Juliana

Just a few months ago, Juliana Hatfield released Juliana Hatfield Sings Olivia Newton-John, a full album of Olivia Newton-John covers. And early next year, she’s already coming back with Weird, a new self-produced album of 11 original songs. While Hatfield’s last album of originals, last year’s politically charged Pussycat, found her taking stock of the world around her, Weird instead finds her retreating inwards.

Juliana Hatfield has announced a new album called Pussycat, which is coming April 28 via American Laundromat. Hatfield wrote the album as a reaction to the 2016 presidential election. “All of these songs just started pouring out of me,” she said in a statement. “I felt an urgency to record them, to get them down, and get them out there.” It features songs called “Short-Fingered Man” and “Kellyanne.” The full-length follows last year’s project with Paul Westerberg, Wild Stab, as the I Don’t Cares. The Juliana Hatfield Three’s last album Whatever, My Love was released in 2015.

Elles n’ont que trois ans, et pourtant Juliana, Céleste et Kristina connaissent l’horreur au sein de la secte dans laquelle elles sont éduquées, « les Enfants de Dieu ».
Sous couvert de les protéger et de leur transmettre leurs dogmes, les « Gardiens » de la secte, qui les séparent de leurs parents, les punissent très sévèrement et les initient à la sexualité dès leur plus jeune âge. …

Ruth Gipps made her musical talents apparent from an early age, and they were encouraged by her very supportive mother. She entered the Royal College of Music in 1937, aged 16, studying oboe and piano, in addition to composition (with Ralph Vaughan Williams and Gordon Jacob). Whilst at college, she performed Brahms’s Second Piano Concerto, and her tone poem Knight in Armour (CHAN 20078) was presented by Sir Henry Wood at the Last Night of the Proms in 1942. As the war continued, Gipps left London to become principal oboe with the City of Birmingham Orchestra, where she also performed as pianist and had several of her works programmed. Returning to London after the war, Gipps found fewer opportunities as a performer, and less interest in her orchestral scores. She concentrated on composing more chamber music, alongside a successful teaching career.