Peek-A-Boo presents the new clip of Canal Pop feat. Josefina Aufranc

The music video was shot (mostly) in black and white as an homage to the classic 80s synthpop aesthetics used by from such bands as Depeche Mode or Front 242, though the song is catchy and radio-friendly (it kind of sounds like a Kylie Minogue song).

This is the official video for Sarah Cracknell's new single 'Nothing Left To Talk About' (featuring Nicky Wire). 'Nothing Left To Talk About' is the first single to be taken from Sarah's new solo record Red Kite, released on 15th June 2015 on Cherry Red Records.

Glam, goth, gutter: Double Eyelid is the art-damaged music project of Ian Revell. Formed as part of an experimental staging of Hamlet, Double Eyelid has spent the last six years developing its sound and challenging audiences along the way. Driving the band are the songs and energy of singer, occasional instrument-player and charismatic oddity Ian Revell.

Adding guitar grit and production chops is Karl Mohr, and floating above the fray is keyboardist Benjamin Mueller-Heaslip. Double Eyelid was formed in Toronto in 2009 by Ian Revell (vocalist, songwriter). While key influences include Bauhaus, David Bowie, Rozz Williams and the Sex Gang Children, the closest parallel is perhaps to early Roxy Music, with its tension between street level expression and high art. 2011 proved to be a "launch" year that included gigs with The Scarlet Fever, Corpusse and Adaptive Reaction. The 3 core members (Ian Revell, Karl Mohr and Benjamin Mueller-Heaslip) met via the music department at Queen’s University (Kingston, Canada). The first time the 3 worked together musically was in 2003, performing as Karl Mohr and the Fallen Angels – Karl Mohr was the vocalist/songwriter for that project, which also was in the ‘goth’ vein – Karl has since renamed his project Dead Red Velvet.

After trying different lineups and a couple of different drummers, Double Eyelid decided to work with a drum machine live and in the studio. Initially an arty post-punk project, the band shifted in more of a legitimate goth direction with the first single and video, “Dead is Better,” which were released in July of 2012. The video for “Dead is Better” was shot by up-and-coming horror filmmaker Steven Cerritos, and was featured by MuchMusic, Canada’s equivalent to MTV. 

Below is their newest clip

www.doubleeyelid.ca

Continuing his work with memory not only as a subject but also as a process, Michael Anderson has culled many of the sounds on this record from the past. But this is not a record of rehashed material or remixes. Rather, DREKKA's music is made through continually delving into an archive, digging up and repurposing old recordings, live performances, and forgotten snippets of the voices of out-of-touch friends.

Anderson often begins his live performances subtly, with smoldering ambiences and sublime waves, a practice which functions both as soundcheck and prelude. In this case, a sonic formation used to bridge two sets performed one night in Taranto, Italy, has been revisited and reshaped into "The Seventh Continent (Oceanic Waves Wave)." It is a work of evocative and emotive sound art, assembled textures created from manipulated voices. The piece owes as much to NURSE WITH WOUND as it does to MICHAEL HANEKE, whose influence is paid homage through the title. Anderson indeed plays the role of the auteur here, his own voice manipulated and intertwined with the voices of unwitting collaborators, unwitting at least in the moment. They are voices from his archive of cassettes and field recordings. Annelies Monseré makes an appearance from Gent, Belgium, many months or years earlier and many miles away. 

"The Work in Question is Unbeknownst to The Participants at Hand (in three sections)" reaches even further back, through years of sound. The details of locations, methods, and even participants are hazy (Tyler Damon, Sarah Dunevant, Mark Trecka are among the certainly present) and in some cases completely lost (anonymous, obscured entirely). The sounds of a forgotten recording session from the mid-90s are counted among the sources here. Anderson’s deft hand has collated and juxtaposed strands of narratives from across two decades into this haunted drone. Like TARKOVSKY's "The Mirror", it is an assemblage of memories, at times dissonant. But like the work of TIM HECKER, this is music that is warm and hospitable and in some sense ultimately soothing. 

Working under the name DREKKA since 1996, Anderson has released dozens of cassettes, CDs, and LPs on both his own Bluesanct label and many other labels internationally. He has traveled, collaborated, and relocated; collecting memories and building an very personal archive of corresponding sound. Tours throughout Iceland and Europe and the United States have contributed to that archive as much as they have served as platforms for public performance. DREKKA owes something to the soundscapes and non-linear impressionism of CINDYTALK or COIL, the gravity of EINSTÜRZENDE NEUBAUTEN. But his work is very apparently unique. Throughout years of performing and recording, Drekka has explored early industrial tape culture, fragile bedroom noise folk, and expansive cinematic textures. He has touched on the themes of silence and memory and noise and forgetfulness. In the past decade, his gorgeous sound sculptures have fit more neatly into the industrial noise and ambient genres, holding a place alongside contemporaries like SVARTE GREINER, TIM HECKER, or WILLIAM FOWLER COLLINS. And yet these pieces are very evidently personal. Rather than the obscurity that is so often the effect of experimental music, DREKKA functions as a direct line into Anderson’s mind, his dreams, and his fragile and tenuous cache of memories. These personal aspects and this fragility are even more clearly on display than if they were obfuscated by poetic abstractions.

While "haunting" and "hypnogogic" are words often used to describe experimental music and art, DREKKA unequivocally occupies and deals in those dark spaces which comprise the tenuous province of memory and dreams. Those are the real ghosts of time and sound.

“Unbeknownst to the Participants at Hand" is Drekka’s second offering in a trilogy of full-length releases on Dais Records. This second volume will be pressed in a limited edition pressing of 500 copies.

Columbia Records and Legacy Recordings, the catalog division of Sony Music Entertainment, will release Bob Dylan's The Cutting Edge 1965-1966: The Bootleg Series Vol. 12 on Friday, November 6, 2015.

The latest chapter in Columbia/Legacy's highly acclaimed Bob Dylan Bootleg Series focuses on the legendary studio sessions that produced Bringing It All Back Home, Highway 61 Revisited and Blonde On Blonde, the trilogy of album masterpieces which secured Dylan's reputation as a songwriter and performer of unprecedented depth, power and originality while significantly impacting the course of popular music and culture. All recordings included in The Cutting Edge 1965-1966: The Bootleg Series Vol. 12 are pristine transfers and mixed from the original studio tracking tapes.

Importantly, The Cutting Edge 1965-1966: The Bootleg Series Vol. 12 provides a rare exploration into Dylan's creative process in the studio, allowing fans to experience another side of Bob Dylan through the evolution of his songs and recordings from this truly groundbreaking period.

The Cutting Edge 1965-1966: The Bootleg Series Vol. 12 - Deluxe Edition brings together for the first time many of the most sought-after recordings of the entire Dylan canon. Here, across 6 CDs, are previously unheard Dylan songs, studio outtakes, rehearsal tracks, alternate working versions of familiar hits--including the complete "Like A Rolling Stone" session--and more.

The Best of The Cutting Edge 1965-1966: The Bootleg Series Vol.12 is available in a 2CD or 3 12" vinyl LP set and brings together some of the musical high points of the deluxe and super-deluxe collections.

An 18CD Collector's Edition of The Cutting Edge 1965-1966: The Bootleg Series Vol. 12 will be available exclusively on BobDylan.com. Limited to a worldwide pressing of only 5,000 copies, this 18CD edition will include every note recorded during the 1965-1966 sessions, every alternate take and alternate lyric. All previously unreleased recordings have been mixed, utilizing the original studio tracking tapes as the source, eliminating unwanted 1960s-era studio processing and artifice. The 18CD edition includes Dylan's original nine mono 45 RPM singles released during the time period, packaged in newly created picture sleeves featuring global images from the era. The limited edition includes rare hotel room recordings from the Savoy Hotel in London (May 4, 1965), the North British Station Hotel in Glasgow (May 13, 1966) and a Denver, Colorado hotel (March 12, 1966) as well as a strip of original film cels from "Don't Look Back."

The Cutting Edge 1965-1966: The Bootleg Series Vol. 12 comes with an annotated book featuring hundreds of rare and never-before-seen photographs and memorabilia and new essays penned especially for the collection by Bill Flanagan and Sean Wilentz.

Generally regarded as three of the most important and influential albums of the golden era of 60's rock, Bringing It All Back Home, Highway 61 Revisited and Blonde On Blonde (a double album) were written and recorded across a span of merely 14 months (from January 1965 through March 1966) with producers Tom Wilson (Bringing It All Back Home, "Like A Rolling Stone") in New York and Bob Johnston in New York (Highway 61 Revisited) and Nashville (Blonde On Blonde).

Bob Dylan

The Best of The Cutting Edge 1965-1966: The Bootleg Series Vol. 12

DISC 1

1. Love Minus Zero/No Limit - Take 2 (1/13/1965) acoustic

2. I’ll Keep It with Mine - Take 1 (1/13/1965) piano demo

3. Bob Dylan’s 115th Dream - Take 2 (1/13/1965) solo acoustic

4. She Belongs to Me - Take 1 (1/13/1965) solo acoustic

5. Subterranean Homesick Blues - Take 1 (1/14/1965) alternate take

6. Outlaw Blues - Take 2 (1/13/1965) alternate take

7. On the Road Again - Take 4 (1/14/1965) alternate take

8. Farewell, Angelina - Take 1 (1/13/1965) solo acoustic

9. If You Gotta Go, Go Now - Take 2 (1/15/1965) alternate take

10. You Don’t Have to Do That - Take 1 (1/13/1965) solo acoustic

11. California - Take 1 (1/13/1965) solo acoustic

12. Mr. Tambourine Man - Take 3 (1/15/1965) with band, incomplete

13. It Takes a Lot to Laugh, It Takes a Train to Cry - Take 8 (6/15/1965) alternate take

14. Like a Rolling Stone - Take 5 (6/15/1965) rehearsal

15. Like a Rolling Stone - Take 11 (6/16/1965) alternate take

16. Sitting on a Barbed Wire Fence - Take 2 (6/15/1965) unreleased take

17. Medicine Sunday - Take 1 (10/5/1965) early version of Temporary Like Achilles

18. Desolation Row - Take 2 (8/4/1965) piano demo

19. Desolation Row - Take 1 (8/4/1965) alternate take

DISC 2

1. Tombstone Blues - Take 1 (7/29/1965) alternate take

2. Positively 4th Street - Take 5 (7/29/1965) alternate take

3. Can You Please Crawl Out Your Window - Take 1 (7/30/1965) alternate take

4. Just Like Tom Thumb’s Blues - Take 3 (8/2/1965) rehearsal

5. Highway 61 Revisited - Take 3 (8/2/1965) alternate take

6. Queen Jane Approximately - Take 5 (8/2/1965) alternate take

7. Visions of Johanna - Take 5 (11/30/1965) rehearsal

8. She’s Your Lover Now - Take 6 (1/21/1966) rehearsal

9. Lunatic Princess - Take 1 (1/27/1966)

10. Leopard-Skin Pill-Box Hat - Take 8 (2/14/1966) alternate take

11. One of Us Must Know (Sooner or Later) - Take 19 (1/25/1966) alternate take

12. Stuck Inside of Mobile with the Memphis Blues Again - Take 13 (2/17/1966) alternate take

13. Absolutely Sweet Marie - Take 1 (3/7/1966) alternate take

14. Just Like a Woman - Take 4 (3/8/1966) alternate take

15. Pledging My Time - Take 1 (3/8/1966) alternate take

16. I Want You - Take 4 (3/10/1966) alternate take

17. Highway 61 Revisited – Take 7 (8/2/1965) false start

All tracks previously unreleased except Disc 1, track 2, Biograph; Disc 1, track 8, The Bootleg Series, Volume 1-3.

Bob Dylan

The Cutting Edge 1965-1966: The Bootleg Series Vol. 12

(6 CD Deluxe Edition)

DISC 1:

1. Love Minus Zero/No Limit - Take 1 (1/13/1965) acoustic, incomplete

2. Love Minus Zero/No Limit - Take 2 (1/13/1965) acoustic

3. Love Minus Zero/No Limit - Take 3 remake (1/13/1965) acoustic

4. Love Minus Zero/No Limit - Take 1 remake (1/14/1965) electric

5. I’ll Keep It with Mine - Take 1 (1/13/1965) piano demo, previously released on Biograph, 1985

6. It’s All Over Now, Baby Blue - Take 1 (1/13/1965) solo acoustic, previously released on The Bootleg Series, Vol. 7, 2005

7. Bob Dylan’s 115th Dream - Take 1 (1/13/1965) acoustic, incomplete

8. Bob Dylan’s 115th Dream - Take 2 (1/13/1965) acoustic

9. She Belongs to Me - Take 1 (1/13/1965) solo acoustic

10. She Belongs to Me - Take 2 Remake (1/13/1965) acoustic

11. She Belongs to Me - Take 1 Remake (1/14/1965) electric

12. Subterranean Homesick Blues - Take 1 (1/13/1965) solo acoustic, previously released on The Bootleg Series, Vol. 1-3, 1991

13. Subterranean Homesick Blues - Take 1 remake (1/14/1965) electric

14. Outlaw Blues - Take 1 (1/13/1965) solo acoustic

15. Outlaw Blues - Take 2 Remake (1/13/1965) electric

16. On the Road Again - Take 1 (1/13/1965) solo acoustic

17. On the Road Again - Take 4 (1/14/1965) electric

18. On the Road Again - Take 1 remake (1/15/1965) electric

19. On the Road Again - Take 7 remake (1/15/1965) electric

20. Farewell, Angelina - Take 1 (1/13/1965) solo acoustic, previously released The Bootleg Series, Vol. 1-3, 1991

21. If You Gotta Go, Go Now - Take 1 (1/13/1965) solo acoustic

22. If You Gotta Go, Go Now - Take 2 (1/15/1965) electric

23. You Don’t Have to Do That - Take 1 (1/13/1965) solo acoustic, incomplete

DISC 2:

1. California - Take 1 (1/13/1965) solo acoustic

2. It's Alright, Ma (I'm Only Bleeding) - Take 1 (1/15/1965) acoustic, demo

3. Mr. Tambourine Man - Takes 1 - 2 (1/15/1965) incomplete, with band

4. Mr. Tambourine Man - Take 3 (1/15/1965) incomplete, with band

5. It Takes a Lot to Laugh, It Takes a Train to Cry - Take 1 (6/15/1965)

6. It Takes a Lot to Laugh, It Takes a Train to Cry - Take 8 (6/15/1965)

7. It Takes a Lot to Laugh, It Takes a Train to Cry - Take 3 (7/29/1965)

8. It Takes a Lot to Laugh, It Takes a Train to Cry - Take 3 remake (7/29/65)

9. Sitting on a Barbed Wire Fence - Take 2 (6/15/1965)

10. Tombstone Blues - Take 1 (7/29/1965)

11. Tombstone Blues - Take 9 (7/29/1965) previously released on The Bootleg Series, Vol. 7, 2005

12. Positively 4th Street - Takes 1-3 (7/29/1965)

13. Positively 4th Street - Take 4 (7/29/1965)

14. Positively 4th Street - Take 5 (7/29/1965)

15. Desolation Row - Take 1 (8/4/1965)

16. Desolation Row - Take 2 (8/4/1965) piano demo

17. Desolation Row - Take 5 remake (8/2/1965)

18. From a Buick 6 - Take 1 (7/30/1965)

19. From a Buick 6 - Take 4 (7/30/1965) released in error on first pressing of Highway 61 Revisited, 1965

DISC 3:

1. Like a Rolling Stone - Take 1-3 (6/15/1965)

2. Like a Rolling Stone - Take 4 (6/15/1965)

3. Like a Rolling Stone - Take 5 (6/15/1965)

4. Like a Rolling Stone - Rehearsal (6/16/1965)

5. Like a Rolling Stone - Take 1 (6/16/1965)

6. Like a Rolling Stone - Takes 2-3 (6/16/1965)

7. Like a Rolling Stone - Take 4 (6/16/1965) released on Highway 61 Revisited, 1965

8. Like a Rolling Stone - Take 5 (6/16/1965)

9. Like a Rolling Stone - Take 6 (6/16/1965)

10. Like a Rolling Stone -Take 8 (6/16/1965)

11. Like a Rolling Stone - Takes 9-10 (6/16/1965)

12. Like a Rolling Stone - Take 11 (6/16/1965)

13. Like a Rolling Stone - Take 12 (6/16/1965)

14. Like a Rolling Stone - Take 13 (6/16/1965)

15. Like a Rolling Stone - Take 14 (6/16/1965)

16. Like a Rolling Stone - Take 15 (6/16/1965)

17. Like a Rolling Stone - Master take - lead guitar isolated track

18. Like a Rolling Stone - Master take - vocal and guitar isolated track

19. Like a Rolling Stone - Mast take - drums and organ isolated track

20. Like a Rolling Stone - Master take - piano and bass isolated track

DISC 4:

1. Can You Please Crawl Out Your Window - Take 1 (7/30/1965)

2. Can You Please Crawl Out Your Window - Take 17 (7/30/1965 released in error on the first pressing of Positively 4th Street single

3. Highway 61 Revisited - Take 3 (8/2/1965)

4. Highway 61 Revisited - Take 5 (8/2/1965)

5. Highway 61 Revisited - Take 7 (8/2/1965)

6. Just Like Tom Thumb’s Blues - Take 1 (8/2/1965)

7. Just Like Tom Thumb’s Blues - Take 3 (8/2/1965)

8. Just Like Tom Thumb’s blues - Take 13 (8/2/1965)

9. Queen Jane Approximately - Take 2 (8/2/1965)

10. Queen Jane Approximately - Take 5 (8/2/1965)

11. Ballad of a Thin Man - Take 2 (8/2/1965) incomplete

12. Medicine Sunday - Take 1 (10/5/1965)

13. Jet Pilot - Take 1 (10/5/1965) Previously released on Biograph, 1985

14. I Wanna Be Your Lover - Take 1 (10/5/1965)

15. I Wanna Be Your Lover - Take 6 (10/5/1965)

16. Unknown Instrumental - Take 2 (10/5/1965)

17. Can You Please Crawl Out Your Window - Takes 5-6 (11/30/1965)

18. Visions of Johanna - Take 1 (11/30/1965)

19. Visions of Johanna - Take 5 (11/30/1965)

DISC 5:

1. Visions of Johanna - Take 7 (11/30/1965)

2. Visions of Johanna - Take 8 (11/30/1965) previously released on The Bootleg Series, Vol. 7, 2005

3. Visions of Johanna - Take 14 (11/30/1965)

4. She’s Your Lover Now - Take 1 (1/21/1966)

5. She’s Your Lover Now - Take 6 (1/21/1966)

6. She’s Your Lover Now - Take 15 (1/21/1966) previously released on The Bootleg Series, Vol. 1-3, 1991

7. She’s Your Lover Now - Take 16 (1/21/1966) solo piano

8. One of Us Must Know (Sooner or Later) - Take 2 (1/25/1966)

9. One of Us Must Know (Sooner or Later) - Take 4 (1/25/1966)

10. One of Us Must Know (Sooner or Later) - Take 19 (1/25/1966)

11. Lunatic Princess - Take 1 (1/27/1966)

12. Fourth Time Around - Take 11 (2/14/1966)

13. Leopard-Skin Pill-Box Hat - Take 3 (2/14/1966)

14. Leopard-Skin Pill-Box Hat - Take 8 (2/14/1966)

DISC 6:

1. Stuck Inside of Mobile with the Memphis Blues Again - Take 1 (2/17/1966)

2. Stuck Inside of Mobile with the Memphis Blues Again - Rehearsal (2/17/1966)

3. Stuck Inside of Mobile with the Memphis Blues Again - Take 5 (2/17/1966) previously released on The Bootleg Series, Vol. 7, 2005

4. Stuck Inside of Mobile with the Memphis Blues Again - Take 13 (2/17/1966)

5. Stuck Inside of Mobile with the Memphis Blues Again - Take 14 (2/17/1966)

6. Absolutely Sweet Marie - Take 1 (3/7/1966)

7. Just Like a Woman - Take 1 (3/8/1966)

8. Just Like a Woman - Take 4 (3/8/1966)

9. Just Like a Woman - Take 8 (3/8/1966)

10. Pledging My Time - Take 1 (3/8/1966)

11. Most Likely You Go Your Way (And I’ll Go Mine) - Take 1 (3/9/1966)

12. Temporary Like Achilles - Take 3 (3/9/1966)

13. Obviously 5 Believers - Take 3 (3/10/1966)

14. I Want You - Take 4 (3/10/1966)

15. Sad-Eyed Lady of the Lowlands - Take 1 - (2/16/1966)