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11548


Date: February 08, 2023 at 07:03:36
From: shadow, [DNS_Address]
Subject: Peter Gabriel's first new album in 20 years: i/o

URL: https://americansongwriter.com/peter-gabriel-set-to-release-new-album-his-first-in-20-years-tour-in-2023/


Peter Gabriel is set to release his first new album in 20
years later in 2022 with a tour to follow.

Gabriel’s longtime drummer Manu Katché said the band is
finishing a new album, which they will take on a world
tour in 2023.

Earlier in 2022, Gabriel said that he had “a lot of songs
I’m trying to get finished” and is hoping to have
something out by the end of the year. In 2021, Gabriel
also posted a series of photos featuring himself with
Katché along with guitarist David Rhodes and bassist Tony
Levin, in a recording studio at his Real World Studios in
Bath, England.


Gabriel recently said that he and his band had worked on
17 songs in 10 days at the studio.

“I’m excited by what is being cooked at the moment,” said
Gabriel in a 2020 interview, first teasing the new music.
“I have been slowed down quite a lot by lockdown,” said
Gabriel at the time.”We’ve not been able to have Dickie
[Richard Chappell], my engineer here, but I have enough
songs that I like to make a record I’m proud of.”

Famous for taking his time in between releases, the
working title of the new album is I/O and comes 20 years
since Gabriel’s ninth album Up, which took him nearly a
decade to complete.


Responses:
[11549] [11569] [11571] [11570] [11550]


11549


Date: February 08, 2023 at 07:05:57
From: shadow, [DNS_Address]
Subject: Peter Gabriel/Panopticom (Bright-Side Mix) from i/o

URL: https://www.youtube.com/watch?v=jfW1GDu7gxw


Panopticom (Bright-Side Mix) by Peter Gabriel, released
on the full moon 6 January 2023. This is the first song
to be revealed from the album i/o.

The Bright-Side Mix is by Mark 'Spike' Stent and the
track is accompanied by a cover image by the artist David
Spriggs.

Written and produced by Peter Gabriel, Panopticom was
recorded at Real World Studios in Wiltshire and The
Beehive in London.

‘The first song is based on an idea I have been working
on to initiate the creation of an infinitely expandable
accessible data globe: The Panopticom,’ says Gabriel. ‘We
are beginning to connect a like-minded group of people
who might be able to bring this to life, to allow the
world to see itself better and understand more of what’s
really going on.’

Musically Panopticom drives along powered by the engine-
room of long-time collaborators Tony Levin, David Rhodes
and Manu Katché, underpinned by haunting electronics from
Brian Eno. Additional backing vocals from Ríoghnach
Connolly of The Breath. The lyric is, in part, inspired
by the extraordinary work of three groups, Forensic
Architecture, Bellingcat and the Gabriel co-founded
pioneering human rights organisation WITNESS.

The release of Panopticom on the full moon is no
coincidence and in true Gabriel fashion the approach for
i/o will be a little different from the norm. The lunar
phases will guide the release plan in 2023, with a new
song revealed each full moon.

‘Some of what I’m writing about this time is the idea
that we seem incredibly capable of destroying the planet
that gave us birth and that unless we find ways to
reconnect ourselves to nature and to the natural world we
are going to lose a lot. A simple way of thinking about
where we fit in to all of this is looking up at the sky…
and the moon has always drawn me to it.’

Each new release of music will come with a specific piece
of art, ‘we’ve been looking at the work of many hundreds
of artists,’ says Gabriel, and Panopticom features the
work ‘Red Gravity’ by David Spriggs.

‘It was the theme of surveillance that connected me with
the work of David Spriggs because he’d done a piece
relating to that. David does this amazing stuff using
many layers of transparencies so you get these strange
creations with a real intensity to them. Part of what he
does is imagine what art might look like a few years in
the future and then try and create accordingly and I
think he’s done that very successfully in this particular
piece.’


Responses:
[11569] [11571] [11570] [11550]


11569


Date: February 18, 2023 at 14:06:22
From: Jeff/Lake Almanor,CA, [DNS_Address]
Subject: Re: Peter Gabriel/Panopticom (Bright-Side Mix) from i/o

URL: https://www.youtube.com/watch?v=tL_zvi0ltzI


Compare the start of this song, and the chorus, to Peters start and chorus, of his song. Very similar.

Being a huge Genius and Peter Gabriel fan, I'm not yet impressed where he has gone. May change in time.


Responses:
[11571] [11570]


11571


Date: February 18, 2023 at 15:18:19
From: shadow, [DNS_Address]
Subject: Re: Peter Gabriel/Panopticom (Bright-Side Mix) from i/o


Eye of the beholder, 'n all that... ;)


Responses:
None


11570


Date: February 18, 2023 at 14:52:09
From: Eve, [DNS_Address]
Subject: Re: Peter Gabriel/Panopticom (Bright-Side Mix) from i/o




Responses:
None


11550


Date: February 08, 2023 at 07:07:45
From: shadow, [DNS_Address]
Subject: Peter Gabriel/The Court (Dark-Side Mix) from i/o

URL: https://www.youtube.com/watch?v=4fX36llGUCs


The Court (Dark-Side Mix) by Peter Gabriel, released on
the full moon of 5 February 2023. The second song to be
revealed from the album i/o.

The Dark-Side Mix is by Tchad Blake and the track is
accompanied by a cover image featuring the work of artist
and sculptor Tim Shaw.

Written and produced by Peter Gabriel, The Court was
recorded at Real World Studios in Wiltshire and The
Beehive in London, and features contributions from Brian
Eno alongside Tony Levin, David Rhodes and Manu Katché,
as well as backing vocals from Peter’s daughter Melanie
Gabriel. The orchestral arrangement is by John Metcalfe
with Peter Gabriel and was recorded at British Grove
Studios in London with a number of players who previously
featured in the New Blood Orchestra.

‘I had this idea for ‘the court will rise’ chorus, so it
became a free-form, impressionistic lyric that connected
to justice, but there’s a sense of urgency there. A lot
of life is a struggle between order and chaos and in some
senses the justice or legal system is something that we
impose to try and bring some element of order to the
chaos. That’s often abused, it’s often unfair and
discriminatory but at the same time it’s probably an
essential part of a civilised society. But we do need to
think sometimes about how that is actually realised and
employed.’

The song is partly inspired by the work of NAMATI whose
mission is to provide people around the world access to
justice they may not otherwise be able to afford. ‘I
recommend you check them out,’ says Gabriel. ‘They do a
brilliant job assembling teams around the world to help
with different issues.’

Just like the previous song Panopticom, The Court will
come with differing mix approaches from Tchad Blake
(Dark-Side Mix), Mark ‘Spike’ Stent (Bright-Side Mix) and
Hans-Martin Buff’s Atmos In-Side Mix.

‘I quite like this idea of the multiple mix approach
because for most artists it’s the process, not the
product, that is most important. In some ways, I’m trying
to open up the process a little more for those that are
interested.’

Each new release of music comes with a specific piece of
art and the cover for The Court depicts the ritual
installation Lifting the Curse by Tim Shaw. The work was
originally created to literally lift the curse the was
issued to the Royal Academy and its members by the
artists Gilbert & George, but is also addresses a wider
gathering of dark forces with particular reference to the
Russian invasion of Ukraine. The ritual burning was Royal
Academy member Shaw’s visceral and robust response to
them both.

‘Tim Shaw is a great artist whose work is powerful,
political and shamanistic. He has often dealt with tough
themes such as war and torture. He grew up in Belfast so
experienced the fear and reality of seeing violence
around him, which I am sure must have made a deep
impression.

This particular image has an unusual story attached, but
I just responded to the photograph of this very strange
figure that was being ritualistically burnt. The story
behind it, I only discovered afterwards.’

‘I don’t know why that particular image was chosen for
this track,’ says Tim Shaw ‘but thinking about it, it
could be that when you look at the figure perhaps it
stands there to be accused, judged and in this case it’s
burnt as a punishment process that takes place.’


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