Angel Olsen – Sans

Angel Olsen will release Phases, a new collection of B-sides, rarities, and demos, including some previously unreleased tracks, on November 10 via Jagjaguwar.

She has already shared one of those previously unheard songs, Special, recorded during the sessions for MY WOMAN, as well as a self-directed video for the song. Now she has shared another song from Phases, Sans, which is a home demo from 2015.

Olsen had this to say about “Sans” in a press release: “‘Sans’ was a song I wrote in between Burn Your Fire and MY WOMAN, something short and simple – but about a big thing in my life: travel and what it can do to the psyche. When you’re out there and you’re working and moving so fast it’s difficult to really imagine a time when you were fully realized and known. You know, it’s hard enough to be known when you’re around! But then there are those people in your life that know you and don’t need you around all the time to be or feel close – I suppose it’s about that too.”

Video: Bicep – Glue

Bicep – the Belfast-born, London-based duo of Matt McBriar and Andy Ferguson – have released a new music video for recent single Glue.

Inspired by the song’s homage to the rave era, the video for Bicep’s Glue by Joe Wilson is a series of landscapes which revisit the sites once brought alive by now infamous raves. Today they sit desolate and empty, retreating back to their former state, with little to show of their impact they had on UK music culture. The static shots offer space to reflect on the importance and idiosyncrasy of these locations and how an abandoned lido, remote airfield and disused warehouse helped to shape the lives of a generation.

Juxtaposed with the images are the hazy, fragmented recollections of those who were there, lifted from Youtube comment sections of the genre’s most defining sounds. Perhaps the most beautiful and poignant pieces of evidence from the period, they eulogise over a time of unity and euphoria, and are a longing to be returned for just one more night.

Bicep‘s self-titled debut is out now on Ninja Tune.

Pinegrove – Intrepid

Pinegrove are a band in constant motion. Since the release of their 2016 break-out album Cardinal on Run For Cover Records, the Montclair, New Jersey group have toured relentlessly, selling out shows across the world and appeared at festivals such as Newport Folk Festival, Pitchfork and Panorama.

Pinegrove have also released a slew of live recordings and compilations to benefit various non-profits, and numerous video diaries documenting their touring and most recently, their recording process for the follow-up to Cardinal.

Although more news and details on their forthcoming record will be announced soon, Pinegrove are excited to share a new track with their fans to celebrate wrapping up their summer recording sessions. Those who have seen them live over the past year may recognise Intrepid, a languid paean to long-distance relationships and the personal growth that results from them.

“One of the things this album explores is the emotional and creative experience of geometric space,” explains the band’s Evan Stephens Hall. “‘Intrepid’, in particular, considers distance and the outer rim of the magnet’s pull; how the size of the world can bring our personal relationships into focus.”

Intrepid is available now via Run For Cover and Dead Oceans.

Video: Shabazz Palaces – Since C.A.Y.A.

Shabazz Palaces have shared a powerful new video for Since C.A.Y.A., the elastic and transportive track from the group’s acclaimed Quazarz: Born on a Gangster Star.

The new visual stars Shabazz Palaces’ Palaceer Lazaro with footage shot by director Kahlil Joseph, cinematography by Marcus Reposar, and is helmed by returning collaborator Stephan Gray (“Dawn in Luxor”).

Quazarz Born on a Gangster Star and Quazarz vs. The Jealous MachinesShabazz Palaces‘ third and fourth albums for 2017, are out now on Sub Pop.

CCFX – The One To Wait

CCFX is a new supergroup out of Olympia, Washington resulting from a merger between two seminal Olympia pop music outfits; CC Dust and Trans FX. On their debut self-titled EP, artists Chris McDonnell, Mirče Popovic, Mary Jane Dunphe and David Jaques offer a record that is at once a showcase and aberration of what is currently coming out of the Pacific Northwest.

Recorded and (re)mixed with local OG Captain Tripps, the EP’s sound partially recalls late 90’s/early 00’s indie pop as chiming, melodic guitar parts counter and complement Mary Jane’s brilliant voice. In the same vein of the past few decades’ most beloved and coveted hitmakers (both in the clubs as well as on the radio), the music feeds on a sense of nostalgia not necessarily specific to any one time or place – sun-kissed riffs seem to go on forever, supported by a steady breakbeat.

CCFX’s debut self-titled EP is out now on DFA Records.

Ought – These 3 Things

Still fresh from signing with Merge, Ought will release Room Inside the World on February 16. The album, their third LP and first for Merge, explores themes that have always concerned the band—identity, connection, survival in a precarious world—but with a bolder, more nuanced sound palette. The band share first single These 3 Things and an accompanying video today along with the album announcement, as well as a world tour itinerary for 2018.

Of the video, directors Jonny Look (Grizzly Bear, Cloud Nothings, Cass McCombs) and Scottie Cameron say:

“Life can be problematic. Everything takes time and energy. We challenged ourselves to create devices of great convenience using three items. When initially testing the convenience machines without the human variable, we discovered luxury and success. However, it was sterile. The beauty only came with the unpredictable moments brought by the human element. Being human is better than looking for an easy way out.”

Recorded at Rare Book Room in Brooklyn with producer Nicolas Vernhes (Deerhunter, Animal Collective, Silver Jews), Room Inside the World was approached with newfound patience. Together, Ought constructed a (digital) moodboard to set their intentions: Brian Eno and Stereolab synths, the Mekons’ 1985 album Fear and Whiskey, and Gerhard Richter and Kenneth Anger’s sexy, fluorescent hyperreal all made it into the melting pot. Holed up in their rehearsal building, an industrial rock block (and sock factory) overlooking the Trans-Canada Highway, the band strove for greater detail and specificity than before while remaining true to the collaborative, intuitive writing process that yielded their earlier work. Vibraphone, justly intonated synthesizers, drum machines, and a 70-piece choir suffuse the precise post-punk breakdowns that spangled Ought’s first two albums, giving rise to an emotional complexity that pushes their characteristically taut sound to greater depths.