Coming March 6: Stephen Malkmus – “Traditional Techniques” + “Xian Man” Premiere + US/CA Spring 2020 Tour

(L to R: Stephen Malkmus, Chris Funk, Matt Sweeney. Photo by Samuel Gehrke and Chris Shonting.)

(Album artwork by Jan Lankisch)

Stephen Malkmus has announced his new album, Traditional Techniques, out March 6th via Matador, lead single “Xian Man,” and a North American tour. Traditional Techniques, Malkmus’ third solo LP without the Jicks (or Pavement), is new phase folk music for new phase folks, with Malkmus as attuned as ever to the rhythms of the ever-evolving lingual slipstream. It’s packed with handmade arrangements, modern folklore, and 10 songs written and performed in his singular voice. An adventurous new album in an instantly familiar mode, Traditional Techniques creates a serendipitous trilogy with the loose fuzz of the Jicks’ Sparkle Hard (2018) and the solo bedroom experiments of Groove Denied (2019). Taken together, these three very different full-lengths in three years highlight an ever-curious songwriter committed to finding untouched territory.

Pre-order/Pre-save Traditional Techniques

Stream/Download “Xian Man”

Traditional Techniques
01 ACC Kirtan
02 Xian Man
03 The Greatest Own in Legal History
04 Cash Up
05 Shadowbanned
06 What Kind Of Person
07 Flowin’ Robes
08 Brainwashed
09 Signal Western
10 Amberjack

Traditional Techniques will be available in a standard CD/black LP format, and as a red vinyl stamp-numbered edition limited to 500 with risographed red, white, and black alternate cover.

Malkmus will embark on a North American tour this spring with an entirely new band (more shows will be announced in the weeks to come). The Traditional Techniques live band is Malkmus (vocals, guitar), Funk (pedal steel, keys), Sweeney (guitar), Brad Truax (bass), and Jake Morris (drums), joined at times by Qais Essar (rabab) and Eric Zang (kaval, udu, daf). A full list of dates can be found below and tickets are on sale Friday, January 24th at 10am local time.

Stephen Malkmus on Tour
Tuesday, March 31 First Avenue, Minneapolis MN
Wednesday, April 1 Turner Hall, Milwaukee WI
Thursday, April 2 Thalia Hall, Chicago IL
Friday, April 3 Headliners, Louisville KY
Saturday, April 4 Cannery Ballroom, Nashville TN
Sunday, April 5 Terminal West, Atlanta GA
Tuesday, April 7 Orange Peel, Asheville NC
Wednesday, April 8 Cat’s Cradle, Carrboro NC
Thursday, April 9 The National, Richmond VA
Friday, April 10 Black Cat, Washington DC
Saturday, April 11 Union Transfer, Philadelphia PA
Monday, April 13 Webster Hall, New York NY
Wednesday, April 15 Royale, Boston MA
Thursday, April 16 L’Astral, Montreal QC
Friday, April 17 Danforth Music Hall, Toronto ON
Saturday, April 18 Beachland Ballroom, Cleveland OH
Sunday, April 19 St. Andrew’s Hall, Detroit MI

Is that a goddamn bouzouki? you may ask. A pedal steel guitar? What kind of Stephen Malkmus album is this, anyway?

It’s called folk music, and it’s taking the country by storm. Stephen Malkmus is only the latest popular artist to apply this old new approach to their rock and roll sounds.

Take the name Traditional Techniques with as much salt as you’d like or dig the Adorno reference, Malkmus’s third solo LP without the Jicks (or Pavement) is as organic as they come. It’s packed with handmade arrangements, modern folklore, and 10 songs written and performed in Malkmus’s singular voice. An adventurous new album in an instantly familiar mode, Traditional Techniques creates a serendipitous trilogy with the loose fuzz of the Jicks’ Sparkle Hard (Matador, 2018) and the solo bedroom experiments of Groove Denied (Matador, 2019). Taken together, these three very different full-lengths in three years highlight an ever-curious songwriter committed to finding untouched territory. Perhaps some of these “folk” musicians could take a lesson or two.

Created in the spontaneous west coast style adopted so infectiously by young American musicians in this time of global turmoil, Malkmus took on Traditional Techniques as a kind of self-dare. Conceived while recording Sparkle Hard with the Jicks at Portland’s Halfling Studio, Malkmus had observed the variety of acoustic instruments available for use. The idea escalated within a matter of weeks into a full set of songs and shortly thereafter into a realized and fully committed album. When he returned to Halfling, Malkmus drew from a whole new musical palette–including a variety of Afghani instruments–to support an ache both quizzical and contemporary. Stephen Malkmus isn’t one of those “hung up” musicians one reads about so frequently these days, sequestered in a jungle room of the heart. The jukebox in Malkmus’s private grotto remains fully updated. Not only is the artist present, but he’s on Twitter.

Traditional Techniques is new phase folk music for new phase folks, with Malkmus as attuned as ever to the rhythms of the ever-evolving lingual slipstream. Instead of roses, briars, and long black veils, prepare for owns, cracked emojis, and shadowbans. Centered around the songwriter’s 12-string acoustic guitar, and informed by a half-century of folk-rock reference points, Traditional Techniques is the product of Malkmus and Halfling engineer/arranger-in-residence Chris Funk (The Decemberists). Playing guitar is friend-to-all-heads Matt Sweeney (Bonnie “Prince” Billy, Chavez, and too many other to count), who’d previously crossed paths with Malkmus on the opposite end of the longhairs’ map of the world, most lately gnarling out together back east in the jam conglomerate Endless Boogie.

But, buyer beware, no matter how these recordings might be tagged by your nearest algorithm, the expansive and thrilling folk-rock sounds of Traditional Techniques aren’t SM Unplugged. One might even question his commitment to acoustic instruments, but we’ll leave that for somebody else’s hot take. All we’re saying is watch your head. Because alongside all that gorgeous folk music (“The Greatest Own in Legal History,” “Cash Up”), there are also occasional bursts of flute-laced swagger (“Shadowbanned”), straight-up commune rock (“Xian Man”), and mind-bending fuzz in places you least expect it (“Brainwashed”).

It’s hard to call Traditional Techniques “long awaited,” because Stephen Malkmus just put out an album last year, but it’s also exactly that. While he may have taken his sweet time in jumping on the folk music boom, surely there are those among us who have fantasized about how lovely it might sound if SM would just get with the times. And it sounds like all that and beyond. Set a day or two aside to transcribe the lyrics like the Dylanlogists of yore (though please keep your garbology to yourself) and vibe on the shape of folk to come with Stephen Malkmus.

– Jesse Jarnow

Stephen Malkmus Online
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Coming February 21: King Krule – “Man Alive!”

(King Krule photographed by Charlotte Patmore)

Following last year’s Hey World! video in which Archy Marshall performed acoustic versions of four new songs, King Krule has announced his third studio album titled Man Alive! will be released on February 21, 2020 via Matador/True Panther. Alongside the announcement King Krule has shared his first ever self-directed music video along with the new track “(Don’t Let The Dragon) Draag On.”

Pre-order / Pre-save Man Alive! HERE

Stream/Watch (Don’t Let The Dragon) Draag On HERE

Man Alive! Tracklist
01. Cellular
02. Supermarché
03. Stoned Again
04. Comet Face
05. The Dream
06. Perfecto Miserable
07. Alone, Omen 3
08. Slinky
09. Airport Antenatal Airplane
10. (Don’t Let The Dragon) Draag On
11. Theme For The Cross
12. Underclass
13. Energy Fleets
14. Please Complete Thee

Man Alive! will be available on standard vinyl, CD, and as a North American webstore exclusive on limited white vinyl with a bonus flexi disc featuring the Hey World! version of “Perfecto Miserable,” while supplies last. An exclusive red vinyl edition will be available at independent record stores as well.

Archy Marshall’s longstanding love of cinema seeps out in his first foray into directing, with a video for “(Don’t Let The Dragon) Draag On” that pulls influences from Carl Theodor Dreyer’s classic The Passion Of Joan Of Arc while still creating a typically wry King Krule visual.

King Krule will tour in support of the new album throughout Europe and North America this Spring. Tickets for all dates below are on sale now.

King Krule On Tour
Tuesday, March 3rd A.B, Brussels BE
Wednesday, March 4th L’Olympia, Paris FR
Friday, March 6th Melkweg, Amsterdam, NL
Saturday, March 7th K.B Hall, Copenhagen, DK
Sunday, March 8th Columbiahalle, Berlin DE
Thursday, March 19th Olympia, Dublin IE
Saturday, March 21st Barrowland, Glasgow UK
Sunday, March 22nd Albert Hall, Manchester UK
Tuesday, March 24th Brixton Academy, London UK
Wednesday, March 25th Brixton Academy, London UK
Thursday, April 2nd House of Blues, Dallas TX
Friday, April 3rd White Oak Music Hall, Houston TX
Saturday, April 4th Stubbs Waller Creek, Austin TX
Tuesday, April 7th Hollywood Palladium, Los Angeles CA
Wednesday, April 8th Fox Theatre, Oakland CA
Friday, April 10th Showbox Sodo, Seattle WA
Saturday, April 11th Roseland Theatre, Portland OR
Tuesday, April 14th First Avenue, Minneapolis MN
Wednesday, April 15th Riviera Theatre, Chicago IL
Friday, April 17th Queen Elizabeth Theatre, Toronto ON
Saturday, April 18th Mtelus, Montreal QC
Sunday, April 19th House of Blues, Boston MA
Tuesday, April 21st Union Transfer, Philadelphia PA
Wednesday, April 22nd 9.30 Club, Washington DC
Friday, April 24th Kings Theatre, Brooklyn NY
Saturday, April 25th Webster Hall, New York NY

Archy Ivan Marshall has the world at his feet. After two feverishly received albums as King Krule, plus another low-key outing under his own name, this extraordinarily gifted 25-year-old from Peckham in South London adds further depth and substance to his oeuvre with another wondrous long-player called ‘Man Alive!’. It arrives packed full of his trademark sonic ambition and compositional skill, as well as the now-familiar corrosive lyricism and lurid social observation. Marshall has emerged as a pack leader amongst his peers, leading the charge in a fearless blurring of genre divisions, one minute seeming to drag the listener through the trashiest punk experience, the next ushering in a soundworld that’s apparently hi-tech and forward-looking.

Like any great artist on the rise, Archy’s life is moving fast. There’s a lot to catch up on, after 2017’s sprawling masterpiece, ‘The Ooz’, broke through amid Mercury Prize nominations and minds-blown media plaudits. Unlike that record, ‘Man Alive!’ doesn’t aim to present any kind of narrative thread, or Brexit-era state-of-the-nation address, just a collection of snapshots and stories, artfully sequenced into a dazzlingly coherent whole.

This third King Krule album was written as a direct reaction to the non-stop energy of touring ‘The Ooz’, and then partly recorded at Shrunken Heads in Marshall’s native stamping ground of Nunhead, with ‘Ooz’ co-producer Dilip Harris. Increasingly self-sufficient in the studio, he manned most of the instruments himself, except for the saxophone, which was played by his trusty Argentinian amigo, Ignacio Salvadores.

Midway through those sessions, however, Archy found out he was going to become a dad for the first time, and he decided to move up to the North West to be near the mother’s family, ready for the baby’s arrival.

“I should’ve had it all wrapped up before my daughter was born,” says Marshall today with a sheepish grin, during a return visit to his favourite public house in Nunhead, right across the street from Shrunken Heads. Impending parenthood came at a felicitous moment for him, as he was beginning to feel trapped in South London’s suburban lifestyle of all-eclipsing drunkenness and depression, which existing fans will know was a recurring theme in his earlier music.

“It was just the easiness of it,” he reflects today. “There really is nothing else to do here, especially when it turns to winter. Everyone I know has jobs, whereas I’d sit on my arse all day sometimes not doing anything, then I’d go to the pub with them when they finished work. It became a bit habitual. Then, right in the middle of the record, this big change came in my life that I didn’t really comprehend initially. It was like, ‘Oh, I’d better get my shit together!’ To be honest, I was really glad to get away from all that so I could focus on more pressing matters – like keeping a child alive and stuff.”

Tracks on ‘Man Alive!’ like ‘Stoned Again’, ‘Comet Face’ and ‘(Don’t Let The Dragon) Draag On’ soberingly document the final throes of Archy’s dissolute times, but once he had relocated, he cracked on with recording at Eve Studios in Stockport.

So, after his daughter, Marina, arrived on 14 March 2019, Marshall took a few weeks off, then returned to finish off his album. “I was still adding tracks until she was about six months old (i.e mid-September),” he says. Still, the songs are very much a document of pre-fatherhood, and the need for change, rather than the new life that ensued.

The new album’s title, he explains, “is an exclamation, about the times we live in. Like, ‘Fucking hell, man!’” He stole the title from a CD that his uncle gave him back in 2013 with some of his uncle’s own music on it, and originally planned to use it for his last album. “But ‘The Ooz’ really summed up that record,” he reasons, “just this splurge of everything I love – messy and with no direction. I thought, anyway, ‘Nah, I can’t steal it off him’, but now I’m like, ‘Fuck it, I’m gonna use it!’ I haven’t really spoken to him about it actually. I just liked the idea of it as an exclamation. It’s kind of like, ‘Oh shit!’, but I didn’t wanna call it that, I wanted it to be ‘Man Alive!’ – super-Americanized, like a saying from Adam West as Batman.”

This time, however, he says he felt a strong aversion towards politicizing any of his observations, so there’s little explanation, just the relaying of potent images, such as the fancy cars on ‘Stoned Again’ which signify the gentrification – or what he calls the ‘woo-woo’ – of Peckham, or the vile Brexit-era prejudice he overhears on ‘Supermarché.

“More and more,” he explains, “I’ve been put off by the intention of speaking about what’s going on in society as a black-and-white thing, or trying to get to the bottom of why we’re in this position. So the album is mostly made up of snapshots and observations. There are a lot of real-time-and-place moments, songs talking about walking through the park just over there and getting a head injury [don’t ask! – Ed.], then there are other tracks which are just simplicity, looking at one particular situation and reflecting on it as somehow being super-profound.”

Just as the lyrics are diverse in theme and purpose, so is the music: ‘Comet Face’ lopes along with irresistible unease like a wonky New Wave hit, and ‘Stoned Again’ packs all the inspired beatmongery of ’90s hip hop, while much of the record’s sparser second half recalls the lo-fi intimacy of Robert Wyatt’s ’80s solo work, or indeed the recordings of mass-murderer Charles Manson.

“I’ve been listening to a lot of weird stuff, I guess. There was some Argentinian music, some Brazilian Bossa Nova – I love the way they sing, how soft they are. I also listened to the radio, which I never did until recently. I don’t like it but I suppose it might influence me a bit.”

Archy laughs at mention of the word ‘lo-fi’, and gives a characteristically self-effacing insight into his unique methods of production: “Ever since I began, people have said, ‘You’re like a lo-fi artist, you do this bedroom thing,’ when really I was trying to make really hi-fi, top-of-the-range recordings – I just didn’t have the equipment! All the equipment I have could possibly make a hi-fi product, but I suppose what I do is start with something that’s basic, like a demo, then I coat things in effects and run things through amps and back out through tiny speakers. I end up making it sound like it’s coming out of a fucking telephone in the end! One time I remember feeling convinced I was making music like Flying Lotus, this super hi-fi hip-hop production, but actually when I listened back in the morning, it was more like Daniel Johnston, like it was recorded on a Dictaphone, and played on some old broken keyboard.”

But he was determined to fashion a more concise album this time: “There was a lot that didn’t make it onto this record, because it didn’t seem to fit with the shell of it. In the end it’s only 40 minutes, and I was quite happy about that because I didn’t go over the top, like I did with ‘The Ooz’ [running time: 67 minutes]. This one makes more sense if you listen in total, because you start quite fast-paced and aggressive, then it takes more of a back seat for the rest, and gets heart-warming towards the end. Happy endings!”

As the concluding ‘Please Complete Thee’ sails out on upliftingly twangsome slide guitar, you’d be forgiven for imagining that some of the more agonizing preceding numbers have served as a kind of therapy for their creator. “Oh yeah,” he freely admits, “once you’re able to discuss things and talk honestly, there is no better way than just shouting it out at a bunch of people. I was always empowered by lyricism and getting my aggression out in some way, or any kind of emotion. That has always been a process for me. This time I felt like I had gotten out of a dark place, and I was on a high. I appreciated the depression, and the low times I’d been through, but I also liked how I felt better in the here and now. So it was about reaching that new plateau.”

As he prepares for his latest campaign with ‘Man Alive!’, Archy says, “I feel better in life. I don’t drink or smoke when I’m in the North West, so I’m pretty clean. It’s made me kind of bored of what a lot of the album’s talking about! It’s hard to know where it’s going now I’ve done it, and what I’ll do next, because of my new-found role and responsibility in the world. It’ll be good to play live, I’m looking forward to that. The tour is coming up in March, so, yeah, I need to get onto that!” He laughs at his own lack of forward planning, then concludes with hard-won assurance. “I might get a pint in a bit, but I’ll still take it easy.”

Praise for his latest, deftly sculpted King Krule meisterwerk, though, is likely to be a good deal wilder.

King Krule Online
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VIDEO : Algiers – “We Can’t Be Found”


(photo : Christian Högstedt)

Algiers have debuted a new track and video ‘We Can’t Be Found’, taken from the London/NYC quartet’s highly anticipated third album, the Ben Greenberg/Randall Dunn-produced ‘There Is No Year’, out January 17.

The mesmerising visual for the sinuous, dub-inflected song, which builds to a soaring, cascading chorus, propelled by the powerhouse vocals of  Franklin James Fisher, was directed by Ian Cone. “I always feel the most successful music videos are the ones that are reflective and convey the mood of the song to the listener over everything else,” says guitarist Lee Tesche. “In this instance, we collaborated with the artist Lloyd Benjamin, trying to frame some of his sculpture work in a more abstracted way, referencing the urban dystopian cityscapes found in the German expressionist films of the 1930s. The result aspires to be somewhere in between the unsettling work of Darius Khondji and the set design of The Cabinet of Dr. Caligari or Fritz Lang’s Metropolis.”

stream/download “We Can Be Found”
preorder ‘There Is No Year’

Algiers on tour :

Friday, January 17 Criminal Records, Atlanta GA
Saturday, January 18 Schoolkids Records, Raliegh NC
Monday, January 20 The Sound Garden, Baltimore MD
Tuesday, January 21 Repo Records, Philadelphia PA
Wednesday, January 22 Rough Trade NYC, Brooklyn NY
Monday, February 3 The Haunt, Brighton UK

Wednesday, February 5 Village Underground, London UK
Thursday, February 6 YES, Manchester UK
Friday, February 7 Stereo, Glasgow UK
Saturday, February 8 Whelans, Dublin IE
Monday, February 10 Brudenell, Leeds UK
Wednesday, February 12 Botanique Rotonde, Brussels BE
Thursday, February 13 Paradiso Upstairs, Amsterdam NE
Friday, February 14 Club Volta, Cologne DE
Saturday, February 15 Manufaktur, Schorndorf DE
Monday, February 17 Zoom, Frankfurt DE
Tuesday, February 18 Beatpol, Dresden DE
Thursday, February 20 Hybrydy, Warsaw PO
Friday, February 21 Lucerna Music Bar, Prague CZ
Saturday, February 22 Flex, Vienna AU
Monday, February 24 Strom, Munich DE
Wednesday, February 26 Monk, Rome IT
Thursday, February 27 Ohibo, Milan IT
Saturday, February 29 La 3 Razzmatazz, Barcelona ES
Sunday, March 1 Cafe Berlin, Madrid ES
Tuesday, March 3 Rock School Barbey, Bordeaux FR
Wednesday, March 4 Stereolux, Nantes FR
Thursday, March 5 La Maroquinerie, Paris FR
Wednesday, March 11 Johnny Brenda’s, Philadelphia PA
Thursday, March 12 Black Cat, Washington DC
Friday, March 13 Mothlight, Asheville NC
Saturday, March 14 529, Atlanta GA
Friday, March 20 Club Congress, Tucson AZ
Saturday, March 21 Casbah, San Diego CA
Tuesday, March 24 The Echo, Los Angeles CA
Wednesday, March 25 Slim’s, San Francisco CA
Saturday, March 28 Polaris Hall, Portland OR
Sunday, March 29 The Crocodile, Seattle WA
Wednesday, April 1 Turf Club, St. Paul MN
Thursday, April 2 Cactus Club, Milwaukee WI
Friday, April 3 Empty Bottle, Chicago IL
Saturday, April 4 Rumba Club, Columbus OH
Sunday, April 5 Deluxx Fluxx, Detroit MI
Monday, April 6 The Baby G, Toronto ON
Tuesday, April 7 Bar Le Ritz, Montreal QC
Thursday, April 9 Saint Vitus, Brooklyn NY
Tuesday, April 21 Knust, Hamburg DE
Friday, April 24 Nalen Klubb, Stockholm SE
Saturday, April 25 Mejeriet, Lund SE
Monday, April 27 Lido, Berlin DE
Wednesday, April 29 Morze, St. Petersberg RU
Thursday, April 30 Aglomerat, Moscow RU
Sunday, May 3rd ISC, Bern CH
Monday, May 4th Bogen F, Zurich CH

Algiers Online :

There Is No Year
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Saturday Night : Lucy Dacus on PBS’ “Austin City Limits”


(photo by Scott Newton, courtesy Austin PBS/Austin City Limits)

Tune in tomorrow, Saturday January 4 or set your DVRs for the premiere of Lucy Dacus’s hourlong debut episode of Austin City Limits with Sharon Van Etten at 8 pm CT/9pm ET on PBS. Check local PBS listings for times here  The episode will be available to stream online beginning Sunday, January 5 @ 10am ET.

stream/purchase ‘2019’
stream / order ‘Historian’ on clear vinyl

Lucy Dacus on tour :

January 17-19 , Songwriters Festival, South Walton FL
March 5-8 Okeechobee Music & Arts Festival, Okeechobee FL
Friday, March 6 Ryman Auditorium, Nashville TN ^
Saturday, April 4 Mission Creek Festival, Iowa City IA

^ w/ Ruston Kelly

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Perfume Genius – 2020 North American Dates With Tame Impala


(photo : Milan Zrnic)

After mesmerizing audiences with his recent performances as part of ​’The Sun Still Burns Here​’, Perfume Genius (Mike Hadreas)​ is excited to announce North American 2020 tour dates as the direct support for ​Tame Impala​. T​ickets go on-sale Friday, December 13 at 10:00 AM local time. American Express® Card Members can purchase tickets for select shows before the general pub​lic ​beginning​ ​Wednesday, December 11 at 10​:00 AM local time ​through​ ​Thursday, December 12 at 10:00​ PM local time. A new Perfume Genius album is due in 2020.

Perfume Genius has spent much of 2019 co-creating and performing in​ “The Sun Still Burns Here”, ​a collaboration between ​Hadreas​ and Seattle-based choreographer ​Kate Wallich​ and her company ​The YC​. The show is an evening-length dance and music work and was commissioned by Seattle Theatre Group, The Joyce Theater and Mass MoCA. ​”The Sun Still Burns Here” d​ebuted​ i​n Seattle and had multi-night performances at New York City’s Joyce Theater and Minneapolis’The Walker Center. ​”The Sun Still Burns Here”​ heads to Boston for a 2-night run at Boston on January 17 and 18. Perfume Genius released two of the project’s songs earlier this year, the eight-minute trance-like meditation, “​Eye In The Wall​,” and the show’s climactic “​Pop Song​.”

Perfume Genius on Tour, New Dates in Bold On Sale This Friday at 10am Local Time

January 17-18, ICA Boston, Boston MA #
Friday, May 29 United Center, Chicago IL *
Saturday, May 30 Fiserv Forum, Milwaukee WI *
Sunday, May 31 Little Caesar’s Arena, Detroit MI *
Tuesday, June 2 Scotia Bank Arena, Toronto ON *
Wednesday, June 3 Bell Centre, Montreal QC *
Saturday, June 6 Capital One Arena, Washington DC *
Monday, June 8 Spectrum Center, Charlotte NC *
Tuesday, June 9 State Farm Arena, Atlanta GA *
Thursday, June 11 American Airlines Arena, Miami FL *
Friday, June 12 Amway Center, Orlando FL *
Wednesday, July 17 Xcel Energy Center, St. Paul MN *
Sunday, July 19 Enterprise Center, St. Louis MN *
Monday, July 20 Sprint Center, Kansas City MO *
Tuesday, July 21 BOK Center, Tulsa OK *
Thursday, July 23 Frank Erin Center, Austin TX *
Friday, July 24 American Airlines Center, Dallas TX *
Saturday, July 25 Toyota Center, Houston TX *
Tuesday, July 28 Gila River Arena, Glendale AZ *
Thursday, July 30 Pepsi Center, Denver CO *
Saturday, August 1 Vivint Smart Home Arena, Salt Lake City UT *
Tuesday, August 3 MODA Center, Portland OR *
Wednesday, August 5 Rogers Arena, Vancouver BC *
Friday, August 7 The Gorge Amphitheater, George WA *
# performance of The Sun Still Burns Here with Kate Wallich + The YC

* with Tame Impala

stream / download “Pop Song”
stream/download “Eye In The Wall”

Perfume Genius Online
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New Algiers Track/Video, “Void”, Now Streaming, In-Store Tour In January

(director : Ian Cone)


(photo : Christian Högstedt)

Today, Algiers release “Void”, the second track, from the forthcoming album ‘There Is No Year’ , following Tuesday’s premiere via the Adult Swim Singles Club.  The song is also available as a flexi-disc as part of the vinyl edition of ‘There Is No Year’, out January 17

stream / download “Void”
preorder ‘There Is No Year’

To mark the release of ‘There Is No Year’, Algiers will perform in several U.S. record stores  including Atlanta’s Criminal Records, Philadelphia’s Repo and Brooklyn’s Rough Trade in mid January. See below and visit algierstheband.com/instoretour for further details. In February, the band will kick off a European tour, returning stateside in March.

Algiers on tour (new dates in bold):

Friday, January 17 Criminal Records, Atlanta GA
Saturday, January 18 Schoolkids Records, Raliegh NC
Monday, January 20 The Sound Garden, Baltimore MD
Tuesday, January 21 Repo Records, Philadelphia PA
Wednesday, January 22 Rough Trade NYC, Brooklyn NY
Monday, February 3 The Haunt, Brighton UK

Wednesday, February 5 Village Underground, London UK
Thursday, February 6 YES, Manchester UK
Friday, February 7 Stereo, Glasgow UK
Saturday, February 8 Whelans, Dublin IE
Monday, February 10 Brudenell, Leeds UK
Wednesday, February 12 Botanique Rotonde, Brussels BE
Thursday, February 13 Paradiso Upstairs, Amsterdam NE
Friday, February 14 Club Volta, Cologne DE
Saturday, February 15 Manufaktur, Schorndorf DE
Monday, February 17 Zoom, Frankfurt DE
Tuesday, February 18 Beatpol, Dresden DE
Thursday, February 20 Hybrydy, Warsaw PO
Friday, February 21 Lucerna Music Bar, Prague CZ
Saturday, February 22 Flex, Vienna AU
Monday, February 24 Strom, Munich DE
Wednesday, February 26 Monk, Rome IT
Thursday, February 27 Ohibo, Milan IT
Saturday, February 29 La 3 Razzmatazz, Barcelona ES
Sunday, March 1 Cafe Berlin, Madrid ES
Tuesday, March 3 Rock School Barbey, Bordeaux FR
Wednesday, March 4 Stereolux, Nantes FR
Thursday, March 5 La Maroquinerie, Paris FR
Wednesday, March 11 Johnny Brenda’s, Philadelphia PA
Thursday, March 12 Black Cat, Washington DC
Friday, March 13 Mothlight, Asheville NC
Saturday, March 14 529, Atlanta GA
Friday, March 20 Club Congress, Tucson AZ
Saturday, March 21 Casbah, San Diego CA
Tuesday, March 24 The Echo, Los Angeles CA
Wednesday, March 25 Slim’s, San Francisco CA
Saturday, March 28 Polaris Hall, Portland OR
Sunday, March 29 The Crocodile, Seattle WA
Wednesday, April 1 Turf Club, St. Paul MN
Thursday, April 2 Cactus Club, Milwaukee WI
Friday, April 3 Empty Bottle, Chicago IL
Saturday, April 4 Rumba Club, Columbus OH
Sunday, April 5 Deluxx Fluxx, Detroit MI
Monday, April 6 The Baby G, Toronto ON
Tuesday, April 7 Bar Le Ritz, Montreal QC
Thursday, April 9 Saint Vitus, Brooklyn NY
Tuesday, April 21 Knust, Hamburg DE
Friday, April 24 Nalen Klubb, Stockholm SE
Saturday, April 25 Mejeriet, Lund SE
Monday, April 27 Lido, Berlin DE
Wednesday, April 29 Morze, St. Petersberg RU
Thursday, April 30 Aglomerat, Moscow RU
Sunday, May 3rd ISC, Bern CH
Monday, May 4th Bogen F, Zurich CH

Algiers Online :

There Is No Year
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Algiers – “Void” , Adult Swim Singles

 


Adult Swim Singles have just shared a new song by Algiers as the fifth entry in the 2019-2020 program. Shared in advance of their hotly anticipated third album ‘There is No Yea’r (out January 17, “Void” is Algiers at their visceral, powerhouse peak – a three-minute adrenaline-surge of hypnotic and infectious breakneck fury, with Matt Tong’s galloping drums, guitarist Lee Tesche’s sound shards, and multi-instrumentalist Ryan Mahan’s inventive bass work coming together around frontman Franklin James Fisher’s feverish recitation: ‘Got to find a way to get out of it!’ It expands on the doom-laden soul of their foundation, toward a vaster, genre-reformatting sound, one somehow suspended in the amber of “a different era,” as described by Tesche. In conjunction with the new track the band are helming an Instagram Story takeover of the Adult Swim account – check it out at @AdultSwim.

Listen to “Void”
preorder ‘There Is No Year’
stream / download “Dispossession”

Algiers on tour :

Monday, February 3 The Haunt, Brighton UK
Wednesday, February 5 Village Underground, London UK
Thursday, February 6 YES, Manchester UK
Friday, February 7 Stereo, Glasgow UK
Saturday, February 8 Whelans, Dublin IE
Monday, February 10 Brudenell, Leeds UK
Wednesday, February 12 Botanique Rotonde, Brussels BE
Thursday, February 13 Paradiso Upstairs, Amsterdam NE
Friday, February 14 Club Volta, Cologne DE
Saturday, February 15 Manufaktur, Schorndorf DE
Monday, February 17 Zoom, Frankfurt DE
Tuesday, February 18 Beatpol, Dresden DE
Thursday, February 20 Hybrydy, Warsaw PO
Friday, February 21 Lucerna Music Bar, Prague CZ
Saturday, February 22 Flex, Vienna AU
Monday, February 24 Strom, Munich DE
Wednesday, February 26 Monk, Rome IT
Thursday, February 27 Ohibo, Milan IT
Saturday, February 29 La 3 Razzmatazz, Barcelona ES
Sunday, March 1 Cafe Berlin, Madrid ES
Tuesday, March 3 Rock School Barbey, Bordeaux FR
Wednesday, March 4 Stereolux, Nantes FR
Thursday, March 5 La Maroquinerie, Paris FR
Wednesday, March 11 Johnny Brenda’s, Philadelphia PA
Thursday, March 12 Black Cat, Washington DC
Friday, March 13 Mothlight, Asheville NC
Saturday, March 14 529, Atlanta GA
Friday, March 20 Club Congress, Tucson AZ
Saturday, March 21 Casbah, San Diego CA
Tuesday, March 24 The Echo, Los Angeles CA
Wednesday, March 25 Slim’s, San Francisco CA
Saturday, March 28 Polaris Hall, Portland OR
Sunday, March 29 The Crocodile, Seattle WA
Wednesday, April 1 Turf Club, St. Paul MN
Thursday, April 2 Cactus Club, Milwaukee WI
Friday, April 3 Empty Bottle, Chicago IL
Saturday, April 4 Rumba Club, Columbus OH
Sunday, April 5 Deluxx Fluxx, Detroit MI
Monday, April 6 The Baby G, Toronto ON
Tuesday, April 7 Bar Le Ritz, Montreal QC
Thursday, April 9 Saint Vitus, Brooklyn NY
Tuesday, April 21 Knust, Hamburg DE
Friday, April 24 Nalen Klubb, Stockholm SE
Saturday, April 25 Mejeriet, Lund SE
Monday, April 27 Lido, Berlin DE
Wednesday, April 29 Morze, St. Petersberg RU
Thursday, April 30 Aglomerat, Moscow RU
Sunday, May 3rd ISC, Bern CH
Monday, May 4th Bogen F, Zurich CH

Algiers Online :

There Is No Year
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Win The Next Decade’s Worth Of Matador Vinyl – IS THAT ENOUGH BANALITY FOR YOU?

Submit a playlist of your favorite Matador songs from 2010-2019 for a chance to win a copy of every vinyl album from the next decade: features.matadorrecords.com/decade (Contest is U.S. only). Today is the last day to save 25% on (almost) everything at the Matador Webstore, worldwide.  (Illustration by William Stout). #banalitymeetsfinality

King Krule – “Hey World!” short film, 2020 Touring


(poster art – Jack Marshall)

(photo : Charlotte Patmore)

King Krule today releases the short film, “Hey World!”, directed by Charlotte Patmore and written by Archy Marshall. With signature wit and in his own unique style, the short film shows Marshall performing solo four as-yet-unreleased tracks,”Perfecto Miserable,” “Alone Omen 3,” “(Don’t Let The Dragon) Draag On,” and “Energy Fleets.”

The film comes alongside an announcement for a tour across both sides of the Atlantic, starting on the 3rd of March in Brussels and ending on the 24th of April in Brooklyn. See below for full tour dates.

Tickets go on sale 10AM local time on November 22nd at kingkrule.net.

Tuesday, March 3rd A.B, Brussels BE
Wednesday, March 4th L’Olympia, Paris FR
Friday, March 6th Melkweg, Amsterdam, NL
Saturday, March 7th K.B Hall, Copenhagen, DK
Sunday, March 8th Columbiahalle, Berlin DE
Thursday, March 19th Olympia, Dublin IE
Saturday, March 21st Barrowland, Glasgow UK
Sunday, March 22nd Albert Hall, Manchester UK
Tuesday, March 24th Brixton Academy, London UK
Wednesday, March 25th Brixton Academy, London UK
Thursday, April 2nd House of Blues, Dallas TX
Friday, April 3rd White Oak Music Hall, Houston TX
Saturday, April 4th Stubbs Waller Creek, Austin TX
Tuesday, April 7th Hollywood Palladium, Los Angeles CA
Wednesday, April 8th Fox Theatre, Oakland CA
Friday, April 10th Showbox Sodo, Seattle WA
Saturday, April 11th Roseland Theatre, Portland OR
Tuesday, April 14th First Avenue, Minneapolis MN
Wednesday, April 15th Riviera Theatre, Chicago IL
Friday, April 17th Queen Elizabeth Theatre, Toronto ON
Saturday, April 18th Mtelus, Montreal QC
Sunday, April 19th House of Blues, Boston MA
Tuesday, April 21st Union Transfer, Philadelphia PA
Wednesday, April 22nd 9.30 Club, Washington DC
Friday, April 24th Kings Theatre, Brooklyn NY
Saturday, April 25th Webster Hall, New York NY

stream/order ‘The Ooz’

King Krule online :

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Lucy Dacus – “Fools Gold”

(photo : Elizabeth Weinberg)

Marking the final instalment from her 2019 EP, out November 8th on Matador Records, Lucy Dacus has shared New Years-inspired original song “Fool’s Gold”

An arresting showcase of Dacus’ emotionally incisive songwriting, “Fool’s Gold” sees rhythmic acoustic guitar and Lucy’s crystalline vocals sketch with poignant brushstrokes the latent ambiguity and soul-searching that often accompanies this period of the year, moving deftly to a chorus of goosebumps-inducing emotional gravitas.

“I started writing ‘Fool’s Gold’ the moment after the last person left a New Year’s Eve party I hosted in 2018,” says Dacus, “I did what I said – drank the last of the champagne alone, felt anxious, and locked the door behind everyone. New Year’s has grown to be my favorite holiday, and this may be my favorite song on the EP.”

Dacus performed the song live in session for Seattle’s KEXP, who exclusively premiered the track. Watch the performance below :

stream/download “Fools Gold”
stream/purchase ‘2019’
stream / order ‘Historian’ on clear vinyl

Lucy Dacus on tour :

Sunday, November 17 Corona Capital Festival, Mexico City MX
Wednesday, December 4 Royale, Boston, MA%
Thursday, December 5 Webster Hall New York, NY%
Saturday, December 7 9:30 Club, Washington, DC%
Sunday, December 29 Johnny Brenda’s, Philadelphia PA *
Monday, December 30 Johnny Brenda’s, Philadelphia PA +
Tuesday, December 31 Johnny Brenda’s, Philadelphia PA &
January 17-19 , Songwriters Festival, South Walton FL
Friday, March 6 Ryman Auditorium, Nashville TN ^

% w/ Haley Heynderickx
* w/ McKinley Dixon
+ w/ Angelica Garcia
& w/ Addy & Mal Blum
^ w/ Ruston Kelly

Lucy Dacus Online
Website
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New From Lucy Dacus – “Last Christmas”

Ringing in the festive season, Lucy Dacus has released a cover of Wham’s “Last Christmas”. Following the release of acclaimed holiday-themed singles “La Vie En Rose,” “My Mother & I,” “Forever Half Mast,” “Dancing In The Dark,” and “In The Air Tonight” throughout the year, “Last Christmas” is the sixth installment taken from Dacus’ ‘2019’ EP that is out November 8th on Matador Records and can be preordered below. The EP also features an unreleased original tribute to New Year’s titled “Fools Gold.” A special bundle set of the 2019 EP and a limited edition, clear vinyl pressing of Dacus’s breakthrough 2018 album Historian will be available through the Matador Records webstore.

Sped-up, amped-up and delivered through a megaphone to chugging abandon, Dacus’ reworking of “Last Christmas” imbues the sweater-sporting classic with a spontaneous energy that turns it playfully on its head. “I don’t really like Christmas,” says Dacus. “In the studio, we listened to the original of ‘Last Christmas’ and didn’t talk about an arrangement. I just told everyone to play it angry. This is what happened first take. It actually came out pretty fun, maybe a tad psychotic.”

stream / download “Last Christmas”
stream / download “In The Air Tonight”
preorder ‘2019’
stream / preorder ‘Historian’ on clear vinyl

Lucy Dacus on tour :

Friday, November 1 Gothic Theatre, Englewood, CO !
Monday, November 4 Delmar Hall, St Louis, MO !
Tuesday, November 5 Woodward Theatre, Cincinnati, OH !
Wednesday, November 6 Covenant Fine Arts Center, Grand Rapids, MI
Sunday, November 17 Corona Capital Festival, Mexico City MX
Wednesday, December 4 Royale, Boston, MA%
Thursday, December 5 Webster Hall New York, NY%
Saturday, December 7 9:30 Club, Washington, DC%
Sunday, December 29 Johnny Brenda’s, Philadelphia PA *
Monday, December 30 Johnny Brenda’s, Philadelphia PA +
Tuesday, December 31 Johnny Brenda’s, Philadelphia PA &
January 17-19 , Songwriters Festival, South Walton FL
Friday, March 6 Ryman Auditorium, Nashville TN ^

! w/ Liza Anne
% w/ Haley Heynderickx
* w/ McKinley Dixon
+ w/ Angelica Garcia
& w/ Addy & Mal Blum
^ w/ Ruston Kelly

Lucy Dacus Online
Website
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Facebook

Coming January 17 : Algiers – ‘There Is No Year’


(photo : Christian Högstedt)

(video directed by Sohail Daulatzai)

On the back of their much-acclaimed standalone piece “Can The Sub_Bass Speak?,” Algiers return in 2020 with their third album ‘There Is No Year’, set for release January 17. This latest chapter from the Atlanta via London/NYC four-piece can be previewed now with the video for first single “Dispossession.”

Even those aware of the ideals of this outspoken four-piece will find their latest direction on There Is No Year traversing unprecedented ground. Coming off two years of nonstop world-touring for their critically acclaimed second album, The Underside of Power—including Central and Eastern Europe, the Baltic States and the Balkans, where they have established a rabid following; an extended stint opening for Depeche Mode in huge stadiums such as the 75,000-capacity Olympiastadion in Berlin; as well as Glastonbury 2019—There is No Year solidifies and expands upon the doom-laden soul of their foundation, toward an even more epic, genre-reformatting sound, one somehow suspended in the amber of “a different era,” as described by guitarist Lee Tesche.
 
Filmed in the Noisy le Grand commune in the eastern Suburbs of Paris amidst modern architectural landmarks such as Le Palacio d’Abraxas and Les Arènes de Picasso – and including images from the band’s visit to Algiers during the uprising in March 2019 – ‘Dispossession’ captures the towering, seeking and exhilarating essence of Algiers’ new body of work. The song features additional vocals from Cleveland’s Mourning [A] BLKstar, and production by Randall Dunn and Ben Greenberg.
 
“’Dispossession’ sounds the warning about the permanent war against oblivion,” says video director and academic at the University of California, Irvine, Sohail Daultazi. “Filmed in Paris video opens with the sites of colonial massacres of Algerians, moves to the repressive spaces of the banlieues, and includes shots of the Jardin d’Agronomie Tropicale – a park that celebrates the glories of empire. But this is not just about the past or Paris, it is everywhere that the banner of the West is waved, where monuments to our ruin are raised – reminders of the ongoing violence, of the tensions between dream and its discontents, past and present, them and us. I wanted to give visual resonance to these tensions, to our dignified stances amidst the madness, and to our memories of a future foretold.”
 
Multi-instrumentalist Ryan Mahan says: “The spectre of dispossession is haunting us all. Everywhere the imperial world represses the ghoulish histories that sustain our pasts, presents and futures. Franklin’s lyrics throughout “Dispossession” and our new record, There is No Year, like a neo-Southern Gothic novel with an anti-oppression undercurrent, testify to this modern horror, and chronicle the various ways we all – through living and longing – endure and resist its persistent attacks.” 

Algiers play a headline tour of the UK and Europe in February, including a show at London’s Village Underground on February 5th, followed by North American dates in spring. A recent UK performance was described by The Guardian as “… (moving) from moments that sound like Nina Simone backed by the clatter of thunder, to an electro-gospel Birthday Party… unrelentingly potent”. The full list of dates can be found below in the bio penned by fellow Atlanta native and author of the novel There Is No Year, from which the album takes its name, Blake Butler.
**

 
In the FBI file on the American rock ‘n’ roll band Algiers—which given their prior penchant for repping the Black Panthers, Malcolm X, Angela Davis, and Afeni Shakur, among others, surely exists—under the subheading for their third album, ‘There is No Year’, the intelligence should soon read: all prior analytics appear outdated… this undoes everything we thought we knew about their intentions…what hides inside them… as if they are mutating live on camera, between frames… 
 
From the instant synth-pulse of the opening seconds of ‘There is No Year,’ it’s clear that Algiers have set out to stake new ground, internally as much as sonically. At the forefront of this evolution is the centrality of power housed in Algiers’ multi-instrumentalist lead vocalist, Franklin James Fisher, whose voice and words provide the backbone of the album, his lyrics sourced entirely from an epic poem, “Misophonia,” composed during his search for meaning amidst a protracted personal period of anxiety and lack.
 
“What I wanted to do is create a negative space wherein I can exist and engage but at the same time not be so exposed,” Fisher explains. He speaks of the record’s perspective as not only a political apparatus, but an intimate, responsive evocation of his understanding that “nothing is ever what you expect”, that what might seem for now to be well known or assured is not always so, that there is no safety net. The effect, as felt on the record, is undeniable: Fisher sounds like he is singing for his life—for all our lives, really—baring his soul while the walls disintegrate around us.
 
Whether he is lilting over post-Lynchian synth-whorl like a spot-lit bandleader, as on “Unoccupied,” or reincarnating the spirit of thrumming 80s R&B into a proto-no wave dancefloor classic straight from 2046, as on “Chaka,” there is a tangible emotional electricity to Fisher’s delivery, a personal valence that makes you want, more than anything, to believe, even while not quite knowing where we’re headed.
 
No less next-level in Algiers’ conception is the ambition of the aural architecture they manage to summon. Under the direction of producers Randall Dunn [Sunn O))), Earth] and Ben Greenberg [Uniform, Hubble), ‘There Is No Year’ encompasses future-minded post-punk R&B from the trapped heart of ATL, where they began; to industrial soundscapes à la 4AD-era Scott Walker or Iggy & Bowie’s Berlin period; to something like the synthetic son of Marvin Gaye and Fever Ray. The whip-tight rhythm section of multi-instrumentalist Ryan Mahan and Matt Tong (ex-Bloc Party) moves back and forth from infectious menace to sci-fi soundtrack to big band fever dream. Mahan’s beat programming and synth constructions fill out the fibrous threshold, while Tesche’s sound-sleeves and aural-layering shapeshift into a richly polished means of exploration, revealing more and more the deeper you delve.
 
“This is the sowing / Of the whirlwind,” Fisher sings on ‘Repeating Night’. “Don’t forget it’s us against them.” There’s something more behind the curtain of our daily-headlined pain, the album’s title seems to suggest—something even larger at stake than rage, or even revolution; which is exactly what Algiers’ music appears to have resolved itself to channel, and to wield. Their essence on ‘There is No Year’ is a statement of their defiance, their desire to feel and be human even beyond the necessary fight back, sprawling head-on into the burning wind of doubt and fear and all it’s claimed, arriving on the far side of calamity more alive than ever.

preorder ‘There Is No Year’
stream / download “Dispossesion”

(PHYSICAL REPRESENTATION BREAKDOWN! :
All Editions: All vinyl orders will receive a bonus 7″ flexi disc.
Cloudy Clear Vinyl EditionPre-order the cloudy clear limited edition vinyl from band and Matador Webstores in US and UK, and purchase at your local independent record store in all other territories.
Dinked EditionUltra-limited edition Dinked store exclusive version, hand numbered, mirriboard sleeve with reversed colours, LP pressed on gold coloured vinyl, 7” featuring “Void” and “Can The Sub_Bass Speak?”)

Tracklist :
01. There Is No Year
02. Dispossession
03. Hour of the Furnaces
04. Losing is Ours
05. Unoccupied
06. Chaka
07. Wait for The Sound
08. Repeating Night
09. We Can’t Be Found
10. Nothing Bloomed


Algiers on tour  (new dates in bold) :

Monday, February 3 The Haunt, Brighton UK
Wednesday, February 5 Village Underground, London UK
Thursday, February 6 YES, Manchester UK
Friday, February 7 Stereo, Glasgow UK
Saturday, February 8 Whelans, Dublin IE
Monday, February 10 Brudenell, Leeds UK
Wednesday, February 12 Botanique Rotonde, Brussels BE
Thursday, February 13 Paradiso Upstairs, Amsterdam NE
Friday, February 14 Club Volta, Cologne DE
Saturday, February 15 Manufaktur, Schorndorf DE
Monday, February 17 Zoom, Frankfurt DE
Tuesday, February 18 Beatpol, Dresden DE
Thursday, February 20 Hybrydy, Warsaw PO
Friday, February 21 Lucerna Music Bar, Prague CZ
Saturday, February 22 Flex, Vienna AU
Monday, February 24 Strom, Munich DE
Wednesday, February 26 Monk, Rome IT
Thursday, February 27 Ohibo, Milan IT
Saturday, February 29 La 3 Razzmatazz, Barcelona ES
Sunday, March 1 Cafe Berlin, Madrid ES
Tuesday, March 3 Rock School Barbey, Bordeaux FR
Wednesday, March 4 Stereolux, Nantes FR
Thursday, March 5 La Maroquinerie, Paris FR
Wednesday, March 11 Johnny Brenda’s, Philadelphia PA
Thursday, March 12 Black Cat, Washington DC
Friday, March 13 Mothlight, Asheville NC
Saturday, March 14 529, Atlanta GA
Friday, March 20 Club Congress, Tucson AZ
Saturday, March 21 Casbah, San Diego CA
Tuesday, March 24 The Echo, Los Angeles CA
Wednesday, March 25 Slim’s, San Francisco CA
Saturday, March 28 Polaris Hall, Portland OR
Sunday, March 29 The Crocodile, Seattle WA
Wednesday, April 1 Turf Club, St. Paul MN
Thursday, April 2 Cactus Club, Milwaukee WI
Friday, April 3 Empty Bottle, Chicago IL
Saturday, April 4 Rumba Club, Columbus OH
Sunday, April 5 Deluxx Fluxx, Detroit MI
Monday, April 6 The Baby G, Toronto ON
Tuesday, April 7 Bar Le Ritz, Montreal QC
Thursday, April 9 Saint Vitus, Brooklyn NY

Algiers Online :
There Is No Year
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Out Today : Desert Sessions – ‘Vols. 11 & 12’, “Crucifire” Video

(directed by Anthony Francisco Schepperd)

Ending a 16-year hiatus since its last installment, the most mythical, longest running rock n roll mixtape odyssey in existence, Desert Sessions has finally returned: The most ambitious entries yet in its expansive and elusive catalog: ‘Vols. 11 & 12′ (a/k/a respectively as ​’Arrivederci Despair​’ and ‘Tightwads & Nitwits & Critics & Heels​’) are now available on LP, CD and via all streaming services.

Highlights of the eight-song two-session collection include the creeping slowburn boogie of “Move Together” with its sublime Billy Gibbons (ZZ Top) vocal, the propulsive rocker “Crucifire” fueled by an incendiary vocal performance from Mike Kerr (Royal Blood), the self-explanatory “Chic Tweetz” featuring the enigmatic Töôrnst Hülpft, and the lush melodies of grand finale “Easier Said Than Done” featuring a showstopping vocal from ringleader Joshua Homme (Queens of the Stone Age).

Desert Sessions ‘Vols. 11 & 12’also arrive in a limited edition first vinyl pressing including a one of a kind custom mix & match body swap booklet. Exclusive merchandise bundles are available now.

‘Vols. 11 & 12’ were recorded (mostly) in December 2018 at Rancho De La Luna studios in Joshua Tree, CA, with Queens of the Stone Age founder and Desert Sessions ringleader/producer Joshua Homme enlisting a cast of players including:

Billy Gibbons (ZZ Top)
Stella Mozgawa (Warpaint)
Jake Shears (Scissor Sisters)
Mike Kerr (Royal Blood)
Carla Azar (Autolux, Jack White)
Les Claypool (Primus)
Matt Sweeney (Chavez, Superwolf, Endless Boogie)
Matt Berry (What We Do in the Shadows, Toast of London)
Libby Grace
Töôrnst Hülpft

The resulting eight songs embody the legacy of freedom from expectations and inhibitions that stretches back to 1997, when Homme led a first retreat to the Joshua Tree desert. What began as a casual writing and recording session amongst friends—isolated from daily distractions and comforts—has since become a possibly infinite body of work. Now spanning 12 volumes over the course of two decades (and a total of two documented live performances), The Desert Sessions has featured some of music’s most cherished icons—past players have included Polly Harvey, Mark Lanegan, Josh Freese, Dean Ween, among many others—deliberately removing themselves from their comfort zones and working together to create some of their most relaxed yet challenging work.

The tracklist for Desert Sessions ‘Vols. 11 & 12′ (a/k/a ​’Arrivederci Despair’​ and ​’Tightwads & Nitwits & Critics & Heels’)​ is:
Move Together (lead vocal: Billy F. Gibbons)
Noses in Roses Forever (lead vocal: Joshua Homme)
Far East for the Trees
If You Run (lead vocal: Libby Grace)
Crucifire (lead vocal: Mike Kerr)
Chic Tweetz (vocals: Töôrnst Hülpft, Matt Berry)
Something You Can’t See (lead vocal: Jake Shears)
Easier Said Than Done (lead vocal: Joshua Homme)


(photo : Andreas Neumann

STREAM/ORDER : Desert Sessions – Vols. 11 and 12

Desert Sessions Online :
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New From Perfume Genius – “Pop Song”

(photo : Andrew J.S.)

Earlier this month, Perfume Genius (Mike Hadreas), choreographer Kate Wallich and Dance Company The YC debuted their project, The Sun Still Burns Here in Seattle. Today, Perfume Genius shares “Pop Song,” another work from the immersive dance piece and a follow up to the previously released “Eye In The Wall.” “It’s the sound of dancefloor euphoria,” said Pitchfork. “The color of lights flashing as you move through a crowd, the touch of skin damp and warm against everyone else’s.” Both songs, included in the full performance, can be seen live when the production arrives at the Joyce Theatre in NYC on November 13th. Additional performances will take place in Minneapolis in December and Boston in January. Full details below.

“Pop Song” is a riveting exploration of one’s physical form as an emotional conduit. “I imagined an ecstatic pile of bodies preparing to be consumed by the gods,” Hadreas says of the track. “A joyous communal sacrifice of the physical to spiritually level up. The lyric is like a conjuration spell to be sung when the mountain of bodies settles in position and is held still as an offering.” The track premiered yesterday on Sirius/ XMU and is available today at all streaming services.

stream / download “Pop Song”
stream/download “Eye In The Wall”

Perfume Genius with Kate Wallich + The YC Performing The Sun Still Burns Here :
November 13-17 The Joyce Theater, New York NY
December 5-7, Liquid Music X Walker Art Center, McGuire Theater, Minneapolis MN
January 17-18, ICA Boston, Boston MA

Perfume Genius Online
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Steve Gunn – ‘Acoustic Unseen’

(photo : Bobby Fisher)

Steve Gunn today releases ‘Acoustic Unseen’, a new EP of acoustic versions of songs from his critically acclaimed, ‘The Unseen In Between’. Following a year of worldwide touring and road testing the songs with a full band and in solo performances, the 7-song collection presents a spellbinding perspective on this stately set – disclosing the songs’ rich individual elements in Gunn’s dexterous and lyrical guitar style.

“After being on the road with the band since January,” says Gunn, “I wanted to spend an afternoon capturing the songs from ‘The Unseen In Between’ as I originally wrote them, with just me and my acoustic. Mid-year, I went back to the great Strange Weather Studio in Brooklyn, and played through the songs in their most basic form. It felt good.”

Accompanying the EP release is short compilation film “Unseen Anthology”. Directed by The Mitcham Submarine and edited by James Harman, the 12-minute film weaves together footage from touring, live sessions, official and unofficial music videos – including a breathtaking session for Toutpartout in a transformed convent in Ghent, on the road footage captured on a Fisher Price camera by Steve and his band, and acoustic videos filmed across London, including a Cecil Court bookshop. Taken together, it’s an engrossing, one-stop-shop live document of an artist in need of little more than a guitar and his voice to conjure a transfixing atmosphere, and an arresting visual companion to the EP.

stream/download ‘Acoustic Unseen’

Acoustic Unseen – Tracklist
1. New Moon
2. Vagabond
3. Chance
4. Luciano
5. New Familiar
6. Lightning Field
7. Paranoid

STREAM/BUY The Unseen In Between

Steve Gunn on tour :

Friday, October 18 Lambert’s, Austin TX %
Sunday, October 20 Duet Jazz ,The Bob Dylan Center Presents: An Evening with Steve Gunn, Tulsa OK
Wednesday, October 23 Showbox Theater, Seattle WA @%
Thursday, October 24 Commodore Ballroom, Vancouver BC @%
Friday, October 25 Wild Buffalo, Bellingham WA @%
Saturday, October 26 Wonder Ballroom, Portland OR @%
Monday, October 28 Slim’s, San Francisco CA @%
Tuesday, October 29 Slim’s, San Francisco CA @%
Wednesday, October 30 Slim’s, San Francisco CA @%
Sunday, November 3 Shibuya 7th Floor Tokyo JP %
Wednesday, November 6 Tuning Fork, Auckland NZ %
Thursday, November 7 Blue Smoke, Christchurch NZ %
Friday, November 8 Dog With Two Tails, Dunedin NZ %
Saturday, November 9 The Plant, Blenheim NZ %
Sunday, November 10 Moon, Wellington NZ %
Wednesday, November 13 Sitting Room Session, Hawkes Bay NZ %
November 16 + 17 Mullum Music Festival %
Monday, November 18 Junk Bar, Brisbane AU %
Wednesday, November 20 Altar, Hobart AU %
Thursday, November 21 Theatre Royal, Castlemaine AU + %
Friday, November 22 Melbourne Music Week, State Library, Melbourne AU + %
Saturday, November 23 Coalchella, Wombarra Bowlo, Wombarra AU %
Sunday, November 24 Red Rattler, Sydney AU + %

% indicates solo performance
@ w/ Dinosaur Jr.
+ w/ Tiny Ruins

Steve Gunn online :
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Steve Gunn.com

Out Today : Kim Gordon – ‘No Home Record’

Today Kim Gordon releases her highly anticipated, ‘No Home Record’, an album already being heralded as “provocative, challenging and effortlessly cool” and “a superb genre-spanning solo debut.”  Those who purchase the CD or LP at Amoeba Hollywood (6400 Sunset Blvd, Los Angeles, CA 90028) today can celebrate with Gordon in-person  at an in-store signing event starting at 7pm.

Earlier today, Gordon released a clip for “Hungry Baby”, which is the latest in a short video series the legendary musician and Berlin-based artist and filmmaker Loretta Fahrenholz created to accompany the album

 stream/order ‘No Home Record’ (t-shirt / tote bag bundles available from The Matador Store)


Kim Gordon Online :
Official Website
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Lucy Dacus – “In The Air Tonight” ; ‘2019’ EP Coming November 8

Lucy Dacus’s ‘2019’ EP  compiling her series of holiday-themed singles will be released on November 8th. Following “La Vie En Rose”, “My Mother & I”, “Forever Half Mast” and most recently “Dancing In The Dark”, today’s EP announcement comes with a new Halloween-inspired cover of Phil Collins’ ‘In The Air Tonight’. Lucy’s ‘2019’ EP will feature two more songs celebrating the winter holidays – a cover of “Last Christmas” and an original ode to New Years titled “Fools Gold”.

In this spirited cover, Lucy revamps ‘In The Air Tonight’ into a Halloween anthem by magnifying the original song’s ominous undertones, bringing the mythology behind Phil Collins’ song to the forefront with haunting vocals and penetrating reverb. In Lucy’s own words, “perhaps the best eerie bop of all time, and certainly the best drum fill. The image in the first verse is so unsettling- watching someone watch someone drown without moving to save them. People have wondered if this is something Phil Collins really witnessed, but the song is actually just a manifestation of his anger and frustration about his divorce. It’s tense, dark, and so much fun, as a good Halloween should be. This was the most fun I’ve ever had in a studio.”

Additionally, a special bundle set of the ‘2019’ EP and a limited edition, clear vinyl pressing of Dacus’s breakthrough 2018 album ‘Historian’ will be available through the Matador Records webstore.


(photo : Elizabeth Weinberg)

2019 Tracklist
1. Fool’s Gold
2. La Vie En Rose
3. My Mother & I
4. Forever Half Mast
5. Dancing In The Dark
6. In The Air Tonight
7. Last Christmas

stream / download “In The Air Tonight”
preorder ‘2019’
stream / preorder ‘Historian’ on clear vinyl

Lucy Dacus on tour :
Wednesday, October 9 Headliner’s, Louisville, KY !
Thursday, October 10 Park West, Chicago, IL !
Friday, October 11 Majestic, Madison, WI !
Saturday, October 12 Cedar Cultural Center, Minneapolis, MN !
Monday, October 14 Slowdown, Omaha, NE !
Wednesday, October 16 The Rialto , Bozeman, MT !
Thursday October 17 Top Hat Lounge, Missoula, MT !
Friday October 18 The Olympic, Boise, ID !
Saturday October 19 The Bartlett, Spokane, WA !
Monday October 21 Hollywood Theatre, Vancouver, BC !
Tuesday October 22 Neumo’s, Seattle, WA !
Wednesday October 23 Aladdin Theater, Portland, OR !
Friday October 25 August Hall, San Francisco, CA !
Saturday October 26 Teragram Theater, Los Angeles, CA !
Sunday October 27 Moroccan Lounge, Los Angeles, CA (SOLD OUT) !
Monday October 28 Belly Up, San Diego, CA !
Tuesday October 29 Crescent Ballroom, Phoenix, AZ !
Thursday, October 31 Meow Wolf, Santa Fe NM!
Friday, November 1 Gothic Theatre, Englewood, CO !
Monday, November 4 Delmar Hall, St Louis, MO !
Tuesday, November 5 Woodward Theatre, Cincinnati, OH !
Wednesday, November 6 Covenant Fine Arts Center, Grand Rapids, MI
Sunday, November 17 Corona Capital Festival, Mexico City MX
Wednesday, December 4 Royale, Boston, MA*
Thursday, December 5 Webster Hall New York, NY*
Saturday, December 7 9:30 Club, Washington, DC*
January 17-19 , Songwriters Festival, South Walton FL

! w/ Liza Anne
* w/ Haley Heynderickx

Lucy Dacus Online
Website
Twitter
Instagram
Facebook

Kurt Vile – (bottle back) Documentary

In early September 2018, on the eve of the announcement of his latest album, ‘Bottle It In’ (celebrating its one-year anniversary this October), Kurt Vile – along with friends and fellow musicians – decamped to the Catskill Mountains in upper state New York to rehearse, prepare and ponder the year’s road ahead.

The brief getaway, which included Matt Sweeney and Toronto friends The Sadies, is captured in the short documentary film (bottle back), directed by Ryan Scott.

In between hanging out and exploring the remote and rainy surroundings, (bottle back) catches a solo acoustic adaptation of “Bassackwards”, a performance of “Check Baby” with The Violators, and a special backyard rendition of “Baby’s Arms” featuring The Sadies.

Somewhere between pre-tour workshop and countryside retreat, (bottle back) is an intimate and insightful glimpse into the creative process of one of the most prolific and celebrated singer-songwriters of his generation.

Having capped off an extensive North American tour this summer, Vile plays further festivals this autumn, including Levitation and Corona Capital, as well as a small handful of US headline shows. A list of upcoming dates can be found below.

stream/download “Baby’s Arms” (featuring the Sadies)
Stream/Purchase Bottle It In

Kurt Vile & The Violators on Tour
Saturday, October 5 The Fillmore, San Francisco CA
Sunday, October 6 Hardly Strictly Bluegrass Festival, San Francisco CA
Wednesday, November 6 The Mission Ballroom, Denver CO %
Friday, November 8 The Criterion, Oklahoma City OK %
Saturday, November 9 Warehouse Live, Houston TX %
Sunday, November 10 Levitation Festival, Austin TX
November 16-17 Corona Capital, Mexico City MX

% w/ Dinosaur Jr.

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Matador Revisionist History: Interpol’s “Antics”

(Interpol, 2004. Photo by Pieter M. van Hattem)

‘Antics’, the 2nd studio album from Interpol was certified gold in 3 countries (BIG ONES) and received some of the highest accolades of the band’s career, including Drowned In Sound’s Top Album Of 2004 Award (NOTE – MALCOLM, CAN YOU FIND A PHOTO OF THE HUGE PLACQUE SOMEWHERE IN THE ARCHIVES?) . Perhaps you’ve heard the cliche, “no one ever remembers what Drowned In Sound’s #2 album of the year is,” but the Matador Revisionist History Campaign is no place for that sort of gloating or negativity.   Featuring several of Interpol’s most beloved songs including “Slow Hands”, “C’mere”, “Evil” and “Narc”, we concluded our 9/27/04 sales pitch for this classic with the words, “with Interpol, things are rarely what they seem.”  That made even less sense in context.

– Gerard Cosloy

Interpol’s sophomore album, Antics, celebrates 15 years this week. Announced last month, a very limited supply of the white vinyl anniversary edition remains at record stores worldwide and on the UK and EU territories of the Matador Webstore. Save 25% on the standard LP/CD editions of Antics through next Thursday, October 3rd.

STREAM/PURCHASE ANTICS 25% OFF HERE

(Outtakes from Interpol’s 2004 Photo Shoot with Pieter M. van Hattem)

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