It’s the times we live in, though we can’t even tell anymore what kind of ‘time’ that is or could be; but maybe, when we’ve grown tired of discussing ‘future shocks’ and ‘retromania’, when we stop waiting for the future and stop longing for the past that probably was nothing but an illusion in the first place, maybe then comes a time when we actually rediscover the ability to focus on the art in and of itself, an ability that lets us appreciate again that kind of music that doesn’t care for the ‘time’ it was written in, music that exists in a gap where those categories have no meaning. It is such a gap in which Ninety Thirty Thirty has found its place, the sophomore album by Fielded. The album’s eleven songs are not trapped in the past, though quite a few elements and means may remind you of things you’d find on records hidden in the attic of your parents’ house. They are not headed towards some utopian future either, where contemporary music’s foundations will be reconceived and overthrown. And surely, they are not particularly now in any way whatsoever.
Fielded is the solo project of Chicago resident Lindsay Powell, to some perhaps still better known as part of Ga’an or Skyblazer or Festival. Her music revolves around intense, inescapably stirring vocal explorations. Though more emphasis has been put on the overall production compared to her previous efforts, Ninety Thirty Thirty is no exception. The surrounding instrumentation, mainly composed of opulently arranged synths and programmed drums with the occasional sax intervention, may in itself be more sumptuous than what is commonly accepted in pop music these days. Yet within this setting it still can’t achieve more than merely providing the aptly luxurious decoration around the self-proclaimed diva’s absorbing vocal delivery. Just listen to the especially breathtaking standout "Eurynome": Lindsay Powell makes music that probably shouldn’t exist, anymore or yet; in that sense, we can’t be sure if it actually does. So you better check it out while it lasts. (co-premiere with Ad Hoc)
Ninety Thirty Thirty is out April 23 on Captcha Records. Pre-order now here.
Back in 2009, we saw the release of Ashes Grammar, the brilliant sophomere album from shoegaze ensemble A Sunny Day In Glasgow — an euphoric, however genuine approach to pop music, drowned in warm ambience and summery allusions. A month ago the band announced on their Twitter that a new album is in the works, but there are also other interesting things in the pipes, it seems. Together with contributor and producer Kurt Feldman of Pains of Being Pure at Heart (and solo moniker The Ice Choir), Ryan and Jen (A Sunny Day In Glasgow) have formed Roman à Clef; an obviously less reverb-soaked pop blueprint, but still clinging to the child-like innosence and dreamscaping lyrics from the past.
Have a first listen to these two new singles below, "PSBTV" and "Lucky Toasts".
While we're still thoroughly enjoying Mr Jonathan Clancy aka His Clancyness' extended version of his fabulous debut LP Always Mist, it's indeed more than exciting news to hear that not only got the Canadian/Italian artist signed by Brighton/Brooklyn powerhouse Fat Cat Records, but that he appears to have a full new album's worth of new material ready. The actual record is due sometime this fall, but it will be preceded by the Charade EP, which arrives as a limited edition cassette, sold at Clancy and his band's upcoming tour through Europe - check the dates below. Appearing on both the EP and the album, first new song to be unveiled, "Machines", takes up the project's signature sound of moderately nostalgic, unassuming yet disarmingly candid rock and roll. Watch the track's lyrics video now, shot by band member Giulia Mazza. (co-premiere with Ad Hoc)
18/05 Rome, Italy – Roma Pop Fest @ Revolver Live Club
20/05 Groningen, Netherlands – Vera (w/ Deerhunter)
21/05 Bruxelles, Belgium – AB Box (w/ Deerhunter)
22/05 Paris, France – Le Trianon (w/ Deerhunter)
23/05 Bristol, UK – Start The Bus (w/ Widowspeak)
24/05 Liverpool, UK – East Village Arts Club (w/ Widowspeak)
25/05 Dublin, Ireland – Workmans (w/ Widowspeak)
28/05 London UK – Cargo (w/ Widowspeak)
01/06 Guastalla, Italy – Handmade Festival (w/ The Babies)
02/06 Padova, Italy – Macello
07/06 Naples, Italy – Lanificio 25
08/06 Marina di Ravenna, Italy – Hana-Bi
09/06 Milano, Italy – MIAMI Festival
11/06 Bologna, Italy – Vicolo Bolognetti
Though still dropping one flawless release after the other, and though still being blessed with the most impeccable curating in the game, LA underground institution Not Not Fun is not so much exposed to the internet's glaring spotlights anymore, at least compared to the years of hype surrounding the label circa 2009/2010. But I don't think Amanda and Britt Brown really care, and after all, maybe it's all for the better - in any case, perhaps the slump of attention has given Britt the time he needed to complete the next LP of his long-running project Robedoor. Four-track effort Primal Sphere continues the duo's search for the final drone by means of slowly developing long form movements, massive sonic walls overwhelming the listener with assaults of heavily distorted guitars and occasional, truly menacing vocal incursions. Stream the nine and a half minute opening track "Stagnant Venom" exclusively below. (co-premiere with Tiny Mix Tapes)
It's been seven months since Reykjavik-via-Birmingham producer Russell M. Harmon released his debut EP We Are Failed, and even longer since we heard the debut track "Tragedy Fractures", an undeniably Ben Frost-influenced, but brilliant tune. In aid of the French director and videographer Gregory Hoepffner, "Tragedy Fractures" has finally received some sought-after visuals, featuring a writer trying to dispose evidence of his past, or rather, trying to find a meaning with his very excistence. Analyse for yourself below.
We Are Failed had its US debut release via the Ohio-based imprint Rano as of last week, where 30 super-limited cassette tapes were available for pre-order. Well, the physical copies are already sold out, but you can always grab the digital EP for the price of a beer right here.
Having just released her new EP Systems on Terrible Records/Double Denim last week, Empress Of aka Lorely Rodriguez took a literal roadside break en route to her next California show to chat with us about a few things or two, talking about her inaugural SXSW experience amongst other things - such as the motivation her musical peers give her. Empress Of is currently on tour with Jamie Lidell. Tonje Thilesen snapped a few photos of her after her show at Bardot in Hollywood.
Read the interview after the break.
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What was your SXSW experience like?
It was [my] first SXSW so it was pretty hectic. I didn’t really know what to expect but I think the coolest part about being at SXSW was meeting all the other bands, making friends with them and watching them do what they do.
What bands did you meet that you were super psyched to see?
I was really stoked to see S O H N. I actually met him and had no idea what his music sounded like and then we were just chatting it up and then he was like ‘Yo, you should come see my set tomorrow at four,” and I was like ‘Okay.’
You just played a show in LA. Was that kind of like a homecoming show of sorts?
Yeah, I’ve never played in LA before [even though] I grew up there, so that was awesome. My mom came. We were opening for Jamie Lidell and it was so packed. [The] LA crowd is really good; very receptive.
What’s the difference from the Brooklyn vs. LA crowd?
(laughs) Well, I don’t know. I guess in New York it’s different because I live there so when I play, a lot of my friends would come out, so it was just like meeting a bunch of new people and seeing how they react to the music. I think they were into it. It’s cool to play music to people who aren’t really familiar with it, because most of them are there to see Jamie Lidell.
This all has happened really fast for you, almost like a flurry of excitement. What has that been like?
I put out Color Minutes as kind of an introduction, [and] things have happened really fast. Mostly it’s just [about] making the right decisions. I like living in New York just going to shows all the time and being surrounded by people. Just like the Chairlift guys or Twin Sister, I feel really motivated because I see these bands making amazing music and playing great shows. I feel like I’m on a highway. I am on a highway right now.
Literally or figuratively?
I feel like I’m on a highway and I’m moving really fast so hopefully the momentum keeps up.
Some of your music reminds me of these epic, swaying ballads from the 80s. Is that an influence?
Yeah I’m definitely influenced by the 80s. I was listening obsessively to Julee Cruise for a while. She sung a lot of the Twin Peaks soundtrack. And her music is kind of like really sentimental, slow, feminine, emotional. It’s definitely a vibe with Empress Of, but it’s not the whole thing. It’s not the whole sound that I’m going for but with the couple of songs that I’ve put out, I definitely channel the emotional, feminine aspect of that. (...) I’ve been fortunate enough to have Patrick from Chairlift mix my EP. His influence is on the record definitely with how he hears things and I totally stand by them. I think they’re amazing artists.
I was listening to "Don't Tell Me" and it sounded like Sinead O’Connor, like “Nothing Compares 2 U”. Would you describe your music as 'feminist'?
It’s not feminist. It’s feminine. I like the quality of describing something as feminine…That’s how I hear it. The ballad “Don’t Tell Me” kind of embodies that.
I see a sentimentality aspect since you're stuck with a feeling of being vulnerable; it kind of makes me feel nostalgic in a way. Is that something you identify with?
'Vulnerability' is a good way to describe how I feel about my live set right now. I’m just figuring it out as we’re playing, and I feel like being really vulnerable on stage is a good thing because I don’t know what I’m gonna do the next minute. Am I gonna cry? Am I gonna rip my hair out? (laughs) I don’t know.
How did you get involved with Terrible Records?
Ethan Silverman [founder of Terrible Records, ed.] came out to one of my shows. Then Chris Taylor [co-founder] found my music online and texted Ethan, telling him to come to my show, and Ethan replied that he was already going. I met him and I was like, 'Double Denim’s gonna release my EP in London'; [so] we started discussing about putting it out in the US too. They've been really awesome to work with, and I love all the artists that are on their label. Chairlift is on [Terrible Records] as well as Solange, Twin Shadow and Blood Orange.
In a way, do you feel that you're all are kind of working within the same aesthetic?
Maybe. I feel like [Terrible Records] was a starting point and then [the artists] kind of developed their sonic identity; their sound. This EP that I’m putting out is kind of on the path to where I’m going. I’m just going to keep on developing.
Are you working on your full-length now?
I haven’t started working on it yet. I’ve written one or two songs that are definitely gonna be on there; we’re just playing them live right now. But I haven’t started recording anything yet. I think I’m going to do that when I come back from tour.
Justin Walter's forthcoming debut for Kranky has the seemingly paradoxical title of Lullabies and Nightmares. Our first taste of that album, "Dream Weaving", begins to answer how a song could simultaneously occupy such disparate spaces. With its ethereal ambient loop, "Dream Weaving" is mostly lullaby, but some rougher and noisier synths bring a shade of darkness to the song. "Dream Weaving" slowly builds over the course of its five minutes, adding in a drum line and increasingly complex synth riffs which only heighten the beauty of the track.
Stream "Dream Weaving" below. Lullabies and Nightmares is out on Kranky on May 27.
Very excited to present this together with our friends at CTM Festival: Two of our all-time favourites are finally coming back to town, Cameron Stallone's fabled psych project Sun Araw plus Deep Magic aka Heat Wave aka Sun Araw tour member Alex Gray, performing live at West Germany on Friday, May 3 (the night before, the two will showcase b2b DJing at neighbouring Monarch). Being at the forefront of the hypnagogic pop wave that followed David Keenan's legendary/infamous article on the Wire, we believe any more detailed introduction to Sun Araw is unnecessary - suffice it to restate that despite some subtle sonic readjustments and that rather divisive trip to Jamaica with M. Geddes Gengras that led to the collaborative LP together with The Congos on RVNG Intl., Stallone still owns the sound that has helped to reshape the gestalt of avant-garde underground pop in recent years. Not an occasion to be missed for sure.
Go here for more details. We're giving away two guest list spots: Just send us a mail stating "Sun Araw" before April 26.
