Spinning Out

From jumping on a “Trampoline” to ‘Spinning Out,’ SHAED keeps moving with latest album. First SHAED jumped off a “Trampoline,” then they hopped off the High Dive. Now, the trio keeps moving with their sophomore full-length album, Spinning Out. Speaking with ABC Audio, frontwoman Chelsea Lee shares that the title of SHAED’s latest record “implies maybe a couple things.” “We’re spinning out, out of control, in kind of facing all these obstacles and it’s affecting us mentally, honestly,” Lee says. “But I think it can also be a positive,” she continues. “I think that we can spin forward.”

From jumping on a “Trampoline” to ‘Spinning Out,’ SHAED keeps moving with latest album. First SHAED jumped off a “Trampoline,” then they hopped off the High Dive. Now, the trio keeps moving with their sophomore full-length album, Spinning Out. Speaking with ABC Audio, frontwoman Chelsea Lee shares that the title of SHAED’s latest record “implies maybe a couple things.” “We’re spinning out, out of control, in kind of facing all these obstacles and it’s affecting us mentally, honestly,” Lee says. “But I think it can also be a positive,” she continues. “I think that we can spin forward.”

Part of the Replacements' appeal always was that they didn't quite fit into any tidy category and nowhere was that truer than on their 1981 debut, Sorry Ma, Forgot to Take Out the Trash. Falling over themselves to fit into the Minneapolis hardcore scene, the 'Mats played fast and loose, which was part of the problem they were too loose, lacking the discipline to fit within hardcore, which even in '81 was adhering to the loud-fast rules that would later morph into straight-edge. Then again, that was a common problem in the Twin Cities, as Hüsker Dü also were too big and blustery to be a standard hardcore band, but where the Huskers traded in violence and fury at this early stage, the Replacements wallowed in cheap thrills.

Elvis Costello returned to the stage in 2011 with his celebrated Spinning Wheel tour and now comes the definitive document of this tour: Costello once again allowed his set list to be chosen by "The Spectacular Spinning Songbook", a monumental game-show type wheel spun by select fans and featuring songs from his latest critically acclaimed release "National Ransom", plus new renditions of hits, rarities and very unexpected covers.

When your resume ranges from being the musical director/pianist for George Benson for the past two decades to charter member with intrepid Cryptogramophone label head/violinist Jeff Gauthier's Goatette, what do you do for your very first album as a leader? In the case of David Witham, it's to collect friends from across the musical spectrum he's worked in for his entire career and bring them together for a first meeting that's as eclectic and unpredictable as one might expect. Guest appearances from stalwart Cryptogramophone guitarist Nels Cline and ubiquitous steel guitarist Greg Leisz aside, Witham's core quintet on Spinning the Circle might seem, on paper, to be one headed for a train wreck, but only if you're not familiar with their full breadth of expertise and ability to mold into any context. Witham, who contributes all but one of the disc's eight tracks, provides plenty of contextual diversity for his band mates.

The larger-than-life story of Casablanca Records, the most successful independent record company of all time, and its creator Neil Bogart is coming to the big screen in the new motion picture, Spinning Gold, which premieres in theaters nationwide on March 31.

Recorded with Edwyn Collins at his AED Studios, and at Green Door Studio (the recording centre for the new wave of Glasgow artists) with Stu Evans, Permo is an album of bold steps and simple gestures, coming from a group who have found, seemingly effortlessly, a confident, unpretentious and egalitarian way of working together. Spinning Coin's two songwriters - Sean Armstrong and Jack Mellin - oscillate taking centre stage on a song; Armstrong's more melancholic melodies contrasting with Mellin's urgent refrains.

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