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Russell Haswell preps Double A for Diagonal, hear One Take Dub No Edit
Oct 1, 2014 12:51pm | Fact Magazine
Noise deity Russell Haswell returns to Powell’s Diagonal imprint with a new EP of crushing rhythmic exercises.
Double A follows the excellent 37 Minute Workout and continues Haswell’s foray into the weirder reaches of techno. It’s 20 minutes of corrupted beats, searing white noise, rancid synth sounds and heaving textures and we’re absolutely loving it.
You can hear ‘One Take Dub No Edit’ below, which we’re guessing is a track that was recorded in one take with no edit – those of you with a passion for mutant beats and ugly distortion are in for a treat.
Double A will be released on October 13 via Diagonal.
Ryan Adams covers Foreigner's 'I Want To Know What Love Is' - listen
Oct 1, 2014 12:51pm | NME
He recently released a self-titled album and played shows with a cameo from Johnny Depp in London
Hundred Waters Down From The Rafters (The Field Remix)
Oct 1, 2014 12:49pm | StereoGum
Earlier this year, the Floridian indie-pop impressionists Hundred Waters made a big leap with their gorgeous new album The Moon Rang Like A Bell. On a new EP, they’ll collect three remixes of that album’s first single, the great “Down From The Rafters.” Tim Hecker and Huxley have both taken cracks at reworking the song, and the expansive Swedish dance-music sculptor Axel Willner, who most of us know better as the Field, has turned it into a breathy, slow-building, seven-and-a-half-minute epic. The Field’s remix, which sounds like the 2001 monolith might’ve sounded if it was a giant pillow, is streaming below.
MOKB Premiere : Wild Leaves : Open Sky
Oct 1, 2014 12:42pm | My Old Kentucky Blog
Lately, we have found ourselves listening to more rock and folk. This change could probably mostly be attributed to it now being fall, which tends to lead to more time inside. One of the bands we have been attracted to is Brooklyn folk-rock band Wild Leaves. Their Earthy sound matches up well with the underlying tones of the changing leaves. Their new EP, Hello Sunlight, is out today and along with it they have shared a new video for “Open Sky”. Shot by Phillip Van, the band describes it as a “nostalgic look back at summer; a celebration of friendship, and the passage of time.” Find it below.
Q&A: Zola Jesus
Oct 1, 2014 12:40pm | CMJ
Photo Credit: Julia Comita
Taiga, the knock-out of a new album by Zola Jesus, will see the light of day next week via her new label Mute. Taiga is a towering, endlessly powerful pop album that explores the complicated relationship between man and nature. The album was written in isolation on Washington state’s Vashon Island, and it draws inspiration from Zola’s upbringing in wooded Wisconsin, painting civilization as a bubble of order and safety within an immense and ominous natural chaos. It is an ambitious album that uses modern textures to effectively evoke an ancient hunger, and captures the human drive to survive and create with clenched fists (and great vocal hooks).
Nika Roza Danilova, the woman behind Zola Jesus, is one of CMJ Music Marathon 2014’s panelists, set to initiate what will surely be a fascinating conversation about the nature and artistry of pop music. CMJ also caught up with Danilova a few weeks in advance of the album’s release to talk about her process for Taiga, Top 40 radio and to find out if she reads those pesky reviews. Check out the whole conversation below.
You played CMJ 2011. Do you remember anything in particular about that? I think you did an NPR showcase.
Yeah, I just remember the NPR showcase was broadcast live and I think it was one of the first times. I think thats the only time Ive played CMJ, but its just a really g...
Prince only answered one question on his Facebook Q&A. Here are some he missed
Oct 1, 2014 12:38pm | Chart Attack
Prince, by any measure, is a pioneer of artist-led online distribution. Consider the NPG Music Club, the very first serial label, or the fact that he was one of the first artists to sell his album independently through the internet. More recently, though, he's known for his anti-Net stances: a series of lawsuits against fans, YouTube takedown notices galore, and a declaration in 2010 that "The Internet's completely over."
But by "completely over" he meant "I'm just going to my mum's house for four years to think about things," because yesterday Prince made an overdue and underwhelming return to the digital sphere. He got his own Facebook page and set up a live Q&A with fans, likely just to promote the two new albums he's releasing this week, a solo record called ART OFFICIAL AGE and PLECTRUMELECTRUM, a record with with 3RDEYEGIRL.
Problem was, when the start time of 12PM PT/ 3PM EST rolled around, Prince was AWOL for three hours then answered only one question: Please address the importance of ALL music being tuned to 432hz sound frequencies?? His response was a link to an article. It could only have been more catty if he'd put it through Let Me Google That For You. As of now Prince has not posted any other responses or hot links.
There were thousands of other questions, though. Ones with UnGoogleable answers. Prince can't just...
Stream Johnny Marr Playland
Oct 1, 2014 12:36pm | StereoGum
After his band the Smiths broke up, guitarist Johnny Marr spent many years as a wandering axe-for-hire. He released one album with his backing band the Healers, but he’s spent more time as a temporary supporting player in bands like Electronic and Modest Mouse and the Cribs. Lately, though, he’s thrown himself completely into his solo career. His new Playland, out next week, is Marr’s second true solo album, and it’s also his second in as many years. We’ve posted the early tracks “Easy Money” and “The Trap.” And now, if you’ve got Spotify, you can stream the whole thing below.
UNCHARTED: How Lydia Ainsworth discovered her sound at the back of the orchestra
Oct 1, 2014 12:30pm | Chart Attack
Uncharted is Chart Attack's showcase of independent Canadian artists we think you should hear. This week, Arbutus Recordsinger/songwriter Lydia Ainsworth explains how learning to collaborate with others helped her develop a sound all her own.
Lydia Ainsworth's remarkably accomplished debut LP instantly establishes her on the precipice of quasi-mystical electronic music and soaring, orchestarted indie pop, but talking to the Montreal singer/songwriter about her musical history gives the impression that shes come this far almost serendipitously.
At age ten, Ainsworth was sent home from school with a cello. Even though she played it poorly, she still considers it a lucky break; it ultimately opened her up to a future in music. By high school she was scoring her friends film projects, an interest she took with her to McGill, and then to NYU, thanks to a grant from the Canada Council For The Arts. While studying film scoring at NYU, it wasn't her individual talent that shone through, but her ability to take direction from her collaborators. She describes the process of composing for someone elses film as one of learning to let go: You have to understand that its not your baby, its theirs.
Ainsworths solo debut, Right From Real, is very much her own baby. Its a stunning debut, remarkable enough for its craft, but also for maintaining incredible confidence and focus throughout its ...
CMJ Charts November 11, 1996: Weezer’s Pinkerton
Oct 1, 2014 12:20pm | CMJ
College radio is the place where artists get discovered, the place that doesnt follow the dictations of taste from the mainstream and the place where artists ignored elsewhere can shine. But sometimes college radio does unexpected things. It overlooks albums that later become cornerstones of any music nerd’s repertoire. It shamelessly supports albums that cross over into major mainstream success. It backs artists because of who they once were, not because of who they have become. Over the past 20 years Weezer has become many things, one of which is an anomaly in college radio. With the release of Everything Will Be Alright In The End on the horizon, lets look back at Weezers surprising history on the CMJ charts.
The first two, and undeniably best, albums from the Weezer catalog, Weezer (The Blue Album) and Pinkerton, had the worst runs on the CMJ charts. The Blue Album received ample mainstream success, but it did not receive as much support from college radio, where it just barely cracked the the Top 20 and peaked at No. 19 on September 5, 1994. Its accessibility and nerdy light-heartedness made it stand out and allowed it to become a definitive moment in the history of ’90s power-pop. Just reaching No. 19 is not all that surprising though, given college radios general hesitance to endorse music upheld by the mainstream. But this ideal of what college radio typically supports is shattered by Weezers later career and college radi...
Stevie Nicks shares new song 'Mabel Normand'
Oct 1, 2014 12:17pm | NME
The song features on '24 Karat Gold: Songs From The Vault' - out October 6
Krill Peanut Butter Video
Oct 1, 2014 12:17pm | StereoGum
The DIY Boston noise-popper contributed their song “Peanut Butter” to a new split EP that also features Ovlov, LVL UP, and Radiator Hospital. Their new video for the song is straight-up cartoony, and it takes place at one of those parties where everyone is obsessed with peanut butter. They eat it, they lick it off each other’s bodies, and they snort it. They do not, however, use it to dispose of dead bodies. They do that the old-fashioned way. Ellie Marshall directed the video, and you can watch it below.
Unreleased album included in new deluxe reissue of The Velvet Undergrounds 1969 self-titled third LP
Oct 1, 2014 12:16pm | Cosequence Of Sound
The Velvet Underground will commemorate the 45th anniversary of their self-titled third album with a deluxe reissue, according to the Guardian.
Due out November 24th via Polydor/UMe, the six-CD collection spans 65 tracks in total, including various outtakes, alternate mixes, and live recordings. The collection also features new liner notes penned by David Fricke of Rolling Stone.
Stereo and mono mixes of the album, as well as the original 1969 pressing, are contained on the first three discs.
Of particular highlight is disc four, which comprises an unreleased album the band recorded as a means of getting out of their contract with MGM. Tracked in October 1969 at New York’s Record Plant, this release features 10 unheard mixes, four vintage and six brand new, including “Lisa Says”, “I Can’t Stand It”, and the original version of “Ocean”. The latter was eventually re-recorded by Lou Reed for his 1972 self-titled debut.
The final two discs promise live recordings handpicked from the band’s stint at San Francisco’s The Matrix on November 26th and 27th, 1969. This marks the first time these songs have been compiled and mixed from the original multi-track recordings.
Released in March 1969, The Velvet Underground marked the band’s first LP without co-founder John Cale. T...
Restorations Tiny Prayers
Oct 1, 2014 12:12pm | StereoGum
There are lots of punk, indie, and heartland rock reference points to toss around when you’re describing Philly rockers Restorations. New single “Tiny Prayers,” though, reminds me of one band in particular, and that band is the recently reunited Constantines. “Tiny Prayers” surges like that band’s signature track “Young Lions” as refracted through the bleeding-hearted stadium punk of bands like the Gaslight Anthem. The noise swells and relentless rhythm are amplified by the emotional torrent that’s coursing through all of LP3. Listen below.
Crowdfunder campaign to bring Foo Fighters to Cornwall raises nearly £100,000 in two days
Oct 1, 2014 12:04pm | NME
The band previously agreed to play a crowd-funded show in Richmond, Virginia
Oct 1, 2014 12:04pm | Fact Magazine
Available on: Public Information
In retrospect, Austin Cesears debut album was pretty ahead of its time. Released in 2012, Cruise Forever was a not-quite-dance album made by a reclusive producer whose interests extended well beyond the club. As an articulation of Cesears style a tape-fugged, delay-saturated, weed smokers take on techno it was remarkably coherent and distinctive. Whats more, it came out a good year before, say, Huerco S. got around to tackling the album format with Colonial Patterns.
Then again, Cesear, until recently a Bay Area resident, has always existed at arm’s length from so-called outsider norms (the fact that such norms are now definable doesnt reflect well on that scene, but thats a discussion for another time). In a community that prizes punkish looseness over craftsmanlike precision, theres something quite austere and clinical about Cesears music. Parts of Cruise Forever recalled, of all things, minimal techno. Recent tracks Yep and Holly Street, meanwhile, read like scientifically precise studies of a single dance music technique – namely the slow-bleed filter passes that suffuse everything from Pepe Bradock to Tiësto.
Crucially, though, this compositional thoughtfulness never comes at the cost of beauty. Quite the opposite in fact. On La Paloma, the opener to Cesears latest, glistening dub chords are duplicated and layered until they ripple unsteadily. Ov...
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