Directed by Ralph Fuller. The Pains of Being Pure at Heart‘s fourth studio album, The Echo of Pleasure, is out now via their own label, Painbow.
Belle and Sebastian share their new single, We Were Beautiful. The song, which the Scottish indie-pop band recorded in Glasgow with co-producer Brian McNeill, follows their 2015 LP, Girls in Peacetime Want to Dance.
Boston-based garage rock trio Black Beach release their forthcoming EP Play Loud Die, Vol. II on September 8.
Directed by Dave Meyers and the Little Homies (aka Kendrick Lamar and Dave Free). Kendrick Lamar‘s new album DAMN. is out now on Aftermath/Interscope/Top Dawg.
Russian born Anastasia Vtorova is based in Berlin and makes music under the name Machine Woman. Prior to joining the Technicolour ranks, she has released two 12”s – via the self-titled imprint of Swedish producer Peder Mannerfelt (2015) and UK label Where To Now? (2016) – and a handful of very limited cassettes via Sacred Tapes (2015), Tesla Tapes and Ono (2014).
On August 25 she will release a 3-track 12” titled When Lobster Comes Home via Ninja Tune’s Technicolour imprint. Championed by Ben UFO, the lead track Camile From OHM Makes Me Feel Loved is an homage to Camile: “the best club bouncer in the world”. “Everyone always talks about Sven from Berghain,” says Anna. “But everyone should talk about Camile from OHM.”
Describing the rest of the EP, “’But It Was Like 30 Intros In A Row’ is about one bad review I received after a gig in Portugal,” she explains. “And ‘I Want To Fuck Tech House’… well, that’s self-explanatory.”
When Lobster Comes Home | Tracklisting:
01. Camile From OHM Makes Me Feel Loved
02. But It Was Like 30 Intros In A Row
03. I Want To Fuck Tech House
Jessie Ware has shared a new song, titled Midnight. The BBC debuted the song on Annie Mac’s Hottest Record In The World yesterday and it is available via all digital partners now via PMR Records / Interscope Records.
On Midnight, which was co-written by Ware and produced by Carrius Gold and Pop Wansel, Ware meditates on the challenges of maintaining a relationship through the most difficult times. “‘Midnight’ is the song I’ve always wanted to be able to sing but perhaps didn’t have the confidence until now.”
The track is the first new music to be released from the three-time BRIT Award nominee’s upcoming third album. The new album, which will be released later this year, explores themes of family, love, tumultuous relationships, and motherhood. More details will be revealed soon.
It’s been three years since the release of Ware’s second album Tough Love, the critically acclaimed follow-up to Ware’s Mercury Prize-nominated debut Devotion.
The seven track EP follows 2014’s A U R O R A and was recorded by Steve Albini last summer. Threshold Of Faith is described as the first release from these recordings which amounted to over two hours of music. Or as a press release put it:
IN THE SUMMER OF 2016 BEN FROST LANDED IN CHICAGO TO WORK WITH STEVE ALBINI. OVER TWO WEEKS – VAST SYSTEMS; UNSTABLE, OVERLOADED, AND ON THE VERGE OF COLLAPSE – WERE FED INTO AN ARRAY OF AMPLIFIERS INSIDE A CAVERNOUS STUDIO. SHAPES WERE FORMED, SPEAKERS WERE TORN. BEHIND THE GLASS ALBINI COMMITTED LIVE PERFORMANCES TO TAPE; SLASHING AT THEM INTERMITTENTLY WITH A RAZORBLADE. MORE THAN 2 HOURS OF MUSIC WAS RECORDED.
THE THRESHOLD OF FAITH EP IS THE FIRST RELEASE OF MUSIC FROM THOSE SESSIONS.
You can listen to Threshold Of Faith and the full EP below.
Toronto’s Fake Palms have announced their sophomore LP, the follow up to their well-regarded 2015 self-titled effort, and shared the album’s first single Glass Walls.
The album is entitled Pure Mind, and is the band’s third release, following their prior full length and 2016’s Heavy Paranoia EP. It will be released on September 15 via Buzz Records and Pleasence Records.
The album sees the band, under the guidance of producers Josh Korody of Beliefs and Graham Walsh of Holy Fuck, exploring a cleaner and more open sound than on previous releases, and incorporating new elements into their songs. As le Riche tells GoldFlakePaint, who premiered the track this week:
“I was listening to a lot of 60’s psych music and wanted to have a song with a chorus that felt reminiscent to that. I got really into the big, drawn out harmonies and the crawling basslines. The crescendo ending came while we were messing around playing the song and Simone flipped the beat around and created a whole new feel. As for a meaning, in the past I’ve always written about what a song means to me or what it’s about, but these things always change with time, and so although I know what the song means to me now, I have no idea how it’ll grow and change with me, so I’ll just let it sit, and be what it wants to be.”
The album is Kedr’s escape from reality. She was born into a shifting and critical time for Russia’s Soviet Union – old values had been exhausted and were anathematized because of reconstruction. A sense of displacement drove Kedr to find herself. ‘Ariadna’ repeatedly explores the imagery and ideas of romanticism, mythical and fairytale themes.
Kedr also channels the places in her neighborhood on the outskirts of Moscow (affectionately dubbed by her as “BORDER MOSCOW”). There’s a river there where identical Soviet high-rises stand on both sides, with a bridge and garbage processing plant adjacent. Where nature and industry meet. The whole scene looks very apocalyptic, but also mystical and mysterious, especially at twilight.
Her inspiration for this record comes from the Izhevsk (sometimes referred to as “the capital of Russian electronic music”) sound of the 80s, including groups like Stuk Bambuka V XI Chasov (Bamboo Crash at 11AM) and Samtsy Dronta. The movement in Russian experimental music is especially inspiring, with acts likes Valery Chkalov, Sergey Kuryokhin and Pop Mechanica; in general, the late-Soviet period was very inspiring with all its figures in music, cinema, their energy and their approach towards life and art.