Homeshake – the recording project of Peter Sagar – unveils Helium Remixes in full via Sinderlyn.
Following the “Like Mariah (Jessy Lanza Remix)” last month with accompanying visuals from Nicole Ginelli, Homeshake has shared “All Night Long (Ciel’s Daylight Savings Mix)” and “Another Thing (Cecile Believe Mix)” in the last two weeks.
The Ciel remix of “All Night Long” doubles its original length. The track is vibrant with ricocheting percussion and bright tones. “I was blown away when I first heard Ciel’s ‘Hundred Flowers’ EP. The way the melody and drums evolved around one another was so hypnotizing,” says Sagar. “Her attention to percussive detail is masterful. It’s too bad I don’t really party because I hear she’s an excellent DJ.”
Throughout the “Another Thing” remix, Cecile Believe warps Sagar’s vocals and adds a layer of textured instrumentation. “You don’t get to hear it on her remix, but Cecile is the most amazing singer I know. She performed vocals all over the latest (and amazing) SOPHIE record,” Sagar says. “Thanks to her vocal coaching I was able to drastically improve my own voice, and I’m endlessly grateful for that, as well as her amazing remix, which shows how incredible a producer she is as well.”
Teklife crew members DJ Taye and DJ Paypal appear multiple times throughout the EP, including on the remix of “Just Like My.” Sagar cites them as two of his favorite footwork producers and says “These were the first remixes I got back, I listened to them thru my iphone 6s speaker standing in a department store and cried a little.”
Helium Remixes EP Tracklist: 1. All Night Long (Ciel’s Daylight Savings Mix) 2. Just Like My (TAYE//PAL Mix) 3. Other Than (TAYE//PAL Mix) 4. Like Mariah (Jessy Lanza Remix) 5. Nothing Could Be Better (Foodman Remix) 6. Another Thing (LH Mix) 7. Just Like My (Project Pablo Remix) 8. Another Thing (Cecile Believe Mix) 9. (Secret Track) (DJ Paypal Secret Remix)
Northern California duo Beehive share a new track from their forthcoming debut EP Depressed + Distressed via Spill Magazine. Hear and share “Don’t Try” HERE.
The Big Takeover recently shared lead single “When Can I See You Again?” HERE.
It’s the simple things that matter, right? Beehive know this well. The Northern California duo writes short, deceptively simple rock songs in the vein of early Wire, Suicide, The Spits and Television Personalities. Each song seems laser focused on a desperately repeated vocal phrase and repeatedly hammered riff splayed out over the emotional indifference of a Hammond Auto-Vari 64 drum machine.
Vocalist/guitarist Jake Sprecher — who also played in Terry Malts (SF), Smokescreens (LA) and Business of Dreams (LA), all part of Slumberland Records family – urgently yelps and howls desperate and angry lyrics like a man with no time to waste. Bassist Bud Amenti (also of Shutups) fills in any gaps with subtle walks and fills while holding down the band’s monolithic sound. Beehive never stop the drum machine during their live set, there are no breaks, which adds to the intensity.
Beehive came into existence at the beginning of 2019, but in that short time has been hitting venues hard up and down the West Coast to set up their 7-song debut EP Depressed + Distressed for release in early Fall. The EP was recorded live in the studio in one take to 1/2″ tape. No messing around.
Depressed + Distressed opens with a short intro (“Tick Tock”) leading into the mantra-like wail of “Get Off My Back,” as the duo holds and pummels an A-major chord, as Sprecher chants over the top. Elsewhere, “90’s Trash” sarcastically rips up nostalgia for music of our youth and disposable culture. “When Can I See You Again?” seethes with desperation and obsession we’ve all experienced at some point, the guitars clattering and clawing, perhaps trying in vain to stop the incessant drum machine. “Wasting Our Time” wastes no time getting to the point: Our time, our lives, as a measure of existence, is only wasted by ourselves and each other. Kind of heady and deep, but utterly simple.
Depressed + Distressed will be available on 10″ EP and download on September 6th, 2019 via Jester Records.
BEEHIVE LIVE 2019: 09/14 San Francisco, CA @ Knockout 10/09 Portland, OR @ Valentine’s 10/10 Seattle, WA @ Cha Cha Lounge 10/11 Eugene, OR @ Spectrum 10/17 Oakland, CA @ Golden Bull
Southern California trio Warish share a new track from their forthcoming full length debut Down In Flames on RidingEasy Records. Hear and share “You’ll Abide” via YouTube and Bandcamp.
Loudwire recently premiered the first single “Healter Skelter” HERE.
Warish hit the road this fall in support of the album with San Francisco stoner rock progenitors Acid King, who will also reissue their legendary Busse Woods album on RidingEasy on August 30th. Please see all dates below.
Imagine if early, weird Aberdeen Nirvana were crossed with low budget horror-obsessed garage-punks. You’d have sinister vibes with a visceral, twisted weirdness and bludgeoning riffs. Some might call it nightmarish, we call it Warish.
Warish is a very newly minted SoCal trio formed in early 2018 that has wasted no time making its presence known. The band formed when guitarist/vocalist and pro-skater Riley Hawk (son of skating legend Tony Hawk) and drummer Nick (Broose) McDonnell decided they wanted to try their hand at something more distinct than they’d done previously. “We wanted to do simpler riffs and a fun live show,” Riley explains. “A little more punk, a little bit of grunge… a little evil-ish.” Their sound takes cues from a variety of cool underground sounds and twists it all into an energetic and exciting fist to the face of dark fury. Hawk’s effect-laden vocals hearken to 90s industrial monsters Ministry and David Yow’s tortured caterwaul in Scratch Acid. The guitars are heavy and powerful, though decidedly not straightforward cookie cutter punk; more like Cobain’s and Buzz Osbourne’s wiry contortions. The rhythms bash and pummel right through it all with aggressive force ensuring that nothing gets overly complicated and the horrors keep coming throughout the band’s uh, warlike assault.
Down In Flames will be available on LP, CD and download on September 13th, 2019 via RidingEasy Records. Pre-orders are available HERE.
WARISH LIVE 2019: 08/30 San Diego, CA @ The Casbah 09/20 Portland, OR @ Star Theater – Hesh Fest * 09/21 Seattle, WA @ Highline * 09/23 Denver, CO @ Marquis Theater * 09/24 Omaha, NE @ Slowdown * 09/25 Chicago, IL @ Reggies * 09/26 Indianapolis, IN @ Black Circle * 09/27 Cleveland, OH @ Grog Shop * 09/28 Buffalo, NY @ Mohawk Place * 09/29 Boston, MA @ Sonia * 09/30 New York, NY @ Knitting Factory * 10/01 Philadelphia, PA @ Johnny Brenda’s * 10/02 Richmond, VA @ Richmond Music Hall * 10/03 Raleigh, NC @ Kings * 10/04 Asheville, NC @ Mothlight * 10/05 Atlanta, GA @ The 529 * 10/06 New Orleans, LA @ One Eye Jack’s * 10/07 Dallas, TX @ Gas Monkey * 10/09 Albuquerque, NM @ Sister * 10/10 Mesa, AZ @ Club Red * 10/11 Los Angeles, CA @ Satellite * 10/12 San Francisco, CA @ Chapel * 11/09 Austin, TX @ Levitation Fest * w/ Acid King
Keep your mind open.
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“[Bethlehem Steel] pair hooky choruses with an illegal-basement-show energy.” Rolling Stone
“A fantastic guitar rock trio…Party Naked Forever is a much deeper and thoughtful record than that title might imply…I love this whole record.” Robin Hilton, NPR’s All Songs Considered
“[Becca Ryskalczyk] captures a sort of Rust Belt malaise in her music that makes everything feel rundown and past its prime…the album, largely operates in a full-speed-ahead stumble, towering songs that rush to keep apace with Ryskalczyk’s cavernous voice.” Stereogum
“Becca Ryskalczyk’s truly soaring voice makes Bethlehem Steel truly stand out.” BrooklynVegan
“[Bethlehem Steel] fucking rule.” The FADER
WATCH: Bethlehem Steel’s “Bad Girl” video on Stereogum // YouTube
Bethlehem Steel have announced their sophomore album with the premiere of its lead single “Bad Girl.” The self-titled album is the follow up to the band’s 2017 debut, Party Naked Forever, itself a heavily anticipated release owing to the band’s sterling reputation built sharing stages in Brooklyn DIY scene with bands like Spirit of The Beehive, Pile, Big Ups, Guerrilla Toss, Strange Ranger and Stove, that earned acclaim from Rolling Stone, NPR, Billboard, FADER and Stereogum, among others.
This album is the band’s first since they evolved from a trio to a four piece with the addition of guitarist Christina Puerto, who has also become a major part of the band’s songwriting process, and contributes lead vocals to several songs on the record. Her close relationship with guitarist/vocalist Becca Ryskalcyzk was central to the album’s development, a relationship dramatized in the video for the album’s lead single, a slightly tongue in cheek track penned by Ryskalcyzk that foregrounds the pairs’ rhythmic guitar interplay, building towards a nearly two-minute instrumental outro, as drums, bass and guitar add layer upon layer before the song reaches its apex with a sharp guitar and saxophone duel.
Ryskalcyzk expands on the songs background in conversation with Stereogum: “‘Bad Girl’ is about all the nights that my brain keeps me awake. Irrationally telling me I’m a terrible person. Going over and over and over all of the things I might have done to upset or inconvenience another human. Singing the line ‘Am I a bad girl?’ to my bandmates or even just out loud to myself was definitely embarrassing. I wasn’t sure if I should even keep it as a lyric until I decided to just lean into it. I send my mom everything I’m working on and when I sent her the demos with place holder titles she was like ‘Bad Girl? Now THATS how you name a song!’ so naturally it had to stay.” In support of the release the band are announcing an extensive US tour that includes dates with their Exploding In Sound label mates Kal Marks. Full details can be found below.
The album was written and recorded over a two year period by Ryskalczyk while splitting time between her brother’s house in Florida and Vermont, before fleshing out the arrangements with her bandmates back in Brooklyn. The songs were often intensely personal, and the solitary exercise of writing them left Ryskalczyk seeking a more collaborative writing process, one she found with the addition of a new member to the band, guitarist Christina Puerto, who joined Bethlehem Steel while they were touring in support of their debut. A close bond quickly formed between the pair, and that relationship has brought forth a new chapter for the band, with Ryskalczyk and Puerto’s collaborative energy providing the animating force behind their self-titled sophomore album (out September 13th via Exploding In Sound) – a release that serves as guide, of sorts, for those reaching towards self-empowerment, and an illustration of the transformative power of female friendship as a force in overcoming trauma.
“A lot of the lyrical content on this album is uncomfortable,” Ryskalczyk says. “It’s about men, and being taken advantage of, or abandoned or fucked over. I’ve been playing with the boys in the band for many years and they have always been sympathetic to my experiences, but there are certain things about what women experience that they will never understand, and having another woman as part of the band brought a different comfort and a sense of solidarity. Based on what’s happening in my life, I would still probably have sung about these things, but I don’t know what it would have been like without Christina. It wouldn’t have felt as powerful.”
The bulk of Bethlehem Steel is a stark look at toxic relationships and their effect on mental health, and its songs derive power from their unflinching approach to difficult topics. The pulsing, string-abetted “Couches,” which simmers for over half its runtime before exploding into a tangle of lead guitar parts, is a cutting appraisal of the worst parts of a suddenly absent family member, while the almost entirely spoken word track “Not Lotion” is a cathartic and rawly emotive expression of anger in the face of restrictive societal expectations. The single “Gov’t Cheese,” which is centered around Ryskalczk’s repetition of the mantra “I must take care of myself,” confronts a history of complicated friendships with men, with Ryskalczk and Puerto’s surprisingly sweet vocal harmonies belying the song’s frank reckoning with the vulnerabilities that are preyed upon in many of these negative relationships.
“When I wrote this I was looking back on a lot of toxic and abusive male relationships that I’ve had,” Ryskalczyk says. “A lot of them made me smaller and were holding me back from becoming a stronger woman. Sometimes you can still feel like you’re emotionally held hostage by them while trying to find a way to be there but at a distance.”
While the album’s lyrical depth and immediacy are readily apparent over Bethlehem Steel’s 10 tracks, the overall song construction and instrumentation is where Puerto and Ryskalcyzk’s rare chemistry is most apparent, and perhaps where the album’s greatest strength lies. Similarly, “Empty Room,” one of three songs on the album (along with “Read The Room” and “Sheryl”) which debuts Puerto as a second writer in the band, presents a sense of cognitive distortion, with unpredictable percussion patterns, guitar licks and melodies that mirror the chaos that can ensue from mental health issues debilitating your regularly scheduled programming.
It’s an exhilarating listen, and with the transition from a trio to a four piece, the sound of a band finding another gear as they change shape and mature as songwriters and musicians. Taking stock of your experiences and your emotional health in solitude, can be an empowering task, but enlisting the assistance of allies certainly never hurts, and Bethlehem Steel’s sophomore album is a testament to value of togetherness in difficult times.
“It’s important that this record is something that we did together and that we grew within, and I think the album artwork by Nicole Rifkin shows that” says Ryskalcyzk. “Christina and I met at a time when we were both processing painful things in our personal lives, and through writing together we were able to provide each other with strength and support, while also turning those feelings into something more cathartic. Hopefully in sharing the record we can connect with people, and they can connect with that strength.”
Bethlehem Steel will be released via Exploding In Sound on September 13th. It is available for purchase here.
Tour dates: 9/13 NYC release show @ Trans Pecos w/ Cat Cohen and Shark Muffin 9/14 Buffalo, NY release show @ Mohawk Place 9/15 Albany, NY @ Buddie’s Basement 9/16 Rollinsford, NH @ Sue’s 9/25 Boston, MA @ O’Briens * 9/26 Northampton, MA @ Red Cross * 9/27 Rochester, NY @ The Bug Jar * 9/28 Toronto @ Duffy’s * 9/29 Kalamazoo, MI @ Candy Cane Lane * 9/30 Chicago, IL @ Subterranean downstairs * 10/1 St Louis, MO @ Nu Craig * 10/2 Fayetteville, AR @ Backspace * 10/3 Denton, TX @ J&Js * 10/4 Austin, TX @ Mohawk * 10/5 New Orleans, LA @ Bank St Bar * 10/6 Nashville, TN @ Drrkmttr * 10/8 Asheville, NC @ Static Age * 10/9 Raleigh, NC @ TBA * 10/10 DC @ Rhizome * 10/11 Philadelphia, PA @ Dumpster Out Back * 10/12 NYC @ Chili’s * *= w/ Kal Marks
“So rare that diehard fuzz junkies say you’d have a better chance of winning the lottery than finding a physical 45 rpm single by one of the bands featured on their latest installment.” — Dangerous Minds
“Will do for hard rock, proto-metal and heavy psych what Nuggets did for garage rock, and bring it to a wider audience of collectors and music fans.” — The Guardian
“Mining the surprising rich reserves of heavy rock and proto-metal from the ’60s and ’70s, these collections have been crucial to understanding the history of a subgenre of rock that had far deeper roots than most fans realize.” — Paste Magazine
The forthcoming ninth edition of the popular compilation series featuring long-lost vintage 60s-70s proto-metal and stoner rock singles, Brown Acid: The Ninth Trip is set for release on Halloween 2019. The first track from the latest installment, the heavy psych groove “Pain” by Fiberglass Vegetables is available to hear and share via YouTube HERE and Bandcamp HERE.
Read an interview with the series curators via Paste Magazine HERE.
The Brown Acid series is curated by L.A. label RidingEasy Records and retailer/label Permanent Records. About the Brown Acid series: Some of the best thrills of the Internet music revolution is the ability to find extremely rare music with great ease. But even with such vast archives to draw from, quite a lot of great songs have gone undiscovered for nearly half a century — particularly in genres that lacked hifalutin arty pretense. Previously, only the most extremely dedicated and passionate record collectors had the stamina and prowess to hunt down long forgotten wonders in dusty record bins — often hoarding them in private collections, or selling at ridiculous collector’s prices. Legendary compilations like Nuggets, Pebbles, ad nauseum, have exhausted the mines of early garage rock and proto-punk, keeping alive a large cross-section of underground ephemera. However, few have delved into and expertly archived the wealth of proto-metal, pre-stoner rock tracks collected on Brown Acid.
Lance Barresi, co-owner of L.A./Chicago retailer Permanent Records has shown incredible persistence in tracking down a stellar collection of rare singles from the 60s and 70s for the growing compilation series. Partnered with Daniel Hall of RidingEasy Records, the two have assembled a selection of songs that’s hard to believe have remained unheard for so long. “I essentially go through hell and high water just to find these records,” Barresi says. “Once I find a record worthy of tracking, I begin the (sometimes) extremely arduous process of contacting the band members and encouraging them to take part. Daniel and I agree that licensing all the tracks we’re using for Brown Acid is best for everyone involved,” rather than simply bootlegging the tracks. When all of the bands and labels haven’t existed for 30-40 years or more, tracking down the creators gives all of these tunes a real second chance at success. “There’s a long list of songs that we’d love to include,” Barresi says. “But we just can’t track the bands down. I like the idea that Brown Acid is getting so much attention, so people might reach out to us.”
Brown Acid: The Ninth Trip will be available everywhere on LP, CD and download on October 31st, 2019 via RidingEasy Records. Pre-orders are available for digital (with immediate download of the first single) at Bandcamp, physical pre-orders at RidingEasy Records.
Norwegian artist Lindstrøm will release his sixth solo album, On A Clear Day I Can See You Forever, on October 11th via Smalltown Supersound. Today, he shares the lead single, “Really Deep Snow.”
In the autumn of 2018, Lindstrøm composed a commissioned piece for Norway’s premiere art centre, Henie Onstad Kunstsenter. Sketches from the three sold-out performances became the foundation for the four tracks that make up On A Clear Day I Can See You Forever (a title inspired by the 1970’s musical On A Clear Day You Can See Forever starring Barbra Streisand). All of the songs are based on long, one-take recordings. “I felt totally unrestrained making this album,” says Lindstrøm. “I’ve listened to Robert Wyatt’s solo albums and his Matching Mole’s debut album a lot lately. It so effortless, fearless and free. And not insisting. I was very inspired by this”
This is also the first time ever Lindstrøm has made an album entirely with hardware instead of computer plug-ins. He utilized 30+ synthesizers and drum machines during his performance at Henie Onstad Kunstsenter. The experience inspired him to embrace a similar set-up when making the album. The accessibility to his enviable collection of music gear – largely consisting of sought after synthesizers – allowed him to experiment freely with ideas and soundscapes. “The joy of making music on actual physical objects and devices makes a lot of sense to me now. After working on a computer for over 15 years, I don’t think I’ll ever look back,” he says.
Listen to “Really Deep Snow” – https://soundcloud.com/smalltownsupersound/really-deep-snow
Pre-order On A Clear Day I Can See You Forever – smarturl.it/sts346-preorder
On A Clear Day I Can See You ForeverTracklist: 1. On A Clear Day I Can See You Forever 2. Really Deep Snow 3. Swing Low Sweet LFO 4. As If No One Is Here
Lindstrøm Live: Wed. Oct. 23 – Bergen, NO @ Ekko Festival (Tickets)
LISTEN TO “FERRY SONG” – https://youtu.be/BNxYFZTg2EA
Chicago-based band Twin Peaks release “Ferry Song,” a new single from their forthcoming album, Lookout Low, due September 13th via Grand Jury. Following its “swaggering lead single” (Stereogum) “Dance Through It,” “Ferry Song” is a huge leap forward for band member Colin Croom. Croom wrote the track in Spring of 2018 in New Orleans. He stayed at Algiers Point, taking the ferry to the city each day. Throughout, the track waltzes with guitar and ramshackle brass. As it hits its boiling point, Croom accesses a part of his vocal range he’s only hinted at before.
Lookout Low feels like a total revolution. Their most deliberate and seamless record yet, the album is a collaborative triumph, propelled forward by Twin Peak’s near-decade-long bond. The five of them – guitarists Cadien Lake James and Clay Frankel, bassist Jack Dolan, multi-instrumentalist Colin Croom, and drummer Connor Brodner – committed to work countless hours in their studio and practice space. Already a well-oiled live unit, the band’s mission was to capture the exhilarating vibe of their shows. Lookout Low was recorded with legendary producer Ethan Johns at Monnow Valley, where they often thrived on the thrill of live recording, going with the magic of the original first take. The album features auxiliary percussion from drummer Kyle Davis and spectral harmonies from OHMME’s Macie Stewart and Sima Cunningham.
Each individual member of the band upped their songwriting for the LP. These tracks are their most impressive offering yet – confident, experimentative, and bursting with energy.
In support of Lookout Low, the band will tour across North America. They will play Chicago’s Riviera Theatre (their biggest hometown headline show to date), Los Angeles’ Teragram Ballroom, and New York’s Webster Hall, in addition to dual shows at Nashville’s Basement East, Boston’s The Sinclair, and more. Tickets are on sale now. All dates are below.
WATCH THE VIDEO FOR “DANCE THROUGH IT” – https://youtu.be/U12MYd1DtOs
Brooklyn-based BODEGA announces their new EP, Shiny New Model, out October 11th on What’s Your Rupture. Today, they share the title track, a buzzy, art-punk song that is set in an actual bodega, and an accompanying video. The video was directed by Brian Ngai and stars the band themselves. Following Endless Scroll, their “debut full of danceable, pop-smooth punk” (The AV Club), the Shiny New Model EP marks a lush new sonic direction for the group – widescreen multi-tracked guitars and a giant sounding rhythm section complement sharp songwriting and yearning vocal melodies. With wild minimalism and laughing wit, they revitalize the rock and roll vocabulary under the influence of post punk, hip-hop, kraut rock, and folk-derived narrative songwriting.
Last winter, Ben Hozie (conductor, vocals, guitar), Nikki Belfiglio (art director, vocals, samples, hi hat), Heather Elle (bass), Madison Velding Vandam (lead guitar, producer), and the new addition of Tai Lee (stand-up percussionist) headed up to Power Station in Connecticut to record. The EP is the band’s first recording done with Tai Lee, its first session at a proper studio, and the first BODEGA release produced within the group (production was handled by Vandam).
The EP covers various thematic ground: history alive in the present, the sadness of modern consumption, and adultery via sexting. In addition to the EP’s breezy hook-filled songs, the LP’s B-side features an extended improvised version of the group’s staple track “Truth is not Punishment” (an abbreviated “radio edit” of this track will be available on streaming services). The band has been using this song as a vehicle for extended live improvisation for a year and decided to use a day of the EP’s session to experiment with it in the studio.
BODEGA will tour across Europe before returning to the states later this year. They’ll appear at the O+ Festival in New York, Toronto’s Adelaide Hall, Brooklyn’s Elsewhere, and Philadelphia’s Kung Fu Necktie. All dates can be found below.
Watch the “Shiny New Model” Video – https://youtu.be/h7_A8fqHNBQ
Pre-orderShiny New Model EP – http://hyperurl.co/t1eo8p
Shiny New Model EP Tracklist: 1. Shiny New Model 2. Treasures 3. No Vanguard Revival 4. Knife On The Platter 5. Domesticated Animal 6. Realism 7. Truth Is Not Punishment (Long) 8. Truth Is Not Punishment (Short)
BODEGA Tour Dates: Fri. Aug. 23 – Charleville Mezières, FR @ Cabaret Vert Festival Sat. Aug. 24 – Gueret, FR @ Festival Check In Party Tue. Aug. 27 – Brighton, UK @ Concorde 2 Wed. Aug. 28 – Birmingham, UK @ Hare and Hounds Thu. Aug. 29 – Bedford, UK @ Esquires Fri. Aug. 30 – Salisbury, UK @ End of the Road Festival Sun. Sept. 1 – Stradbally, IE @ Electric Picnic Fri. Oct. 11 – Kingston, NY @ O+ Festival Wed. Oct. 23 – Boston, MA @ Once (w/ Starcrawler) Sat. Oct. 26 – Philadelphia, PA @ Boot & Saddle (w/ Starcrawler) Sun. Oct. 27 – Washington, DC @ Pie Shop (w/ Starcrawler) Mon. Oct. 28 – Pittsburgh, PA @ Club Cafe (w/ Starcrawler) Fri. Nov. 1 – Atlanta, GA @ Aisle 5 (w/ Starcrawler) Sat. Nov. 2 @ New Orleans, LA @ Gasa Gasa (w/ Starcrawler) Tue. Nov. 5 – Austin, TX @ Barracuda (Inside) (w/ Starcrawler) Fri. Nov. 8 – Phoenix, AZ @ Valley Bar (w/ Starcrawler) Sat. Nov. 9 – Los Angeles, CA @ The Fonda Theatre (w/ Starcrawler) Mon. Dec. 2 – Toronto, ON @ Adelaide Hall Tue. Dec. 3 – Brooklyn, NY @ Elsewhere Thu. Dec. 5 – Philadelphia, PA @ Kung Fu Necktie
Keep your mind open.
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Moon Duo shares the second single, “Lost Heads,” from their new album, Stars Are The Light, out September 27th on Sacred Bones. Following up previous single “Stars Are The Light” which featured “an alien disco groove filled with gossamer synth tones and left-field strings” [Paste], “Lost Heads” shimmers with an aura that hints at The Haçienda and makes for a laid-back, airy and distinctly Moon Duo take on 90s rave.
Stars Are The Light has a sonic physicality that is at once propulsive and undulating; it puts dance at the heart of an expansive nexus that connects the body to the stars. These are songs about embodied human experience rendered as a kind of dance of the self, both in relation to other selves and to the eternal dance of the cosmos. Johnson’s signature guitar sound is at its most languid and refined, while Yamada’s synths and oneiric vocals are foregrounded to create a spacious percussiveness that invites the body to move with its mesmeric rhythms.
“We have changed, the nature of our collaboration has changed, the world has changed, and we wanted the new music to reflect that,” says the band’s Sanae Yamada.
Thanks to all who listened to my last WSND show of the summer, and to everyone who listened to any or all of my shows all summer long. I should be back on air in the winter. Here’s my playlist from my last summer show, which is also be available on YouTube.
