Today, Future Islands share details of a new album, a new song, and a special livestream concert. The Baltimore group will release As Long As You Are, their sixth studio record, on Friday 9 October via 4AD / Remote Control Records.
Check out new single ‘Thrill’ – the follow-up to recent single ‘For Sure‘ – and its video starring and created by Samuel T. Herring here.
As Long As You Are looks to the past as well as the future, confronting old ghosts and embracing a new hope. It is an album about trust, full of honesty, redemption and “letting go”, allowing old wounds to heal and bringing painful chapters to a close.
As Long As You Are also signals a new era for Future Islands. Drummer Mike Lowry officially joins as a fully-fledged member and songwriter bolstering the founding trio of William Cashion, Samuel T. Herring and Gerrit Welmers. Together, the four-piece took on official production duties for the first time, co-producing As Long As You Are with engineer Steve Wright at his Wrightway Studios in Baltimore. Their brand of new wave synth-pop full of bright melodies and heavenly choruses is as euphoric and uninhibitedly joyful as anything the band has done in their 14-year career.
On As Long As You Are release day, October 9, Future Islands will be exclusively live-streaming a very special show from their hometown of Baltimore on Friday 10 October at 8pm AEST. Their only show of 2020, this will be the only time this year to see the band on stage playing tracks off of the new album (as well as some classics). For further details, and to purchase tickets, head to Handsome Tours.
As Long As You Are will be available digitally, on CD, standard black vinyl, petrol blue vinyl (4AD and indie stores only), fluorescent orange vinyl (band store only) and cassette (4AD Store, band store and US indies only). To pre-order, head to futureislands.ffm.to/
PRE-ORDER THE ALBUM
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Where are you currently based?
I’m currently based down in Cape Paterson which is a tiny town on the Bass Coast in Victoria. I’m back making music in my little hometown which is an interesting turn of events. But it’s quiet and scenic and beautiful and was actually a huge reason I was able to finish the album!
How did Kids At Midnight form?
I’d been playing as a folk artist around the traps for a little while in the 2010s but I was really curious about the electro scene popping up! I met a lovely guy who was producing electro pop style and we started working together, just mucking around but going up with awesome stuff. We became best mates, we made a few songs and actually signed to ‘Vulture’ in France Alan Braxe’s label but then he wanted to pursue other things and so I was solo again and I thought, ‘Well Jane, you’d better learn to produce then!’ So I did. I started from square one again and slowly slowly the Kids At Midnight you hear now was born!
What’s been happening recently?
I released my debut album ‘All I Ever Wanted Was Your Love’ on Friday so the last few months has been pretty intense album stuff. Actually physically finishing the songs, working on the artwork with my brother, taking the photos for it with my cousin. And now in iso down the coast watching lots of Jersey Shore!
Your track ‘Boys Like You’ was featured as the finale song on Netflix sync ‘Never Have I Ever’ seen by 40 million households, how did this come about and how has the response been since?
Oh the response has been beyond my wildest dreams! It was such a mind explosion watching my song play in the background of this huge teen moment and it being a Mindy Kaling show was it for me. I am a huge fan of her work on The Office and The Mindy Project, she’s an hilarious comedic writer. How did it come about? Nobody believes me when I tell them but I literally woke up to two urgent emails from music supervisors for NBC Universal in the US saying they loved ‘Boys Like You’ and could they use it in Mindy Kaling’s new ‘coming of age’ tv series and I was like ‘this is a hoax… when are they going to ask me to put my credit card details in’ lol But it was for real and I immediately said ‘100% YES!’
What influenced the sound and songwriting for ‘Boys Like You’?
I’m hugely influenced by the 80s pop sound. So I really wanted a dreamy but upbeat song reminiscent of Whitney Houstons ‘How Will I Know?’ that sort of thing. And lyric wise it is all directly from my experiences in high school. Crushes, embarrassing moments, the boy who told me to shut up in maths class because I was answering all the questions and they couldn’t get a look in. All that really can make you run home from the bus crying. But then you look back and realise, I’ll never hide myself waiting for a boy like you again. And that embarrassingly personal teen angst and self discovery connected with people which is really lovely.
How do you usually go about writing and recording?
Sometimes I’ll be playing some chords on my guitar and just mumble along a melody in gibberish and then I’ll translate that to Ableton and build the track from there. Sometimes I start inside Ableton but it’s usually the same way, chords first, mumble a melody in gibberish, clear away the gibberish and start to tell a story and see what happens!
What programs/instruments do you use?
My basic set up is Ableton Live on my Mac and a midi keyboard, with my mic and any analogue instruments running through my UA Apollo Twin Duo. Sometimes I’ll add my electric guitar for an 80s guitar solo, sometimes there’s a tambourine in the background, sometimes I’ll bang a drum pad, sometimes my acoustic guitar…whatever is lying around!
Boys Like You has hit over one million streams this week, massive! What’s been happening as a result?
I’m so thankful for ‘Never Have I Ever’ for sharing my music with the world, it’s meant that in the week I released my album one of its tracks hit a million streams on Spotify, which means that all these gorgeous new fans can hear a bunch of other songs just like ‘Boys Like You’. It’s been a crazy ride! I’ve gained so many new fans from Latin America which is so cool. My biggest city of fans is actually New York and I just had my album on a billboard about the Time Square Subway station… that is the biggest thing ever!
Please tell us about what it’s like writing, recording and producing a whole album as a solo artist and how you learnt the skills to complete such an incredible feat:
It is a hard slog lol but it is so incredibly rewarding! I won’t lie and say it’s this serene experience, there are times you run across problems and you can’t get anyone to fix them because YOU have to fix them. Or there are times you have to comp your vocals but you just can’t get a take where you’re pronouncing a word the right way so you take your Producer hat off and put your Singer hat back on and it’s like off, on, off, on, off, on… it can really mess with your head! But in the end you have a body of work you have entirely created yourself and it represents you in the truest sense possible, and that’s worth all the times you want to throw your computer off the balcony.
Who are you listening to at the moment?
I’m listening to Chromatica because Gaga is god and I’m also listening to Folklore because the excitement and the pedigree behind the album was spellbinding. I like to balance mad choreography with some forrest introspection. In the bath I listen to the Garden State soundtrack!
What do you like to do away from music?
I love to dance. I teach and choreograph (but obviously I’m not doing that at the moment) and I DJ and run parties too (but obviously I’m not doing that at the moment either) But during this time I’ve been loving going back to writing, I’ve been a bit obsessed with rom coms and sitcoms so I’m writing a rom com screenplay.
What’s planned for the remainder of 2020?
I’ve just ordered some fancy new cables (wow) to clean up my system (I had a crackle I couldn’t find towards the end of making ‘All I Ever Wanted Was Your Love’) So when they arrive (hooray how exciting is waiting for your post at the moment! I check the Australia Post app more than Twitter) I’ll actually start working on my next releases! I’m hoping I’ll be writing for other artists too so that’s exciting!
Favourite food and place to hangout?
My favourite food is… uh, everything! But who can go past their Mums Spag Bol lol But I’m really missing the eggplant chips and a nice crisp wine in the beer garden at The EC in Brunswick, a rose with ice in it spinning Katy Perry at The Carlon, or a Hendricks on ice spinning my party night at The Stone Hotel in Fitzroy.
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IDLES have shared ‘Model Village’, the latest single from their forthcoming LP Ultra Mono – out Friday 25 September via Partisan Records/Liberator Music. ‘Model Village’ decries the often-dangerous small-town fishbowl mentality, while its jet-powered instrumentation leans heavily into the band’s love of hip-hop (Kenny Beats provided additional programming on the album). The song is accompanied by an animated music video directed by Michel Gondry (Daft Punk, Radiohead, The White Stripes) and Olivier Gondry, created in collaboration with WePresent, WeTransfer’s editorial platform.
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US metalcore giants Like Moths To Flames have announced their fifth album No Eternity In Gold will be released on Friday October 30 through UNFD. It marks the band’s first full-length on their new label home after signing to UNFD in September 2019 and the following release of their EP Where The Light Refuses To Go.
Produced, mixed and mastered by Carson Slovak and Grant McFarland (August Burns Red, Rivers Of Nihil), No Eternity In Gold is a record that showcases Like Moths To Flames like never before. Displaying their trademark foundations of incisive technical dexterity and uncompromising heaviness – all underpinned with earworm-like melodies – LMTF’s new album is the result of challenged perspectives, fully-realised ideals and lessons learned.
Fans can get a taste of what’s to come with the release of new single and music video ‘Habitual Decline‘ today.
Of the track, frontman Chris Roetter explains it “encapsulates a lot of what I’ve been trying to convey in my lyrics since the band started. Sometimes you give your all and you feel like you’ve got nothing left. That echoes through a lot of what I try to do and accomplish, even outside of the band. This is kind of a ‘shedding skin’ feeling for me. Moving on and just accepting that I’m whereI’m at and dealing with it.”
Each track on the forthcoming album carries a specific weight and personal connection to the frontman, making this Like Moths To Flames’ most personal and creative record to date. Chris explains:
“The 11 tracks focus on overcoming 11 separate issues that I’m dealing with when I wake up every day,” he explains. “Most prevalently, it’s about struggling with yourself and your own feelings about your ultimate worth. These songs probably showcase more of my own mind than our previous work.
“I live my life like an open book, and we in the band are all very spiritual people who are in touch with their emotions. I feel that is something that society neglects; we are taught to bury and suppress negative feelings, when we believe that by embracing those emotions, you learn a huge amount about yourself.
With 63 million streams and a decade of global touring to their name, Like Moths ToFlames have long been metalcore scene stalwarts; now, they’re making their bid to lead its charge. Like Moths To Flames is Chris Roetter (vocals), Jeremy Smith (guitar), Zach Pishney (guitar) and Aaron Evans (bass).
PRE-ORDER ‘NO ETERNITY IN GOLD’
+ STREAM ‘HABITUAL DECLINE’ NOW
CONNECT WITH LIKE MOTHS TO FLAMES:
facebook.com/likemoths
instagram.com/lmtf/
lmtf.merchnow.com/
Today alternative rap duo Craterface share ‘BIG WHEELIN’’, the first single to be lifted from their forthcoming mixtape BURN AFTER LISTENING, out this October. Listen HERE.
Best served loud, on ‘BIG WHEELIN’’ rapper baby bruh and producer/vocalist Taki Local channel the kicks of driving aimlessly, unsupervised for the first time, with the rush of freedom that comes from owning your first car. Inspired by Ramirez’s ‘Gold Thangs and Pinky Rings’, they share: “We wanted to make something to put on in the whip while riding around in the sun.”
Patiently honing their craft in bedrooms and basements since 2016, Craterface emerged late last year with their debut release Don’t Be Confused, named packet album on Sydney’s FBi Radio. The duo have steadily kept audiences guessing since, following up Don’t Be Confused’s lead single ‘LEXAPRO’ with a string of releases: ‘-12°’ with fellow Novacastrians FRITZ and Aquinas, ‘Bankroll’ and their collaboration with teddie on ‘Call Me’, following their tour with Shady Nasty in February.
Where their collaborative approach is forged in trust and a mutual understanding built over a decade long friendship, Craterface’s sound pivots from the method-madness of JPEGMAFIA, tenderness of Deb Never and Matt Champion, to the avant-pop mania of SOPHIE, with all music mixed and mastered in house.
With an M.O. to blow up while keeping things DIY, baby bruh and Taki Local carefully curate each element of their craft at home, comfortably keeping their own feet on the gas. Now with the upcoming release of their confessional tape BURN AFTER LISTENING, Craterface explore spiritually, heartbreak, cyclical growth and finding self love, while wearing Newcastle on their sleeve.
‘BIG WHEELIN’’ by Craterface is out now, buy/stream it here.
Stay connected with Craterface:
Facebook | Instagram | Youtube | Soundcloud | Bandcamp | triple j Unearthed
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Delving into deep-seated themes of self loathing, desolation, self-medication, the loss of loved ones and hopeful redemption, 12th House Rock is, as the title suggests, a rock-focused LP themed on transition– exploring the vast abyss of darkness just before the sun cracks upon the horizon. “A lot of the record was made in the late hours and early morning,” recalls Duarte . ”Those quiet moments alone when utter silence and my self-medication made it impossible to escape from my own thoughts. It was also from a specific time when I didn’t take care of myself and made bad decisions in all aspects of my life. These songs were a way out, temporarily anyway.”
Narrow Head formed in 2013 but became fully realised as a band in Houston with the release of their 2016 debut LP Satisfaction and the lineup of Duarte , guitarist William Menjivar and drummer Carson Wilcox . Playing in the Texas scene instilled a can-do attitude, an ability to explore several different ideas along with a strong set of DIY ethics, qualities that still form the basis of the band to this day. “Book your own shows, book your own tours,” details Duarte about the foundation of his musical viewpoint. ”I think that having other musical projects provided a scene for us to play too. Nobody else was looking at us, so we had to make our own scene.”
12th House Rock was self-produced and born of close to a hundred takes with no click track, vocal correction, drum samples or quantising, resulting in thirteen testaments to pulverising pop, clocking in just above 50 minutes. Initially only Duarte, Menjivar and Wilcox in 2018, the trio of old friends entered the studio with a batch of songs intending to write bass parts on the fly. “I’ve known Jacob and Carson since childhood and they are the most talented musicians– total prodigies,” states Menjivar. The three looked to build an LP that reflected current tastes as well as “music [they] looked up to as kids,” according to Menjivar, adding their own twist on the entirety of it.
Though the primary trio was present throughout the entire cycle, fate intervened on bass as the undeniable chemistry between the band and then strictly producer Ryan Chavez led to his inclusion in Narrow Head . The newly minted four piece would handle the bulk of the remainder of the LP, bringing in Erica Miller (Big Bite, Casual Hex) , vocalist/lyricist on “Delano Door,” and mastering guru Sarah Register (Big Thief, U.S. Girls, Protomartyr) to put the final touches on the record. Guitarist Kora Puckett (Bugg, ex-Sheer Mag) , who previously logged hours as a live member in the tours preceding the LP, would join Narrow Head as a full-fledged member following the album’s completion.
Despite whatever comparisons that can be made to guitar tone, mood, songwriting, timbre or virtually anything else, Narrow Head are quick to credit their native Houston, TX as the primary source for it all. “Houston is the greatest city on earth,” says Duarte emphatically. “People who know, know. In Houston, you have to give people a reason to pay attention to you.” With 12th House Rock , not only will Narrow Head have Houston’s attention, but the entire rock world as well, giving us one of 2020’s most impressive releases.
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Love for Papaya Tree
“Sydney’s own genre melting pot, Papaya Tree…have been feeding Australia a fine diet of bangers like ‘Bamboo Schooner’, ‘Radar’ and ‘Youth’ since 2017, and selling out shows in Sydney, Melbourne, and Perth.” – Tone Deaf
“Papaya Tree are a fresh offering in Sydney’s music scene.” – Lunchbox TV
“A melting pot of pop, jazz, indie, funk, reggae and soul it’s safe to say there is a lot going on in this band. Yet, somehow, Papaya Tree lasso, wrangle and ride this beast of influences into their own sound that just works.” – Laundry Echo
“Eclectic Sydney outfit Papaya Tree doesn’t let up for a second.” – The Music
“Papaya tree is a funky slice of indie rock’n’roll that ebbs and flows across a spectrum of genres, with a surprise heavy breakdown thrown in for good measure.” – Pilerats
Papaya Tree straddle the line with members between New South Wales and Victoria, just as they’re planted between genres and styles. This six-piece outfit are always refining their sound and influenced by their history as Jazz students, indie contemporary producers and morticians. After releasing “Out In The Wash” followed by a dashing bass driven Remix earlier this year, Papaya Tree are walking down the music isle with new tune “Flowergirl” – out now!
Recorded at Parliament Studios, the song was mixed by Phan Sjarif and is another tale of unrequited love as Lee explains,“‘Flowergirl’ is a true story written about Joe (Bass Player), his time working in a Newtown Bar and the crush that never came to be. One day during a never-ending shift, a girl came to change the bistro flowers. Before Joe could ask her name she’d left, only knowing her as ‘Flowergirl’. Whilst being a love song, it is also an escapist anthem about the mundane aspects of life, menial jobs and hope for a future.”
‘”Flowergirl’ provides a distraction from all these and a reminder to live in the moment. Sonically, ‘Flowergirl’ takes inspiration from 90s Britpop, channeling energy from Oasis and The Verve as well as mixing orchestral power with floating guitar tones evocative of The Smiths and Rolling Blackouts Coastal Fever.” – PAPAYA TREE
Keeping in line to the collage theme of their previous single artwork, the band took old wedding photos from their parents! “We went for a real 80s inspired, almost ‘Take on me” (a-ha-) esque style. Not only was the time period fitting, but the story of that video clip also related to what the song was about!”
The band (consisting of Lee McDermott, Jack Johnston, Zac Olsen, Alistair Hayes, Jordan Tulinsky, and Joe Plunkett) have built an audience around eclectic and unpredictable live performances including sold-out shows in Sydney (Waywards, World Bar Lansdowne Hotel), Melbourne (The Gasometer), and Perth (The Fremantle School of Arts).
Gaining praise from The Music, Music Feeds, Scenestr, The Loop and Tonedeaf alongside spot rotation on Triple J, Fbi and other tastemaker community radio stations across Australia, the band is expanding their ever-growing fanbase with a huge run of releases and shows into 2021.
Today, Melbourne rock / metal band True Believer drop a video for their new single
From Lucifer With Love.
Watch the video HERE
From Lucifer With Love follows up from the band’s 2019 single Servant as the second part of a double A-side release. Recorded by Jaime Gomez Arellano (Ghost, Orange Goblin, Paradise Lost, Grave Pleasures) at Orgone Studios in the UK , the song is a conceptual ending to the “Operatus Satanica” chronicles and is accompanied by one of the best animated music videos for an Australian heavy band you’ll see, produced by Slow Cheetah Studio in the Ukraine.
As 2020 enters its second half, so does this chapter close with From Lucifer With Love, without doubt the bands strongest song to date, – a melodic and harmonious guitar & vocal driven call and response direct from the Dark Lord.
Listen to From Lucifer With Love HERE
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lt-rapper Cold Hart, together with emo rap pioneer Lil Peep, have dropped a previously unreleased track, “Me and You”. The duet is from Peep’s career-launching first mixtape – the fabled Crybaby sessions.
“Me and You” finds Cold Hart and Peep in classic form, raw heartfelt lyrics, with an infectious melody, over a bold Charlie Shuffler beat: “Took the long way home, bumping all our songs,” Cold Hart sings — a fitting tribute to his friendship with Peep, an almost clairvoyant musical eulogy.
WATCH THE MUSIC VIDEO FOR “ME AND YOU” NOW
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Acclaimed Los Angeles band Bad Religion have just released a radically reimagined version of their 1990 humanist anthem “Faith Alone.” The re-recording uses an uncharacteristic orchestral arrangement to further accentuate the song’s remarkably relevant lyrics. It is a philosophy Bad Religion have extolled since their very formation and has inspired songs like “The Answer,” “Atheist Peace,” and “American Jesus” that rail against religious hypocrisy and anti-intellectualism.
While the original Faith Alone was delivered as a propulsive guitar fueled punk track on the band’s album Against The Grain, the new interpretation begins with singer and co-songwriter Greg Graffin’s plaintive vocals accompanied on acoustic piano, before building to an unabashedly symphonic crescendo complete with sophisticated string arrangement. The result is a startling sonic departure from the band’s patented melodic punk sound and only serves to emphasize the song’s emotional power and intensely relevant message that, in times like these, “faith alone won’t sustain us anymore.”
As the band’s singer and co-songwriter Greg Graffin explains, “I have al-ways written songs on piano. Some of our earliest songs were written on my mom’s piano. I’ve been home a lot and so I started recording a bunch of our songs that way. Brett (Gurewitz) thought ‘Faith Alone’ was particularly relevant for this moment. For me, it exemplifies what’s special about the band, which is that we write songs that go to the spiritual and intellectual aspects of human existence.”
The recording of the song was done remotely. Graffin’s initial vocal and piano tracks augmented by the band’s co-songwriter Brett Gurewitz who added additional instrumentation including guitar. The strings were added by Stevie Blacke (Beck, Lady Gaga, Garbage) and the drums played by Bad Religion drummer Jamie Miller while producer Carlos de la Garza added additional production and a mix.
Gurewitz explains, “I think the message of ‘Faith Alone’ really resonates with everything that’s happening right now. Racial injustice, Trump, the COVID pandemic, the rejection of science, none of these things can be solved by burying our heads in the sand. We’ve always believed problems can be solved through reason and action, not faith and prayer. It’s what we’ve been writing about since the band started.”
With this release, Bad Religion have added yet one more powerful work to an already formidable canon of intellectually provocative protest songs. Since forming as leather clad intellectual teens amidst the raucous Southern California punk scene, the group has served as unflinching advocates for reason and humanism. It is a message that has never been more necessary.
Greg M. Epstein, Humanist Chaplain at both Harvard and MIT, as well as the NY Times best-selling author of ‘Good Without God’, offers, “If I could take the frustration, grief, longing, and moral outrage rattling around in my brain these past few months and somehow turn it all into a single rock track that could help me stay human in this mess, that track would be ‘Faith Alone’ by Bad Religion. Sure, it’s a stylistic departure for one of the greatest punk bands of all time. But the message is as true to the band’s core ethic as anything in their decades-long catalog. It might just be the anthem we need to maintain our faith—not in religion, but in each other—as we try to get through the rest of this year.”
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Hey Lee, how are things with you? How have you found your lockdown experience overall?
The lockdown experience has been something I’ve tried to deliberately take in my stride and stay as positive as I could. From about March until May I moved from NYC to my house in the Hamptons and kept the music and positivity flowing and focused a ton on my masterclass company, FaderPro.com and how we were pivoting during these times. In May I rented a house in Portland, Oregon where my family is as there was very little Covid there. I’m now doing my best to stay 2 steps ahead of this Covid thing.
What is life like under Trump? Does he represent you as a president?
Trump doesn’t affect me any differently then any other president in the USA. When you spend the majority your life touring in international waters, you’re more of a nomad living on everyone else’s soil but your own. I am a proud New Yorker & American though.
Should dance music be more social and political as it was in the early days?
Music for me regardless of where I’ve been even at times of war (post 9/11) has been the universal sign for peace & love and when I’m touring, they don’t care where I’m from, they care about the music I’m playing for them and they respect my hard work at giving them the best show I can. I love how music brings us together, all of us and never divides us, at least in my experience.
Did the Black Lives Matter movement impact you, your thoughts and feelings in anyway?
I have big hopes that with time and change, we will get back to a much greater place in the world. I’m a firm believer in all my personal & business relationships that adversity strengthens us and builds a true love for each other. I hope that with Black Lives Matter the results will be the same with our nation and throughout the world. As a life-long athlete playing sports in every part of the US and now in Music, I’ve had the great opportunity to call ALL my teammates brothers (and sisters) no matter what ethnicity they were.
Tell us about your new Mayday EP with Funkerman for Flamingo – how did you link?
Yeah it’s my debut on Funkerman’s label. We are from the same camp and are teammates on the same management squad and Jorn my manager has linked us up as well as other teammates like Marco Lys who I have an EP finished with as well as Yvan Genkins as too so it was great to work with Funkerman and even have him add a remix to the package as well. I played Funkerman’s Boat Part at ADE and dropped MayDay there and he loved it and chased it since then.
What made you want to work with that Sunday Shouting sample?
Yes, Sunday Shouting was the 1st time I heard the usage of that sample back in my days at Strictly Rhythm and then I started playing the, “B Boys Shoutin Dub” almost every set and it would really translate well on the floors BUT it lacked the energy that I love to play with. I needed those strings and all that energy to be wrapped up nicely into a peak hour version so I cleared the sample which we have to pay respect to as its the same sample that Johnny Corporate cleared too which is BRICK-Living from My Mind and signed it off to Flamingo & Funkerman!
Are there rules to what you must and must not do to a sample to make it original?
Yes, there’s definitely rules but luckily in my career as Lee Cabrera & Just Us I’ve been fortunate with those rules and great managers like Jorn from Adapt and Dave Lambert for Just Us that know all those rules. I was managed by THE DON of House Music, Mark Finkelstein who gave me my hard knocks PHD in the music business too so I know the game quite well. Every territory & society has it’s own set of rules but if you play your cards right, clearing samples & publishing aren’t extremely difficult and then if you can’t, there’s some killer replay companies out there right now.
What else have you got coming up?
Yeah lots of new music forthcoming: I love getting something out every month. I have a new single with my boy, the legendary Richard F and I’ve convinced him to come out of retirement and our new single is forthcoming on Glasgow Underground where I signed my “Gimme Gimme” single too. I have a 2 track EP with Marco Lys too that we just started shopping as well as another with Yvan Genkins. Most recently I released a 3 track EP with one of the baddest dudes on planet earth, Steve Lawler on his Viva Music imprint and prior to that I redid, “Shake It” with Mike Vale and then added a brand new top-line vocal which is now titled, “Everybody” (Shake It) in which I added 2 new Lee Cabrera versions on which is out on CR2 Records. More Just Us Music forthcoming as well and another new alias, TalkBack with my friend singer/songwriter, Matt Hartke (Avicii, Tiesto, Cash Cash) and our new singles, “Astronaut” & “Feels” are debuting on the newest Cash Cash album.
Lee Cabrera and Funkerman’s Mayday is out 15th August via Flamingo Recordings. Check out the release on Beatport here and keep up with Lee on Facebook and Instagram.
The 12-track release includes recent singles
‘Myths Still Exist’, ‘Eyes Wide Strut’ and ‘What Do We Care’
Moscoman
Time Slips Away
(Moshi Moshi)
Out Now
Disco Halal label boss Moscoman has unveiled his long-awaited new album Time Slips Away, out 7th August.
Channeling what Moscoman describes as ‘happy sad’, Time Slips Away is inspired by the highs and lows of touring life – the amazing gigs vs the shitty ones, plus the opportunity to see the world vs the hectic traveling schedules and lack of sleep.
A twelve-track release, the LP opens with the title track. Underpinned by repetitive melodies, it makes way for the infectious synth-pop of single ‘What Do We Care’, featuring the vocals of Tom Sanders of English indie-pop group Teleman. It’s one of three singles on the album, alongside the ethereal ‘Myths Still Exist’, featuring UK singer-songwriter Niki Kini, and the 80s-inspired ‘Eyes Wide Strut’, featuring London-based duo Wooze. Wooze feature again on Israeli rock cut ‘Natural Born Losers’, while there are further contributions from Vanity Fairy on ‘Turning Tides’ and Nuphar on the album’s closer ‘Golden Hour’.
Born Chen Moscovici, Moscoman spent most of his life in Tel Aviv and released on labels such as Because, City Slang, Life & Death and Diynamic, but it was a move back to Berlin a couple of years ago which really pushed things forward. “It was a great place to step back and overlook my whole life,” he explains. “I didn’t have time before to sit down and think where I was going. Now I see the wider picture.” Time Slips Away is his second studio album, following 2016’s A Shot In The Light.
A diverse collection of tracks that cover an array of genres and feature a number of different vocalists, Time Slips Away is Moscoman’s most accomplished work yet.
For more information on Moscoman, please visit:
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