Julien Baker will release her highly anticipated second album,’Turn Out The Lights’ on October 27th, 2017. An early preview can now be heard in the first single “Appointments”, a viscerally moving track that culminates in a swell of Baker’s voice, guitar, and piano. ‘Turn Out The Lights’ will arrive nearly two years to the day after her debut LP, ‘Sprained Ankle’ (originally released by 6131) and is now available for pre-order HERE.
Recorded at the legendary Ardent Studios in Baker’s hometown of Memphis, TN, ‘Turn Out The Lights’ expands upon the sound and vision of Sprained Ankle while retaining the haunting, confessional songwriting style for which she has become known. Throughout the album, she reflects on experiences of her own and those closest to her, exploring the internal conflicts that wrestle inside us all: how we deal and cope with our struggles, and how it all impacts both ourselves and our relationships of all kinds. The result is a deeply empathetic album that embraces the grays and complex truths of humanity and mental health. Turn Out The Lights was written and produced by Baker, and mixed by Craig Silvey (The National, Arcade Fire, Florence & the Machine).
3. Turn Out the Lights
5. Sour Breath
7. Everything That Helps You Sleep
8. Happy to Be Here
9. Hurt Less
11. Claws In Your Back
10/12 – Atlanta, GA – Masquerade +
10/13 – Saxapahaw, NC – Haw River Ballroom +
10/14 – Asheville, NC – The Grey Eagle +
10/15 – Charlottesville, VA – Jefferson Theater +
10/17 – Washington, DC – 9:30 Club +
10/18 – Millvale, PA – Mr. Smalls Theatre +
10/20 – Madison, WI – Majestic Theatre +
10/25 – Montreal, QC – Theatre Fairmount +
10/27 – New York, NY – Town Hall +
10/28 – Somerville, MA – Somerville Theatre +
10/29 – Philadelphia, PA – Union Transfer +
11/03 – The Hague, NL – Crossing Border Festival
11/04 – Utrecht, NL – Ekko
11/06 – Bristol, UK – The Lantern
11/07 – Leeds, UK – Brudenell Social Club
11/08 – Glasgow, UK – CCA
11/09 – Dublin, IE – Whelans
11/10 – London, UK – Union Chapel *SOLD OUT*
11/12 – Brussels, BE – Autumn Falls
11/14 – Berlin, DE – Heimathafen Neukolln
11/15 – Hamburg, DE – Uebel & Gefahrlich
11/16 – Düsseldorf, DE – New Fall Festival
11/17 – Madrid, ES – El Sol
11/18 – Braga, PT – Theatro Circo
11/19 – Barcelona, ES – La De Apolo
11/29 – Knoxville, TN – Bijou Theatre
11/30 – Nashville, TN – Marathon Music Works
12/01 – Memphis, TN – 1884 Lounge
12/02 – St. Louis, MO – Delmar Hall +
12/04 – Boulder, CO – Fox Theatre +
12/07 – Spokane, WA – The Bartlett +
12/08 – Seattle, WA – Neptune Theatre +
12/09 – Vancouver, BC – Rickshaw Theatre +
12/10 – Portland, OR – Aladdin Theater +
12/12 – San Francisco, CA – The Fillmore +
12/14 – Los Angeles, CA – Palace Theatre +
12/15 – San Diego, CA – The Irenic +
12/16 – Phoenix, AZ – The Crescent Ballroom +
12/18 – Austin, TX – Emo’s +
12/19 – Houston, TX – The Heights Theater +
12/20 – Dallas, TX – The Kessler Theater +
* supporting Belle & Sebastian
# supporting Ben Folds
+ Half Waif supports
Julien Baker online:
QUEENS OF THE STONE AGE – “THE WAY YOU USED TO DO” VIDEO
ALL HELLZAPOPPIN’ BREAKS LOOSE IN SATANIC DANCE PRODUCTION
WRITTEN BY JOSHUA HOMME & DIRECTED BY JONAS AKERLUND
AVAILABLE EXCLUSIVELY AT APPLE MUSIC
“Dancing and headbanging are truly individualistic expressions of losing oneself fully in appreciation of music—who better to combine these things into a singular vision than someone who’s directed Madonna and Lady Gaga videos–and also happens to have been a member of Bathory?”—Joshua Homme
“The Way You Used To Do,” the recently released first single from Queens Of The Stone Age’s ominously approaching seventh album ‘Villains’, has been realized as a fever dream Satanic dance ritual extravaganza—featuring QOTSA founder and frontman Joshua Homme lighter on his feet and darker in his soul than ever before.
Conceived by Homme, directed by Jonas Akerlund and produced by Serial Pictures, “The Way You Used To Do,” somehow fit its multiple sets, wardrobe changes and intricate dance routines into one day of shooting August 8th in Los Angeles. Considering potential reactions to the sinister shuffle of “The Way We Used To Do” being translated into a panoramic soul-selling dance trip, Homme says “It’s our way of paying tribute to Cab Calloway and the film Hellzapoppin’. I fully realize that may be a little more than some are open to, and that’s perfectly fine with me. There’s the door. If some of the more close-minded are gently pruned, that just leaves more room on the dance floor for the open-minded ones to get loose. That’s been the spirit of Queens Of The Stone Age and the space we’ve worked to create from day one.”
‘Villains’ is co-produced by Mark Ronson and will be released worldwide on August 25th.
“The title Villains isn’t a political statement. It has nothing to do with Trump or any of that shit. It’s simply 1) a word that looks fantastic and 2) a comment on the three versions of every scenario: yours, mine and what actually happened… Everyone needs someone or something to rail against—their villain—same as it ever was. You can’t control that. The only thing you can really control is when you let go.”—Joshua Homme
Hundreds of epic shows, memory lapses, unexplained injuries, one yearlong detour with Iggy Pop and multiple Grammy nominations later, Queens Of The Stone Age reemerge from the desert newly scarred and somehow strangely prettier with lucky seventh album, ‘Villains’, out August 25 on Matador Records. Now available for preorder on deluxe vinyl, standard vinyl, CD and digital, ‘Villains’ consists of the following songs:
1. Feet Don’t Fail Me
2. The Way You Used To Do
3. Domesticated Animals
5. Head Like A Haunted House
6. Un-Reborn Again
8. The Evil Has Landed
9. Villains Of Circumstance
Produced by Mark Ronson and co-produced by Mark Rankin and mixed by Alan Moulder, ‘Villains’ is the first full album offering from Queens Of The Stone Age since 2013’s ‘…Like Clockwork’ gave the band its first #1 album in the U.S. (and #1s in Australia, Belgium, Ireland, Portugal, Scotland, #2s in the UK, Canada, Switzerland, Norway, New Zealand, Finland… but really, who’s counting?). Like the stunning artwork of returning illustrator Boneface, the sonic signatures of the lineup that took ‘…Like Clockwork’ around the world and back—Founder/guitarist/vocalist/lyricist Joshua Homme, Troy Van Leeuwen (guitar, keys), Michael Shuman (bass), Dean Fertita (keys, guitar), Jon Theodore (drums)—are as unmistakable as ever, though coexisting with sufficient new twists to induce recurring double takes. As Homme himself puts it, “The most important aspect of making this record was redefining our sound, asking and answering the question ‘what do we sound like now?’ If you can’t make a great first record, you should just stop—but if you can make a great record but you keep making records and your sound doesn’t evolve, you become a parody of that original sound.”
Of his role working within such a closed and confident ecosystem as Queens Of The Stone Age, Ronson says, “Queens are and have always been my favorite rock n roll band ever since I walked into Tower on Sunset and bought ‘Rated R’ in the summer of 2000, so it was incredibly surreal to be welcomed into their secret, pirate clan—or the ‘jacuzzi’ as Josh likes to call it. I also knew that my super fandom alone would not keep me in the jacuzzi. There were moments during the making of the album in which i was aware i was watching my musical heroes craft something that was sure to become one of my favorite moments on any Queens album. And to have some part in that felt like being in a dream–a very heavy, dark, wonderful dream.”
Longtime Queens cohort co-producer Mark Rankin added, “After the baptism of fire that was …Like Clockwork, I was excited to get into the studio again with the challenge of pushing the sound for this record, especially with the the addition of Ronson into the creative mix. We wanted to evolve the production to be processed in a modern way yet be totally organic and still performed fully live, like lifting a veil and what you thought was electronic is actually live and things are not as they first appear… What we’ve made is forward looking yet unmistakably Queens.”
Queens Of The Stone Age have also confirmed a slew of North American dates filling in the space between and beyond their previously announced appearances at Outside Lands and Riot Fest. The new shows, which include Queens’ first ever Madison Square Garden headline, are detailed below. For further information, keep an eye on Queens Of The Stone Age sites and socials and just let go.
TOUR DATES (new dates in bold, Tickets On Sale To The Public June 22)
Thursday, June 22 – Rapids Theater — Niagara Falls, NY SOLD OUT
Saturday, June 24 – Amnesia Rockfest 2017 — Montebello, QC
Thursday, July 13 – Logan Campbell, Auckland, New Zealand SOLD OUT
Sunday, July 16 – Convention Centre, Darwin, Australia
Wednesday, July 19 – Hodern Pavilion, Sydney NSW, Australia SOLD OUT
Thursday, July 20 – Festival Hall, Melbourne, Australia SOLD OUT
Saturday, July 22, Splendour In The Grass, Tenindewa, Australia SOLD OUT
Friday, July 28 – Fuji Rock Festival, Kinsasa, Japan Thursday, August 10 – Ventura Theatre, Ventura CA
Saturday, August 12 – Outside Lands, San Francisco, CA Wednesday, September 6 – Capitol Theatre, Port Chester NY Thursday, September 7 – Festival Pier, Philadelphia PA Saturday, September 9 – Moison Amphitheatre (Budweiser Stage), Toronto ON Sunday, September 10 – 20 Monroe Live, Grand Rapids MI Tuesday, September 12 – Express Live! Outdoor Pavilion, Columbus OH Wednesday, September 13 – Stage AE (Outdoors), Pittsburgh PA Friday, September 15 – Agora Theatre, Cleveland OH
Saturday, September 16 – Riot Fest, Chicago IL Monday, October 9 – The Complex, Salt Lake City UT Tuesday, October 10 – Red Rocks Amphitheatre, Morrison CO Thursday, October 12 – Peabody, St. Louis MO Friday, October 13 – Crossroads KC, Kansas City MO Saturday, October 14 – Roy Wilkins Auditorium, Saint Paul MN Sunday, October 15 – Eagles Ballroom, Milwaukee WI Tuesday, October 17 – Fox Theatre, Detroit MI Wednesday, October 18 – Old Theatre Centre – Murat Theatre, Indianapolis IN Saturday, October 21 – Agganis Arena, Boston MA Sunday, October 22 – State Theatre, Portland ME Tuesday, October 24, Madison Square Garden, New York NY Saturday, November 4th – Unipol Arena, Bologna, Italy Sunday, November 5th – Stadthalle, Vienna, Austria Monday, November 6th – Samsung Hall, Zurich, Switzerland Tuesday, November 7th – AccorHotels Arena, Paris, France Thursday, November 9th – König-Pilsener-Arena, Oberhausen, Germany Friday, November 10th – Zenith, Munich, Germany Saturday November 11th – Velodrom, Berlin, Germany Sunday, November 12th – Ziggo Dome, Amsterdam, Netherlands Tuesday, November 14th – TAP1, Copenhagen, Denmark Wednesday, November 15th – Sporthalle, Hamburg, Germany Thursday, November 16th – Sportspaleis, Antwerp, Belgium Sunday, November 19th – Manchester Arena, Manchester, UK Tuesday, November 21st – The 02, London, UK Thursday, November 23rd – Usher Hall, Edinburgh, UK Friday, November 24th – 3Arena, Dublin, Ireland
Customers ordering any format off the Matador store are entitled to Jump The Q when ordering tickets for the upcoming tour, visit http://presale.qotsa.com for info and access (by participating in this promotion, entrants hereby agree to the collection and usage of their personal information to enable Matador and Ticketmaster to fulfill this promotion)
All Matador Store customers will receive an exclusive sticker sheet, featuring artwork designed by Boneface.
Pre-order the deluxe LP edition from Matador for the chance to find a golden ticket awarding you a pair of tickets to the headline show of your choice.” (Entries also accepted by mailing a letter to QOTSA Tickets c/o Matador Records, 134 Grand St. New York, NY 10013)
Deluxe LP comes pressed on heavyweight 180 gram vinyl at Pallas and includes 14 limited-edition Boneface art prints and an etching on side 4 of the vinyl and includes an MP3 and FLAC download coupon.
Standard and Indie Retail Edition LP’s (the latter sleeve above) are pressed on 140 gram vinyl with an etching on side 4 of the vinyl and includes an MP3 and FLAC download coupon. The Indie LP will feature alternate cover art from the original.
(directed, produced and edited by Henry Busby and Marcus Tortorici)
Hot on the heels of NPR premiering the album’s title track earlier this morning, we’re very proud to announce the release of Algiers‘ long-awaited 2nd album, ‘The Underside Of Power’ (June 23). LP preorders (starting today) will include the limited edition “Walk Like A Panther” 7″ and 16 page ‘zine created by Algiers.
Produced by Adrian Utley (Portishead) and Ali Chant, mixed by Randall Dunn (Sunn O)))), with post-production by Ben Greenberg (Uniform, Hubble), ‘The Underside Of Power’ zooms across a musical landscape including but not limited to Southern rap to British grime to horror movie soundtracks to late-70s English industrial to Northern Soul. In the wake of our current political climate, Algiers cast a withering gaze on subject matter ranging from oppression, whiteness, police brutality, dystopia, and hegemonic power structures.
Now a four-piece, with the addition of Bloc Party’s Matt Tong on drums, the Atlanta-London-NYC band will bring their intense live show to major East and West Coast markets this summer, following an previously announced arena & stadium tour with Depeche Mode in Europe.
1. Walk Like A Panther
2. Cry Of The Martyrs
3. The Underside Of Power
4. Death March
5. A Murmur. A Sign.
6. Mme Rieux
9. Plague Years
10. A Hymn For An Average Man
11. Bury Me Standing
12. The Cycle/The Spiral: Time to Go Down Slowly
This is the musical response that dark times demand, one that not only shakes its fist but deploys it. Locally-informed global citizens, Algiers refuse to sit idly by while most contemporary artists appear perfectly content to sit out the revolution. Not only do Algiers harbor a purposeful sense of obligation in what they do on their latest resistance record The Underside Of Power, but they recognize the roots and thorns of precedent in said resistance.
“This album was recorded in a political environment that collapses the late 70s economic crisis and the looming onslaught of arch-conservative neoliberalism, via Thatcher and Reagan, into the late 1930s, a world riven by fascist nationalism and white power fantasies in the US and abroad,” says bassist Ryan Mahan. Their shared experiences and collective understanding of this rising tide of sinister politics compels them to make music together, to combat the potentially crippling waves of frustration and despair to let out a soulful roar, a call-to-action set to an eclectic, positively electric beat.
The inclination to do otherwise is one worth fighting. Take Algiers frontman Franklin James Fisher, for example. Writing incendiary and even beauteous lyrics from inside a Manhattan nightclub’s coat check room, enduring the same damn songs thumping away nightly in the next room for the pleasures of a predominantly white audience, he tends to see the bigger picture as well as its pointillistic details.
“This nightclub is every nightclub in the world, basically. Whatever is being played there, whatever is happening there is happening everywhere else in the world,” he says. “It’s as if the entire history of music is boiled down to these fifteen artists–and I use the term loosely,” he says with an exasperated, dismissive sneer. With the world burning outside, a generation’s obliviously privileged dances to a carbon copied soundtrack.
It speaks volumes that a black man in America with an expensive Master’s degree–and all its overwhelming personal debt–finds himself picking up shifts at such a place that literally manifests the culture industry’s exploitation and commodification of black experience. An aptly unjust fate, Fisher is confined to an enclosed space while others move their feet freely mere steps away from him. “You have to find ways of getting through it without completely losing your mind. Luckily I’m able to escape inside my own head.”
Fortunately, the multiracial quartet Algiers provides more than mere distraction, but rather a revelatory creative release and wholesale rejection of the globally normative corporate playlist culture. Poke at the seasoned members’ bruised flesh, and out come wafting touchpoints as disparate and intriguing as Big Black, Wendy Carlos, John Carpenter, Cybotron, The Four Tops, Portishead, Public Image Limited, Steve Reich, and Nina Simone, to name but a few. Deep echoes of Black Lives Matter and its 20th century forbears gather, surge, and subside in their often soulful work, a form of principled, acute dissent more interested in learning from the past than in evoking nostalgia.
And while many artists seem uninterested or even afraid to fully engage with these potent topics in song, Algiers has zero qualms about taking a direct approach. “We’re fortunate enough now where we’re able to openly talk about racist, violent police and murderous state structures,” says Mahan. “When we were growing up in the South, these critiques of class and race oppression were largely and sometimes violently suppressed. It’s why we take inspiration from the Panthers or the Chicano movement, to name two.”
Adding to this Casbah rocking mix of ideas is the relatively recent inclusion of drummer Matt Tong, formerly of Bloc Party. Joining the group for the touring cycle following their prior album, he’d spent time gelling with the original trio as a core component of their simply ferocious live sets to understand and help shape the dynamic. For a band that seems to revel and thrive in flux, Tong’s substantial role in the making of The Underside Of Power worked out well.
Beyond the technical necessities living their respective lives both in and outside of music, Algiers’ continued deviation from a more traditional band approach created a more versatile sound, one that better incorporates a collective and respective panoply of influences and styles.
Some of this is informed by their choice of collaborators in this process, a crew that includes Adrian Utley [Portishead], Ben Greenberg [Uniform, The Men], Randall Dunn [Sunn 0)))], among others. Pick any track off The Underside of Power and the reference points expand exponentially, a dizzying and thrilling Recommended-If-You-Like list that would consume a series of afternoons.
Featuring a fully-sanctioned sample of slain Black Panther Fred Hampton, the revolutionary “Walk Like A Panther” presents an alternate reality where Adrian Sherwood produced Yeezus instead of Rick Rubin, with Fisher bellowing justifiable threats over a storm of formidable sonics. “Death March” fuses post-punk primacy to the Italo-horror tradition, in an effort to mirror a looming and perpetual sense of modern dread. Elsewhere, the raucous “Cleveland” turns into a full-on demonstration, with names of victims of institutionally sanctioned racial violence like Sandra Bland and Tamir Rice invoked over a neck-snapping electro beat.
The dangerously poppy title track finds a glorious midpoint between Suicide and The Temptations, making for the catchiest expression of outrage this side of the ‘70s. A molotov cocktail of a single, that particular song represents a potential paradox for Algiers, the maintaining of a renegade righteousness in the midst of a peppy soul tune. “It’s more important than ever in this particular time, but it’s something we’ve never shied away from,” says Tesche.
The band doesn’t concern themselves with that risk. “No matter what your messaging is, you can’t control what people will or won’t take away from it,” says Mahan. “The only thing you can do is put stuff of substance out there.” – Gary Suarez
Before we getting into the goods (tour news), I’m here to remind you to tune into KCRW today at 11:15am PT to catch the band’s Apogee Session. The performance will be streaming WORLDWIDE at http://kcrw.co/2nbCW4o. UPDATE – view the session in full HERE.
Ok, back to the goods – a LARGE amount of new tour dates that will be on sale this Friday at 10am EST – minus Savannah. You can find all confirmed tour dates below.
Perfume Genius, nom de poster+wraith of musician Mike Hadreas, will release his fourth album, ‘No Shape’, May 5 on Matador Records. The album was recorded in Los Angeles, produced by Blake Mills, mixed by Shawn Everett.
The video for the first single, “Slip Away,” was directed by longtime Bjork collaborator Andrew Thomas Huang and is co-presented by The Fader, whose current Perfume Genius cover story is a peek into his mindset upon completing the album in January.
Perfume Genius’s 2014 breakout album ‘Too Bright’—called “awe-inspiring, magnificent” by NPR—marked a musical and performative leap that sounds unlike anything before or since. With his new songs, he goes even further, merging church music, makeout music, R&B, art pop, krautrock, and queer soul into his take on stadium anthems.
Of the album, Hadreas says: “I pay my rent. I’m approaching health. The things that are bothering me personally now are less clear, more confusing. I don’t think I really figured them out with these songs. There’s something freeing about how I don’t have it figured out. Unpacking little morsels, magnifying my discomfort, wading through buried harm, laughing at or digging in to the embarrassing drama of it all. I may never come out the other side but it’s invigorating to try and hopefully, ultimately helpful. I think a lot of them are about trying to be happy in the face of whatever bullshit I created for myself or how horrible everything and everyone is.”
In a bio for the album, writer Choire Sicha says, “God is all around actually and some of these songs are about being equal and some are about the witchcraft of believing. This is church music the same way Prince’s Black Album is — too dirty. It’s femme art pop the way Kate Bush’s The Dreaming is — too scary.”
Perhaps it would be unfair to call this the most poorly kept secret in recent memory, but it’s certainly in the top ten. On March 17, we’ll releasing the 9th and latest album from Spoon, ‘Hot Thoughts’ in all territories.
’Hot Thoughts’’ is the bravest, most sonically inventive work of Spoon’s career. With all due respect to earlier efforts that have made the quintet both critically acclaimed and a commercial contender, preconceptions about this band are about to be obliterated. That’s not to say ‘Hot Thoughts’ doesn’t have a requisite supply of infectious earworms but there’s a lyrical bent that’s as carnal as it’s crafty, and a newfound sense of sonic exploration that results in the genre-smasher Spoon have flirted with in the past but not fully consummated.
Co-produced by Spoon and Dave Fridmann and reunited with Matador (third time’s the charm), with the crackling, incandescent, multi-dimensional backdrop conjured on ‘Hot Thoughts’, the lines between accessible and experimental become non-factors for once and all. It’s pop as high art, delivered with total confidence and focus.
Following a streak of three consecutive Top 10 albums—’Ga Ga Ga Ga Ga’ (Merge, 2007), ‘Transference’ (Merge, 2010) and ‘They Want My Soul’ (Loma Vista, 2014)–Hot ‘Thoughts’ is nothing short of a masterwork. Within the space of 10 songs, ‘Hot Thoughts’ creates a musical universe of its own, ranging from the kaleidoscopic opening/title track—available to stream here or as an instant download with all pre-orders –through the gargantuan stomp of “Do I Have To Talk You Into It” and ubiquitous wiry hooks of “Can I Sit Next To You” to the bittersweetness of “I Ain’t The One” and beyond.
Having recently previewed ‘Hot Thoughts’ material in a surprise hometown warm-up, Spoon has also confirmed a three-night release week SXSW residency for which the band will resurrect the original Austin venue Emo’s location, currently referred to as “The Main” on March 14, 15 and 16. Spoon will select a unique line up each night and will stubbornly be referring to the venue as “Eno’s”.
Details on the various vinyl formats can be found below.
1. Hot Thoughts
3. Do I Have To Talk You Into It
4. First Caress
5. Pink Up
6. Can I Sit Next To You
7. I Ain’t The One
8. Tear It Down
Green Vinyl version – Exclusive to Matador and Spoon web store orders only. Two Golden Ticket Green Vinyl versions are hidden within the purple pressing. The lucky recipient will win tickets to the nearest Spoon show upon redemption.
Limited edition Red vinyl, exclusive to all participating independent record stores :
– CD and Digital (mp3/Audiophile)
South By Southwest Residency at The Main a/k/a Eno’s:
Tuesday, March 14
Wednesday, March 15
Thursday, March 16
We’re very thrilled to announce the signing of Memphis, TN-based songwriter Julien Baker. The 21-year-old’s widely–acclaimed 2015 debut album, ‘Sprained Ankle’ (originally released by 6131) is available now digitally, with Matador’s LP and CD reissue available in all territories (save for North America and Australia) on March 17. We’ll be releasing Julien’s next studio album everywhere.
(7″ sleeve photo by Kaitlin Gladney)
As premiered earlier this morning via NPR’s “All Songs Considered”, you can hear the previously unreleased “Funeral Pyre”, the A-side for Baker’s new 7”, out on March 17th on Matador*. Only Baker can make a song with such a darkly macabre title so heartbreakingly gorgeous, with her signature hushed-yet-lofty vocals soaring over a quietly finger-picked melody that crescendos into layered, almost-orchestral beauty. The B-side, “Distant Solar System,” is another unheard song from the ‘Sprained Ankle’ sessions.
(* – said 7″ will be included in the international editions of the ‘Sprained Ankle’ LP ; however, the single will be available for stand-alone purchase in North America).
After extensive touring in 2015 and 2016, Baker shows no signs of slowing down in 2017. Midwestern US audiences can catch her on a short run of dates this winter, which are followed by a lengthy European tour in the spring. The full list of tour dates can be found below :
01/18 Milwaukee, WI @ Pabst Theater w/ Ben Gibbard
01/19 Chicago, IL @ Thalia Hall w/ Ben Gibbard
01/20 Chicago, IL @ Thalia Hall w/ Ben Gibbard
02/17 Davenport, IA @ GAS Feed & Seed Fest
02/18 Champaign, IL @ The Accord w/ Thunder Dreamer
04/22-04/23 N. Charleston, SC @ High Water Festival w/ Avett Brothers, The Shins, Shovels & Rope, Dawes, Lucius, Charles Bradley
05/24 Jena, DE @ Trafo
05/25 Berlin, DE @ Kantine am Berghain
05/28 Hamburg, DE @ Aalhaus
05/29 Munster, DE @ Pension Schmidt
05/30 Heidelberg, DE @ Karlstorbahnhof
05/31 Munich, DE @ Milla
06/05 London, UK @ Bush Hall
06/06 Manchester, UK @ Deaf Institute
06/09 Porto, PT @ Primavera Sound
06/10 Amsterdam, NL @ Paradiso
Body/Head, the duo of Kim Gordon (CKM, Sonic Youth, Free Kitten, etc.) and Bill Nace (X.O.4, Vampire Belt, Ceylon Mange, etc.) will be releasing their new record, ‘No Waves’, on November 11th. The live record documents a single show (Big Ears Festival in 2014 in Knoxville, TN) from a band renowned for clearing pathways of possibility using great waves of amplification and voice.
Body/Head’s debut release for Matador Records, ‘Coming Apart’, was arguably the heaviest record of 2013 and received with open arms and blown minds across the world. The fact that a record steeped so heavily in non-traditional structures and improvisation could touch so many people was not a surprise to anyone who had seen Body/Head in a live setting. No Waves captures that raw improvisation and harnesses the power into a listening experience of pure, unmediated intensity.
The fire of improvisation is not the fire of the elements. Body/Head deal in electricity, but they exist in the fire of improvisation. As such, they need to play live to sustain themselves. Call it the ontological necessity of a band working heavily with the flow of power (power flowing back and forth between the members of the band, flowing through band and audience, flowing through the mental and material planes, etc). ‘No Waves’, a document of this flow of power, offers a different side of the band they revealed on ‘Coming Apart’. Yes, some of the songs cross over in undefinable ways, but the live foundation of No Waves brings all new energies to the fore. Everything reveals itself in the now.
One of the pleasures of a live record is a chance for the listener to feel the music develop and unfold from a previously known departure point. This experience is magnified with Body/Head due to the improvisatory basis of the band, which encourages new sounds and modes of communication with every show. We hear new vocal melodies developing, new attacks on strings, new clusters of intervals. It is the sound of sound evolving. Listening to No Waves, one can’t help feel that despite the title of their previous record, ‘Coming Apart’, we’re actually hearing Kim and Bill become one. Guitars and vocals flow into each as if played by a single creature. The sound of their evolution causes audiomorphic sensations. Two guitars or eight? Four hands or one? One voice or two?
The live record also plays with orientation via it’s concentration on communication. Which way are you listening to it? Listen once and hear certain forms. Listen to the same part again and you may perceive new forms, like overhearing a game of telephone. With ‘No Waves’, Body/Head adds a document to the library of classic live records that never exhaust themselves no matter how many times they are listened to. Musicians and groups such as Albert Ayler, High Rise, Van Morrison, Rudolph Grey, Bill Evens, Swans, etc. knew the unique possibilities of a live record that invites participation from the listener. It’s the beauty of a path cleared at the moment it was recorded and for every moment to come. It’s Body/Head doing what they do best – making the listener smile as they participate with the band in joyous, creative time. The Élan vital never rocked so hard. – Ben Chasny
PREORDER ‘No Waves’ from Matador and other beloved physical/digital outlets. Orders via Kung Fu feature a t-shirt/LP or CD bundle.
Thursday, November 10 – Ottobar, Baltimore MD
We were so inspired by Radiohead and Beyoncé’s recent success with surprise albums outta-the-blue that we decided to do the REVERSE with Car Seat Headrest’s hotly anticipated ‘Teens Of Denial’ ; instead, we’re pulling the LP and CD versions from circulation on the eve of the album’s release.
OK, sorry, that’s actually not what’s going on. The real story is a little more complicated. We’d love to blame it on someone else, but for once, we can’t. Please read Will Toledo’s comments below. Thanks – Gerard)
=/\=/\=TEENS OF DENIAL MAJOR ANNOUNCEMENT=\/=\/=
Life happens and sometimes not in ideal ways. If you’ve heard anything about the new album, then you’re probably aware that one of its songs made use of The Cars song “Just What I Needed”. Now, obviously, when we called the record ‘done’ and sent it off to be printed, we were working in full confidence that we had the legal side of it all worked out. We found out last week that this was not the case. I’m not going to get into the nitty-gritty of email chains and invested parties; suffice it to say that Matador (and I) were neither pulling a Banksy nor operating in ignorance of the law, but that we truly believed we had the issue resolved months ago, until last week.
As you may have heard, vinyl is being pulled from stores right now. There’s a total recall out, and all copies with the original version of the song will be destroyed. Nevertheless, Teens of Denial WILL COME OUT ON MAY 20TH, at least digitally. I spent the last 48 hours working on an alternate cut of the track, which is now called “Not What I Needed”. It’s not merely an edit – it is its own thing, about half a minute longer than the original track, and goes in a much different direction. Honestly, despite the apparent clusterfuck, I had fun doing it, and I think it’s a stronger song now. In any case I’ve grown up accustomed to working on an album right up to its drop date, so this is not a freak-out scenario for me. The album is going to come out on time and it’s going to be good.
The physical release will not come out on time, obviously. We’ll likely see a street date of sometime in July. I’m very sorry to everyone who was anticipating a preorder (it does sound GREAT on vinyl). It will be in your hands eventually. But it was very important to me that we keep the digital release for May. We’ve all been waiting long enough. Most of my music only exists online anyways, so it makes sense that this album should start the same way.
Thanks for your continued support, and I am very excited for this fucking record to come out already.
Official Statement from Matador Records :
The release date for the Car Seat Headrest album “Teens Of Denial” has been pushed back from May 20 to later in the summer due to a recall of physical product, so that a song containing elements of a composition by Ric Ocasek could be removed and replaced. Matador had negotiated for al icense in good faith months ago, only to be told last week that the publisher involved was not authorized to complete the license in the United States, and that Ric Ocasek preferred that his work not be included in the song. Matador regrets that it was not informed of this much earlier, and has made changes to respect Mr. Ocasek’s wishes.
We’re thrilled to announce the release of a new album from guitarist/songwriter Steve Gunn, ‘Eyes On The Lines’, coming June 3rd, worldwide. . Gunn’s music has always embraced expanse and movement, springing from the simple and profound relationship between humans and their environment. ‘Eyes On The Lines’, the follow-up to Gunn’s pastoral and highly acclaimed ‘Way Out Weather’, is his most explicit ode to the blissful uncertainty of adventure yet.
Accompanied by a full band — Nathan Bowles (drums, banjo, organ), Hans Chew (wurlitzer), James Elkington (guitar, lap steel, dobro), Mary Lattimore (harp), Jason Meagher (bass, guitar, flute), Paul Sukeena, Justin Tripp (bass, keyboards), John Truscinski (drums), and (electric, guitar) –– ‘Eyes On The Lines’ presents Gunn embracing his urban surroundings through a series of songs that showcase his extraordinary ability to match inventive hooks to deftly constructed melodies full of personality.
Throughout ‘Eyes On The Lines’, Gunn is more narrator than diarist as he pours real-life moments and real-life people into vibrant and evocative tales. Take debut single, “Conditions Wild,” for example. Directly inspired by Rebecca Solnit’s A Field Guide to Getting Lost, Gunn rambles through strange clouds of roving — interlocking strings, percussion, and vocals join in an irrepressible rush. It’s accompanying, highly-stylized video, directed by Brandon Herman, phenomenally captures the notion of finding comfort in getting lost and embracing the unknown, an important concept to Gunn in his songwriting and playing, and the creation of ‘Eyes On The Lines’ as a whole.
Steve Gunn will be touring extensively all over Europe and North America this year. All confirmed dates are below.
1. Ancient Jules
2. Full Moon Tide
3. The Drop
4. Conditions Wild
5. Nature Driver
6. Heavy Sails
7. Night Wander
8. Park Bench Smile
Algiers have announced a run of East Coast tour dates that will be accompanied by screenings of the sixth installment of Brendan Canty (Fugazi) and Christoph Green’s Burn To Shine film series. After being delayed for nearly a decade, Burn To Shine 6: Atlanta will premiere on April 9th at The EARL in Atlanta, with performances by Algiers and Moon Diagrams (Moses Archuleta of Deerhunter).
The filmmakers and Algiers will then take the screenings up the East Coast (the latter’s full list of tour dates below includes Coachella and Panorama Festival), with the film available at burntoshineatlanta.com following the April 13th screening in NYC
Producer Brendan Canty and Director Christoph Green filmed 6 editions of Burn To Shine with their roving crew of shooters and audio geeks between 2004 and 2007, which included the likes of Wilco, Sleater-Kinney, Shellac, The Shins, Eddie Vedder, Tortoise, Will Oldham, Ted Leo, and many more.
Burn To Shine 6: Atlanta full line-up includes performances by Shannon Wright, The Selmanaires, The Liverhearts, Deerhunter, the Carbonas, The Black Lips, The Mighty Hannibal, Delia Gartrell, The Coathangers, All Night Drug Prowling Wolves, Mastadon, and Snowden.
After being delayed for nearly a decade, this Atlanta installment, curated by Lee Tesche of Algiers, holds vitality like no other, showing a music scene and city in transition, where generations past collide with major bands on the rise, capturing artists at the height of their powers, a few local legends who have since disappeared, and others that have gone on to much wider success.
Algiers Tour Dates & Screenings:
April 9 – Atlanta, GA – The EARL – Burn To Shine screening premiere – w/ Moon Diagrams (Moses Archuleta from Deerhunter)
April 11 – Carrboro, NC – Cat’s Cradle – Burn To Shine screening
April 12 – Washington, DC – Black Cat – Burn To Shine screening – w/ Sunwolf (members of Fugazi, French Toast, Felt Letters)
April 13 – New York, NY – Le Poisson Rouge – Burn To Shine screening – w/ Savak (members of Obits, Edsel, The Make-Up, NOU)
April 16 & 23 – Indio, CA – Coachella Music Festival
July 22 – New York, NY – Panorama Festival
order ‘Algiers’ direct from the Matador Store* on LP, CD or from one of the digital outlets below :
On March 18, Matador will be releasing the long-awaited debut album from London trio HÆLOS, ‘Full Circle’. Preorder details can be found below.
Every generation has their own version of the blues, music that captures a sense of melancholia and provides a sonic reflecting pool for young lovers, old souls, and the eternally heartbroken. For their darkly shaded and radiant debut album Full Circle, HAELOS have found their blues where others go to find pure, uncut joy: the dancefloor.
The London trio’s version of a night out is a million miles away from mirror balls and sweaty bodies, their rippling electronic pop conjuring the exhilarating privacy of a cavernous club’s dark pockets and the introspective comedowns that accompany rainy 5 a.m. cab rides. “It’s the music you put on after the club,” Lotti Benardout, who shares vocal duties with her other bandmates, states. “You can still feel that energy and euphoria, but it might bring you back to reflect on certain moments or memories.”
The three bandmates decided to collaborate having been working on separate projects. Arthur Delaney and Dom Goldsmith had been working on material under the working title of HÆLOS; Lotti had been writing with Dom who was producing an EP for her at the time. The nocturnal, throbbing “Dust” was the first finished work to come from the trio’s newly formed union; over the course of the following year, the rest of Full Circle’s shadowy sounds came together. “When you don’t know people that well, you can look back at things and retell your story,” Benardout speaks on HAELOS’ ability to mature from relative strangers into a cohesive musical unit. “It’s new again. There’s something quite cathartic about it.”
Catharsis is, indeed, the name of Full Circle’s game, an embodiment of a sound that has been referred to as “dark euphoria”. Throughout the album, HÆLOS reconstruct the firmament of dance sounds past and present to construct an exquisitely elegiac mood that retains a sense of presence as it conveys the pain of emotional distance. Every moment of uneasy reflection is matched by quiet explosions—Delaney’s forceful shouts over yo-yo synths on Full Circle’s title track, Benardout’s layered pleas over Goldsmith’s cascading drum breaks on “Pray,” and the soaring “Separate Lives,” which hollows out drum’n’bass’ propulsive patter to form an atmosphere that’s as gently disruptive as it is emotionally nourishing. Throughout the album’s loudest and most peaceful moments alike, Full Circle retains a pristine intimacy thanks to Goldsmith’s keen ear for behind-the-boards magic; his touch gives the album a hermetic feel that stays with you long after it ends.
We’re living in a time where the struggle to make human connections is hampered by our inability to unplug, and so Full Circle is a glorious, gorgeous contradiction of sorts: emotional pop that perfectly captures ageless emotional conundrums, featuring music that could only be made in the present day. “We all have a shared human experience,” opines Delaney, HAELOS’ main lyrical contributor. “As much as we try to run away from feelings with all the distractions around us, they always follow us around. They’re a constant thing that unites us all.” And so Full Circle is the sound of three individuals finding common ground, for themselves and for anyone who’s ever believed that it’s impossible to move your body without listening to your own heart.
04. Full Circle
05. Earth Not Above
08. Separate Lives
10. Cloud Nine
News flash for our friends beyond North America : Spoon’s classic ‘Gimme Fiction’ celebrates its 10th anniversary with a deluxe limited-edition version on 180g double-LP, double-CD, released on Matador in early 2016 (Merge‘s domestic version will be available on December 11, as will Matador’s digital download version). The reissue (released by Merge in 2005 and licensed/simultaneously released by Matador for territories outside of North America) contains the original album newly-remastered by Howie Weinberg from the original tapes, a second disc with 12 previously unreleased demos from the era, a digital download of nine additional bonus tracks, and a full-color book containing photos and an extensive oral history of the making of the album by The A.V. Club’s Sean O’Neal. The deluxe LP package will also include a 24″ x 36″ poster and a digital download of all songs.
(photo by Tom Hines)
‘Gimme Fiction’ dragged the sonic pointillism of Kill the Moonlight further into dub-influenced weirdness as the increasingly confident Spoon went crazy in the studio, experimenting with everything from warped hip-hop samples to horse whinnies. Whatever digging or strange alchemy had to go into it, they only produced more gold.
‘Gimme Fiction’ deserves special recognition as the album where Spoon took creative and stylistic quantum leaps that resulted in classics “I Turn My Camera On,” “The Beast And Dragon Adored,” “My Mathematical Mind,” “I Summon You” and so many more. 10 years later, ‘Gimme Fiction’ gets the deluxe vinyl release it so richly deserves.
Listen to and share the demo version of “Was It You?” and experience the oral history of ‘Gimme Fiction’ via the band’s Tumblr, which includes videos, excerpts, and images from the album’s creation and campaign.
HÆLOS — the London-based trio of Arthur Delaney (vocals), Dom Goldsmith (vocals, production) and Lotti Benardout (vocals) – are sharing new single “Pray” via Part II of their video trilogy. Together, with the new video for “Dust,” HÆLOS’ intriguing inaugural song, and the previously released video for “Earth Not Above,” this completes the band’s visual triptych. It’s a rare glimpse into the HÆLOS psyche as the band explores the modern big city life with the rituals and coping strategies that occupy the early hours.
Presenting a further taste of what’s to come from HÆLOS in 2016, “Pray” sees the enigmatic trio once again treading the fine line between darkness and euphoria as intensifying drum loops and cinematic strings form a backdrop for Lotti’s haunting and impassioned vocals. “Pray” and “Dust” are available to stream now and will be available as a limited edition 12” white label on December 4th on Matador.
“We’ve observed our audience all around the world and noticed that something is happening. People want to be pushed to do good, or to be good, or just to feel good. We wanted a very intense video, that felt like banging your head against the wall, focusing on our audience: a portrait of our crowd, an homage to music lovers and the good people who are coming to gigs and shouting their lungs out, or just smiling at the back. We were touched by them every night, and wanted to get their message out there: loud guitar music is still alive and still connects people.” -Savages
(photo by Colin Lane)
Savages’ second album, ‘Adore Life’, was recorded at RAK Studios, London in April 2015. Johnny Hostile was the producer and Richard Woodcraft the engineer. Anders Trentemøller took care of the mixing in Copenhagen. ‘Adore Life’ is out January 22, 2016.
All songs were written and played by Savages – Ayşe Hassan (bass), Fay Milton (drums), Gemma Thompson (guitar), Jehnny Beth (vocals). Lyrics by Jehnny Beth.
1. The Answer
3. Sad Person
5. I Need Something New
6. Slowing Down The World
7. When In Love
preorder ‘ Adore Life’ from the following with “The Answer” available instantly
any kid in america
with a gun and a phone and a wallet
any kid in america
any kid in america
walk in and you sell them a bullet
any kid in america
armed good guys are a myth
never saved no one from shit
armed good guys are a myth
never saved no one
anyone in america
wrong time wrong place in a hallway
anyone in america
angry white boys get uptight
got no right to end a life
got no right to end a life
Lyrics by EMA. Music by Alexandra Atnif and EMA
I did not produce this video. The footage is from an “active shooter” video made by the Mount Pleasant Police Department in Mount Pleasant, Texas. It was
made for training purposes. It was shot in a middle school. There are dozens of these videos online, including ones made by Homeland Security and the LA Sheriff’s department. They urge every day Americans to be prepared in all situations in case a mass shooting breaks out.
Another Majical Cloudz video directed by Devon Welsh and Neil Corcoran was released this morning. “Downtown” is the last single from Are You Alone? before the album’s official release on October 16th. There are quite a bit of new tour dates listed below for later this year and early next. Take note and make plans accordingly.
Majical Cloudz on tour :
10/17 – Smiling Buddha, Toronto, ON
10/21 – National Sawdust, Brooklyn, NY
10/22 – Halifax Pop Explosion, Halifax, NS
10/23 – Phi Centre, Montreal. QC
11/7 – Middlebury College, Middlebury, VT
11/18 – St Johns on Bethnal Green, London, UK
11/20 – L’Archipel, Paris, FR
11/23 – Botanique Rotonde, Brussels, BE
11/25 – Acud Club, Berlin, DE
1/15/16 – The Garrison, Toronto, ON
1/16/16 – TBA, Detroit, MI
1/18/16 – Schubas, Chicago, IL
1/22/16 – Cobalt, Vancouver, BC
1/23/16 – TBA, Seattle, WA
1/24/16 – Mississippi Studios, Portland, OR
1/26/16 – The Chapel, San Francisco, CA
1/29/16 – TBA, Los Angeles, CA
Car Seat Headrest – “Times To Die”. From the album ‘Teens Of Style’ (out October 30) ; “a meditation on Judaism, Hinduism, the Book of Job, fancy restaurants, and the music business”. Visual by Marisa Gesualdi.
Please note the updated tour itinerary below includes CSH’s first European dates.
Wednesday, October, 14 – New York, NY – CMJ at Pianos (Kanine / Collide Party)
Wednesday, October, 14 – New York, NY – CMJ at Santo’s Partyhouse (NME Party)
Thursday, October, 15 – New York, NY – CMJ at Cake Shop (NYC Taper Party)
Thursday, October, 15 – New York, NY – Elvis’ Guesthouse (Beggars Radio Party)
Friday, October, 16 – Brooklyn, NY – CMJ at Baby’s All Right (Brooklyn Vegan Party)
Friday, October, 16 – Brooklyn, NY – CMJ at Rough Trade (Aquarium Drunkard Party)
Saturday, October, 17 – Brooklyn, NY – CMJ at Space 89 (Urban Outfitter Party)
Saturday , October 17 – New York, NY – Pianos (Bowery Presents Party)
November / December tour
Tuesday, November 17 – London UK – Servant Jazz Quarters
Friday, November 20 – Paris, France – Espace B
Saturday, November 21 – Utrecht, Netherlands – Le Guess Who Festival
Friday, November, 27 – Minneapolis, MN – 7th St Entry*
Saturday, November, 28 – Madison, WI – The Frequency*
Sunday, November, 29 – Chicago, IL – Schubas
Monday, November, 30 – Detroit, MI – The Loving Touch*
Tuesday, December, 1 – Toronto, ON – Silver Dollar
Wednesday December, 2 – Montreal, QC – Le Ritz
Friday, December, 4 – Cambridge, MA – The Lizard Lounge*
Saturday, December, 5 – Brooklyn, NY – Baby’s All Right*
Sunday, December, 6 – Philadelphia, PA – Johnny Brenda’s*
Monday, December, 7 – Washington, DC – DC9*
Tuesday, December, 8 – Richmond, VA – Strange Matter*
Thursday, December, 10 – Atlanta, GA – The Earl*
Friday, December, 11 – Nashville, TN – High Watt*
Saturday, December, 12 – St. Louis, MO – The Demo*
“The video focuses, albeit abstractly, on the idea of observation and surveillance in our society particularly in our cities via the relentless and invasive accumulation of information… The video takes reference from the step and repeat edits seen in Ernie Gehr’s ‘Serene Velocity,’ abstract streets scenes as observed by Peter Hutton’s ‘New York Portraits’ and the erratic patterns in Len Lye’s film ‘Free Radicals’ while also leaning towards the pace of Cabaret Voltaire’s 80’s video output.”
With Algiers’ current tour continuing at LA’s Roxy this evening, here’s the 4th video from Algiers’ widely acclaimed self-titled debut, the Lamb & Sea directed “And When You Fall”.