Chegg out the punchy new disco-house track “Black Belt” from former Czars frontman John Grant and Biggi Veira of GusGus..
The Lumineers are streaming their cover of the Talking Heads’ classic “Naïve Melody” from the upcoming deluxe edition of their self-titled debut album, to be released tomorrow via Dualtone Records. Listen to “Naïve Melody” at the link below:
You Only Live Twice…lives twice. Watch a live, psyched-out cover of Nancy Sinatra’s classic James Bond theme – You Only Live Twice – from Philly’s Mock Suns. One of the worst James Bond movies with still one of the best themes.
After playing this years SXSW, Sweet Jane – the four Paxton brothers and one Honorary Brother – have recently released their latest EP ‘Witches’ in the build up to their second album By the Ocean, By the Sea produced by Pat McCarthy (U2, Counting Crows, R.E.M) which will be released September 6th on Reekus Records.
After 18 months of touring in support of Native Speaker, along with the departure of a band member, Braids secluded themselves in their Montreal studio for a year of writing and recording. While Native Speaker was written in an organic and live environment, the group sought to explore a more introspective and electronic approach to songwriting. Sonically, the songs from these sessions are delicate and tight, yet thoughtfully open up to the rich lushness reminiscent of their older material. Lyrically they are honest and vulnerable, demonstrating the group’s emotional growth and maturity since their last record.
On Saturday night, The National played their first of two nights in the new hometown to frontman Matt Berninger; this time at LA’s historic Greek Theatre. The 6,000+ capacity was certainly a marked change of scenery from the 350 person Bell House in Brooklyn where I last caught them, just prior to the release of High Violet.
What anyone who has ever been to one their performances can attest, whether the stage is tiny or is amongst the biggest in the world, The National deliver one of the most memorable experiences imaginable. Reviews will abound with what songs they played, but I’d prefer this review to talk about the growth of a band and my experiences as a fan of that band hitting success in perfect stride. Having first caught them in Louisville, KY in 2007 (and being so enamored with the performance where my friends and I bought tickets to the following night’s performance in their former-former hometown of Cincinnati, OH) and seeing the blatant nervous ticks of a man not yet comfortable performing on a stage in front of a couple hundred people to seeing that same man, six years later, running through a sold-out crowd of 6,000 people sing-screaming all of the lyrics to their songs made me, as a fan, feel incredibly proud. There’s something about The National that creates a really deep connection with its fans which is why I think that they’ve had the success they’ve had. They’ve never had the regular radio-play outside of the KCRW/NPR/College Radio world. What they have, however, are heartfelt songs about realistic experiences that encourage fans to connect on a quasi-personal level. I hear “Apartment Story” and I picture my wife and I getting ready for hosting a dinner party. I hear “Conversation 16” and I think about loving her so much and feeling like I fail her. I hear “I Should Live in Salt” and I think about how mad she can make me. I hear “About Today” and I think about how scared I’d be to lose her. I hear “Abel” and I think of the inanity of some of my friends. I hear “Terrible Lie” and I ask myself where I’m heading. The National have written the soundtrack to our lives.
Perhaps I’m just self-centered. Hell, I am writing a concert review and somehow making it all about me. I feel like Matt could appreciate that. But the story that The National tells is a bit of the everyman story that all of its fan can empathize with and connect to. If you don’t believe me then you should have heard the chants of “Baby, We’ll Be Fine” or “I Was Afraid, I’d Eat Your Brains.” You can hear it the voices that it’s not just singing along with miscellaneous words. Everyone of the 6,000 in attendance singing along sang with true emotion. And yet the story isn’t confined to the lyrical content. The Dessner and Devendorf brothers create a mood and energy befitting and perfectly complementing the story.
If there’s one thing that The National does as good as write amazing songs, it’s put on an amazing performance. Totting around the ever present bottle of wine (which I’ve seen him share on stage with his mother, “Uncle Jack,” and thousands of adoring fans), both Matt and the Dessner brothers have learned to own the stage. A stage now outfitted with one of the most impressive and gorgeous light shows I’ve ever seen (a photographer’s dream). But, I suppose that’s what years of touring and becoming seasoned billboard-charting veterans will do. In the beginning it was largely Matt and occasional touring member Padma Newsome putting on the show, but it’s great to see that everyone is in on the show these days.
I had wondered in advance of the show whether the setlist would be “Trouble Will Find Me”-heavy, the recently released 6th Studio album. Having a catalog as deep as theirs with two releases since my last opportunity to see the band, I’d expected to hear far less of the old material. Fortunately, we were treated to a 24 song set spanning Alligator to Trouble, with, what Matt might call, a “good mixture” across the albums. The setlist was near perfect. Being a new Californian myself, I’d have loved to have heard “All the Wine” for the crowd’s reaction alone. But the closer, Vanderlyle/Crybaby Geeks, from 2011’s High Violet, was undoubtedly the highlight of the night. Stripping down to an acoustic set. For all of the raucous, and stage antics, light show, guitar-shredding, drum-deconstruction, The National is a band about the song and the fans are about right there with them. While About Today may have magically brought the crowd to a hush for those final few lyrics…”may I ask you, about today?” For Vanderlyle, the immense crowd became pin-drop quiet for the encore-closing acoustic song up until we were compelled to chant along in unison…”Vanderlyle, Crybaby, Cry…oh the waters are rising, still no surprising you…Vanderlyle, Crybaby Cry…man it’s all been forgiven, swans are a-swimming, I’ll explain everything to the geeks!” I wanted to cry myself. It was a beautiful moment. It summed up the emotions, both from a songwriting perspective and a performance perspective, of everyone taking a part in that moment.
- I Should Live in Salt
- Don’t Swallow the Cap
- Bloodbuzz Ohio
- Sea of Love
- Afraid of Everyone
- Conversation 16
- Squalor Victoria
- I Need My Girl
- This Is the Last Time
- Baby, We’ll Be Fine
- Slow Show
- Pink Rabbits
- About Today
- Fake Empire
- Mr. November
- Terrible Love
- Vanderlyle Crybaby/Geeks (Acoustic)
The Vaccines have released a new track in anticipation of their upcoming North American tour dates. “Melody Calling” was recorded in March at Eldorado Studios with producers John Hill (Rihanna, MIA, Santigold) and Rich Costey (Muse, Franz Ferdinand, Arctic Monkeys); the band debuted “Melody Calling” on their recent U.K. Arena tour which included shows at London’s O2 Arena & Leeds Millennium Square.
Blue Hawaii, Arbutus Records and many of their Montreal counter-parts all began with the same breath in early 2010. To date they’ve released an 8 song EP: in May of that year, Blooming Summer (Arbutus Records 2010) was recorded following the pair’s travels in Central America. It frames a time of warmth and novelty, featuring dense female harmonies, tape saturated synths, guitars and drum machines. Eventually Ra– returned to her role in BRAIDS, touring constantly, while Ag–moved to Europe, treading deeper into dance music, electronics, and production.
The duo notice that throughout the changing social and personal landscape which is one’s twenties, these divided notions and people somehow stay together. Even the name Blue Hawaii suggests a kind of melancholic, jaded paradise, but a paradise afterall. It is because – or perhaps in spite of – these disjointed intersections that the record is called Untogether.
Panoramic views of nature and Braids’ Raphaelle Standell-Preston. Directed by Angus Borsos.
Hailing from Brooklanta, Kool Head is a band that makes Black Wave music. Black Wave music is a fresh mix of New Wave, Hip Hop and Funk layered on a fresh bed of soul. Think Cameo singing over the soundtrack to “Drive.”
Arctic Monkeys released a new strutting little track called “2013” off their next studio album AM, which is officially out this September. It might be called “2013”, but this lightweight psych romp is a total throwback, both musically and the ways in which it ruminates on technology like it was an intergalactic 1970. There are references to flying cars and time machines, a little shiny fruit(apple) on the back of a transmitter coming after you, which all culminate at the 1:25 mark into a total freak jam.
Au Palais return with a new song Thrones, a wistful and arresting piece of pop architecture with deep alabaster vocals along its rigid edges and curves.With every shift, it’s both ethereal and expressive, carving out intricate arches, and further expanding the band’s intelligent noir pop.
Disclosure’s new video for “F For You” is a change up from the narratives of their past clips, but is no less impressive as the Lawrence brothers star in it themselves, showing off their new live show and some wavy visuals to go along. Their debut album Settle #5 on the iTunes chart (#1 Dance) and was the #1 album in the UK in it’s first week.
Foals have released the Nabil Elderkin-directed video for their song “Bad Habit.” The UK five-piece just wrapped a largely sold-out US headline tour that included stops at Sasquatch, Governors Ball, Orion Festival and Bonnaroo. They’ll be back in the states in August for Lollapalooza, Outside Lands and more headline shows.
Volcano Choir’s “Byegone” is an anthem that rises and churns like the sea – an exemplification of what’s possible at the intersection of plush, thoughtful instrumentation and a signature vocal performance. The sound of their collaboration is in lockstep – writing together in real time, providing each other feedback face-to-face, and occupying live stages in front of fans.
MGMT are back with their self-titled third studio album – MGMT – set to be released on September 17. The successor to 2008’s Oracular Spectacular and 2010’s Congratulations, MGMT finds Andrew VanWyngarden and Ben Goldwasser continuing to push themselves to expand the boundaries of modern pop music. Returning to Tarbox Road Studios to work with longtime collaborator Dave Fridmann (Co-producer and mixer of Oracular Spectacular and Congratulations, The Flaming Lips, Tame Impala), Andrew and Ben experimented with various in-studio writing processes, allowing the music to tell them where it wanted to go. The result is a diverse and powerful collection of 10 songs (including a cover of “Introspection” by 1960’s psych band Faine Jade) that directly mirrors the duo’s encompassing surrealist view of the everyday.
Ten years ago, a 22 year old songwriter entered a recording studio with producer Tucker Martine to make a record.
Poised with one of the greatest talents for carrying Appalachian music into new places, Sarah Siskind penned a record in which every moment, every stitch thread perfectly. Recorded to 2-inch analog tape, Covered is a masterful record, on which American music and guitar icon, and one of Sarah’s musical heroes, Bill Frisell plays a key role.
But amid plans for a national release, sinus illness struck and multiple surgeries followed, andCovered was instead released independently on a much smaller scale than originally planned. With little tour and press support, the album never earned its place in the hearts it could have…
A few years later, by chance, I came across a copy of Covered while digging into Frisell’s catalog, for I also have a deep admiration for the music icon and couldn’t get enough of his work. Looking back, I had no idea how much this album would shake me down; it quickly earned its place in my heart. I listened so much from then on that I wore out several copies, all the while pondering how such an amazing record could go largely unnoticed by the masses.
Four years passed, Sarah fully recovered from her sinus issues and set her sights high once again. She went on to record her much lauded boutique double EP Studio.Living Room and followed it with widely-acclaimed Say it Louder, which earned her 2009 Nashville Music Awards’ “Americana Album of the Year.” As she gained more and more attention, writing songs for Alison Krauss and the like, I listened along but still continued to wear out Covered, bewildered as to why it still wasn’t grabbing more people with its poise.
Finally, yet still overdue, we at Chigliak give you Covered, reissued and released for the first time on vinyl. Listen and let it shake you down.
Meet me in Times Square.– Justin Vernon
Based in Mount Manganui, PleasePlease are New Zealand duo Ryan Mulligan and Antony Jeffaries. Their debut single, “Viva La Piano”, was written one afternoon at Ryan’s flat. The video, produced and directed by Tim Armstrong, was shot in Los Angeles and Auckland.
ESTRANGERS make the kind of classic pop that hides in plain sight, the kind that lingers in the blown-out speakers of vintage thrift store amplifiers and makes you wonder why you stopped listening. Towering melodies, cavernous guitar reverb, lush analog synths and crashing bass & drums are bound together in their bright-eyed Rock and Roll stylings.
Waiting For You’ the new single from Kris Menace is a collaboration with Black Hills, a young hotly tipped vocalist from Washington DC, taken from the stunning vocal album, ‘Features’.
The remix package for ’Waiting For You’ contains stellar mixes from OLIVER (Kitsuné, LA), ‘Fingerpaint’ (one half of Classixx, LA)’, Dosem (Soma), Volta Cab (Isaev) and Vincent Fries (Work It Baby).
Mighty Mouse Remix off of the upcoming “Love of a Life” EP by Dutch Duo “Keljet”, well known for their top notch productions and remixes for the likes of Don Diablo, Calvin Harris, Goldroom, Snow Patrol and many more. Keljet teamed up with X Ambassadors on the vocals, to deliver a beautifully crafted, solid record.
The Honey Drip, the second release from The Traps, looks set to build on the strong foundations laid by their debut single Calypso. Released in January,Calypso garnered attention from the likes of Q Magazine and received much sought-after plays from John Kennedy (XFM), Chris Hawkins (BBC Radio 6 Music) and Janice Long (BBC Radio 2). The band’s rapidly expanding fan-base meant that both the Calypso launch parties in Birmingham and London both sold out.
Hospital Ships’ new record is getting dropped on the world next week, but you don’t have to wait that long to give it a taste. The album is streaming in its entirety over at Pitchfork Advance, augmented by some amazing video loops created by bandleader Jordan Geiger’s co-songwriter and guitarist, Taylor Holenbeck. Get excited, one of the year’s finest indie-rock records has arrived.
LISTEN TO HOSPITAL SHIPS’ DESTRUCTION IN YR SOUL HERE.
MP3 Download – Hospital Ships : Come Back to Life
Following ‘Rivers‘, ‘Where Beasts Die’ is :PAPERCUTZ‘s second and last album single. The video was directed by Andy Berriman and shot on location at the beautiful (haunted) forest of Cod Beck, North Yorkshire, England.
Both singles available on two EP releases coming end of this month featuring remixes by Ikonika, Synkro, Stalker, Nowa Huta, Indian Wells, Kiyoko, Bam Spacey, Kyson, Sun Glitters and Sweater Beats.
After sharing his debut track ‘Jackdaw‘ earlier this year, London based singer songwriter Daniel James returns with new track ‘The Stone And The Hollow’. The Irish born Daniel says about the track: “It was inspired by memories of walks around Belfast Lough and how that felt different to the new London landscape I found myself in. Time to think and ponder on new and old relationships alike, all compounded by the differing sense of space I felt.”
On June 25th, UME/Tuff Gong will release Legend:Remixed, a remix and re-imagination of Bob Marley and The Wailers’ 1984 iconic album LEGEND. Remixers include Jim James (My Morning Jacket), Thievery Corporation, RAC, Pretty Lights, DJ Z-Trip & Lee “Scratch” Perry, Stephen and Ziggy Marley. Check out My Morning Jacket’s Jim James Remix below:
Classixx are giving away their summer anthem “All You’re Waiting For”, which got Best New Track honors from Pitchfork. The bouncy tune featuring Nancy Whang of LCD Soundsystem is free via iTunes Single of the Week. Their debut album Hanging Gardens is out now.
Brooklyn-based synthpop duo Holy Ghost! are excited to unveil their new music video for their new song “Dumb Disco Ideas.” The video, directed by Ben Fries, features a plethora of colorful, synchronized lights and a backdrop of the New York City skyline from dusk until dawn.
An album written over the course of more than a year, the story throughout is an eclectic compilation of loves lost and found. The result is a sort of synth based diary: personal and poetically candid.
Following from their successful debut mini album ‘To You’ earlier this year, Sydney’s Indie Rock/Folk quartet Battleships have revealed their new video for album highlight ‘As You’d Begun’.
Immediate download of FTHRSN’s 7-track album in your choice of high-quality MP3, FLAC, or just about any other format you could possibly desire.
The second wave of “From the Vault” series is here, featuring new recordings from STUDIO F at the beautiful Mophonics HQ in Venice, California.
R&B whiz kid Leonard Friend takes on the catchy single from the the buzzed about Los Angeles sister trio HAIM. Friend re-imagines the song with sparkling synths, a slowed down drum that gives a nod to Mtume’s “Juicy Fruit” (aka the sample for Biggies “Juicy,”) oldZapp records, Phil Collins and TLC.