As our Summer officially draws to a close, Impose's Week in Pop looks to something-anything for enlightened entertainment other than the scary tentative state of brinkmanship our world is in. This week saw an uproar from Kanye West performing for Kazakhstan's despot president Nursultan Nazarbayev's son's wedding, with word of an upcoming Yeezy tour with Kendrick Lamar. And from here on out, Young Jeezy will now be referred to as just Jeezy, while Sonic Youth songstress Kim Gordon is alleged to make an appearance on a future episode of GIRLS. Then there was A$AP Rocky getting charged with assault after decking a fan at the Made in America fest in Philly, and Neil Young is now jumping into the digital music servicing game. We could probably banter on all day with whatever trending gossip, but now it is our esteemed privilege and pleasure to hand over the mics and present to you this week's new guard of rising talents, who have showered us with a wealth of knowledge, exclusives, and a generosity you won't find anywhere else-in no particular order.
Coming to you all the way from Birmingham, Alabama; get to know Drew Price's Bermuda Triangle, as Mr. Price debuts an exclusive listen to his new album Friends & Family, available next week on September 10 from Happenin Records. Working in a manner that reflects the world's hyper drive of information, and stylistic excess and overload; Price manages to make something within the delta where all the previous aspects from former genres and new sound syntheses become something completely new in the space he refers to as his own concocted, Bermuda Triangle. Making sense of these strange times, the opening album title track “Friends and Family” presents those tremolo heavy washes of audio that carry you out through land and water where the bending of strings and streams feels like a tidal wave breaking on top of you. “Something White” is a gift from Price's singer-songwriter side that feels mellow, and tranquil, and hypnotic amid the chorus staccato, while “RXRWm_” grounds you with emerald shining keys that keeps the weirdness flowing with restrained sampled abstractions. “Dead Flower (Nothin' Means Somethin')” shows Drew experimenting further with his vocals in a stoned glow pace of a sunny afternoon where the rays beat down on the un-watered flower pedals wilting with innocence in the garden. The contrast symbol cut, “◓”, grinds like a constructed machine interlude that brings you through the dance happy juke of “Wellness Coach” that showcases Price's affection for dance based music of all past and present sorts. “LB.fam_” plays within that warm abstract that at first strikes you as new age adult contemporary until the vocals sounds like a familiar alien life form trying to communicate to humankind for the first time. With wild synths, “Glances” gives you a quick intermission before you get hit upside the head with “Don't Treat It All” that is treated in the echo chamber dance pop rock that will have you repeating it for closer listens, while asking yourself all the while, 'how the hell is he doing all that?” “SSP” speaks in the shining glimmer of noise that could very easily be a signature sound for this ambitious project, before “Password Protect™ Fleece Line” resounds with the best soundtracking for the Home Shopping Network that you would ever want to hear while picking out the best televised fleeces for the incoming winter chill. Personifying your experience and relationship with computers, “Login*” jogs your mind and memory while you attempt to remember your login and password for whatever social network you subscribe to, before “Roshe Girl” will have you back on the dance floor and calling up your rave head friends while playing these 4-quarter beats down the receiver. Closing the album, Drew kills you softly with the invitational cut, “Thrill Me Softly”, that begins with a slow minimalism before hitting you with every last trick he can throw at you from his magic bag of self-made bangers. Get an exclusive listen to the album you have been hoping for all year right now, and stay tuned for our in depth interview with Drew Price immediately following.
Drew takes us further inside and behind his music, into the creative thought zones, sharing the rise and fall of Spells, and the expansive meeting of some of his most fascinating and favorite styles that comprises the intersection and elemental clusters that make up his self-designed, Bermuda Triangle.
As an artist who works primarily solo wise with Bermuda Triangle and as a band with Spells, how does your work with Spells and solo inform or influence the other?
Hey IMPOSE! I wanted to start this by saying thanks a lot for this interview. Your ~zine~ is great. Also, I wanted to say that SPELLS is no longer a band and hasn’t been for a while, so I thought I could change the first question a little and talk about how I play in multiple bands still and how that relates to everything I do on my own.
It’s just hard to work with other people on an aesthetic that is so personal to me. For the most part, the songs I make are usually just an attempt at exercising a certain attitude that compliments however I’m feeling emotionally at the time. If I’m anxious, I make something very relaxing. If I’m happy, I tend to make something that sounds very aggressive and so on. It’s like a system of emotional checks and balances. My songs are rarely premeditated. Sometimes I just have to write and record things as fast as I can because I feel like the song is just floating by and I have to articulate it while it’s in me or else it will come out misrepresented.
I don’t write with people much because when I have a direction I want to go in, it’s hard for me to compromise it. I have a few friends that I’ve started playing/writing with recently. It’s taken me a long time to feel like I can articulate myself to them, but it’s proving to be a really rewarding process. I think playing music with someone is like any worthwhile relationship. It takes time to understand each other’s languages and begin to communicate properly. I play drums in my friend Travis Swinford’s band PLAINS, and it’s one of my favorite things to do right now. His music is a fantastic glammy rock n roll, and that is an aesthetic I have always wanted to realize. He’s let me in on his creative processes, and that’s a big deal for me. I mean, watching someone flesh out their personal aesthetic is pretty intimate you know?
You have talked before about Bermuda Triangle being like a conduit of the unconscious or as a vessel for other people's influences. If you were to chronicle the origins on Friends and Family where would some of those influential fragments stem from?
At this point, I have no idea where anything is coming from. It is all very unconscious. I just feel songs out. There is a big methodology behind how I record and achieve the production of a song because I can hear what it is supposed to sound like before I make it, but as far as HOW I hear them…I don’t know. I find myself in a recording session many hours into it kind of ~snapping out of it~ you know? I realize, “Whoa, I haven’t conducted a single conscious thought in like an hour or two”.
But like I said earlier, it’s all super emotional.
It’s funny because there are some goofy house type songs on this album, and you would think house music doesn’t evoke too much emotion in comparison to something like RnB or dream pop, but recently, up beat dance music has been my stabilizer. I have gotten really into this whole little post-internet group of kids making and publishing weird electronic music on the internet esp. dance stuff, and it really keeps me in a good place. I can’t listen to too much heavy emotional music these days, something like Deerhunter, because it is taxing for me. I get really overwhelmed emotionally. I save heavy songs for certain moments. I’m usually listening to something very rock n roll or house-y. Sister Ray by the Velvet Underground is a go to for emotional stability as well. I’ll never quit listening to Lou Reed, and I’ve really been feeling this guy named Bobby Browser lately. That mighttt give you an idea of where I’m at in influences.
Wait, I know what to say. Sorry, I know this is probably too long of an answer, but answering questions is hard you know?
I like good art. I’m just as inspired by a friend of mine who is going to grad school for urban design as I am Beyonce. Anything that is designed intuitively is super inspiring. While making this album, I have thought a lot about the architecture of old shopping centers and why I like Nike running shoes so much. I also have been super into baseball caps and HGTV.
Working within the drive of reflecting the influences of the computer/laptop/interweb worlds of information, there are these melting pot bits of contemporary era reflected in the title like “Wellness Coach”, “Password Protect tm Fleece Line”, “Login*”, etc. How has this mass amount of evolved technology enriched or hindered our experience of memory, sound, and perception?
You know, if you look at the history of exponential technological evolution, it looks like Ray Kurzweil might be right about the singularity. As far as sound and perception, I have this dream that 20 years or so from now technology will allow me to surpass all of the production and articulation issues I deal with right now when trying to get sounds out of my head and into a recording. I imagine this astral plane of music communication and art in general where everything is just completely articulated. Like Plato’s Forms you know?
You pull out songs of all styles from the gaze-y title tracks “Friends and Family”, or “Don't Treat It All”, “SSP” to a host of experimental interludes like “Glances”, “Password Protect”, etc. How do you decide which track will be more of an interlude, and which will be a full song?
It just comes with the concept when I realize what’s coming out of me. The more interlude-esque tracks are acting as something like a PBS Kids commercial scrolling a list of names of everybody who has a birthday on that day. Hip, catchy, yet relaxing ~ transition music for the younger viewers (or listeners) to settle into. If you listen to my older albums, you can find differing styles of interlude-type recordings that made sense to me at the time. Some loops or sounds just feel like they’re supposed to ride for about 30 seconds and then fade out you know?
What was behind the titling of the album “Friends and Family”, was this like a dedication to friends and family, and what role do friends and family play for you and your art, life and music etc?
My friends and family are what I’m made of. Personality, which at times I think art is an extension of, is just a social system of communicating what you want from the universe. Honestly, I feel that my art is a strange social construct and role that I’ve been predestined for by all the social and psychological events leading up to me creating. There is an infinite amount of roles played by my family and friends that push me on to this computer to record music. Sometimes, my art life constricts how I can communicate with people, and sometimes it really helps my relationships flourish. The name was conceived in a conversation with my girlfriend. She’s got a bizarre, profound sense of humor that constantly reminds me how absurd life is. I think we were watching HGTV, and she heard the words “friends and family”, and she looked at me and laughed and said, ”You know, friends and family!” It was profound to me.
The title is what it is. I’m about to graduate from UAB with a BS in Social Psychology, and after studying sociology and psychology for so long, I just like the idea of people reading the words “Friends & Family” and responding to it in whatever way they naturally will.
I think friends and family is everything, you know? But at the same time, the term could be likened to a chicken finger. What are you?
Thank you for your sounds and time Drew, keep creating cool stuff.
Thank you! I will!
And in case you missed it, get a listen to Drew Price's Bermuda Triangle on his previous work, Hairwave Demon here.
Allow us to introduce you to Walt McClements' new solo outing, Lonesome Leash. In this ambitious audio vehicle, Walt updates the 1 man band approach with a modernization of acoustic and orchestral instrumentation that is set to emotionally charged landscapes where reflections of yesterday meet the face of the future and present day. You already know McClements' work with Dark Dark Dark, Hurray for the Riff Raff, and Why Are We Building Such A Big Ship?; and it is a true honor to unveil his body and soul reducing song sweep, “Dead”, from his forthcoming September 10 album, One foot in front of the other. Following up January's I am no captain, Walt works the traditional instrumentation to bring the essence of yesterday's epidemics of the unknown crossed with the sensibility of what we know today with the lifeline fragility of numbered days. “But those were different times”, he sings, presenting the blood work intensity of the 80s AIDS crisis where doctors are painted as fortune tellers as deceased heroes are lamented through the striking lines of, “would I be dead too, if I came of age with you?” As real as the crisis was then, McClements sounds it out as real now as it ever was through the clever fusing of accordions treated like the ensuing synthesizer storm that beats against ancient organs and the funereal minor chord shroud of strings. All together, Walt makes an exquisite homage to those fallen by the fate of real unseen poisons from love that pays tribute to those heroes gone today-from a past that haunts as real as it did then to especially today's troubling times.
Having delivered a song with the weight and emotional enormity of “Dead”; we had the opportunity to discuss the upcoming One foot in front of the other EP from Walt's Lonesome Leash moniker in depth that will have you feeling both inspired and misty eyed by the end of our heart felt discussion.
From Dark Dark Dark, what brought you to start your solo outing as Lonesome Leash?
When I first started touring heavily with Dark Dark Dark, my main vehicle for my own writing was a large and rather unwieldy band by the name of Why Are We Building Such A Big Ship?. As I was spending less and less time in New Orleans, it became harder for me to move forward with new material with that project, due to purely logistical aspects of organizing rehearsals and arranging parts with 8 people, so I began writing solo material with a smaller palate, to be able to continue writing new material, and performing it in the cracks between other tours.
What brought about choosing the moniker of Lonesome Leash?
It's actually a title of a song I wrote for Big Ship. While that started out being slightly confusing, and sometimes in need of disambiguation, I like the projects being tied together in that way, from the same universe.
Any pertinent meanings for you behind the title?
In the original song, the phrase refers to keeping an absent loved one's ribbon around your neck, and not being able to “gnaw it off” if you tried. As a project moniker however, I like to think of it in more vague terms, just evocative imagery that I associate many different meanings with, both physical and emotional, at it's core just being anything that is tying one to their lonesome, or their solitude, if that makes sense.
What has shifted or changed for you musically and/or personally between January's I Am No Captain full-length and the soon coming One foot in front of the other EP?
I recorded I Am No Captain in July of 2012, and that was my last full month off of touring since then. I still maintained a residence in New Orleans then, which I gave up in October. So, personally, between these two recordings I submitted fully to living on the road. This informs the title of the EP, One Foot in Front of the Other which in some ways references my need at the time to make the space for a new recording in the middle of never ending touring. Like, this is how we move forward, one foot in front of the other, now give yourself 5 days off of tour, lock yourself in a room for 2 of those days to finish songs, and lock yourself in the studio for 2 of those days to get them down, then go to the beach on the fifth day and stop thinking about music for a few hours. And if you don't do that, you may have to wait a long time before you get these songs down, because you're looking at another long stretch of touring ahead of you.
What's the story behind the dazzling dark brooding emotion of “Dead”? It cuts deep…
It deals with myself as a queer male coming of age a generation after the worst of the AIDS crisis in this country in the 80s. A few years ago I found myself listening and identifying a lot with a few musicians, Arthur Russel and Benjamin Smoke most notably, who were diagnosed with AIDS and died young (Smoke died of Hep C, not AIDS technically). I was romanticizing the times they lived in, as one often does with artists they admire, before it hit me that I could have very likely ended up dead if I came of age in that time. That got me thinking in depth for the first time about some of the intensity and sadness of that time, as well as thinking of what it means now, for me in relation. Thoughts about where my elders are in this community, and what they went through. Also examining what ingrained ideas and fears I have from growing up in this time period, some of which are helpful and valid, but many of which merely serve to perpetuate the widespread stigmatization of people living with HIV or AIDS today. I'm reading Susan Sontag's essays Illness as Metaphor and AIDS and It's Metaphors right now, which are pretty fascinating treatises on how society builds up fantasies around certain illnesses and the real effects those metaphors have on peoples well being. Perhaps a bit too much complex issues to actually try and tackle in one song, but those were my intentions behind it.
Listen to the previous Lonesome Leash album, I am no captain here.
It was earlier this year we premiered Mister Suit's “Can't Be Found”, and today we are honored to bring you the sideways mirror blending video premiere from Chicago's best suited frontman, Garrett Jones. Watch above as the fans spin, the electronics kick in, and the reflecting ceiling turns into a dividing wall. Enter the face of Mr. Jones, as he matches up his mouth to the source of reflection and begins his lamentation of empty handed searching with a sung soliloquy of pursuant intents. As Jones belts out the lost love quest of, “but you weren't around”, you become fixed on the mouth that doubles in size when ajar, and bizarro tongue gesticulations that mimic the effects of biting off more bubblegum than you can chew. Ending where we begin, Garrett brings it all back to the spinning ceiling fan propellers that will propel you to ponder latent thoughts of the one that got away, as the impetus of “I was looking for you my baby” stay with you, like the electro fuzz and whirring synth spinning sounds that linger long after the video has concluded.
Earlier today we had the chance to catch up with Mister Suit's Garrett Jones all over coffee before he made his morning commute to talk about the brand new video for his single, “Can't Be Found”, CMJ, and rumors of things to come.
I'm interested in hearing about adapting “Can't Be Found” to the morphing, reappearing, disappearing visuals. People use mirrors for different things in videos, kaleidoscopes, fragmented frames, etc, and you use it as an abstract vehicle to present this sort of erasing and collapsing images. How much of the song's lyrics and construction informed the video?
I guess the video wasn't directly inspired by the song… You know, I had this smartphone application that did some neat (mostly lame) effects, and so I tried to think of, and do, something that would just look kinda neat to somebody. It's probably a fault of mine, but I rarely try to make any song, video, or whatever directly mean something specific. It's usually pretty vague and just about a mood, or a feeling, or something. That being said, I can look at it now and say: yeah, it was supposed to convey me, looking for something, and only finding myself looking back at me, or something like that, but that wouldn't be true.
We hear you have had some new material, and concepts brewing, what can you tell us?
I do have some new tunes in the works, and I think that they are definitely better than the previous ones. I wasn't able to get in the studio when I had originally hoped, but there have been some new developments on the engineer front that could be exciting, so we'll have to wait and see how that turns out!
What are you looking forward to the most this Fall/Winter?
I'm pretty excited to go to NYC in October and play some CMJ gigs. That should be a hoot! Getting this next recording out sometime in the fall is also a top priority for me.
Predictions for 2014?
I'm pretty bad at predicting the future, but I will say I think things will be better.
Introducing Trends, the solo project of East LA's Marina Paiz who strikes a light with the grand premiere of her self-made video for the single “Mind Of Man”. Having just signed to Manimal Vinyl, Marina takes you through the doors of perception with vintage analogue film clips to mimic a kind of visual confusion and euphoria that sucks your brain into those match lit places in the night. Paiz layers images of pistol wielding noir movie clips, electrifying and cascading arrays of lights, animated cut-out displays of designs in motion, and simulations of enchanted black light flights. The found film editing turns the conventions of time, fables, modernist psychological fads into the defining contemporary art sphere where Trends exists to extol a new kind of longevity and permanence. Trends is a sound statement of fortitude and strength, dedicated to the exaltation of the self-made artist who takes on the world's stage with Marina's spark of ingenuity; armed with her guitar and soul quaking compendium of samples that transcend the tired arms of the clock. “Mind of Man” is also available for download from Marina's Trends Bandcamp
Trends' Marina Paiz talked with us at length about her project, East versus West coasts differences and similarities, dissections of sound, conceptual musings, and the evolution of trends, what they are, how things become trending, and how Trends came to be the one of the coolest things from LA the rest of the world is just now discovering.
Disassociated for a moment from the name, what are trends to you.
I wash't really thinking of styles or genres at the time I came up with the name. It was more of the concept behind trends. Time passes, people's preferences change and so do the styles. Some things go out of fashion, others come into popularity. Then in a matter of a ten years the trends come full circle. Just imagine how crappy 80s style was in the 90s and early 2000s. It's 2013 now and people are getting back into those Members Only jackets. In a way I kind of want my music to be as immortal and constant as that jacket-even if I end up being the last member.
Why are we obsessed with them?
It seems society as a whole is so obsessed with trends because no one wants to seem outdated and obsolete. I think trends are based on the concept of growth, everyone wants to bloom but no one wants to feel old. People evolve as the years pass by and as a result so do the styles of music, fashion, art, and literature we all take part in. Everyone wants to be a part of something, and most importantly we all want to be that person who starts something new. It's the race to create a new mold and get everyone else to follow suit.
How did you go about titling your musical vehicle, Trends?
Not that I'm saying your sound is 'trendy' in any kind of diminutive sense but, is the title in anyway a commentary on your style of sound?
Honestly I was just throwing names around. I was going through some old drawers the other day and found a notebook from when i was 12 or 13. It was filled with so many shitty band names like 'Banana Boners' and “Sharpened Carrots”, in reference to that one 1,000 Ways to Die episode. I'm barely realizing why I didn't have a lot of friends in middle school. I came up with the name when I was still in high school. I never really considered myself trendy or anything. I basically wear jeans and a band tee every day. It's too hot to put effort into any outfit when you're living in the LA area. In terms of my sound, I'm not really sure how to categorize the music. It's all over the place. Sometimes I want to write a thrashy song, other days the material is a bit darker. Trends reflects the concept of longevity and permanence, not necessarily the sounds I create. And I won't ever consider my music to be trendy until Gary Numan declares it so. Or if I somehow make a shitgaze/chillwave/lo-fi experimental song and it gets played at a Raf Simons show, or something along those lines.
Tell us about your upcoming relocation from LA to the NYC for shows this fall.
Raincheck on the relocation. I got accepted into New York University around March. I was going to attend during the Fall to study music technology. About a month before I was about to get shipped over, I sent my demos to Manimal Vinyl. Paul and Nathalie took a listen and now I'm here. I was ready to go to New York for schooling, but not accepting Manimal's invitation to join their label would've left me questioning my decision. School will always be there but this is my chance to share my music with everyone. So here I am. I've been trying to get my live act going and I'm sure there will be shows in NYC eventually. As of right now I'm staying in LA to learn how to produce professionally and try to find some reliable bandmates. I've got the gear to play alone, but performing live with machines will never beat on-stage chemistry with humans.
Do you fancy yourself a more LA type of artist or an NYC sort of an artist?
It's a bit hard to say. I've never been to New York so I'd feel like a bit of a douche if I said I related more to East coast culture than the SoCal life. But I'm gonna go ahead and say it anyways. I really do hate the slowness of LA culture. In that sense I feel a bit more like a New Yorker. I've watched the Sex and the City series about 4 times and The Devil Wears Prada another 20 times (God Bless HBO and Meryl Streep), so it's to my understanding that NYC life is fast-paced. I hate slowing down for others. Just the fact that I get really angry when handicapped people decide to cross the street when there's 9 seconds left on the crosswalk tells me I shouldn't be here (and that I'm a horrible person). And on a more artistic level, I like to make my music quickly. It takes me about a day to complete a song. If I give myself more time my mood changes and I'll turn a happy song into something about death. “Liv fa$t die yung, bad girlz do it well” is the best way to put it. So yes. New York is my answer based solely off of Home Alone 1 and 2, The Devil Wears Prada, and HBO.
What do you feel are the defining differences between what the 2 East and West Coasts?
Definitely not the people. People are the same everywhere; There are pretentious assholes and then there are nice folk, the crowd probably just depends on the location or district you find yourself in at the moment. The defining difference between the coasts would probably have to be the time difference. I don't mean that NY is 3 hours ahead. I mean time in the sense that Los Angeles is super laid back and the pace of things is not a main concern. Things seem to be more on a “do it when you can” basis. Not meeting deadlines isn't as harsh of a crime here as it might be in New York. Then again Los Angelenos probably suffer from less back pain and stress-related health issues.
What do you feel brings both coasts together in a kind of united mind and vibe?
Both cities are big on the arts. New York and Los Angeles are essentially the two cities that every tourist wants to visit simply because of the artistic culture each city provides. The 2 produce so much talent, and have so many outlets for all types of artists to use to their benefit. I think the East coast and West coast populations understand the importance of art and expression. LA and New York are constantly sharing new sounds and movements. The 3 hour time difference doesn't really matter. If a band gets big in Los Angeles, New York is the first to hear of it, and vice versa. In that sense the two cities are great at collaborating and forming a sense of unity. Art, fashion, music, and literature are exciting, and both coasts realize that.
Tell us about the psychological exploration of gender mental deconstructions, as featured in the rec-room-rock and roll rager of “Mind of Man”.
'The Mind of Man' was written when I was reading a book by Aldous Huxley called “The Doors of Perception.” Huxley wrote about his experiences and trips while under the influence of mescaline. The song I wrote doesn't necessarily tackle the issue of gender so much as the general philosophies of man and the amount of information we can process before going on a trip ourselves. Consciousness is relative. We all think differently and experiment with life in different ways. As a result, the process of thought itself is abstract. The experiences I have and the experiences you have will vary because of individual perception. The song is about getting lost in one's own mind. Lost to the point of madness, disillusionment and essentially the loss of one's true self. The guitar riff during the chorus reminds me of a chainsaw. So just imagine you are closed up in your own head with an overwhelming amount of thoughts. It's as if a chainsaw is ripping the very nerves of your brain and at the end of it, you find yourself in a limbo between knowing everything and knowing nothing at all.
What was the approach to the old stock footage re-assemblage on the visualization?
It was about 3 in the morning when I was searching through public domain web sites and Youtube searching for clips that could accurately represent 'The Mind of Man”. I started watching tours and home videos of artist James Turrell's light installations and pieces. I've been amazed with his work the past month ever since I visited the 'A Retrospective' exhibit at the LACMA. From those videos I found other artists and used clips from their works. The stock footage included 'Light/Dark' by performance artist Marina Abramović and Ulay as well as clips from the experimental Hans Richter film 'Vormattagsspuk,' or 'Ghosts before Breakfast.' I put everything together during a late night/early morning stream of consciousness. This was my first time using the Premiere Pro program so it took a lot of experimenting, but I like the final product. My family was creeped out by the video and are all worried about me now, so that's getting a bit annoying. I swear my mental health is fine so shout-out to my grandpa please leave me alone.
Southern mellow moods abound on Bent Denim's “Periodic Table”, where Nashville's Ben Littlejohn and New Orleans' Dennis Sager's song constructions takes you through the old picture flip books and memories that jet through the mind like all those old chemistry science classes you skipped out on junior year.
Fine Times calls up the firing squad and switches on the “Bright Lights” in the Elig Berg video treatment from their self-titled album available from Light Organ Records.
Dive into the meloncholic and moving moods of Maxine Ashley with her cover of Portishead's “Glory Box” in the JL Brown directed video, taken from her forthcoming Mood Swings EP available September 17.
Son Lux is back and returns to the scene with mind twisting “Lost It To Trying”, your first listen from the upcoming album Lanterns, available October 29 from Joyful Noise Recordings. Lily & Madeleine send out plot lost signals and will bury you in their wild arrangement of vocals and the flurry of horns that sound and surround you with little to no warning, courtesy of players like Jack Bashkow, Steven Temme, and Alex Sopp. So tip your hat, and give a listen to one of the week's most creative singles.
Funk Volume's own Dizzy Wright makes the plea for some global understanding in the George Orozco video for “World Peace” off his fresh tape, The Golden Age mixtape available now. Watch as Wright practices what he preaches, reaches out to communities everywhere with a posi message that is defying and fighting the all the odds of negativity. Let his wisdom marinate and resonate with you in upbeat rhyme schemes like, “think good thoughts, speak good words, take good action, yeah, that's what the world deserves”.
The Blow brings you some future-feature-pop, “From the Future” from their self-titled album available October 1 from Kanine. Listen as Khaela Maricich brings what the great tomorrow may hold in terms of minimalist beat pop crafts with the promise of more…always more.
Washington DC duo Gil Wojcik and Justin Victoria are PLOY, and dropped a listen to “Future Voyager” full of all kinds of electro lit journeys into the great unknown off their Young For a Moment EP available from Bandcamp.
Nervous Nellie gives you some of that “Shoulder”-action on their single as they take on the States this month of September with dates here, and take a nervous glance behind you as these Swedes bring their tunes on the dates posted via their Facebook.
Mr. and Mrs. Carim Clasmann and Galia Durant of Psapp bring their holistic dance arts that pay homage to that burning star up above us all, on “Everything Belongs To The Sun”. The recited refrain of the song was written by Galia's daughter, a chant for all sun searing seasons with, “It doesn’t matter how much you change, I will remember you being this way”. Word has it that Psapp has set up studio shop in a turret guarded castle in Germany, and word of their first album in half a decade's time could very well be in the works (we have it on good authority that it probably, most likely is happening soon).
We helped to bring you your first listen accompanied by a lively discussion, and now the David Liebe Hart Band dropped their Weezer Cruise YouTube contest contender video for “Take My Life”, as the master of puppets and comedy and rock's self-titled album is available now from Philly beauts; Evil Weevil Records.
Caterpillars bring you some rock and roll “Rebirth”, where frontman Christopher Robinson, Drew Black, Carson Brooks, and Ben Love will have you born again on their upcoming album debut, The Other Side slated for self-release September 24.
“Knock Yourself Out” with Filligar's live video of that very song, brought to you by Daniel Hilsinger that shows the Chicago dudes hitting the highways, biways and stages from touring across the States. Their album Hexagon is available now.
Crystal Stilts released the Daniel Fetherston video for “Star Crawl,” that depicts natural and human made settings getting treated with different color palettes in tune to the song's crunchy, two-toned chug and crawl. Their new album Nature Noir will be available September 17 from Sacred Bones.
In case you missed it amid your end of summer overload, catch the Eddie O'Keefe video for The Orwells' “Who Needs You” that will rock them into your heart, ahead of the EP of the same name's release September 10 from East End/ Canvasback.
Your boy SL Jones wants you to know that he “Don't Want Nan” Ft. Trouble & Starlito, with some street knowledge production from Metro Boomin. Hosted by Don Cannon, you can cop Jonesy's Way Of Life No Hobby tape available now through LiveMixtapes.
Positive No dropped the rocker “Pocket Park” that introduces you to Tracy Wilson who has brought the NYC attitude and groove to Richmond, Virginia. “Park” is a slice of indie pop that pays homage to Scuffletown Park and is your introduction to the alt rock world of the upcoming Via Florum EP available October 1 on digital and November 12 on vinyl from Little Black Cloud Records.
Toronto's Hussy Whore, or HSY for short, sets out to scour your head out from between the ears and everywhere else with, “Tartar Mouth”, coming to scare you soon with their self-titled debut EP available September 17 from Buzz Records.
Straight off her Merge Records album Personal Record, Eleanor Friedberger brought her video for “When I Know”, directed Ryan Junell that takes you to personal places from daily minutiae to those headier spaces of the heart and perception.
It's the return of Syd, Matt and the crew with The Internet's “Partners In Crime Part Two” who are fresh from touring about and are releasing their new album Feel Good available September 24 from Odd Future Records. Picking up where Purple Naked Ladies left off, and after backing up Mac Miller, kicking it with Chance, Action Bronson, and our boy Earl; get ready for collaborative work with The Stepkids' guitarist Mike Einziger, Thundercat, The Neptunes' Chad Hugo, and more. Fall 2013 just got waaaaay chiller.
Animal Parts spare some heart and home with, “Where the Heart Is”, chock full of sentiment and some earnest strummed song ahead of their upcoming Six Arms To Hold You, available October 22.
Join Australian's vanguards of extreme pop sentimental in the Michael Maclean stage set video for Archer & Light's “Melbourne (I Used To Be Your All)” off Our Love is Confetti. Think of every band you have ever loved from Melbourne, as A&L take to the big bright stage to extol their own virtues that allude to the iconic town as being (at one point, and maybe, most likely now, but we will leave that for you to decide and deduce) very much a part of them. Perhaps still with them.
Get real big time dance, when you grab a listen to that super snazz Tourist remix of HAIM's “The Wire”. Further evidence of the subversive self-made artist breaking into the Polydor big time.
Currently sharing time with super-streamer Alt-J, it's Lord Huron, spinning their title cut “Lonesome Dreams” combined and paired well visually with the adventure exuding video from Arms Race.
Get “Boss'd Up” in this slapper with Roach Gigz and Marlow in the Aris Jerome video. Reminding us all who is running things around here with a gratuitous harem of honies, look for Roachy on his upcoming West Coast Keep It Lit Tour with Husalah, stretching from October 11 in San Francisco through November 9 in San Diego. The recent tape, Roachy Balboa III is also available now.
Live from RAK Studios, check out Yuck covering “Age of Consent” from New Order now. With the former frontman Daniel Blumberg currently getting his Hebronix on elsewhere, the new Yuck album with the cast of Max, Mariko and Jonny, Glow & Behold will be available October 1 from Fat Possum.
Parentz, the next gen project from East Bay wizard Jeremy Sullivan has just dropped his F-P&B<3Z, Part 1 EP (the first in a 3 part series), and we are proud to present you the video for “Fly” from Stagnant Cult. In recent days and years the Berkeley and Oakland sectors have been singing the praises of Parentz, from Yalls' Dan Casey, James and Evander, Shortcircles, and so on. Take flight now, and read our recent interview feature with Mr. Sullivan here.
Brooklyn's Manicanparty brings the royal tribal monarchy with the Thom Glunt video for “Monarch”. With the sea bound beats, body war paints and earthy dress; Manicanparty brings the party that you had been craving all summer from every festival you went to that left you dry, every gathering where you felt shy, and gives you a lasting feel and taste for summer to dream on long into the great 2014 after.
Heliotropes' A Constant Sea is available now from Manimal / Frenchkiss Label Group, and we got The Urchins made video for “Everyone Else” that brings vicarious, empathetic thoughts about others to life.
Brooklyn's original Ambassadors of Love, They Might Be Giants have released their recent album Nanobots, and bring their singing ground beef video from Hoku Uchiyama and Adam Bolt for “You’re On Fire” (ft. Lauren Lapkus of Orange is the New Black fame). John and John forever, as Flangsburgh and Linell continue on their tireless tour through Fall.
Sweden's animated anarchists HannesJohannes bring more eccentric visuals for Team Spirit in their video for “Phenomenon” that just gets weird, and weirder. We're talking sordid cartoon fascists, freedom fighters, and demons; damn.
We got more of The Dirtbombs for you with their new bubblegummy cut, “Girl On The Carousel”, from their upcoming Ooey Gooey Chewy Ka-Blooey! album available September 17 from In The Red Records.
Quiet Life takes you to the good life of the harmonica tinged, “San Luis Obispo”, in the Mr. Colin Shane video from their second album Wild Pack available October 29 from Mama Bird Recording Co. Bring it all back home with some West Coast Cali vibes now.
Ring the bell, cause schools in session with a sit down from Clear Soul Forces' Ilajide, bringing some behind the bars action from their upcoming Gold PP7's album available September 17 from Fat Beats Records. Read our interview with CSF here.
Jesse Woods rolls over the Jeff Bednarz video for “Tumbleweeds”, that sends wandering, wayward dry brush to interrupt your dreams off Get Your Burdens Lifted, available from Guns In The Sun Records.
Bay Area funksters, Mugpush, dropped the laid back-blazed-up cut, “Came Too Far”, featuring the talents of Black Spade straight out of St. Louis ahead of the forthcoming disc, Teeko & B. Bravo Present: Tempo Dreams Vol. 2 available October 15 from Bastard Jazz.
Taken from Poor Remy's upcoming Bitters EP; peep the New York trio's video for “Ghost” that takes their stripped down acoustic and vocal approach to the abandoned locales and places that soar toward above the material lands and perhaps into the metaphysical overexposed frames. Get haunted, if that's what you have wanted, here.
Having had a recent intense sit down with Delta Mirror's Chris Acosta; we encourage you to check out his watery video for Swiim's “All My Things” off their Cellophane Castle album available October 8 from Lightwave Records.
Strum along with Pam Autuori and Jacob Schreiber of XNY, on their track “Ride On” off their album Orange available now.
Polly Scattergood presents the regal NYSU Films produced video for “Cocoon”, off her forthcoming album Arrows available October 22 from Mute.
Brooklyn's electro-engineers Tezeo dropped the inspiring single “Last” ahead of their upcoming show at Le Poisson Rouge with Pure X, Youth Lagoon on Sept 19, with their self-released full length available this October 8.
Barcelona's patron saint John Talabot has a DJ-Kicks mix in the works, available October 29 from !K7. Peep the preview here.
Kingdom dropped the video for “Bank Head (feat. Kelela)” from the rhythm electric odyssey, Vertical XL, available from Fade To Mind.
Dark Colour, the project of Randall Rigdon Jr. who cloaks himself in the mysterious void of darkness that still shines forth with plenty of pop electric light on “Reach for the Night”, off his recently released second album, Prisoner.
Black Taxi brings a helping of sprinting electro-rock and run action with, “The Runner”, taken from their upcoming Chiaroscuro EP available September 10 from No Shame.
Peep the dumb and pretty Robert Fleming video for the dumb and pretty cut “This, That or This” from Victory's album, Victory Is Music.
With our main man 14KT's Nickel & Dimed album available now from Mello Music, you are cordially invited to peep the James Reitano & TFU Studios animated video for “Five & Ten” now. Here is what KT had to say about this cut:
“This is one of the few times that I've written most of the verse in my head. I was reading ECCLESIASTES 2:17-23 and that scripture was right in alignment with how I felt as an artist at the time. I wrote this off of the frustration of releasing instrumental projects in my profession. I've been approached/treated MANY times in very unprofessional and disrespectful ways. I wanted to be a voice for all of my producer peers who deal with this frustration and to serve as a notice for up and coming producers/beat makers.”
While touring about the States, Gold Fields remixed Sir Sly's “Gold” that expands, contracts, and builds up like the shiniest idols made of pure urban ore.
Cobalt Cranes got a tour in the works this October to celebrate the October 1 cassette re-release of their debut LP Head In The Clouds from Dallas Distortion Music. Check out the Cranes in the Sweet Fang video for “Indigo” that brings those sepia toned end of Summer days to a close while savoring carefree memories still to be made.
Trésors remixed PVT's title track “Homosapien”, amid widespread news that their debut album of the same name will be given the deluxe re-release treatment September 9 from Felte. Listen as those intimate spaces become enhanced by new post-industrial electrical adornments of beauty and an unrelenting menace from within the belly of the machine.
Check out the upcoming line up of Jacques Renault, Gigamesh, Tesla Boy, Beataucue, Justin Miller, Moon Boots, and more at the Kitsuné curated Water Stage at the TomorrowWorld Festival happening this September 27, 28, and 29 in Chattahoochee, Georgia. Check out the TomorrowWorld Festival site for further details.
Today on the SF pier, PUMA YARD SF is happening with world class record collector KON, of KON & AMIR with the KM/FM DJs. Peep the deets above, and get ready to groove out while watching boats at the races this weekend.