Week in Pop: Brasil, Chicks Who Love Guns, Victory

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Along with support, and exclusive words from Absolutely Free, & Sirs.

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Sjimon Gompers | October 11, 2013

Getting wild with Sydney, Australia's Chicks Who Love Guns, and digging through the Victory goldmines with Robert Fleming. (cover photos courtesy of Chicks Who Love Guns, and Robert Fleming)

Rocking around the clock amid government shutdowns and the increasing instability of world systems of socio-economic-political infrastructures; Impose's Week in Pop gives you some necessary diversions to quell your never ending stream of panic attacks. First up, Disclosure's label PMR pulled the video for “Help Me Lose My Mind” on account of illicit drug depiction and references, then we learned The Killers' guitarist Dave Keuning is evidently through with touring according to NME, while David Byrne dished out hate for streaming internet sites in a Guardian op-ed piece, and our boy Kanye appears to be getting chummier with the media as of late, and Delorean found themselves involved in some crazy 30 hour Mexico City 'virtual kidnapping' plot. But fear not, as we bring you a posse of artists, some exclusive sounds, discussions, statements, and more media of interest-in no particular order.

Oakland boys Brasil have been hanging around with us lately, dropping the singles that rage against corporate conformity like on “Dr. Zero” to dabbling in the delights of controlled debauchery on “Drunk at the Controls“. Today we are excited to present you with an advance listen of their forthcoming self-titled, available October 15 via their Bandcamp.

“Dr. Zero” initiates the action with sci-fi story song that lampoons the classist Bay Area-yuppie take over, while “Deep Ecology” takes the natural order of things to questions of epistemological origins as well as thoughts apocalyptic ends. Band practice benders get out of hand with the catchy single “Drunk at the Controls”, before the slow and somber reckoning “DZ2/Reckoners” that bursts open like a morning glory hit by the song's end. Throwing new beginnings into the fray, “These Days Sunday Morning” starts the week off on the right foot, while “Aries Apparent” brings astrological signage with some old fashioned start and stop rock and roll sequences. Sweeping away the dreariness and dust strums the homage to a gal-gone-away named Lisa on “Broomhouse!”, to the fervent meditation on religious constructs, feelings, and superstitions of “Prayer”. Giving out and going all out is the out pouring of, “I'll Do Anything”, whereas the closer “Stay in Town” goes even further for the band's statement of self and solidarity with “Stay in Town”. Their closing guitar storm reminds you and everyone else that this band of Jasper Leach, Paul Korte, Tom Ferguson and Mike Vattuone are a force to be reckoned with, and are here to stay in the Bay.

Jasper joins up with us again to further discuss the new record, providing new glimpses into the process, the beauty, the struggles, and everything that goes with recording an album in a Bay Area that is in the middle of a series of transitions for better and for worse.

What were some of the challenges and triumphs of writing and recording your self-titled?

Challenges: respiratory illnesses, a broken guitar, picking up a Danelectro 12-string in the middle of the night in the so-called 'Dirty 30's' in Oakland. Honestly, we haven't faced any huge challenges as a band: we all enjoy playing together and we really like what we're doing, and that's a triumph in itself. But on top of that, the big triumph was getting it done and having a final product we were all happy with.

What have been some of Brasil the band's struggles as a working class band fighting the tyranny of eviction crazy landlords and the yuppie/yippie-fication of the Bay?

Finding the right superhero suits to do battle against these evildoers while completely re-arranging the socio-political makeup of the Bay Area in one fell swoop. No, more like cowering in paranoia while our local governments decide what's 'best' for 'us.'

We struggle to chill out. We don't want to get no-fun-zone'd. We're all normal and we want our freedom. Freedom. Free-dom.

What is the correlation of the religious and sci-fi motifs in your music in tracks like “Drunk at the Controls” and “Prayer”? In what ways are they different, similar, parallel and/or perpendicular do you all feel?

I think that science fiction and religion are two American obsessions, and both speak to our desire as a culture to see beyond the veil of reality. You might as well entwine the two, and we're certainly not the first [see Pixies, John Fahey's How Bluegrass Music Destroyed My Life]. When it comes to religious motifs, I think the use of that kind of language often says more than the language itself, whereas sci-fi motifs serve more as plot points.

What were some of the rejected names for your self-titled LP that you and the band refused?

'…Is A Band', 'Love Happiness Success', 'Greatest Hits'.

What does the rest of the world need to know about what Brasil and the Bay are bringing for this Fall/Winter 2013?

Two big release shows are coming up at Brick and Mortar in SF on Monday, October 14 with CIVC, VUM and Drab Majesty and The Night Light in Oakland, Friday, October 18 with Couches, Everyone is Dirty and Frozen Folk, before plunging into an uncertain, unwritten future, just the way we like it. The world needs to know we are awesome. Somehow we will get that across.

Thanks again for making it happen, Jasper!

Thanks for your ongoing curiosity! It's an honor.

Sydney, Australia's new bad boys on the block, Chicks Who Love Guns, are heading our way to NYC for CMJ from the land down under to rock you with antics and unbound attitude. Cass, Mitchell, Jack, Mody and Xavier are a band of young guns who pick and choose the styles they enjoy the most from the alternative rocking 90s, to taking matters into their own hands and into the uncertainty of the tomorrow's sectors of oblivion. It is an honor to be the first to present their CMJ exclusive, “Guilt Tripper”, that cuts to the core of every lecture about every shortcoming everyone has ever had during the rough, coming of age seasons that make growing up a real bummer, and never-ending chore.

On “Guilt Tripper”, the bummer trip is taken to the hilt with reiterations of, “I'm done and I'm never coming home”, cutting ties, running away and taking off for the great wide open. The guilt permeates everything, a toast for the future is given in the hopes for better times that are better than average as Cass repeats a statement against self-repetition with the refrain of, “I shouldn't' sing this song again”. The high and dry vibe cycles over and over like a spin cycle, with the almost unintentionally clever on purpose (or not on purpose depending on how you hear and interpret the lyrical couplets and mirroring song structures). “What's the point in being young, you can't have fun when you're broke” to “what's the point in being dumb if you can't have fun when you're stoned”. These two lines together present some of the greatest paradoxes of human existence ever told.

We caught up with Cass to talk about the track “Guilt Tripper”, guilt trips, and all about and all over, Chicks Who Love Guns.

Thanks for joining us, first question how you all agreed to band together under the title of, Chicks Who Love Guns?

Have you seen that movie Jackie Brown? There's a scene where Deniro and Samuel L. are getting high on the couch watching these really 80s babes shooting guns on t.v. That show is called Chicks Who Love Guns.

Does Sydney indeed have a problem with chicks who perhaps love guns too much?

Nah, far from it really, you can't be shooting guns in Australia, only people who can have guns are cops and farmers. Of which we are neither.

Or is it like because maybe it's not as threatening as say like a dude with a gun. But man, between Patty Hearst and those gals from Spring Breakers; your band title is damn menacing.

Yeah that's true, Spring Breakers was pretty slick. You gotta add Sigourney Weaver in Aliens to that list too.

“Poor decisions, rich regrets”, what are the most common things that you and the band get guilt tripped about?

Being jerks, getting too drunk and being stupid with our money! All the good stuff.

Is “Guilt Tripper” also like a track that vents about being young, bored and broke?

Kind of, I think I was just in a bummy mood when I wrote it. Like you know when you just look at yourself or what you've been up to in a way that's just like fuck, if I don't change something soon I'm gonna get stuck, or end up hooking up with James Franco and killing Gucci Mane and-wait, sorry, thinking about Spring Breakers now…

What are you all pumped about for CMJ this year?

It's our first time in NYC! I'm pumped to see some good music, drink lots of cheap beer and get obnoxious.

What's the primer on what we should know about Sydney's scenes and culture both underground and popular that we need to be knowing about?

Sydney is full of people that like shitty dance music, so playing in a band isn't the easiest thing to do because there aren't that many venues and touring is hard because the next city is around 10 hours away if you drive. Having said that however, there are some really amazing bands from Sydney/Australia in General and everyone is pretty down to help one another out and drink beer.

Thanks for rocking and taking the time, dudes.

See you soon NYC.

Peep CWLG's Manuela Leigh video for “Pencil Neck” that involves some sludgy, ripped and ready rock and roll, accompanied by visuals of sludgier and slimier food fights, and neon paint splashes galore. Listen to more from Chicks Who Love Guns via their Big Cartel shop.

LA artist Robert Fleming operates under the handle of Victory. Fresh off his album Victory is Music, we were given the privilege of presenting Victory's acoustic studio session of “Dirty Jeans” that provides in an intimate b/w view of Robert at work with his acoustic in between laying down the song's elemental facets. Strumming away an ode to the wonders of the unwashed, watch as Mr. Fleming moves from multitracking and multitasking between different guitars, different pianos, different rooms to create a sound that resonates in unison as a cohesive piece. The intimate moving portrait is captured by Tyler Brown, as the full sound of a one man band is seen through the glow of monitor screens, a cache of pedals, looping modules and relaying samplers that entail the gestalt of the sound through the many particular parts and pieces of the song's anatomy.

Victory's up close and personal rendering of “Dirty Jeans” will encourage you to bust out the Pro-Tools and record your own song or get you to dirty up your neat-&-tidy tapered denim. For the musically inclined it presents further testimony to the joys and merits of self-recording, as Robert thrives within the comforts of the studio like today's bedroom and rec-room recording artists doing it themselves on Garageband, Fruity Loops, Audacity, or the latest home audio editors and apps. Catch Robert at the Victory CMJ show the following week at the Craft Services showcase, along with Saul Williams & The Dragons of Zynth, Odonis Odonis, Rey Pila, HSY, and Weaves, Friday October 18 at Santos Party House. Victory's set starts circa 8:50pm, more details are available here.

We had a moment this week to chat with Robert about the everything from dirty denim to the pluses, and minuses of the LA scene.

How did you find the recording process to be different in recording a stripped down acoustic style for “Dirty Jeans”?

Recording this version of the song started as a stripped down version', but I kept layering more and more instruments over it and ultimately it became a whole new beast entirely. Approaching a song as an 'acoustic version' usually requires me to find the essence of the song and make sure that it comes across to the listener. I think the essence of this song comes across and it also takes on a new, more upbeat feel. 'Acoustic versions' are usually minimal in nature, though I would have kept adding more and more things if it wasn't 95 degrees inside the studio that day. When the camera is rolling the fans are off and that means there's no time for another take.

When you were writing for this year's earlier album Victory Is Music, do you write predominately on acoustic or electrified instruments?

Writing this record was definitely an electric affair. There are a few exceptions, 'Dirty Jeans' is of course one of them. I use the studio itself as my main instrument. I layer percussions, electric guitars, vocals, keys and bass until a whole song emerges. In general I prefer an electric sound and so I usually stick with that.

Favorite things about the LA scenes these days?

There are SO many shows to go to! Every night of the week there's world-class live music happening in different parts of the city. You can always hear new bands and new sounds just by stumbling into any music venue in town. The scene isn't as homogeneous as you would think, there are so many different types of bands and projects that are thriving in the city that anyone can find something they are looking for. Plus most venues in town aren't that far from a world-class taco-stand or donut shop!

Least favorite things about the LA scenes these days?

There are SO many shows to go to! That means that everyone gets burned-out by live music before the weekend even rolls around. I'm guilty of this as well and it's part of the Catch-22 of living in a city with such a great music scene. Sometimes I'll angrily look around a venue full of people with their arms crossed only to look down and notice that I'm one of them…

Why are “Dirty Jeans” better or worse than say, washed denim?

'Dirty Jeans' are the real thing! They are better because you can't manufacture the feeling of an old and dirty pair of your favorite jeans. Plus they are totally custom and fit perfectly to your body. That being said, don't show up at my house with 'dirty jeans' unless they smell good…

From the ashes of DD/MM/YYYY, Matt King and a handful of fellow refugees continue their hungry senses of indie Toronto electronic adventurism through the vehicle of Absolutely Free. With their debut release On The Beach”/”Clothed Woman, Sitting 12″ slated for release October 29 through a partnership between Lefse Records, One Big Silence, and Fat Possum; the next level of musical still life presents itself in both the flesh and sound.

We begin with art exhibit 'a', with the a-side “On The Beach” that has the might alone to make most people's end of the year, 'must have' lists. The barrel beating bass synth blare breaks the static image of beach sceneries for an active and engaged thought process of memory seaside jogs that are supported by the unconventional sequences of rhythm timings. While the comparative study will name drop obscurities, the trained ear will find Matt working in a classification of experimentalism that is with peers that are few to none.

On the b-side of the 12″, Absolutely Free brings the senses to kinetic life with the expressionist art study of “Woman Clothed, Sitting”. A song that has many parts and many mansions within a singular song suite structure, the cycles build up key scales and drums that move across patterns like sand dunes in what could very well be the group's theme song.

We had the opportunity to get inside the craft of Matt King, as he shared the art school 101 behind the magnificent On The Beach 12″ in rich, thoughtful detail.

Your new single feels like the soundtrack of an impressionistic coastal painting (not unlike the art from the 12″), from the A-side “On the Beach” to the observant “Clothed Woman, Sitting”. What is the story behind these 2 beautiful songs?

Lyrically, both songs are about art and memory. 'Clothed Woman, Sitting' is a mistaken title of a Henry Moore sculpture. When I found out I got the title wrong, I wrote lyrics about how new ideas come from misinterpretations of other people’s ideas. The crescendo has another misquote of I think, Goethe.

'On The Beach' is about the connection between music and memories and how they can color each other. This theme continues with the cover image which is an artwork by Petrina Ng where she re-appropriates a painting her mother made in the 70s.

Carried on via the b-side's kraut-beat locomotion rhythms, how did you go about composing the kind of barrel bass density to seagull flying synths of “On the Beach”?

It started with one beat, then we added another and fortified the point where they connected. Synths and vocals flutter in like the winds of change, propelling the composition and carrying forth.

As those big brass bass tones break into the song and new drum sequence scheme that initiates with, “that time I saw you smoking on the beach, I got so scared I thought that you would never wake up”, that dream-like paralysis takes form, like awakening in a dream where you cannot move but you are aware that you are in a dream. Is this interpretation an approximation of the song's creation?

'On The Beach' is not a regular song; it was grown in watermelon sugar and its creation is entirely dependent on whatever is in your mind.

If you are thinking about something that happened a long time ago: Somebody asked you a question and you did not know the answer. That is its creation.

Perhaps it was raining very hard. That is its creation.

Or somebody wanted you to do something. You did it. Then they told you what you did was wrong—'Sorry for the mistake,'—and you had to do something else. That is its creation.

Perhaps you stared into a river. There was somebody near you who loved you. They were about to touch you. You could feel this before it happened. Then it happened. That is its creation.

What does your moniker of Absolutely Free, and absolute freedom mean to you, Matt King?

It means doing what feels right. The name has so many interpretations and contradictions about it and we love playing with that fact. It’s the perfect name for our band and I couldn’t feel happier about it.

What building blocks are taking form for a future full-length and/or EP?

There is a large cache of songs being held in a secret location and heard only by Absolutely Free. They will be made very public in 2014.

Toronto is on top of the electro-redefining world these days, how, and why has this all come about? Can't get enough, really, ha.

The stiffness of the city lends itself to quantizing. As sterile beanstalks develop and envelope, we’re forced to soar above the skyline to glimpse the music of the sun and the stars. We share this daily horoscope with Zacht Automaat, Man Made Hill and Fleshtone Aura.

What is the secret of creating music that creates a lucid consciousness from within the narratives of the unconsciousness?

Years of practice.

Keep pushing the musical boundaries, my friend.

Let it grow.

Sirs dropped their track “Imposter” ahead of their self-titled EP cassette release November 12 from Double Double Whammy. The Purchase NY quartet of Justin Jurgens, Kyle Seely, Hart Seely, and Mike Caridi may have a plethora of modern influences at the helm of their style and in mind; but their execution is something that dispells the fakers and posers for something real and visceral. With the imprint DDW presenting the variety of bedroom punk and garage scenes happening about the East Coast these days, Sirs makes themselves at home amongst the strategic shouts and yells. Keeping the attitude raw and real, these dudes fly their banner and streamers of torn fabrics to take on the feigned titans of totalitarianism for a new kind of pop order of the unchained punk variety. Catch Sirs in Brooklyn November 23 at Shea Stadium along with Radical Dads, and Shark?.

The band wrote us the following bit on today's featured single and the upcoming tape that counts influences and lots of high-energy that is a trademark of their sound.

“Impostor', and pretty much the whole EP found inspiration musically from a wide range of bands and artists – from contemporary bands like The Marked Men, early punk and power pop bands like The Clash and The Nerves, and reaching even further back bands like The Beatles and The Band; this is the very short list. The influences on this EP really stray from the influences of our last release, but we still keep to our high-energy style that's been present on our earlier releases. Hope you enjoy!”

The Stargazer Lilies gave the world a look at the video For “How We Lost”, from their upcoming Graveface Records album, We Are the Dreamers available October 22. Edited by the band, watch as performance shots from Ej DeCoske are blended over vintage overlays where the images work in conjunction with the dream diving guitars that get you lost in the audio-visual sensory experience.

Cozy up with Shine 2009 on the gentle bell blinged bliss of, “Me & U”, off their forthcoming Our Nation album available October 15 from Cascine in North America and Modular Records the rest of the world over. The “too good to be true” togetherness vibes creates a warm inclusive thing that trips up the dance rhythm conventions for the constant wave washes of synth blankets that whir on controlled patterns of the uncharted and unpredictable. Sami Suova and Mikko Pykari keep the attitude and lyrical spitting in a haze that matches the states of constant oscillation that they keep in the confines of their self-charted maps that brings the seven seas a little closer together.

Jump into a killer house beat groove with Patterson, New Jersey's own Tiger Wilson in the video for his cut, “Anything is Possible”, off the forthcoming single dropping October 29 on Makin' Moves Records.

Jared Bartman brings his Peoria, IL raised but worldly singer-songwriting to the lush, personal pop spaces of “Garden Gate”. Look for this on his upcoming album, Misery Makes Strange Bedfellows November 19. Listen as the string plunking time progression signatures underscore the natural splendors expressed in Bartman's lyrical floral arrangements.

Smash some glass and mirrors with Blanche Blanche Blanche's new cut, “Fisted”, off the forthcoming album Breaking Mirrors available November from Wharf Cat Records. Follow their synth assault into the beatline basements of noise.

MED, uncovers outtakes from his 2010 Stones Throw album, Classic produced by Madlib. Keeping the mood on that mellow yellow hype, M and M manage manners that picks some of the grooviest bridges and portions from old soul, dub, and forgotten orchestral interludes that are fazed on that lo-fi tip.

Keeping it classic, peep the live session video of MED from the Classic sessions delivering his “MEDical Card” with Balance and The Traveling Sounds and J. Rocc.

Gobby and James K, aka SETH released their Chick on the Moon EP via UNO NYC and premiered the titular videos parts one through four for your viewing merriment. Begin here with “Don't Open Your Make”. Enter the desert and valley realms of strange liasions and odd fellows that exist in futuristic electro soundtracked worlds completed through a visual cycle of four acts.

Next with Part 2: “Cat in the Limo”.

Part 3: “Preicpii Oowee”

Part 4: “Fish Oil”

Evan Ønly, aka Evan Brody has anounced his upcoming No Matter What EP slated for February 2014 from his co-founded imprint, Underwater Peoples, dropping the silk sky sailing title cut. Set yourself free to fly the heavenly skies with Evan and production from The Pains of Being Pure at Heart and Ice Choir's Kurt Feldman, as you repeat the chorus lines of, “no matter what they say my friend, I'll be with you again, no matter what they do my friend, I'll be with you again”. This presents a musical epiphany of great joy and hope for the hopeless at heart.

Peep the Marcus Way video for “My People” from France's L.A.M.P. that brings some of the chillest, softest focus vibes you have heard all October.

Peep the glamorous and tantalizing video from Rachel Fleischer for Lots of Love's “It's So Hard” that plays out a gorgeous game of dress up. The album From the Start is available from iTunes. Pay attention and understand the love and saccharine sweet pop now.

Slow Magic remixed Gold Panda's “Brazil” as they prepare to tour the world together. Get into these warm electronic vibe waters now.

Get a listen to segments and selections off Neo Boys' Sooner or Later, available October 15 from the almighty K Records.

Hitting up CMJ next week, Drowners bring a bit of love, spelled L-U-V on their new single, “Luv, Hold Me Down” off their upcoming self-titled slated for January 28 from Frenchkiss Records.

Get your head and ears wrapped around the Ghost Loft remix of RÁJ's “Ghost” that moves in mystic and mysterious ways like wandering spirits without any set place, or person, or veseel of eternity to dwell in.

Oddisee and Diamond District have anounced the album release party for The Beauty In All & Tangible Dream for Saturday, October 12, at NYC's DROM with word of secret and special guests TBA. Get a listen to this sick bonus flow cut right here that involves droning noise keys, cool boasts, and crowd shouts. These are the sounds of the prodigal sons returning.

Off his mixtape The Golden Age, peep Dizzy Wright on “We Turned Out Alright feat. Wyclef”, that features two generations coming together in collaboration.

Hitting up Impose's CMJ party, check out Odonis Odonis's contorted and distorted video for, “Are We Friends”, from Dean Tzenos.

Escort's back-up gal Angelica Allen steps front and center with her project, My Midnight Heart, dropping a listen to fresh cut, “Chest of Hearts” that brings breaths of pop air and heralds of 'hosannahs' ahead of the EP of the same name's release November 5 from MNRCH.

Crooks on Tape ponder whether or not, “If Feelings Mean a Thing” off Fingerprint available October 22 from Misra Records.

“Free Your Mind” with the title track video futurism from director Christopher Hill taken off of Cut Copy's new album available November 5 from Modular People.

Our friends Mondre and Squadda of Main Attrakionz get produced by Tynethys on the track “International” that takes the cloud life and cloud rap into even larger stratospheres that we can never get enough of…ever. Look for their North Oakland by Sacramento mixtape, Main Attrakionz x Tynethys dropping October 22.

White Prism droped the electrified cut, “Fool” reworked by Daniel Hunt / Ladytron remix, originally found off Johanna Cranitch's debut EP available now from MNRCH.

Off Ghostly International's SMM: Opiate, listen in to the ambient worlds of Pjusk with “Dorsk”.

Inglewood, California's Skeme spills some smoky freestyled rhymes over Drake's “Poundcake”, on re-tricked, “SoxGang 4Ever”.

Arp's More is available now from Smalltown Supersound, and we got the Peaking Lights remix of “Gravity” from the Gravity (for Charlemagne Palestine) 12″ available November 5. Groove to the lit-up keys, and bass rovers from your favorites now.

Get a listen to the achy-breaky heart folk balladry from Jus Post Bellum on “Gimme That Gun” from Oh July available November 12.

Post Louis brings the beautiful bellhop hopes that reach further past the flags of the temporal, on “Your Hotel,” from the upcoming This Could Be A Bridge EP available November 12 from Inflated Records.

“Party on the Roof” now with Jimmy Q, as he samples the famous cut, “It's on Fire” from J Boogies Dubtronic Science. Your rooftop party is now officially complete.

With their EP dropping October 15, Wet let's you know that they “Don't Wanna Be Your Girl”, on the moody bathed beats that shine ahead of their CMJ shows.

The League of Extraordinary Gz delivered the sounds of rhymes of trouble in paradise, with the lover's spat of, “Maybe She's Right”, featuring Greezo, Lowkey, and Reggie Coby off their album #Leagueshit dropping October 15.

Grab a look at the Samuel Gursky video for Broadcaster's garage grinding track, “The Current”, off their album, A Million Hours from Jumpstart Records. Catch them on their North American tour now running through November 3.

Get a gander at the glamorous Ryan Lee & Ross Weythman video for “Republic”, from the former Baroness's project, Alpaca. Allen Blickle and Justin Nuckols' album Demimonde is available now from Robotic Empire Records.

Night Terrors of 1927 are releasing their forthcoming Guilty Pleas EP November 5 on Atlantic and bring the big time, big stage dramatics with the poshed-out cut “Young and Vicious”.

Parquet Courts dropped their Thu Tran karaoke ready video for, “You've Got Me Wonderin' Now,” off their Tally All The Things That You Broke EP available now from What's Your Rupture?

With a solo tour in the works for November/December, Nightlands' dropped the David S. Kessler video of equestrian splendor of “So Far So Long” from the Secretly Canadian album Oak Island.

Turning the key in the haunted ignition hallows, ERAAS dropped the slow melting title cut, “Initiation”, from their new album coming November 12 from Felte.

With their Oh My Sexy Lord LP dropping October 15 from Totally Gross National Product; get vibrant, garbled and down right bestial with Marijuana Deathsquads' new cut “Vibrant Beast”.

The Blow's self-titled is available from Kanine, and we got the beautiful, cloudy picture book glimpses of tomorrow off their self-made video for, “From The Future”.

With the album Quarters available now from Full Time Hobby, Seams delivered an Okayfuture mix, as he prepares to tour the EU with Mount Kimbie through December 4.

Ahead of the release of No Poison No Paradise dropping October 15, Black Milk presents the visuals that play with the day to day polarities of Sunday to Monday's disparaties, courtesy of director Gerard Victor for “Sunday's Best/Monday's Worst”.

Shred and thrash the fug out with Yes, I'm Leaving on their endless angst of, “Endless Mind” from their Mission Bulb release.

With their tour continuing through fall, Brooklyn's intellectual-o.g.-indie-pop-stalwarts They Might Be Giants dropped a listen to, “The Darlings of Lumberland” off their new album, Nanobots.

Pattern Is Movement is hitting up CMJ and dropped a listen to the creative cut, “Suckling” off the 12″ single available October 24 from Hometapes.

Tessela gets animated in their electric glitch video directed and designed by Will Barras and Sean Martin for “Nancy's Pantry,” found off their EP debut from R&S Records.

Ahead of ther debut album dropping October 15, Black Boots gives some silk and soot synth memories on, “Something To Remember”.

Ahead of the Driftless + Cascine CMJ Party on October 17 at Cameo Gallery, get a listen to the following mix chock full of gems, and audio gymnastics.

It is with great pleasure to announce that SWF's Let It Be Told is available now from Mecca Lecca Recording Co. So spread the word, and listen now to what many are already talking about.

Check out some more sounds and styles from Sydney, AU with Convaire helping us to “Talk In Technicolour”, from their self-released album of the same name available now via iTunes.

Ahead of Snowmine's release of Dialects February 4 on their imprint Mystery Buildings, they resurrect Roman ruins for the modern age on the track, “Rome”.

Kyson dropped the Michael Williamson directed, face-painting video for “Missing Things” off the album The Water's Way, available from Friends of Friends.

With Kitsuné Maison 15 available October 21, you all are invited to dance yourself silly now to the Amtrac remix of The Swiss's “Kiss To Kiss”.

Celebrating at the Crazy Hood 20th Anniversary Events Series, make some noise for The Geto Boys' Scarface, Willie D and Bushwick Bill as they reminisce, look back and forward, and drop some live flavors in your ear.

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