Earlier this summer, Bicep – the Belfast-born, London-based duo of Matt McBriar and Andy Ferguson – announced their eponymous debut album would be released September 1 on Ninja Tune. Since announce, the prolific duo have shared Aura, a propulsive club track and Glue, a cut which embodies the raw energy of UK rave culture and could have emerged from the studio of Orbital or The Future Sound Of London at their trailblazing best.
Today, they share the album’s third and final single, Vale, a sprawling and atmospheric house cut, beautifully illustrating the album’s sentimentality.
The duo also look forward to playing taking their epic live show to New York & Los Angeles this October, as well as a string of European tour dates, including curating a Feel My Bicep line up at The Warehouse Project in Manchester and Pitchfork’s Paris festival this autumn.
ZOMBY’s ability to effortlessly shift aesthetics across his career has firmly stationed him as a producer that can’t be boxed, and “GASP!” sees him altering his often jungle-driven sound yet again, furthering him as a sonic chameleon among an ever-increasing landscape of musical similitude.
In his signature spirit of cryptic variety, “GASP!” explores another tectonic revision in ZOMBY’s style. Utilizing analog equipment that was recorded live to a digital surface, he says, “I was tired of too much digitisation and over-saturation; this is a work that represents a shift forward for me”. A shift forward indeed, the compact, 3-track EP is a relentless, hardware-driven behemoth of beats and breaks that fit somewhere between a chugging steel factory and a darkened dancefloor.
With only two weeks to go until of the release of their debut album Lovers, Anna of the North today unveil new single Fire, a track which sees the Norwegian-Kiwi duo at their most ambitious yet. It’s driving electronics and impassioned vocals combine to create what is arguably their biggest pop moment yet and a track which will deservedly act as the focus as the album drops.
Of the track, the band say:
“It was the last track written for the record and we really wanted it to be something special. Listening back, I think you can sense that every bit of feeling we had left in us was poured into this one. We were completely spent at the end of the long journey of making the record, but that heightens the emotion of the performance; deepening the desperation of the story. ‘Fire’ is about the destructive things we always do to each other at the end of relationships.”
Gearing up to release his new album Wallflower on September 22 via Ninja Tune, Jordan Rakei unveils a brand new remix by British producer Ross From Friends (Magicwire, Lobster Theremin, Distant Hawaii) alongside a killer acoustic version of new single Nerve.
On the heels of their recent performances at Panorama and Lollapalooza, Cloud Nothings are back today to share a new video for Life Without Sound highlight Up to the Surface as they prepare for their North American tour with Japandroids this fall. The video marks a tonal shift from what fans have come to expect from a Cloud Nothings video as the band enlisted multimedia artist AUJIK to create the clip.
Speaking about the decision to commission AUJIK for the video, Cloud Nothings’ Dylan Baldi said, “I really liked AUJIK’s previous work (especially the Spatial Bodies videos he has on his Vimeo), so got in touch and asked him to make something along those lines for ‘Up to the Surface.’ He agreed way more heartily than I thought he would and decided to make a sort of continuation of that Spatial Bodies series, but this time with more focus on the hobbies of little blocky computer people. I think they’re cute, even though they inhabit some kind of desolate future void world.”
Fitting for AUJIK’s imagined world, the video was debuted by Nerdist. Speaking of the clip, AUJIK says: “The video depicts a brutalist version of Kyoto and its suburbs from the perspective of a Japanese giant hornet. It sweeps through convenience stores, classrooms, Shinto temples, zen gardens and humongous brutalist structures; witnessing all sorts of human behaviours before it reach its hive.
“It’s a comment on the absurdity of modern life seen in a future nostalgic context., influenced by South Korean brutalist architect Lee Guō and Italian futurist Antonio Sant’Elia.”
Life Without Sound is out now on Wichita Recordings.
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.
The album, presented as one continuous stream of nine interlocked tracks, shows Lindstrøm refining his love of arpeggiated synths, relentless uplifting beats, warm and steamy analogue bubble baths and ear-worm melodies. In conjunction with today’s album announcement, he shares the shimmery electronic pop of lead single Shinin featuring Grace Hall. It’s one of three songs on the album with guest vocalists; the others feature Jenny Hval and Frida Sundemo.
Based in Oslo, Lindstrøm has always made a virtue of his obsessive work ethic, turning his city centre studio into a factory floor for churning out monster tracks, then punching out regularly and going home to his family.
He’s collaborated with the likes of Todd Terje, Prins Thomas, and Todd Rundgren, remixed a slew of acts, including LCD Soundsystem, Lana Del Ray, Haim, Grizzly Bear, Flume, RAC, London Grammar, and more. On It’s Alright Between Us As It Is, he aggregates all the best elements of his long and varied career and newly reveals himself to be a commanding mood sculptor.