Chicago-based multi-instrumentalist and songwriter Liam Kazar presents a new single, “On a Spanish Dune,” with an accompanying video. It’s the follow-up to his charming debut, “Shoes Too Tight,” which gave a first look into Kazar’s joyful and vulnerable world. “On a Spanish Dune” is mellow and tinged with melancholia, undulating with wurlitzer and subtle synths. Mixed by Sam Griffin Owens, it features childhood friend Spencer Tweedy (drums), Chicago musician James Elkington (pedal steel, percussion), David Curtin (synths), plus vocals from Ohmme. The track illustrates Kazar’s aptness for colorful narration: “On a spanish dune // We’ll turn to the moon // So if you wanna go // I won’t leave tonight // While the cicadas sigh // And the river’s mouth is wide.”
The accompanying video, directed by Jesse Morgan Young, features Kazar and friends and is filled with oddities. Young explains the video: “After Kazar hurriedly leaves before dawn he’s thwarted by car trouble. Rescued by an unnervingly cheerful loner, the two make their way to an abandoned farm only to find out it’s not so abandoned. An eccentric survivalist has made the isolated locale his home and they spend the evening enjoying each other’s company and a bit of the stranger’s funky elixir.” Watch Liam Kazar’s Video for “On a Spanish Dune”
“On a Spanish Dune” continues to champion Kazar’s wide musical range. Throughout the last decade, he has been recognized for his adaptability and deftness in the studio and on stage, leading to tours and collaborations with Jeff Tweedy, Chance the Rapper, Steve Gunn, Daniel Johnston, Kids These Days, amongst others.
Aaron Frazer (of Durand Jones & The Indications) releases new single, “If I Got It (Your Love Brought It),” from his Dan Auerbach-produced debut album, Introducing…, out January8th on DeadOceans/EasyEyeSound. Following previous singles “Over You” and “Bad News,” “If I Got It (Your Love Brought It)” cheerfully skips with piano, wurlitzer, plucking bass, and a blend of brass instruments – trumpet, saxophone, and trombone.
Frazer elaborates on the song’s origins:
“I was at the DMV in Sacramento and above the commercial vehicles desk I noticed a wall full of toy trucks, and at the top a teamsters slogan from the 1950s: ‘IF YOU GOT IT, A TRUCK BROUGHT IT.’ I thought, damn that’s a hot line. Jotted it down, and when I brought it up with Dan, the song felt like it was writing itself. It’s a song of gratitude for who/whatever it is in your life that brings you happiness, grounding and self improvement.”
A testament to his wide-ranging influence and deep gratitude for his musical community, Introducing… is both loving and gracious, critical without losing hope, and a showcase of a young artist on a seriously soulful ascent. Working with producer DanAuerbach (of The Black Keys), Frazer works to combine ‘70s soul with Auerbach’s particular sensibilities. Across Introducing…‘s 12 tracks are songs with a message in the key of Gil Scott-Heron, as well as uplifting tales of love told through a blend of disco, gospel, and doo-wop.
Introducing… was recorded in a week at Auerbach’s antique and ephemera-laden studio in Nashville following a rapid and prolific songwriting session. Auerbach called on a crew of heavy session players — including members of the MemphisBoys (who played on Dusty Springfield’s “Son of A Preacher Man” and Aretha Franklin’s “You Make Me Feel Like A Natural Woman”), symphony percussionist SamBacco, and members of the Daptone–BigCrownRecords universe. With a collaborative vision, Introducing… manages to hit the sweet spot between intuition, intentionality, and craft – a love song that’s both personal and universal.
Clutch has released its new single “Passive Restraints” today. “Passive Restraints” originally appeared as the title track to the bands 2nd EP released in 1992. This newly recorded version is part of the Weathermaker Vault Series and features guest vocals by Randy Blythe from Lamb of God. Clutch and Blythe have collaborated on this track live for several years now, the last time at European festival appearances in the summer of 2019. The song can be streamed on Spotify at this location: https://orcd.co/passiverestraints and on the band’s official YouTube Channel: https://tinyurl.com/yy2575t7
The official video for the song was directed by David Brodsky (The Black Dahlia Murder, Papa Roach).
“Passive Restraints’ was one of the first Clutch songs I wrote lyrics to,” states frontman Neil Fallon. “It was a staple of Clutch sets for years but fell by the wayside as we wrote more and more songs over the years. When we toured with Lamb of God a few years back, Randy would often ask us to bring it back into rotation. We dragged our feet, and finally, we caved. And we were glad we did. The last time Clutch played Copenhell, Randy joined us on stage to perform the song. We decided to re-record it for the WM Vault Series and thought it was only fitting to have Randy join us.”
“When Clutch asked if I wanted to sing an older song with them during our 2016 tour together, I knew immediately which one I wanted to do- ‘Passive Restraints‘ adds Blythe. “We performed it in Milwaukee, then again a few years later at Copenhell Fest in Denmark, and I had a blast both times. I think they were a bit surprised I chose a song released in 1992, but I’ve been a fan for a long time. I’ve followed their development as a band since the early days and have enjoyed every album, but as a musician, I know sometimes it’s fun to dust off something you haven’t played in many years and see how it sounds. The song holds up to this day, and I was honored to sing on its re-release.”
The single “Passive Restraints” comes from the upcoming album “WeatherMaker Vault Series Vol. I” out on Friday November 27th.
CLUTCH:Neil Fallon – Vocals/Guitar / Tim Sult – Guitar / Dan Maines – Bass/ Jean-Paul Gaster – Drums/Percussion
For more information, check out the band’s website:www.pro-rock.com
Toronto’s Badge Époque Ensemble present a new single, “Just Space For Light” (feat. Jennifer Castle), from their forthcoming album, Self Help, out November 20th on Telephone Explosion Records. “Just Space For Light” follows “Unity (It’s Up To You),” which was presented alongside an incredibly ambitious claymation video, and lead single “Sing A Silent Gospel.” With each new single, which has featured a new guest vocalist (beginning with Meg Remy and Dorothea Paas, then R&B soul artist James Baley and now Castle), Badge Époque Ensemble show more of how their sound and style can evolve into something wholly unexpected. On its onset, “Just Space For Light” is blissfully soothing, drifting with rhodes by bandleader Maximilian Turnbull, flute by Alia O’Brien, percussion by Ed Squires, and Castle’s affecting vocals. As the song approaches its peak, it transforms into a flurry of fragmented guitar and progressive instrumentation.
“’Just Space For Light’ weaves a few BÉE themes together,” says Turnbull. “The collision of disparate moods between sections, lyrics which touch on the meditative experience, and collaboration with a distinctive vocalist; in this case Jennifer Castle, who’s soulful presence on our album is a blessing.”
Recorded live over three weekends at Toronto’s Palace Sound Studio in the months before lockdown, Self Help is an exploratory record that dances across time and genre, guided by fidgety miniatures and jazz inflected collage. While constructed from the inspiration of soul, funk and film music, BÉE mediate those influences having first digested them through the productions of Madlib and the RZA.
Today, Japanese quartet CHAI are excited to share the official video for “Plastic Love,” their cover of Mariya Takeuchi’s 1984 city pop standard, which recently saw a resurgence of its own in 2018. “Plastic Love” stars the group as “tour guides” of their beloved Tokyo, taking you through the city’s many districts in this exuberant visual. CHAI says: “THIS IS TOKYO! Everyone has their own perception of Tokyo, but many, at times, would say it can be sort of gloomy, sort of dark. With our version of ‘Plastic Love,’ we wanted to show you what Tokyo looks like from our point of view. From Asakusa, to crepes in Harajuku, to the skyrise buildings and Tokyo Tower, to long night-time drives in Shibuya…we welcome you to our version of Tokyo! You also notice how we’re all wearing white? That’s because we are going to disrupt the gloomy Tokyo! We are the brightness amongst the darkness and we’ve come to illuminate! Just like Mariya Takeuchi did with this song in the 80’s, we’ve come to do this again with our version today!”
CHAI’s interpretation of the international cult hit is from their double A-side single, “Donuts Mind If I Do”/”Plastic Love,” out now on Sub Pop. “Donuts Mind If I Do”/“Plastic Love” double A-side single is available as a limited edition 7,” which is available to purchase now from Bandcamp (on orange or turquoise colored vinyl), and Sub Pop Mega Mart (on lime green vinyl). All three options while supplies last. The “Donuts Mind If I Do”/“Plastic Love” 7” single will be available worldwide (excl. Japan and Asia) with an estimated ship date in late November.
CHAI is a revolutionary four-piece, made up of miracle twins Mana and Kana, and the impeccable rhythm section of Yuuki and Yuna. Combining their powerhouse musical prowess with “pinkish punk” sensibilities, CHAI has managed to create a huge splash in the music scene in their homeland, Japan, and abroad. Now ready to build on their infectious sound and musical accolades, CHAI is gearing up with their new label to release even more new music into the world. WATCH THE VIDEO FOR “DONUTS MIND IF I DO”
Smut announces their new EP, Power Fantasy, out November 20th on Bayonet Records, and shares an official lyric video for the explosive lead single “Fan Age.” The Chicago-based band, originally hailing from Cincinatti, is comprised of Bell Cenower, Andrew Min, Sam Ruschman, and Tay Roebuck.
Uniting crunchy guitar tones and swirling synths, Smut embraces a liminality and experimentation that pushes the boundaries of pop music. They blend melody and moodiness to yield to a droney and percussive sound, taking influence from shoegaze, 90s hip hop, and trip-hop. Smut have conquered national tours with acts like Nothing, Swirlies, and Bully. Previously working as an actor, Roebuck’s performance is uninhibited, reflective of the stage presence of Blur’s Damon Albarn. Roebuck’s caustically sung, meditations on grief, guilt, and growing into oneself hover over a wall of sound, making us nostalgic for shoegaze bands past.
On Power Fantasy we find Smut in a state of transition. “Fan Age” begins in a dreamscape of guitar chords as Roebuck sings of climbing the backs of giants. About a minute and a half in, Smut has their feet firmly planted as “Fan Age” transforms into an infectious, self-assured anthem – “I don’t feel bad, I hold no guilt.” Power Fantasy demonstrates a new direction for the indie outfit, one characterized by continued self-reflection and sonic renewal.
To celebrate the release of Power Fantasy, Smut will livestream a performance via Baby’s All Right’s BabyTV on November 20th. Tickets are available here. Watch “Fan Age” Lyric Video
Portland post-punk five piece Soft Kill share their third single, ‘Floodgate” featuring singer-songwriter Tamaryn, taken from their forthcoming November 20th album release “Dead Kids, R.I.P. City”, the long-awaited follow up to 2018’s ‘Savior’. Says the band’s Tobias Grave, “Floodgate is about unraveling mentally and pushing away your lifelines. It’s about being trapped in solitude, suffocating in a world you created.”
The band have shared two other singles these past few weeks; “Pretty Face”, which encapsulates listeners with its steady pulse of bass and cinematic-like guitar melodies, taking a slightly left field approach to post-punk with its triumphant and upbeat energy. That followed the lead doom and gloom pop single “Roses All Around‘, which is dark yet luminous in every sense, from its driving percussive beats, harmonic grooves and melodies, while also creating an opportunity to openly discuss its sociopolitical message that is especially prominent now as Portland became the epicenter of unrest these past few months.
Soft Kill had been growing with pretty much every record – but a deep maturation, achieving a level of emotional intensity that, even for a band known for exactly that, was nothing short of awe-inspiring and inarguably a high water mark. The question then, was how do they possibly follow that up? Well, here we are, two years later with Dead Kids, R.I.P. City, and we can all set down our worry beads. Soft Kill, Tobias Grave, Conrad Vollmer, Owen Glendower, Daniel Deleon and Nicole Colbath, have in fact put any such concerns commandingly to rest.
Two years in the making, desperate, redemptive, its contrast of light and shadow favoring the latter, Dead Kids, R.I.P. City is like no other album in the genre, featuring the brave and abandoned, the tender and the afflicted, all teetering in memory on the edge of the city. For all the sadness and pain of addiction haunting it, however, the record, by its very existence, proves that hope doesn’t necessarily win but that, even if at great cost, it can. It’s what makes Dead Kids, R.I.P. City so powerful beyond just the scope of its dark luminous sound and indelible melodies, and is one of the many reasons you’ll carry it with you.
Late Night Tales is pleased to announce its latest installment to its long-running artist-curated mix series, this time curated by Khruangbin, the trio of Laura Lee Ochoa (bass), MarkSpeer(guitar), and Donald “DJ” Johnson (drums). Having first come to prominence in 2013 when producer and D.J. Bonobo included Khruangbin’s “A Calf Born in Winter” in his own collection of songs for the series, the little known Houston trio had yet to release an album, but have since gone on to become international superstars forming their own exotic, individual sound. Most recently, they released Mordechai, “a nostalgic LP that explores human memory” (TheNew York Times). “Late Night Tales is such a special thing to be a part of, because we wouldn’t have made it if it wasn’t for Bonobo’s Late Night Tales,” says Khruangbin. “Because that’s how we got into the LNT family – and got a break.”
Today, in conjunction with the announcement, Khruangbin share their horizontally brilliant cover of Kool & The Gang’s “Summer Madness,” exclusive to their mix, as is Late Night Tales tradition.
“‘Summer Madness’ became a staple in this medley that we play,” says Johnson. “Specifically, one of my favourite things about it is the tone of the bass, which really reminds me a lot of Laura Lee’s bass which has this chunky, peanut butter, rich tone. It was always a special moment, getting to that song because, it just did something to the room, everywhere.” Laura Lee continues: “‘Summer Madness’ was paying homage to Kool & The Gang, a band we aspire to be like and also we’ve played it a hundred times but never in full.”
With a mind-blowing selection of tracks that cross borders and cultures, Khruangbin’s deep love of global grooves – from Asian pop to Nigerian reggae – Japanese mellow groove to Latina flavas – are steeped in eclecticism; Nazia Hassan’s Hindi-disco “Khushi,” produced by British-Indian legend Biddu, South Korean rock band Sanullim who contribute “Don’t Go,” a pair of African bangers from NigerianMaxwellUdoh and RohaBand, from Ethiopia; a diversion to Belarus for Песняры and thence to Madrid for the strident vocal performance of Paloma San Basilio with “Contigo” before hightailing back to Texas.
Elsewhere, the Lone Star state reps proudly, with DavidMarez and KellyDoyle, while the mix concludes with an exclusive, Khruangbin-produced spoken word piece by TierneyMalone, accompanied by fellow Houstonian Geoffrey Muller’s atmospheric banjo rendering of Erik Satie’s “Gnossienne.”
“We definitely wanted to cover as much global territory as possible,” says Khruangbin of their Late Night Tales mix. “So it was the globe and then home. We wanted to show the treasures from our hometown, or people from our hometown that the rest of the world probably doesn’t know. Then these gems from across the world, showcasing them in the same way. That’s what makes Khruangbin Khruangbin. The stubbornness about being so hometown-centric. But what makes Houston is this constant international influence; that’s the gulf stream, bringing it right into the city.”
The Late Night Tales series was established back in 2001 with FilaBrazilia taking to the controls and mixing up the first of what would continue to be the first choice of music connoisseurs worldwide. Since then, the series has seen releases from the likes of TheFlamingLips, HotChip, FloatingPoints, DavidHolmes, Bonobo, JonHopkins, Röyksopp and many more.
Khruangbin’s Late Night Tales Tracklist: 01. Devadip Carlos Santana And Turiya Alice Coltrane – “Illuminations” 02. Brilliantes Del Veulo – “I Know That (When The Springtime Comes)” 03. Nazia Hassan – “Khushi” 04. Kelly Doyle – “DRM” 05. Sanulim – “Don’t Go” 06. Maxwell Udoh – “I Like It (Don’t Stop)” 07. David Marez – “Enséñame” 08. Gerald Lee – “Can You Feel The Love (Reprise)” 09. Justine & The Victorian Punks – “Still You” 10. George Yanagi + Nadja Band -「祭ばやしが聞こえる」のテーマ 11. Песняры – “Зачарованная моя” 12. Khruangbin – “Summer Madness” (Exclusive Kool & The Gang Cover Version) 13. Paloma San Basilio – “Contigo” 14. Roha Band – “Yetikimt Abeba” 15. Tierney Malone / Geoffrey Muller – “Transmission for Jehn: Gnossienne No 1” (Produced by Khruangbin) (Exclusive Track)
Los Angles, CA quartet Here Lies Man announce their forthcoming fourth album Ritual Divination today and share the lead single “I Told You (You Shall Die)” via YouTube, Bandcamp and Spotify. Please see track listings for vinyl and digital variants below.
Four albums in, the convenient and generalized catchphrase for Here Lies Man’s erudite sound — if Black Sabbath played Afrobeat — might seem a little played out. But Ritual Divination is perhaps the best rendering of the idea so far. Particularly on the Sabbath side of the equation: The guitars are heavier and more blues based than before, but the ancient rhythmic formula of the clave remains a constant. “Musically it’s an opening up more to traditional rock elements,” says vocalist/guitarist/cofounder Marcos Garcia, who also plays guitar in Antibalas. “It’s always been our intention to explore. And, as we travelled deeper into this musical landscape, new features revealed themselves.”
The L.A. based band comprised of Antibalas members have toured relentlessly following their breakout 2017 self-titled debut. Their second album, You Will Know Nothing and an EP, Animal Noises, both followed in 2018. Third album No Ground To Walk Upon emerged in August 2019. All of them were crafted by Garcia and cofounder/drummer Geoff Mann (former Antibalas drummer and son of jazz musician Herbie Mann) in their L.A. studio between tours. Ritual Divination is their first album recorded as the full 4-piece band, including bassist JP Maramba and keyboardist Doug Organ.
Ritual Divination continues with an ongoing concept of HLM playing the soundtrack to an imaginary movie, with each song being a scene. “It’s an inward psychedelic journey, the album is the trip,” Garcia says. “The intention and purpose of the music is to create a sonic ritual to lift the veil of inner space and divine the true nature of reality.”
Likewise, musically and sonically, the album is self-reflexive. “On this album the feel changes within a song,” Garcia says. “Whereas before each song was meant to induce a trancelike state, now more of the songs have their own arc built in.” Similarly, the guitar sounds themselves herein eschew the fuzz pedals of previous recordings, going for the directness of pure amp overdrive and distortion using an interconnected rig of 4 amplifiers. And, here, the well-versed live band is able to record as a unit, giving it much more of a live and dynamic feel.
Rough Trade named the band’s self-titled debut in their prestigious Top 10 Albums of 2017. BBC 6 & Classic Rock Magazine deemed it among the year’s best, as well as countless other press outlets singing its praises. Each subsequent album furthered the band’s reputation for genre-smashing rhythmic experimentation, topping many year-end lists as well as earning features from countless metal and indie rock outlets, plus cover stories in weekly papers.
“We’re very conscious of how the rhythms service the riffs,” Garcia explains. “Tony Iommi’s (Black Sabbath) innovation was to make the riff the organizing principle of a song. We are taking that same approach but employing a different organizing principle: For Iommi it was the blues, for us it comes directly from Africa.”
Ritual Divination will be available on LP, CD and download on January 22nd, 2021 via RidingEasy Records.
Digital & CD: 01. In These Dreams 02. I Told You (You Shall Die) 03. Underland 04. What You See 05. Can’t Kill It 06. Run Away Children 07. I Wander 08. Night Comes 09. Come Inside 10. Collector of Vanities 11. Disappointed 12. You Would Not See From Heaven 13. The Fates Have Won 14. Out Goes The Night 15. Cutting Through The Tether Vinyl: Side A: 01. In These Dreams 02. I Told You (You Shall Die) 03. Underland 04. What You See 05. Night Comes Side B: 01. Come Inside 02. Collector of Vanities 03. Disappointed 04. The Fates Have Won 05. Out Goes The Night Bonus 7″ (UK pressing & direct from RidingEasy) Side A: Run Away Children Side B: I Wander
Affect Display is sharing his beautifully immersive debut album, Animal Drift Animal. Out now on Pirates Blend, it’s the first release from Canadian producer Damien Smith, and it takes cues from his deep well of influences, ranging from electronic, techno, experimental, psychedelic and indie pop. Smith is also sharing the vibrant video for album opener “Until The Light Hits The Door”, an explosion of colour announcing his arrival.
WATCH: Affect Display’s “Until The Light Hits The Door” on YouTube
Smith describes the track as “Like a phoenix rising from the ashes life is born into the world. Light hits one of the infinite doors from which before had come darkness and life emerges. It’s all at once uncomfortable, painful, wondrous, new and beautiful.“ Animal Drift Animal is a cohesive being that begs you to delve deep into lush ambient spaces, while jettisoning you into the heights of frenzy and energy, showcasing Smith’s depth, ability and love of the tools of sonic goodness. From analog synths to drum machines, guitars to samplers, he unifies his varied and eclectic influences into a collective body of work within each song – standing alone in their own right, but ultimately becoming a greater being when listened to in the context of the whole album.
Affect Display’s songwriting takes you on a journey through both familiar places and the unexpected as one listens through this united body of work. It is an album that sonically touches on the circle of life and what it means to be a conscious being in an often unconscionable world; a soundtrack to a life lived through all the beauty, hatred, hurt, love and fear that is to be offered and experienced.
Animal Drift Animal is streaming everywhere now through Pirates Blend. You can listen to it here.
Keep your mind open.
[Drift over to the subscription box while you’re here.]
