Video: Hundred Waters – Firelight

LA-based trio Hundred Waters – comprised of vocalist Nicole Miglis, producer Trayer Tryon and drummer Zach Tetreault – recently released their long awaited new full length, Communicating via OWSLA. Today the band have shared the video for standout album track Firelight.

The video was directed by James R. Eads who states:

“I was immediately excited about creating something magical and ethereal. The initial idea was to have Nicole, Zach and Trey in the video summoning the light and essentially raising the sun. But after we discussed what the heart of the song was really about, it seemed that the light itself was meant to lead us through the song. The video was then created entirely in virtual reality using Tilt Brush – a program developed by Google where you are sculpting with form and colour and light simultaneously in three dimensional space. I spent about a month sculpting the world that the light lived in. Once the ‘set’ was completed, I then walked through it filming in VR to generate video content.”

John Maus – Touchdown

This Friday October 27, John Maus will release his fourth album, first in six year, the highly anticipated Screen Memories. The album was announced with single The Combine, a sweeping and swirling apocalyptic anthem and followed by the nostalgic and soaring Teenage Witch.

Today, Maus has shared a third glimpse at the upcoming album with the Jennifer Juniper Stratford (Telefantasy Studios) directed video for Touchdown.

Music from John Maus was recently featured in Natasha Lyonne’s short film “Cabiria, Charity, Chastity” for clothing brand Kenzo, featuring Fred Armisen and Maya Rudolph (in particular, one scene where Rudolph covers Maus’ ‘Quantum Leap’).

Along with the previous announcement of Screen Memories, John shared news of a six LP box set compiling all of John’s work plus an additional brand new studio album entitled Addendum, the vinyl version of which is exclusive to the limited box set. The box set, which is nearly sold out, will ship to arrive the week of April 16, 2018.

Screen Memories was written, recorded, and engineered by Maus over the last few years in his home in Minnesota, known genially as the Funny Farm. It’s a solitary place situated in the corn plains of rural American Midwest. The landscape is as majestic as it is austere and inevitably some of the sub-zero winter temperatures creep into the songs, as do the buzzing wasps of summer.

Screen Memories is out October 27 on Ribbon Music.

Floating Points – Ratio

Floating Points follow’s up Reflections – Mojave Desert, a short film and soundtrack featuring tracks recorded in the Mojave Desert, with a 19-minute new track named Ratio.

The A side of the vinyl will feature the track in two parts: the first nine minutes being identical to the digital version, followed by solely the organ section of the second half. The vinyl’s B Side in contrast will feature the beat/drums and bassline of the second half of the track in isolation.

According to a press release, “Releasing the track in such a fashion, Shepherd encourages DJs to create their own mixes by bringing the different elements together in their own style.”

Abattoir Blues – Blinded

Abattoir Blues have announced the release of their forthcoming EP Blinded, due on November 24 through Telharmonium, alongside a stream of the record’s title track.

Taking equal influence from the grizzly post-punk of The Fall and the dark atmospherics of the Nick Cave album from which they take their name, their swarm of sound engulfs the senses, while drawing on a social conscience reminiscent of punk’s early greats.

Overfamiliar with the motorways and service stations of Britain, Brighton post-punks Abattoir Blues are road dogs in the classic sense. These longtime friends – brought together through punk shows and shared beliefs – have piled into cars and vans on any given weekend of the last few years, bringing their incendiary live show to thousands up-and-down the country, making a mark through brawn and bruised bodies.

Sharing a seaside home and studio with fellow Brightonians The Magic Gang, the Abattoir Blues of today – vocalist Harry Waugh, guitarists George Boorman and Sam Pitman, and drummer Scott Kennedy – are a far cry from the beer-swigging, stage-smashing brutes of old.

“You should talk about those things if that’s what matters to you,” Harry states. “I feel like, more than ever, there’s a big apathy problem. People are so alienated by the way politics is and the way the world’s run that they switch off and disassociate from things.”
“It’s important to encourage people to engage,” agrees George, “we want to stimulate discussion.”