01. Beach House – Dark Spring
02. Bicep – Rain
03. Oneohtrix Point Never – Black Snow
04. Jon Hopkins – Everything Connected
05. J. Cole – KOD
06. Cardi B – I Do (feat. SZA)
07. Gang Gang Dance – Lotus
08. Jenny Hval – Spells
09. Hana Vu – Cool (feat. Satchy)
10. DJ Koze – Pick Up
11. audiobooks – Gothenburg
12. Yumi Zouma – France (Grands Boulevards)
13. Leon Vynehall – Envelopes (Chapter VI)
14. Grouper – Driving
15. Ólafur Arnalds – re_member
Image by Andrew Albright.
Parquet Courts release their forthcoming new album Wide Awake! on May 18 via Rough Trade Records.
Wide Awake! was written by Andrew Savage and Austin Brown, and produced by Danger Mouse. It is the band’s fifth album and the follow-up to their excellent 2016 album, Human Performance.
“The ethos behind every Parquet Courts record is that there needs to be change for the better, and the best way to tackle that is to step out of one’s comfort zone,” says Savage in a press release in regards to working with Danger Mouse. “I personally liked the fact that I was writing a record that indebted to punk and funk, and Brian’s a pop producer who’s made some very polished records. I liked that it didn’t make sense.”
Savage says he was purposefully reacting against the ballads of Human Performance when co-writing the songs on Wide Awake! with bandmate Austin Brown. “I needed an outlet for the side of me that feels emotions like joy, rage, silliness and anger,” he says in a press release, citing such influences as Youth of Today, Gorilla Biscuits, and Black Flag. “All those bands make me want to dance and that’s what I want people to do when they hear our record.”
Brown had this to say in a press release: “In such a hateful era of culture, we stand in opposition to that – and to the nihilism used to cope with that – with ideas of passion and love.”
Jacques Greene has dropped 48 minutes of new original music on NTS – pointing to a new sound for the producer.
“I’m trying to get at a distillation of what I really enjoy about dance music. A fair amount of drama confronted with weightlessness.” – Jacques Greene.
Following 2015’s exceptional Arms Around a Vision, and the parting of drummer Gib Cassidy just over a year later, the Belfast band suddenly found themselves facing down a looming void. “There was a finished – and then aborted – mix of the album, which was shelved for six months,” reveals Girls Names frontman Cathal Cully. “We then took a break from all music and went back to full-time work. We chilled out from the stress of rushing the record and not being happy with it, as well as being skint with no impending touring on the cards and constantly having to worry about rent.”
The stumbling blocks that proved a strain became the album’s defining breakthrough. Recorded in various locations including Belfast’s Start Together Studio with Ben McAuley, Cully’s home and the band’s practice space, spontaneous creation, cut-up techniques and self-editing took centre-stage for the first time. “We started tearing the material apart and rebuilding, re-editing and re-recording different parts in my home in early Autumn last year,” says Cully. “When we got them to a place we were happier with we went back into Start Together Studio with Ben McAuley to finalise the mixes to what they are now.”
Where AAAV proved a brazen statement of intent, Stains on Silence bounds forth as its feature-length comedown. What could have seen the band buckle became an opportunity for approaching things tabula rasa. During its two-year transmutation, Cully, bassist Claire Miskimmin and guitarist Philip Quinn had a single aim for their fourth album: to make an old-fashioned record clocking in around 30 to 35 minutes in length that made the listener reach straight for repeat. From the Bang Bang bar-summoning swoon of opener ‘25’ and the submerged disco doom of ‘Haus Proud’ to the rapt, dub-leaning ‘Fragments of a Portrait’, Girls Names have excelled in their goal by forging an LP of synchronous nuance and defiance.