Directed by Grant Singer. Lorde released her sophomore album, Melodrama, last month via LAVA/Republic.
Bicep – the Belfast-born, London-based duo of Matt McBriar and Andy Ferguson – announce the second track to be taken from their forthcoming debut album. Glue embodies the raw energy of UK rave culture, references skeletal UKG and could have emerged from the studio of Orbital or The Future Sound Of London at their trailblazing best.
Bicep’s debut album is the perfect summation of their career to date – a sonic tour of their history touching the cornerstones of underground club culture and sees the duo pull off the rarest of feats: to make a singularly unique electronic record founded on the blueprint of classic house, techno, electro and Italo disco, but flipped and morphed into a fresh design bearing the unique Bicep sonic signature.
Recently the duo announced their biggest headline live show yet at London’s Roundhouse on 28 April 2018. The show announcement comes after selling out their Electric Brixton live date in 24 hours and sharing news of their self-titled debut album, to be released on September 1 via Ninja Tune.
Singer Jasmyn Burke had this to say about the album in a press release: “We got back from the tour with Mitski on November 22nd and I started writing November 23rd. We spent three months writing and pretty much figured out the album in its entirety in that timeframe. With the year we had I think we really hit this sweet spot where your brain is fully ready for something new, but has absorbed all of this information and it all just spews out. It was all really based on initial instinct and we just sort of let music happen. When writing ‘#53’ I let out how I was feeling about a lot of things. Existing on the road, existing at home, living in a time when a lot of younger people feel helpless — it’s all given me a new vigor and desire to be ferocious with our music.”
Showing two facets of the brand new album, TFCF (which stands for Theme From Crying Fountain), The Grand Delusional opens with acoustic guitar (as Andrew has said, “There’s acoustic guitar all over this record! How ridiculous is that?”) while “Coins In My Caged Fist’” gallops along with drum machines and samples. “I wanted to do lots of sampling,” he says. “I’d done a little in the past, but I’d started to realize the possibilities of the process, of sampling myself playing ‘proper’ instruments, and then using the sampler to put it all together in an ‘artificial’ way.”
Surrounding TFCF’s release, Angus and a new touring band will embark on a world tour that begins this Friday in London. Full details below with more to be confirmed. Visit Liars’s website for exclusive ticket and album bundles.
Filmed in Mallorca, the video sees Jessie and director Tom Beard channel European film noir in the second half of a two-part story. “We shot from 1am until the sun came up and the video was so much fun to make,” said Jessie. The prequel to “Midnight” will be released soon.
Today, Kllo have shared the official video for their new single, Virtue. Of the making of the clip, Chloe Kaul from Kllo says, ‘London had a large influence on the creation of ‘Virtue’ so it made sense for us to get the video made whilst we were over there. It was our first headline tour through the UK, whilst in the midst of writing our debut album, so it was a special time for us. We were lucky enough to finish the album in the London summer, learning more about the city, the people and the culture. We made a lot of new friends over there. We put this together with the first friends we made in London, mostly shot on their rooftop. It was a lot of fun.’
Kllo – an electronic pop collaboration between Melbourne cousins Chloe Kaul and Simon Lam – waded in figurative backwater for much of 2016 amid an extensive world tour. These were exciting times; the duo’s Well Worn EP furthered the promise of 2014 EP Cusp, receiving millions of streams and landing Kllo on festival stages as well as Artists-to-Watch lists. Nonetheless, the stretch kept them far from home, isolated and vulnerable, treading through perpetual uncharted territory while yearning for the comforts of the familiar.
As a result, Kllo’s full-length debut depicts inner adjustment to outer change. Songs were written partially on the road and developed back at Lam’s bungalow, a haven that harbours creative spontaneity and catharsis.
“It’s the first time we hadn’t felt like kids anymore,” says Kaul. “We were really able to dive in deeper and bring out a lot more of us into the music.”
For the making of Willowbank, Yumi Zouma’s members — Charlie Ryder, Josh Burgess, Christie Simpson and Sam Perry — settled on a plan to reunite for the New Zealand summer. To complete what would become their first significant work written and recorded entirely in their home country, they rented a studio in Christchurch’s semi-demolished CBD, on one of the few remaining blocks that still characterizes the city from before it was destroyed by a series of earthquakes.
“It was as though there was a brief pause in all of our lives and we finally felt like a band from New Zealand,” said Burgess. “We were on home turf and creating from a place that felt fundamentally natural.” When you know it’s there, the feeling of rootedness is undeniable on Willowbank. Being connected to their origins on the bottom of the earth allowed the band’s members to craft another essential chapter in the Yumi Zouma storybook.
Willowbank is out October 6 on Cascine. Pre-order here.
Producer Darren Cunningham aka Actress, joined by the London Contemporary Orchestra, premiere new material as well as expanded arrangements of their dark and brooding electronica. Showcased last year at The Barbican Centre London and Strelka Institute Moscow and in conjunction with Boiler Room this 12” release named Audio Track 5 as an introduction to a larger body which will be released on Ninja Tune and Boiler Room TV as both a Long Player and performance piece in Autumn 2017.
Over a decade of releases Cunningham has built a reputation as a fine creator of cerebral abstract techno, or R&B concrète, crafting pulsing kickdrums, jittering percussion and chopped sample loops into churning, rumbling tracks soaked in static. But he has also been on record saying he wants to make ‘classical stuff for a modern generation’.
In this new collaboration, commissioned and curated by Boiler Room and the London Contemporary Orchestra with support from Arts Council England, the London Contemporary Orchestra bring a new dimension to Cunningham’s choice of sounds. With the producer in effect using them as a new instrument, matching his electronic loops with precise manipulation of their acoustic instruments, together they form a heightened kind of chamber music.