For five seasons now, Nick Cave And The Bad Seeds’ track “Red Right Hand” has served as the theme song for the UK period crime drama Peaky Blinders. PJ Harvey, Laura Marling, Iggy Pop and Jarvis Cocker, and more have also covered the song for the show. And now, Snoop Dogg has too.
“By the order of the Peaky Blinders, this is ‘Red Right Hand,’ by Snoop Shelby,” Snoop Dogg says in the video for his cover before tipping his era-appropriate flat cap to the camera. Listen to Snoop’s take on the shadowy, half-spoken song and compare it to the original below.
The smooth, hypnotic voice of the Syrian singer and composer Bedouine, whose real name is Azniv Korkejian, could be compared with that of Karen Dalton, Minnie Riperton or Laura Marling. The leisurely echoes of Bohemian folk from the 60s, served up as if they were infusions of bossa nova, are capable of fully attracting the listener. Her debut album, which bears her name, was produced by Gus Seyffert (Beck, Norah Jones, The Black Keys). In Barcelona she will present her second album, Bird Songs of a Killjoy on Saturday 21st of September at 9PM at Pça Joan Coromines.
Donegal based singer songwriter Rosie Carney has made a cover version of New York group Cigarettes After Sex’s 2012 single ‘K’. Her work is described as songs that feel lived-in and worn, conveying a bruised ache well beyond her years and her voice has “Bon Iver-esque tenderness, Laura Marling-like strength, and the haunting awareness of both”.
Laura Marling gave us one of 2017’s best albums in Semper Femina, but already she’s back and prepping to release a follow-up. The forthcoming full-length is called LUMP and marks the first collaboration between Marling and Mike Lindsay, founding member of Tunng and Throws. Together, they go by the name LUMP.
Their debut LP was recorded in Lindsay’s London studio and has a June 1st release date through Dead Oceans. Lindsay handled the music while Marling was in charge of the lyrics and vocals. Per a press release, Marling’s contributions are described as “a bizarre but compelling narrative about the commodification of curated public personas, the mundane absurdity of individualism, and the lengths we go to escape our own meaninglessness.”