French house icons, Hubert Blanc-Francard, and the late Philippe Zdar, known to fans as Cassius, have released their fifth and final album in Dreems. The LP features heavy-hitters from across the musical spectrum like Portugal. the Man’s John Gourle and Mike D of Beastie Boys infamy, but ultimately represents more than two decades of musical growth since Cassius’s first releases in 1996.
Dreems isn’t just an hour of new Cassius material, which would be a delight in itself, but it’s an album where songs successfully build on one another, borrowing melodies, instruments and vocal motifs throughout, proving the duo’s attraction to the art of the LP. The album’s most vivid example of this is in how “W18” thematically and musically unfolds into its successor, “Walking on Sunshine.” Other track like “Summer,” the album’s opener, and “Don’t Let Me Be” draw a more refined and generally upbeat picture than 2016’s Ibifornia, while still maintaining much of the latter’s highly-acclaimed funk.
With Dreems being the group’s final release, it’s hard to find a more apt farewell than in the lyrics of the album’s title track.
Never before I had someone like you right by my side Never before I had someone Never before I had someone like you right by my side Never before I had someone
Moody Good (real name Eddie Jefferys) has spent the better part of the last decade coming up with deliciously wicked ways to approach dubstep, to considerable avail. After stepping outside his tenure with his former duo, 16bit, in 2014, he soon found a new home for his pernicious productions with the likes of OWSLA, wherein he released his self-titled debut album that same year.
Now he’s emerged from his low-lit dubstep den for another intuitive pairing, this time with the Zeds Dead-championed Deadbeats, for his latest track, “Bite Your Lip.” Jeffery’s debut on the flourishing imprint is a dastardly dub/trap one-two punch. “Bite Your Lip” makes its audacious aural attack with snarling synths, warped extraterrestrial-status bass, and a harrowing chorus of distorted vocals. If the track had teeth, they’d be full-on fangs.
Death-metal expats turned purveyors of “goth mom-rock” The Holy Circle seep their brand of shoegaze in impenetrable gloom. Sharing catalog space with weirdo-rap outfits like clipping. and True Neutral Crew, the Baltimore trio plays the part of unlikely outliers as they prep their first release on Deathbomb Arc: Sick With Love, arriving July 19.
The EP’s first single, “Free and Young,” dropped earlier last month, described by post-punk.com as “David Lynch’s take on sixties doo wop and early rock n’ roll.”
TMT is the plug for your next dose of The Holy Circle’s howling, industrial dream pop: “Lovely One,” which furthers this vision of the band as performers at Twin Peaks Roadhouse, letting tectonic basslines rip as neon flickers. A chiming, gothic guitar riff threads through stretched syllables, dragging the listener deeper into melancholia.
Pre-order Sick with Love digitally here (and here on cassette) — and catch their upcoming show at Ottobar in Baltimore tonight (June 26). Even the poster resembles a Lynchian homage!
Hey, what’s this? Didn’t Keiji Haino and SUMAC collaborate for a thoroughly improvised studio album just last year? I was under the impression that the former only did repeat meetings if Tatsuya Yoshida, Jim O’Rourke, or Oren Ambarchi were involved — or if Haino’s ghostwriter came along and wanted to suggest an additional 20 words per track title over coffee. That verbosity has certainly existed on a plethora of Haino collaborations over the years; and in 2018, Haino got wordy with SUMAC, the sludge metal band from the PNW, which is also the latest band of choice for proverbial doom vagabond, Aaron Turner. (Apparently, aspiring monogamists can only dream of the chemistry on display during the original recording session at Tokyo’s Goksound in June 2017.)
Shortly after that, Haino and SUMAC performed at Fever in Tokyo, and that set is what comprises a new LP on Trost, entitled Even for just the briefest moment Keep charging this “expiation” Plug in to make it slightly better. The album was mixed by Randall Dunn in Seattle and mastered by James Plotkin.
Feel free to read that title again if you absolutely insist on some degree of comprehension, though we might just be witnessing an ongoing ode to James Joyce here. Watch the album trailer and have a listen to, uh…the second track below. Oh, and here’s where you can buy the thing. It’s out this Friday, June 28!
Even for just the briefest moment Keep charging this “expiation” Plug in to make it slightly better tracklisting:
01. Interior Interior Interior Interior – Space – Disgusting Disgusting Disgusting
02. Now I’ve gone and done it I spilled holy water (just water) over that thing called healing music……………………………. / There was a faint “Tsk”noise
03. Even for just the briefest moment / Keep charging this “expiation” / Plug in to making it slightly better
04. (First half) / Once, twice, thrice / When you press the third time / Carve esteem and despoliation into your heart (Second half) / Every historical scar / Has been lined up at regular intervals but / Their permeation is different / Beautified with a loss spray
“Show me you can write records that stand the test of 10 or 15 years. That’s what I’m looking for. I can see through everything else,” Mark Knight so sagely stated of his A&R vision for his label in a 2018 interview with Dancing Astronaut. But he’s also one to put his money where his mouth is, paving the way for the talent he so voraciously scouts.
The Toolroom Records figurehead and tech-house guru’s tracks may not always fit EDM’s flavor of the week, but they consistently withstand the temporal litmus test Knight holds so central to his production pedagogy. Releases like his “Conscindo,” his collaboration with Wolfgang Gartner, would fit just as well in sets today as when the tech-driven colossus was set forth nearly a decade ago. The UK-based producers newest single, “The General” follows suit, uniting the proven and true fundamentals of the club-slaying genre, like an orchestra of percussion, and infectiously room-filling risers with a commanding Latin vocal sample, resulting in a meaty house track with no expiration date.
The house-storic label also just began rolling out Toolroom Statside, wherein Knight and co. will be kicking off residencies in US house music meccas like Chicago, Los Angeles, New York, San Francisco, and Washington DC. More information and tickets are available here.
I don’t wanna die tonight. You don’t wanna die tonight. No one wants to die tonight. We especially don’t wanna die of an overdose tonight. That’s the message of the latest single from Los Angeles producer So Drove (Adam Schwarz). Being from the ‘burbs of the Midwest, I’m used to the DARE advice to “Just Say No” and to view all drugs and drug users as “the bad people.” But now that I am out of the Garfield-induced comfort zone of my youth and am faced with reality, it’s easy to understand that addiction and substance use is a multi-dimensional beast that’s pervasive all around us, from cities to gated communities.
On “I Don’t Wanna Die,” So Drove juxtaposes bouncy, neo-pop punk rhythms with heavy words on opioid addiction and overdose. Peep the new skateboard-centric video below (dir. Matthew Doyle) and know that all proceeds from Bandcamp benefit End Overdose and Harm Reduction Coalition, two non-profits working to fight overdose-related deaths. Rock on for a good cause!
King Gizzard & The Lizard Wizard recently announced their second album of 2019, Infest The Rats’ Nest, following April’s Fishing For Fishies. This will be the Melbourne psych-rock outfit’s 15th album in the past seven years. They dropped five just last year. So far, they’ve released heavy-hitting singles “Self-Immolate” … More »
Melbourne artist Becky Sui Zhen has been making experimental pop music for a while now, on her 2012 debut Two Seas and 2015’s Secretly Susan, and later this year she’ll release her third full-length album, which is called Losing, Linda. “It’s an album about missing people after they are gone and … More »
It’s been nearly three months since GRiZ released his sixth studio album, Ride Waves, which saw the producer branch out into new creative territory. The 14-track compilation featured collaborators such as Wiz Khalifa and Snoop Dogg, blending GRiZ’s distinctive funk and bass style with high-profile artists. Now, just a few months after the full Ride Waves album release, the producer is back with a brand new EP.
The three-track EP is titled Bangers.Zip and showcases GRiZ’s sonic diversity at its finest. The compilation begins with “Voodoo,” which blends heavy dubstep drops with light reggae melodies. Fans may also recognize “Ice Cream,” a track from the EP he’s been previewing on season one of his tour.
In addition to the Bangers.Zip, GRiZ has announced 18 new tour dates for his Ride Waves tour. The next leg of the tour will see GRiZ take on massive venues like Boston’s Rockland Trust Bank Pavilion, Chicago’s Navy Pier at Festival Hall, Seattle’s Paramount Theatre, Los Angeles’ Hollywood Palladium, and Berkeley’s Greek Theatre. Find tickets and more information here.
The story of Chris Clark’s career in electronic music is one of budding, sprouting, and expansion: an unstoppable maturing journey from a Warp Records template-artist to an inimitable pillar on the leftfield landscape. On July 26, he will unveil the latest step forward in this 18-year-long odyssey: Kiri Variations, an album composed of material originally made for the BAFTA-nominated TV miniseries Kiri. Today, we are happy to premiere the single “Cannibal Homecoming.”
Likely the most conventionally song-like track in Clark’s oeuvre to date — if only for the fact that it features his own vocals — “Cannibal Homecoming” evokes the soft, whimsical electronica of artists such as Múm and Dntel, while still being grounded firmly in today’s cutting-edge laptop synthesis by the overpowering granular bass stomps that waltz in. It is as if contemporary production tricks infringed on the song’s piano loops and gossamery strings the way our harsh modern realities would disrupt a pleasant dream. In the climacteric middle section, Clark appears to comment on this dichotomy: “It’s never one way or another / It’s always one way and another.” I can’t help but interpret this as optimism: we can still celebrate innocence and joy amid turbulent times.
Pre-order Kiri Variationshere, and listen to “Cannibal Homecoming” below: