Dot Dash Recordings and Remote Control Records are thrilled to share ‘Music Machine’ – the second single from Gabriella Cohen’s new album Pink Is The Colour Of Unconditional Love. To coincide with the new single release Gabriella Cohen is excited to share dates for an East Coast Australian album tour. Full details and tickets links are below. Pink Is The Colour Of Unconditional Love will be released on Friday 1st June via Dot Dash / Remote Control in AU/NZ and Captured Tracks for the rest of the world.
Gabriella shares – “Music Machine was born about the time I came back from my first U.S tour and found myself down and out crashing on a friends couch in West Brunswick, Melbourne. It was a strange patch of time, where I felt comically displaced, coming from the glitz and glamour of New York straight to desolate suburbia and Centrelink queues.”
Pink Is The Colour Of Unconditional Love will arrive following 2016’s internationally acclaimed debut record Full Closure and No Details. Fast forward to the summer of 2017, Cohen moved to a countryside Victoria farm to record and self produce her second album with engineer and partner-in-crime, Kate‘Babyshakes‘ Dillon. There, amidst the flocks of screeching white cockatoos and herds of Black Angus cows, they etched the beginning of Pink Is The Colour Of Unconditional Love.
The record was almost complete when the band was invited to join Foxygen’s U.S. tour, compelling the two to finish the album on the road. What you hear on the album was borne of a microphone, an interface, and the multiplicity of spirits inhabiting the places they would record: a boat in England, the coast of Portugal, the mountains of Southern Italy, cafes of Mexico, and finally the sand of Venice Beach, LA.
In the new album Cohen pays homage to her musical influences by inviting the listener on a journey: from the grooves of bossa nova, to the lilting sentimentality of strings, to kicking it back on the sprawling highways of rock’n’roll. Honest heartache is woven into glory throughout the record, and during eleven tracks a candid, almost ethereal self-portrait of its songwriter emerges. For Gabriella Cohen, it’s an epitaph of electric wonder, and a definitive fact: Pink Is The Colour Of Unconditional Love.
Pre-order Pink Is The Colour Of Unconditional Love – https://gabriellacohen.lnk.
Pink Is The Colour Of Unconditional Love Album Tour
Fri 8th June – The Northern, Byron Bay NSW
FREE SHOW
Sat 16th June – Black Bear Lodge, Brisbane QLD
Tickets
Fri 22nd June – Bridge Hotel, Castlemaine VIC
Tickets
Sat 23rd June – Gasometer Hotel, Melbourne VIC
Tickets
Sun 24th June – Karova Lounge, Ballarat VIC
Tickets
Fri 29th June – Waywards, Sydney NSW
Tickets
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Freedom Time will reappear on the dark side of the Coburg Velodrome to present the second annual winter festival of sound and vision on Saturday 30 June 2018.
Dance to the beat of the drum, guide and be guided by sound. The dance floor is a place of expression where you can lose time and find freedom in music…
Electro-specialist accomplices Dopplereffekt and long-awaited Wave Sorceress Veronica Vasicka will headline, alongside New York’s percussive house hard-hitter Joe Claussell on his true-blue debut and Japanese multi-monikered sound designer and producer Kuniyuki. Amsterdam’s aural museum Music From Memory will also make the trek over to co-present their own stage, featuring forefathers Tako and Jamie Tiller, Japanese pop duo Dip In The Pool and Swiss-based synth psychic Michael Turtle.
There’s no shortage of homegrown residents on the bill with Sleep D, Wax’o Dystopio, Sui Zhen, Turner Street Sound, Cale Sexton, Lauren Hansom, Pjenné, Millú, Ricci and Noise in My Head rounding out the line up.
“Can’t imagine a better use for a velodrome.” – Floating Points (UK)
Where are you currently based and what is the music scene like there?
I am currently based in Sydney’s Hills District, just a little further out from Parramatta. There is a lot of great music coming from around here – not just in hip-hop either. So many talented folks are putting out music around here.
You were recently in the U.S, what did you get up to?
Funnily enough, my trip to the US was more for leisure than anything music related but nonetheless it was sick, I went with my boys and we hit up Florida and New York. We were pretty active there, went to Universal Studios in Orlando which was mad, we saw Tyler, the Creator and Vince Staples at Madison Square Garden Theatre which was off-chops. We also ended up filming a music video for the EP opener ‘ELON’ while in Times Square.
What influence did this this trip make on your mixtape (i.e. the name, BRADENTON)?
It’s very funny cos, the mixtape was more or less finished before we got on the plane, and the name had already been picked before we left – but – the name was inspired by the trip. When we went to Florida we actually stayed in Bradenton because its where one of our closest friends lives with his amazing wife and they housed us for nine long days.
Some songs were inspired by my trip to the US from a growing excitement to visit – WINTER is actually about my excitement to go to New York. When I got back from the US however, I took a look back at BRADENTON and ended up recording another verse for the last track ‘ANTIDOTE/BRADENTON’ which was deffs inspired by the trip – y’all can hear it for yourself though hahaha.
How did this mixtape (Bradenton) come about?
I’ve been doing hip-hop just over 8 months now, I dropped my first tape ‘SPRINGTIME SORROWS’ on October 31st and after that wanted to have a little chill. In December I started writing again and by the end of January had basically everything finished from beats to recorded vocals.
My goal going into it was to come across as more focussed, both on beat production and lyricism and flow. Going into writing and record I would research rhyming patterns and different flows for inspiration – I was (and still am) very heavy into Tyler, the Creator’s ‘Flower Boy’ so I think that played a huge part on the mixtape as well.
Where and when did you put this mixtape together?
Basically 99% of the mixtape was recorded in my house from the months of December to January. However, when I got back from the US, a mate and I re-recorded the vocals on ‘BASTARD’ at his studio in The Hills.
Did you work with anyone else? If so, who?
Yeah, a couple people actually. Shout outs Tim (TIMBA) who features on track three, ‘WINTER’, Tom Elliot who helped me re-record some of the vocals on ‘BASTARD’ and for featuring in the pre-chorus, and big thanks to Sam Lloyd (BLAINE STRANGER) who mixed and mastered the whole thing.
How did you first start playing music?
I’ve been playing in music in bands since like year 9 – so like, about 7 or 8 years ago. Jumped from a bunch of bands with my mates, to playing more semi-professionally in a heavy metal band known as Under Night’s Cover from 2013-2017 as the lead vocalist until we eventually dissolved as a band! (RIP UNC).
Who are you listening to at the moment?
I’m not listening to anything too specific at the moment actually, I’m listening to a couple scattered singles – JPEGMAFIA’s ‘1539 N. Calvert’ is a staple right now, Flower Boy is always on constant rotation. The new Drake tunes are really, really good too. I’ve also been listening to a couple local bands – Sagrada Familiar, who just dropped a killer debut album, and Papaya Tree who are killing the scene rn.
What do you like to do outside of music?
Outside of music, when I can find the time, I love cooking, hanging out with my boys and/or girlfriend hahaha – I love getting around the Mario Kart also. I’m also currently volunteering/interning at Lentil As Anything in Newtown, which can be pretty cool. We hold an open mic once a month if anybody wants to come down.
I just love down time, and like, sleep. Hahahahaha.
What do you have planned for the remainder of 2018?
I’m currently jamming with a couple good friends for live shows with a band in support of the mixtape. So hopefully the wheels on that can start spinning REAL soon. Asides from that, I’m setting my sights on recording a third mixtape before the end of the year, if not a debut album.
Favourite food and place to hangout?
I’m no stranger to a good feed but I’m a massive, massive fan of Asian cuisine – I go absolutely crazy for a fat bowl of Ramen from the Ippudo in Westfield in the city. My fave place to hang out is probs my house tho.
Insta: @johnny4rmtheburbs
Facey: www.facebook.com/johnny4rmtheburbs
Twitter: https://twitter.com/johnny4rmburbs
Unearthed: https://www.triplejunearthed.com/artist/johnny-burbs
J-Pop Idol Band Maison book girl Announce New Single
‘Bath Room – UK Version’
Select May 2018 UK Live Dates Announced
+ The Great Escape Festival
Double A-Side 7” Released 18th May 2018
via Read The Air Records
Preorder/bundles – http://readtheairrecords.
Japanese idol pop group Maison book girl are pleased to reveal the video for ‘Bath Room – UK Version’, the AA-side track on their forthcoming single, available on limited edition blue 7″ vinyl released 18th May 2018, and set to be the first release on new J-pop dedicated UK label Read The Air Records.
Fans can preorder the single and bundles now at: http://readtheairrecords.
Watch and share the ‘Bath Room – UK Version’ video here: https://youtu.be/0lNFzrkp1ME
The group are also delighted to announce their first ever UK performances, with live appearances at Birmingham’s Hare & Hounds on 16th May, the Alternative Escape in Brighton on 17th May, The Great Escape Festival in Brighton on 18th May, and a London headline show at Boston Music Room on 19th May.
Commenting on the news, the band said: “We all are sooo happy to hear that our debut A-side 7” single ‘KARMA/BATH ROOM – UK Version’ will be released in the UK! These songs are very popular among our Japanese fans, and we’ll be so glad if our UK fans like them too. We can’t wait to play at The Great Escape Festival 2018 and we’re really looking forward to seeing everyone in the UK. Please come to see us!”
Another chronically upbeat and energetic slice of high-tempo J-pop from the quartet, ‘Bath Room – UK Version’ merges bubble-gum chiptune, the epic Scandi-pop influence of Sigrid, traditional melodic singer-songwriter toplines, and classical music motifs to impressive effect, all – as ever with Mbg – hung playfully around a dizzying array of time signatures.
Read The Air Records is a collaboration between UK independent label Alcopop! Records and Japanese independent label Vinyl Junkie. With a growing appetite for Japanese music from the UK audience, the aim for the new imprint is to help share some of the best artists emerging from the Japanese scene.
Formed in 2014, Mbg are part of the so-called “new-age” wave of J-Pop groups sweeping Japanese culture that are creating slick, smart, contemporary pop music, comprised of vocalists Aoi Yagawa, Yui Inoue, Rin Wada, and founding member Megumi Coshoji.
With musician and producer Kenta Sakurai as their core songwriter, producer and music director, the group not only perform and record music but also regularly appear in movies, collaborate with designers, and are constantly looking for new creative outlets and partnerships to help promote fashion, art and street culture.
‘Karma/Bath Room – UK Version’ Double A-Side released 18th May 2018 via Read The Air Records
Maison Book Girl UK Live Dates:
16.05.18 – Birmingham – Hare & Hounds
17.05.18 – Brighton – East Street Tap (Alternative Escape)
18.05.18 – Brighton – 8pm @ The Arch (The Great Escape)
19.05.18 – London – Boston Music Room
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Today we’re excited to announce the second wave of acts to play Pitchfork Music Festival Paris this November. CHVRCHES, The Voidz, DJ Koze, Stephen Malkmus & The Jicks, Dream Wife join existing names Bon Iver, Fever Ray, Mac DeMarco & Blood Orange.
The 8th edition of the festival will take place on 1, 2 & 3 November 2018 at the Grande Halle de la Villette.
Pitchfork Paris will host the captivating synth pop sounds of CHRVCHES, the avant-garde underground sound of The Voidz, which sees Julian Casablancas (the voice of The Strokes) and his band of musicians combine a multitude of genres, all the way from garage rock, pop, electro, psych & even traditional Asian music. As well as this, German DJ Stefan Kozalla aka DJ Koze will be playing, having just announced his first new album in 5 years, Stephen Malkmus & The Jicks will be performing, which will see the ex-Pavement frontman and The Jicks reunite after a four year break & Dream Wife will be there in full force with their explosive grunge-punk sounds.
Since 2011, the festival has made the Grande Halle de la Villette its home, right in the heart of Paris’ 19th arrondissement. Spread over 3 days, the festival offers music lovers a bold line-up that’s like no other, showcasing the best of the international indie scene.
And since 2016, Pitchfork Paris has spread its musical wings with Pitchfork Avant Garde. Spanning Paris’ Bastille neighbourhood, come discover the new indie guard over two nights of music, on 30 & 31 October.
Pitchfork Music Festival Paris is produced by Super Parisian booking and events agency, producing tours for French and International artists – and the American media Pitchfork.
— INFO
3-day pass on sale on now €120 > €135) : http://www.digitick.com/
Day tickets ( €45 > €50 > €55) : not on sale yet
Links:
Website : https://
Facebook Event : https://www.facebook.com/
FESTIVAL FORTE ANNOUNCES MORE ARTISTS FOR THE 2018 EDITION
These are added to the already announced: Anastasia Kristensen, Antigone x Francois X, Blush Response, Donato Dozzy, Electric Indigo, Extrawelt, Function, Hedonic 2, Helena Hauff, I Hate Models, Lena Willikens, Monolake, Mumdance, Neel, Oscar Mulero, Pantha Du Prince ft. Bendik HK A/V, Stanislav Tolkachev, Surgeon, Svreca, The Hacker and Umwelt.
There are no words enough to describe the importance of Carsten Nicolai aka Alva Noto in the electronic music scene. Co-founder of the much respected Raster Noton label together with Olaf Bender aka Byetone and Frank Bretschneider, he is the pure example of how science can combine with art through audiovisual language. Together with Ryuichi Sakamoto, he composed the soundtrack for the acclaimed movie “The revenant” and in 2018 he released the album “Unieqav” on his new label Noton. At Festival Forte, he will be presenting his new spectacular show, which is an incredibly intense audiovisual experience that will take place inside the immersive castle walls. Robert Lippok, who will release his new album in 2018 onRaster Noton, will also present his new audiovisual show at Festival Forte.
Luke Slater will return to the castle, this time with Jaygo Bloom, who is the curator of the generative garden of the festival. Together, they will present the only Planetary Assault Systems show of the year, an exclusive audiovisual performance that will have a very special setup.
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Explaining the song’s conception, the band explains, “The first verse of ’Bayside Suicide’ is based off a dream one of our band-members had, it’s not exactly a story or one solid idea that’s been finalised, rather it’s the journey through the curious and odd parts of perception. When it came time to shoot the video, we wanted to follow on with the abstract ideas and dive right into that distorted reality while truly reflecting our musical style and us as a band – so we chose to convey a feeling of psychedelia, allowing the viewer to perceive and explore their senses aided by a cacophony of UV colour, dance and movement.”
Canberra four-piece Young Monks – Matt Santos (vocals), Sam Koster (guitar, vocals, production),Stephen Reinhart (guitar, keys, vocals), Tommy Caldwell (bass) – have spent the past three years creating and refining their infectious blend of neo-psychedelic rock, crafting trippy and adventurous musical odysseys influenced by artists such as Tame Impala, Glass Animals and The Avalanches. Amassing over 2.1 million streams and 50,000+ monthly Spotify listeners with fan-favourites ‘Bad Bad Freddy’ and ‘Jarmin In The Dark’, Young Monks have shared the stage with standout local artists including Ocean Alley, Hands Like Houses and Saskwatch.
South London’s Margot emerge with strikingly accomplished debut single Desensitised, a dream-pop lament to the repetitious nature of modern capital-city life.
From the opening guitar chimes onwards the touchstones to dream-pop artists old and new are apparent, yet there’s a unique thread running throughout, generated by the collective way the quintet create not only their music, but art and visuals as well.
Throwing their concrete surroundings into the hazy sounds, Margot bring routine realism to life: “Desensitised is about the commute to office blocks, and how its oppressive nature, from the geography to the lonely crowds, can infiltrate, misdirect and dowse appetite and ambition” explains vocalist Alex Hannaway “Writing the song was cathartic, an act of strength and perseverance, a determination not to become desensitised.”
Making a decision to be completely self-sufficient through the creative process, Margot record over long weekends at drummer Ben Andrewes’ place, in between working weeks. This DIY approach and the autobiographical realism are reflected in the subject matter of the songs.
Hannaway and Andrewes are joined by Albi Cleghorn (guitar), Rob Fenner (Guitar) and Michael Webb (bass).
Margot Online
Facebook // Instagram // SoundCloud
Kedr Livanskiy (real name Yana Kedrina) released her critically acclaimed debut full-length Ariadna via 2MR in the autumn of last year. The album is Kedr’s escape from reality. She was born into a shifting and critical time for Russia’s Soviet Union – old values had been exhausted and were anathematized because of reconstruction. A sense of displacement drove Kedr to find herself. ‘Ariadna’ repeatedly explores the imagery and ideas of romanticism, mythical and fairytale themes.
Her inspiration for this record comes from the Izhevsk (sometimes referred to as “the capital of Russian electronic music”) sound of the 80s, including groups like Stuk Bambuka V XI Chasov (Bamboo Crash at 11AM) and Samtsy Dronta. The movement in Russian experimental music is especially inspiring, with acts likes Valery Chkalov, Sergey Kuryokhin and Pop Mechanica; in general, the late-Soviet period was very inspiring with all its figures in music, cinema, their energy and their approach towards life and art.
Altopalo are an enigmatic new band opening fresh new avenues for music through their dizzying experimentalism. A foursome comprised of singer Rahm Silverglade, a solo artist in his own right releasing material through Terrible Records, and guitarist Mike Haldeman who’s cut his teeth in Moses Sumney’s band. In the rhythm section, Jesse Bielenberg and Dillon Treacy have played with Kevin Garrett and Amber Mark respectively, making Altopalo already sometime veterans of the New York underground scene.
Now they’re gearing up to release their debut album ‘frozenthere’ later this year, and it’s assuredly unlike anything else in the commercial landscape. They teased it with the release of their ‘Blur/FrozenAway’ single which was included in Pitchfork’s What’s Good playlist. A daring record which throws all caution to the wind to achieve its distinctive artistic vision. On their new single ‘(Head in a) Cloche/Pulp’ they’re continuing the steady pre-emptive rollout of their unearthly sound whilst reclaiming New York as the home of the avant garde.
Having started its life essentially as a full-throttle rock performance, the final cut of A-side ‘(Head in a) Cloche’ is a swarming five minute leviathan of sound and silence performed by a group who understand the spaces between sounds, and the protean and unworldly journeys music can take us on. ‘Pulp’ is even harder to categorise. Rahm’s pained and technically brilliant vocal never achieves a resolution, it withholds the satisfaction of a chorus or even a straightforward meaning to make for a raw and deeply haunting piece of music.
Altopalo explore the social anxieties around cutting-edge technology and further our understanding of the possibilities of music as a technological art. Their world is a strange and discomforting one, a mirror of our own, but through their incisive lyricism and freeform musical experimentation they open up rich and thought-provoking new prospects for contemporary music.
‘Cloche/Pulp‘ is out now on Samedi Records.
News on debut shows in New York and LA to follow shortly.
Cover art by Jackson Bernard // @felon_degenerate
altopalo: Facebook
Snail Mail today shares new single and accompanying video ‘Heat Wave’, taken from her hotly anticipated debut album Lush, out June 8th on Matador Records / Remote Control Records. “I’m not into sometimes”, sings 18-year-old songwriter and guitar virtuoso Lindsey Jordan in this show-stopping tour-de-force of infectious and affecting guitar pop. The video, directed by Brandon Herman, showcases Jordan’s formidable ice hockey rink chops, picked up during her days on the high-school team, while delving hauntingly into the psyche of growing up – with its paralysing insecurities, crushing lows and defiant highs. “I hadn’t actually been on skates since I quit the high school team junior year, so immediately jumping into shooting this was equal parts difficult and super fun”, Jordan says.
‘Heat Wave’ follows on the heels of the still-sizzling ‘Pristine’, which has garnered plays across BBC Radio 1 from Annie Mac (highlighting it as her ‘New Name’) and Huw Stephens (calling Snail Mail “one of the most talked about artists of this year’s SXSW”), 6 Music, Radio 2 and Beats 1, and selected by Pitchfork as their #5 track of 2018 so far. Tips by The Sunday Times ‘Breaking Act’ and The Observer ‘One To Watch’, profiles by the Washington Post, Billboard and Stereogum, and song picks in the cross-section of The Guardian, New York Times, Esquire, Dazed, i-D, Teen Vogue, Refinery29, Wonderland and many others – have further cemented Snail Mail as one of 2018’s hottest new artists.
Lush is a debut for the record books — a refreshing marvel of songwriting and technical composition, that’s both cohesive and explosive — from a white-hot young artist on the brink of something huge (and she’s only just graduated high school!).
Recorded with producer Jake Aron and engineer Johnny Schenke, with contributions from touring bandmates drummer Ray Brown and bassist Alex Bass as well, Lush sounds cinematic, yet still perfectly homemade.
Snail Mail – Lush is out Friday 8 June via Matador Records / Remote Control Records.
Following the release of the hypnotically crafted ‘Thus Must Rust’, Melbourne’s Lehmann B. Smithreturns with his uniquely romantic new single & video ‘Tropical’, featuring the effortlessly charming vocals of Sarah Farquharson, of The Finks. ‘Tropical’ is the second single to be lifted from Lehmann B. Smith’s forthcoming new record Poplar Music out Friday 25th May via Bedroom Suck / Remote Control Records.
Speaking of ‘Tropical’ Smith divulges “I wrote the music with Caetano Veloso’s ‘Tu Me Acostumbraste’ in mind, and then the lyrics in bed while it rained and I sat up in bed listening to it in the house alone. I took some trinkets from Joao Gilberto for the arrangement, and got Sarah to sing it to me. After that I tried to copy Serge Gainsbourg’s video clip for “Couleur Cafe”. Otherwise it’s one from the heart.”
Finding his greatest success as a sideman for bands like Totally Mild and Kes Band, Smith has often been described as a musician’s musician, an undiscovered talent. He is a prodigious songwriter, laboriously notating album after album of unreleased material and storing these away in his home studio for a rainy day.
With six diverse and critically acclaimed albums under his belt from The Big Dry (2009) to Thank God For My Body (2015), Smith is now gearing up to release his seventh album Poplar Music – written, arranged, recorded and played almost entirely by himself at this studio (reportedly somewhere in Ascot Vale). Praised as the suburban version of Prince on the outskirts of an Australian city, Lehmann B. Smith is a mystery, an enigma, something of a genius; his music will resonate in your head for days, and should you be lucky enough to witness a live performance – save that story for your children. You’ve heard ‘Thus Must Rust’, now lose yourself in Smith’s captivating second offering ‘Tropical’.
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