Producer/musician Kelly Lee Owens announces a new album, LP.8, out April 29th (digital) and June 10th (physical) on Smalltown Supersound, and today presents two of its tracks, “Sonic 8” and “Olga.” Born out of a series of studio sessions, LP.8 was created with no preconceptions or expectations: an unbridled exploration into the creative subconscious.
After releasing her acclaimed sophomore album Inner Song in the early days of the pandemic, Owens was faced with the sudden realization that her world tour could no longer go ahead. Keen to make use of this untapped creative energy, she made the spontaneous decision to go to Oslo for a change of scenery and some undisturbed studio time. Arriving to snowglobe conditions and sub-zero temperatures with the borders closed once again, she began spending time in the studio with esteemed avant-noise Lasse Marhaug (known for his work with Merzbow, Sunn O))) and Jenny Hval).
Together, Owens and Marhaug envisioned making music somewhere in between Throbbing Gristle and Enya, artists who have had an enduring impact on Owens’ creative being. In doing so, they paired tough, industrial sounds with ethereal Celtic mysticism, creating music that ebbs and flows between tension and release. One month later, Owens called her label to tell them she had created something of an outlier, her “eighth album.” In Owens’ words, “For me, 8 meant completion – an album that will ripple infinitely with me personally.”
LP.8 Tracklist 1. Release 2. Voice 3. Anadlu 4. S.O (2) 5. Olga 6. Nana Piano 7. Quickening 8. One 9. Sonic 8
Kelly Lee Owens Tour Dates Fri. June 3 – Melbourne, AU @ Rising Festival Hub Sat. June 4 – Sydney, AU @ Motorik [DJ Set] Wed. June 15 – Milan, IT @ Magnolia Fest Sun. June 19 – Dublin, IE @ Body & Soul Festival Sat. June 25 – Bristol, UK @ Bristol Sounds Sat. July 2 – Roskilde, DK @ Roskilde Festival Fri. July 8 – Bilbao, ES @ Bilbao BBK Live Fest Sun. July 10 – Modena, IT @ Artivive Festival Fri. July 22 – Macclesfield, UK @ Bluedot Sat. July 23 – Hertfordshire, UK @ Standon Calling Festival Sat. July 30 – London, UK @ South Facing Sun. July 31 – Sicily, IT @ Ortigia Sound System Festival [DJ Set] Sat. Aug. 20 – Hasselt, BE @ Pukkelpop Sun. Aug. 21 – Biddinghuizen, NE @ Lowlands Festival
Keep your mind open.
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[Thanks to Jessica and Ahmad at Pitch Perfect PR.]
This was my third time seeing Gary Numan live, and it was the smallest venue I’ve seen him in so far. It was good to see a crowd of people happy to be experiencing live music again, and even better to see Numan and his band having a good time on stage.
His opening act was the one-woman band I Speak Machine, who came out looking like a Black Widow assassin and throwing down a set of darkwave mixed with kabuki, opera, and industrial grind. One of the best parts of her set was watching the reactions of some in the audience who didn’t know what to make of her, and of her not giving a damn what people thought.
I Speak Machine belting out operatic vocals for a dumbfounded crowd.
Mr. Numan came out to an appreciative crowd and proceeded to belt out a loud, sometimes furious set that mixed classics with hot tracks from his last two albums, Savageand Intruder.
Gary Numan being a rock god.
It was great to see him and his four-piece band having a good time. There were many moments when they were smiling or laughing. You could tell they were excited to be on tour. Numan’s guitarist, Steve Harris, was all over the stage, often mixing shredding solos with performance art antics. I’m fairly certain he broke a string or two just a few songs into the set from playing so hard.
Numan and crew
It was a great set, with standouts like “The Promise,” “Films,” “Ghost Nation,” “Love Hurt Bleed,” “Bed of Thorns,” “My Name Is Ruin,” “A Prayer for the Unborn,” and “Are Friends ‘Electric’?” Catch him if you can. He’s having a blast right now, and so will you.
Thanks to the woman who let me snap this photo of the set list she scored.
Pow Wow singer Joe Rainey announces his debut album, Niineta, out May 20th on 37d03d (the label founded by Justin Vernon of Bon Iver, and Bryce and Aaron Dessner of the National), and shares the first single/video, “no chants.” On Niineta, Rainey demonstrates his command of the Pow Wow style, descending from Indigenous singing that’s been heard across the waters of what is now called Minnesota for centuries, and accompanied by cinematic, bass-heavy production from Minneapolis producer Andrew Broder. Depending on the song or the pattern, his voice can celebrate or console, welcome or intimidate, wake you up with a start or lull your babies to sleep. Each note conveys a clear message, no matter the inflection: We’re still here. We were here before you were, and we never left.
Rainey grew up a Red Lake Ojibwe in Minneapolis, a city with one of the largest and proudest Native American populations in the country. The Red Lake Reservation sits five hours to the North, a sovereign state unto itself, but Rainey grew up down in what Northerners call “The Cities,” in his mom’s house on historic Milwaukee Avenue on Minneapolis’ South Side. He was raised less than a mile away from Franklin Avenue, the post-Reorganization Act urban nexus of local Native American life, a community centered in the Little Earth housing projects and the Minneapolis American Indian Center. The neighborhood still serves as a home for both the housed and the un-housed, and the don’t-even-wanna-be-housed Native. It is the birthplace of the American Indian Movement (AIM), the pioneering grassroots civil rights organization founded to combat the colonizing forces of police brutality. Rainey came of age in the heart of this community, but always felt like he was living in a liminal space—not that he was uncomfortable with that. “Growing up, knowing that you weren’t from the Rez, but you were repping them, was kind of weird,” he says. “But I liked that.”
Rainey became interested in Pow Wow singing as a child—at the age of five, he started recording Pow Wow singing groups with his GE tape recorder, and his mom enrolled him in a dancing and singing practice with the Little Earth Juniors soon thereafter. As a pre-teen he began hanging out around The Boyz (a legendary Minneapolis drum group) at a house some of them stayed at in the Little Earth projects. By the time he was a teenager he had found enough courage to help start The Boyz Juniors, his first drum group, before going on to sing with Big Cedar, Wolf Spirit, Raining Thunder, Iron Boy, and eventually, Midnite Express, a new drum group featuring some of The Boyz themselves. Rainey was always just as much of a fan as he was a participant—when he wasn’t at his own drum, he was recording other drums, then studying the tapes when he got home, admiring and cataloging the different singing styles, whether it was Northern Cree, Cozad or Eyabay.
On Niineta, Rainey finds himself in between cultures again. This time collaborating with Andrew Broder, who brought his multi-instrumentalist, turntablist sensibility to the project. The two of them first met backstage at Justin Vernon’s hometown Eaux Claires music festival before encountering each other more frequently through Vernon and Aaron and Bryce Dessner’s 37d03d collective—both contributing to the last Bon Iver album before broaching the possibility of working together sometime in the future. “At first I didn’t know what I could add to Joe’s incredible recordings,” Broder says. “But eventually I came to understand everything is rooted in the drum—even the songs on our record that have no drum, they’re still rooted in the drum.” So each song started with Broder’s beats, the two of them experimenting with various sounds and tempos, before bringing in other 37d03d collaborators to orchestrate and recontextualize the ancient Pow Wow sound in strange, new in-between places. The album pulls from Rainey’s vast sample folder of Pow Wow recordings, layering and remixing slices of his life of singing in venues across the upper Midwest and Canada.
Rainey got his title, Niineta, from his drum brother Michael Migizi Sullivan, who suggested a short version of the Ojibwe term meaning, “just me.” But he’s using the term only in the sense that he’s taking sole responsibility for its content. Rainey is protective of Pow Wow culture—which was outlawed by the United States government for a generation, defiantly maintained in secret by Native elders he deeply respects—while trying to figure out exactly where he fits into it and how he can fuck with it on his own terms. He uses the analogy of working the hotel room door at a Pow Wow. “You can think of this like, hey man, if all these people are going to be fucking knocking and I’m the one answering the door, you’re going to realize that I’m not the only one in this motherfucker. There’s tons of people in here. So if I’m answering that door, I want to be like, hey, yeah, come on in. There’s fucking tons of us in here. It ain’t just me.” Watch/Stream “no chants”
Anika has openly discussed how much she loves the dance floor as well as the dark corners of a night club, so putting out a remix album of her killer 2021 record, Change, was a no-brainer for her.
The “Planningtorock remix” of “Planningtochange” drops the pitch of her vocals and ups the beats to create a track that’s perfect for dancing in a dark basement full of sexy, sweaty people. Dave Clark‘s remix of “Never Coming Back” is somehow darker than the original. Lauren Flax‘s remix of “Critical” becomes slightly hardcore make-out music. Maral at the Controls‘ dux mix of “Finger Pies” is outstanding, mixing dub with industrial like a sexy glitch-bot.
PDBY‘s remix of “Freedom” strips the song down to a haunted house drone, like something you’d hear in a dimly lit ballroom with peeling wallpaper and warped floorboards. Lauren Flax comes back for a remix of “Change,” and it’s the closest one to a straight-up house music banger on the whole EP.
Don’t miss this is you’re a fan of Anika. It’s an interesting look at her different influences and how she’s influenced (and influencing) others.
Hailing from Manchester and not Indiana, Mandy, Indiana, formerly known as Gary Indiana, make post-punk that bends and warps the genre on their …EP. As guitarist Scott Fair put it, “We’ve scrapped anything that sounded too normal.”
Opening track “Bottle Episode” starts off with Liam Stewart‘s snare drum rolls that sound like a swarm of angry bees attacking a hulking robot and then it switches to thumping synth bass and horror movie sounds, all with Valentine Caulfield singing in her native French. The percussion on “Nike of Samothrace” sounds like a drunk guy stumbling down a flight of stairs – and I mean that in the best possible sense – while Fair’s guitar and synths remind one of revving, and possibly failing, jet engines. I don’t know if “Alien 3” is inspired by the movie of the same name, but I do know that it’s over six minutes of industrial techno that slays as hard as a Xenomorph.
The EP comes with a remix of “Alien 3” by Daniel Avery that somehow makes the track heavier and, dare I say it, sexier, and the “Club Eat” remix of “Nike of Samothrace” – which ups the speed and would be perfect for a fight scene in whatever Matrix film comes next.
Let’s hope Mandy, Indiana puts out a full LP soon, because this EP will leave you craving more of their work.
Fhedesh is an American dark frequency artist and producer based in DTLA. His industrial trap sound and experimental visuals, inspired by elements of vampirism, provide a musical backdrop that inspires the freedom to bend and not only break, but demolish the rules. Talented musician turned vampire, Fhedesh is an artist in his own caliber. Fhedesh’s music explores facets of an underground lifestyle, one that embraces unapologetic creative exploration. He emerged on the scene of late night DTLA after packing out after hours parties in warehouses across Southern California and has since established himself as an artist. His sound evokes the desire to welcome darkness rather than run from it, as Fhedesh explores concepts of immorality, sexuality, mystery, and luxury in ways no other local artist has. Since the pandemic, Fhedesh has begun to channel his creative energy into his music videos rather than live performances.
Fhedesh released a single and music video called “Wake Up! IT’S A BLOODBATH”, a hard-hitting, edgy tune inspired by the current state of the world in all its misery.
Boy Harsher – comprised of vocalist/lyricist Jae Matthews and producer Augustus Muller – present “Machina,” the latest offering from their new album The Runner (Original Soundtrack) out next Friday,January 21st via Nude Club/City Slang. Following singles “Tower” and “Give Me a Reason,” “Machina” continues teasing the cinematic universe of The Runner, the short horror film written and directed by Boy Harsher.
Featuring guest vocalist Mariana Saldaña of BOAN singing in Spanish and English, “Machina” is a playful yet cautionary tale about companionship and dependency. Saldaña describes a cold, sterile entity, the Machine, that is soulless and without a heartbeat. The track blends the bright palette of HI-NRG and Italo with Boy Harsher’s shadowy aesthetic and was sonically inspired by Muller’s time at the renowned Mexico City club Patrick Miller. Muller elaborates: “I was reminiscing about Friday nights at Patrick Miller. I was trying to create an artifact from a club in a far off place and an unknown time.” The electrifying self-directed video produced by Muted Widows comes from the world of The Runner, presented as an exclusive NUDE TV studio performance by Saldaña.
Boy Harsher’s fifth release is not a traditional album — it’s a soundtrack that balances eerie instrumentals with pop songs that push the boundaries of the duo’s sound. In the midst of last year’s chaos and Matthews’ MS diagnosis, she kept thinking about a sinister character: a woman running through the woods. The duo developed this idea further into The Runner, a film that follows a strange woman as she travels to a secluded, rural town where her violent compulsions are slowly revealed. The story intertwines with Boy Harsher performing on a public access channel. Their music scores the strange woman’s descent deeper into the unknown. The Runner features break-out performances by musician Kris Esfandiari (King Woman), performance artist Sigrid Lauren (FlucT), and musician Cooper B. Handy (Lucy). The Runner and its soundtrack are both a return to form and an evolution for Boy Harsher.
The Runner will begin screening in select theaters this Friday, January 14th and streaming via Shudder (North America, the UK, Ireland, Australia, New Zealand) and Mandolin (rest of the world) on Sunday, January 16th. Visit therunner.film for more info on screenings and tickets.
Author & Punisher unveil a second track from the outfit’s highly-anticipated new album, Krüller (Feb. 11, Relapse Records), with today’s release of the drone-drenched love song, “Maiden Star” (https://youtu.be/c52RTO8fvL0).
Tristan Shone offers insight into the track and its place on the album: “’Maiden Star’ continues the trudge of escape and survival from ‘Drone Carrying Dread,’ but with a focus on the vital interpersonal conflicts and triumphs that exist in times of war and peace. This track, my personal favorite from the balance of the heavy and the melodic, is deeply personal and painful at the same time. The first note both lifts me up and beats the shit out of me.”
News of the album’s forthcoming arrival was met with widespread excitement. Revolver, who had placed on the album on their most-anticipated releases of 2022, noted how “shimmering, melodic, and gorgeous” Author & Punisher’s music had become over the years. On the first preview from the 8-song release, “Drone Carrying Dread” (https://youtu.be/5BrAAXCbUXE), Consequence echoed the obvious focus on melody that drives Krüller, saying “The presence of electronic beats, synth flourishes, and a triumphant vocal delivery make it one of the prettiest A&P tracks to date, though no less sonically powerful.
Shone began work on Krüller after returning from his opening slot with Tool across the U.S., Australia, and New Zealand, before being cut short due to the March 2020 lockdowns. “Melody has been and is still a part of my sound,” says Shone. “I’ve always bathed them in a lot of reverb, delay, and distortion, though. This time around, I was bothered by the wall of distortion I had created. I wanted a little more clarity. I wanted to refine the sound. I wanted to step back from my own show and analyze it a bit. I had all these competing distortions that I wanted to streamline. I like contrast and wanted the vocals to be immediately noticeable. There’s something about mixing punishing drones and rumble with a mellow thing on top that I really like on Krüller.” Shone’s digitized snarls rightfully had their place on earlier tracks like “Doppler,” “Terrorbird,” and “Nihil Strength,” but contrasting mellow vocals atop Author & Punisher’s unparalleled heft made dynamic sense. Indeed, with Shone’s singing on songs like “Drone Carrying Dread,” “Maiden Star,” and the exceptional translation of Portishead hit “Glory Box,” Author & Punisher have projected an air of uncertainty around the steely, often slow-motion grind.
Part of the Krüller revamp included refining the machines that have become synonymous with Author & Punisher. As a result, Shone is also launching a bespoke audio gear company called Drone Machines to coincide with the release of Krüller. The gear company launch follows nearly two decades of Author & Punisher honing in on his craft – meticulously inventing, machining, experimenting, and creating custom musical instruments for his incredible live performances and recordings.
Krüller pre-orders are available now (https://orcd.co/authorandpunisher-kruller) with the 52-minute collection available on a selection of limited-edition vinyl variants that tie into the color palette of the album artwork, CD, cassette and digitally.
Author & Punisher has announced two rounds of 2022 European tour dates with a pair of North American performances slated for March.
Headlining dates:
February 7 Tallin, Estonia Sveta Bar
February 8 Riga, Latvia Melna Piektdiena
February 9 Vilnius, Lithuania XI 20
February 13 Antwerp, Belgium Kavka
February 14 Brighton, UK Patterns
February 15 London, UK The Underworld
February 16 Leeds, UK Brudenell Social Club
February 17 Glasgow, UK Stereo
February 18 Newcastle, UK Cluny
February 19 Birmingham, UK Castle and Falcon
February 20 Bristol, UK Fleece
February 21 Manchester, UK Deaf Institute
March 6 Los Angeles, CA Resident
March 10 Oakland, CA Elbo Room Jack London
w/Perturbator and Health:
October 6 Lille, France Aeronef
October 7 Paris, France L’Olympia
October 12 Bordeaux, France Krakatoa
October 13 Toulouse, France Bikini
October 14 Madrid, Spain La Riviera
October 15 Barcelona, Spain Razzmatazz 2
October 16 Nantes, France Stereolux
October 18 Lyon, France Le Transbordeur
October 19 Strasbourg, France La Laiterie
Oxtober 20 Lausanne, Switzerland Les Docks
October 21 Munich, Germany Freheiz
October 22 Vienna, Austria Arena
October 23 Budapest, Hungary Akvarium Nagyhall
October 25 Prague, Czech Republic Lucerna Music
October 26 Wroclaw, Poland Zaklete Rewiry
October 27 Warsaw, Poland Progresja
October 28 Berlin, Germany Heimathafen
October 29 Goteborg, Sweden Tradgar N
October 30 Stockholm, Sweden Berns
November 1 Helsinki, Finland Tavastia
November 3 Oslo, Norway Vulkan Arena
November 4 Copenhagen, Denmark Pumpehuset
November 5 Hamburg, Germany Uebel & Gefahrlich
November 6 Utrecht, Netherlands Tivoli
November 8 Cologne, Germany Kantine
November 9 Esch-Sur-Alzette, Luxermbourg Rockhall
November 10 Brussels, Belgium Ancienne Belgique
Keep your mind open.
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Darkwave duo Boy Harsher have announced the release of their debut horror film, The Runner, with Shudder – AMC Network’s premium streaming service for horror, thriller, and the supernatural – to stream the film in North America, the United Kingdom, Ireland, Australia and New Zealand beginning Sunday, January 16th (Mandolin will host the film for the rest of the world).
Written, directed, and produced by Jae Matthews and Augustus Muller of Boy Harsher, The Runner follows a strange woman as she travels to a secluded, rural town where her violent compulsions are slowly revealed. The story intertwines with Boy Harsher performing on a public access channel. Their music scores the strange woman’s descent deeper into the unknown. The Runner features break-out performances by musician Kris Esfandiari (King Woman), performance artist Sigrid Lauren (FlucT), and musician Cooper B. Handy (Lucy).
Last year, in the midst of the obvious chaos, but additionally with Matthews’ MS diagnosis, Muller started working on moody, cinematic sketches. It was uncertain what these pieces would become other than catharsis — the duo were unable to tour and making “club music” did not feel right. In Matthews’ period of convalescence, she kept thinking about a sinister character: a woman running through the woods. Together, the duo developed this idea further into a film that explores lust, compulsion, and the horrific tendencies of seduction. The movie is intercut with a meta-style “documentary” about Boy Harsher’s recording process. Being released alongside the film is Boy Harsher’s new album, The Runner (Original Soundtrack), out January 21st on Nude Club/City Slang. The soundtrack balances eerie instrumentals with pop songs that push the boundaries of the duo’s sound.
Good heavens…This album is so lush, haunting, and beautiful that it will sweep you away from whatever you’re doing when you play it. Anika’s voice immediately drapes over you like a luxurious robe with a knife hidden in a back pocket.
Seriously, why aren’t more people going nuts over Rochelle Jordan? She mixes soul, house, disco, and trip hop better than most, and Play with the Changes is, if you ask me, the sexiest album of 2021.
This lovely mix of trip hop, dream pop, bossa nova, and house music is a delight from start to finish. It was a much-needed tonic during the crappy 365 days of 2021. It’s a perfect spin for any time of year. Got the winter blues? Play this. Need a fun record for that summer beach trip? Play this. Need a boost to start your garden? Play this. Looking forward to sipping hot cider in the fall? Play this.
This solo record from one of the cats in Durand Jones and The Indications is one of the best soul and R&B records of 2021. Frazer puts down his trademark sharp beats and brings his other trademark, high-end vocals, with him to create a groovy, sexy blend that impressed Dan Auerbach of The Black Keys so much that he produced it.
This album got locked into my number one spot not long after it was released. It’s a sharp post-punk record, and I remember being more and more impressed with it after each listen. It covers everything from Brexit and the pandemic to boredom and hope for the future. It’s snarky, witty, and powerful.
There you have it. I hope 2022 is good to all of us.
Keep your mind open.
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