the partae
What is your name and role within Suit of Lights?
My name is Joe Darone. Suit of Lights is the name I’ve recorded under for the last 15 years, with various friends. I write and sing the songs, and play keys.
Where are you currently based?
New York City
What’s been happening recently and how has your Covid experience been so far?
This year I was focused on getting the record out – come hell or high water – but I realized that trying to release an album during a pandemic is a bit absurd, right?
Like, let’s keep this in the proper perspective. It’s not that important in the overall scheme of things.
It’s Suit of Lights 15th anniversary, how does it feel to hit this milestone and how has SOL evolved over the years?
It’s an odd feeling, the records are a kind of cataloguing of ideas and emotions and it’s interesting to look back and see – not everything is pretty! But I’d say the main evolution from the first album to the latest album is the level of sophistication in writing and arrangements.
Your new album ‘Hide and Seek’ is out now, what influenced the sound and songwriting?
Well, the idea is that it’s an album of games. From the birth song “Tag!” to the death song “Ring of Roses” and various adventures and follies in-between. I like adventurous music, so groups like Sparks and Cardiacs are heavy influences.
How did you go about writing the album?
“Hide and Seek” was the first song I wrote, about the nature of existence. It seemed like adventure theme-music, the beginning of something.
I started thinking about the overlap in games we play as both children and adults. Titles like “Rock Paper Scissors” and “Tug of War” were just begging to be written.
Where and when did you record/produce and who with?
I produced the album, and it was recorded in several locations.
We recorded Chris Connors’ guitars, plus bass and horns at Concrete Sound, his studio in Brooklyn. Arun’s guitars were done at Rebirth Music, his studio in Austin, TX. Vocals and keys were done at my place in Hoboken, NJ. and we tracked drums and mixed with Jeff Aderman at Big Blue North in Utica, NY.
Oh, and we have an Australia connection – It was mastered at Surgical Sound in Tasmania by Dr. Timo G. Less!
How did you approach the recording process and what did you find most challenging and rewarding?
I aways start with home demos, which become the foundation to record all the real tracks in the studio, but in the past I was always on a budget and watching the clock, so there were always ideas that didn’t make it onto the album. This time, I bought a Neumann U87ai microphone and a Neve Portico 5017, and I went to town on vocal harmonies, doing my best Beach Boys impression.
What programs/instruments did you use?
The drums were recorded in analog using the CLASP system, which stands for Closed Loop Analog Signal Processor. Basically you’re hitting analog tape in real time. Vocals, guitar, bass, drums, keys, and trumpet were done in Logic Pro X.
The album is available for $1.50, where can we listen/purchase?
Limited edition LP, CD and downloads are at www.suitoflights.com
It’s also available on Apple Music, Amazon, Spotify, Tidal, and YouTube
Who are you listening to at the moment?
New Lemon Twigs album, Weyes Blood, Ruby Roses, and I just discovered a band called A Formal Horse.
What do you like to do away from music?
I’ve actually been catching up on reading. Just read autobiographies by Elvis Costello, Christopher Hitchens and Bob Lazar. I’d like to get back to drawing and painting at some point.
Trevor Dunn, Steve Pedulla, and Jamie Egan have all played on previous albums, how do you decide who you are going to work with and how does the collaborative process usually take place?
It’s usually just by chance. From the beginning, there was no set lineup or anything, Arun and I were splitting up everything between the two of us. Then, we started bringing in some of our friends. I didn’t know Trevor personally, I was just a huge Mr. Bungle fan, so I sent him some demos and he was interested.
Everyone on Hide and Seek has played on previous SOL albums, except the trumpet player David Levy (Norah Jones, Deep Purple), he was a friend of Chris Connors. Oh, and Evan Hooker from Ruby Roses and Arun’s kids Ruby and Hugo sang some backups.
You were in the band The Fiendz, how have you developed as a musician and person since?
Well, the first Fiendz single came out when I was 15. So we were literally growing up in that band, immature and not great with communication. Add in a little bit of success and failure and it eventually became toxic. I’d like to think that I’ve matured in the decades since then.
Musically, I’ve always played by ear so in terms of learning actual music theory, it’s been a very slow process. You can play punk rock drums without knowing any theory, but playing keys kinda forces you into it.
What’s planned for the remainder of 2020 going into 2021?
Our record has just hit radio and debuted at #30 most added on the NACC charts, which is pretty great. I’m really curious to see how COVID plays out in the states, it’s an embarrassing mess and tough to make plans too far ahead.
Favourite food and place to hangout?
I love spicy food! Indian, Nashville hot chicken, and Jamaican Jerk. I have about 20 different hot sauces in my fridge.
I like hanging out in coffee shops.
Listen/Buy: https://suitoflights.com/album/hide-and-seek
Brisbane indie five-piece THE BONNIE DOONS fuse influences with new single ‘FRED’
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Where are you currently based?
We’re sort of interspersed across the Central Belt of Scotland – from Glasgow to Edinburgh
What is your name and role within Stanley Odd?
I’m Solareye. I rap, record, some production and jump about.
How did you first start playing music?
Sheesht. My Dad had a good record collection and a guitar, so I started mucking about with that when I was about 12 or 13. Got into bands in my teens but was always really into hip-hop and rap so started adding little raps into the songs. That gradually morphed into a live hip-hop group with ma pals that I grew up with. We started touring round Scotland and it sort of grew from there.
How did Stanley Odd form?
Well – me and Veronika Electronika were meant to be playing a DJ/Emcee-type set and the DJ couldn’t make the show. A couple of pals joined us on guitar and drums. That was the organic start of the live hip-hop group. We’re now a six piece – Samson on kit and production, AdMack – bass and synths, Thilo – keys and more synths, Scruff Lee on guitar, Veronika singing and me rapping.
What’s been happening recently and how has your COVID19 experience been up until now?
We were meant to do a small venue UK tour April and May, then festivals for the summer, then a bigger tour and album launch in autumn. None of that transpired. BUT. Instead we finished the record in the first couple of months of lock-down – all recording individually then sending bits back and forth. Samson produced and mixed it. The record is finished and we’re mad happy with it. We’re none releasing a new single and video every six weeks for the rest of the year and putting the album out in March 2021. Change and adapt eh. It’s dead exciting to be able to focus on so many different songs off the record in six-week blocks. And we’re working with a bunch of great folks to make the videos, so every cloud has a silver lining.
Your new single ‘Night Rip’ is out on August 14, 2020, what influenced the sound and songwriting?
‘Night Rip’ is an example of how we’ve approached the whole record this time round. It’s about making music, not even thinking about what style or genre folks might want to box it in. It’s on some dark-pop analogue synth electro with breakbeats vibes – with no raps, which is a first for us. Just Veronika and me in a melancholy duet about breaking up.
How was Night Rip written?
We wrote it in the studio – before lockdown. We’ve been booking 4 or 5-day blocks of studio time and working on a bunch of demo ideas each time – everyone makes beats, instros and ideas them uploads them to DropBox. So we pick a few then develop them in the studio. The guys filled the studio up with analogue synths – Korg MS-20, Roland Juno, SH-101, Moog Sub Phatty, 808s – then start replacing sounds in the demos and building the song.
This one, I remember we’d been working on stuff all day and the band all went out for food quite late at night. Veronika had this line ‘Oh I’m restless, yes I’m restless’ and we stayed at the studio and wrote the story of a moonlight flit – somebody leaving everything behind in the middle of the night, or sort of chasing the daylight of dawn and disappearing. Then we sang it together so that the situation could be that both people in the relationship were feeling the same but not telling the other.
We tracked the drums another day me and Samson. Then Samson produced and mixed it during lockdown.
Where and when did you record, produce and master and who with?
We do everything ourselves. We’ve almost always recorded, mixed and mastered ourselves. I think we’re just too attached to stuff and don’t want to let it go. We have done some great work with other people occasionally but generally prefer to keep it all in house. This record, we tracked a bunch of it together with sometimes everyone actually recording their own parts. Samson mixed it and produced it with production elements again from everyone. It’s funny – because we’re a live band and have such a hip-hop production ethic, we always end up recording, then sampling the recordings and rebuilding them. That kind of lends itself to just getting on and doing it all yirsel.
What programs/instruments you use?
OK
Ableton for ideas, production, development and live stuff. We also use Push for live (sometimes 2 or 3 between us)
Pro Tools for mixing and mastering
Moog Sub Phatty
Microkorg (still!)
Roland Juno-6
Roland SPD-SX
Novation Bass Station
A beat up SM58 or Electro Voice ND967
Fender Tele
Fender/ Musicman basses
Ampeg amps
Korg MS20
What do you like to do away from music?
Make more music.
Sulk about not getting to play live the noo.
Go for a run I suppose.
Who are you listening to at the moment?
For unapologetic DIY pop: Carla J Easton
New production: Dunt, SHEARS
Podcast/ video stream: You Call That Radio
Scottish rap: Spawn Zero, Empress, Steg G & Freestyle Master, CCTV, Shogun, Togo Fam +++
Always: MF Doom, Pharoahe Monch, Aesop Rock
What’s planned for the remainder of 2020?
A new single and video every 6 weeks. Next one – KILLSWITCH – is out 25/09
Favourite food and place to hangout?
Lockdown has been all about get those home cooking skills up. Now we’re making homemade bhuna and naan bread so I feel like I’m all set here thanks.
https://www.facebook.com/stanleyodd
DEATON CHRIS ANTHONY SHARES NEW SINGLE ‘TUETHDAY’ FT. BABY A TAKEN FROM FORTHCOMING BOOGY WOOGY EP
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Stay connected with Deaton Chris Anthony:
Instagram | Facebook | Youtube | Twitter | Website
Moscow Music Week 2020 conference will discuss pandemic consequences and new ways of music industry development on 3-4 of September
Annual conference within Moscow Music Week showcase festival will happen on 3rd and 4th of September in partnership with Institute of Musical Initiatives (IMI).
6th year in a row musical industry professionals will gather to discuss the most pressing and sensitive issues, which are common concerns of Russian market representatives: music distribution, digital marketing, streaming platforms management and many more, in the context of this tough year that changed the normal course of things.
Due to pandemic this spring clubs, music spaces and concert halls stopped working. How it affected musicians, industry and listeners? What can venues and musical events expect in future? How did organizers manage to cope with switching to online and is there any future for this format? These and many other questions will be discussed by conference participants within lectures, workshops and discussions with Russian and foreign colleagues. This year’s conference’s leitmotif is digital communications.
Conference program includes such themes like:
• Streaming services in pandemic period: how to find your listener. Opportunities for independent musicians.
• Clubs on lockdown: economics, problems and ethics
• Musician profession: art vs management
• What to do if online concerts will be back? Experience and future of the format in Russia
• I will survive? Or how industry copes with pandemia consequences. European experience. And many more.
Among speakers and curators are managers and art-directors of clubs and concert venues (Dom Pechaty, Tele-Club, Punk Fiction, 16 TONS), festivals organizers (Park Live, SOUND UP, BOL’, Picnic Afishy, Ural Music Night), marketing agencies, streamings and record labels representatives (Effective Records, Yandex.Music, Booking Machine Agency, Future Communications) and of course artists (The Retuses, Intourist, Pasosch, CPBCH).
Main conference partner IMI is a non-commercial organization which develops music industry within the space of Russian-speaking culture. IMI leads a media industry, publishes books for those who are interested in music business, arranges music conferences and showcases in regions. More information at i-m-i.ru and in IMI’s social networks.
Conference partners: Mixmag Russia, Yandex.Music, Moscow Music School, Afisha, ONErpm Russia TuneCore, RMA business school
Detailed conference schedule at MMW website and on conference Facebook page.
Moscow Music Week is 4-days-long showcase festival and conference from 2th to 5th September, with offline and online programs, the only festival format event in 2020 in Moscow.
Musical part will include around 100 artists distributed across 20+ thematic showcases. Once again MMW visitors will be the first to hear musicians, who will become leading voices of the scene in a couple of years.
From dark jazz to emo noise, traditional Caucasian motifs, modern punk, local hip-hop and experimental improvisation. Ionoff Music and BOL’ festival showcases, electronic night program from Dissonance, Quintessence, Oberwave etc.
Full line up includes Lalalar (TUR), CENTR, Hadn Dadn, SOUYZ (BLR), Bad Zu, Zaur Nagoev, Intourist, Lucidvox, Fardi, USSSY, CEO of Everything, Dima Midborn, Wooden Whales, LUTIK, Echo Pamira, Archanga, Hit ’em up, Donatello!, Tundra Art Ensemble, luni ana, Autosport, Vsadniki JKH, Akul’e Slezy and many more.
Open and free online showcase with live streams from Experimental Music Showcase with USSSY and new band called Tvar’, Hungarian Showcase with local scene representatives: Platon Karataev, The Qualitons и Torts from Budapest (with the support of Hungarian Cultural Centre and HOTS (Hungarian Oncoming Tunes) and also stream from Kazan club Werk with participants of club’s community — MITYA and Sveta Luk’yanova (ЯNA). Stream will be available on Youtube and Facebook. Links to the stream will be published n the date of event.
COSMO’S MIDNIGHT ANNOUNCE SOPHOMORE ALBUM ‘YESTERYEAR ‘ OUT FRIDAY, OCTOBER 2 + SHARE REMIX FOR LATEST SINGLE
Twin star outfit Cosmo’s Midnight today announce their long-awaited sophomore album Yesteryear, to be released worldwide on October 2 via Black Butter Records.. Celebrating the news, the duo also shares a new remix from Brame & Hamo for their recent album-titled single.
After releasing the psychedelia-infused 70s pop single “Yesteryear” with an iso-inspired film clip back in June, the uplifting track receives a club fit-out for dance heads everywhere. Irish-bred, Berlin-based duo Brame & Hamo put their famed house reputation to task, transporting the single to new darker, melodic and higher-tempo territory.
“Slicing up and vocoding the original vocal performance Brame & Hamo take ‘Yesteryear’ out of the clouds and into the clubs. For us, this remix embodies a post-covid, sweaty warehouse rave with it’s dark, hypnotic blend of trance, breakbeat, techno and electro.”
Cosmo and Pat Liney on the remix
The Yesteryear LP will arrive on October 2, representing a new and self-assured chapter for the Sydney-based duo who have spent years honing their sonic identity to become a confident live project of intelligent design and feel. From their bedrooms many years ago, to studios and sold-out stages across the world today, Cosmo’s Midnight have keenly enveloped an essence of timelessness within their sound, soon to be heard on their second album. Having excelled in their lane as songwriters and producers, the pair have fed their curiosity to master a sophisticated blend of disco, funk, psychedelic, soul, hip-hop and pop influences in their output while retaining clear-cut melodic progressions and ideas that stick around long after the record ends, often reflected back in their worldwide following and loyal fanbase. Familiar faces Ruel, Matthew Young and Age.Sex.Location are among the tracklist’s artist collaborations, topped off with a special appearance from Wollongong’s Stevan.
“Our second album is more or less summed up in the title track ‘Yesteryear’. It’s about reflecting on the past with not only nostalgia but also an element of melancholia ~ all the formative experiences that we absorb growing up both good and bad. It’s an album inspired by personal growth, looking back on these experiences, learning from them and moving forward with optimism. Stylistically we have always looked back to genres our parents introduced to us growing up; disco, funk, psychedelia, alt-pop of the 70s and 80s. In ‘Yesteryear’ we have homed in on that, moving away from overly produced sounds to more organic instrumentation, focused on feeling rather than thinking.”
Cosmo’s Midnight
In 2020, Cosmo’s Midnight continue to hold their reputation as one of Australia’s best loved duos in left-field sound. Their debut in triple j’s Hottest 100 countdown with their gold-certified single “C.U.D.I (Can U Dig It)”, was followed by the release of “Down For You” with global pop phenomenon Ruel, seeing over 16 million online streams/views to date alongside a live debut at Sydney’s Laneway Festival. The arrival of “Yesteryear” kept the momentum strong, placing the duo on the cover of Spotify’s The Local List playlist and receiving acclaim from the likes of NME and Rolling Stone Australia. Previously, the pair have shined in performances at Splendour in the Grass, Australia-wide festival tours of St. Jerome’s Laneway Festival and Listen Out, and sold-out headline shows in the US, Asia and major Australian venues on national tours. In 2018, their widely-appraised, debut triple j Feature Album What Comes Next put gold-certified favourites “History”, “Talk To Me” and “Get To Know” out into the world, kickstarting a meteoric rise that hasn’t slowed down since.
As Cosmo’s Midnight continue their trajectory of fearless exploration and reserved sophistication in 2020, turn up the dial on a new remix of “Yesteryear” today ahead of their sophomore album in October, promising some of their most exciting work yet.
Cosmo’s Midnight ‘Yesteryear’ will be available Friday 2nd October via Black Butter Records
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DEEP DARK & DISTINCTLY TECHNO… JUNIOR JACK AND PAT BDS BRING AN UNDERGROUND PEAK TIME MOMENT WITH NEW RELEASE ‘KLIMAX’
ADESSO MUSIC
JUNIOR JACK & PAT BDS – ‘KLIMAX’
OUT NOW
Remaining one of Italy’s premiere House music exports Junior Jack’s achievements are multitude, as a producer, he’s created some of the best House records of the early 2000s becoming a big star and major contributor to the sound and style of the time. Since then he has been a prolific and varied producer, continuing to release tracks, diversifying his sound, always with his ear to the underground and creating many early morning dancefloor moments.
He now comes to us with a strictly for the club release in partnership with friend and fellow producer Pat BDS. They have their own Adesso Music imprint to which they can release those tracks which are firmly aimed at the darker and techier side of dance music. Make no mistake this is a label that specialises in a tougher rawer sound.
With previous releases which include the 2019 debut ‘Flash’ and 2020’s ‘Tecky Dream’ they now release ‘Klimax’. A three-part package that includes the Original, JJ Rework and Alex 47 Remix.
With three different flavours that are all aimed at the dancefloor, the Klimax Original brings about a feeling of 4 am in a club and a perfect rolling techno track. Subtle beats and percussion build into a momentous track full of warm bass and energy.
The ‘JJ Rework’ is techy deep and driving – with bright synth stabs and an underlying underground dark feel. Atmospheric, with gentle and rolling builds.
Meanwhile, the ‘Alex 47 Remix’ is bursting with deep and warm bass and tension building drops – this is instrumental and deep techno at its finest. A track that slowly builds around a hypnotic beat.
Further remixes to follow from Darius Syrossian and Patrice Baumel complete the package.
Junior Jack & Pat BDS ‘Klimax’ is out now on Adesso Music
Drum & bass star MUZZ expands his horizons on stunning debut album ‘The Promised Land’
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Braxton keeps up his run of remarkable releases with his brilliant remix of Matt Fax feat. RBBTS ‘Set Your Sails’ on Colorize, out now. The label invited him to choose any track from Fax’ album ‘Progressions’ to rework, a vote of confidence fully justified by the result.
The Brighton-based producer is a by-word for quality and thoughtful composition, finding favour as a regular with imprints including Anjunadeep and Colorize. He has put lockdown to best possible use already, with his recent double A side ‘Torn/Chiaroscuro’ (Anjunadeep) gaining attention from Phil Taggart, Jaguar’s BBC Introducing Dance Show, and more.
His entrancing rework of the driving dance-led cut from French DJ/producer Matt Fax adds dreamy synth chords and a breakbeat element, giving full rein to the haunting, sumptuous vocals of European duo Anne Kalstrup and Hendrik Burkhard aka RBBTS.
‘Set Your Sails’ (Braxton Remix) is Out Now. Get it here: https://colorize.ffm.to/0227r1
Hey Braxton, thanks for speaking with us! Congrats on your new release, the absolutely stellar remix of Matt Fax ‘Set Your Sails’. Can you tell us how this remix came about?
Thank you for having me! Well Colorize got in touch with Matt’s new album and let me choose a track to remix, there were a couple on there I liked but this one really stood out.
Have you got much of a relationship with Matt Fax too, or is it more the label? How did you pick this song as the one you wanted to remix, what swayed you?
I think it was the vocals mainly, I prefer to remix tracks with vocals because it gives me more flexibility to bring something different to the track. I had a go at remixing another track but I struggled to do something meaningful with it, then this one came along and I could really get stuck in.
A lot of the tracks you’ve released have these really special vocals. Is this something you look for in a track you want to remix, is it one of the key components that grabs you?
Yeah absolutely, a lot of the music I make has a kinda anthemic quality, sometimes it’s subtle and sometimes it’s really in your face. I like my tracks to sit somewhere between the club and headphones, and vocals really help me to get that balance across.
And when it comes to making an original track, what is it that you tackle first? Do you pick or write a vocal, then create the track around it, or the opposite?
It’s usually the opposite, but there’s never a right or wrong way really, the most important thing I’ve found is to let the track develop as naturally as possible. Sometimes vocals it will happen early on in the writing process, and it’ll involve humming along some sort of topline idea before getting the vocals down properly. Other times I’ve gotten to the ‘end’ of the process with a track before deciding I want vocals on it. I try and keep all options open at every stage as it allows much more freedom to experiment during the writing process.
What can we expect from you in the rest of 2020? You’re an Anjunadeep favourite, will we be seeing your name on the label again this year?
I very much hope so, it’s a label I’ve admired for such a long time now and to be working with them is still a little bit mind-blowing 🙂
And on a more personal note to finish – what has this time in lockdown taught you?
I learned that people deal with complex situations in completely different ways and we all need to show a lot more empathy in order to better understand each other.
Thanks for your time!
No, no……Thank YOU! x
The 2020 AIR Awards will celebrate the success of the Australian Independent recorded music sector on Thursday 1st October, thanks to the continued support of the South Australian Government. The event has traditionally been a closed-door industry invite only event, this year, it will be held from Adelaide’s Lion Arts Factory as a hybrid virtual event that will be broadcast via YouTube. To watch the awards, subscribe to our YouTube channel HERE.
AIR is also thrilled to announce the nominees for the 2020 Independent Label Of The Year Award are:
ABC MUSIC | SPINNING TOP RECORDS | ELEFANT TRAKS | I OH YOU | SWEAT IT OUT
Thanks to moshtix; Australia’s most trusted independent ticketing company and supporting partner of the 2020 AIR Awards, the recipient will receive a digital marketing package valued at $10,000 to help showcase their talent to the music public.
In 2019, Chapter Music took home the Best Independent Label award. Chapter Music Co-founder Guy Blackman commented on the win, “We were very chuffed to win Best Independent Label at the AIR Awards last year, especially knowing that it was voted for by our peers in independent music. Running a label can be a fairly behind the scenes, anonymous task, so having people take notice and express their appreciation meant a hell of a lot. Best of luck to all this year’s nominees!”
AIR will hold its 2020 Indie-Con Australia conference virtually this year on the 1st and 2nd of October – Tickets and program to be announced soon.
Follow AIR and join the conversation:
air.org.au | twitter.com/ausindies | facebook.com/australianindies | instagram.com/ausindies
@australianindies | @southaustralia | #AusIndies | #indieconaus | #ADLCoM | #SeeSouthAustralia | #ADLcityofmusic
Seattle band’s sophomore album features singles ‘Take A Chance’, ‘Turns Blue’, ‘High School (Don’t Like Them)’ and ‘(God Damn!) What I Am’
Seattle trio Naked Giants today share their second studio album The Shadow, released via New West Records. A culmination of experiences lived over a hectic three years of touring worldwide and meticulously honing their skills as songwriters, the album is an impactful release for Naked Giants as they continue to make their mark internationally as a dynamic group.
Already, 2020 has seen Naked Giants release a slew of songs from the new album; leading with ‘Take A Chance’ in June, ‘Turns Blue’ and ‘High School (Don’t Like Them)’ in July and more recently, the cracking ‘(God Damn!) What I Am’.
To listen to The Shadow, you’re invited to get to know Naked Giants a little better. The record was made as the band’s live reputation grew around the world off the back of the release of their 2018 debut album SLUFF, and tours with Car Seat Headrest (both as his live band and as main support band). The music that features on this album demonstrates maturity in songwriting, the further development of an already strong musical partnership, and a dive into a rich soundscape. Dictated by a wide range of influences from rock to post-punk and grooves in spades, The Shadow is a journey of Naked Giants’ artistry – made to be immersed in.
“In the years since our previous album SLUFF was recorded, we have toured around the world, honed our musical skills and found our own little place in the music industry – but we have also seen our share of shadows, and it is through acknowledging these shadows that we grow the most. Each song on The Shadow examines an aspect of this growth through a different musical lens, adding up to a series of rock and roll vignettes of light, shadow, anxiety and responsibility.” Naked Giants
The 11 track album was recorded in Portland, Oregon with Chris Funk of The Decemberists on production, Adam Lee (Stephen Malkmus & The Jicks) on mixing and John Baldwin (Benjamin Booker, The White Stripes) on mastering duties.
The music is frantic, fun and leaves rooms to explore experimentation amongst the tightly composed arrangements that come together seamlessly. ‘(God Damn!) What I Am’ is a perfect example of Naked Giants’ all-in approach to playing with harmony, punk-tinged rhythms and gritty swagger. Chest thumping percussion and rousing vocals make the song perfect for sweaty live venues, primed for audience participation.
The Shadow plays with tone and mood well too, going from the punchy highs of ‘Television’ and ‘(God Damn)…’ to the more melodic and paced out sounds of ‘The Ripper’ and ‘Turns Blue’. The album gives the listener time to breathe without losing momentum.
“We threw in all our influences, from the usual suspects of punk rock and new wave to spaced-out 80’s balladry, fuzzy garage-metal and psychedelic desert folk (with synths and tape loops added to taste). And with Chris Funk leading the way, our somewhat scatterbrained sprawl of musical and conceptual ideas are tied together in an artful way.” Naked Giants
Steadily building up their reputation as a tremendous live act, Naked Giants were named Seattle’s best live band by The Seattle Times at the end of 2018 and Rolling Stone named the band one of the “30 Best Artists We Saw” during SXSW that year as well.
The Shadow is available across digital platforms, on compact disc, and standard black vinyl.
A limited Coke Bottle Clear Vinyl Edition will be available at Independent Retailers and is also available via NEW WEST RECORDS.
PRAISE FOR NAKED GIANTS
“A one-of-a-kind band.”
Paste Magazine
“Naked Giants might just be your new favorite band (we promise!).”
Alternative Press
Naked Giants The Shadow Track Listing:
1. Walk Of Doom
2. High School (Don’t Like Them)
3. Take A Chance
4. Turns Blue
5. (God Damn!) What I Am
6. The Ripper
7. Unpeeled
8. Television
9. Better Not Waste My Time
10. The Shadow
11. Song For When You Sleep
The Shadow is out now!
Website | Facebook | Twitter | YouTube | Instagram
That undeniable feeling when you suddenly smell fried food by the seaside. Smooth dreamy vibes and sparkling stratocasters. Premiere solo release by Collingwood’s Adam Webster (Colour Picture Book, The Funky Truth) “Sunshine and Onion Rings” is the soundtrack to the dog days of summer. Adam Webster has an affinity for dogs, rivers, and towns with small populations.
FKA TWIGS Collaborates with Hiro Murai on ‘Sad Day’ video Taken from acclaimed second album MAGDALENE Available everywhere now! Premiered exclusively by FX Networks on U.S. national television!
FKA twigs and acclaimed filmmaker Hiro Murai have collaborated to produce a seven-minute fantasy film for ‘Sad Day’, from FKA twigs’ acclaimed second album MAGDALENE. Co-conceived by the pair and directed by Murai, ‘Sad Day’ is Murai’s first music video since his GRAMMY award-winning video for Childish Gambino’s ‘This Is America’ in 2018, which won in the Best Video of the Year category.
The ‘Sad Day’ film is the culmination of three years of training in the art of Wushu for FKA twigs, who originally took up the discipline in 2017 under the guidance of Master Wu of the Shaolin Wushu Centre, the highest-ranking Wushu master in the west. As twigs herself states “everything I’ve previously done with my body, all the training and dancing, has led to this point.” Filmed in FKA twigs‘ London hometown, it sees twigs “finding magic in the city I’ve lived in for over ten years” with the musician and filmmaker starring alongside co-star Teake – who twigs cast through social media – as they battle on the streets of London.
In part inspired by a line in FKA twigs’ ‘Home With You’ (“never seen a hero like me in a sci-fi”) and representing just how far we will go for love, ‘Sad Day’ sees FKA twigs becoming the hero she wanted to see growing up but never saw in mainstream cinema. The video premiered exclusively on national U.S. television by FX, within FXX’s Cake, and is now available for streaming everywhere, including FX on Hulu.
About FKA twigs:
Throughout her career, including three EPs (EP1, EP2 and M3LL155X), her Mercury Prize and Brit Award-nominated debut album LP1, and latest release MAGDALENE, FKA twigs has established herself as one of the most innovative artists, performers, producers, and directors of her generation. MAGDALENE was named one of the best albums of 2019 by outlets including NPR, The Guardian, The New Yorker, Billboard, Complex, PAPER, TIME, USA Today and Vice, among others, and received a GRAMMY Award nomination for ‘cellophane’ as Best Music Video. Pitchfork declared, “with limitlessly innovative songwriting and production, the cinema of twigs’ music has never been more affecting. MAGDALENE is not just on the vanguard of pop, it’s in a breathtaking class of its own.”
FKA twigs has taken a complete approach to every facet of her art and career, and has been honoured with a Webby Special Achievement Award for her “incredible contributions to digital culture and for constantly using the internet to create and distribute experimental art.” She’s directed and starred in campaigns for Nike, Google Glass, Calvin Klein and Apple, and made her big-screen debut in Honey Boy.
About Hiro Murai:
Hiro Murai is an Executive Producer on FX’s award-winning series Atlanta and directed seven episodes of Atlanta Robbin’ Season, including one of the most talked-about episodes in television, “Teddy Perkins.” Murai won a PGA Award for Outstanding Producer of Episodic Television, Comedy for Atlanta in addition to receiving three Emmy Award nominations and a DGA Award nomination for the show. Atlanta was recently renewed for a third and fourth season. Last year, Murai won a GRAMMY for Best Music Video for his collaboration with Childish Gambino, ‘This Is America’, which has garnered over 690 million views on YouTube. Murai has also directed select episodes of HBO’s acclaimed series Barry and recently directed Amazon’s Guava Island, the musical film starring Rihanna and Donald Glover. He also directs and serves as Executive Producer on the upcoming HBO Max series, Station Eleven.
Stream / Purchase MAGDALENE: https://fkatwigs.
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JOSH PYKE RELEASES 6TH STUDIO ALBUM ROME – OUT TODAY + SHARES NEW SINGLE & VIDEO I THOUGHT WE WERE A RIVER
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