Oneohtrix Point Never has released Leaving the Park, the second single from his forthcoming album Good Time OST. It follows previously-released single The Pure and the Damned featuring Iggy Pop.
Wolf Parade will release their long-awaited new album Cry Cry Cry, the band’s first new album in seven years (and fourth full-length overall), on October 6 via Sub Pop. The album will be available in Canada from Universal Music.
The soaring choruses, rousing anthems, sprawling guitars and chaotic keys that make up Wolf Parade are on proud display over the course of Cry Cry Cry. These elements are captured on the album’s anthemic lead single Valley Boy and additional standouts ‘You’re Dreaming’, ‘Artificial Life’ and ‘King of Piss and Paper’. Cry Cry Cry was produced by John Goodmanson at Robert Lang Studios in Seattle and mastered by Greg Calbi at Sterling Sound in New York.
Wolf Parade announced its return to the live stage in early 2016, after a five year hiatus, scheduling multi-night residencies that May in New York, London, and Toronto in support of Apologies to the Queen Mary, the reissue of their classic Sub Pop debut. Tickets sold out within a matter of hours. As the May shows neared, Wolf Parade surprised fans again, with a self-titled-and-released EP’s-worth of new material. The excitement surrounding the band’s return, led to marquee festival appearances and late night TV performances on The Late Show with Stephen Colbert, Conan and Last Call with Carson Daly.
Wolf Parade’s previously announced tour schedule for 2017 resumes later this week, with an appearance at Seattle’s Capitol Hill Block Party on Friday, July 21st. In August, the band will make an appearance at Ponderosa Music & Arts Festival in Rock Creek, BC on August 18th-20th. Then from September 5th through September 28th, Wolf Parade will act as direct support for The Arcade Fire (select dates). There will be UK live dates announced soon.
If Blue Could Be Happiness is the second full length album from soft-synthesizer-folk band Florist. It is an observation of change; a full color memory album. It is both a goodbye to a past life and a declaration of great love to a new one. A long mourning song for the death of a mother, and a quiet celebration of the endless struggle that is being alive. Recorded by the band during May of 2017 in an Upstate New York schoolhouse very near to where songwriter Emily Sprague spent her childhood and where the band originated. The final track of the record, “Red Bird”, was written and recorded by Emily on the day before her mother died unexpectedly in March of 2017. The song remains in demo form on the album just as she had heard it.
Patience, aka songwriter Roxanne Clifford of the beloved London indie-pop outfit Veronica Falls, may have begun as a solo refuge from the Manchester-born, LA-Resident’s band duties but White Of An Eye, her third single, is a fully formed, dancing-with-a tear-in-your-eye, confident Pop Moment. The attempt at shedding memories to embrace the present, an ode to the moment.
Like her previous two singles The Church and The Pressure, Lewis Cook of Happy Meals engineers Clifford’s vision to Jacno-esque synth pop perfection. Blooming with a tentative synth cadence and nonchalant spoken word introduction, ‘White Of An Eye’ soon erupts into perfect disco melancholy, with Clifford’s imagery perfectly nailing that nagging regret that haunts every new adventure. With the first appearance of a guitar hook in a Patience song, it’s a classic pop moment enunciated perfectly by Clifford’s instantly recognizable vocal.
Speaking about the video Patience explains: “White of an Eye was inspired by French and Belgium avant-pop performance videos of the ’80s: artists like Elli and Jacno, and Lio would often appear to be in an in-between or obscured world, something of a dream-state evoked by a minimal and smoke filled set. The exterior shots of White of an Eye were filmed at the Mulholland Fountain in Los Angeles, whose lights illuminate from exactly 8PM to 10PM nightly, creating a scene of similar otherworldly and magical quality.
“Director Lawrence Klein and Cameraman Dalton Blanco shot the fountain at five times the speed of normal film, then slowed it down for a brilliant hyper-real effect, which created a surreal uneasiness harking back to the aforementioned European avant-pop videos. The state of this unnatural-nature and the void of the dark set made a euphoric element, mirroring the song’s theme of embracing the future and leaving memories in the past.” Watch below.