‘Los Angeles Rising' Benefit Compilation for L.A. Wildfire Victims Features Yeah Yeah Yeahs, Devo, PJ Harvey & More
A compilation of previously unreleased songs benefitting Los Angeles wildfire relief efforts, Los Angeles Rising, was released on Thursday morning (Feb. 6) exclusively on Bandcamp. The 16-track compilation pulled together by Bauhaus/Love and Rockets drummer Kevin Haskins and producer Nick Launay (Nick Cave, Yeah Yeah Yeahs), features songs by PJ Harvey, Yeah Yeah Yeahs, Gary Numan, Primal Scream, the Red Hot Chili Peppers' Flea and John Frusciante, Pulp singer Jarvis Cocker, Nick Cave and the Bad Seeds, Devo and U.S. Girls, among others.
'As the wildfires were raging and destroying thousands of homes around Los Angeles, both my neighbourhood and Nick's were instructed to evacuate,' wrote Haskins in a statement announcing the comp whose proceeds will go to the Sweet Relief Musicians Fund. 'But we were the lucky ones. The fire threatening our homes and recording studios was thankfully extinguished by firefighters just minutes away, but countless musicians and friends lost everything.'
More from Billboard
L.A. Wildfire Relief: Organizations Providing Assistance for Music Industry Workers (Updating)
Usher Talks Audible Original Debut 'The Last Showman': 'I Put My Heart Into This'
Rihanna's Smurfette Makes Her Debut in First 'Smurfs' Trailer Featuring New Cardi B Song: Watch
The collection is only available by purchasing a download on Bandcamp, with previews of the songs available here now.
'This harrowing experience and witnessing the monumental destruction of entire communities, inspired Nick and I to team up to create a compilation album to raise money for the less fortunate,' Haskins added. 'We reached out to our musician friends for unreleased recorded gems and the response was incredible! PJ Harvey, Nick Cave, Jarvis Cocker, Primal Scream, Gary Numan and Devo are just some of the artists that rushed in to help.'
The album is just the latest in a series of charitable efforts to help out Angelenos impacted by last month's devastating wildfires, which resulted in at least 29 death and the destruction of 16,000 homes and structures. Earlier this week, organizers said the recent FireAid all-star benefit show raised an estimated $100 million, while the Recording Academy and MusiCares' said they raised $24 million for fire relief over Grammy weekend.
Check out the track listing for Los Angeles Rising below:
1) PJ Harvey with Danni Bensi and Saunder Jurriaans – 'The Red River'
2) Grinderman – 'Worm Tamer' (LaunayVauz remix)
3) Gary Numan and Titan – 'Dark Rain'
4) Yeah Yeah Yeahs – 'Turn Into Redux'
5) Band Of Skulls – 'Cold Cold Sweat' (LaunayVauz remix)
6) Jarvis Cocker – 'California Dreamin''
7) Primal Scream – 'False Flags' (Orchestral version)
8) Nick Cave and The Bad Seeds – 'Michelangelo'
9) Haskins, Vandermolen and Lohner – 'All We Ever Wanted Was Everything'
10) Danny Elfman – 'Monkeys On The Loose' (LA Rising version)
11) Devo – 'Shoulda Said Yes'
12) Siobhan Fahey and Titan – 'Deep In LA'
13) CRX – 'Blip On The Radar'
14) David J – 'No New Tale To Tell' (Original demo version)
15) Flea, Frusciante, Haskins and DeAngelis – 'A System For Shutting Everything Out'
16) U.S. Girls – 'Four American Dollars' (Demo version)
Best of Billboard
Chart Rewind: In 1989, New Kids on the Block Were 'Hangin' Tough' at No. 1
Janet Jackson's Biggest Billboard Hot 100 Hits
H.E.R. & Chris Brown 'Come Through' to No. 1 on Adult R&B Airplay Chart
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Yahoo
2 days ago
- Yahoo
Hand Habits Announces New Album and Tour, Shares Video for New Song 'Wheel of Change': Watch
All products featured on Pitchfork are independently selected by Pitchfork editors. However, when you buy something through our retail links, Condé Nast may earn an affiliate commission. Hand Habits' Meg Duffy, photo by Bronwyn Ford Hand Habits has announced a new album. Blue Reminder, Meg Duffy's proper follow-up to 2021's Fun House, is out August 22 via Fat Possum. The record was recorded and co-produced by Joseph Lorge, and features contributions from Gregory Uhlmann, Blake Mills, Daniel Aged, and SML's Josh Johnson and Anna Butterss. Watch the Otium-directed music video for lead single 'Wheel of Change' below. 'Both lyrically and in its production, this song is about the impossibility of return—you can't go back to the way things were, no matter how much you might want to hold on to a time, or a feeling, or a person,' Duffy said of 'Wheel of Change' in a press statement. 'In longing, there can be this sharper, wild edge. Like, no I need this, give it to me, don't take it away.' In 2023, Duffy shared the Hand Habits EP Sugar the Bruise and teamed up with Uhlmann as Duffy x Uhlmann to put out the instrumental Doubles. The singer and guitarist recently collaborated with the National's Matt Berninger on a song from his new solo LP, Get Sunk. Duffy will head out on tour later this year. They have shows in support of Yeah Yeah Yeahs, Japanese Breakfast, and Perfume Genius. See the tour dates below. $27.00, Rough Trade Blue Reminder: 01 More Today 02 Wheel of Change 03 Nubble 04 Dead Rat 05 Jasmine Blossoms 06 Way It Goes 07 (Forgiveness) 08 Beauty 62 09 Bluebird of Happiness 10 Blue Reminder 11 Quiet Summer 12 Living Proof Hand Habits: 07-09 Los Angeles, CA - The Orpheum & 08-21 Pioneertown, CA - Pappy & Harriet's $ 08-23 Los Angeles, CA - 2220 09-19 Brooklyn, NY - Public Records 09-20 New York, NY - Nightclub 101 09-21 Washintgon, D.C. - DC9 09-23 Albany, NY - Lark Hall 09-24 Montreal, Quebec - Pop Montreal 09-26 Toronto, Ontario - Sound Garage 09-27 Ferndale, MI - Magic Bag 09-28 Chicago, IL - Empty Bottle 09-30 Pittsburgh, PA - The Andy Warhol Museum 10-01 Philadelphia, PA - Johnny Brenda's 10-15 San Francisco, CA - The Chapel 10-17 Portland, OR - Mississippi Studios 10-18 Vancouver, British Columbia - Fox Cabaret 10-21 Seattle, WA - Tractor Tavern 10-23 Healdsburg, CA - Little Saint 10-30 Paris, France - Le Trianon ^ 11-03 Berlin, Germany - Astra Kulturhaus ^ 11-04 Hamburg, Germany - Mojo Club ^ 11-05 Amsterdam, Netherlands - Paradiso ^ 11-07 Manchester, England - New Century Hall ^ 11-08 Glasgow, Scotland - SWG3 TV Studio ^ 11-09 Leeds, England - Project House ^ 11-11 London, England - Roundhouse ^ 11-12 Bristol, England - Trinity Centre ^ 11-13 Dublin, Ireland - The National Stadium ^ & with Yeah Yeah Yeahs $ with Japanese Breakfast ^ with Perfume Genius $.00, Ticketmaster Originally Appeared on Pitchfork
Yahoo
4 days ago
- Yahoo
Trent Reznor and Atticus Ross Announce Inaugural Future Ruins Fest Celebrating Film Music
Trent Reznor and Atticus Ross have announced the inaugural Future Ruins Festival, featuring many of cinema's top composers performing their scores live for the first time. In addition to the Oscar-winning duo of Reznor and Ross, Future Ruins — heading to Los Angeles on November 8 — will also include sets by Devo singer and Wes Anderson composer Mark Mothersbaugh, horror director and composer John Carpenter, Oscar-winning Joker composer Hildur Guðnadóttir, and Questlove performing the film scores of Curtis Mayfield. More from Rolling Stone Latin Music Festivals Scramble Amid Visa Uncertainty: 'It's Scary' AXE Ceremonia 'Working Closely' With Authorities After Deadly Crane Accident Anitta, Grupo Firme, Netón Vega Lead Chicago's Michelada Fest Lineup 'It's about giving people who are, literally, the best in the world at taking audiences on an emotional ride via music the opportunity to tell new stories in an interesting live setting,' Reznor said in a statement. Other artists on the lineup included Danny Elfman, Stranger Things duo Kyle Dixon & Michael Stein, Italian group Goblin, Terence Blanchard, Ben Salisbury & Geoff Barrow, Isobel Waller-Bridge, a performance of Howard Shore's Crash score, and more. According to the organizers, across three stages at the Los Angeles Equestrian Center, 'Each artist is encouraged to take big swings and reimagine their work for a live audience. Ranging from electronic sets and live bands to orchestral performances, fans have the chance to experience live debuts from composers who rarely appear onstage.' 'There's no headliner. There's no hierarchy. This is a stacked lineup of visionaries doing something you might not see again,' Reznor and Ross added. Check out the Future Ruins site for ticket information. Best of Rolling Stone The 50 Greatest Eminem Songs All 274 of Taylor Swift's Songs, Ranked The 500 Greatest Albums of All Time
Forbes
5 days ago
- Forbes
Sunday Conversation: The National's Matt Berninger On His New Solo Album
How to describe an interview with The National frontman Matt Berninger? Like talking to Moby or Liz Phair (who along with Robert Plant might be the smartest interview in music) it is a fascinating labyrinth of cerebral twists and turns where you just hold on and do your best to keep up. It is as compelling and enlightening as his music. Which is saying a lot because along with Nick Cave and the timeless Bruce Springsteen, Berninger, with The National and on his own, has been, to me, the most consistent rock act in the first quarter of this century. Once again, Berninger stuns with his second solo album, Get Sunk. A gorgeous slice of life that, like the writing of Raymond Carver, is deceptively complex and profound, Get Sunk is, as Berninger describes it, a romance with ghosts. As we discussed, it is a record of memories, of life, of hope. Steve Baltin: I'm a big believer in environment affecting writing. So, was it Connecticut that lit the spark for this album? Matt Berninger: The Connecticut part of it maybe colored the process. This record has a lot of Midwestern atmosphere with creeks and trees and animals and bike rides along rivers and stuff. I've always been writing about that stuff. But yeah, getting to Connecticut, back in an area that is like what it was like in my youth and particularly on my uncle's farm. The place I live now, I have a barn, and I have a little bit of land. But I have all this stuff and there are trails in the woods and creeks all around where I live now. And that's where I spent all my most memorable stuff of my childhood, it all happened at that farm in Indiana. So, Connecticut really inspired that part of it. But I think anytime you uproot and go to a new place, or take a vacation, you're riding a train through Italy, like suddenly, you're going to write differently and be inspired to write different kinds of stories. So, I do think, I think changing the soil you're in every 10 years is really smart. Baltin: So that's something that you've done regularly, move every decade or so? Berninger: Yeah, I've moved from Cincinnati, moving out of your house or your parents' house, and then going to college in an apartment, that feels like two different types of living. Then I moved to New York City in '96, and I was there for maybe 15 years, and that's where I met my wife, that's where my daughter was born. We'd been in Brooklyn for close to 15 years or something. Then we just felt we had squeezed New York for every drop of inspiration and so we moved to Venice, California. We lived out there for 10 years and then I wrote five or six, seven records, did so much stuff out there and met Mike Mills and became a collaborator with all these amazing filmmakers and stuff. So that was an amazing decade of creativity and then my daughter was about to go to high school, and we all wanted something new, and we had family in Connecticut and it's so close to New York. I didn't want to move back to Brooklyn, but I really want to be close to New York again. I go to New York every week and ride the train. So yeah, it's really new and inspiring and I think that is really good and it does jolt me, although some of this record I started five years ago in Venice. Even some of the songs that are talking about Indiana, and the Midwestern pastoral scenes were written when I still lived in Venice during the lockdown. So maybe I was just dreaming of wandering the woods or going back to a time. But I always write about that stuff. But moving and changing your environment does change your brain. Baltin: Would this album have been made anywhere now at this time? Berninger: Yeah, I feel like this would have been made anywhere at this point in time. I do, and I have been saying this recently because I've been trying to answer that question. Because yeah, a lot of this record does go back and it's a really conscious effort to try to reshape, not in the details and truth, but in the emotional memories of things and write a great story, and of a great 45-minute immersive connected experience. And it was really important for me on this record more than anything I've ever done, I think. But you're right, what is our past? What is it? And often, I've been saying this, that our past is a story we tell ourselves. and we remember it differently. Our memories of it change and our memories are memories of memories. So, it's our own version of (the game) telephone constantly going as we go and try to retell the stories of what happened and why am I like this and what was my childhood like and what were my relationships with my parents like and what was it? It's all fantasy and it's just the same way your future is a story you're telling yourself. What you want, why you're doing what you're doing and where you're trying to go and how long you want to live and what you want in your life and what experiences you want to have going forward is also just a story. And what experiences you had in the past so you're just telling your story of those experiences. All those things, traumas, good things, can totally shape you, yes, but sometimes we can be confined by our own definitions of ourselves and that we create a little bit of a prison or a trap around ourselves and we say, 'I'm this way because of this and that's why and I'm going to stay this way.' And right now you're seeing in the world, everybody, it's an identity crisis. People don't know. I'm a Catholic, but there are so many Catholics identifying with something else that is so un -Catholic. And that kind of thing, but there's so much, 'But this is me now, I'm this and I identify with this.' I think we really trap ourselves into our ideas of who exactly we are and I think it's a dangerous thing. I was trapped in an idea of what I was. Like I was this type of guy. I'd written all these stories. I had manifested becoming this melodramatic, unhinged character. And then I was leaking into that facade or that story I had told had started to become a little real. And it wasn't real. And so, yeah, I think that this record is trying to maybe go back and kind of recontextualize some of the beauty and I think the good things mostly. There's a lot of darkness in this record, but I'm a happy person. I've had very unhappy times. I've had very dark, long depressions. Everyone has, but my core is optimistic, hopeful, kind, brave, and happy mostly, and I remember that. And I learned that from my parents. I learned that from my cousins. I learned that from my uncle. I learned that from nature. I learned that from the farm. I learned that early, and that hasn't changed. I identify as those things, but sometimes you get lost in these other prisons of other things that you think you are, but you're not. Baltin: That's so interesting on so many levels. As The National started getting bigger, do you feel like personally you became a character people wanted you to be? Berninger: I was actually in my early 30s before we got successful. But when you get your first taste of success and people are really reacting to your work that is some of the most extreme, darkest parts of your personality, or the saddest parts, and those become the best songs because I'm being honest about something. But when you're writing those songs in your 30s, and then you get successful, I'm sure subconsciously I've elevated that idea of that guy in my head. There's more currency to that character, I realize. And so maybe you start to manifest it, and you keep building this weird sculpture of these little Legos of melodrama and anger or rock and roll songs and all these things. Then they become this really weird cool sculpture that everybody buys tickets to see. And then the next thing you know, you're stuck as this thing that wasn't what you intended. Baltin: You and I have talked over the years too about literature being inspiring and I feel like there were very literary and cinematic points of this album. Right when we got on the Zoom, I was listening to the record again. I love 'Silver Jeep.' That one has almost like a Raymond Carver feeling to me. Berninger: Yeah, there's a few of them. Some of them are more kind of blurry, abstract, impressionistic, emotional descriptions of emotional things or descriptions of process, like 'Nowhere Special' is a totally different song from a lot of the other songs and so is "End of the Notion.' I don't think about it when I go in but I see that I'm often trying to write a type of song I've never written but I've written hundreds and hundreds and hundreds of songs. But "Silver Jeep" and "Bonnet of Pins" and "Frozen Oranges," those are three examples of songs that are like scenes. Or "Bonnet of Pins" is maybe just an hour or a couple of hours of reconnection between two people. Then "Frozen Oranges" is a whole day, a long bike ride filled with medicines and joys and fruit and sunshine and bugs and juice and it's a really healthy song. Then 'Silver Jeep' is a is an echo of the same character from 'Bonnet of Pins.' That character is not really present much in 'Frozen Oranges.' But then at the end of the record, I think 'Silver Jeep' and 'Bonnet of Pins' are a little bit of a return to that relationship or that dynamic. What is it? Well, they're always chasing each other. They're always seeking each other, but they're always there. The line in 'Silver Jeep' that I like is, 'I see you out there somewhere in a silver jeep.' Maybe only in my mind but you'll always be there whether I ever see you in person again, you're never leaving. This person might already be dead. The whole record is about a ghost but it's not a singular ghost, it's not one person, it's a ghost of something. It's a really romantic record. It's a romance with a ghost, I guess.
