You never know who you're going to meet on the first day of school. Sometimes, you can end up being introduced to one of the best friends you'll ever
know. That was the case for Clemens and Philipp—otherwise known as Milky Chance. The Kassel, Germany duo met in an "Advanced Music Course" at
the start of eleventh grade, and they creatively gelled right off the bat.
They got along so great that they played in a local band until graduation. Even though the group disbanded when their drummer left Kassel, Clemens and
Philipp kept on making music. Weaving together elegant electronic production with acoustic guitars and lilting, lush vocals, they harnessed a style
unequivocally their own.
Clemens put it best, "Think of it as the singer-songwriter spirit mixed with electronic beats. Somehow, it's always a little bit melancholy, but there's a
positive spin. You can dance to most of it too! Melancholy is something that I carry within me. I write the best songs when this mood catches me.”
In order to capture that, the boys built a tiny studio in the quiet house Clemens grew up in. Over the course of two weeks in 2013, they cut their full-length
debut, Sadnecessary, on a minimalist setup, spending hours getting the settings just right. They didn't need anything more than a rudimentary interface,
microphone, and computer. That's why Sadnecessary sizzles so much.
After cutting the tracks, Clemens and Philipp uploaded the first single "Stolen Dance" to YouTube. With its bright handclaps, plaintive acoustic guitars, and
his own gravelly smooth delivery, the song became a viral sensation, eventually racking up over 30 million-plus YouTube views and made them the "most
blogged about act" on HypeM for that month.
About the song, he says, "It's less of a story than a feeling. The feeling in the song refers to a certain moment I wanted to hold on to. It's the sentiment you
experience when you miss somebody you really like and just can't spend time with that person. You're sad the other person isn't there, but you're also
happy for the beautiful moments you've spent together."
Sadnecessary, released on the musicians' own Lichtdicht Records in Europe, became a phenomenon followed by packed shows around the continent. In
early 2014, Republic Records inked a deal with Milky Chance to release the record stateside, opening them up to their largest audience yet.
Now, songs like "Down By The River" flow between poetic musing and delightfully danceable grooves. Clemens remains honest at every turn though.
"There is actually a personal story behind 'Down By The River'," he adds. "In general it's about being in love, but there's a lot of room for interpretation.
That's important to us."
Ultimately, because of that emotional expanse, these songs will resonate loudly with listeners everywhere. Clemens leaves off, "At the end of the day,
we're most happy when people discover our music for themselves and have fun at one of our concerts. It's just great when they listen to a song and
connect it to a personal experience. That's the most amazing thing, and we'd love to encourage that."
Led by the irresistibly catchy, danceable track “Stolen Dance” – which has already hit #1 in 15 countries and amassed over 50 million views on YouTube –
German duo Milky Chance are now poised for greatness in the states as well.
The duo weaves elegant electronic production with acoustic guitars, along with lilting, lush vocals. It’s a unique sound that is unequivocally their own.
2. Flashed Junk Mind
7. Down By The River
8. Sweet Sun
10. Stolen Dance
Includes Bonus Tracks, ''Christmas Card'' And ''Sweetness''
Giving Jimmy Eat World's Clarity the full SRCHIFI treatment includes audiophile-level pressing and premium packaging, providing fans with a genuine experience. Pressed as a 180 gram double vinyl at Pallas in Germany, the original album was cut from analogue masters at 96 kHz/24-bit and cut to 33 1/3 RPM by Kevin Gray. Additionally, the album includes the two vinyl bonus tracks, Christmas Card and Sweetness without reordering the flow of the original track listing. The album art will be displayed to its full capacity throughout a matte gatefold jacket with spot UV and accompanied by an 11 x 22 insert.
1. Table For Glasses
2. Lucky Denver Mint
3. Your New Aesthetic
4. Believe In What You Want
5. A Sunday
9. Just Watch The Fireworks
10. For Me This Is Heaven
13. Goodbye Sky Harbor
14. Christmas Card *
15. Sweetness *
First Pressing Of 1500 Numbered Copies On Silver / Black Marbled Vinyl
"My first ever acoustic performance, and I'm a little freaked out." With those words, then-Dinosaur Jr. frontman J Mascis kicked off the show on this live set (recorded in December 1993), in which the man who'd made his name with bludgeoning volume and über-heavy electric guitar freakouts quietly stripped his songs down to their framework for an evening.
While Mascis would get more comfortable with such things over the passage of time, for a first-time gig in an unfamiliar format, Live At CBGB's sounds surprisingly confident and coherent. Presented in their simplest form, Mascis' songs display a tuneful elegance that sometimes gets lost when pumped through a stack of Marshalls (especially "Not the Same," "What Else Is New," and "Keeblin'"), and while on the first few numbers he tends to overemphasize the natural drawl in his voice, by the end of the show Mascis is in admirable form as both a guitarist and a singer.
The first pressing of Live At CBGB's consists of 1500 numbered copies on silver/black marbled vinyl!
1. What Else Is New
4. Not You Again
5. Flying Cloud
6. Every Mother's Son
7. Not The Same
8. Throw Down
9. Get Me
11. On The Run
Tracks like Demolition Girl & Step Out roar out of your stereo, really great dirty one chord (with many notes) blues songs with vocal trading, clanging guitars and backed by the Medway Delta Review. While simplicity, repetition and sheer rock & roll minimalism are at the heart of the album, In Blood never ceases hold interest. It's just plain addictive.
1. Step Out
2. In Blood
3. Let Me Know You
4. You Got That Thing
5. Demolition Girl
6. Upside Mine
7. You Move Me
8. I Believe
9. It's A Natural Fact
10. I'm The Robber
11. Move On Up
12. Hold Me
He’s from Memphis, equally steeped in Link Wray and Phil Collins. She’s a small town girl raised in Muskegon, Michigan, who found her songwriting
inspiration while living on a small boat in the West Indies. Jeffrey Jacob and Angela Gail met in Los Angeles, playing guitar and bass, respectively, in a
loud, grungy guitar band, but the seeds of In the Valley Below were planted one night at SXSW, when they realized there was something special in the
passion and chemistry they shared on-stage.
The two wrote, produced, engineered and recorded their own songs in a home studio. Two of the 11 songs on their debut are mixed by the band, with the
others handled by John Congleton [St.Vincent, David Byrne], Dave Sardy [Oasis, Band of Horses], Lasse Marten [Lykke Li, Peter, Bjorn & John] Angela
and Jeffrey never even intended for In the Valley Below to be a performing band, so it turned out to be a pleasant surprise when the songs were so good
they demanded to be played for people. Filled with emotions from guilt to hope, and encouraging voyeurism, when they announce to their audience, “We
are In the Valley Below,” they immediately invite us to join their communal world, one with no boundaries and whose limits are only defined by our
3. Last Soul
5. Stand Up
6. Dove Season
7. Take Me Back
8. Searching for a Devil
10. Palm Tree Fire
11. King Tide
Lots of bands have been mining the fertile landscape of '90s music for inspiration lately, and HEMINGWAY is no exception. What sets this Portland,
Oregon band apart though is what they're tapping for influence, reaching deep into the lesser known realms of that decade and extracting elements of
infectiously melodramatic pop. Think Silver Scooter, Superdrag, and Knapsack, yet filtered through nearly two decades of collected dust and bargin bin
obscurity. Some might call the music HEMINGWAY creates "emo" but to do so relegates their heartfelt creations to something less than genuine and
authenticity is something this band has unmistakably.
With the release of their debut album, Pretend To Care, HEMINGWAY put forth ten tracks of heart-on-the-sleeve pop goodness that simultaneously feel
sunny yet full of melancholy, a dichotomy essential in the most masterful of '90s releases too. Recorded by Jack Shirley (Joyce Manor, Tony Molina,
Deafheaven), the sonic quality of Pretend To Care matches the great songwriting contained within.
2. No Hard Feelings
3. So Predictable
4. Feel Alone
5. Love Fades
6. The Light is Out
9. Over the Phone
10. Let You Down
Includes Bonus Tracks, ''77 Satellites'' And ''What Would I Say To You Now''
Giving Jimmy Eat World's Static Prevails the full SRCHIFI treatment includes audiophile-level pressing and premium packaging, providing fans with a genuine experience. Pressed as a 180 gram double vinyl at Pallas in Germany, the original album was cut from analogue masters at 96 kHz/24-bit and cut to 33 1/3 RPM by Kevin Gray. Tracks, Seventeen and Digits, began as 44 kHz/16-bit recordings. The album includes two vinyl bonus tracks, 77 Satellites and What Would I Say to You Now. Static Prevails art will feature the original CD artwork and will be displayed to its full capacity throughout a high gloss gatefold jacket accompanied by an 11 x 11 insert.
1. Thinking, That's All
4. Call In It The Air
6. Episode IV
9. World Is Static
10. In The Same Room
11. Robot Factory
12. Anderson Mesa
13. 77 Satellites *
14. What Would I Say To You Now *
180g LP Audiophile Pressing Includes Art Print Poster
Avec le soleil sortant de sa bouche began in Montréal in 2011, with bassist,
singer and composer Jean-Sebastien Truchy seeking a new live ensemble to
fuel his desired return to the highly structured afro-kraut trance rock that was
a stock-in-trade of his previous group, the pseudo-legendary Fly Pan Am (one
of Constellation's earliest bands, active from 1998-2005).
Avec le soleil initially formed with Truchy joined by guitarist/engineer
Sebastien Fournier and drummer Nasir Hasan; a rotating cast of additional
players contributed to the group for live shows throughout 2012-2013, and the
band gained a local reputation for irresistible and levitational live sets
combining a contemporary/avant-garde sensibility with infectiously angular,
rubbery grooves. Guitarist Eric Gingras (Pas Chic Chic) emerged as a fourth
core member during this period.
Avec le soleil has by now careened towards mastery of a highly original,
deeply satisfying, giddy and heady avant-funk. Anchored by the excellent bass
and drum work of Truchy and Hasan, the group's music is woven with crisp
stuttering guitar and keyboard lines and a dynamic palette of electronic
interventions. The pair of exquisite and exhilarating 20-minute pieces
featured on Zubberdust! are the culmination of the group's first two years of
conceptual and somatic development.
This is (mostly) instrumental rock that exuberantly succeeds in blending a
primitivist, hypnotic energy with cerebral pleasures, seeding an addictive trail
of sonic brain-candy throughout the mixes. The band wholly embodies and
channels its inimitable square grooves, while teasing out the innumerable joys
of repetition via micro-deployments of ever-shifting electronic overlays –
along with the occasional full-stop and 180 degree turn. Truchy's wordless
lead vocals (and his choral arrangement on “Face à l'instant”) add compelling
textural and melodic counterpoints while lending the music an especially
timeless, deterritorialised and emotive dimension.
Radwan Moumneh's recording and production skills are on fine display; the
album's sonic bedrock conveys all the assertiveness of the rhythm section's
punk/hardcore roots, upon which a miasma of detailed intertwining elements
circulate with clarity and cohesion. Zubberdust! comes in waves and pushes
some serious air, while maintaining a meticulously upfront soundstage as the
music moves supplely back and forth between simplicity/minimalism and
We're thrilled to be releasing the debut album by Avec le soleil sortant de sa
bouche, sure to be a treat for Fly Pan Am fans (we know you're out there!) and
for any aficionados of revitalizing work being done in the no wave/krautrock/
1. Face à l’instant Part 1
2. Face à l’instant Part 2
3. Face à l’instant Part 3
4. Face à l’instant Part 4
5. Déja, hier....
6. Super pastiche fantastique / New Sun Part 1
7. Super pastiche fantastique / New Sun Part 2
8. Super pastiche fantastique / New Sun Part 3
9. Super pastiche fantastique / New Sun Part 4
10. À partir de dorénavant
Detroit three piece Ritual Howls new album tells stories fit for Poe
or Lovecraft. On their debut full length for felte, titled Turkish
Leather, they incorporate a variety of styles into an ominously
self-assured statement of intent, Ben Saginaw and Chris
Samuels' sounds providing an imposing form for Paul Bancell's
darkly alive lyrics to inhabit. Their influences range from English
post-punk to Nick Cave to the industrial sounds of Skinny Puppy,
and the band melds them expertly. Combining field recordings
with electronics, this music is sound design turned pop.
Many tracks here feel cinematic – whether it's the industrial
clanging of “A Taste of You,” which brings to mind a Lynchian bar
scene, or the gothy synths of “Take Me Up,” a slow burning track
that escalates into full on melodrama. It's easy to imagine these
twangy guitar lines gracing a scene in a Jarmusch film: their
aesthetic owes as much to Tom Waits as it does Ennio
Ritual Howls manages to take all these influences and come out
sounding uniquely morbid, raw and unyielding – never derivative.
It's a record that holds nothing back: the band announcing
themselves to the world with all of the confidence of long time
professionals. Their future audience will greet them with
2. The Taste of You
3. Take Me Up
4. My Friends
5. Final Service
7. No Witnesses
8. Turkish Leather
Even before the world lost musician and author Scott Miller in 2013, the work he did with his band Game Theory had also been missing for decades. Omnivore Recordings is pleased to right that audio wrong with the first in a series of expanded reissues of the Davis, California group’s classic catalog.
Blaze Of Glory, originally released in 1982, was the first music from Miller and company, after an album and EP fronting Alternate Learning. It showed the beginnings of the power-pop mixed with new-wave sensibilities the band would become known for and even hints at the upcoming Paisley Underground sound that would take California by storm.
Unavailable in its original form since its initial release (the material was remixed and re-recorded as part of a now out-of-print 1993 compilation that also commands top dollar in collector circles), the vinyl LP also sees its first reissue in over 3 decades. The first pressing on translucent pink vinyl (black to follow).
Mastered from the original tapes and featuring an 8 page booklet with rare photos, an essay from Game Theory tour manager (and set co-producer) Dan Vallor and remembrances from band members and colleagues, including The Dream Syndicate’s Steve Wynn.
1. Something To Show
2. Tin Scarecrow
3. White Blues
4. Date With An Angel
5. Mary Magdalene
6. The Young Drug
7. Bad Year At UCLA
8. All I Want Is Everything
9. Stupid Heart
10. Sleeping Through Heaven
11. It Gives Me Chills
12. The Girls Are Ready To Go
16 Track Deluxe Edition Includes The Smash Hit “Safe and Sound” and The Brand New Single “One Minute More”
Includes 3 Bonus Tracks and Remixes
Los Angeles, CA based duo Capital Cities will release their debut album In A Tidal Wave Of Mystery via Universal Music Canada, the country’s leading music company. Founded and fronted by Ryan Merchant and Sebu Simonian, two jingle writers who met on Craigslist, Capital Cities first emerged on the soundscape with Alternative Radio hit “Safe and Sound”.
RollingStone.com hailed “Safe and Sound” as “a song that merges high-energy dance beats with unbridled optimism and joy” while Neon Gold pronounced it a “sonic head rush…an easy, breezy, beautiful slice of effervescent-electro-pop that absolutely kills it.” The new lyric video for “Safe and Sound” can be seen here.
In A Tidal Wave Of Mystery takes its name from the lyrics of the hit single, “Safe and Sound” and was produced and mixed entirely by Ryan and Sebu. The album is an eclectic mix of tracks that include fan favorites “Kangaroo Court” and “I Sold My Bed, But Not My Stereo”. The artwork is by Brazilian artist Joao Lauro Fonte who has done works for Wired, Converse and others. OutKast’s Andre 3000 and vocalist Shemika Secrest are featured on the song “Farrah Fawcett Hair”.
1. Safe And Sound
2. Patience Gets Us Nowhere Fast
3. Kangaroo Court
4. I Sold My Bed, But Not My Stereo
5. Center Stage
6. Farrah Fawcett Hair
9. Lazy Lies
10. Tell Me How To Live
11. Chasing You
12. Love Away
13. One Minute More **
14. Patience Gets Us Nowhere Fast - Napoleon Remix **
15. Lazy Lies - CliffLight Remix **
16. Safe And Sound - Dzeko And Torres’ Digital Dreamin Remix**
“Like a fever dream of Julia Holter
merging with Grimes, Ainsworth's future
visions weave neoclassical flourishes and
enchanted melody-mangles into cool 80's
sound-beds, and it sounds fantastic.”
“These soundscapes can provide a myriad
of emotion, from reassurance to
discomfort, anxiety to enthusiasm. [...] it's
an unexpected achievement for such a
young artist and a testament to the power
of music as a purely visceral force.”
Composer / producer / singer Lydia Ainsworth has been secretly writing
and recording songs over the past three years from bedrooms and
basements between Toronto and Brooklyn. What began as pass-time
sketches between composing music for film and multimedia projects has
over time revealed an enchanting collection of experimental pop songs
with a life of their own.
Blurring the boundaries between indie music, filmic orchestration, and
electronic music, Lydia’s debut “Right From Real” thrives on haunting
melodies and draws inspiration from a wide range of musical sources -
Verdi’s Requiem, Ace of Base, Bulgarian Choirs, Bernard Herrmann, Tones
on Tail, Art of Noise… to name a few. This sense of unexpected marriages
of influence flows throughout much of Lydia’s work which features use of
voice sampling and string arrangements woven into a unique minimalist
2. White Shadows
4. Take Your Face Off
8. The Truth
“Madi Diaz Writes The Most Danceable Break Up Record Ever” – LA Weekly
“We have to say, this change does her good” – Refinery29
“With infectious structure and an addicting nature, Phantom should quickly find
its way into an already powerfully, lady-driven indie pop movement, ready to kick
down the doors of every local scene” – High Voltage
Indie-pop siren, Madi Diaz’s new album Phantom is an open-faced and undeniably honest chronicle of falling
down, getting back up, and heading to the horizon.
Phantom was recorded in Madi’s newly adopted home of Los Angeles, produced by Nick Ruth (Mikky Ekko,
Active Child) and mixed by John O’Mahony (Coldplay, Metric, Oh Land) at NYC’s famed Electric Lady Studios.
The album’s 11 tracks expand upon Madi’s brand of sophisticated indie pop songs, providing a soundtrack
for adventurous escapades on sweaty dance floors with old friends or late night introspective drives under a
canopy of stars. Underneath the effervescent pop, her lyrics reveal an emotional through line.
2. Stay Together
4. Dancing In The Dark
5. The First Time
6. Ghost Rider
7. The Other Side
10. White Lightning
In 2006 singer-songwriter Nils Edenloff, percussionist Paul Banwatt, and multi-instrumentalist Amy Cole came
together to release their debut self-titled EP as The Rural Alberta Advantage. The ensuing years have brought
two full-length albums (2008’s Hometowns and 2011’s Departing), widespread critical praise (SPIN, The New
York Times, Rolling Stone, Pitchfork, NPR, among others), two Juno Award Nominations (Best New Group,
Video of the Year), a Long List Nomination for the Polaris Music Prize, and a hard-earned reputation as one of
the most impressive live bands you’ll ever see. It was through all of this that The RAA’s latest album, Mended
With Gold, took shape.
The twelve songs found on the album have been filtered through these experiences and achievements,
pushing them to heights previously unreached by the band. While maintaining the heartfelt lyrics, fetching
melodies, and explosive percussion that won the band a loyal following worldwide, Mended With Gold makes
it clear that The RAA have reached the next level. From the first moments of album opener “Our Love” it
becomes unmistakable that these collective experiences has helped the band compose the most fully-realized work of their career.
While the sonics have now evolved, the plaintive lyrics and creative arrangements that helped define the
band have remained. Standout tracks “Terrified", "On The Rocks", "Runners in the Night", and "Vulcan, AB"
confront ideas of love, loss, and heartbreak through the pain of going through such experiences and the
person that comes out on the other side of it.
The ideas and moods created in these songs tie back to the album title Mended With Gold, embracing the idea
that the breakage and repair of an object becomes part of its unique history and ultimately makes it more
valuable instead of a blemish to disguise. The Rural Alberta Advantage have taken all of their successes,
losses, adventures, and heartbreaks over the past few years, and forged them together into an unforgettably
powerful work of beauty.
1. Our Love…
2. This City
3. On the Rocks
5. Runners in the Night
6. To Be Scared
8. All We've Ever Known
9. The Build
10. Vulcan, AB
11. Not Love or Death
12. …On the Run
With the release of his debut EP "Idle Hours" Tri Angle is very excited to introduce Boothroyd, aka, 21 year old, Mancunian native Peter Boothroyd. Since moving to London less than a year ago for school and off the back of a handful of mp3s that have slowly circulated amongst musician friends and industry people alike, Boothroyd has been creating quite a stir for himself within the electronic music scene. Despite this being a debut release by a relative newcomer, "Idle Hours" feels oddly anticipated within certain quarters.
Violent Soho, a four-piece from Brisbane, Australia, have been at it since 2004,
touring widely and selling out shows left and right. Following 2010’s self-titled
album, which BBC Music said “scales the energetic highs that made Mudhoney
and Nirvana so exhilarating”, “Hungry Ghost” is an unapologetic, post-grunge
cacophony. The band spent six weeks working with producer Bryce Moorhead,
and the result was an album chock full of fuzzy, tumbling riffs: the throat-tearing
“yeahyeahyeahyeah” of ‘Covered In Chrome’, the grungy rock’n’roll power of
‘Gold Coast’, and the splitting anger of ‘Lowbrow’. “Hungry Ghost” – it’s
intelligent, melodic, and dripping with attitude, and it’s also a record you need
1. Dope Calypso
3. Covered in Chrome
4. Saramona Said
5. In the Aisle
6. OK Cathedral
7. Fur Eyes
8. Gold Coast
11. Hungry Ghost
“Heartbreakingly gorgeous... she sings with striking intimacy, as though addressing
someone sitting just a few feet away." – Chicago Reader
Joan Shelley's music is startling, but not for its racket. It startles because of its
closeness, the near-instant sense of familiarity we feel when we hear it. Her songs
fill up the air around us, echoing like a voice lost in the later American and British
folk revivals - some Anne Briggs here, a little Hedy West there. But none of them are
"trad arr. Shelley." Joan wrote them all. Listen to her sing and it's evident. You've
never heard that voice before, either.
Electric Ursa was recorded in Louisville, Kentucky and marks Joan's first release for
No Quarter. It includes collaborations with new labelmate Nathan Salsburg, as well as
several other of Louisville's fine musicians. In the eight songs that make up this record,
we are seeing an artist in her stride, able to move seamlessly between darkness & light,
attempting to reconcile the wild expanse of the future with the burdens of memory. And
at the center of it all are songs of a nature beautiful, precise, and clear, delivered to us by
her singular voice.
Over the past five years, Shelley has recorded several albums, toured with her band, on
her own, and as a duo with Daniel Martin Moore, playing concerts for spellbound audiences
all over the globe. She’ll continue touring the US and Europe this fall.
1. Something Small
2. Rising Air
3. First of August
4. River Low
6. Long Way To Night
7. Moss & Marrow
8. Electric Ursa
"For fans of Lumineers and Of Monsters and Men, this Nashville band does a good job of pushing this “new folk” sound forward. This song (“Shadow of a
Man”) could easily be a huge pop hit.”
-KCRW (Los Angeles)
Don’t let the ‘modern folk’ tag fool you. Anchored by tribal drums and electric guitars, NEULORE’s songs are better suited for the arena than the campfire.
The music swells and swoons, with tense verses that break into epic, open-armed choruses. It’s a sound that tells a story, much like classic folk music...
but it does so with gang vocals, synthesizers and the anthemic sweep of rock & roll.
NEULORE didn’t just write songs. They created complex backstories for each tune, digging deep into their collective imagination and conjuring up fictional
characters, plot lines and landscapes. Those backstories helped inspire the band’s symbolic clothing and stage setup, too, transforming Neulore’s
concerts from routine gigs into actual experiences.
2. Shadow Of A Man
3. In The Orchard
5. Mercy! You Need Saving
6. Don’t Shy From The Light
7. Bloodstained Sonnet
9. The Gathering Chant
10. Native Skin
Chelsea Wolfe’s sound is best described with broad strokes: elemental, intense, radiant, ancient yet modern, intimate yet expansive, dark and sparkling. Hues of black metal and deep blues inform her ever-evolving electric folk – a warm force that wraps itself around the listener, encouraging uplift, seeking triumph. After The Grime & The Glow, Wolfe relocated to Los Angeles and recorded her second album, 2011’s Apokalypsis, which found her in an actual studio with her live band.
3. Tracks (Tall Bodies)
5. Movie Screen
6. The Wasteland
9. Pale on Pale
10. To the Forest, Towards the Sea
Chelsea Wolfe’s sound is best described with broad strokes: elemental, intense, radiant, ancient yet modern, intimate yet expansive, dark and sparkling. Hues of black metal and deep blues inform her ever-evolving electric folk – a warm force that wraps itself around the listener, encouraging uplift, seeking triumph. She began toting around an 8-track and recording as the mood hit, eventually editing her findings into a breathtaking debut album, 2010’s the Grime & The Glow. Marrying the gentle intimacy of folk, the atmospheric voodoo of death rock, and the bleak, sullen nihilism of black metal.
1. Advice & Vices
2. Cousins of the Antichrist
4. Deep Talks
7. The Whys
10. Bounce House Demons
When unassuming young Orkney music-maker Erland Cooper picked up his guitar and travelled the length of the country to play a show in London’s
Notting Hill, little did he know that a chance encounter with musical veteran Simon Tong (The Verve, The Good The Bad & The Queen, and Gorillaz)
would be the start of a unique songwriting friendship. Together they formed Erland & The Carnival and now, nearly a decade later, arrives Closing Time –
the band’s third, most accomplished album yet.
Opening a new chapter, Closing Time is an understated, inward looking collection of songs that feature stunning string arrangements and Erland’s
impassioned vocals at centre stage. But rather than the modern folk adaptations of traditional songs, children’s poems, and ancient literature on the
band’s earlier albums or the pair’s recent conceptual folklore project The Magnetic North, this time the band tell tales of a more personal nature.
“Previously we didn’t know what we wanted to say or how to say it and would use stories and direct references to help us get to a place we could feel
secure,” admits Simon. Erland adds; “in making this record we discarded an album’s worth of material that sounded like the first two albums. We wanted
to make something different – doing another Jackson C Frank cover wasn’t an option.”
Above all, Closing Time is the very first time the listener can truly hear the wholly collaborative process that is Erland & The Carnival. Lyrical and musical
duties have always been shared, yet here the combined creativity of the pair’s working friendship is only solidified with Erland taking a more ‘hands on’
approach to production. The string arrangements, brought about by the album’s unashamed twisted and selfish love song ‘Quiet Love’, were scored by
Simon before being recorded by a quartet in his living room later that week.
Recorded in Damon Albarn’s studio13 with previous Erland & The Carnival engineer Steve Sedgewick and mixed by London Grammar producer Tim Bran
with Paul Weller guesting on two tracks. Despite creating more than 40 songs in the process of writing the album (“Some of the song melodies and ideas
on this may have even been written when I was 21 to be honest. ‘Hopeless’ certainly was,” admits Erland), it was a brilliantly spontaneous and productive
time taking just over 3 days to come to fruition. “We learnt to be incredibly disciplined” tells Simon. “It feels like pruning a tree – when you cut away the
needless and weaker branches, what you get is something much fresher and stronger coming through.”
1. Closing Time
3. Quiet Love
4. I Am Joan
6. Is It Long 'Til It's Over?
7. Birth Of A Nation
8. That's The Way It Should Have Begun (But It's Hopeless)
9. They're Talking About You Again
“Sharp, creative and bringing a commendable freshness to the sometimes drearily derivative world of contemporary rock, Empires are a remarkably good
rock ‘n’ roll band. In a world full of faceless, regurgitated rhythms and emotion-by-numbers, the band’s music is strikingly compact, precise and non-excessive: There is a there there, and there are no wasted notes anywhere…Their music is some of this year’s very best”
Produced by John Congleton (St. Vincent, Cloud Nothings, The War on Drugs, Explosions in the Sky), Orphan is a collection of songs immersed in classic
post punk and indie rock ‘n’ roll circa 1989-1991, exploring the sonic adventurers and emotional heft of artists such as Roxy Music, Wire, and Nick Cave &
The Bad Seeds.
The guitars are rich and atmospheric, the rhythms subtle and fluid yet more powerful at the same time. Throughout the album, singer SeanVan Vleet’s
raw croon rises to match the band’s musicality, conveying anxieties, secrets, and a heartfelt longing for transcendence.
7. How Good Does It Feel
8. Please Don’t Tell My Lover
9. Stay Lonely
11. Journey Kid
Against the bleeding-heart backdrop of Times Square at the Novotel Hotel, The Drums announced they will be releasing their third full-length,
Noisey surprised everyone by premiering the first single, “Magic Mountain” on July 15. In fact it was the first song The Drums have released in nearly 3
years, marking a return to the two founding core members of Jonny Pierce and Jacob Graham. Spin says “the new single is still guided by that infectious
head-bobbery, but the Brooklyn indie-popper's blithe bounce takes on a fervent frenzy.” Baeble noted the prevailing “sheen of gloom and apprehension,” a
departure that Paste says “stirs in sounds in all the right ways.”
‘Encyclopedia’ is The Drums’ third full-length album. Emerging from Brooklyn via Florida in 2009, they smashed on the scene with their ‘Summertime!’ EP
that led to a spot on the BBC Sound of 2010 shortlist, The ShockWaves NME Tour, and the publication’s Phillip Hall Radar Award.
The Drums‘ music often explores the themes of loss, nostalgia, redemption, vulnerability, and love – with critic’s raves embracing both the lyrics and their
sonic signature. This time around, they’ve embraced a darker sound while making it as grand and majestic as they please.
‘Encyclopedia’ is full of "magic and surprise while maintaining a serious, more weighty tone throughout," says Jonny. The upcoming LP marks the first
time since the ‘Summertime!’ EP that Jacob and Jonny were left to their own devices, without having to ask a soul for approval. The result is an exciting
display of personal emotion and unashamed, majestic songwriting style. In September, The Drums hit the road for the first time since the 2012.
1. Magic Mountain
2. I Can’t Pretend
3. I Hope Time Doesn’t Change Him
4. Kiss Me Again
5. Let Me
6. Break My Heart
7. Face of God
8. US National Park
9. Deep In My Heart
10. Bell Laboratories
11. There is Nothing Left
12. Wild Geese
Mutual Benefit’s 2011 EP, The Cowboy’s Prayer, will be re-released by Other Music Recording Co. ahead of a massive fall tour in North America. Previously available only as a Bandcamp download, The Cowboy’s Prayer was the real introduction of the lush orchestral folk sound that many first heard on Mutual Benefit’s breakthrough Love’s Crushing Diamond LP. The Cowboy’s Prayer EP has been remastered as a gorgeous one-sided etched 12”.