Born of his insatiable desire to innovate and entertain live music fans, Jane’s Addiction frontman and Lollapalooza founder Perry Farrell will release a superb and strikingly eclectic nine-song collection entitled Kind Heaven this June through a newly forged partnership with BMG.
From the Jane’s Addiction-esque fervor of the 21st-century protest song, “Pirate Punk Politician” and the theatrical “Snakes Have Many Hips,” a song that could be performed on Broadway, to the decidedly electro pop of “One” and the rising tension of the dramatic, world music-flavored “More Than I Could Bear,” Kind Heaven is an amalgam of decades of musical fusion, all tied together by the voice of Farrell; one of the most recognizable and distinct frontmen of the last 30 years.
Farrell sees Kind Heaven as a musical collective. “It’s always good to collaborate. You receive inspiration from others and if you are open- minded things just grow and accelerate,” he says. “I bring to the party voice, personality, and ideas about pushing the boundaries of live performance. I enjoy working with artists who have spent their life refining their craft and have become leaders in their fields”.
Farrell points to the presence on the album of composer Harry Gregson- Williams and French electronic producer Joachim Garraud as masters of their craft that he recruited to help him fulfill his musical vision.
Indeed, Farrell assembled a musical all-star team throughout the collection, with appearances by Foo Fighters’ Taylor Hawkins (“(red, white, and blue) Cheerfulness” and “More Than I Could Bear”)), the Cars’ Elliot Easton (“More Than I Could Bear”) . Farrell co-produced the album with Tony Visconti (T. Rex, David Bowie, Iggy Pop).
Be it live performance, music, style, or, in this instance, technology, Farrell is the perpetual innovator. Designing the music to be experienced in an immersive fashion, Kind Heaven was recorded in stereo as well as
binaurally and in Atmos surround sound, to be presented at the Las Vegas complex debuting in 2020 that will also bear the Kind Heaven moniker.
“Kind Heaven is a grand idea. I don’t see this project as a solo album. I view the recording as the music of Kind Heaven, where eventually we’ll be entertaining you
three dimensionally, across all senses,” he says. “We’ll present a new music listening experience and an immersive production that brings to life the story of an evolving world, and helps to build a global community.”
The entire project is fulfilling Farrell’s dream that inspired Kind Heaven; to create a global circuit for international entertainers to reach out even further to music lovers.
“One day, I envision the Kind Heaven Orchestra in residency in Las Vegas, and it will be a collective of musicians and artisans. We may see a great guitarist, dancer, performance artist or conductor performing for a week or eight weeks if they choose. We are a family of artists and entertainers…Scene makers!”
Farrell understands clearly that every revolution must have a soundtrack. In 1991, Lollapalooza changed the music scene with Jane’s Addiction spearheading the alternative movement. Kind Heaven the album has the passion and power to usher in a fancy new revolution, rooted in kindness and generosity.
This album consists of a series of stories that form an overarching narrative set on the threshold of the messianic age. Every song has something to say, and whether you agree with the message of a song or not, Farrell believes you won’t be able to escape the energy and intention of these songs.
He cites “Pirate Punk Politician” as the first example. “I’m looking forward to conservatives and liberals alike digging the song,” he says excitedly.
Another standout track is the electro rock composition, “Machine Girl.” Machine Girl is a captivating female performer (portrayed by Farrell’s wife, Etty) They are living in an age of familial detachment and cybersex. Immediately alluring, she seduces a touring musician who is drawn to her beauty and talent, as well as her robotic and hypnotic voice. It’s their love story…
The record covers as much ground lyrically as it does sonically, moving from protest and love songs to spiritual tracks. Perhaps the most compelling song is “Let’s All Pray For This The World,” an anthem that reflects Farrell‘s never-ending sense of hope for world unity, no matter how bleak things appear.
“I’m inspired – driven – by the concept that we’re living on the threshold of the messianic era, a time that marks a paradigm shift in our collective consciousness.
In that context one can’t help but think about matters of the spirit. I have this vision that all 70 nations begin to understand and know God together. Nobody is above the other in this comprehension,” he says. “We will all come to know the divine. In the messianic era we will live in a time of peace. God will live amongst us. For that to happen, we must be comfortable praying together. Humanity is at its greatest when we embrace what we have in common, and celebrate our differences. That’s what the song is about.”
His unwavering enthusiasm shouldn’t be surprising. If you’ve followed Perry Farrell for the last three decades you know everything in his world is better together.
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