Having first made his mark as a songwriter and guitarist for Los Angeles’ Allah-Las, Pedrum Siadatian has etched out a place of his own with his solo work as PAINT. After an eponymous debut in 2018, PAINT has now returned with the ambitious Spiritual Vegas – due July 10, 2020.
On Spiritual Vegas, Siadatian’s singular touch is unmistakable. Here we find an emboldened artist coloring outside the lines, unleashing an opus both idiosyncratic and focused – cohesion through diversity. The first single from the album is “Ta Fardah.”
“The song is an ode to 70s/80s Iranian melodrama, with a video depicting a man falling in love with a TSA agent,” Pedrum explains. “Quarantine resulted in a homemade metal detector and security screening room”.
Pre-order ‘Spiritual Vegas’ now to immediately receive 2 bonus tracks “A Short While” + “Ta Fardah (Instrumental)”
Spiritual Vegas Tracklist
01. Intro (Phor Phaedra) 02. Strange World 03. Grape St. 04. Lanolin 05. Flying Fox 06. Ta Fardah 07. Why Not, Tick Tock? 08. Meet Me (In St. Lucia) 09. Land Man 10. Tongue Tied 11. Ballad of Adelaide 12. Well Of Memory/ODAAT 13. Impressions 13. Outro (The Lines I Drew)
ArchieShepp, RawPoetic, and Damu The Fudgemunk have released a new single, “Tulips,” from their forthcoming collaborative album, OceanBridges, out May 22nd on Redefinition Records. Following its urgent lead single, “Learning to Breathe,” “Tulips” opens with a quiet array of keys, growing with bursts of saxophone and Raw Poetic’s emotive lyrics. “During the studio session, the spontaneous music that would later become ‘Tulips’ was the second idea we laid down,” says Damu The Fudgemunk. “It would set the vibe for much of the recording that followed. Raw Poetic’s lyrics really illustrate the deeper meaning behind the ‘Ocean Bridges’ album title on this tune.” Raw Poetic adds: “I let the spring vibe name the song, and the flower that bloomed was a tulip. Sometimes you gotta let the music spell it out.”
Initially conceived after JasonMoore (aka independent, underground rapper Raw Poetic) attended an event with his mother at the KennedyCenter honoring his uncle – legendary saxophonist, Archie Shepp – OceanBridges intends to signify a bridging-of-the-gap in their family’s story and a re-establishing of the connection between young and old in their general community.
Entirely improvised, OceanBridges was intentionally created without any direction, resulting in a finished product with natural energy, a conversation of ideas that transcend genre. The album blends live improvised music, jazz, hip-hop, and many other musical directions into a one-of-a-kind sound. It was recorded with a live ensemble – ArchieShepp (tenor saxophone, soprano saxophone, wurltizer), RawPoetic (vocals, raps, lyrics), Earl “Damu the Fudgemunk” Davis (drums, vibraphone, vocals, turntable scratching), PatFritz (guitar), AaronGause (wurlitzer, synthesizer), LukeStewart (acoustic bass, electric bass), JamalMoore (tenor sax, clarinet, bongos, percussion), and BashiRose (drums, percussion) – in August 2019 between Washington, DC and Northern Virginia, Ocean Bridges fuses different musical concepts to adapt in a hip-hop format – all of the instrumentation is accompanied by vocals.
The Beths share a fervent new single/video, “I’m Not Getting Excited,” from their second album, Jump Rope Gazers, out July 10th on Carpark Records. Following the rambunctious lead single, “Dying to Believe,” “I’m Not Getting Excited” is an urgent track about imposter syndrome. The track opens with driving guitar and a jockeying melody before bursting with a crashing rhythm section. The band performed the single on their “Live From House 2” live stream earlier this morning.
“People always ask ‘are you excited!?’ and it’s a fair question, because exciting things do happen to us sometimes,” says Elizabeth Stokes. “Support slots, overseas tours, music releases. Stuff we’ve dreamed about for years. So the correct answer is always ‘yes.’ But the truth is that deep down there’s a tiny Liz saying, ‘don’t get excited.’ She is certain that anything good that could happen will most likely not happen, because of a freak accident. Or because somebody finally realises that we aren’t worthy, shouts ‘phony!’ and takes everything away. I wrote ‘I’m Not Getting Excited’ last year, well before everything really did get taken away. From everyone. It feels like the song has a new context, but we don’t know what it is yet. And now we all share a blurry, uncertain future.”
The official video was filmed during the first month of lockdown in New Zealand. It’s a spooky more-is-more collage of animated night terrors. The directors Sports Team “turned our laundry into a film studio and spent our inside time mastering the art of stop-motion animation. We animated old towels, all the cardboard in the house and The Beths themselves… frame by bloody frame. There’s a lot of scary imagery in the song that we wanted to play on. There’s a madness too, in the contradiction between what the song is about and its frenetic energy. It has defined the lockdown for us—being locked indoors but furiously busy.”
The Beths are Elizabeth Stokes (vocals/guitar), Jonathan Pearce (guitar), Benjamin Sinclair (bass), and Tristan Deck (drums). Jump Rope Gazers is the follow-up to Future Me Hates Me, “one of the most impressive indie-rock debuts of the year” (Pitchfork). The album received glowing praise and appeared on many year-end lists including Rolling Stone, NPR, Stereogum, and more.
Jump Rope Gazers tackles themes of anxiety and self-doubt with effervescent power pop choruses and rousing backup vocals, zeroing in on the communality and catharsis that can come from sharing stressful situations with some of your best friends. Touring far from home, The Beths committed to taking care of each other while simultaneously trying to take care of friends living thousands of miles away. That care and attention shines through on Jump Rope Gazers, where the quartet sounds more locked in than ever. Jump Rope Gazers stares down all the hard parts of living in communion with other people, even at a distance, while celebrating the ferocious joy that makes it all worth it. Watch “I’m Not Getting Excited” Video: https://youtu.be/lvYrJxNwW5I
The Japanese quartet and advocates of NEO-Kawaii CHAI release a new single, the self-championing “Ready Cheeky Pretty,” and an accompanying video. Following the recently-released “NO MORE CAKE,” “a weird, bafflingly catchy interrogation of beauty standards” (Stereogum), “Ready Cheeky Pretty” promotes self-love and finding motivation and confidence from within. Over jubilant synth and a steady snare, CHAI sing: “we are the upbeat cheeky monkeys ! // look up the mirror // oh! It’s pretty monkey! // we are good already // keep it real.” The band elaborates on the track: “KEEP IT REAL Go back to the real you! It’s all about moving forward and living by instinct! To go forward with the voice of your heart! Nothing symbolizes this more for us than the carefree nature, strength, and purity of a monkey. We pay homage to this in Ready Cheeky Pretty because we feel that animals have the ability to be REAL more than humans. It’s this type of song! Take a listen!
Its accompanying video, co-directed by Hideto Hotta and by bassist YUUKI, is largely made of colorful, animated drawings (all illustrated by YUUKI). It also features famous paintings and video clips and images of the band intertwined throughout. It was shot entirely at YUUKI’s home and is centered in a world where CHAI is getting back to their real selves. As YUUKI describes, “it isn’t so much about shooting CHAI with a specific vision like any other MV, but more so about ‘putting CHAI into’ a vision that WE have.”
Throughout quarantine, the band has started live streaming three times a week – YUNA on Monday’s, YUUKI on Wednesday’s, and MANA and KANA on Friday’s. These livestreams can be viewed on the band’s Instagram at 11pm ET / 8pm PT. Yuna has also created her own Youtube / IGTV series called “HELLO, I’M YUNA!,” which covers all of YUNA’s interests from interviewing her fellow band members, to cooking, to giving an inside look at song and music video releases. Her “journalist alter-ego,” YUNA-jana, is featured as the main interviewer. It’s adorable and we suggest you tune in.
Additionally, CHAI has covered Kyu Sakamoto’s “Ue o Muite Arukō” or “Sukiyaki Song,” the unofficial anthem of Japan that is often sung to uplift during hard times. The lyrics “Ue o Muite Arukō” translate to “I Look Up As I Walk” and tells the story of a man who looks up and whistles while he is walking to avoid his tears from falling down. Everyone has been affected in different ways by COVID-19, some more than others. CHAI made this video using only what they could find within their homes to bring positivity, fun, and keep the music going.
“Ohmme’s music feels experimental and strange yet still accessible, with an underlying gut-level rumble that keeps its songs from floating into the ether.” – NPR Music
“You might think OHMME is a mantra, but it’s in fact the place to be to hear remarkable music from a Chicago band in rare form” – Chicago Tribune
“Their latest single, ‘Ghost,’ has more narrative shape, yet its acute details are preserved…The instrumentation is minimal at first, but a wheedling guitar solo preserves the static. The two women clear a path through this haze with a final, unambiguous declaration: ‘I’m sick of looking at the stupid look on your face.’” – Pitchfork
Ohmme – the Chicago-based duo of Sima Cunningham and Macie Stewart – share a new single, “Selling Candy,” and announce rescheduled tour dates. “Selling Candy” is the third single they’ve released that appears on their new album, Fantasize Your Ghost, out June 5th on Joyful Noise Recordings. Following “Ghost” and “3 2 4 3, “Selling Candy” is riveting. The track, which has only six lines, is filled with Cunningham and Stewart’s harmonies, which soar over heavy, sludgy guitar and pummeling percussion. Eventually, the song ends in a noisy freakout.
“‘Selling Candy’ was pieced together from little snapshots of my childhood growing up on my block in Chicago,” says Cunningham. “It felt like its own tiny world where I could explore my imagination, enjoy independence from my parents, and meet all kinds of people, including the pissed off hot dog vendor from whom I bought a boiled hot dog from as often as I could get my hands on a buck.”
Fantasize Your Ghost is the direct result of the band spending more time on the road than in Chicago. It’s deeply concerned with questions of the self, the future, and what home means when you’re travelling all the time. Early sketches of Fantasize Your Ghost‘s tracklist were demoed at Sam Evian‘s Flying Cloud Studios in upstate New York through intensely collaborative and open sessions. The album was recorded over a six day session in August 2019 at the Post Farm in southern Wisconsin with journeyman producer Chris Cohen.
Though 2018’s Parts showcased their wildly burgeoning influences and talents, Fantasize Your Ghost captures the astounding magnetism and ferocity of their live show. It encapsulates the thrilling and sometimes terrifying joy of moving forward even if you don’t know where you’re going. It’s an album that asks necessary questions: When life demands a crossroads, what version of yourself are you going to pursue? What part of yourself will you feed and let flourish and what do you have to let go of? This is a record of strength, of best friends believing in each other. Unapologetic and brave, Ohmme are ready to figure it all out together.
Additionally, Ohmme announce rescheduled North American tour dates for January 2021. Following their supporting dates with Waxahatchee in October, they’ll play a headlining tour in the new year. A full list of dates can be found below and tickets are on sale now. Watch the Video for “Ghost” https://youtu.be/hstB_R4pahw
Chicago-based hip-hop artist Ric Wilson and LA-based producer / musician TerraceMartin have released their new collaborative EP, They Call Me Disco(via FreeDisco/EMPIRE/Sounds of Crenshaw), and present the video for standout track, “Move Like This”. “Move Like This” follows “funky feel-good” (HYPEBEAST) lead single, “Chicago Bae” (Feat. BJ The Chicago Kid).
Energetic and bouncing with a crisp beat, “Move Like This” is driven by a woozy synth and Wilson’s lively voice. The accompanying video, directed by A Solo Vision, was filmed in Chicago. Featuring Wilson and close friends, the video presents his vibrant, colorful aesthetic.
“For ‘Move Like This,’ me and Terrace literally were watching videos from the Chicago House Festival when he was making the beat,” says Wilson. “I was dancing and this song was made for moving.”
They Call Me Disco is built on a retro backbone, seamlessly fusing funk-forward rhythms, Wilson’s playful and poignant lyrics, velvety vocal layers, and percussive beats. Following a string of singles and EPs, including Negrow Disco (2017), BANBA (2018), and last year’s summer single, “Yellowbrick”, Wilson’s funk/disco-infused take on rap lead to both Complex and NPR Music naming him a “Rising Chicago Rapper You Need To Know.”
With a mutual respect for each other’s work, Wilson and Martin, a Grammy-nominated artist who’s worked extensively with the likes of Snoop Dogg, Kendrick Lamar, Lalah Hathaway, Herbie Hancock, Kamasi Washington, and more, first linked up in 2019, starting work on the EP that would continue into 2020. “The disco-inspired funk never stops,” says Wilson. “Me and Terrace wanted to make something people can move to and free themselves.” Adds Martin, “This record is a beautiful reminder the disco never stops. Keep smiling, keep dancing, and keep loving.”
Listen to “Chicago Bae” (Feat. BJ The Chicago Kid) (Prod. by Ted Chung, Terrace Martin, J-Trx) – https://youtu.be/ql-yoviDQas
Rhye – the project of LA-based musician Michael Milosh – returns with “Beautiful” via Loma Vista Recordings. Known for his “reserved, understated and brilliant soul” (NPR Music), “Beautiful” is Rhye’s first proper single since the release of 2018’s JUNO-Award winning Blood. It’s sophisticated in its subtlety, opening with a flurry of strings and a taut percussive beat. Throughout, the song gently surges with humming organ and piano. Milosh’s voice shimmers over a mellow bass line and is instantly recognizable as he advocates for finding beauty in everyday life. This idea is being presented via A Beautiful Weekend on the Rhye website, where the song is paired with accompanying visuals of beauty.
“As we all share in this collective crazy moment that is quarantine, there are many ways to deal with the isolation, many ways we can truly fall into ourselves,” says Milosh. “For me, celebrating the beauty that is my partner has been a huge inspiration for me and a saving grace. Beauty is something we truly need to be open to in this moment. Find it in music, art, your loved ones, or yourself.” Listen to Rhye’s “Beautiful” – https://found.ee/Rhye_Beautiful
Milosh has been filling his isolation time recording new music and performing livestreams as part of Secular Sabbath, including a morning ambient performance with Joseph August and the Corona Sabbath with Diplo. Secular Sabbath, the LA based creative community founded by his partner Genevieve Medow Jenkins, initially focused on live ambient music events. During quarantine, it has blossomed with a range of offerings.
In conjunction with the “Beautiful” single release, Rhye is offering a limited edition Box of Beautiful care package which includes a tote bag, a custom scented candle by Joia, a vegan leather embossed notebook and pen, a postcard, engraved selenite, and a bandana. This custom box is available via the Rhye webstore. There will be more Rhye news in the coming weeks.
Legendary South Sudanese pop star and 2019’s BIGSOUND Levi’s Prize winner Gordon Koang releases a new track/ video, “Mal Mi Goa (Ginoli Remix).” As remixed by Ginoli (moniker of James Ireland, Perth-based producer and drummer of Pond), is an eclectic mix of Koang’s joyful voice, thom (an East African stringed instrument that Gordon has modified to suit his unique style of playing), and danceable, swelling synth. It marks the first release from Music In Exile REMIXED EP, out June 5th, part of a series of collaborations between producers from Australia’s burgeoning electronic scene and artists from a refugee and migrant background.
Gordon Koang was born blind and began playing music from an early age, busking on the streets of Juba and producing his own self-released CD-R’s and cassettes. He became a crowd favourite and began recording a series of singles and music videos celebrating South Sudan’s cultural wealth. His music went viral, spreading throughout the country, and his reputation quickly grew as the poet and homegrown hero of the Nuer people, sometimes called the “Michael Jackson of South Sudan.”
In 2013, while Koang was performing to expatriate Nuer communities in Australia, renewed conflict broke out at home. He made a difficult and heartbreaking decision to not return to Sudan, applying to the Australian government for humanitarian protection. After six long years of waiting, living in a foreign country far away from his family, he now proudly calls himself an “Australian,” and eagerly awaits the day he will rejoin his wife and children in safety.
With “Mal Mia Goa (Ginoli Remix),” Gordon hopes to reach as many new listeners as he can in his adopted country, and around the world. He wants everyone, and he means everyone, to hear his message of peace and unity, regardless of religion or cultural differences. After a painfully first-hand experience of what these rifts between people can create, Gordon has devoted his life, and his music, to a simple message of peace, love and unity.
Jon Hopkins presents “Singing Bowl (Ascension),” the first in a new series of “Meditations” that is available to stream now and appears on “Quiet,” his 24-hour long collaborative playlist for Spotify. Designed with deep meditation experiences in mind, “Singing Bowl (Ascension)” perfectly fits into Jon’s transcendent selections. To create this piece, Hopkins recorded a range of vibrations created by a 100 year-old singing bowl found in an antique shop in Delhi. He then fed these into a laptop running a simple, generative system that triggered the hits and drones at random. This would allow synchronicity to play a central part in the composition process, and remove as much “thinking” as possible from the writing. An earlier version of this generative piece was used as a sound installation at last year’s Helsinki Arts Festival.
Hopkins further explains the inspiration behind the track: “Like so many people I felt pretty paralysed by this situation when it first unfolded. All my plans for the year were cancelled, and everything felt so weird and dreamlike. But gradually I found I wanted to create something – to find peace and perspective through making music, as I have always done. It felt beautifully pure to just use one acoustic sound source, and no synths. It was liberating to write something without playing anything on a keyboard – to avoid the familiar diatonic scale for the first time, and thus avoid any of my own conditioned playing habits. There was a magic in setting this generative system in motion then just letting the vibrations of this bowl create their own world. I listened to harmonics layering on top of harmonics for hours and was transported.”
Jon Hopkins Tour: Wed. Aug. 12 – Morrison, CO @ Red Rocks Amphitheatre w/ RÜFÜS DU SOL Thu. Aug. 13 – Morrison, CO @ Red Rocks Amphitheatre w/ RÜFÜS DU SOL Sun. Nov. 11 – Stockholm, SE @ Gota Lejon Mon. Nov. 12 – Oslo, NO @ Sentrum Scene Thu. Nov. 5 – Brussels, BE @ Cirque Royal Mon. Nov. 8 – Copenhagen, DK @ DR Koncerthuset – Koncertsalen Mon. Nov. 9 – Paris, DR @ Salle Pleyel Wed. Nov. 11 – The Hague, NL @ Zuiderstrandtheater Mon. Nov. 16 – Berlin, DE @ Philharmonie Fri. Dec. 4 – London, UK @ Royal Albert Hall
“[‘Still Here’ is] light and densely nuanced at the same time.” – Nylon
“[‘Still Here’] is delicate and rollicking and propulsive and lovely.” – Jezebel
“‘Still Here’ is built around a brisk, frenetic backbeat that seems like the foundation of a dancefloor banger, but the meat of the song is melancholy balladry on the indie-pop wavelength. The resulting contrast is deeply appealing…” – Stereogum Kllo – electronic pop duo of Melbourne cousins Chloe Kaul and Simon Lam – will release their new album, Maybe We Could, on July 17th via Ghostly International. Today, they share the new single, “Insomnia,” which simmers in a similar melancholy of lead single “Still Here.” “Insomnia” skitters with steely beats and tender keys. It’s one of the few songs written from separate locations when both artists were in North America independently, and its feeling reflects a sense of jet-lagged joy and displacement, the “high highs, low lows” as one line goes.
“It’s one of our favourites off the album and is heavily influenced by our time in North America,” says Kllo. “The song is about laying in bed fantasizing that you’ll give your all to something and that someone else will too, but knowing deep down it will never happen. The moment of the night where you can’t switch off and differentiate your truth from your imagination.“
Following the release of their adored full-length debut Backwater, two years of global touring, a handful of singles, and a near-breakup, Kaul and Lam both took time away from Kllo to make solo work. The experiences served as a reset, giving them space to learn separately, and, ultimately, to appreciate what they have together. Largely written and recorded upon their return, Maybe We Could signals a new start for Kllo. Ten tracks pairing the rhythms of dance music to emotive chords and melodies; revealing two artists at their strongest yet most vulnerable, operating as their truest selves, honest with each other and their craft. Songs on Maybe We Could grapple with familiar dynamics: unrequited love, doubts, desires, and decisions. Musically, the album finds Kllo following their impulses, embracing a more subdued and nuanced tone.
Maybe We Could mirrors the progression and growth of the two artists behind a singular project. The title references a phrase they repeat often when recording. A collective strategy towards facing uncertainty, taking chances, and making choices. Ones that become more deliberate as time rolls on. Lam sums it up, “It’s like the album started off with ‘maybe’ and ended with ‘definitely.’” Stream “Insomnia”: https://youtu.be/QJdm3I0gcnI
