Dido returns to the shelves of Amoeba Music tomorrow (March 26th) with her brand new album Girl Who Got Away on RCA Records. Available in both regular and Deluxe CD versions, Girl Who Got Away is the UK artist's fourth album to date and her first since 2008's Safe Trip Home. With production courtesy of her brother/frequent collaborator Rollo Armstrong - in addition to Brian Eno, Jeff Bhasker, Rick Nowels, and Greg Kurstin - the 11 track (17 on the DeLuxe version) new album of self-penned songs spans folk, ambient, dance, electro infused pop, and hip hop. In addition to such tracks as the lead single "No Freedom" (see video below) critics have been lauding praise upon the new album track "Let Us Move On" that features an engaging guest feature from hip-hopper of the moment Kendrick Lamar.

Album Picks:

Crystal Castles – III

CD $12.98

LP $17.98

Early interviews about Crystal Castles' stunning third album have seen frontwoman Alice Glass discussing oppression at length with Bono-ish fervor — not something typically associated with an image-conscious electronic duo known more for its antagonistic records and brawling live shows than its politics. But Glass and synth stud Ethan Kath can have it both ways, as III is another visceral attack of a record from Crystal Castles that ups the meaning behind their furor, both explicitly and implied, without losing any of their hedonistic attitude. In fact, III, while lacking some of the shock value of the first two records, is Crystal Castles’ most consistent statement to date. Tracks like “Plague” and “Wrath of God” still pack walloping beats, but they are more of mood pieces than, say, something like II’s “Baptism,” full of moody, heaving passages that draw you in and keep you rapt across the record. III is also smartly paced, keeping some of its more crowd-pleasing moments for later in the record, whereas previous albums were front-loaded. The fourth song in, “Affection,” shares a chord-scheme with MGMT’s “Kids,” though its warped vocals sound like they’re echoing from an abyss — not exactly radio-friendly material. Glass quits whispering and unleashes her trademark echoed yelps on the spare “Pale Flesh,” sure to be a live favorite, while “Sad Eyes” charges forth with unabashed club glee and hard-hitting beatwork. The album’s final quarter features some of its most remarkable moments, full of seedy club bangers, while its last song, “Child I Will Hurt You,” is a typically gorgeous closer from the band, layering Goblin-style keyboards over Glass’ haunting vocals, which often sing of pain inflicted upon the vulnerable, echoing the statement of that album cover, calling to mind suffering and comfort in equal doses. That concept isn’t as overt as it could have been, but when it does come through, as when Glass sings “I’ll protect you from all the things I’ve seen” on “Kerosene,” Crystal Castles create the aural equivalent of gunfire and a helping hand.

        
There are very few artists who four full decades into their careers are still consistently making riveting relevant music that still matters to fans old and new alike. Brian Eno is one of those rarities. Eno, who got his introduction to the music world at the start of the 70's as the keyboardist for Roxy Music before soon after going solo, has consistently evolved as an artist (and music theorist) singularly crafting new production styles and musical sounds (creating the genre of ambient music), as a producer (U2, Devo, Talking Heads, Coldplay), and selectively collaborating alongside with such notable artists over the years as Harold Budd, Robert Fripp, David Bowie, John Cale, and David Byrne. Even 30 years after its release Eno and Byrne's landmark My Life in the Bush of Ghosts sounds as fresh as the day it was released in 1981.

Not surprisingly Eno's artistic output and his approach to music continues to influence generation after generation of new electronic artists. So it makes sense that for Eno's latest release, Drums Between the Bells, that the electronic music innovator should again join forces with Warp Records - a label, since its formation 22 years ago has become known for always finding and advocating adventurous new electronic music. Last year Warp released Small Craft on a Milk Sea, Eno's excellent collaborative composition with Jon Hopkins and Leo Abrahams.

Check out the new documentary BRIAN ENO 1971-1977: THE MAN WHO FELL TO EARTH at The Roxie Theater in SF, Weds 5/11, 7pm. In celebration of Brian Eno’s 63^rd (!) birthday a few days later, the film will be preceded by a video mix of performance clips and birthday surprises. Drop by and say hi at the Amoeba table! Presented by Noise Pop. 

Also, follow us on Twitter @amoebasf! We'll be giving away a few pairs of tickets this Monday!

My first introduction to Roxy Music was Avalon, their last album as group from 1982. The title track, "Avalon," was actually played on adult contemporary stations, so I probably first heard it in my mom's car while she was dropping me off somewhere. Some of my favorites bands were near the end or their musical careers when I first heard them. It all just depends what age you are when you first hear a band. You can't help what year you are born and many of us end up liking music from past musical decades. Much of my favorite music comes from the 80's and early 90's but there is a good amount of music that I like that was being made when I was 3 years old back in the 70s too. I imagine it must be a little weird for somebody who is now 20 to only like 70s or 80s music -- music that was made well before they were born. A 20 year old could have been born in 1990! But I guess this is not any different than someone in the 80s being only into early soul music, or the millions of people who only listen to jazz or classical music made decades before they were born. By the time Roxy Music put out Avalon, I am sure they had lost many of their fans, or at least the fans of their earlier albums were not exactly jumping up for joy for the band's new softer, more adult contemporary sound. But I was not among them -- I loved Avalon. I loved the album cover. I loved the songs. When I was younger I was really drawn to album covers. They were much more important back then. It was often what first made me pick up certain albums. A really good album cover was really all that I needed to convince me to pick up an album. I probably didn't first pick up this album until the late 80's. The cover reminded me of some of my favorite movies at the time like Clash of the Titans or Ladyhawke. I was intrigued. Years later I would go back and discover the genius of early Roxy Music. The self titled album from 1972 and For Your Pleasure from 1973 are two of my favorites, and "Love is the Drug" from the 1975 album Siren remains one of my favorite songs of all time.

Bryan Ferry would go on to a very long solo career after Avalon and I have been obsessed with him ever since. Boys and Girls and Bete Noire are two of my favorite albums of the 80's. Brian Eno, on the other hand, worked on the first couple of Roxy Music albums but he has had an amazingly long career as a solo artist as well. Bryan Ferry has just released a new solo album called Olympia. This was initially going to be a new Roxy Music album and it really still sort of is one, even if it is credited just to Bryan Ferry. Former Roxy Music members Brian Eno, Phil Manzanera, and Andy Mackay are all featured on the new album. It features "You Can Dance," which I think is one of the best Bryan Ferry songs in a while. I actually heard it on the radio for the first time. I thought it was kind of appropriate since this is how I first discovered Roxy Music so many years ago. I am always excited to have Bryan Ferry back in my life. The man has an awesome voice and I can never get enough of him. He is one of those singers that I think can appeal to a teen into new wave music and a suburban housewife into Michael Bolton. There is really nobody like him and there is never any mistaking a Bryan Ferry song!