Brittany Parks is releasing her debut album as Sudan Archives, Athena, in a couple weeks. It’s the follow-up to last year’s very impressive Sink EP, and so far we’ve only heard “Confessions” and a little bit of another song called “Black Vivaldi Sonata” from it. Today she’s back with … More »
Omar Souleyman has announced the imminent arrival of his fourth studio album, Shlon, and bolsters the news of the impending release with the project’s lead single, “Layle.” The culturally inflected debut snippet of Shlon sound functions as an upbeat prelude to the six-cut effort.
As with past extended Souleyman productions such as Wenu Wenu and Bahdeni Nami, Shlon will surface as a stylistic amalgamation of aesthetics, including techno as well as the Kurdish and Arabic influenced approaches, dabke and baladi. Souleyman will further develop the dance floor driven Arabic sound for which he has become widely known across the eponymous title track, “Shlon,” “Shi Tridin,” “Mawwal,” Abou Zilif,” and “3tini 7obba,” in addition to “Layle.” Shlon is due out via Mad Decent/Because Music on November 22.
Photo credit: Huckmag
A new release from the Dim Mak Recrods camp pairs Party Pupils and Louis Futon, scouring IKEA for inspiration on their latest single, “One Two Things.” The trio of talented producers gathered samples from items in the Swedish furniture outlet to create their new track, and the result is a groovy, funky, and ever-soulful single.
“One Two Things” features MAX‘s luscious crooning and includes vocals from Nigerian-Canadian TOBi. The future-funk track is right on brand with releases from both Louis Futon and Party Pupils, both masters at incorporating funk and R&B into electronic music. As Louis Futon recounts from creating the track, “This song embodies the expression ‘make a lot out of a little.’”
Stream the IKEA-inspired track below, and reach for this one at your next house party for a groovy time.
Steve Aoki continues to diversify his booming portfolio, this time alongside Melbourne bounce force Will Sparks on “Send It.” Aoki’s own vocals are featured on the track, and the duo blend their styles by tethering Sparks’ springy soundscapes to a floor-ready synthesized bassline. The artists’ collaboration brings a welcomed update to the Melbourne sound that Sparks helped popularize while taking the characteristically energetic elements from Aoki’s work.
In true Aoki fashion, the music video for the release features a variety of big names—this time in the form of several action sports stars “sending it,” including skateboard deity Tony Hawk, Olympic snowboarding gold medalist Chloe Kim, and big wave surfer Kai Lenny. The video follows recent music video for Aoki’s collaboration with BTS, “Waste It On Me,” which featured seemingly endless celebrity cameos including Ross Butler, his sister Devon Aoki, and Jamie Chung.
“Send It” is out now via Aoki’s own label, Dim Mak.
Featured image: Rukes
Midnight Kids are flourishing quickly thanks to their enamoring take on pop and commercial crossover releases. Despite now having a growing slate of original releases under their belts, Kyle Girard and Dylan Lee have resumed their remix run, this time taking on P!nk and Khalid’s, “Hurts 2B Human.”
The song is the title release on P!nk’s recent LP, Hurts 2B Human, and Midnight Kids’ new revamp adds an energetic electronic layer that contrasts from the acoustic and vocal-led nature of the original. What is originally a sultry and subtle crossover cut is transformed by a building melodic undertone that yields a euphoric release with an immense break. The duo prove their ability to tastefully add upbeat electronic tropes to a pop hit, creating the perfect blend of styles for a live set or radio play.
Midnight Kids teased the release on their social media, touting their latest as, “the biggest remix we’ve ever done,” and the final product certainly lives up to the producers’ sentiments.
Photo Credit: Sam Gay
A couple months ago, Animal Collective shared “Summer Blaze,” the A-side to a digital split called New Psycho Actives Vol. 2. The first volume was released about four years ago and featured mixes themed around winter and spring. Today, they’ve completed the seasonal quartet with “Autumn Rites,” a 21-minute collection of … More »
I don’t know what the state of industrial music is today. Maybe in the absence of any prominent torch-carriers, the best assuagement of genre uncertainty is to revisit the legends who have exemplified some of its best/weirdest aspects, and who are currently compelling revisits by reissuing the majority of their back catalog.
First, Throbbing Gristle reissued the handful of albums that were initially released prior to their initial breakup in 1981. Now, the band is continuing their partnership with Mute Records and reissuing the albums that were originally released between 2004 and 2007, which was the arguable honeymoon period immediately after TG reunited but before they released their final album, The Third Mind Movements. (Part Two: The Endless Not was a memorable effort during this period; and if you check out our review at the time, you can appreciate how Chris Carter, Genesis P-Orridge, Cosey Fanni Tutti, and Peter Christopherson [RIP] managed to progress the sound that they more or less coined during the heydays of punk and countercultures generally.)
Accompanying Part Two on its reissue trip are TG Now — their first release post-reunion — and A Souvernir of Camber Sands, a 2004 live album recollecting the band’s performance at ATP’s Nightmare Before Christmas event that December. The two studio records’ll be packaged together on CD, limited edition clear vinyl, and digitally.
Pre-orders here. Everything comes out December 13. Meanwhile, here’s “Fed Up” from the their Camber Sands excursion:
Look, when you release an album these days, there’s only a handful of ways you can promote it. Maybe in the future, artists will be able to embed information on their latest release directly into our eyeballs. Won’t that be fun? For now though, the only options are really (1) putting ads on social media, (2) handing out fliers door-to-door, (3) sky writing, (4) getting interviewed by Narduwar and not having any clue what’s going on, (5) paying top dollar for a news coverage on TMT, and (6) blackmailing your local state representative.
Or, if you’re feeling particularly old-fashioned, going on tour.
Taking that last — and let’s face it, most common sense — route, Lower Dens have announced a string of tour dates across North America. The 2020 headlining tour comes in support of their latest release, The Competition, which came out last month on Ribbon Music.
Logging another form of heretofore unseen album promotion, Lower Dens head honcho Jana Hunter is the subject of a short documentary put out by Moog Music. Called You Belong Here, it features Hunter talking new single “Galapagos,” the act of expressing oneself through music, and of course, synths.
Find You Belong Here along with Lower Dens’ full upcoming slate of 2020 tour dates down below. The Competition is out now via Ribbon Music.
(Oh. Also, check out our interview with Jana Hunter that, sure, would also be a valid way of promoting your album in 2019 — my bad for not bringing it up before.)
Lower Dens on tour and not blackmailing politicians in 2020
02.13.20 — Millvale, PA — Mr. Smalls Theatre
02.14.20 — Washington, DC — Songbyrd
02.15.20 — Raleigh, NC — Kings
02.16.20 — Nashville, TN — The High Watt
02.18.20 — Atlanta, GA — The Earl
02.19.20 — Birmingham, AL — Saturn
02.21.20 — Austin, TX — Barracuda
02.22.20 — San Antonio, TX — Paper Tiger
02.23.20 — Dallas, TX — Ruins
02.25.20 — Phoenix, AZ — Valley Bar
02.26.20 — San Diego, CA — Soda Bar
02.27.20 — West Hollywood, CA — The Roxy Theatre
02.28.20 — San Francisco, CA — Rickshaw Stop
03.02.20 — Seattle, WA — The Crocodile
03.03.20 — Portland, OR — Mississippi Studios
03.05.20 — Salt Lake City, UT — Urban Lounge
03.06.20 — Denver, CO — Globe Hall
03.08.20 — Minneapolis, MN — 7th Street Entry
03.09.20 — Chicago, IL — Lincoln Hall
03.10.20 — Detroit, MI — Deluxx Fluxx
03.12.20 — Toronto, ON — Velvet Underground
03.13.20 — Montreal, QC — Bar Le Ritz PDB
03.14.20 — Boston, MA — Brighton Music Hall
03.16.20 — Portland, ME — SPACE Gallery
03.17.20 — Portsmouth, NH — 3S Artspace
03.19.20 — Brooklyn, NY — Music Hall of Williamsburg
03.20.20 — Philadelphia, PA — World Cafe Live
03.21.20 — Baltimore, MD — Ottobar
Omar Souleyman has a long and sweaty history with us slobs at Tiny Mix Tapes, but it’s been a minute since we heard from the legendary partyman. But now, the Syrian entertainer-extraordinaire is returning with a new album Shlon for the Mad Decent label — just in time for the tail-end of fall wedding season!
Shlon is the fourth international album (and, like, I don’t know, 600th release overall) by the erstwhile wedding singer and tireless Syrian refugee advocate, and it’s out November 22. What’s he been DOING for the past several years? Touring and partying and advocating HIS ASS OFF, that’s what.
On Shlon (which is Arabic for “how,” or literally “which color”), Souleyman “presents 6 new techno-meets-dabke songs of romance and love to the world […] superimposed on complex techno arrangements by Hasan Alo, and based on the hi-speed Kurdish and Arabic dabke and baladi styles.”
While you wait for the album to arrive, check out the closer “Layle” (which Souleyman describes as “singing poetry of a woman’s lips as sweet as Hillah’s dates”) down below (or anywhere you pick out your party jams), and start calling around NOW to book a party venue of your choice on November 22, before everyone else beats you to it.
02. Shi Tridin
04. Abou Zilif
05. 3tini 7obba
Omar Souleyman international dates:
10.18.19 – Amsterdam, Netherlands – Life and Death x ADE at Thuishaven
10.26.19 – Marseille, France – Espace Julien
10.27.19 – Stockholm, Sweden – Fasching
11.22.19 – Stavanger, Norway – Folken – Storsalen
02.06.20 – London, UK – EartH (Evolution Arts Hackney)
02.07.20 – Cambridge, UK – The Junction
The Los Angeles quartet X are one of the all-time great American punk bands. They came together in LA in 1977, and when that scene’s city was turning toward hardcore, they were hard and fast enough to keep up. But they also made room for country, rockabilly, and beat-poetry absurdity in their music. X’s first … More »