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I Love You.The Neighbourhood is a Los Angeles quintet specializing in crossbreeding musical genres. Its debut album swirls anthemic indie rock with smooth R&B and some icy electro-pop, all shot through a sun-soaked West Coast filter. At the core of this aural amalgam is Jesse Rutherford's androgynous voice. Here, the opening "How" plays like an urbanized Portishead, as Rutherford bends high vocal notes over dusty hip-hop beats and hauntingly beautiful background ambience that bleeds right into the following "Afraid." The tempo picks up ever so slightly, but the lyrics are noticeably more pointed as Rutherford verbally abuses his anti-muse and exorcises some inner demons via danceable catharsis. Themes of paranoia surface in "Everybody's Watching Me (Uh Oh)," where his inflections recall '80s-era Michael Jackson over skittering beats and a sweeping symphony of keyboards. "Sweater Weather" is an obvious single that stands out above the rest, resonating like a younger sibling to Maroon 5. The song's soundpool is flecked with funky beats and airbrushed soundscapes of luxurious synthesizer tones.1. How
3. Everybody's Watching Me (Uh Oh)
4. Sweater Weather
5. Let It Go
9. Female Robbery
10. Staying Up
11. Float$23.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
Hello MemoryBrooklyn remix collective turned dance pop luminaries Little Daylight ascended through the Hype Machine fame with remixes of songs by Passion Pit,
Edward Sharpe and the Magnetic Zeros, The Neighbourhood and more before releasing their own pulsating debut single 'Overdose'. The release of a
well received debut EP Tunnel Vision, helped garner the trio multiple national tours with Bastille, The Neighbourhood, Charli XCX and more. Little
Daylight's forthcoming debut album HELLO MEMORY comes on the heels of multiple video premieres, track premieres, radio play, and
touring.1. My Life
3. Siren Call
4. Love Stories
5. Mona Lisa
6. Be Long
7. Nothing To Lose
8. No One Else But You
10. Never Go Back$12.99Vinyl LP - Sealed Buy Now
The High FrontierLumerians release The High Frontier on through Partisan Records. The name for the album comes from a term coined by Gerard K. O'Neil in his illustrated 1976 book depicting human colonisation of space. The High Frontier contains Krautrock inspired exploration, Afrobeat's ritualistic rhythms, post-punk guitar noise and cracked-glacÉ synth lines culled from perverse 1970s sci-fi soundtracks.
It's a cacophony of sound in which Lumerians acknowledge the role noise and rhythm has always played in transcendent and ecstatic rituals the world over, from the repetitious drums of tribal animists to the penetrating electronic pulses of neon dance clubs.
The six tracks and 33 minutes that make up The High Frontier were recorded and produced in Lumerians' self-built studio/brewery: a room housed in a converted store-front church in a neighbourhood affectionately referred to as the "Murder Dubbs".
The High Frontier brings back the sound of prog rock that was so familiar in the 70s. Uncut described the album as: "a fruitful collision between Boredoms, Neu! and the Grateful Dead" and they are spot on.
Track one Dogon Genesis could easily fit itself into the 70s with no questions asked. Dogon Genesis is a fantastic first track that prepares the listener for the rest of the album. Dogon Genesis could refer to the Dogon tribe of Mali which gives a good indication of how bonkers the record is.
Title track The High Frontier has a completely different sound to that of Dogon Genesis. It's a slower tempo with more deep, bass tones coming through. The drum beat produces a mesmerising rhythm alongside the swooping synth sounds.
Previously disclosed track, The Bloom follows the same theme as The High Frontier. It's strange and eery. It is probably the most experimental song on the record which introduces lots of sounds and plays with the concepts of prog rock to create a brilliantly atmospheric track. The synth sounds heard at the beginning almost sound like sirens, building a sense of tension and fear into the listener.
Koman Tong breaks the album away from eerie and unnerving and plunges it into summer happiness. Koman Tong is still very experimental but it starts to introduce the idea of world influences into Lumerians' music, the guitar is distorted leading it to sound faintly like a sitar in parts while gongs and bells can be heard in the background. It's the best track on the record by far. There is just so much to catch and involve yourself in that you will instantly become lost in the music - cliched as it may sound.
Smokies Tangle turns the album back to its 70s prog rock style while the last track, Life Without Skin again oozes world influences, foreign vocals and jazz inspired drum beats to create a superb end track. It has a fantastic rhythm and melody and can easily be placed as one of the best songs on The High Frontier. It's also one of the only tracks on the album that uses influences from Lounge - think Bonobo vs prog rock and you're almost there.
The High Frontier is a mesmerizing account of weirdness and oddity that will leave you wanting to hear more. Each track has so many layers to it that you really will become immersed in this record. It's 33 minutes of experiments, fusion of genres and rule-breaking in the music world. A triumph.
- Rocking Republic1. Burning Mirrors
2. Black Tusk
3. Shortwave Fields
4. Atlanta Brook
6. Calalini Rises
8. Melting Space
9. Gaussian Castles$17.99Vinyl LP - Sealed Buy Now
CeremonyIt begins with the sound of a church organ, an arpeggio played on the lower notes, a melody teased out in the higher register, before a snare drum beats out an ominous, stuttering tattoo. Three minutes in, guitars begin to rumble like clouds gathering on the horizon, the melody slowly swelling, threatening to tear the sky apart. This is Anna Von Hausswolff's "Epitaph Of Theodor", and as dramatic, instrumental openings to albums go, it's close to overwhelming. But it's followed by something even more intense: "Deathbed", which growls and resonates sinisterly before shards of metallic thunder shatter the drones and a funereal beat forces the song to lurch forward. Only after some four and a half minutes of this ferocious clamour do we hear a human voice, and it's unleashed with a fierce power, rising and swooping, a vast bird pursuing its prey until the song reaches its final, unexpectedly triumphant climax.
You want to talk about compromises? No. Nor does Anna Von Hausswolff.
These two songs alone represent a quarter of 'Ceremony's sixty minutes, but there are eleven more on an album that confounds and dumbfounds from its start to its end. To those who used Anna Von Hausswolff's debut album, Singing From The Grave, to compare her lazily to Kate Bush, it will come as a brutal shock. The fragile atmospheres of that impressive debut, one that earned her huge acclaim in her native Sweden, have been blasted away, and what's emerged from the wasteland left behind is a dizzying masterpiece that, she proudly states, calls upon, amongst others, Elizabeth Fraser, Jefferson Airplane, PJ Harvey, Earth, Barn Owl, Nick Cave and Diamanda Galás.
Though she now lives in Copenhagen, she grew up in the once vibrant, bohemian neighbourhood of Haga in Gothenburg, Sweden, to a family who counted amongst their ancestors Bernhard Reynold von Hausswolff, an 18th Century governor of Falun, Sweden, who helped bring an end to the burning of witches. Her father, Carl Michael von Hausswolff, is a composer and visual artist who's also co-monarch of the kingdoms of Elgaland-Vagaland, so it's perhaps not surprising that she's chosen to pursue a radical direction with her music.
"I didn't just want 'Ceremony' to be a collection of songs," she says. "I wanted it to be like a film, with every single part connected to the other, with shifting moods and settings, but a thread holding all the tracks together. I listen to a lot of film scores, and in many the music is able to move freely without the typical structures that we find in commercial music."
Arguably 'Ceremony's most significant ingredient is the church organ of Gothenburg's vast Annedalkyrkan, whose pipes are featured on the album's striking cover. Employed on nine of the album's thirteen tracks, it also provided von Hausswolff with the excuse to record for five days in the century old building, its cavernous space adding to the record's formidable magnitude. (Work was completed at weekends over several months in producer Filip Leyman's studios.) She found in the organ's sound a link between her own writing and a developing obsession with "drone metal", allowing her to add layers of thick textures to the songs. But - thanks to its inevitable associations with existence and mortality - the organ also suited the themes that lay at the heart of the record, which she defines as "nature and death, or the division of humanity and nature. From the moment we exit the womb, we start our paths towards materialism and destructive behaviour, and these days I feel that the gap between nature and human is growing bigger. I wanted to grasp my inner nature and be unified with nature again. 'Ceremony' is a celebration of life and everything that it contains, especially death, because in death we will be truly one with nature again."
That's not to say that 'Ceremony' is a bleak record, something highlighted by the extraordinary "Harmonica", which sounds like Dead Can Dance channelling a Vashti Bunyan song with arrangements by Ennio Morricone. "It's a song I wrote just after my grandfather passed away," she recalls. "It's about how culture and traditions can travel from generation down to generation, and in this case from him to me by music. Just before he died, he gave me a harmonica and he told me to practise hard and only write about things that are relevant to me. His deathbed inspired me to make 'Ceremony'."
He'd surely be proud of the bold, single-minded consequences of his legacy. Whether it be the placid but grandiose "Ocean", the hymnal "Mountains Crave", the grim, experimentalist "No Body" or the oddly exhilarating "Funeral For My Future Children", 'Ceremony' is a genuinely thrilling, timeless, inventive and even sometimes - in the purest sense of the word - gothic accomplishment.
"This record isn't really about Anna von Hausswolff as a vocalist or as a person," she concludes. "It's about the music and all that it contains. Singing from the Grave was a raw and emotional record that happened fast. I think of it as an impulse. 'Ceremony' is more of a vision: something unfinished and unresolved, a glimpse of the future."1. Epitaph of Theodor
3. Mountains Grave
5. Red Sun
6. Epitaph of Daniel
7. No Body
8. Liturgy of Light
12. Funeral for my Future Children
13. Sun Rise$18.99Vinyl LP - Sealed Buy Now
Black BubblegumBlack Bubblegum is the newest LP from Eric Copeland,
and we are not kidding when we emphasize it sounds like
nothing he has done in the past. The title of the record
says it all: chewy, sticky pop that doesn't taste quite like
any chewy, sticky pop you've had before.
Recorded at Copeland's old practice space in South
Williamsburg, Black Bubblegum contains songs with
more conventional sounds and songwriting than any of
his previous releases. While there are similarities with
Copeland's earlier work in the drum patterns, major
scales and vocals, Black Bubblegum moves away from
his trademark psychedelic dub towards strange and
fantastical pop; imagine Arthur Russell going into the
studio with the Ramones. Wanting to take a more "handson"
approach to these recordings, Copeland exchanged
sample-driven tech and hardware for keyboards, guitars
and effect pedals, creating a new sound that is oddly
easy to digest despite its rejection of melody in favour of
discord and dissonance.
For a long time, Copeland considered this collection of
songs to be recordings which would never be heard. This
invariably influenced certain decisions made during the
creation of Black Bubblegum, blessing Copeland with
the unique freedom that comes from making music never
intended to be heard, let alone released.
When asked to please jot down what influenced this new
album and sound, Eric replied "glam holes, glitter dreams,
money troubles, apocalypse paranoia, one hit wonders,
manifest destiny, my family's westward migration, body
troubles (was passing kidney stones almost the entire
time), LGBT disco parties, Jonathan Richman, Missing
Foundation, Neil Diamond, New Orleans, poverty, getting
pushed out of another Brooklyn neighbourhood... No
Beach Boys, no Beatles, no Buddha... More Bad News
Eric Copeland has been sound clashing at full volume for
over twenty years, first carving out a named for himself as
one third of the legendary NY-via-Providence band Black
Dice. A wildly prolific solo artist, Copeland has played
shit houses, party palaces and seemingly everything in
between all over the world.
A long time Brooklyn, resident, Eric recently relocated
to where the L Train does not run - Palma de Mallorca,
Spain. While maintaining a relatively humble and low key
presence in a highly competitive musical world, he has
releases a prolific amount of music every year through
indie labels such as L.I.E.S., Escho (Iceage), PPM (No Age), Paw Tracks (Animal Collective) and DFA.1. Kids In A Coma
2. Rip It
3. Fuck It Up
4. Honorable Mentions
5. Blue Honey
7. Cannibal World
8. Don't Beat Your Baby
9. Radio Weapons
10. Get My Own$19.99Vinyl LP - Sealed Buy Now
Wiped Out! (Out Of Stock)Wiped Out! is LA-based band The Neighbourhood's 2nd album via Columbia Records. The record includes the hit single "RIP 2 My Youth."
The 2015 album and single are sure to give the band's first record, I Love You, and groundbreaking single "Sweater Weather", a run for their money with the critics and fans alike.
The Neighborhood, who consists of Jesse Rutherford, Jeremy Freedman, Zach Abels, Mikey Margott, and Brandon Fried, was the first band to give The 1975 their first set of tour dates and Travis Scott his first chance before he blew up.LP 1
1. A Moment of Silence
3. Cry Baby
4. Wiped Out!
5. The Beach
1. Daddy Issues
2. Baby Came Home 2 / Valentines
3. Greetings From Califournia
6. R.I.P. 2 My Youth$25.99Vinyl LP - 2 LPs Sealed Temporarily out of stock