7th Level Music

Nation of Language share “Wounds of Love.”

Brooklyn trio Nation Of Language returned last month with ‘Across That Fine Line’, announcing their new album A Way Forward to be released on 5th November 2021. Pre-order the album HERE. Today, they share new single ‘Wounds of Love’, a song about feeling directionless after an emotional breakup, with a DIY lyric video made by singer Ian Devaney himself.

Listen to ‘Wounds of Love’ HERE.

On the single Ian says, “‘Wounds of Love’ is a song about getting caught in a mental feedback loop when a relationship ends. It’s an endless inner argument – wanting to move on defiantly, but feeling utterly lost about how to do it when the other person has informed so much about how you see yourself. For every bit of progress there’s just as much retreating, and eventually it seems like this back-and-forth becomes the new root of your identity – still tied to the same person, just without them actually being there.”

He adds, “During its creation, the song was really born out of the main riff – I was experimenting with synth sounds and delay pedals, trying to find something that felt kind of like Man Machine era Kraftwerk, and this simple melody just flowed out. At first the urge was to go very robotic with it, but a laid-back groove fell into place and gave everything a really warm, spacey, stoned feeling, which felt like it amplified the emotional haze that the song deals with.”

A Way Forward is the follow up to Nation Of Language’s highly acclaimed debut album, Introduction, Presence, released in 2020 during the early stages of COVID’s merciless mayhem. Unable to promote the album in any traditional live sense, the record grew through a flurry of rave reviews and airplay from radio stations around the world, ultimately landing on year-end ‘Best of’ lists from Rough Trade, Stereogum, Paste, Under The Radar, and NME.

With the pandemic putting so much on hold, Nation Of Language (Ian Devaney, with keyboardist Aidan Noell and bassist Michael Sue-Poi), decided to forge ahead and begin work on what would become A Way Forward. While much of the sounds on Introduction, Presence garnered comparisons to the synth-punk sound of the 80’s, with this new set of songs the band delved heavily into the Krautrock pioneers and electronic experimentalists of the 70’s for inspiration in the studio, stretching their boundaries in new and different ways. Production on the record was divided between Abe Seiferth (who worked on Introduction, Presence) and Nick Milhiser of Holy Ghost!

Due to perform at the sold out Reading and Leeds Festival this year, Nation Of Language announce a January 2022 tour of the UK and EU including dates in London, Manchester, Dublin, Glasgow, and Leeds.

Tickets are on sale and available HERE.

Nation Of Language UK/EU Tour Dates:

27th Aug 2021 – Leeds Festival SOLD OUT

29th Aug 2021 – Reading Festival SOLD OUT

10th Jan 2022 – Cologne @ YUCA

11th Jan 2022 – Antwerp @ TRIX Bar

12th Jan 2022 – Amsterdam @ Paradisio

14th Jan 2022 – Hamburg @ Turmzimmer

15th Jan 2022 – Copenhagen@ Ideal Bar

16th Jan 2022 – Stockholm @ Obaren

17th Jan 2022 – Oslo @ Bla

19th Jan 2022 – Berlin @ Kantine am Berghain

20th Jan 2022 – Zurich, CH @ Kater

22nd Jan 2022 – Barcelona, ES @ Laut

23rd Jan 2022 – Madrid @ Sala El Sol

25th Jan 2022 – Paris @ Supersonic

27th Jan 2022 – Leeds @ Hyde Park Book Club

28th Jan 2022 – Glasgow @ Broadcast

29th Jan 2022 – Dublin @ The Grand Social

30th Jan 2022 – Manchester @ YES Basement

31st Jan 2022 – London @ Lafayette

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[Thanks to Amy at Prescription Music PR.]

Angel Olsen releases a cover of “Gloria” from upcoming EP of 1980’s music cover songs.

Today, Angel Olsen announces the Aisles EP, comprised of head turning covers of ‘80s classics and the debut release on her new Jagjaguwar imprintsomethingscosmic, out August 20th (digitally) and September 24th (physically). The EP features ambitious takes on five covers, including today’s “Gloria” (Laura Branigan), plus “Eyes Without A Face” (Billy Idol), “Safety Dance”(Men Without Hats), “If You Leave” (Orchestral Manoeuvres in the Dark) and “Forever Young” (Alphaville). Olsen comments, “I know it’s not really in my history to do something unintentional or just for the hell of it, but my connection to these songs is pretty straightforward, I just wanted to have a little fun and be a little more spontaneous, and I think I needed to remember that I could!”

The Aisles EP was recorded in the winter of 2020 at Asheville’s Drop of Sun Studios with co-producer and engineer Adam McDaniel. Olsen had known McDaniel for years, and became better acquainted while trying to conquer the audio of live-stream at-home performances last spring. McDaniel and his wife Emily opened their home to Olsen throughout the previous summer and made it a safe space to create and let go before beginning tracking. “I told Adam I had an idea to record some covers and bring some of the band into the mix, or add other players. I needed to laugh and have fun and be a little less serious about the recording process in general,” says Olsen. “I thought about completely changing some of the songs and turning them inside out. I’d come over to find Adam had set up five or so synthesizers, and we’d get lost on a part for a while messing with some obscure pedal I knew nothing about. We’d spend a good amount of time going through sounds before finding one or two, sometimes we’d get real weird and decide to just go with it. ”

Olsen’s take on “Gloria,” released today, crawls with reverberating synth and an arresting cello arrangement. As the song nears its end, her vocals ricochet into a dramatic vibrato. “I’d heard ‘Gloria’ for the first time at a family Christmas gathering and was amazed at all the aunts who got up to dance. I imagined them all dancing and laughing in slow motion, and that’s when I got the idea to slow the entire song down and try it out in this way.”

Angel Olsen’s Aisles EP follows the Song of the Lark and Other Far Memories Box Set, released this past spring, and her new single with Sharon Van Etten, “Like I Used To.” It is the premiere release for somethingscosmic. “I’m very excited to be introducing somethingscosmic, an imprint that will serve as the home for all my covers, collaborations, and one off singles,” says Olsen. “In this time away from touring I have been inspired to create more, and somethingscosmic will give the me flexibility to release when and how I want to with the help from my longtime partners at Jagjaguwar. The hope is that it will become a place for all of my creative endeavors, music and otherwise.”
Listen to Angel Olsen’s “Gloria”

Pre-order Aisles EP

Aisles EP Tracklist
1. Gloria
2. Eyes Without A Face
3. Safety Dance
4. If You Leave
5. Forever Young

Angel Olsen Tour Dates
Sat. Sept. 11 – Chicago, IL @ Pitchfork Music Festival
Fri. Oct. 29 – Sun. Oct. 31 – San Francisco, CA @ Outside Lands Music Festival

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[Thanks to Jessica at Pitch Perfect PR.]

Review: Anika – Change

Dreamy. Sexy. Mysterious. Alluring. Distant. Intimate. Psychedelic. Stylish. All of those adjectives could sum up Anika‘s fine new album, Change. Or they could not. Those could all be projections one puts upon the record as it shape-shifts across its span.

The opening bass and beats of “Finger Pies” sets you off on a train across Western Europe late at night and has you noticing a beautiful person across the dining car that may be a spy, murderess, hitman, painter, or tourist looking for adventure. “My intention is my intention,” Anika sings. We don’t need to know. She’s keeping that secret for now, which only makes her more intriguing.

“Critical” is a tale of danger, both of love and of delusion, told with processed dance beats. “I always give my man the last word. I always give him what he deserves, but don’t forget that little twist of cyanide in his little gift,” she sings as futuristic synths build around her like a digital cloak. The album’s title track is possibly the most uplifting song of the year. Anika encourages us to move away from illusions and comfortable patterns of behavior in order to conquer fear and embrace one another. “We could do well to listen sometimes, and not just shout around things we know nothing about. But I think we have it all inside. I think we can learn from each other. I think we can change.” It’s a great anthem for 2021 and beyond.

Anika continues that call to action on the somewhat industrial “Naysayer” with lyrics like “Youngblood, I’m calling on you. Stand, standing tall and take what’s yours. Time, time to run the show.” “Sand Witches” is downright creepy with its warped bass and Anika’s lyrics about rivers running red with blood in England – a country she barely recognizes anymore. “Never Coming Back” is a synthwave ode to things that have slipped away from us without us even noticing (“I saw the signs. I chose to ignore them. I saw all the warnings. I saw them all.”).

“Rights” is a call to women everyone to reclaim their power (“Tall, small, tiny, full and feel your power!”). “Freedom” has Anika expressing her power underneath a Terminator film score-like synth sizzle. One can’t help but think the lyrics of “I’m not being silenced by anyone…I’m not being silenced by my learned mutism…I’m not being silenced, least by you.” reflect on something that happened over the last decade. Changes is, after all, Anika’s first solo record in eleven years. The closing track, “Wait for Something,” is a mostly acoustic heartbreaker with Anika telling a tale of how she waited and waited “for something to come…for something to break through,” but realizing that holding onto the past only drags you to death.

Anika had a lot on her mind from the last decade, and she let it all out on Changes. She has spoken about how all the lyrics of the album were written on the spot without a filter or second thoughts. There is optimism and sorrow, but few pangs of regret. We could all do well to follow her example and let go of things dragging us down into a place we think is comfortable but is actually a tomb.

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[Thanks to Patrick at Pitch Perfect PR.]

Desert Daze announces its 2021 lineup.

Desert Daze makes its post-pandemic return this November with a limited capacity three-day festival and a bit of a scaled-down lineup. Don’t wait to get your tickets because they will go quick and why wouldn’t you want to go to a low-capacity festival with this many good bands playing it?

The Black Angels are always great live. Kikagaku Moyo are also legendary live performers. Tim Heidecker performing his Fear of Death album is worth the price of admission on Friday, and you also get to see Moon Duo, Ty Segall, and Deap Vally all on the same day. The Budos Band will get you grooving on Saturday. They’re a great funk band.

Tickets can be snagged right here.

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Cold Beat release first single, “See You Again,” from upcoming album – “War Garden.”

San Francisco-based band Cold Beat announce their new album, War Garden, out September 17th via Like LTD, and share its lead single/video, “See You Again.” The name War Garden is both a reference and a revelation. Although it gets its namesake from the self-sufficiency of World War II civilians to plant and grow their own food, in a more metaphorical sense it sprouted from a sense of connection, during a time where it was physically impossible to do so. The distance caused by the pandemic strengthened the bond between members Hannah Lew, Sean Monaghan, Kyle King, and Luciano Talpini Aita, resulting in an album that’s a remarkable leap from their earlier guitar-forward work. Following multiple albums and EPs, plus collaborations with notable contemporaries and icons such as Los Angeles artist Cooper Saver and Cabaret Voltaire’s Stephen Mallinder, War Garden presents Cold Beat as a fully realized unit. They openly embrace a synthesized landscape with rich harmonies and 80s pop flourishes, all while maintaining a complex emotional depth.

Rather than the sound reflecting the surrounding despair, the music is often suitable for the dance-floor, driven by steady, machine-like rhythms and ethereal vocals. War Garden calls to mind some of the greats: The melodies of Human League, the syncopation of Oppenheimer Analysis, and everything about New Order. While Lew is the front person, all members all contributed to the songwriting.

Lead single “See You Again” was written via zoom, like the rest of the album. This particular track was created in the first three months of lockdown and chronicled the feelings that came with the realization that they wouldn’t see each other for an unknown stretch of time. After Lew sat a shiva for a family friend, Monaghan sent another version of the song, and it developed into meditation on the unknown possibility of reconnecting with loved ones in the afterlife. “I had spent many months toiling in the dirt, tending to my War Garden,” says Lew. “Working with the soil is so hopeful, but also morbid. I had to bury some bulbs instead of being able to be present for the burial of a close friend. It became almost fetishistic to bury seeds, like a physical way to be there without actually being able to be there.”

The accompanying video, directed by Mimi Pfahler and shot in Lew’s yard and at Ocean Beach, was the first reconnection opportunity many had. “Among people on set I know there was a sense of transcendence – just a moment to give form to the feelings of isolation and physical need for each other that had built up,” says Lew.

Watch Cold Beat’s Video for “See You Again”

War Garden’s complexities reveal themselves piece by piece—an instrument at a time. Although some of its explorations are heavy, there’s a sense of optimism in the final beat build-up and fading choral and keyboard arrangement—a harbinger of much better things to come.

Pre-order War Garden

War Garden Tracklist
1. Mandelbrot Fall
2. SOS
3. Tumescent Decoy
4. Weeds
5. See You Again
6. Arms Reach
7. Year Without A Shadow
8. Rubble Ren
9. Part The Sea
10. Leaves And Branches
11. New World

Cold Beat online:
https://twitter.com/coldbeatsf?lang=en
https://www.facebook.com/coldbeatsf/
https://coldbeatsf.bandcamp.com/music
https://www.pitchperfectpr.com/cold-beat/
https://www.instagram.com/cold_beat/?hl=en

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[Thanks to Jacob at Pitch Perfect PR.]

Jyroscope and Montana Macks tell us to “Take It Easy” on their new single.

Today, Jyroscope – the project of MCs I.B. Fokuz, Collasoul Structure, and DJ Seanile – and producer Montana Macks release “Take It Easy,” the newest single from their recently announced collaborative EP Happy Medium, out July 23rd. “Take It Easy” is an equally composed lesson in jazz, hip-hop, and meditation. It sees the group finding a ‘happy medium’ in their lives, appreciating what they have and who surrounds them. “It just seemed like I was going through this gauntlet of horrible shit that just kept coming,” Collasoul Structure says of the single’s genesis, explaining, “I literally closed my eyes for a moment and said to myself, ‘take it easy, bring it down.’” On “Take It Easy,” Fokuz offers his rebuttal to life’s myriad of challenges: “Peace is an everyday practice when ya conscious/ just a little levity can shake up the monotonous/ I sit and meditate when I awake and let the mind rinse.”

Listen to “Take It Easy”

Happy Medium is a potent manifestation of an endless journey for balance. Over sleepy jazz samples layered in well seasoned beats courtesy of Montana Macks, the aptly-titled Happy Medium EP sees Jyroscope exploring the difficulty in maintaining a focus on one’s craft, career, and the life responsibilities that come with putting down roots and starting a family.

Preceding Happy Medium, Jyroscope released several projects including the Hip House mixtape, On The House, and the bouncy boom bap-filled, MUTEEP. With a reputation around Chicago and beyond for their polished, high energy live performances, Jyroscope teamed up with long time friend and producer Montana Macks (Chicago Reader’s 2020 runner up for Best Hip Hop producer) for Happy Medium, their best effort to date. Happy Medium is the result of over a year’s worth of work that began with a wildly fruitful session in late 2019. They felt the title best reflected where they currently are as artists and people. With their poetic rhymes and heart-felt imagery, Happy Medium makes for a captivating listen, one that is sure to have fans new and old itching to run it back well before the final note has faded away.
Pre-order Happy Medium EP

Watch the Video for “Frozen In Time”

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[Thanks to Jim at Pitch Perfect PR.]

Plattenblau release first single, “Hollywood,” ahead of new album due this autumn.

“Hollywood” is the first single from Berlin art punks Plattenbau‘s upcoming album Shape / Shifting. Sounding like Joy Division on a dark VHS soundtrack, derailing into an explosive chorus soaked in overdrive, ‘Hollywood’“ is a song about greed and infatuation depicting man’s primal impulses to take, to extract, to possess – rather than to give and to share, but ultimately evinces the belief that this cycle can be broken.

Combining icy digital synthesizers and mechanical percussion with wiry, brutal post-punk and an explosive, fiery chorus hook, “Hollywood” is a corporate ghost story dancing on the grave of ideology with howling laughter and reckless abandon. The song artfully straddles the noise-pop boundary with layers of squelchy electronics, bouncing rhythms, and lyrics about the excess and brutality of our changing world. Yet it remains fun—a disco ball reflecting the burning light of post-capitalist Armageddon across your Wi-Fi network.

“Welcome to the Plattenbau club, come in for some sweaty wall-banging group therapy under strobe lights. The video represents the safe space of the club, the concert – where we can all connect on an intuitive level, interact with mutual respect and transform our shadows in darkness, through movement, into light.”

Pre-order Shape / Shifting here: https://dedstrange.bandcamp.com/

Plattenbau formed in 2011 in the dark basement of the former Stasi HQ in East Berlin. Originally strictly a recording project, they jammed over slow grinding death rock for hours and listened back to the tapes into cold dark nights, talking alternate realities, corporate ghost stories, and the death of ideology.

In the years since they have joined the likes of Idles, Preoccupations, Flasher, The Garden, La Luz, and Naomi Punk on stage. Their first US tour in Spring 2016 included dates at Silent Barn (NY), Empty Bottle (Chi), and a run of shows at SXSW. They subsequently toured Europe extensively, and returned to the US for two tours in 2018.

Over the years, frontman Lewis Lloyd’s songs have evolved from wiry and jagged post-punk to taut, ironclad synth fortresses, mechanical and repetitive, brutal and hypnotic. Early themes of fleeting youth and wasted nights have given way to lyrics embodying the excesses and brutalities of our world. Yet somehow these songs remain fun, straddling the ever-fruitful territory between noise and pop.

“Hollywood” is the first single from Plattenbau’s sophomore album which will be released later this fall. More details to come soon.

LISTEN TO “HOLLYWOOD” HERE.

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[Thanks to Steven at Dedstrange.]

Mano Le Tough shares “Aye Aye Mi Mi” from upcoming album – “At the Moment.”

Irish producer and DJ Mano Le Tough releases a new single, “Aye Aye Mi Mi,” from his forthcoming album, At The Moment, out August 20th on DJ Koze’s Pampa Record, and announces new tour dates with more to come. Following lead single “No Road Without A Turn,” “Aye Aye Mi Mi” is an indie dance ear-worm that’s hard to shake, and is the only track on the record that survived his original batch of demos and sketches. Beat and bass heavy, it highlights Mano’s skills for melodies and compelling vocal inflections. Mesmerizing instrumental flourishes, like ascending keys, filter in and out. “It’s a kind of reflection on narcissism, social media saturation and the ego,” Mano says.

Listen to Mano Le Tough’s “Aye Aye Mi Mi”

After more than a decade of releases and touring, Mano has spent the past year at home in Zurich, rearing his young family and focusing on the positives of 14 months without performing, amid the uncertainty of the pandemic. In the face of horror, Mano channelled inspiration. With At The Moment, the follow-up to 2015’s Trails, those struggles have produced a record which balances the ambivalence of the current moment, with wistful streaks of unguarded optimism.

At The Moment shows Mano’s modes of expression evolving too. The synths and rhythms common to earlier works are now complemented with less familiar sounds and influences. Jangling guitars and sun-bleached chords envelop his own tender, plaintive vocals in a dappled wash of summery pop. Another track grounds overlapping melodies and sci-fi soundtrack pads with hip hop beats, creating a hypnotic slice of slinky retro-futurism. Where there is reflection, there is also a sense of being unafraid.
Listen to Mano Le Tough’s “Aye Aye Mi Mi”

Listen to “No Road Without A Turn”

Pre-order/Pre-save At The Moment

Mano Le Tough Tour Dates

Fri. July 23 – Las Vegas, NV @ Art of the Wild
Sat. July 24 – New York, NY @ Teksupport
Sun. July 25 – Miami, FL @ Space
Thu July 29 – Athens, FR @ Island
Sun. Aug. 15 – Bloemendaal, NL @ Woodstock
Sun. Aug. 16 – Berlin, DE @ TBD
Mon. Aug. 17 – Verbier, CH @ Electroclette
Fri. Aug. 27 – Lincolnshire, UK @ Lost Village

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[Thanks to Patrick at Pitch Perfect PR.]

Gordon Koang’s new single tackles COVID-19.

Legendary South Sudanese pop star Gordon Koang announces his Coronavirus / Disco 12”, out August 4th via Music in Exile. This double-A-side release shares Gordon’s messages of peace, love and positivity, and is his first offering since 2020’s “idiosyncratically joyous” (Bandcamp) Unity. “Coronavirus” was penned by Koang in July 2020 as a response to his personal experiences of the global pandemic. As his hometown of Melbourne went into lockdown, Gordon resided in the city’s outer suburbs with his cousin, Paul Biel, and his four-stringed, guitar-like instrument, the thom. Throughout this single, Gordon offers his condolences to those affected by the pandemic, alongside messages of his faith in frontline workers and the hope that circumstances will improve soon. “People suffer a lot. I ask that God gives the doctors the big wisdom to defeat the coronavirus. When people hear my song, I hope that this music counsels them. The song has a lot of meaning, it is telling them to be hopeful.”

Listen to Gordon Koang’s “Coronavirus”

With the cancellation of a national tour and numerous festival appearances, Covid-19 had not only impacted Gordon’s career here in Australia, but also his opportunity to visit family he hadn’t seen in five years. After receiving Australian permanent residency, Gordon and Paul were now able to visit family in Uganda, however this was made incredibly difficult due to border closures and the potential health risks. Taking a last minute opportunity, Gordon and Paul travelled to Africa and whilst excited to visit their families, they also experienced the impact of the pandemic on their home communities. “In Africa, it is not like us here, there is no medicine and in Africa there is also no Centrelink if you are in lockdown. It is difficult getting services. Even getting food is difficult.”

After two weeks in hotel quarantine, Gordon and Paul returned to Melbourne, eager to record music once more. With lockdown lifting, Gordon headed to the studio with a new band featuring Zak Olsen (ORB, Traffik Island) Jack Kong (Baked Beans, Traffik Island), David “Daff” Gravolin (ORB), and Jesse Williams (Leah Senior, Girlatones). This new release is the result of these studio sessions, jamming and recording at Button Pusher in Preston, Melbourne.

The Coronavirus / Disco 12” will feature a pull-out poster from Gordon, encouraging listeners to stay positive during this difficult time:

“My condolences to you, my audience in lockdown. We are all suffering from coronavirus. Let us stand firm and be strong. Let us look after each other, until the time comes when God brings us together. I give my condolences to people who have died of coronavirus, in aged care and disability. We are heartbroken for everyone. Let us take it easy, and pray in our houses, all around the world. If you believe in God, pray to the God you believe in, and they will help you. God will give us the chance to go back to normal and open all events. Even if it is a bad time now, there will be a change and it will be a good time for us. Thank you to everyone.” – Gordon Koang

Pre-order Coronavirus / Disco 12”

Purchase Unity

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Review: A Place to Bury Strangers – Hologram

Coming in with a new lineup (Oliver Ackermann – guitar and lead vocals, John Fedowitz – bass, Sandra Fedowitz – drums), a new label (Dedstrange), and a return to their early shoegaze roots, A Place to Bury Strangers‘ new EP, Hologram, is filled to the brim with pent-up energy created from a year of being stuck in the house and watching most of the world go at each other’s throats instead of coming together in a time of crisis.

The opening processed and live beats of “End of the Night” are perfect for your morning walk with the dog or your bad-ass strut into a dark club where you’re going to perform a hit. John Fedowitz’s bass line ignites the spark of Ackermann’s gasoline guitar while he sings about the end of friendships in his old band (“Now that the friendship’s gone, I miss it to pieces.”), taking a breath, and moving forward with his new one. The My Bloody Valentine influence on APTBS is undeniable on the track, as it almost sounds like it was left out in the sun to warp.

“I Might Have” has a cool 1960s garage rock feel to it, if that garage is on fire and located next to a busy railroad line while Ackermann’s voice echoes almost to the edge of incomprehension. “Playing the Part” reminds me of some early Cure cuts while Ackermann sings about life continuing after bad times have come and gone (“Who doesn’t enjoy the sun?”).

“In My Hive” could well be the theme for everyone who made it through 2020. We were all stuck in our own hives, sometimes busy as bees working to make any sense of the world and restructuring our lives. Ackermann was not only restructuring his life, but also his band / livelihood, and launch a record label. The track has a great driving, industrial beat throughout it, leaving one to wonder if Sandra Fedowitz is a cyborg. John Fedowitz’s bass is subtly in the lead of “I Need You,” with Ackermann singing a lovely shoegaze tale of loss that wouldn’t be out of place on a Slowdive album.

This new direction for APTBS is an intriguing one. The band is exploring loss and also embracing new avenues and possibilities. Ackermann and John Fedowitz, longtime friends, were formerly in the underground shoegaze band Skywave and have now come back together for a new venture. Only APTBS know where this will take them. We’re just holding on so we don’t fly off their sonic bullet train.

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[Thanks to Dedstrange and to Patrick at Pitch Perfect PR.]