Makeness to unleash debut album and tour in April.

Makeness Announces Debut Album, Loud Patterns,
Out April 6th On Secretly Canadian

Watch The Video For New Single “Stepping Out Of Sync”

North American & European Tours With Unknown Mortal Orchestra This Spring

Makeness is pleased to announce his debut album, Loud Patterns, coming out April 6th on Secretly Canadian. Crafting tracks which make a virtue of disparate influences, Kyle Molleson manages to pull off something difficult: songs which have been tirelessly worked on, although sound loose-limbed and to-the-point.

Loud Patterns is noticeably indebted to house and techno; there are 4/4 rhythms, and a no-nonsense directness that harks back to the Detroit pioneers. Channeling avant-garde experimentalism and an outsider’s interest in pop, Kyle embraces the distance between those two poles.

Loud Patterns arrives after a series of releases that have established his particular, in-between approach to dance-minded music. He put out two EPs on Manchester-based imprint Handsome Dad, a one-off single with Adult Jazz and self-released Temple Works EP; Whities also released a limited-edition white label of a Minor Science dub of one of his tracks.

Along with today’s announcement, Makeness is sharing a video for his new single, “Stepping Out Of Sync.” “‘Stepping Out Of Sync’ for me is about losing a little bit of a grip on reality,” says Kyle. “There’s a big nod to the world of pop music in the track and I wanted to reflect that in the video too. Josha and Felix, who directed the video, came up with this great time splicing technique using a custom 3-camera rig. The idea was to use the technique as a character in the video to add a sense of detachment from reality and subtly invert the upbeat aspect of the music. I had also been talking to my friend Maddie who is a brilliant dancer about working on some choreography for the video. These aspects seemed to come together perfectly when Josha and Felix started sending ideas across. I think the video really captures the range of emotions that exist in the track, it’s upbeat and positive aspect alongside a layer of dissonance and confusion that lies under the surface.”

Following the release of Loud Patterns, Makeness will tour with label kin Unknown Mortal Orchestra across North America and parts of Europe. Makeness will play his largest venues to date since his last North American trip with Jungle in December 2017. A full list of dates is below.

Watch Makeness’ “Stepping Out Of Sync” Video:

Watch & Listen:
“Day Old Death” video –
“Day Old Death” stream –
“Loud Patterns” stream –
Makeness Tour Dates:
March 1 – March 3 – Oslo, Norway @ by:Larm
April 12 – @ London, UK @ Corsica Studios
April 22 – Northampton, MA @ Pearl Street w/ Unknown Mortal Orchestra
April 23 – Portland, ME @ Port City Music Hall w/ Unknown Mortal Orchestra
April 25 – Brooklyn, NY @ Brooklyn Steel w/ Unknown Mortal Orchestra
April 26 – Brooklyn, NY @ Brooklyn Steel w/ Unknown Mortal Orchestra
April 27 – Washington, DC @ 9:30 Club w/ Unknown Mortal Orchestra
April 28 – Philadelphia, PA @ Union Transfer w/ Unknown Mortal Orchestra
April 30 – Boston, MA @ Royale w/ Unknown Mortal Orchestra
May 1 – Montreal, QC @ Corona Theatre w/ Unknown Mortal Orchestra
May 2 – Toronto, ON @ Danforth Music Hall w/ Unknown Mortal Orchestra
May 3 – Chicago, IL @ Vic Theatre w/ Unknown Mortal Orchestra
May 4 – Minneapolis, MN @ First Avenue w/ Unknown Mortal Orchestra
May 7 – Seattle, WA @ The Moore Theatre w/ Unknown Mortal Orchestra
May 8 – Vancouver, BC @ Commodore Ballroom w/ Unknown Mortal Orchestra
May 9 – Portland, OR @ Roseland Theater w/ Unknown Mortal Orchestra
May 10 – Oakland, CA @ Fox Theater w/ Unknown Mortal Orchestra
May 11 – Los Angeles, CA @ The Wiltern w/ Unknown Mortal Orchestra
May 12 – Pioneertown, CA @ Pappy and Harriet’s w/ Unknown Mortal Orchestra
May 18 – Hamburg, Germany @ Uebel & Gefährlich w/ Unknown Mortal Orchestra
May 19 – Berlin, Germany @ Kesselhaus w/ Unknown Mortal Orchestra
May 20 – Heidelberg, Germany @ Karlstorbahnhof w/ Unknown Mortal Orchestra
May 21 – Düsseldorf, Germany @ zakk w/ Unknown Mortal Orchestra
May 22 – Paris, France @ La Gaîté Lyrique w/ Unknown Mortal Orchestra
May 24 – London, United Kingdom @ Roundhouse w/ Unknown Mortal Orchestra
May 25 – Bristol, United Kingdom @ SWX w/ Unknown Mortal Orchestra
Loud Patterns Tracklist:
1. Loud Patterns
2. Fire Behind The 2 Louis
3. Who Am I To Follow Love
4. Stepping Out Of Sync
5. Gold Star
6. The Bass Rock
7. Day Old Death
8. Rough Moss
9. Our Embrace
10. 14 Drops
11. Motorcycle Idling

Photo by Dexter Lander

DJ Koze’s “Knock Knock” is due May 4th, but you can hear 2 tracks from it now.

DJ Koze Announces New Album Knock Knock
Out May 4th On Pampa RecordsListen To First Single “Seeing Aliens” (Extended Breakthrough Listen)
Plus B-Side “Nein König Nein”

[Photo by Gepa Hinrichsen]

DJ Koze has announced the release of his new album, Knock Knock, on May 4th via Pampa Records. Along with the announcement comes the first single, “Seeing Aliens,” and its B-side “Nein König Nein,” both of which debuted this morning at Pitchfork and are available to stream now.Like all DJ Koze records, Knock Knock exists outside of trend and influence. In fact, Knock Knock is a step further beyond: absolutely every single thing here, from grooves to voices to handclaps, is otherworldly and unique. Which is not to say it is utter alien abstraction. There is still disco, there is still soul, there is still techno, there is still hip hop, there is still psychedelia – there are even wafts of easy listening, lost crackly thrift store record memories and indie rock – but though it may sound familiar, it never does what your brain thinks it’s going to do.

More than ever before on Koze’s records, there are fascinating, individualist and well-known voices throughout Knock Knock. Each of them is rendered strange, drawn into a different reality. Bon Iver‘s ghostly hymnals on “Bonfire” are very recognizably his own, but the way they twist and merge with synthetic sounds until choir and computer are writhing around one another in bliss are something else. The ever-unique Róisín Murphy, on two stunning tracks, becomes a cyborg funk diva. Speech from Arrested Development delivers luscious and lazy R&B-funk on “Colors of Autumn”, but Koze’s warping bass, dubwise echo and alien nature sounds take it to an alternate-dimension tropical landscape. Kurt Wagner of Lambchop is a vocoder bohemian, Sophia Kennedy is a sci-fi Weimar cabaret star and José González is a holographic projection from an old film of the South Sea Islands. On it goes, nothing is real, everyone is an inhabitant of Koze-world.

And that’s what is crucial here. Koze is a world-maker. You don’t get to choose how you hear his music – you enter his world or you don’t, that’s it. And that’s why individual influences, whether it’s the trippy German techno that’s always rippled through his albums or the beat-scene abstract hip hop that he incorporated into his DJ-Kicks mix in 2015, are all but irrelevant. Though he’d never compare himself to anyone else, Koze only makes sense in the way that other world-builders do, from Bowie to Sun Ra, Outkast to Kate Bush. And Knock Knock is far and away his greatest statement of that. It’s an album that came together slowly and steadily, his working processes arcane and mysterious in their steady accumulation of sound and inspiration. It’s so complete and bursting with detail and consistency from every microsecond that you’d swear it was meticulously planned (but there was no master plan) to create a definitive artifact: the record itself decided when it was ready. And now it is ready, the most perfectly constructed portal into that other world, you had better be ready too!

Listen To DJ Koze’s “Seeing Aliens” b/w “Nein König Nein” Knock Tracklist:
1. Club der Ewigkeiten
2. Bonfire
3. Moving in a liquid (feat. Eddie Fummler)
4. Colors of autumn (feat. Speech of the band Arrested Development)
5. Music on my teeth (feat. José González)
6. This is my rock (feat. Sophia Kennedy)
7. Illumination (feat. Róisín Murphy)
8. Pick up
9. Planet Hase (feat. Mano le tough)
10. Scratch that (feat. Róisín Murphy)
11. Muddy Funster (feat. Kurt Wagner)
12. Baby (how much i LFO you)
13. Jesus
14. Lord knows
15. Seeing Aliens
16. Drone me up, Flashy (feat. Sophia Kennedy)

Knock Knock

Ambient / deep house DJ Will Long to release “Long Trax 2” on March 16th.



As much as is said of our current times being new lows, where things have changed for the worse and we’re unsure of the future, it’s worth returning to study the past to understand how steadily low we remain.

“Nothing’s changed,” says a younger Barack Obama in a sample for the opening track to Long Trax 2, the second album from Tokyo-based, America musician, writer, and photographer Will Long, out March16th on Smalltown Supersound. The album will be released as three separate 12” singles, in addition to CD and digital.

Long Trax 2 follows Long’s deep house debut, Long Trax, released in 2016 on 2016 on DJ Sprinkles’ (Terre ThaemlitzComatonse Recordings. Receiving a 4.2 rating, Long Trax was praised by ResidentAdvisor and described as a “meditative listen.”

It’s follow-up, Long Trax 2, presents as an ongoing criticism of cultural stasis, conveyed via minimal synthesizers, sampler, and rhythm machine. Dance floors are widely perceived by the masses as safe zones, but few can imagine how to apply notions of safety and equality to other aspects of society. We shouldn’t need clubs to hide from our fears and differences in the outside world. Looking ahead, we should look not so optimistically upon what we have accomplished, but with urgency and empathy upon what we haven’t.

Since 2005, Long has produced ambient music under the name Celer, and is a member of the pop music band Oh, Yoko with Miko. He curates and manages the label Two Acorns, and is also involved with the Normal Cookie and Bun Tapes labels.
Stream “Nothing’s Changed” —

Pre-order Will Long’s Long Trax 2 —

Download hi-res images & album art for Will Long —

(original artwork for Long Trax 2 by Tsuji Aiko)

Artist Site | Soundcloud | Smalltown Supersound

Keep your mind open.

[Change up your e-mail by subscribing.]

Interview: Steve Davit

Multi-instrumentalist Steve Davit is well-known for his bass and saxophone work with Marian Hill, but he is also a fine solo artist in his own right who blends jazz with electronica, hip hop, and even video game music-influenced cuts.  His first EP, Coniferous, will be out soon.

I spoke with Steve Davit about Coniferous, his work with Marian Hill, jazz, video games, and dreams.

7th Level Music: I’m really looking forward to this new EP.

Steve Davit: Yeah, me too.  I’m just about done with the third track.  I just need to do some mastering tweaks, making sure it sounds right, and finish up the fourth track.

7LM: Is it going to be four tracks?

SD: It’s going to be four tracks.  For physical copies, there’s going to be a bonus fifth track that’s like an improv type of thing.  Timeline wise, I don’t think it’s possible to get an actually produced fifth track before I’m going to release it, which is sometime in March.  It’s a little nebulous now, but Marian Hill is going on tour in April.  I want to have some stuff ready for that, so I came out with four tracks.  I figure, if and when I write more music, I’ll just make another EP.

7LM: How long have you been working on this one?

SD: I didn’t intend to make an EP, so it didn’t have a set start date.  I’ve been writing music for a while.  Early last year, maybe late early 2016.  It basically started with me being upset that I hadn’t written any music in a while because I had been doing a lot of touring.  I had released an album in May 2012 for my senior project, but I hadn’t released any music since then.  So every year, I’ve been like, “I’m going to write more,” but I never did.  So I set a challenge for myself that for sixty days I would write a groove every single day.

7LM: Oh wow.

SD: A groove could be four bars, it could be just a drum beat, a drum beat with chords, or [something] more fleshed out.  A lot of the beats [were from] me on a plane or in an airport beatboxing into my earbud microphone.  I’d record that on my phone and translate that onto my computer.  From that I had maybe ten that I thought were pretty cool.  I showed them to (Marian Hill’s) Sam[antha Gongol] and Jeremy [Lloyd] because I needed some feedback from the outside world, from people whose opinions I respect, and I trust them.  They said, “These few are really cool.  You should make an EP.”  I thought, “Huh.  Okay!”  A lot of the music is a long process of having the idea, letting it germinate, [and] building a way to more efficiently write music and create sounds.  It’s kind of nerve-wracking that I’m finally putting stuff out there, but I’ve found that it’s really resonating.

7LM: You’ve kind of already answered a question I was going to ask you.  I know improvising is a big part of your songwriting structure, and I was wondering if improvisation was part of the process for the EP.

SD: Improvisation to me is, obviously, played out a lot on the saxophone.  Some times I would come up with melodies on the saxophone that were cool, but then little germinations would come from it as I would think of some groove.  I’d start working with a kick drum pattern here, and that wouldn’t be quite right so I’d tweak that, and then I’d have this beat and [I’d] try to come up with some saxophone line that sits on top of that.  That was where the next level of improvisation would come.  With Coniferous, that whole drum craziness thing started off with me having an idea for a five-pattern over a three-pattern and then I thought, “What if I remove every other one?” or “What if it’s all weird, rhythmic stuff that just turns into something cool?”  I thought, “I should do something with this, because it’s really cool, but I don’t know what.”  Sometimes I’ll improvise something and then cut that up and be more meticulous about what it ends up being.  That said, a lot of it does stem from me having an idea, recording it, and then translating that or keeping it as is.  It’s all over the place, really.

7LM: You mentioned you went to Jeremy and Samantha.  I don’t know how you got hooked up with them.  Did you know them from way back when?

SD: Yeah, we were high school buds.  I knew Sam but didn’t talk to her much, because she was a grade ahead of me and she was a girl.  Jeremy was in the jazz band with me in middle school [and] a bunch of my high school friends.  We’re all still pretty tight, which is really nice.  It’s been great having that connection to Sam and Jeremy.  After college, they knew they wanted to work together.  I would help them record stuff.  Sam and Jeremy would still write, and I would record and try to make it sound good even though I had no idea what I was doing.  They made some other tracks where they needed to find a cappella horns, and I said, “I’ll just record it for you.”  I sent them twelve minutes of stuff and that turned into “One Time” and “Got It,” and it just kind of grew from there.

7LM: Your set with Marian Hill was one of the best my wife and I saw at Mamby on the Beach last year.

SD: Thank you.

7LM: You mentioned in an e-mail that your bass rig was having trouble at that show.

SD: Yeah, something happened.  I had to unplug my bass because it was making this loud popping noise.  Mid-song I’m switching cables.  [My bass] just stopped.  It wasn’t making sound.  I thought, “This is bad,” but I was able to fix it.  I’m glad it didn’t show.

7LM: Yeah, no one noticed.

SD: I love performing the music.  I don’t contribute to the songwriting or production, but I really like the music.  I like being able to interpret that music and perform it live.  Festivals are great because people are there to have a fun time, and a lot of them don’t know you so you’re winning them over, and you can see the crowd growing over time.

7LM: That was a crazy festival. Did you have any other odd stuff that happened on that tour?

SD: Nothing that crazy for me, but there was one festival…I play with a clip-on mic on the saxophone.  I put that down and pick up the bass and switch back and forth.  Sometimes, when switching, it will fall off.  So I go to play this solo, and I lift up my horn to be all dramatic and the mic pack just slides off and I grab it and I’m able to clip it and be on for the next downbeat.  Sam was like, “I’m really impressed you got that together in time.”  She was frozen.  She didn’t know what to do.  At one point, this is the most terrifying thing, the microphone cable, as I was picking it up from the stand, got hooked on the stand and hooked on one of the keys of my saxophone and it popped out.  You don’t need to know much about the saxophone, but if a key pops out it’s bad.  Luckily though, it was one of the lowest keys.  The lower the key, the lower the pitch.  So if that key is just flopping around and not connected, it doesn’t affect any of the higher pitches.  I was lucky that I could still play the song without affecting it, but there was this thing jangling around and I was freaking out.  There are some songs where I don’t play so I could run backstage and jam it back in and go back out.  It worked, but I needed to get it fixed.  It was partially messed up for a good two weeks.  I’ve been performing for a while, and I know that the audience doesn’t know what you know.  If you mess up, they don’t know as long as you play it off.  I’m usually able to keep my cool when catastrophic things happen.

7LM: Speaking of audiences, have you discovered that your music is popular somewhere you never thought it would be popular?

SD: Yeah.  It’s kind of tricky [because] my current stuff is so new that I don’t have enough data or reach to figure out who found me organically or who found me because I’m with Marian Hill.  There are tons of Marian Hill fans who are all over the globe.  We have an amazing fan account from Brazil.  We’ve never been to Brazil, but this person has their own Marian Hill fan page.  The first time we went to France, they were singing along.  We were like, “What?  We haven’t even been here before and you know our music in English!  This is crazy!”  Even age range-wise, we have parents with their kids who say, “I love your music.  I took my daughter here,” and then you have twelve-year-olds who are in love with Sam.  For my music, I haven’t done too much to actively push my stuff out there, so the fact that you came across it is pretty awesome.

7LM: I got a press release about “Forward,” and I was telling everybody that was easily one of my top dozen singles of the year.  It just floored me.

SD: Thank you.

7LM: Do you have any influences your fans might find surprising?

SD: Yeah, it’s funny you say that.  I was listening to a random mix of songs on Spotify and this one track by Stereolab came on called “Brakhage.”  That is one of my all-time favorite songs, and I can’t quite put my finger on why.  It’s just a phenomenal song, but it doesn’t necessarily seem to influence a more jazz / electronic musician.  That’s kind of a strange influence.

SD: But yeah, I have a lot.  Frank Zappa, Medeski, Martin, and Wood…

7LM: Those guys are great.

SD: Bela Bartok, Brian Eno, Steve Reich.  Steve Reich is one of the most influential.  I got really, really into rhythm and phase shifting and layering rhythms on top of each other, which is what sparked the initial thought of Coniferous.

7LM: I really like how you blend jazz with a little acid house and some electro stuff.  It’s a really cool sound you’ve put together.

SD: Thank you.  I’ve always known that it’s important to listen to a wide array of styles of music.  My Dad liked a lot of music.  He started his jazz world with Keith Jarrett.  Pretty much all the jazz music I listen to came through him.  I met up with Medeski, Martin, and Wood.  One of the big points that they like to stress is how much world music they like to listen to.  I met Bob Moses, who’s a phenomenal drummer.  He’s full of crazy ideas.  He’d play a solo improv with bamboo sticks, a snare drum, and a weird V-shaped triangle thing.  That was back in 2010.  It was getting me down non-traditional paths of music and tying that into connecting with a wider group of people.  It’s one thing to play really weird sounds and noises and stuff, and ten people in the world like it.  There’s a way to take what that thing is trying to say and share it with a thousand people.  I can’t remember who it was, but somebody was saying there are so many people in the world now that, for the most part, you can find a million people who like what you’re doing.  I just want to be able to make music that’s still me, but comes from a lot of different areas and can reach people.  Not be too far out of left field, because I wouldn’t want to listen that necessarily.  I want to do something that I’d want to listen to over and over again, and hopefully other people will find it and listen to it.

7LM: I read that you’re a big-time gamer, and I was wondering if video game music influenced you as well?

SD: Yeah.  For a while in college, in my free time, I worked with my freshman year roommate and a couple people who were in a video game design class.  Their whole job was to create their own video games, and I always jumped on the opportunity to write music for them.  A friend of mine, Andrew Aversa, has this sample library company called Impact Soundworks.  He started getting me into the idea of making money composing for video games.  I went down that rabbit hole for a bit, but decided it was too annoying working for someone else telling you what music they wanted without knowing how to communicate what music they wanted.  I would make something and they would say, “Well, I don’t know.  That’s not quite right.  It’s needs a bit more of this…”  A group of people’s senior project was to create a video game that was playable and had music and all these different sound effects.  I was in that course as an independent study.  I was supposed to have another guy working with me, but he dropped out so all the music and sound effects landed on me.  They kept telling me to redo this one track.  I had one track for six weeks and I said, “Guys, I want to start making other music.”  They were all, “No, this one is really important.”  I thought, “I’m just going to make my own stuff and be the boss of what I’m making.”  It has influenced me, though, because I listen to a lot of that music.  There are certain melodic sensibilities within that, so it’s still in the back of my mind because games have played a big role in my life.  I think as I start to make more music I’m going to start pitching to music houses and other places that license music.  So, instead of writing specifically for a video game, I’ll say, “Hey, which of you people think this music fits with your game or movie or TV show or whatever?”  A good friend of mine was saying “Forward” sounds like the opening theme song for a new Seinfeld.

7LM: Do you have any favorite video games right now?

SD: Zelda: Breath of the Wild is too addicting for my own good.  Video games are too easy to access.  I deleted all my computer games so I can actually be productive with music.  A friend of mine and I have always played Super Smash Brothers together.  He recently started streaming video games online.  He was having a lot of fun of that.  I said, “Hey, I heard this Zelda game is one of the best games ever made.  Let’s get it and share it together.”  I got it recently and started playing with him.  He said, “You can hold onto it for a bit.”  I said, “All right.”  So I played it a little bit, and I kept playing it.  If I’m not careful, it’s going to take over my life.  I’m putting heavy restrictions on my video game playing, but Breath of the Wild is absolutely phenomenal.

7LM: I just dug out my old Sega Genesis.

SD: Oh nice.

7LM: In a weird way, I’m thankful I don’t have the cables yet to hook it up to my high-def TV because I’m going to have to ration it so hard.

SD: Oh yeah.

7LM: Is there anything else outside of music you’re really passionate about or just love to talk about?

SD: The biggest one is dreaming.

7LM: Oh very cool.

SD: Yeah, the psychology of sleep and how it affects your life.  I’ve been keeping dream journals since at least 2005.  I’ve recorded over two thousand dreams.  I’m very into dreaming, controlling your dreams, using your dreams to enrich your life and be creative.  I’ve come up with some music and in dreams.  I’ve come up with game ideas and artwork in dreams, story ideas.  I recently found out that dreaming about traumatic events in a normal functioning brain will actually decrease the emotional response to that event.  Dreaming is kind of an overnight therapy.  There’s a book I’m reading called Why We Sleep (by Matthew Walker).

7LM: Thanks for this.  It’s been great.

SD: Yeah, thanks, man.

Keep your mind open

[Don’t forget to subscribe before you make like a tree and leave.]

Loma release “Joy” from upcoming album due February 16th.



(photo credit – Bryan C. Parker)


Loma, the new project comprised of Jonathan Meiburg, best known as the singer of Shearwater, and Emily Cross and Dan Duszynski of Cross Record, will release their self-titled debut album on February 16th via Sub Pop, with their first North American and overseas tour to follow and more dates to be announced. After presenting singles “Black Willow” and “Relay Runner,” Loma shares the first song the trio wrote and recorded together, “Joy,a song about the giddy, terrifying experience of falling in love, especially against your better judgment. Of that initial session, Meiburg noted “There was something special about the combination of the three of us, and very different from either of our bands. But I think we were afraid to say so out loud, for fear of jinxing it. I remember the hairs on the back of my neck standing up when Emily hit that high, screaming note on the clarinet on ‘Joy’; it sounded like a human voice.” That sense of discovery, stoked by the album’s urgent and searching lyrical themes, is felt throughout the entirety of Loma and extends to the listener.

Listen to Loma’s “Joy” –

“Black Willow” Video –
“Relay Runner” Video –

Pre-order Loma

Loma Tour Dates:
Fri. Apr. 6 – Phoenix, AZ @ Valley Bar
Sun. Apr. 8 – Los Angeles, CA @ The Bootleg
Wed. Apr. 11 – San Francisco, CA @ Bottom of the Hill
Fri. Apr. 13 – Portland, OR @ MS Studios
Sat. Apr. 14 – Seattle, WA @ Sunset Tavern
Tue. Apr. 17 – Salt Lake City, UT @ Urban Lounge
Thu. April 19 – Taos, NM @ Taos Mesa Brewing
Sat. Apr. 21 – Austin, TX @ North Door
Thu. April 26 – Atlanta, GA @ The Earl
Fri. April 27 – Asheville, NC @ The Mothlight
Sat. April 28 – Carrboro, NC @ Cat’s Cradle Back Room
Tue. May 1 – Charlottesville, NC @ The Southern
Wed. May 2 – Washington, DC @ DC9
Fri. May 4 – Brooklyn, NY @ Baby’s All Right
Sat. May 5 – Philadelphia, PA @ Johnny Brenda’s
Sun. May 6 – Allston, MA @ Great Scott
Tue. May 8 – Montreal, QC @ L’Esco
Wed. May 9 – Toronto, ON @ The Garrison
Thu. May 10 – Detroit, MI @ Deluxx Fluxx
Fri. May 11 – Chicago, IL @ Schubas
Fri. May 25 – Kortrijk, BE @ De Kreun
Sat. May 26 – Amsterdam, NL @ Paradiso (London Calling)
Sun. May 27 – Brussels, BE @ Botanique
Wed. May 30 – Brighton, UK @ The Hope
Thu. May 31 – London, UK @ Lexington
Fri. June 1 – Bristol, UK @ Rough Trade
Sun. June 3 – Manchester, UK @ Gullivers
Mon. June 4 – Leeds, UK @ Headrow House
Tue. June 5 – Glasgow, UK @ Hug and Pint
Thu. June 7 – Dublin, IE @ Whelan’s
Fri. June 8 – Liverpool, UK @ Buyers Club

Download hi-res press images and album art –

Kelly Lee Owens announces March U.S. tour.



(above image by Jason Williamson)

“Kelly Lee Owens’ debut album introduces the world to a fully formed aesthetic . . Not many debuts balance emotion and economy with such finesse.” — Pitchfork, #3 in Best Electronic Albums of 2017

“Kelly Lee Owens splices luscious Cocteau Twins–influenced hymns with passages of
four-on-the-floor hypnosis. The analogue sounds of bells and tabla give standouts like ‘Bird’ or ‘Arthur’
a homespun feel, and there’s plenty of structural and lyrical intrigue nestled within the album’s all-enveloping, pastel pulse.”
The Atlantic, #9 in Best Albums of 2017

“KLO’s stunning debut is a beautifully immersive and enveloping take on all of our favorite things: emotional, floating electronic dream-pop and more propulsive and visceral dance music that pulses like an underwater heartbeat, seamlessly woven into something that feels both familiar and entirely new.”
Gorilla vs. Bear, #2 in Favorite Albums of 2017

London-based Kelly Lee Owens announces a March U.S. tour in support of her self-titled debut album, out now on Smalltown Supersound, and a remix of St. Vincent’s “New York.” Owens will play many cities for the first time on this second U.S. tour. All dates are below.


Named Album of the Year by the influential Piccadilly Records, Kelly Lee Owens was named the #2 album of 2017 by Gorilla vs. Bear, Loud and Quiet, and Drowned in Sound, while also making year-end lists from Pitchfork, The Atlantic, Under The Radar, Brooklyn Vegan, Bandcamp, Mixmag and beyond. Additionally, Owens capped off the year with Björk featuring the album’s lead single, “Anxi” ft. Jenny Hval, in her Cover Mix for Mixmag.

Stream Kelly Lee Owens’ Remix of St. Vincent’s “New York” –

Kelly Lee Owens
“Anxi” ft. Jenny Hval video –
“Anxi” ft. Jenny Hval stream –
“Throwing Lines” video –

Kelly Lee Owens’ Tour Dates:
Fri. March 16 – Brooklyn, NY @ Elsewhere – Zone One
Sat. March 17 – Philadelphia, PA @ Boot & Saddle
Tue. March 20 – Chicago, IL @ Schubas Tavern
Wed. March 21 – Denver, CO @ Bar Standard
Thu. March 22 – Boise, ID @ Treefort Music Fest
Sat. March 24 – Knoxville, TN @ Big Ears Festival
Sun. March 25 – Washington, DC @ Union Stage
Tue. March 27 – Miami, FL @ Floyd
Thu. March 29 – Seattle, WA @ Barboza
Sat. March 31 – Los Angeles, CA @ The Sanctuary at Pico Union
Sun. April 1 – San Diego, CA @ Soda Bar

Kelly Lee Owens
“More Than A Woman” –

Facebook | Instagram | Twitter | Soundcloud | Hi-res press images

Suuns’ new album, “Felt,” is due March 2nd, but the first single is out now.

Suuns Announce New Album, Felt, Out March 2nd On Secretly Canadian

Watch Video For Lead Single “Watch You, Watch Me”

[Photo by Joseph Yarmush]

Suuns are pleased to announce their new album, Felt, coming out March 2nd on Secretly Canadian. Singer/guitarist Ben Shemie says, “This record is definitely looser than our last one [2016’s Hold/Still]. It’s not as clinical. There’s more swagger.” You can hear this freedom flowing through the 11 tracks on Felt. It’s both a continuation and rebirth, the Montreal quartet returning to beloved local facility Breakglass Studios (where they cut their first two albums [Zeroes QC and Images Du Futur] with Jace Lasek of The Besnard Lakes) but this time recording themselves at their own pace, over five fertile sessions spanning several months. A simultaneous stretching out and honing in, mixed to audiophile perfection by St Vincent producer John Congleton (helmer of Hold/Still), who flew up especially from Dallas to deploy his award-winning skills in situ.

Felt lead single “Watch You, Watch Me” debuts today via NPR Music. The song showcases an organic/synthetic rush that builds and builds atop drummer Liam O’Neill’s elevatory rhythm. O’Neill exclaims, “It was different and exciting. In the past, there was a more concerted effort on my part to drum in a controlled and genre-specific way. Self-consciously approaching things stylistically. Us doing it ourselves, that process was like a very receptive, limitless workshop to just try out ideas.”

Complementing O’Neill are the ecstatic, Harmonia-meets-Game Boy patterns unleashed by electronics mastermind Max Henry. Eschewing presets, Henry devised fresh sounds for each song on Felt while also becoming a default musical director, orchestrating patches and oscillations. Quietly enthusing about “freaky post-techno” and Frank Ocean’s use of space, he’s among your more modest studio desk jockeys: “Yeah, I sat in the control room while the others played – hitting ‘record’ and ‘stop’. It also gave me the flexibility to move parts around and play with effects. I do have a sweet tooth for pop music.”

Accompanying “Watch You, Watch Me” is a video directed by Russ Murphy. “Often we think we know peoples’ faces well, especially casual acquaintances but when we stop and really stare at them they start to look different to us,” says Murphy. “I wanted the video to give you that slightly odd feeling and also the uncomfortable feeling of being watched. Mainly I wanted it to be a crazy, frenetic & unsettling like the track itself.”

Suuns are proud of their roots in Canada’s most socialist province, whilst not sounding quite like anything else the city has produced. Quebecois natives Shemie and Joseph Yarmush founded the group just over a decade ago, the latter having moved to Montreal from a nearby village. The only member not to be formally schooled in jazz, guitarist Yarmush studied photography and utilized his visual training to help realize Shemie’s novel concept for the eye-catching album artwork.

“I was at a barbecue last summer and there were balloons everywhere,” recalls the singer. “I like this idea of pressure, resistance, and pushing against something just before it brakes. And there is something strangely subversive about a finger pushing into a balloon. It seemed to fit the vibe of the record we were making. We made plaster casts of our hands, going for a non-denominational statue vibe. Joe came up with the colour scheme, the sickly green background, and shot the whole cover in an hour.”

It’s a suitably outré image for Felt, which breaks with Suuns’ earlier darkness for a more optimistic ambience. The record’s playful atmosphere is echoed by its double meaning title. “Some people might think of the material,” muses Ben. “I like that that could be misconstrued. Also it’s to have felt and not to feel – a little introspective, but that feeling’s in the past.”

Watch Suuns’ “Watch You, Watch Me” Video:
Felt Tracklist:
1. Look No Further
2. X-ALT
3. Watch You, Watch Me
4. Baseline
5. After the Fall
6. Control
6. Make It Real
8. Daydream
9. Peace and Love
10. Moonbeams
11. Materials
Tour Dates:
Fri. Feb. 9 – St-Casimir, Canada @ La Taverne
Fri. Feb. 16 – Trois-Rivieres, Canada @ Le Zenob
Sat. Feb. 17 – Gatineau, Canada @ Le Minotaure
Sat. Mar. 3 – Guadalajara, Mexico @ Festin de Los Munecos
Wed. Mar. 7 – St-Hyacinthe, Canada @ Le Zaricot
Sun. Mar. 25 – Knoxville, Tennessee @ BIG EARS FESTIVAL
Thu. Mar. 29 – Rome, Italy @ Monk Club
Fri. Mar. 30 – Milan, Italy @ Magnolia
Sat. Mar. 31 – Winterthur, Switzerland @ Salzhaus
Sun. Apr. 1 – Marseille, France @ Espace Julien
Tue. Apr. 3 – Saint-Malo, France @ Nouvelle Vague
Wed. Apr. 4 – Paris, France @ Elysee Montmarte
               Thu. Apr. 5 – London, United Kingdom @ Scala
Fri. Apr. 6 – Brussels, Belgium @ Le Botanique
Sat. Apr. 7 – The Hague, Netherlands @ Rewire Festival
Sun. Apr. 8 – Koln, Germany @ Gebaude 9
Mon. Apr. 9 – Hamburg, Germany @ Molotow Musikclub
Tue. Apr. 10 – Berlin, Germany @ Festsaal Kreuzberg
Wed. Apr. 11 – Istanbul, Turkey @ Babylon



Top 30 albums of 2017: #’s 5 – 1

Happy New Year!  What were the best albums of last year?  Well, these topped the list for me.

#5 – Blanck Mass – World Eater

The somewhat startling cover is a warning for a powerful, teeth-baring electro record that somehow catches all the chaos this year displayed.  There was a lot of early buzz about this record upon its release, and for good reason.  It’s a stunning piece of synthwave, dark wave, and psychedelic fever dreams.

#4 – All Them Witches – Sleeping Through the War

This psychedelic blues-rock was pretty much a lock for my favorite rock record of the year as soon as I heard it.  ATW brew up haunting tracks that range in subjects from being stuck in purgatory to internet addiction (which are pretty much the same thing).

#3 – LCD Soundsystem – American Dream

Their reunion was possibly the most anticipated of the year, and they proved they hadn’t lost a thing on this great record.  Front man James Murphy‘s lyrics are as searing as ever as he confronts aging, love, social media, partying, and Millennials.  One of the singles, “Tonite” (one of my favorites of the year) is a great example.  It’s a song about songs, but it’s also about the fears and joys of aging.

#2 – WALL – Untitled

This is a bittersweet choice because one of the best post-punk records, and best records in any genre, of the year is by a band who broke up before it was released or even named.  WALL‘s only full-length record is shrouded in mysterious lyrics about the current political landscape and the band itself.  It’s also full of sharp guitar hooks and sass that is sorely missed.  Consider yourself blessed if you caught one of their too few live shows.

#1 – Kelly Lee Owens – self-titled

I read a review of this album that described it as “a breath of fresh air.”  I’m not sure I can beat that description because this stunning debut is the most beautiful record I heard all year.  Ms. Owens’ synth soundscapes immediately seem to lighten gravity around you.  It’s a tonic for the toxic atmosphere we’re living in right now (both in the real world and in the one that blitzes us from cyberspace every day).  If 2017 got you down, listen to this album today and you will have a much better outlook on the year to come.

Keep your mind open.

[Start your new year off right by subscribing.]

Top 30 albums of 2017: #’s 10 – 6

It’s my top 10 of the year.  Who’s here?  Read on for the first five.

#10 – Sleaford Mods – English Tapas

Bold, brash, and at times brutal, this is a punk rock album disguised as a hip hop record.  The minimalist beats get under your skin and the scathing lyrics stick it to the Man, ourselves, and everyone in-between.

#9 – Gary Numan – Savage (Songs from a Broken World)

This industrial powerhouse of a record was a great return for Gary Numan and a fantastic concept album (about life in a post-apocalyptic world) to boot.  It has some great riffs and Numan’s synth work is top-notch.  He shows no signs of slowing or aging.

#8 – Soulwax – From Deewee

Recorded beginning to end in just one take, this amazing record combines three drummers with four other people playing vintage synthesizers, drum machines, and sequencers.  It’s an impressive piece of work and it produced one of my favorite singles of the year – “Missing Wires.”

#7 – Honey – New Moody Judy

I picked up this album after hearing just one song from it, “Dream Come Now (another one of my favorite songs of 2017),” and was astounded by the rest of the record.  It’s fierce and chock-full of garage-punk riffs that flatten nearly everything else I’ve heard this year.

#6 – Slowdive – self-titled

This is one of the most beautiful records of the year and marked a big return for not only Slowdive but also the entire shoegaze genre.  Everyone wondered how this record would sound once Slowdive announced their reunion, and it exceeded everyone’s expectation.  It’s easily the best shoegaze release of 2017.

Who makes the top five?  Tune in on New Year’s Day to find out!

Keep your mind open.

[It’s not too late to subscribe this year.]

Top 30 albums of 2017: #’s 15 – 11

We’re halfway there, folks. Things only get better from here.

#15 – King Gizzard and the Lizard Wizard – Flying Microtonal Banana

The year of King Gizzard and the Lizard Wizard began with the first of their five planned releases for 2017.  Yes, five.  Flying Microtonal Banana unleashes the band’s new obsession with microtones and provided a link between their outstanding Nonagon Infinity to the rest of their catalogue.

#14  – King Gizzard and the Lizard Wizard – Murder of the Universe

Easily the craziest album of the year for me, the second release from KGATLW of 2017 is a concept album about a man turned into a cyborg by a giant monster.  That man then decides the only way to end his suffering is to destroy the universe so he can finally embrace death.

#13 – King Gizzard and the Lizard Wizard with Mild High Club – Sketches of Brunswick East

Yes, that’s three KGATLW albums in a row in my top 15.  This one, a joint effort with Mild High Club, is my favorite and the mellowest.  It’s a delightful change from the heaviness of Murder of the Universe and has some of their best psychedelic grooves.

#12 – Jackie Shane – Any Other Way

This is probably the best reissue of the year.  In case you didn’t know (and many of us didn’t), Jackie Shane was a talented performer on the soul scene in the 1950’s and 1960’s who gained most of her fame in Canada and then disappeared into obscurity almost as fast as she became a star.  She also did this while being a transgendered black woman during a time when openly living in a such a way was a great way to get thrown in jail or worse.  This double-disc album is eye-opening and jaw-dropping.  You’ll be amazed that you’ve never heard her before and want to her more of her all the time.

#11 – Zombie Zombie – Livity

I almost forgot how much I missed France’s Zombie Zombie until I heard them again on this new album.  It’s an expansive soundscape of sci-fi synths, processed beats, and mood-shifting analog sounds.  You need this if you’re into electro, synthwave, or altering your reality.

Who’s in the top ten?  Come back soon, my friends!

Keep your mind open.

[Make it your New Year’s resolution to subscribe.]