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John Southworth

John Southworth (which is without a doubt his stage moniker extracted from the saint of this name) has music in his bloodstream. His dad, Peter Shelley, was a significant shape in the glam picture of 1970s Britain, and was also the A&R guy who brought the globe Ruler Crimson. Southworth’s musical character is very definately not the progressive rock and roll and glam rock and roll of his dad — he performs a distinctive make of pop that transcends both period and space, combining affects as wide-ranging as Lou Reed, Burt Bacharach, and Bertolt Brecht. His initial two albums, 1998’s Mars, Pa as well as the 1999 follow-up Sedona, Az, contain exclusive and catchy tracks that certainly are a musical travelogue through the annals of contemporary pop. The transplanted Englishman telephone calls Canada house, where he provides performed frequently, having also produced his tag on such today defunct renowned American locations as CBGB as well as the Knitting Manufacturer, and also on the Brooklyn Academy of Music, where he performed prior to the opening from the Lou Reed/Robert Wilson pop opera Period Rocker. Southworth remained busy in to the fresh millennium, regularly liberating albums including Banff Springs Transylvania (2000), Yosemite (2006), Pillowmaker (2007), and Mama Tevatron (2009). In 2011, Southworth released Human being Cry, a deeply honest and bittersweet change toward spacious plans and plaintive lyrics. Soon thereafter in the same 12 months, Southworth provided the interested cassette-only album Religious Battle. Informed by an interval of obsession with peasantry and morality, the tunes are all comparable thematically and all of the sounds were documented right to a cassette grasp. Easterween (with Andrew Downing) and Failed Jingles for Lender of America & Additional U.S. Companies found its way to 2012, accompanied by the ambitious dual LP Niagara in 2014, the second option of which shipped a glowing pastiche of sunset-driven ’70s smooth rock and roll and heady, jazz-tinged chamber pop with a definite Canadian twist. In 2016, Southworth released his tenth recording, the shiny, poppy, and cinematic Little Town Drinking water Tower.

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