Video: Porches – Find Me

The House, the third full-length album from New York-based musician Porches (a.k.a Aaron Maine), will arrive on January 19 via Domino Records. The 14-song affair features contributions from (Sandy) Alex G, Dev Hynes, Okay Kaya, Maya Laner (True Blue), Bryndon Cook (Starchild & The New Romantic), Cameron Wisch (Cende), and Maine’s own father Peter Maine.

The House was written and recorded over an 18-month stretch, immediately following the completion of Porches’ breakthrough record Pool. Taking a diary-like approach, Aaron documents a period of time through the 14 gorgeous songs on this record.

Says Aaron Maine, on The House: “The House is a diary. The House began immediately with a sense of urgency. A different kind of urgency than I had experienced previously when writing songs. I wasn’t sure exactly what this meant while it was happening, but it felt necessary to embrace it.

The songwriting became an exercise in documenting my immediate experiences, which writing has always been for me to a certain extent, but something particular was compelling me to try to portray these moments in a more linear way. Writing this record was a form of meditation, an escape, a routine – selfish at times, as it became an excuse to avoid my immediate surroundings.

Half the time, I still won’t understand what was going on in my head when I listen to a song I wrote – even months later – but things seemed to be changing fast, and writing these kind of vignettes was soothing to me, a way to kind of slow down time. I don’t think I was necessarily working through anything during the process of writing, if anything maybe avoiding that, but the album has become something different to me in hindsight: a way to look back at a time in my life and see my guts at play. To try and understand what was going through my head as I slid these songs out is an interesting experience, sometimes exciting, sometimes embarrassing, sometimes heartbreaking, sometimes still totally confusing. I am happy to have these 14 songs in one place to look back on and stumble through and hopefully learn something from, and I am excited to share them with you.”

Today, Porches shares the album’s second single Find Me, an icy track with lyrics touching on anxiety, escape and isolation. Watch the video, co-directed by Maine and Nick Harwood, up top.

Fans were offered a glimpse into The House recently, with the release of Country – a melancholic, tender ballad showcasing Maine’s confident songwriting. The accompanying video, shot in upstate New York and co-directed again by Maine & Harwood, can be viewed here.

Sleigh Bells – Rainmaker

Sleigh Bells – the Brooklyn, NY-based duo comprised of vocalist Alexis Krauss and producer/guitarist Derek Miller – have today shared new track Rainmaker, the second single from their forthcoming mini-LP Kid Kruschev due out November 10 on the band’s own Torn Clean label.

Following on the heels of the dark, meditative And Saints, Rainmaker marks a return to the band’s block-party influences, mixing a subtly eq’d sampling of the classic The Soul Searchers “Ashley’s Roachclip” breakbeat (made famous in Eric B & Rakim’s “Paid In Full”), with layers of gritty head-rush instrumental immersion, careening guitars, pep rally stomps and Krauss’s urgent, crystalline vocals to glorious effect.

Says Miller about the song: “Some of you might recognize the main synth/chord progression of ‘Rainmaker’ from the trailer we made for Reign of Terror back in 2011. I’ve always loved those chords…only took me six years to find the right spot for them. I’ve also been dying to sample the Soul Searchers ‘Ashley’s Roachclip’ break, which is up there with Funky Drummer in my humble opinion (Miss you, Clyde). I think the two speak to each other, puts me in a good place. And of course I really, really love Alexis’s vocal which sounds desperate in the best way.”

Kid Kruschev is out November 10 via Lucky Number across Europe and the band’s own label, Torn Clean, in the US.

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.”