Tuesday, 22 July 2014
After releasing a Live EP back in April for Record Store Day, entitled 'Live Versions', Tame Impala are now streaming the full eight-track work - plus a previously unreleased instrumental, 'Sestri Levante'.
The RSD 'Live Versions' release by the Australian psych rockers was to become the highest-selling vinyl of this year's event, and label Modular is now releasing the full work, ad well as making available to stream via Spotify below.
The recordings comprise material from a show last October at Chicago’s Riviera Theatre, and from as far back as their 2006 self-titled EP.
'Live Versions' Tracklist:
01. Endors Toi
02. Why Won’t You Make Up Your Mind
03. Sestri Levante
04. Mind Mischief
05. Desire Be Desire Go
06. Half Full Glass
07. Be Above It
08. Feels Like We Only Go Backwards
09. Apocalypse Dreams
Go From the Blue Light in to the Moonlight
August 8 2014 (Stalkers Records)
Words: Dave Beech
Back in December when we reviewed the debut single (and its respective B-side) from Northhampton's Jubilee Courts, whilst both tracks differed from each other aesthetically, what they did do was make it clear the band aren't one to linger too long on any one genre; incorporating their influences, no matter how varied, into a sound that's very much their own. This is something made all the more evident on their debut EP, 'Go From the Blue Light in to the Moonlight'.
Haunting and understated, the introductory 'City Flow' builds on a basis of guitar and subtle bass with drums only making an appearance in the last 60 seconds or so. Interestingly enough, it's the apparent looseness of the guitars which give both the track and the band their tightness; each member knowing when not to play just as much as when to. Both 'City Flow' and following track, the instrumental 'Something Different Every Night', feel not like separate songs at all, but rather a progression from one to another (the latter feeling far more fleshed out and fully realised); the lack of vocals only serving to draw your attention to the band's musicianship.
Further ominousness is perpetuated by 'Outside Your House', but following track 'Under the Sand Again' feels that little bit more upbeat; the paranoia replaced instead by shimmering guitars which lend themselves wonderfully as a backdrop to Josh Falconer's almost monotone vocal delivery. It will be familiar ground for some - shoegaze being one of the latest 90s genres to enjoy a resurgence, but that shouldn't detract any from Jubilee Courts, who have embraced the genre in both original and contemporary guises before giving it a vocal edge.
At nearly six minutes long, final track 'Sunday Shift' comprises almost a third of the record's run time, but with good reason. A frenetic and progressive track that, much like the band themselves, is built around change and variation; evolving time signatures keeping things fresh before a false ending and a steady build up towards the record's climax sees Jubilee Courts bow out of their debut EP in style.
It was clear from their very first single that this was a band with ambitions, and though they might not be as fully realised here as one might hope, it's still most definitely a step in the right direction, and one can only look forward to what their first full-length might have to offer.
Brooklyn power pop three-piece Nude Beach are set to follow up their debut album 'II' of 2012 this autumn with a double-disc full-length - '77'.
'II' was a critically praised offering, ranging from the slow dance of 'You Make It So Easy' to the infectious 'Radio' and back via the Tom Petty-esque riffs of 'Love Can't Wait'.
First taster of their second full-length in 'I Can’t Keep The Tears From Falling' looks to set to follow a similar pattern of melodic, yet frenetic energy, wrapped up in three enjoyable air-punching minutes.
'77' is released on October 21 thru Don Giovanni Records.
Black Keys’ Sunday headline set at Latitude brought the 2014 festival to an explosive close - prompting the most raucous crowd of the weekend, all of whom were boisterously chanting along to their impressive back catalogue - after what was an unforgettable weekend of music, culture, soaring temperatures and electrical storms.
On Friday night, Lily Allen stood in for Two Door Cinema Club at the last minute, performing her first ever headline set. Paying tribute to the band she replaced, Lily donned a Two Door Cinema Club T-Shirt as she rapped a cover of the band’s song 'Something Good Can Work' at the start of her set. With a stage set of giant milk bottles, Lily belted out hits from her first two albums as well as this year’s 'Sheezus' album, winning over the Latitude crowd with her edgy lyrics and feisty pop sensibility.
On Saturday night, Damon Albarn wowed the crowds during his headline set, which took place during an electrical lightning storm, with music from his new album as well as favourites from Gorillaz and Blur. The first lightning bolt lit up the sky toward the end of the set revealing Blur guitarist Graham Coxon, on stage to perform 'Tender' with Damon.
Latitude's ninth year got underway on Thursday evening with a lively welcome party in the woods featuring DJs Goldirocks and DJ Push, plus French theatre company Ilotopie performing ‘Le Rêve à travers la Porte’ (Doorway to a Dream) on the lake, a special Latitude commission from Lavish which featured a series of surreal floating installations including flaming Dali-esque horses, jousting knights on petals, a flaming apocalyptic angel and a giant gliding Lady of the Lake.
As Henham Park basked in a glorious heatwave on Friday, festival goers were surprised with the announcement of a secret gig by Rudimental on the Obelisk Arena, who got the crowds dancing with a string of number one hits including 'Waiting all Night'. Over on the BBC Radio 6 Music Stage festival goers were treated to a very special gig by Slowdive, the only summer festival appearance from the dream pop band in the UK since their last concert over 20 years ago.
Latitude’s arts arenas were no less starry on Friday, with stand-out appearances from comedian Dara O’Briain, renowned photographer David Bailey in conversation with Tim Marlow, novelist Jon Ronson reading from Frank: The True Story that Inspired the Movie and a performance by Cuban dance company Ballet Revolucion on the Waterfront Stage.
On Saturday, Hall and Oates drew a huge crowd into the BBC Radio 6 Music Stage with renditions of their catchy eighties pop hits including 'I Can’t Go for That (No Can Do)', which saw festival goers spilling out onto the grass outside the tent. Headlining the same stage later that night were Royksopp and Robyn with a blinding performance of genius electro-pop. Meanwhile in the Obelisk Arena anticipation among 35,000 music fans reached fever pitch as First Aid Kit and Bombay Bicycle Club warmed up the crowd for the eagerly anticipated appearance of Damon Albarn which was backlit by a huge electrical lightning storm and biblical showers that did not deter festival goers from dancing along to hits from Blur and Gorillaz.
Sunday at Latitude began with Atomic Bomb! Who is William Onyeabor, on the Obelisk Arena, with a collective of musicians including Alexis Taylor from Hot Chip and Pat Mahoney from LCD Soundsystem celebrating music from the West African synth pioneer William Onyeabor. Later on the same stage, Chrissie Hynde played to ecstatic festival crowds, while the Haim sisters closed their 2014 tour at Latitude Festival. Over on the BBC Radio 6 Music Stage NY garage-punk outfit Parquet Courts energised the afternoon crowds with a lively set before Philadelphia rockers War on Drugs took to the stage for an impressive performance, playing several tracks from their recent album, the critically acclaimed Lost In The Dream.
The BBC Radio 6 Music Stage was home to an array of alternative and leftfield music, with standout sets over the weekend from much-hyped Jungle, George Ezra, pop-classical ensemble Clean Bandit, Swedish psych-masters Goat and Sunday night headliner Lykki Li. Tucked away in the intimate setting of the woods, festival-goers gathered at the i Arena to catch cutting-edge acts, with memorable performances from Future Islands, The Fat White Family, Kwabs, The Acid, Nils Frahm, Young Fathers and Tom Vek. The Lake Stage and the Alcove were the best stages to catch the hottest new talent on site, and hosted impressive sets from the likes of Catfish and the Bottlemen, Luke Sital Singh, Spring King, Slaves, Woman's Hour and Circa Waves.
Commenting on the festival Melvin Benn, founder and creator of Latitude said: "It was an amazing weekend with outstanding headline performances from Black Keys, Damon and Lily and phenomenal performances across all the arts that we cover. Lily stepping in at the last minute to deliver the set of her life to a huge and appreciative crowd was awesome as was Damon conducting the lightning from the main stage during his set. Everything was perfect! Roll on the tenth birthday party of Latitude in 2015".
Some bands bang on and on about their new album, it's release, dropping teaser tracks months before - then you have Danish indie rock duo The Raveonettes who, without any preamble - just say 'here's a new album'.
Entitled 'Pe'ahi', the album - produced by Justin Meldal-Johnsen, who produced M83's 'Hurry Up, We're Dreaming' - is the follow-up to their 2012 'Observator', and is out now thru Beat Dies.
Watch opening track 'Endless Sleeper' video below.
The title comes from the name of a surfing area in Hawaii: “…it’s about a horrific near-drowning experience I had in Hawaii some years ago," says
Sune Rose Wagner said of 'Endless
Sleeper'. "It’s about taking risks in order to exist. The song features a lot of recurring musical ideas of 'Pe’ahi' such as Old Skool breakbeats, exaggerated dynamics, unconventional song structures, staccato guitar picking, intense layered vocals, etc…”
01 Endless Sleeper
03 Killer in the Streets
04 Wake Me Up
06 A Hell Below
07 The Rains of May
09 When Night Is Almost Done
10 Summer Ends
Our Track Of The Day last month from the Manchester outfit, Hartheim, now receives an equally compelling visual accompaniment.
Like previous work 'Yellow', 'Welcome To Hartheim' is no less absorbing for the ears or the eyes. This is also perhaps the first chance many will have had to glimpse sight of the Hartheim band themselves, who have hitherto kept something of a low and mysterious profile.
Filmed in black and white on the derelict top floor of one of Manchester's oldest buildings, director Jack Bottomley set out to convey the atmosphere of unrivalled suffering through distorted choreography.
"The story behind the video stems directly from the lyrical content in the track. The main focus was to reflect the appalling subject matter with haunting visuals and contemporary movement, using them to build on the narrative laid out in the song. The video explores the lost relationship between a mother and son at Hartheim Castle. I worked closely with Abbie Coughlan, the featured dancer, to express the emotional clash through her performance. For me, the choreography is a passionate struggle between her tortured grief and her disbelief at what is going on around her. Yet, all of this aching would never exist if it weren’t for such a strong bond in what is life’s most instant connection. The result is a video that is stark, angry, and yet somewhat beautiful."
Saying goodbye to the role of frontman with a successful band, and striking out alone. However, when the Camden four-piece Tribes split at the end of last year, vocalist and songwriter Johnny Lloyd was not one for moping around, instead he set about working on his debut solo EP.
'Pilgrims', recorded on an 8- track and produced by Blaine Harrison (Mystery Jets), was the result of that, with the four tracks appearing as a package last month; this following an acoustic outing with The Dins' guitarist Nick Grimes at Dot-to-Dot and a supporting The Kooks on tour across Europe.
The four reflective songs, worked around guitar and vocals, with a touch of synth here and a little percussion there, are laid-back and unhurried; nostalgic, mellow.
Anyone expecting a sound resembling that of his former posting with Tribes (indie, rock, anthemic), would have been rather surprised. This was something of a new Lloyd, sounding - both lyrically as much as musically - as if he has pulled up the roots of his former plantlings, turned over the soil and set about creating an entirely new Lloyd stock sound.
This week Lloyd unveiled a new track, 'Happy Humans', a song which is apparently the title track of his next EP. Aside from a vocal chorus that rejoices in “happy humans in love", it is perhaps even more basic than that contained on the first EP. Still retaining a light blues touch and a somewhat careworn drawl, it is a fairly basic, stripped back acoustic number.
'Happy Humans' is out on August 11 and will be available on free download.
Monday, 21 July 2014
24-year-old Londoner Benjamin Garrett - Fryars - has unveiled details of his new album. Released on November 17 in UK (18/N.America) via Fiction, 'Power' will feature previously heard tracks 'Cool Like Me', 'On Your Own' and 'Love So Cold' along with 'Prettiest Ones Fly Highest' - which you can stream below.
The album was produced by Garrett and Luke Smith with additional assistance from Rodaidh McDonald (the xx, How to Dress Well, Savages).
Garrett recently co-wrote two tracks on Lily Allen's Sheezus: 'Who Do You Love?' and 'Miserable Without Your Love'.
01 (Power Up)
02 On Your Own
03 In My Arms
04 Don’t Make It Hard On Yourself
05 Love So Cold
06 Prettiest Ones Fly Highest
07 (Dialogue 1)
08 China Voyage
09 Sequoia Can’t Stop Loving You
10 The Power
11 (Dialogue 2)
12 Thing Of Beauty
13 (Tide You Over)
14 Cool Like Me
15 (Over And Out)
July 21 2014 (Transgressive)
Words: Alison Mack
Alvvays, alvvays, but pronounced “always” - well, at least it helps on a Google, apart from ensuring that band and name stick in your head. As indeed they no doubt will with this particularly impressive debut.
Fronted by Nova Scotian Molly Rankin with guitarist Alec O’Hanley, childhood friend Kerri MacLellan on keyboards, and Brian Murphy and Phil MacIssac on bass and drums, the quintet relocated to Toronto last year to work on this Chad Van Gaalen-produced debut.
There often appears a degree of blithe light-hearted whimsy, such as “How do I grow old with you even if you don’t notice as I pass by you on the subway?”, the question raised in summer surfy opener “Adult Diversion,” where Rankin plots her future with a fellow commuter; 'Archie, Marry Me': “Honey, take me by the hand, and we can sign some papers/ Forget the invitations, floral arrangements, and breadmakers.” Yet just as easily the tone can take a darker turn, such as on 'Next Of Kin', where we hear “I left my love in the river”, reflecting the death by drowning of a lost love.
From the indie guitar pop of ‘Atop A Cake’ and 'Party Police' to the hazy, dreamlike synths and shorewave sounds of 'Red Planet', it is a record that admirably juxtaposes different shades of the spectrum, and guarantees Alvvays a name to remember.
'Tied Up, Tied Down' is the second single release from TEEN’s second album, 'The Way And Color'.
TEEN - the Brooklyn all-girl four-piece, made up of the three Lieberson sisters, Katrina, Katherine and Lizzie, with Syrian bassist Boshra AlSaadi - have now shared the video accompaniment to the track,
directed by Jordan Michael Blake, which takes on a surreal twist to the travails of teen love.
TEEN are currently on tour in the UK, having just played Latitude festival. Tonight (July 21) they are in Glasgow at King Tuts before heading to London for their last show here tomorrow.
JULY 22 THE LEXINGTON LONDON
JULY 24 PARADISO AMSTERDAM
JULY 25 AALHAUS HAMBURG
JULY 26 BOOMTOWN FESTIVAL GHENT
JULY 28 LE NOUVEAU CASINO PARIS
JULY 29 RADIO 3FACH VOLIERE LUZERN
JULY 30 HINTERHOF CLUB BASEL
JULY 31 MUSIC UF DR GASS RORSCHACH
AUGUST 1 DAS BETT FRANKFURT AM MAIN
AUGUST 2 KING GEORG COLOGNE
Given the number of Soundcloud plays this track 'One Time' has received online in such a short space of time - over 9,000 in two days - its success must be practically a given when it gets an eventual release date (which is looking like late September / early October).
Written and recorded by JMR, Ryne Estwing of ON AN ON and EXROYALE - the latter also producing, engineering and mixing - it was born out of a project by indie music publisher, Red Brick Songs, who arranged for 15 songwriters from all across North America to fly to the Deerhurst Resort in Toronto in May. There, over the course of three days, they collaborated together to write and record 'The Red Album' which is currently being mixed and mastered.
Songwriters also included members of Psychic Twin, Los Encantados, Andy Shauf, STACEY, Library Voices, In-Flight Safety, Cuff The Duke and Oh Travioso.
'One Time' is the third track to come out of the Resort sessions so far from those who participated.
Florida musician Joshua Michael Robinson - J M R - supplies the engaging, attention holding soul vocals on 'One Time', against a fall of string arrangements, percussion, thumping bass courtesy of Estwing, and served in an immaculate production. This is really a song that gets to you on first hearing - and doesn't let go.
Manchester duo Shield Patterns have a shared a new track from their June released debut album 'Contour Lines' (read our review here ).
Stream the dark and percussive 'Present State' below.
The pair have also announced three live dates in September.
September 18. Leeds - Wharf Chambers
September 19. Newcastle - Cumberland Arms
September 20. Nottingham - Contemporary
Amongst the first wave of artists to be named for the iTunes Festival which returns to London for an eighth consecutive year, are Kasabian, Pharrell Williams, Robert Plant and Jungle.
This year's 30-day event, set to run throughout September at the Roundhouse in London, will feature over 60 artists. Tickets to the event will be given away through competitions carried out by Apple's media partners across the globe. More information on the event is available at the iTunes Festival site.
Fans that will not be able to attend the event live can watch on-demand videos via the iTunes Festival iOS app and dedicated Apple TV channel for free.
More bands will be announced over the coming weeks.
For more information, visit:
The iTunes Festival line-up so far:
Beck (September 2)
David Guetta (3)
5 Seconds of Summer (4)
Calvin Harris + Kiesza (7)
Robert Plant (8)
Sam Smith (9)
Pharrell Williams + Jungle (10)
Maroon 5 (11)
Blondie + Chrissie Hynde (16)
Sunday, 20 July 2014
When it comes to punk you can never have too much. And to back that up, out on August 1 comes a tie-up between London and our New York cousins in the form of a split release EP and zine via south-east London Risograph studio/label based Crumb Cabin, of New York punks Mannequin Pussy and London DIY outfit Dog Legs.
1. Toot Toot, Hey!
3. Jazz Off
5. Choo Choo
6. Dog Legs
7. My Baby Axe Nice (Mannequin Pussy cover)
Check out 'Toot Toot, Hey' and 'My Baby Axe Nice' below.
Mannequin Pussy are a New York thrash threesome comprised of childhood friends Marisa Dabice and Athanasios Paul, along with Kaleen Reading standing in on drums. Their debut album ‘Gypsy Pervert’ - think raw, layered grunge/noise pop - is also being released in August - on 26th on vinyl via Tiny Engines.Garage/punk duo Dog Legs are male/female combo Moema Meade (guitar/vocals) and Liam Bradbury (drums/vocals) who hail from Brighton and London. Their six-track debut EP 'Awkward', released by DIY label Tuff Enuff Records last October, sold out rapidly on limited pink cassette.
You can pre-order the Dog Legs / Mannequin Pussy - Zine/Cassette Split EP here by clicking on the Bandcamp link.
July 21 2014 (Secretly Canadian)
Words: Alison Mack
Much noise has been made over the debut album from this sibling-led four-piece, and much anticipation ahead of release for its 11 tracks of synth dreampop. Evidence has already been forthcoming by way of track releases to instill a taste of their somewhat refined - some may even go so far as to say unemotional - style of electronica.
Opener 'Unbroken Sequence' meets a soft synth with equal softness from vocalist Fiona Burgess, as she asks, "If I rest, I break and resist, would it be better for you?" and a chorus-to-wallow in, which is heard again on 'In Stillness We Remain', although with a more strident bassline, and the minimal refrain of ‘Two Sides Of You’. The title track with its “awkward moments of strange affection” maintains a mid-tempo beat that never threatens to overwhelm, while elsewhere 'Darkest Place' is layered with ambient percussion, shimmering synths and vocal effects, and 'Our Love Has No Rhythm' is steeped in atmospheric electro.
While Woman's Hour deliver a lot to be liked on this first full-length, at 42 minutes it feels just a little too long to sustain uninterrupted interest, and therefore hard to come away with any lasting memories other than a B* for a good effort.