to be steeped in the helpless transcendence of being suddenly overcome, undone. Lush album opener “Grand Mal,” named after the outdated term for a major seizure, and its following companion “Sudden Storm” were written in one hypomanic sitting after talking to an epileptic friend about the mystical quality of certain epileptic seizures. “Jump Out” is a panicked rocker for realizing you are going to have to leap from a moving vehicle because the driver has no intention of letting you out. “Power of the Moon” is an existentialist wrestling match with whoever’s in charge of the universe, and “Submission” is the combination of dread and relief felt when you realize the long-suffering “good guys” have no chance against 21st-century forces of evil. And that’s just Side A.
Is it dark? Yeah! Is it also wonder-struck, laced with psychedelic beauty, triumphant in its wounded way? Yeah again. And by the end of it, the whole thing flames out in a burst of good old-fashioned rock and roll, a desperate cover of underappreciated genius Alex Walton’s bottomlessly yearning “I Need the Angel.”
The title, “Goodbye Small Head” is a lyric from the 1999 Sleater-Kinney single “Get Up,” a phrase breathlessly, almost ecstatically intoned by Corin Tucker as she contemplates death and the dissolution of the self. There’s something about that dissolution that is both horrible and absolutely gorgeous. We fear losing ourselves and we want it more than anything. That’s where this record lives. That’s what this kind of music offers us: a look over the edge into the frightening and beautiful realm that lies beyond ordinary life. Have a look with me, won’t you?”
Über Ezra Furman:
Ezra Furman ist eine bahnbrechende Künstlerin, deren furchtlose Kreativität und emotionale Ehrlichkeit sie zu einer der überzeugendsten Stimmen in der modernen Musik gemacht haben. Durch die Mischung aus Punk-Energie, tief empfundener Lyrik und genreübergreifender Innovation ist Furmans Werk sowohl zutiefst persönlich als auch universell. Die Alben, die sie in den letzten zehn Jahren veröffentlicht hat, zeugen sowohl von ihrem außergewöhnlichen Talent als auch von ihrer künstlerischen Entwicklung. Perpetual Motion People (2015) ist eine lebendige, genreübergreifende Explosion von Witz und Melodie, während Transangelic Exodus (2018) mit seiner dystopischen Erzählweise und seinen atmosphärischen Klanglandschaften Grenzen überschritt und Themen wie Liebe, Trotz und Identität erforschte. Twelve Nudes (2019) lieferte eine rohe, punkige Katharsis, die Wut und Widerstandsfähigkeit in feurige Hymnen kanalisierte. Ihr letztes Album, All of Us Flames (2022), ist eine filmische und zutiefst bewegende Erkundung der queeren Befreiung, die intime Erzählungen mit großartigen, mitreißenden Arrangements verbindet. Sie fand auch Zeit, den Soundtrack für die Netflix-Erfolgsserie Sex Education aufzunehmen. Ezra Furman's Musik ist ein Zeugnis für die Kraft der Individualität und Authentizität und macht sie zu einer wirklich einzigartigen Stimme in der modernen Musik.
Ezra Furman
"Goodbye Small Head"
Label: Bella Union
Vertrieb: Rough Trade
VÖ: 16.05.2025
Tracklist:
1. Grand Mal
2. Sudden Storm
3. Jump Out
4. Power Of The Moon
5. You Mustn’t Show Weakness
6. Submission
7. Veil Song
8. Slow Burn
9. You Hurt Me I Hate You
10. Strange Girl
11. A World of Love and Care
12. I Need The Angel
Hier stand Ihre Werbung
14.02.2025 - 00:47
Cool!
@MickHead: Ezra Furman benutzt weibliche Pronomen, also bitte von der Songwriterin sprechen.
MickHead
14.02.2025 - 06:02
Hast natürlich Recht, hatte ich übersehen!
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