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Soothsayer can today reveal the next chapter in the ever-growing Willaris. K story in the form of ‘Chapel (feat. WaveIQ)’, a heaving, post-apocalyptic rave anthem and the first single off his four-track rave-inspired EP Full Noise, which arrives Friday 19 June.
Conceived in an old chapel overlooking the Pacific at Rick Rubin’s Shangri-La studio in California with Passion Pit’s Nate Donmoyer, renowned producer Tim Anderson (Halsey, Banks, Dizzee Rascal) and US underground rapper, WaveIQ, ‘Chapel’ showcases Willaris. K’s most direct yet diverse sonic work to date. The angular track channels the frenetic warehouse rave energy from the 26-year-old producer’s globally celebrated live show, delivering an electric aural experience direct to the homes of fans across the globe. Added to that is the improvised vocal chants from WaveIQ that tie the track together, and create an atmosphere of smoke, sweat and sin.
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Leif Vollebekk
website | facebook | twitter | instagram
secretcityrecords.com
remotecontrolrecords
Avoidant, the new label from power house Soma Records, share its first vinyl release – bass heavy The Infinite Ones EP from Kronos Device
| Artist: Kronos Device Name: The Infinite Ones EP Label: Avoidant Records Date: Vinyl out now
Available for purchase here. Having been at the forefront of the electronic music scene for almost 30 years, Soma continue to push the boundaries as they announce a new Electro sub label Avoidant established specifically to push dynamic and diverse sonics from across the globe and already has 4 releases under its belt from duo CYRK, Scottish new bloods PinballSpider and Autonomous. For the label’s latest release and its first on vinyl, Kronos Device return in fine form for their first EP in four years ‘The Infinite Ones’ with a bass-heavy, BPM busting electronic gem; synonymous with their sound. Simon Brown (aka Dexorcist) and Phil Klein (aka Bass Junkie) joined forces in 2001 after pre-establishing themselves as major names in the underground scene. Hyperqub3 throws the listener into a the deep-end sonically with funked up beats and electrostatic vocals slicing through gut-pounding bass that drives through the heart and instantly increases the bounce – all held together by hyperspatial SFX. Track 2 delves into more heady, cerebral sounds. The title track of the EP, The Infinite Ones’ ripping synth sequences, dramatic pads and pulsing vocal riff is a supremely produced nod to the duo’s versatility. The EP culminates with Control – heavy distortion makes the 808 bass work hard, while robotic overtones and formidable synths command the track. The Infinite Ones is an expertly produced electronic EP that undoubtedly proves Kronos Device as pioneers of the genre. Avoidant Records, said: “Since starting the avoidant label, Kronos Device were the first names to pop into our head for a release – their extreme bass heavy, fast BPM, unique 808 electro style was something we felt suited our labels sound perfectly and have always held them in high regard.” |
In a sheer show of sonic force, Up In The Airlock (UITA) hosted Brisbane’s WAAX last night for ‘The Quarantine Sessions’ – live now via YouTube.
Initially scheduled to go live as the platform’s debut in April, the Up In The Airlock team postponed the WAAX session due to social distancing restrictions but recently had the chance to finish it, with spectacular results. Filming at the studio where the band first recorded their debut EP was a somewhat nostalgic experience for WAAX. “We felt at home in the beautiful studio amongst the vintage gear and Powderfinger’s ARIA Awards. Airlock still fosters a real creative vibe for us,” says tour-de-force Maz DeVita. “The best part was being able to play and perform live; something that we have truly been missing as of late!”
Performing a high-octane 30 minute set, the band surged through some of the key moments from their debut album Big Grief including ‘Labrador’, ‘FU’ and ‘I am’. Up In The Airlock’s Ian Haug said he was mesmerised by the session. “WAAX had been bottling up the energy that they were going to bring pre-lockdown to Up In The Airlock and they exploded into the room here at Airlock Studios after escaping from isolation. The band is loud, tight and purposeful, and Maz is unstoppable. I think she even freaked herself out with the energy she brought.” he says.
Up In The Airlock is an initiative from Ian Haug (Powderfinger, the church) Airlock Studios and Method To My Madness (MTMM) to showcase great Australian acts in a format that captures the intimacy, personality and technicalities often missed at a live show. The project also acts as a fundraiser for the artists and crew with proceeds collected via the Up In the Airlock website. Taking a page from the books of other successful live sessions such as NPR’s Tiny Desk Concerts & Live on KEXP, the sessions feature the premium production value that Airlock Studios is known for.
Don’t miss the exciting next episode of this great new series supporting Australian music. Subscribe to the Up In The Airlock YouTube channel and sign up to the mailing list on the official website.
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THE LAWRENCE ARMS
ANNOUNCE SKELETON COAST
OUT JULY 17
SHARE NEW TRACK
“PTA”
Chicago bred trio The Lawrence Arms will release Skeleton Coast, their first album in six years, on July 17. The band offers fans a glimpse at the record with the release of the first single from the new record, “PTA.”
Skeleton Coast was recorded 30 miles east of El Paso, TX at Sonic Ranch Studios with longtime producer Matt Allison. It was kind of like album camp in the sense that we were in this very remote setting for two weeks and really focusing on making the record. That was a very different experience for us because we’ve always made our records in Chicago which is home and all the things about home are in the way,” says vocalist and guitarist Chris McCaughan.
The album contains the elements of the band’s sound that fans have come to love for the past two decades but recontextualises them in a way that somehow sounds perfectly aligned with this strange time in our collective history. Although it was written and recorded before the Coronavirus upended the world, the band’s seventh studio album sounds eerily prescient as it imagines an apocalyptic future where coyotes croon and wolf packs roam free. “For a band who has been around as long as us, this is about as urgent of a record as we could make,” vocalist and bassist Brendan Kelly explains. “It may be kind of dark but it’s really about searching for light in the darkness and finding it, as small as those moments may seem. That’s sort of where we’re at: Collecting the scraps of things that could make for a bearable existence in dark times.”
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Yaeji Instagram / Twitter / We
xlrecordings.com
remotecontrolrecords.com.au
Today, The Lemon Twigs reveal the second single from their forthcoming third album, Songs For The General Public, entitled ‘Moon.’ The thrilling sax-driven track revels in hints of Bruce Springsteen and even fellow Long Islander Billy Joel. The D’Addario brothers wrote, recorded and produced the forthcoming album entirely on tape at their Long Island home studio, Sonora Studios in Los Angeles, and Electric Lady in New York City. ‘Moon‘ is preceded by ‘The One,’ which earned praise as “excellent” (Flood), “kaleidoscopic” (CoS) and “prodigious” (Paste) as well as comparisons to recent collaborator Todd Rundgren (Gigwise). Songs For The General Public is out August 21 on 4AD / Remote Control.
The prodigiously-talented duo first emerged as The Lemon Twigs in 2016 with their debut LP Do Hollywood, whose show-stopping melodies mined from every era of rock quickly earned fans in Elton John, Questlove, and Jack Antonoff. Go To School, the ambitious 15-track coming-of-age opus, followed in 2018 and solidified the band’s reputation for building grand walls of sound around an audacious concept.
The 12-track album will be released on August 21 digitally and on CD, limited translucent red vinyl (only available via indie stores and the 4AD Store) and standard black vinyl.
thelemontwigs.com
Facebook | Soundcloud | Twitter | Instagram
4AD.com
remotecontrolrecords.com
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![Where are you currently based? Te Awakairangi (Lower Hutt) in Aotearoa New Zealand How did you first start playing music? I started recorder lessons when I was about seven, and then guitar a couple of years later. What's been happening recently? We just released an album over lockdown, and so we've been doing a bunch of 'Personal Party' tiny skype concerts for people over the weekend, playing songs and reading tarot. Your new album 'Big Woman' is out now, what influenced the sound and songwriting for the album? It's a breakup album, so the songwriting was influenced by the drastically shifting social and emotional geography of my life at the time. I knew the songs felt big and I wanted them to sound catastrophic. While we were working on production we were listening to lots of 90's wall-of-sound type stuff, and Jason [Erskine] was trying out lots of Michael Brauer / CLA mix techniques to try and get the size and space we wanted on the tracks. How did you go about writing the music? All of the songs except 'The News' were written over the last few years. Writing usually comes as a sort of compulsion to me, so I'll be in an almost trance-like state late at night, frantically demo-ing out the ideas flying around my brain. All of the songs that ended up on the album basically came out fully formed with guitars / bass / vocals without much conscious input from me, and the final versions on the album are pretty true to the original scratch demos. Where and when did you record and who with? It was a DIY affair. We recorded it at our homes, starting with Lauren Ellis tracking the drums in Jason's garage with a bunch of microphones we borrowed off a friend. We then tracked everything else over the next 12 months in between working and parenting. Jason did all of the production - engineering and mixing, and he also ended up mastering the album in the end because we were so scrupulous about how we wanted it to sound. He is so patient and willing to try a hundred things and throw them all out if they don't work. He totally gets the vision. What programs/instruments did you use? We recorded it using Ableton Live and a bunch of plugins in the mixing process. Jason used a Gretsch 12-string, as well as an acoustic 12-string and a baritone guitar over the drums and bass to build up the density of the album, and there's also some digital piano in there too. We were really constrained on what we could do mainly due to our schedules and lack of money, so Jason spent heaps of time processing tracks in different ways to come up with the sonic landscape we were looking for. What did you find most challenging and rewarding throughout the creation of the album? The whole process was incredibly grounding. I mean I was going through a really messy separation, I wasn't sleeping, my life was a shambles, but being involved in this creative process alongside Jason was incredibly strengthening and affirming. As the album came together it was like emerging from a fog, we would listen to the rough bounces in the car and it felt like coming back into my body. So even though these songs came out of this really traumatic time, the process of making the album was like an exercise in courage and an affirmation of my own existence. What do you like to do away from music? Away from music I'm mainly hanging out with my family and dog Tofu and friends and doing prison abolition work, but I also love to write and drink coffee and make clothes and visit small towns. In reality though when I do get free time I'm usually just curled up in bed with Tofu looking at pictures of A-frame houses on my phone and drinking whisky. Who are you listening to at the moment? I can't get past Baroness' latest album 'Gold & Grey'. It's so perfect. I've also been cranking Mazzy Star and The American Analog Set, and I'm really excited for the upcoming releases from Baby In The 90's who are from Louisiana. What's planned for 2020? We were meant to be touring a bunch across Aotearoa and Australia, but that's gone a bit awry. We're starting production on the next record, and we really wanna play shows again and hang out! Favourite food and place to hangout? I'm pretty obsessed with the food that Plant Blazed cranks out in Pōneke Wellington. Stupidly delicious southern fried seitan burgers with heaps of slaw and pickles. And my favourite place to hang out is definitely at home in bed under a warm blanket.](https://thepartae.com/wp-content/uploads/2020/05/Giantess-1170x659.jpg "Giantess")
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