Fully embracing their love of John Carpenter film scores, and horror movies in general, Boy Harsher‘s newest record is actually the score to an original short horror film written, produced, and directed by them – The Runner.
The album’s first notes on “Tower” immediately set the dark, creepy tone and both unsettle and intrigue you. You don’t know where this is going, but you’re willing to risk the danger to find out where it leads. “Give Me a Reason” brings in a sexy vibe, with smoky vocals by Jae Matthews that have an underlying menace to them. She could very well be singing, “Give me a reason to love you.” or “Give me a reason to kill you.” at any moment.
“Autonomy” is a peppy new wave bright spot on the record, with guest vocals from Cooper B. Handy. “The Ride Home” switches back to giallo film dread and terror as it slithers around the room like some sort of killer dressed in a black trench coat and holding a gleaming straight razor. “Escape” is trippy synthwave made for a nightclub that took over an abandoned arcade.
“Machina” is another sexy number, this one with guest vocals from MS. BOAN, reminiscent of early Human League tracks. An untitled piano / synth track follows, and its lovely and unnerving at the same time. The album closes with “I Understand” – a brief, dritting track that fades away like a last breath.
So, yeah, it’s all perfect for a horror film soundtrack.
Today, Orange County-bred Vicky Farewell announces Sweet Company, her debut album, out April 8th on Mac’s Record Label, and presents a visualizer for its lead single, “Are We OK?” Possessing a rare combination of elite musicianship and singular vocal performance, Farewell produced, arranged, and engineered Sweet Company herself. Her particular knack for pocket-driven ear worms match the album’s melancholy tone with whimsical notions and unbridled joy.
Farewell’s emergence as a solo act is the latest chapter in an already impressive career. A classically-trained pianist, songwriter, and producer, Farewell began to flourish at the epicenter of the funk-addled and deeply experimental Angeleno musical ecosystem alongside The Free Nationals in the studios of Shafiq Husayn (of Sa-Ra Creative Partners) before graduating to the legendary hip-hop producer Dr. Dre. Boasting writing credits on Anderson .Paak’s acclaimed GRAMMY-nominated album Malibu (Best Urban Contemporary Album) and the GRAMMY-winning album Ventura (Best R&B Album); it was in the company of these giants that Farewell found her sound, and—at their urging—she ultimately found her own voice.
Today’s “Are We OK?” was born at the height of pandemic uncertainty, conveying the palpable vulnerability of that fraught period. “‘Are We OK?’ was the first song I ever wrote and produced to completion on my own,” says Farewell, “Honestly, I never considered myself much of a singer until I made this song. It really paved a way for the rest of the record.”
Grounded by the pandemic, Farewell channeled her artistic energy into a vehicle she could operate from the comforts of her own home. The ability to work with little to no input from the outside world is a hallmark of the scene that made her, and this approach affords Farewell the freedom to perfect her output. Though the first track came from her decision to write tunes for fun, Farewell was encouraged to record a full-length record by the more established artists in her orbit who were digesting these early demos. Upon finishing Sweet Company, Farewell played the album for Mac Demarco and was offered a deal on the spot: “I’ve known Vicky for several years now, she’s a good friend and a ripping musician. I’m super excited to be working on this release with her. Vicky shared a couple of the songs with me as she was making them a while ago, and it’s been cool to watch the rest of her process in putting it all together. I love all these tunes, I’m happy Vicky’s allowed us to help out with them, and I’m really excited for everybody else out there to have a rip on them.”
Sweet Company cements Farewell as a true record producer, complete with the confidence to let the music do the talking. For Farewell, it’s “all about the music and the music is fucking good.” Sweet Company is a bold statement of artistic capacity delivered in feather-light refrains, bursting phasers, and robust arpeggios that conjure pastels and the tender nostalgia of a childhood crush. Farewell finds herself fully realized in the span of eight tracks painstakingly designed to shatter industry norms.
Sweet Company Tracklist 1. Prelude 2. Sweet Company 3. Kakashi (All of the Time) 4. Believe Me 5. Are We OK? 6. H.W. 7. Forever 8. Get Me
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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Jacques Greene today announces a new EP, Fantasy, out January 28th (digitally) and April 8th (physically), with the EP available today as NFT. Fantasy pushes Greene further into his down-tempo, trip-hop, and ambient influences than ever before, all while maintaining his signature style. In conjunction with today’s announcement, Greene shares Fantasy’s hypnotic lead single, “Taurus.” “In my mind there’s a real soothing, meditative core to this,” says Greene, “and the almost relentless repetitive nature of the aggressive breaks is meant to tip over into full mediation mode. There’s angst – but there’s trying to move through it.”
“The things you hear when you’re alone. Walking through Mount Royal or other wooded areas you might notice a branch break. As much as I value my alone time and the subtle things you can pick up around and within yourself in those moments, a certain loneliness and anxiety permeates the quiet at some point. The past couple years created ample opportunity for that anxiety and loneliness to stretch its legs and make itself comfortable. This record was born out of weeks of willing a form of peace and inspiration into my surroundings. A large part of that came from working with Leanne Macomber on some vocals. Through a desire to form new connections and throw more humanity into the work. We made a variety of song sketches that I mostly reworked into the final recordings here. We spoke a lot about where our heads were at, certain key phrases, triggers and emotions. Joel Ford, whom I worked on Dawn Chorus with, mixed the record and helped me wrangle a few cats to get this across the finish line. Restless at home in Canada, feeling the restlessness of all my friends and loved ones I kept in touch with as much as possible, trying to make something that made the quiet a bit more peaceful.” — Jacques Greene
Since releasing his last studio album Dawn Chorus in 2019, Jacques Greene scored the short film Exhaust starring Jimmie Fails (The Last Black Man in San Francisco), Glenn Kaino’s installation piece Tidepools (alongside Nosaj Thing), and the video game HomeSchool. Additionally, Greene released remixes for artists including Montreal disco legends Lime, Kacy Hill, Kllo, Elohim, and more. In 2020, Greene made headlines for creating “Promise,” the first single released with associated NFT that staked the owner to music publishing, and the following year released ANTH01, a collection of unearthed tracks spanning the earliest years of his career alongside previously unreleased tracks.
Fantasy Tracklist: 01. Taurus 02. Memory Screen + Fantasy 03. Relay 04. Sky River ft. Satomimagae 05. Leave Here
Anika announces Change: The Remixes, out February 11th on Sacred Bones and Invada, and shares “Planningtochange” (Planningtorock Remix). As an avid fan of dance music and the communal power of the club, Anika wanted to give her 2021 album Change a wider range by entrusting it to some friends in contemporary electronic music – Planningtorock, Dave Clarke, Lauren Flax, Maral, and PDBY. The result is a remix record that illustrates both the underlying compositional depth of the album and its ability to inspire equally exciting new songs.
Anika elaborates: “Change is quite a specific album. It was made in the context of the lockdown, very much a headphones, inside-your-head record. As a big fan of DJing and dancing in dark spaces, I wanted this to go further, keep growing, expanding, so I asked some friends from very different worlds to take it somewhere else, beyond the bird-filled hills of Brandenburg. This is what happened.”
Planningtorock’s Jam Rahuoja Rostron adds: “Anika is a dear old friend of mine and I’ve loved her music right from the beginning. Her latest LP is sooooo good and I really love Change so I was super happy be able to make a remix for this which was also a lot of fun to make.”
Anika will also tour North America in May and June. All dates are below and tickets are on sale now here.
Change: The Remixes Tracklist: 1. Planningtochange (Planningtorock Remix) 2. Never Coming Back (Dave Clarke Remix) 3. Critical (Lauren Flax Remix) 4. Finger Pies (Maral At The Controls Dub Mix) 5. Freedom (PBDY Remix) 6. Change (Lauren Flax Remix – bonus track)
Anika Tour Dates: Feb. 11 – Berlin, DE @ Volksbühne March 9 – Koln, DE @ Bumann & SOHN March 11 – Lille, FR @ L’Aeronef March 12-13 – Saint-Malo, FR @ La Route Du Rock Hiver April 17 – London, UK @ Moth Club April 18 – Manchester, UK @ Yes (Basement) April 19 – Glasgow, UK @ Nice N Sleazy April 20 – Bristol, UK @ Louisiana May 13 – Austin, TX @ Oblivion Access Festival May 15 – San Diego, CA @ Casbah May 16 – Los Angeles, CA @ Lodge Room May 17 – San Francisco, CA @ Rickshaw Stop
May 19 – Portland, OR @ Mississippi Studios May 20 – Seattle, WA @ Vera Project May 21 – Vancouver, BC @ The Fox Cabaret May 23 – Chicago, IL @ Empty Bottle May 25 – Toronto, ON @ The Garrison May 26 – Montreal, QC @ Fairmount Theatre May 28 – New York, NY @ Knockdown Center May 29 – Philadelphia, PA @ Johnny Brenda’s May 30 – Washington, DC @ Union Stage
May 31 – Knoxville, TN @ Pilot Light June 1 – Nashville, TN @ Third Man Records June 2 – Memphis, TN @ Crosstown Arts June 3 – Dallas, TX @ Club Dada
Today, King Gizzard & The Lizard Wizard release a new single/video, “Black Hot Soup (DJ Shadow “My Own Reality” Re-Write),” from their forthcoming remix album, Butterfly 3001, out January 21st on KGLW. Following last month’s “Neu Butterfly (Peaches Remix)” and “Shanghai (Dub By The Scientist),” King Gizzard continue their remix streak with “Black Hot Soup (DJ Shadow “My Own Reality” Re-Write)” and expand on it with an accompanying video directed by John Angus Stewart, starring iconic Australian author, satirist, radio presenter and documentary maker John Safran, and featuring appearances from Alkiviadis Grapsas and John Dimoulas.
“’Black Hot Soup’ is an almost perfect way to describe the world as we know it in the present. A bubbling, thick, sticky, confusing angry place that seems to be made for generations long past. Therefore I wanted to portray a character somehow revelling in the chaos, dancing on the ashes of society. There is an inherent freedom watching someone hitting bottom so hard with a smile. To me it’s a non cynical representation of expression through music! As DJ Shadow fully reworked ‘Black Hot Soup’ I cast John Safran to fully re-work the song again within a performance. Calling it a dance is a stretch, I’d call it more of a full body dry heave.” – John Angus Stewart King Gizzard’s Joey Walker elaborates: “We’ve put off doing a remix album for a long time. Maybe it was conscious, maybe it wasn’t. But it’s happening now. That’s not to say that Butterfly 3000 makes the most sense to remix. It might seem like the obvious one, but it’s not. Yes it’s electronic. But so is a fridge. Have you tried to dance to Butterfly? It’s hard. It ties your shoelaces together. It’s duplicitous in its simplicity. But Butterfly 3001 expands on this. It also deviates and obliterates. We’re honoured to have such esteemed people go to work on these songs. We hope you love this album as much as we do. See you in DA CLUB!!!”
New York City’s Shilpa Ray shared “Bootlickers of the Patriarchy,” a scathing new track written about Senator Susan Collins and her infamous press conference after the Kavanaugh/Blasey Ford hearings. “It’s about women who succeed from undermining the success of other women or choose to gain success from exploiting the oppression of other women,” says Ray. “This is a character who has taken many forms throughout history, the kind of woman who seems perfectly content playing Gamma to the Alpha male. ‘Bootlicker’ is my direct challenge to the notion of ‘women supporting other women,’ as well as the falsehoods and unrealistic expectations that come with a statement like that.”
“I wrote the song to be played in two different arrangement styles, the first half being slow and haunting and the second going balls-to-the-wall rage. I was re-exploring a lot of industrial/proto-industrial music I had listened to as a teenager in the 90s and used some elements of synth/drum machine sounds to convey all that anger, panic and darkness.”
“Bootlickers of the Patriarchy” is backed with a cover of Ministry’s “I’m Not An Effigy.” Ray explains: “I was obsessed with the Ministry album With Sympathy when writing tracks for my next full length album. It is the record Al Jourgenson has stated multiple times that he’s ashamed of most, which is saying a lot considering this man’s autobiography. I teamed up with my friend Heather Elle of Flossing, formerly of post punk bands Bodegaand The Wants for this collaboration. It’s my first official recorded track where I’m playing guitar, so as the saying goes, it’s never too late to pick up a new instrument and get totally lost in it.“
The two tracks are on 7” vinyl and is available to order from Northern Spy here.
Shilpa Ray began releasing music in 2006 with her projects Beat The Devil and later Her Happy Hookers. In 2011, she began touring with Nick Cave as a backup singer and supporting act, playing under her own name and going on to release highly lauded works, including Last Year’s Savage (2015) and Door Girl (2017). Bootlickers of the Patriarchy 7” follows 2020’s standalone tracks “Manic Pixie Dream Cunt” and “Heteronomative Horseshit Blues” which earned critical praise from Paste Magazine, Brooklyn Vegan, Louder Than War, MXDWN, FLOOD Magazine, Alt Citizen, American Songwriter and Billboard, among many others.
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.
