|
CIVIC have this morning announced that their debut album ‘Future Forecast’ will be released on March 26th, 2021. The album comes as a follow up to their highly sought after ‘New Vietnam’ EP (2018) and is their first major release through Flightless Records. |
|
Pre-save Future Forecast HERE |
|
|
|
Following the release of ‘Radiant Eye’ (Nov 2020) the band have shared their second single from the album, ‘Tell The Papers’. The track explodes with thunderous energy, every riff a visceral harness of power and propulsion, before snapping into a slide guitar driven hook that commands attention with its brazen assurance. Listen HERE, and watch the video HERE. The video, shot by Oscar O’Shea, boasts a new visual direction for the five piece. Taking a shift from their previous lo-fi videos (Radiant Eye and Call The Doctor), for a more conceptualised approach. |
|
|
|
“Jim and I wanted to do something that would capture the narrative of the song, whilst still remaining abstract and outside of that – aiming to create a video that was driven by visuals and feeling, rather than the narrative itself”, O’shea says. “We took some simple shots that we felt would work well to the song, whilst at the same time, trying to create some sort of world and story line for it to exist in. CIVIC’s sound is unique in that it is both catchy and playful, while remaining fast, hard hitting, and at times dark, especially on this album. That is what we tried to capture here visually, it’s a new direction for the band and this speaks to that”. |
|
|
|
Vocalist Jim McCullough speaks of the idea behind the Future Forecast cover art: |
|
|
|
“The image can be read in many ways. Its ominous uncertainty and sense of apocalyptic aftermath is maybe a reflection on recent times and a glimpse into the future. It seemed fitting to have this as the face of the record, for me it gives off a sense of totalitarianism and a vastness. it’s like an iron curtain or something from space or maybe it’s just a wall”. |
|
|
|
Driving and tenacious, but never losing sight of a good hook and how to use it – CIVIC don’t tip-toe around the edges, but obliterate them with primal intensity. Finding a home somewhere between 80’s glam rock and Australia’s 70’s greats, they break the pieces of influence before crafting them into their own beast on debut LP ‘Future Forecast’. |
|
|
|
Full Bio: |
|
|
|
An origin story since time immemorial, the five piece came together in 2018 through the traps of the Melbourne music scene. Bonding over a shared love of tightly coiled riffs and a collective musical ethos, they channelled this into their first EP ‘New Vietnam’. In a head rush recording session, the 7 tracks were slammed out in a single day, with the underground hit going on to sell more than 1500 units worldwide. Making a name for themselves through the intensity of their live shows, their ‘New Vietnam’ launch would become one of those folklore moments within Melbourne. Taking to the stage with a contoured cheek and darkened eyes, McCullough’s glamoured stage presence beamed and boomed over the sold out crowd. Cutting through the scene with cult-like vigour, their garnered momentum would lead them to a string of sold out 7 inches, a European tour, a spot on the beloved Golden Plains Festival, a new found home on the revered Flightless Records, and a fan in punk icon Henry Rollins, “I am digging that band… not one bad track in their recorded catalogue”. |
|
|
|
With momentum in the tank, they took to various locations across Victoria to get the beds of Future Forecast down. From Richmond’s historic Bakehouse Studios in all its grandeur, to a DIY run storage shed on High St, there’s consideration for the new and old on this album. Paying homage to the classics, but pivoting on them with avant-charged edge. It’s raw, searing guitars; pummeling rhythms; driving bass; with vocals that lock into and synergise with their wall of sound. Balanced by the raucous and restrained weaving of melodies and textures, the imbued sense of nostalgia, and the vocal variation which broadens their sound past any one genre label. There’s the horn fuelled drive of album opener ‘Radiant Eye’, the power pop ladden hook of ‘As Seen On Tv’, the emotively atmospheric and vocally subdued ‘Sunday Best’, culminating with closer ‘Come To Know’, before ending in a tightly wound splay of feedback and groove. |
|
|
|
CIVIC – FUTURE FORECAST |
|
|
|
CIVIC are: David Forcier (drums), Jim McCullough (vocals), Lewis Hodgson (guitar/ backing vocals), and Roland Hlavka (bass). |
|
|
|
|
|
|
HOW TO STOP A RECURRING DREAM is produced by Polly du Plessis, with TV and radio presenter Edith Bowman as executive producer. Exploring themes of separation and loss, this dreamy trip takes place over a weekend in the lives of two sisters whose relationship is being tested to its limit. After Mum and Dad announce an imminent, split- custody separation, Yakira – the oldest daughter – kidnaps her younger sister and takes to the road, in an attempt to reconnect before they part.
The film’s lead, Ruby Barker, has recently become a breakout star following the huge success of Netflix’s Bridgerton. Writer-director Ed Morris is director of commercials and music videos for such bands as Massive Attack, and is best-known for the now-banned documentary This Is Not – An Interview with Tony Kaye, an intimate conversation with the American History X director, whose eccentric stunts while working in Hollywood earned him a reputation for controversy within the studio system.
City Sessions is coming in hot as part of the Live at the Bowl program after celebrating street dance in Melbourne’s public spaces for over nine years.
On Saturday 17 April, this iconic freestyle dance battle event will be adapted for the Sidney Myer Music Bowl as Australia’s best go head-to-head in a 2vs2 battle in the dance styles of Hip Hop, House and Funk.
Cypher Culture’s City Sessions is a series of public activations that create engaging environments to showcase diverse street dance communities through freestyle dance battles. The series is recognised as Melbourne’s largest and longest standing exchange of subcultural dance in the public space.
“Cypher Culture supports dance that comes from the city. It’s the music, the people, the community. As Melbourne is such a diverse city, City Sessions is a great way for cultural exchange. City Sessions started at a grassroots level in our city’s civic spaces and has provided an outlet for the wider street dance community to connect with the public in a celebratory manner,” says producer of City Sessions Efren Pamilacan.
The event will be held in two stages. From 10am – 3:30pm there will be a non-public Preliminary Freestyle Dance Battle. Judges will then select the winners who will go on to compete in the evening event from 5:30pm – 10pm, which will be an elimination-style tournament hosted by MCs.
To keep the music vibe at an all-time high, the final battle event will be in close collaboration with the ever-growing local music scene in Melbourne with DJs Mero and Mothafunk bringing the beats. To celebrate the diverse forms of street dance, City Sessions will also showcase communities including House of Dévine, Jungle City, Burn City Waack and L2R Dance.
City Sessions is renowned for bringing street dancers from across Victoria together for a raw and energetic celebration of street culture.
“The community are people from diverse backgrounds who meet in the city not just because it’s a civic art form, but because it was a halfway point for people coming in from all points of the compass; a focus. They are dancers from Hip Hop, House, Popping, Break, Krump, Dancehall, Footwork and Locking backgrounds so all of them operate outside of studio settings,” said Ef.
Supported by the City of Melbourne and Arts Centre Melbourne, City Sessions is presented by Cypher Culture, a community-focused street/club dance initiative that fosters experiences that create spaces for social, cultural and community dances to be celebrated.
City Sessions is a free event but tickets must be purchased to ensure formal seating allocation. Tickets will go on sale from 12pm, Monday 29 March via liveatthebowl.com.au
We’re excited to be welcoming visitors back to our venues in line with the most recent Victorian Government guidelines on COVID-19. We have opened our outdoor café Protagonist, the Sunday Markets as well as the Australian Music Vault. These openings coincided with the Live at the Bowl season, which officially kicked off on 8 January 2021.
We will continue to offer audiences the chance to experience the wonder of the performing arts via our digital hub – Together With You. For more information including: our opening plans and related health and safety policies; bookings for free and ticketed events; and other digital content and experiences, please visit artscentremelbourne.com.
Where are you currently based?
Locked down in Liverpool, baby.
How did Generation form?
We just fell into it, really. Music presented itself to us and we took to it like fishes to water. We’re constantly changing.
What’s been happening recently and how has your Covid experience been?
We’ve just released a retrospective album with Tri-Tone – Full of teenage angst and fast guitars. The whole covid thing has kind of put us on pause. Gigs are looking *fingers crossed* like they may be happening again this Summer, so we have that to look forward to, at least. Other than that we’ve been writing. The sound has completely changed – we’re more electronic now. Distorted saw synths, massive drum machines – that sort of thing.
Your new mini album ‘Suicidal Champagne’ is out now, what influenced the sound and songwriting?
It’s literally an album about us being dead young. We didn’t really think about what it was about whilst we were making it, we probably didn’t even know what music was back then. I guess it’s just about things we were feeling at that time and the things every 17/18 year old goes through (coping with becoming an adult by excessively drinking and partying). It’s one big, self-indulgent party – and everyones invited.
How did the concept for the mini album come about?
Drinking.
How did you go about writing the album?
We write most days, so we just had loads of songs knocking about with nothing to do but play them live (circa 2016), then Simon – who we recently released the album with – approached us and threw us in the studio. From there the songs just developed and became what they are now.
Where and when did you record/produce/master and who with?
It was in this lovely converted barn house in the countryside of Leeds or something. There were two new foundland dogs (massive) that would walk around the studio while you were tracking. Was a stay over experience in the barn. I don’t think it’s there anymore. It was with James Kenosha, who is a great producer and musician (he played drums on the album also).
What programs/equipment did you use?
For all our demos we use Logic Pro X, but James probably used Pro Tools, I can’t remember to be honest. In terms of gear, we used all kinds. I remember putting my guitar through a vintage Selmer bass cab, but that’s about it. The rest is clouded by red wine and beer.
What did you find most challenging and rewarding during the creation of Suicidal Champagne?
It’s always the vocals at the end. Trying to find the right tone for deans voice. The most rewarding thing will probably happen when we’re 40 and we listen back and go “ah remember that time, we had a good time making that”.
Who are you listening to at the moment?
Loads of stuff. Our music taste has no range like. A lot of 90s rave stuff, hip-hop, bit of industrial, bit of reggae/dancehall. A musical cocktail of debauchery, really.
What do you like to do away from music?
Tough question that one. All we really do is music. Feels like the hobbies section on your CV this question. Should I put ‘Reading, exercising…’
Urm, we do all kinds really. Mostly mad Sh** no one would believe or even understand the reasons why. I guess we don’t either. Recently got back into skating, which is a blast from the past.
What’s planned for 2021?
HOPEFULLY, lots of gigs (toward the second half of the year). We’ve been hard at work recording new songs as well, so there should be some new music soon(ish).
Favourite food and place to hangout?
Tough one this ‘cos we’ve been in lockdown for like a year. I’d say Elif on Lark lane provides the best scran. It’s a Turkish grill joint and it’s so good. Favourite place to hang out right now is our mums conservatory aka the beat laboratory.
wholovesthisgeneration.com
IG: @wholovesthisgeneration
Expect to hear from experts picking through topics like “the future of live events” to “kick-starting a business”. There will be opportunities to put your questions and opinions to the experts as well as discuss the events of the day with other people tuning in. There will also be select spaces for group mentoring sessions with some of the experts that will be speaking during the Firestarters event.
Many of the fundraising channels that charities rely on have been taken away. As such, every video posted in “Firestarters” will carry a donate button so viewers can donate directly from the app to UK Youth and Rethink Mental Illness.
|
||
|
Where are you currently based?
Currently my kitchen table; I haven’t moved for a while.
How did you first start playing music?
I first started playing as an 8 year old because my brother was learning guitar and I wanted to do everything he did. I actually learnt the trumpet as my first instrument. I’m pretty crap now but it’s a cool party trick (and I really respect anyone who’s actually good at it).
Where are you currently based and how has your Covid experience been?
I’m super lucky to be quite sheltered from the virus over here in WA but the few months we were locked down were definitely instrumental (haha) in getting this song to a happy place. Obviously covid sucks, but in a strange way I appreciate it for the time it gave me.
Your debut single ‘Full Grown’ was released March 5, what influenced the sound and songwriting?
The song itself was written a couple years ago though it has come a long way since then. Because I started it yonks ago the production is super influenced by the artists I was pumping at the time, mainly Panama and Roosevelt. The lyrics are based on a struggle of mine at the time, as I felt ill-equipped to enter a relationship.
How did you go about writing Full Grown?
I actually started producing the beat on a family holiday in a hotel room, but as with most things I make I just went through a stupidly long loop of producing, taking it away and listening, writing down notes then coming back and making changes. The lyrics were the complete opposite and finished in one sitting though.
Where and when did you record/produce/master and who with?
All recording and producing by myself, in a number of places actually but none of them being a proper studio. Then the legend James Newhouse fattened it up with his master.
What does Full Grown mean to you?
It means having it all together. Bit of a myth really. I feel like a kid a lot and I’m okay to admit it; sometimes it’s great thing and it sometimes it kinda sucks.
Who are you listening to at the moment?
At the literal moment I am listening to Candid by Sevier; some cool Perth dudes who happen to also share my release date. I’ve been listening to a bunch of Perth folk lately, such as Michael Day, Jacob Wylde, Grievous Bodily Calm and Kyle Charles Hall, among others.
What do you like to do away from music?
Mainly eating, reading, date nights and walks with my dog. Also love a good game of bananagrams, though I wouldn’t say I’m good at it.
What’s planned for 2021?
More releases, more eating, reading, date nights, walkies and defs more bananagrams so I can actually get good. Also very very keen to start playing live real soon around Perth!
Favourite food and place to hangout?
Always big on Mexican food. There’s a taco joint literally 2mins walk from our front door called Hermanos En Cantina which is kinda the go-to hangout for us. Big recommend.
One of the Hunter Valley’s most cherished cultural escapes, The Gum Ball, returns in 2021 for three days of musical discovery over the school holidays, 16-18th April 2021.
Held amongst idyllic bushland of the Hunter Valley, the family friendly cultural jamboree has survived many hurdles over the years. Whilst a pandemic is a new assault, organisers are confident that despite a reduced capacity in 2021, the festival will be a positive return to days of old.
In 2021, the festival continues to connect community and culture, with distinct homage to the traditional owners of the land, the Wonnarua, featured through a one-off artwork by local Indigenous artist Debbie Becker.
The Gum Ball brings a selection of the best musical acts from around Australia and showcases them in an intimate setting one by one, alongside comedy, pro skateboarding, markets, workshops, camping and more.
Dashville are pleased to reveal The Gum Ball’s musical program for 2021:
HARTS PLAYS HENDRIX + THE BEAUTIFUL GIRLS + CASH SAVAGE AND THE LAST DRINKS + iOTA + EMMA DONOVAN & THE PUTBACKS + EVEN + MELODY POOL + LOST RAGAS + CODA CHROMA + TORI FORSYTH + KING STINGRAY + COUSIN TONY’S BRAND NEW FIREBIRD + MURRAY COOK’S SOUL MOVERS + EAGLE EYE JONES + DAVE WELLS + LACHLAN X. MORRIS + BUDDY DINGO + JONES THE CAT + PALOMINO + THE BARREN SPINSTER + THE STAINED DAISIES + BURGER JOINT + JOHNSTON CITY + DARREN ‘D.C.’ CROSS + LOSTY AND BIG RED CAP + DASHVILLE PROGRESS SOCIETY + YOUNG GUMS BAND
HARTS PLAYS HENDRIX guitar virtuoso Harts and his band channel the Jimi Hendrix Experience. The classic roots reggae vibes of THE BEAUTIFUL GIRLS. no-holds-barred rockers CASH SAVAGE AND THE LAST DRINKS, powerful soul of EMMA DONOVAN AND THE PUTBACKS, legendary rock trio EVEN, the beautiful return of songstress MELODY POOL, psychedelic alt-country soundscapes of LOST RAGAS, the innovative and atmospheric synth-pop of COUSIN TONY’S BRAND NEW FIREBIRD, the hugely talented iOTA, indigenous surf rock vibes of KING STINGRAY, who feature siblings of Yothu Yindi, the dreamy cinematic melodies of CODA CHROMA,, female pop-rock powerhouse TORI FORSYTH, the smooth funk of Murray Cook’s SOUL MOVERS, Newcastle-based psych rocker LACHLAN X. MORRIS, pop-punk upstarts JONES THE CAT, rockin’ Port Macquarie trio PALOMINO, Australiana folk icon BUDDY DINGO, psychedelic funk rockers EAGLE EYE JONES, feel good boogie tunes by Canberra based THE BARREN SPINSTER, eclectic alt-rock gang THE STAINED DAISIES, local singer-songwriter DAVE WELLS funked up duo BURGER JOINT, local legends JOHNSTON CITY, folk neu artist DARREN ‘D.C.’ CROSS and hip-hop conglomerate of LOSTY AND BIG RED CAP.
The Gum Ball runs from 2pm Friday, April 16 to Sunday midday, April 18.
Limited tickets are on sale now through Humanitix, with booking fees going to help Nutrition for Aussie School Kids.
For media inquiries contact Jo Corbett at jocorbettpublicity@gmail.com.
GUM BALL 2021 ARTISTS IN FOCUS
KING STINGRAY
King Stingray are a four piece from Yirrkala, North-East Arnhem Land. Formed by Yirrŋa Yunupiŋu (nephew of the late Dr M Yunupiŋu – Yothu Yindi frontman) and Roy Kellaway (son of Stu Kellaway – Yothu Yindi founding member and bass player), King Stingray blend ancient indigenous melodies with surf, indie and funk influences to create a genre of their own, Yolŋu surf-rock.
HARTS
Harts’ star rose when the none other than Prince discovered him and invited him to jam. “”He reminds me of how I was at that age,” Prince said at the time. Harts, real name Darren Hart, was born to athlete parents in Chennai, India. Their speciality was track and field. He moves to Australia at the age of two, and appeared on the musical landscape with his first release in August 2010. Harts is known for his Hendrix-like guitar ability and his solo work has spanned funk, soul, rock, blues, psycho-rock and post-disco.
iOTA
iOTA performed the very first Gum Ball in 2005. Aside from releasing seven critically-acclaimed albums as a singer/songwriter, iOTA has also become a critically acclaimed stage and screen actor, writer, painter, composer and voice-over artist. Notable film credits include roles in The Great Gatsby and Coma the Doof Warrior in Mad Max: Fury Road. He’s recently played to packed houses in the 2019 Sydney Festival sensation, Pigalle. He wrote and starred in Slap and Tickle and The Average Joe, and his show Young, Hard & Solo. He co-created and starred in Sydney Festival’s Smoke & Mirrors and musical rock-odyssey B-Girl. Other credits include: Hedwig and the Angry Inch; Frank ‘n Furter in The Rocky Horror Show; Graeme Murphy’s Berlin; Gale Edwards’ The Turquoise Elephant, and the touring Bowie tribute David Bowie.
His extraordinary talents have been recognised with an ARIA Award nomination for Best Album and four Helpmann Awards and Green Room and Sydney Theatre Critics’ Awards.
MELODY POOL
In 2021, Melody Pool will announce her awaited return with new music penning its way into her sets, exploring a new and re-birthed brilliance hinting at subjects of empowerment, resurgence and uprising. Dashville has heard some of these new recordings and they are absolutely amazing.
EMMA DONOVAN & THE PUTBACKS
The Putbacks are stone cold pros, grizzled veterans of all the tours and all the studios. As individuals, they’re the players behind so many bands it’s difficult to list, but let’s start with Hiatus Kaiyote, The Bombay Royale, D.D Dumbo, Swooping Duck and The Meltdown. When they come together, they’re one of the tightest, sharpest, slickest, most dynamic musical units ever to exist. Their collaboration with Emma elevates their music and Emma’s songs to another level. Emma Donovan & The Putbacks released Crossover in November 2020.
EVEN
Even are a legendary three-piece indie pop rock band from Melbourne, fronted by acclaimed singer-songwriter-guitarist, Ashley Naylor with Matthew Cotter on drums and Wally Kempton on bass guitar and backing vocals. They formed in March 1994 and were a big part of the 90’s rock explosion, playing regularly at festivals, touring nationally and internationally many times. They have released seven studio albums, Less Is More (10 June 1996), Come Again (28 September 1998), A Different High (14 May 2001), Free Kicks (6 June 2004), Even (29 March 2008), In Another Time (9 December 2011), and Satin Returns (16 May 2018).
|
|
|
|
|
|
|
|
|
|
|
Where are you currently based?
In the Mornington Peninsula. By the beach.
How did you first start playing music?
Thanks to my musical family and always enjoying listening to music in the car driving around.
What’s been happening recently and how has your Covid experience been so far?
It’s been ok! I’ve been picking up recording, so now I am doing it all on my own. Mixing and all the instruments. And also I got into Uni for music!
Your new single ‘Treading Water’ is out March 8, what influenced the sound and songwriting?
It’s very inspired by Julien Baker’s song ‘Funeral Pyre’ and it’s inspired by motion of water and the beach.
How did you go about writing Treading Water?
It is very literally inspired by swimming at the pool and beach, then it has the double meaning of treading water in your mental health.
How did you approach the recording process?
All done by me in my bedroom, I did it quickly just in the one day. I’m not really a perfectionist, I’m good at knowing when to let things go.
Where and when did you record/produce/master and who with?
I recorded it solo, then it is mixed by Calvin Lauber, we have worked together before on my solo song ‘Asphyxiation’ from my album Nihilism, and I just loved how it came out. So I reached out to him again.
What programs/instruments did you use?
I used my fender telecaster and recorded into GarageBand and Calvin mixed it in protools.
What does Treading Water mean to you?
It is a time capsule of my summer and metaphor for my mental health.
Who are you listening to at the moment?
Sooo much Montaigne, saw her at Summer Salt and it was awesome. Montaigne has such a magnificent voice and explosive songs.
What do you like to do away from music?
Lots of walks on the beach and animal crossing.
What’s planned for 2021?
After this song, I will be really focusing on my Composition course in Melbourne.
Favourite food and place to hangout?
Nandos!! I love the music they play, the food is 10/10. Also Belles Hot Chicken in Melbourne has most amazing vibe and best food.
|
|
|
|
PRE ORDER NOW
We are excited to announce a very special vinyl release, all studio albums and EPs by the critically acclaimed iconic duo that is The Mars Volta. It is the release fans have been anticipating for years, including the myth-shrouded LANDSCAPE TANTRUMS – the original unfinished recordings of De-Loused in the Comatorium. The remastered box-set is limited to 5000 copies worldwide and includes an exclusive photo book of behind the scenes photos with accompanying text spanning the bands career and 2 collectible pin-badges.
LA REALIDAD DE LOS SUEÑOS means “the reality of dreams” – and there is no title more fitting for this unbelievable box-set. This represents a dream come true for the many loyal fans of alternative rock giants, The Mars Volta, across the world. Working intimately with Omar Rodríguez-Lopéz, Clouds Hill has brought out an all-encompassing and wonderfully designed vinyl box-set.
The box-set includes 18 LPs (180 grams, black vinyl) & is available to pre-order from March, 5th 2021 with a release date of April, 23rd 2021. The vinyl only set contains the debut EP TREMULANT (2002) and the six studio albums from DE-LOUSED IN THE COMATORIUM (2003) and FRANCES THE MUTE (2005) through to their last work NOCTOURNIQUET (2012). Everything has been newly remastered specifically for vinyl by Chris von Rautenkranz. And you can hear the difference: Chris explains, “We have taken care to give the sound more space. To make it sound more lively and organic than the original, which was mastered for digital formats.”
We said “all-encompassing”: the thing about this box-set is that it includes the first ever release of recordings that fans of the band have long seen as The Mars Volta “holy grail” – shrouded in myth and rumour: do they exist? If so, where are they kept? Who is keeping them? And will we ever be able to listen to them? Well, now, we can!
This mythological beast, the unfinished original recordings of De-Loused in the Comatorium, is known as LANDSCAPE TANTRUMS. It was created when the band recorded previous versions of the pieces that Rick Rubin later produced for DELOUSED IN THE COMATORIUM. Omar Rodríguez-López kept the master tapes of these sessions under lock and key, but now he has given them the green light for release. “It is the right time, to open these recordings up to the public”, he says. “As a work of art in its own right, this set also needs to be seen as the end of a story.”
The recording of LANDSCAPE TANTRUMS reveals a sound that is more raw, more emotional, more tightly coiled. “Anyone listening to these tracks will get a glimpse into that time, into Omar’s soul” explains Johann Scheerer from Clouds Hill, who produced the box set in collaboration with Omar. Rodríguez-López responded to the end of his post-hardcore band, At The Drive-In by founding The Mars Volta, but the LANDSCAPE TANTRUMS sessions reveal a confidence and sensitivity that brings this legacy into The Mars Volta. “It is a central part of the band’s history” reports Johann Scheerer, “the recordings prove just how much this band had to share, even so soon after its founding. But they also show just how much force this music could have if you didn’t have a producer like Rick Rubin behind the mixing desk.”
This is not to take away from Rubin’s contribution. Listening to DE-LOUSED IN THE COMATORIUM as remastered for vinyl reveals just how this “Rubin spirit” drove the band forward, particularly in how vocalist Cedric Bixler-Zavala found his voice, and how Omar developed so much self-confidence in his working with Rubin that he produced the subsequent masterpiece FRANCES THE MUTE on his own, complete with the sounds and structures that remain hard to believe to this day. For everyone who can’t get enough of DE- LOUSED IN THE COMATORIUM sessions, the recordings of the two ‘lost songs’ A Plague Upon Your Hissing Children and Eunuch Provocateur are being released in this box set for the first time. Included in this fabulously designed set is also a hardcover book specially put together by Omar Rodríguez-López and the Clouds Hill team with unpublished ‘behind the scenes’ photographs from their early days. The photos bring us into a world of a band that put everything it had into its music – recognizing LA REALIDAD DE LOS SUEÑOS… the reality of dreams.
PRE-ORDER LA REALIDAD DE LOS SUEÑOS HERE
A LIMITED EDITION 18 LP SET OF EVERY STUDIO ALBUM & EP ON 180 GRAM BLACK VINYL
Including the studio EPs / albums:
- TREMULANT
- DE-LOUSED IN THE COMATORIUM
- FRANCES THE MUTE
- AMPUTECHTURE
- THE BEDLAM IN GOLIATH
- OCTAHEDRON
- NOCTOURNIQUET
Plus:
- LANDSCAPE TANTRUMS (UNFINISHED ORIGINAL RECORDINGS OF DE-LOUSED IN THE COMATORIUM) PLUS
- A PLAGUE UPON YOUR HISSING CHILDREN & EUNUCH PROVOCATEUR ON DOUBLE ETCHED VINYL (UNRELEASED VERSIONS FROM THE DE-LOUSED IN THE COMATORIUM SESSION)
Plus:
- PHOTO-BOOK OF EXCLUSIVE BEHIND-THE-SCENES PHOTOGRAPHY
-
PINS
|
ANTI UP – ‘SENSATIONAL’
OUT NOW
“Sensational” is a feel-good anthem radiating with positivity that pays homage to the synthesizer-driven, arena-sized sound of 80’s pop. Melding synthwave-leaning production with bass-forward house, “Sensational” seamlessly fuses Anti Up’s signature style into a cohesive dancefloor stunner.
Anti Up’s acid-laced, retro-fit stylings are a party – and everyone is on the guest list. A high-profile project with low-profile sensibilities, Anti Up has become a sounding board for dance music’s emerging voice. Bringing an ethos based in inclusivity and integrity, the international act has proven that true authenticity lies in playing by rules all their own. From the misfit kid who finds solace in new sounds, to the audiophiles in search of a high-octane sonic fix, the duo’s adrenaline pumping productions offer a reprieve from the worries and hassles of everyday life.
In 2018, the duo debuted with their own perfect take on cheese: “Pizza” — a twisted, bubbly house track dropped via Ministry of Sound, which has stimulated after hours appetites the world over. Shortly after came their self-released Hey Pablo EP, a verified anthology of turn up tracks that put euphoric weekend feelings into musical terms, followed by a handful of noteworthy hits such as “Right Now”, another understated heater.
And even when we don’t, Anti Up is quick to infuse the room with positivity. After a year plagued by distress and uncertainty, they return via FFRR with “Sensational”, an effervescent, synth-scored track that cuts through the darkness that has become all too familiar. “Sensational” delivers a fresh kick of energy while paying homage to techniques made popular by vintage acts like Kraftwerk and New Order, among other pioneering electronic collectives.
In plain terms, Anti Up’s sound print is a multi-sensory celebration of house music’s roots, and a gritty, offbeat glimpse into the genre’s beyond.
Anti Up ‘Sensational’ is out now on FFRR
|
|
