Two percussionists, Sven Kacirek and Thomas Klein present Rhythmus I-IV. Although the two musicians each speak their own distinct rhythmic language, with only a few data transfers between Hamburg and Düsseldorf they have conjured up four compact tracks, which despite the instrumental limitations, are surprisingly diverse in terms of sound, groove and depth. Each sent the other a sketch for further development and expanded upon these blueprints. In a final meeting, formal decisions and minimal corrections were made. In addition to drums, cymbals, shakers, xylophone and vibraphone sounds, sonic treatments are clearly audible.
The End of Comedyis the debut album by Drugdealer, a new project conceived and conducted by Los Angeles artist Michael Collins (formerly of Run DMT, Salvia Plath) who guides a group of Angelenos including Ariel Pink and Natalie Mering (Weyes Blood) through a whimsical world informed by Jean Baudrillard, social media perception, Sergio Leone’s spaghetti western vistas and Collins’s endless travels.
The End of Comedy - to be released through Weird World - is a collection of vignettes - lucid, lysergic and organic - featuring homespun explorations of Carole King-esque piano ballads, Bacharach-ian orchestration, the psych-folk of Ultimate Spinach and Hendrickson Road House and even New York City subway jazz, all pulled together by Collins’s deft AOR auteurship and keen sense of humour.
The first track to be shared from the album is ‘Suddenly’ featuring Weyes Blood – watch the video above.
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The Magnetic North and RIBA present People and Place – an evening of live music, film, literature and architecture. The one off special event will commence on August 9th with The Magnetic North performing with a full band line up (including strings and woodwind) and the premier screening of their new short film, with very special guests from the architecture and literary world - Amy Liptrot, Laura Barton and John Grindrod.
The band's new album The Prospect Of Skelmersdale explores themes of utopian dreams, architecture, new towns, people and place. In partnership with the Royal Institute of British Architects (RIBA) and co-curated with @vine_collective/Third Nature the event will complement the themes of the current exhibition At Home in Britain – Designing the House of Tomorrow.
Canadian punk band White Lung has topped numerous “Best Albums So Far” lists this year including Stereogum, Rolling Stone, Consequence of Sound, FACT and NME for Paradise, their fourth and most mature record to date. Now the band – comprised of Mish Barber-Way, Kenneth William and Anne-Marie Vassiliou - have been shortlisted for the Polaris Prize alongside artists including Carly Rae Jepsen, Grimes and Kaytranada.
Today, White Lung has unveiled the music video for ‘Dead Weight’, directed by John Stavas and co-produced by Deap Vally's Lindsey Troy.
Following the release of the first two singles, Wild Beasts have given us even more insight into their forthcoming Boy King, out August 5th on Domino, with ‘Celestial Creatures’ – listen above. Where ‘Get My Bang’ and ‘Big Cat’ showcased a bold new direction, ‘Celestial Creatures’ channels classic Wild Beasts and features Hayden Thorpe’s angelic voice front-and-centre.
Motion Graphics, the solo project of NY based electronic artist Joe Williams, announces its’ debut with a self-titled LP out on Domino. Created over a two year period between NY, LA, & Baltimore, Motion Graphics is a unique and compelling collection of richly detailed widescreen compositions, inspired in part by the ambient sound effects of digital menu systems that decorate today’s auditory landscape. Creating custom randomised software instruments, Williams’ mimics the erraticism of the Twitter timeline and the aggregated news feed, while incorporating elements of techno-pop and jazz, sequenced through the superhuman capabilities of a computer. Motion Graphics is an ambitious debut from an artist adept at manipulating the sounds and digital tools ubiquitous to the everyday. The first single ‘Lense’ is now available, accompanied by a striking animated visual of the album artwork, a video created by CULTURESPORT.
Williams currently serves as a core member of Future Times’ Maxmillion Dunbar’s ongoing Lifted ensemble. Williams’ productions can be heard on Baltimore-based Co La’s Moody Coup LP and on Williams’ original score for 12 O’Clock Boys, a feature-length documentary on the notorious dirt bike riders of Baltimore’s Westside.
Lou Rhodes is in the Live Room with tracks from new album 'theyesandeye'. Having released 6 records as one half of electronic genre-benders Lamb this is her 4th solo LP and is released on Nude Records on 22nd July.
Lou says 'I had a gut feeling I wanted to experiment with a slightly psychedelic feel and, by chance, met up with Simon Byrt (the album's co-producer) in a friend's studio. It turned out that he has a strange passion for vintage spring and tape echoes and, before long, we'd decided to make a record together."
Son Lux began as the solo project of classically trained electro artist Ryan Lott, but it was expanded to a trio for last year’s album Bones. The trio is set to follow up that excellent full-length effort with the Stranger Forms EP this summer.
It opens with winding, wandering, triumphant horns and careens into a marching band feel with the horns coming in huge bursts with big drums. Lott’s soulful vocals come in to signal a switch to a more subdued, jazzy aesthetic and then the two contrasting sounds alternate, wonderfully fluctuating the energy and evolving the sonic for a relentlessly engaging excursion. Hanna Benn joins to punctuate the crescendo as Lott provocatively repeats “You don’t know me/ You don’t know me at all,” evoking the gamut of emotions that come with the realization of someone you care about knowing you less intimately than you thought or would like them to. The tension between the brightness and immensity of the sound and the darkly shaded sentiments makes for a stirring experience.
The ceaselessly prolific Ty Segall announced the formation of a new band with FUZZ’s Charles Moothart and Chris Shaw of Ex-Cult. Calling themselves GØGGS, the trio of garage punk stalwarts have now revealed the details of their forthcoming self-titled debut.
Due out via In The Red Records, GØGGS features contributions from Wand’s Cory Hanson, Vial’s Denee Petracek, and Segall’s frequent collaborator Mikal Cronin. Recorded last summer in LA, the album took “three years of planning, thirty days of writing, one week of ripping” to complete, according to a press release.
Gold Panda has released a surprise EP, Kindgom, which was inspired by the recent Brexit vote. The EP, whose track titles include ‘Eurotunnel’ and ‘Mediaevil’, follows the release of his recent Good Luck And Do Your Best album. The LP was inspired by a trip to Japan to create a “sight and sound documentary” of field recordings and pictures. The EP is available for purchase on his Bandcamp. Stream it below.
King Creosote, returns with his new record Astronaut Meets Appleman. It explores the tension and harmony between tradition and technology – between analogue and digital philosophies – and also invokes a feeling, King Creosote (otherwise known as Fife’s Kenny Anderson) says, of “being caught between heaven and earth”.
Astronaut Meets Appleman follows King Creosote’s breakthrough record From Scotland With Love (2014) and his Mercury-nominated collaboration with Jon Hopkins, Diamond Mine (2011). It arrives replete with a chamber-rock rabble and then some: harps and bagpipes come as standard, as does silence.
The first track to be shared is the album’s opener ‘You Just Want’. A seven-minute piece of hymnal drone-pop, its touchstones are the art of patience, scenes of mild bondage and Venus (in Furs). Listen above.
Following the announcement of new album Boy King, released 5th August 2016 on Domino, alongside its first single ‘Get My Bang’, Wild Beasts have released the video for the album’s second single, ‘Big Cat’. Filmed in several locations outside of Barcelona, Spain and directed by Pablo Maestres, watch the video above.
The new Wytches album is set to be released on Heavenly Recordings and is titled ‘All Your Happy Life.’ The album was recorded by Jim Sclavunos (Nick Cave and The Bad Seeds / Grinderman) in Chapel Studios in Lincolnshire and then Toe Rag in East London, and mixed by Sclavunos and Mikey Young (Total Control Eddy Current Suppression.)
The album draws on a lifetime’s worth of new experiences shoehorned into two whirlwind years since their acclaimed debut album Annabel Dream Reader. There’s no difficult second album syndrome here. This black-hearted set is a combination of heavy comedown psychedelia and bilious and brilliant baroque ‘n’ roll. It’s portentous and scathing. Scabrous and bold. Utterly nihilistic.
Influences and inspiration is drawn from unexpected places – reading Tolstoy’s stories of dysfunctional relationships on the tour bus, digging the warm Hammond-and-acoustic tones of Elliot Smith, loads of underground metal band – but mainly it is informed by observing small town English life with new eyes, having traversed the planet on that first wave of success that followed their 2014 debut. It’s not so much the sound of the calm after the storm, but the howling vortex that follows in its wake.
Sea of Bees is the musical project of Julie Ann Bee, or Jules as everyone calls her. She sings, writes the songs, and plays lots of musical instruments. The 3rd album, Build A Boat To The Sun, is released on 3loop Music.
Since the release of 2012’s “Orangefarben” (Heavenly Records), “Build A Boat To The Sun” sees Jules leaving the darkness for brighter horizons, gathering the good things up, leaving the bad behind and moving forward. The music has also moved forward sonically from previous releases with more tracks having a full band sound after Jules bought a drum kit and spent as much time playing drums as guitar much to her neighbour's dismay. The immediate upbeat pop swagger of ‘Test Yourself’ and alt-rocker ‘Karma Kard’ set out the stall for this album as Jules and producer John Baccigaluppi visit a variety of styles across the album. There are moments of the folk-pop that brought the initial critical acclaim in ‘Don’t Follow Me’ and ‘Moline’, touches of lush orchestration in ‘Monk’ and ‘Little Sea’ and even a nod to the electronica of Grandaddy (Jason Lytle is a big fan) on ‘Dan’. The album was mixed with Jesse Lauter who produced The Low Anthem.
Led by the raffish and slightly scuzzy romance-obsessed Peter Perrett, the Only Ones were one of the punk era's most underrated bands. Not as confrontational as the Sex Pistols, as politically indulgent as the Clash, or as stripped-down as the Ramones, the Only Ones played not-so-fast guitar rock that sounded deeply indebted to the New York Dolls and other mid-'70s proto-punks. Singing his intelligently crafted pop songs in a semi-tuneful whine of a voice and backed by a band that effectively combined youthful exuberance with gracefully aging veterans (non-punk drummer Mike Kellie had done time with early-'70s clod-rockers Spooky Tooth, bassist Alan Mair was nearly 40), Perrett was an astute chronicler of the vagaries of modern, dysfunctional love. Despite a career that lasted from 1978-1981 and one certifiable "hit" song to their credit (the brilliant "Another Girl, Another Planet"), the Only Ones became the archetypal contenders that never broke big, despite assurances from fans and critics that they couldn't miss. Although they split up in 1981 after only three records, the Only Ones, due in large part to "Another Girl, Another Planet," became more influential than one would have guessed.
Listen to Paul Westerberg and you'll hear more than a little Peter Perrett (in fact, the Replacements covered "Another Girl"); look at the number of Only Ones releases over the past decade (a half-dozen at least) and you soon realize that a significant cult surrounding the band grew after their breakup. Ironically, it was the posthumous release of the sessions for John Peel's BBC show that, more than any of the proper studio releases, accurately displayed the muscle and smarts of this fine band. There have been many rumors surrounding Perrett's life after the Only Ones, many of them involving an alleged heroin addiction. Perrett did continue to record and release solo projects during the '80s, including a project known as the One in the mid-'90s.
Angel Olsen's new album My Woman is out September 2 on Jagjaguwar. After sharing “Intern,” she's back with another one from her Burn Your Fire for No Witness follow-up. It's called “Shut Up Kiss Me,” and in her self-directed video, she rollerskates while wearing a glittery silver wig.
Dâm-Funk and Nite Jewel's project Nite-Funk have shared the lead song from an upcoming self-titled EP, which is due July 1 via Dâm-Funk's new label Glydezone. The song is called “Let Me Be Me” and it's mixed by Cole M.G.N. Hear the track, and find the tracklist and artwork below. Dâm-Funk and Nite Jewel both recently put out new records: DJ-Kicks and Liquid Cool, respectively.
Blood Orange’s highly anticipated new album, Freetown Sound, is out now. Written and produced by Hynes, and featuring musical contributions from Nelly Furtado, Carly Rae Jepsen, BEA1991, Debbie Harry, Adam Bainbridge (a.k.a. Kindness), Empress Of, Ian Isiah, Kelsey Lu, Jason Arce, Ava Raiin, Aaron Maine (a.k.a. Porches), Bryndon Cook (a.k.a. Starchild) and Patrick Wimberly, Freetown Sound is a tour de force, a confluence of Hynes’ past, present, and future that melds his influences with his own established musical voice.
You can stream the album via a variety of platforms using THIS link.
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