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Edinburgh Live
a day ago
- Entertainment
- Edinburgh Live
Edinburgh singer Shirley Manson 'doesn't care' if she's cancelled after 'great career'
Our community members are treated to special offers, promotions and adverts from us and our partners. You can check out at any time. More info Edinburgh singer Shirley Manson has said she 'doesn't care' if she gets cancelled. The 58-year-old artist, who is never shy with her opinions, said she'd 'rather be true to who she is'. This comes after her eighth album Let All That We Imagine Be The Light was released on Friday, May 30. Manson, who lives in LA with her husband, said it was 'heavenly to get away from the madness' as she came to London amid the release of her album. She told NME magazine: "If you cancel me, you cancel me. I've had a f***ing great career. I really don't f***ing care. "If you cancel us, I'll feel guilty that I've messed s**t up for my band, but I'd much rather be true to who I am as a human being, how I was raised by a family I'm very proud of." Sign up for Edinburgh Live newsletters for more headlines straight to your inbox Speaking on her latest album, and the motivations behind it, she said: "I've never really written about love very much. I always think it's been written about by people a thousand more talented than me. "I'm just not a romantic person, really. After my mum died and then Veela [Manson's dog], I realised I had to touch love somewhere, somehow. Join Edinburgh Live's Whatsapp Community here and get the latest news sent straight to your messages. "I've got an amazing marriage and I love my husband so much, but I also realised that in order to move on through a different passage in my life I had to reach out to find all the different types of love: the world, nature, the ocean, friends, my bandmates, my family. "I want to ignite that love. Like a torch when the world feels dark, I need to find all the hands that I can hold. My go-to is usually indignance, so I realised I had to come at things from a different perspective this time around or I would drown in my own negativity."
AsiaOne
2 days ago
- Entertainment
- AsiaOne
Shirley Manson 'doesn't care' if she is cancelled, Entertainment News
Shirley Manson "doesn't care" if she is cancelled, because she's had a "great career". The Garbage frontwoman has never held back with her opinions, and while she would "feel guilty" that she has "messed s**t up" for the band if she was ostracised from society, the star would rather go through life being "true to who I am as a human being". She told NME magazine: "If you cancel me, you cancel me. I've had a f***ing great career. I really don't f***ing care. "If you cancel us, I'll feel guilty that I've messed s**t up for my band, but I'd much rather be true to who I am as a human being, how I was raised by a family I'm very proud of." Garbage recently dropped their eighth studio album, Let All That We Imagine Be The Light, which features more tunes about love than Manson has ever penned before. She said: "I've never really written about love very much. I always think it's been written about by people a thousand more talented than me. "I'm just not a romantic person, really. After my mum died and then Veela [Manson's dog], I realised I had to touch love somewhere, somehow. "I've got an amazing marriage and I love my husband so much, but I also realised that in order to move on through a different passage in my life I had to reach out to find all the different types of love: The world, nature, the ocean, friends, my bandmates, my family. "I want to ignite that love. Like a torch when the world feels dark, I need to find all the hands that I can hold. My go-to is usually indignance, so I realised I had to come at things from a different perspective this time around or I would drown in my own negativity." The 58-year-old star has hinted she might try to "get even better" at penning songs about love going forwards. Asked about her future, she said: "Maybe I'll get even better at writing about love. "How could I have not allowed this fire to run in parallel to the rest of my life? How could I have been so blind to it? How could I have wilfully not tuned into that force?" [[nid:716798]]
Yahoo
28-05-2025
- Entertainment
- Yahoo
'They'd never ask this of men': Garbage album tackles sexist ageism
It is almost 30 years since the Scottish-American band Garbage gained notice with such songs as "Only Happy When It Rains" and "Stupid Girl." Their music - a mixture of sombre rock guitar, electronic elements and cool pop sounds - to this day does not fit into any single genre. The same applies now to their eighth studio album. "Let All That We Imagine Be The Light" is somehow different, yet is unmistakeably still Garbage, as made clear in a dpa interview with singer Shirley Manson in London. Not a band for streaming algorithms "We're an unprogrammable band. We don't fit into the algorithms that this streaming services rely on so heavily. We just don't fit in with any of it," the lead singer says. "It really bothered me for a long time that we didn't belong anywhere. But now I realize how beautiful that is and what freedom it allows and to be be able to enjoy a unique identity, sonic identity, at a time when there are 100,000 songs uploaded onto the internet every single day." According to Manson, the new album is a "companion piece" to the previous LP "No Gods No Masters" which she said "full of outrage and fear." (All the things she was worried about have since come to fruition, she notes.) The new LP is tangibly more positive, said the Scottish singer, who for years now has been living in the US with her husband, Garbage sound engineer Billy Bush. She has since acquired US citizenship herself. Developments in the US - along with the entire international situation - are causing her concern. But there was no question for Manson of once again channeling her fears in her songwriting. "I realized that I cannot afford to remain in the headspace that I inhabited when we wrote 'No God's No Masters'. I had to somehow pivot and change my tactics, shift my own perspective, or I would go mad." The only thing she could control was her love, she says. "Whether it's my love of nature, love of animals, love of my community, love of my band, my romantic love with my husband, all the different forces of love that exist that are open to us, I feel like I'm reaching for and harnessing on this record." Sharp criticism of sexism and ageism Anyone who was afraid Garbage would immediately start doing soft pop can breathe a sigh of relief. The band has retained its bite and discomfort edge. In the punkish "Chinese Firehorse," for example - one of the best new songs - Manson takes aim at sexism and age discrimination in the music industry. Her inspiration came during the promotional campaign for the previous album. "I was 53 years old. I underscore that again, 53 years old. It was the first day of promotion. We had a brand new record. It was coming out on a major record label, and two different journalists, one male, one female, at different times during the day, asked me when I was going to retire. I realized in that moment, they would never ask this of my male peers," she told dpa. The song's text directly targets both interviewers: "You say my time is over / That I have gotten old – so old / That I no longer do it for you / And my face now leaves you cold," she sings. But then goes on the attack: "But I've still got the power in my brain and my body / I'll take no shit from you." By the way, Manson is clearly younger than her bandmates Steve Marker (66), Duke Erikson (74) and the band's founder, Butch Vig (69). "So, yes, this is still very much a real thing," she said about ageism, noting how the mass-circulation Daily Mail recently made fun of her looks. She said this meant nothing to her any longer. "But what I do think it does is it sends messages to younger people who don't have the same fortitude as I, who don't have the same experience as I do. And that can crush a young spirit." Garbage still has something to say Despite the worry about what's happening in the world, Manson says that today she is more optimistic than before. The title of the first track "There's No Future In Optimism" is meant jokingly. "I really love the title, but I'm also in enormous disagreement with it. It is absolutely the polar opposite philosophy that I wanted to employ when coming into making this record," she stressed. But the album "Let All That We Imagine Be The Light" is also not exactly optimistic. From the driving opener to the gloomy "Hold" and the almost gentle, electropop-like "Sisyphus" to the cynical "Get Out My Face AKA Bad Kitty," Garbage pulls out all the musical stops that set the group apart from other bands. It's worth listening carefully and paying attention to the lyrics. After 30 years, the band still has a lot to say.
Associated Press
28-05-2025
- Entertainment
- Associated Press
Music Review: The rock band Garbage are defiant on new album, 'Let All That We Imagine Be the Light'
Buzz-saw guitars, dense synthesizers and throbbing percussion can sometimes brighten the mood. That's the goal of the new album from the American rock band Garbage, 'Let All That We Imagine Be the Light.' Due for release Friday, it's the sound of frontwoman Shirley Manson pushed to the brink by health issues and the fury of our times. The band's familiar sonic mix provides a pathway out of the darkness, with heavy riffing and dramatic atmospherics accompanying Manson's alluring alto. 'This is a cold cruel world,' she sings on the crunchy 'Love to Give.' 'You've gotta find the love where you can get it.' The album is Garbage's eighth and the first since 2021's 'No Gods No Masters.' The genesis came last August, when Manson aggravated an old hip injury, abruptly ending the band's world tour. The other members of the group – Butch Vig, Duke Erikson and Steve Marker – retreated to the studio and began work on new music. Manson added lyrics that lament fatalism, ageism and sexism, acknowledge vulnerability and mortality, and seek to embrace joy, love and empowerment. That's a lot, which may be why there's a song titled 'Sisyphus.' The sonics are formidable, too. A mix that echoes the Shangri-Las,Patti Smith and Evanescence helps to leaven the occasional overripe lyric, such as, 'There is no future that can't be designed/With imagination and a beautiful mind,' in the title track. Most of the material is less New Age-y, and there's a fascinating desperation in Manson's positivity. 'Chinese Fire Horse,' for example, becomes a punky, Gen X, age-defying fist-pumper. 'But I've still got the power in my brain and my body/I'll take no (expletive) from you,' she sings. Manson sounds just as defiant singing about a love triangle on 'Have We Met (The Void),' or mourning in America on 'There's No Future in Optimism.' The album peaks on the backside with the back-to-back cuts 'Get Out My Face AKA Bad Kitty,' a battle cry in the gender war, and 'R U Happy Now,' a ferocious post-election rant. Then comes the closer, 'The Day That I Met God,' a weird and whimsical benedictory mix of horns, strings, faith, pain management and more. Hope and uplift can sound good loud. ___ For more AP reviews of recent music releases, visit:
Scotsman
22-05-2025
- Entertainment
- Scotsman
Album reviews: Garbage Kathryn Joseph Jacob Alon
Sign up to our Arts and Culture newsletter, get the latest news and reviews from our specialist arts writers Sign up Thank you for signing up! Did you know with a Digital Subscription to The Scotsman, you can get unlimited access to the website including our premium content, as well as benefiting from fewer ads, loyalty rewards and much more. Learn More Sorry, there seem to be some issues. Please try again later. Submitting... Garbage: Let All That We Imagine Be The Light (BMG) ★★★ Kathryn Joseph: WE WERE MADE PREY. (Rock Action) ★★★★ Jacob Alon: In Limerence (Island/EMI) ★★★★ Mogwai: The Bombing of Pan Am 103 soundtrack (Rock Action) ★★★ The latest album from Garbage arrives sooner than the band anticipated, conceived while frontwoman Shirley Manson was recovering from the hip surgery that put a sudden halt to their No Gods No Masters world tour. In her physical and emotional vulnerability, she broke the habit of a lifetime and wrote some love songs. Nothing particularly romantic, you understand. Let All That We Imagine Be The Light is an album about practical love which chooses to confront and to hope. Advertisement Hide Ad Advertisement Hide Ad Garbage | Joseph Cultice But it's still Garbage as we know it, so the album begins with a sleek electro rock song called There's No Future In Optimism, with Manson speak-singing of the instinct for fight or flight in the aftermath of disaster – in her case, the murder of George Floyd and an earthquake in her adopted home of Los Angeles. She follows this with the eloquent rage of Chinese Fire Horse directed at those foolish enough to suggest that Manson might consider hanging up her microphone. For complete clarity, she lets the last line 'I'm not done' hang in the air. She also challenges herself and others to channel rage to positive ends on the sultry ballad Radical and the propulsive Love to Give. Have We Met (The Void) evokes a John Carpenter-like world of neon LA cityscapes with its glacial gothic synths, banging arpeggios and droning fuzz bassline and there's a strong whiff of Ultravox and Gary Numan about the inexorable industrial stomp of R U Happy Now. But the album highlight is its endgame. Manson's healing lyrics for The Day That I Met God were written, rendered and recorded at home, delivered as if from a recovery diary with the holy revelation that 'I found God in Tramadol'. Kathryn Joseph | Marilena Vlachopoulou The recording of Kathryn Joseph's fourth album also didn't go entirely as expected. Arguably in keeping with its shouty upper case typography, WE WERE MADE PREY. makes a loud sound out of Joseph's intimate, eldritch songs, with producer Lomond Campbell adding big synth licks to her electric piano patterns on WOLF. and (relatively) commercial electro reverberations to recent single HARBOUR. ROADKILL. is a big, declamatory catharsis; in contrast, BEL (II). is a minimal campfire requiem for her friend Beldina Odenyo Onassis, aka Heir of the Cursed. There are also love odes for her son, daughter and dog and a trippy torch song in the vein of Portishead rounding out this sonically rich collection which stretches her quavery vocals as much as expands her noir balladry. Advertisement Hide Ad Advertisement Hide Ad Jacob Alon | Contributed Jacob Alon is a confirmed fan of Joseph's ability to deliver dark matter with irreverent humour. This Dunfermline-born, Edinburgh-based singer/songwriter demonstrates their own ability to combine the sacred and profane on their beguiling debut album which explores the state of limerence – essentially being crazy in love/lust. Comparisons with Nick Drake and Jeff Buckley are not over-stretched. Alon possesses a bewitching, elastic voice accompanied by mesmeric acoustic picking and occasionally a sensation of brass or a martial drumbeat. Like Joseph, there is a dynamic mismatch between form and content in these fully formed songs. The soft waltz of August Moon belies its poetic account of a violent attack, Liquid Gold 25 is a shuffling ode to their favourite brand of poppers, while Sertraline is a delicate folk drone inspired by their anti-depressant medication. For the listener, this is all good medicine. Mogwai add to their soundtrack catalogue with a sensitive score for TV miniseries The Bombing of Pan Am 103, which slips unobtrusively from the elegiac tolling of Calling all units via the doomy shoegaze of Swiss Timers to the glacial sorrow of We Let You Down and lachrymose twanging guitar of Back Home to Giffnock, leaving most of the drama to the show itself. CLASSICAL Henry VIII On Tour (Delphian) ★★★★ Henry VIII On Tour might sound like a 1970s Rick Wakeman album. In fact, it's Henry himself from the 16th century, or rather a representation of the music and musicians that accompanied him on his regular sojourns to the provinces. As such, it's a delightful cocktail of the sacred and secular performed by Ensemble Pro Victoria under director Toby Ward, from two lute songs by William Cornysh (including the cutesy ditty Trolly Lolly), organ and harp solos played respectively by Aileen Henry and Magnus Williamson, to motets by Verdelot, More and Taverner and the intriguing Missa Christe Jesu by Lincolnshire composer William Rasar. The last adds Williamson's New Vocal Ensemble to the mix, revealing a work of bold textural scope and verse-anthem-like structure. Like the best albums it tells a compelling story: Henry, heard here in an artful lute number, even wrote his own music. Ken Walton FOLK Advertisement Hide Ad Advertisement Hide Ad Donald WG Lindsay: Two Boats Under the Moon (Own Label) ★★★★
