Mike Simonetti has decided to split from Italians Do It Better (Chromatics, Glass Candy) to focus on his new project, Pale Blue, as well as his new venture: the freshly minted label 2MR (Two Mikes Records). A collaboration between Simonetti and Captured Tracks, 2MR is an opportunity for Simonetti to start from a blank slate and release music he believes in. The first release on 2MR will be The Past We Leave Behind, the debut album from Pale Blue. During the writing process of Capricorn Rising, Simonetti was asked to remix tracks from the West Coast twosome Silver Hands. Immediately taken by the incredible range of lead-vocalist Elizabeth Wight, he reached out to collaborate. The result of the bi-coastal email exchange would eventually become Pale Blue. Pale Blue, referencing the term “Pale Blue Dot” , coined by Carl Sagan to refer to a photograph of planet Earth taken by the Voyager 1 space probe in 1990, was originally conceived around the time that Hurricane Sandy hit New York and came to completion with Simonetti’s severance from Italians. Thus, many of the tracks that make up The Past… grapple with themes of loss and new beginnings. The Past… encompasses a myriad of sonic elements, ranging from rhythmic, melodic techno to atmospheric ambient productions, while also incorporating Simonetti’s varied background in noise, drone, and even experimental dream pop. Above it all though, Wight’s vocals remain the focal point, saturating the record with a lush melodic warmth that’s so often missing in the electronic world. Musically, Pale Blue is a response to modern dance music and its constant fluctuations. It intentionally bears no obvious singles, nor club hits. While Simonetti, Wight and Jana Hunter (vocals on “Dusk in Parts”) remain at its core, Pale Blue’s philosophy is to keep everything open to collaboration. It does not aim to pigeonhole itself into a genre or any new vistas in music, but instead to a unifying sound produced collectively and harmoniously.
1. The Past We Leave Behind
2. The Scars
3. Distance To The Waves
7. The Scars (reprise)
8. Dusk In Parts
9. The Math
11. The Eye
13. One Last Thing
Glacial Pace Re-Issue of this long out of print title.
Interstate 8 is the second EP by alternative rock band Modest Mouse, released on Up Records in 1996. It contains the band's original demo, Live in Sunburst Montana, which was recorded in Isaac Brock's garage in Issaquah, Washington.
1. Interstate 8
2. All Night Diner
3. Sleepwalking (Couples Only Dance Prom Night) (Melody from "Sleep Walk" by Santo and Johnny)
5. Edit the Sad Parts
Side B - Live In Sunburst, Montana
1. Beach Side Property
2. Buttons to Push the Buttons
3. Novocain Stain
5. Whenever You Breathe Out, I Breathe In (Positive/Negative)
6. Edit the Sad Parts
Loneliness, boredom, and random observations have been at the heart of Modest Mouse's skewered musical universe through all their releases. The Issaquah, Washington-born trio has also been able to spin very-long-playing albums that catered to the group's core obsessions, with both its full-length Up Records releases--This Is a Long Drive for Someone with Nothing to Think About and The Lonesome Crowded West clocking in at more than 70 minutes in length. So it's refreshing to hear this supremely odd rock band at its most economical. Building Nothing Out of Something catches singles, compilation tunes, and more--none of which were ever intended to be sequenced as an album. As a narrative whole, the singles take on a visionary quality, discerning worldly, bent revelations in the everyday world. The swervy vocals that Isaac Brock has made his trademark sound as languidly distressed as ever, stricken by marvel and ghastly awakenings in equal measures. The music serves Brock well, sounding wobbly and sturdy at once, as if it barely teeters on chaos's brink at a variety of mostly midtempo paces. "Never Ending Math Equation," "A Life of Arctic Sounds," and "Other People's Lives" play the most stoutly, with the tonally clean guitars breaking across all the angular phrasings and rhythms Modest Mouse thrive on while Brock's voice goes from warpy drollery to exasperated wail in the face of his task as a singer and writer.
- Andrew Bartlett
1. Never Ending Math Equation
2. Interstate 8
5. Workin' On Leavin' The Livin'
6. All Nite Diner
7. Baby Blue Sedan
8. A Life Of Artic Sounds
10. Grey Ice Water
11. Whenever You Breathe Out, I Breathe In (Positive Negative)
12. Other People's Lives
Since 2010, Elias Bender Rønnenfelt (Iceage, Vår) has used the Marching
Church moniker to a variety of musical ends, both live and recorded. However,
the project as it exists on This World Is Not Enough wasn’t born until November
2013. With a live performance looming and no real idea what the set would be,
Rønnenfelt found a new vision for the band while daydreaming at a gig at the
venue where Marching Church was set to perform. “What I pictured was me in a
comfortable armchair, adorned in a golden robe, leading a band while a girl kept
pouring me champagne when I required it,” Rønnenfelt explained. “This raised
the question, ‘What sort of music would go along with this picture?’”
Rønnenfelt discovered the answer to that question with a lineup rounded out by
Kristian Emdal and Anton Rothstein of Lower, Cæcilie Trier (Choir of Young
Believers), Bo H. Hansen (Hand of Dust, Sexdrome) and Frederikke Hoffmeier
(Puce Mary). Under Rønnenfelt’s leadership, the group composed some music,
rehearsed twice, and played their show. It was decided that night that this incarnation
of Marching Church would make a record.
This World Is Not Enough was influenced at first by obscure works like David
Maranha’s experimental drone-rock saga Antarctica, and eventually by soul
bandleaders like James Brown and Sam Cooke. “The whole month of writing
and rehearsing and the one week we had in the studio was truly an explosion
of ideas,” Rønnenfelt said. “Improvisation, something I have never worked with
before, was crucial in the making of this album, considering the loose nature
of the writing on some of these songs. The album works because of the band’s
incredible ability of breathing life into these, at times, very simple ideas and
The eight tracks that made the final cut are, in Rønnenfelt’s words, “songs of
nocturnal longing, preposterous self-obsession and cockeyed etiquette,” and they
are an exemplary statement of the songwriter’s extraordinary growth since the
birth of Iceage.
1. Living in Doubt
2. King of Song
3. Hungry for Love
4. Your Father’s Eyes
5. Calling Out a Name
6. Every Child (Portrait of Wellman Braud)
7. Up a Hill
8. Dark End of the Street
Known for the sparse, haunting qualities of his mostly solo recordings of what he refers to as "roots-folk music," in which his husky voice is often accompanied by little more than a banjo or acoustic guitar, William Elliott Whitmore sought to add some new pitches to his bullpen for his new ANTI- release Radium Death. "I purposefully went into it wanting to make a little bit of a departure, sonically, using an electric guitar a little bit more and adding more instrumentation, more full-band type stuff," says Whitmore. "I wanted to switch it up a little bit and plug in to see what that felt like." "I was reading a lot about the so-called ‘radium girls’ of the early 1900's, these assembly lines of women painting watch dials with radium to make them glow in the dark," he says, detailing how the workers would lick the tips of their paintbrushes to get them pointy while dipping them repeatedly into the chemical substance before it was known to be dangerous. "So, in my mind ‘radium death’ came to represent something that you’re told is good for you—maybe by a higher power—but really is killing you. It represents those lies that are told, and how we can protect ourselves against them." The songs assembled, while not a concept album, present a cohesive look into those recurring Whitmore themes of respect, protection, sustenance and survival. The blazing (even by WEW standards) opener, "Healing To Do," pulls no punches, kicking in immediately with the rhythmic shuffle of a full band, an organ, and Whitmore’s upbeat rasp. The pace continues with songs like "Trouble in Your Heart," "1000 Deaths" and "Don’t Strike Me Down," preaching patient hope, rebirth, renewal, and revolt over stomping drums, acoustic strumming and even an electric guitar solo.
1. Healing to Do
3. Trouble in Your Heart
4. A Thousand Deaths
5. Go On Home
6. Don’t Strike Me Down
7. Can’t Go Back
8. South Lee County Brew
9. Have Mercy
10. Ain’t Gone Yet
No News From Home is the 2nd LP from Portland, Oregon quartet Houndstooth and the follow-up to Ride Out The Dark. That record was labeled "one of 2013's all too overlooked delights" by SPIN while their hometown Portland Mercury called it "an extraordinarily good album, a perfect representation of the band's trademark balancing of ease and passion." News is an altogether more mature record that widens the bands sound: from Velvets-style churners to shimmering, breezy, love songs, all penned by songwriting duo John Gnorski and Katie Bernstein.
1. Bliss Boat
3. No News From Home
4. Green Light
5. Wasted Hours
6. Witching Hour
8. Yellow Stone
9. Double Vision
11. They’re Racing Tonight
Inventions are the collaborative sum of longtime friends Matthew Cooper of Eluvium, and Mark T. Smith of Explosions In The Sky. Their 2014 eponymous debut album introduced an ambition to create music that was both challenging and comforting. Their new album, Maze of Woods, opens with a vocal sample declaring, "I wanted to do something that I don't know how to do." Using this as a mission statement, Inventions have crafted a complex and exuberant album from an array of instruments, samples, found sounds, beats, chants, and raw bursts of noise, with a much greater emphasis on strong vocal accompaniment in every song. Two albums released in the span of 10 months speaks to the drive that these two have felt since they started playing together. Much like on the first record, they again mixed the album in a house on the Oregon coastline, with final mixing and production all done by Smith and Cooper. Inventions have stated that much of the inspiration for Maze of Woods comes from the closing paragraph of Denis Johnson's novella Train Dreams. In that paragraph, Johnson describes the nonverbal howl of a feral wolf boy, a pre-language that is yearning and instinctual; a statement of wordless distress and love. Maze of Woods is the product of two masters of their craft getting lost in the wilderness, "doing something that they don't know how to do," and emerging with something wholly unexpected and beguilingly beautiful.
4. Slow Breathing Circuit
5. A Wind From All Directions
8. Feeling The Sun Thru The Earth At Night
Synth-pop dance party band Reptar returns with their second full length, Lurid Glow, out March 17th 2015 on Joyful Noise Recordings. Lurid Glow continues the exploratory and arousing spirit of their 2012 debut Body Faucet, 2012. Graham Ulicny (singer-guitarist), Andrew McFarland (drums), Ryan Engelberger (Bass), and William Kennedy (analog keyboards) succeed once again in bringing world dance parties into the post-rock realm. Lurid Glow continues Reptar's exploration of afro-beat indie electro-pop with a heart. While the scope of this album is broader than Body Faucet it retains the earnestness of a band just wanting to have a good time and make you feel good enough to shake your money-maker.
1. No One Will Ever Love You
2. Ice Black Sand
4. Sea Of Fertility
6. Every Chance I Get
7. Easier To Die
8. Daily Season
9. Particle Board
The Soft Moon was never intended for the public's ears, but you found it,were drawn in by its danger, and insisted that others hear. Oakland's Luis Vasquez began the project in order to better know his own self. He'd holed up in his apartment and let the tape roll, allowing gut and memory guide him. Those twin sherpas, however, led him to a place of darkness, claustrophobia and dread: a musical wasteland moving to a Motorik tic, its edges made jagged in the image of early post-punk, swathed in the moody atmosphere of vintage darkwave.
1. Inwa Rd
Like many others, Ghostly became enamored with Fort Romeau's idea of "slow
listening," the concept of enriching relationships with music through careful
attention and focus. His understated take on deep, groove-friendly house started
pushing this practice three years ago, when the producer's debut LP, Kingdoms,
appeared via 100% Silk. The native Londoner, born Mike Greene, has evolved
considerably since then, finessing his sound over the course of three breezy 12"s,
one EP, and lengthy DJ sets at some of the best clubs in Europe—not the least of
which were Berlin's famed Panorama Bar, London hotspot Plastic People, and
Robert Johnson in Frankfurt. Those years Greene spent immersed in his craft and
new inspirations have generously informed the eight stunning productions which
comprise Insides, Fort Romeau's long-awaited sophomore album.
"Playing in those clubs definitely had an affect on how I approach composition and
pacing," Greene shares. "I want to allow things to breathe and develop gradually
over longer track lengths, rather than cram everything into four or five minutes." His
patient methods are a central component to the billowy house music on Insides,
though this isn't an indulgent album of gratuitous buildups and tiresome
breakdowns. Each production is pointed and purposeful, as the artist crafts every
second of analog electronics with rich detail, nuance, and refinement.
Throughout Insides, Fort Romeau guides us down misty corridors lined with supple
synth pads, quietly thumping kicks, and elastic low-end sequences reinforced by an
emotive confidence. Thick dancefloor cuts like "All I Want" and "Folle" are built on
such satisfying elements—sounds so full-bodied, you'd swear they're knocking
against your bones. This, too, is by design. "I wanted to make sure all the songs
have a tangible quality," says Greene of his LP's physicality, "to make texture and
grain become as important a part of the vocabulary as timbre and pitch." This was
accomplished with an arsenal of machines, including his Moog Voyager, Yamaha
DX7, Roland Juno-6, and Korg 770, a vintage synth he describes as having "so much
presence and vitality, it almost feels like it's alive." Equally important to the weighty
presence of his music is meticulous post-production. "The record was mixed on an
analog desk and mastered to tape," Fort Romeau elaborates. "These processes are
as much a part of the sound as the synths and sample sources themselves."
There is also a deep stylistic eclecticism to Insides, and coming from Greene, this
was galvanized by deep cuts he discovered while digging to find music for his
extensive DJ sets. Old kosmiche, disco, and early electronic records are among the
strongest influences, and Fort Romeau used them as an impetus for creation. "It's
those strange and wonderful tracks that you find on the b-side of an old record that
sparked my desire to make something new," he shares, "but it's very important for
me never to feel like I’m making a pastiche." Indeed, the sleek expanse of "Lately"
and the title track's jacking grooves take cues from buoyantly cosmic dance music.
And yet it's the personality of a young artist coming into his own that makes Insides
such a graceful collection of house music, one that only further enriches the soul
1. New Wave
3. All I Want
5. Not A Word
Föllakzoid began seven years ago as a trance experience between childhood
friends Diego, Juan Pablo, and Domingo from Santiago, Chile. Heavily informed
by the heritage of the ancient music of the Andes, the band has learned to integrate
this influence with contemporary sounds of their times, creating a rich yet
For III, the band wanted to expand their sound while building an atmosphere
with mainly monochords and reiteration. After recording and mixing the album
on their own at their studio at BYM Records, they partnered with German electronic
maestro Atom TM to flesh out the album's synth parts. Most of the sounds
he provided were atonal electronic sounds, aiming for concrete frequencies and
sampled organic glitches. (The Korg synthesizer Atom TM plays on this record
was used by Kraftwerk on a tour during the ’80s and given to him by Florian
III is a four-part minimal sound voyage in which you can hear Föllakzoid's musical
language developing into something more upbeat, obscure, and sharp, yet
even simpler in terms of elements. During the past year, the band played more
than 80 gigs, including at Primavera Sound Festival (both Porto and Barcelona),
ATP Festival in the UK, Musique Volantes in Lyon, and Lollapalooza Chile. The
shows for III, including a confirmed set at Austin Psych Fest in May, should
spread the band's fog-enshrouded gospel to an even wider audience.
Labeling a band comprised of accomplished Nashville rock scene
purveyors as a "new artist" seems like a misnomer. But for Steve
Taylor & The Perfect Foil, this designation is only a technicality due
to the surprising confidence and self-assurance of their debut album,
With Goliath, Steve Taylor & The Perfect Foil are poised to share
their intelligent yet primal indie rock sound for those with
discriminating tastes and a deep appreciation for independent
thinking, razor-sharp lyrics, and white noise distortion.
1. Only A Ride
2. Double Negative
6. The Sympathy Vote
7. Standing In Line
8. In Layers
9. Happy Go Lazy
10. A Life Preserved
On Escape From Evil, Lower Dens' Jana Hunter emerges: cerebral and hot-blooded, rash and
incorruptible, and, crucially, possessing of a loud, clear voice.
Hunter stepping up and taking center stage has emboldened every other aspect of the band.
Escape From Evil is a cinematic, tonally rich work. The sounds are clean and warm. The pulse of
the album is strong. Melodies are potent and songs are physical. Lyrics are direct, frank
confrontations with life’s common crises. The album title is brazen, and along with the grimly
funny title of lead single, "To Die in L.A.", almost theatrical.
1. Sucker’s Shangri-La
3. To Die in L.A.
4. Quo Vadis
5. Your Heart Still Beating
6. Electric Current
7. I Am The Earth
8. Non Grata
10. Société Anonyme
Master guitarist, Yonatan Gat (Monotonix) is back with 11 new punk inspired, improvisational, psychedelic mind melters. Recorded live by Chris Woodhouse (Ty Segall, Thee Oh Sees) in less than 3 days during a US tour, the band went into the studio with just a few songs and ideas. The goal was to capture the riotous and intricate improvisations of the band's live show. Inspired by soundtrack virtuosos like Ennio Morricone and Nino Rota, Director is edited as a cinematic circular journey around the world, East to West and North to South. This journey is interconnected by field recordings that Gat has taken during his travels, giving it a feeling of space and time. The result is a genre-bending opus that finds the band seamlessly exploring different styles of music from Brazilian psych and Afrobeat to free jazz, surf and 20th century avant-garde, sometimes in the span of just one song. Gat's wildly inventive, reverb-drenched guitar offensive takes simultaneous lead and rhythm duties, backed by Gal Lazer's hard-hitting African-inspired grooves, and Sergio Sayeg's (of Brazilian garage rockers Garotas Suecas) pumping bass.
1. East to West
2. Casino Café
4. Gold Rush
5. Theme From "A Dark Partie"
6. North to South
9. Underwater Prelude
11. Tanto Que Nem Tem
Back in print and readily available (for perhaps the first time), we have Merchandise’s debut LP (Strange Songs) In The Dark.
The album, recorded in early 2010, marks a decisive break from the band’s straightforward early post-punk EP’s, moving instead toward the more experimental studio-based pop constructions that would be further explored in the subsequent Children of Desire and Totale Nite albums. (Strange Songs) was recorded by the core duo of Carson Cox and David Vassalotti. Despite the lo-fi nature of this home recording, there are tons of hooks to be found amidst the haze (notably “I Locked the Door” and “Worthless Apology”). Occasionally veering into abstractions, the album as a whole is a piece that warrants listening as such. It’s a sad bastard of a record, but one with plenty of range and ideas. Not rehash but reimagination. Many moments on (Strange Songs) In The Dark (especially the moody “Foolish” and “In The Dark”) foreshadow Merchandise’s eventual signing to the 4AD label. Fans of the band’s later albums will find much to enjoy on this early effort. [[Originally a split release between DIY punk labels Katorga Works and Drugged Conscience Records.]]
2. I Locked The Door
3. Foolish (Her Song)
4. I Get Lost
5. Worthless Apology
6. What Was Left Behind
7. In The Dark
Carrie & Lowell sounds like memory: it spans decades yet does not trade on pastiche or nostalgia. Stevens’s gauzy double-tracked vocals wash across the dashboard of long-finned, drop-top Americana, yet as we race towards the coast we are reminded that sunshine leads to shadow, for this is a landscape of terminal roads, unsteady bridges, traumatic video stores, and unhappy beds that provide the scenery for tales of jackknifed cars, funerals, and forgiveness for the dead. Each track in this collection of eleven songs begins with a fragile melody that gathers steam until it becomes nothing less than a modern hymn. Sufjan recounts the indignities of our world, of technological distraction and sad sex, of an age without neither myths nor miracle—and this time around, his voice carries the burden of wisdom. Carrie & Lowell accomplishes the rare thing that any art should achieve, particularly in these noisy and fragmented days: By seeking to understand, Sufjan makes us feel less alone.
1. Death With Dignity
2. Should Have Known Better
3. All Of Me Wants All Of You
4. Drawn To the Blood
6. Fourth of July
7. The Only Thing
8. Carrie & Lowell
9. John My Beloved
10. No Shade in the Shadow of the Cross
11. Blue Bucket of Gold
Ranked 216/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.
Arguably the Smiths' masterpiece, The Queen Is Dead features the elegance, craftsmanship and humor which has led the band to musical eminence. Marr's dense web of guitars create a rich musical foundation here for some of Morrissey's most affecting set of lyrics. The wistful The Boy With the Thorn in His Side and the epic There Is a Light That Never Goes Out are two of the crowning achievements in the band's oeuvre and they provide the ideal cornerstone for what is a remarkable overall album.
1. The Queen Is Dead (Take Me Back to Dear Old Blighty)
2. Frankly, Mr. Shankly
3. I Know It's Over
4. Never Had No One Ever
5. Cemetry Gate
6. Bigmouth Strikes Again
7. The Boy With the Thorn in His Side
8. Vicar in a Tutu
9. There Is a Light That Never Goes Out
10. Some Girls Are Bigger Than Others
Critically-acclaimed British singer/songwriter Birdy is pleased to announce details of her brand new album Fire Within.
Birdy commented – “It’s been an incredible few years since I released my debut album back in 2011. I've been writing new songs and I'm so excited for people to hear them. They come straight from my heart.”
In this new phase her fans will see Birdy come to the forefront as a songwriter in her own right, having written/co-written all of the 11 tracks on the new album. Over the past year, Birdy’s been in the studio collaborating with some of the biggest names in the business including Ryan Tedder (Beyonce), Dan Wilson (co-wrote and produced ‘Someone Like You’ for Adele), Rich Costey (Muse, Arctic Monkeys, Sigur Ros) and Ben Lovett from Mumford & Sons, whom she’s collaborated with in the past. She’s also worked with some amazing musicians including Rage Against the Machine bass player Timmy C and Paul Jackson Jnr and Omar Hakim (Daft Punk's band on latest album Random Access Memories). The Album also sees Birdy expanding on her already amazing musical abilities by taking on the role of guitarist in both the recording sessions and live performances.
1. Skinny Love
3. Heart Of Gold
4. Light Me Up (US Version)
5. Words As Weapons (US Version)
6. All You Never Say (US Version)
1. Strange Birds
3. No Angel
4. All About You
5. Standing In The Way of The Light
7. People Help The People
The Black Parade, My Chemical Romance's follow-up to its 2004 platinum major-label debut Three Cheers For Sweet Revenge, "is way more dramatic, way more theatrical, completely over the top, borderline psychotic," says Gerard Way. "It's the most pure, intense thing we've ever been involved in." Producer by Rob Cavallo (Green Day), the album is a celebration of lvoe and death and darkness. Join The Black Parade.
1. The End
3. This Is How I Disappear
4. The Sharpest Lives
5. Welcome To The Black Parade
6. I Don't Love You
7. House Of Wolves
13. Famous Last Words
By 1993, Pearl Jam were already well on their way to becoming one of the biggest bands in the world. And this is a radio broadcast from that defining era.
Live from the Aladdin Theatre, Las Vegas, Nevada.
1. Evenflow (Live)
2. Once (Live)
3. Deep (Live)
4. Jeremy (Live)
5. Dissident / Across the Universe (Live)
6. Daughter / Instant Karma (Live)
7. Go (Live)
8. Animal (Live)
9. State of Love & Trust (Live)
1.Tremor Christ (Live)
7.Leash / Tearing (Live)
9.Swallow My Pride (Live)
10.Ain't Nothing to Do (Live)
Huge Demand For Vinyl Pressing Of The Classic Release From Brand New
Gatefold Jacket With Original Artwork
Pressed On 180 Gram Black Vinyl
"As the popularity of emo and punk-pop plateaued, many bands had a lot to prove to stay in the game. As of 2003, Brand New had sidestepped any notion that they'd be stuck in the prototypical mold found on Your Favorite Weapon. Unlike their debut, Deja Entendu isn't all about bitter breakups and doesn't fall into a permanent punk-pop hole. Produced by Steven Haigler (Pixies, Quicksand), this sophomore effort finds Brand New maturing, reaching for textures and song structures instead of clichés. They still, however, alternate their full-on blasts with slower acoustic work, which doesn't hurt. Many antiromantic lyrics such as "my tongue is the only muscle on my body that works harder than my heart" saturate the [album], but there's still some resentment with downers such as "I hope you come down with something they can't diagnose and don't have a cure for." "The Quiet Things That No One Ever Knows" is one of the stronger tracks and isn't so much a fresh entry as it is a rewrite of their semihit "Jude Law and a Semester Abroad." It's not quite déjà vu; it's just consistent." -Kenyon Hopkin (All Music Guide)
2. Sic Transit Gloria...Glory Fades
3. I Will Play My Game Beneath The Spin Light
4. Okay, I believe You But my Tommy Gun Don’t
5. The Quiet Things That No One Ever Knows
6. The Boy Who Blocked His Own Shot
1. Jaws Theme Swimming
2. Me Vs. Maradonna Vs. Elvis
4. Good To Know That I Ever Need Attention
5. Play Crack The Sky
While Danger In The Club, the follow-up to Palma Violets’ barnstorming
debut 180, certainly trades on the primal and joyous hook-laden
rock of their debut, their sophomore LP finds the band with a new
sonic looseness, revealing far more expansive influences than the
still-quite-young quartet had on their debut.
This is the sound of a preternaturally talented group of musicians and
songwriters continuing to develop, while keeping their focus squarely
on the type of well-crafted, singalong anthems that have earned them
the adoration of fans and critics. Produced by the legendary John
Leckie, Danger In The Club is a brilliant step forward.
1. Sweet Violets
2. Hollywood (I Got It)
3. Girl, You Couldn’t Do Much Better On The Beach
4. Danger In The Club
5. Coming Over To My Place
6. Streets Of America
7. The Jacket Song
9. Gout! Gang! Go!
10. Walking Home
11. Peter & The Gun
12. No Money Honey
13. English Tongue
Elliot Moss is a 21-year-old multi-instrumentalist songwriter, producer, and visual artist from New York who has
drawn comparisons to Bon Iver, Chet Faker, Washed Out and James Blake with his soulful vocals, strong
songwriting and embrace of electronic, jazz and ambient sounds. His debut album was recorded at his home studio where Moss performed, produced, and mixed the entire album with the exception of a few friends.
Double Heavyweight LP Housed In Gatefold Jacket With Full Color Printed Inner-Sleeves
Ribbon Music is excited to announce the release of Django Django’s sophomore album,
Born Under Saturn. This new collection of songs is the work of a confident and experienced
band pushing beyond their DIY roots; it expands on the slippery, indefinable nature of their selftitled
debut, applying all of its giddy art-rock imagination only across a much larger canvas.
Django Django — producer/drummer Dave Maclean, bassist Jim Dixon, guitarist Vinnie Neff and
keyboardist Tommy Grace — met at art school. They took their time evolving a unique openminded
sound in which every influence is welcome yet remains clutter free.
Like before, Django Django are oblivious to genre rules. You’ll find Beach Boys harmonies and
Link Wray riffs crisscrossing with house music pianos, classical keyboard flourishes with Jamaican
and African rhythms, and all of it flows. Truly, Born Under Saturn finds magic in the unexplored
spaces between genres.
Underneath it all lies an undeniable knack for a hook, but as pop music this collection of songs
is keenly intelligent. Tracks like the radio-friendly ‘Shake & Tremble’ ripple muscular guitar riffs
before dissolving into harmonic choral bliss. Standout, ‘Reflections,’ builds pulsing piano house
before surprising with a knockout clarinet solo – something you won’t hear on any other rock
record this year! The album fascinates with ambition, and pulls it off with pop aplomb.
2. Shake & Tremble
3. Found You
4. First Light
5. Pause Repeat
8. Shot Down
9. High Moom
10. Beginning To Fade
11. Falling Apart
12. Life We Know