Out now on Loma Vista Recordings.
While the album follows the highest charting album of Iggy’s career, Free has virtually nothing in common sonically with its predecessor—or with any other Iggy Pop album.
On the process that led Iggy and principal players Leron Thomas and Noveller to create this uniquely somber and contemplative entry in the Iggy Pop canon, Iggy says:
“This is an album in which other artists speak for me, but I lend my voice…
By the end of the tours following Post Pop Depression, I felt sure that I had rid myself of the problem of chronic insecurity that had dogged my life and career for too long.
But I also felt drained. And I felt like I wanted to put on shades, turn my back, and walk away. I wanted to be free. I know that’s an illusion, and that freedom is only something you feel, but I have lived my life thus far in the belief that that feeling is all that is worth pursuing; all that you need – not happiness or love necessarily, but the feeling of being free.
So this album just kind of happened to me, and I let it happen.”
Full tracklisting for Free:
2. Loves Missing
4. James Bond
5. Dirty Sanchez
6. Glow In The Dark
8. We Are The People
9. Do Not Go Gentle Into That Good Night
10. The Dawn
For further information, stay tuned to Iggy’s site and socials.
Denzel Curry recently announced his new album and shared a new single, SPEEDBOAT. This album is called ZUU and arrives just 10 months after the release of his critically-acclaimed breakout album TA13OO in 2018. The new single, “SPEEDBOAT,” follows “RICKY” as the latest offering of new music from his forthcoming album, which finds Denzel returning to his South Florida roots both sonically and thematically. The track sees Denzel meditating on the consequences of living the fast life, masterfully bouncing between melodic moments and combative bars as he refuses to fall victim to the violence that plagued his childhood in Miami.
The new single coincides with Denzel also announcing a headlining European tour in December, with tickets going on sale this Friday. He recently played a homecoming set at Miami’s Rolling Loud to a raucous crowd, as he gets set to join Billie Eilish on tour across North America. Beginning May 29 in San Francisco and ending July 13 in San Diego, Denzel will be accompanying Billie across 18 dates with festival appearances at Lollapalooza, Osheaga and Outside Lands to follow in August. Denzel will then join the $uicideBoy$ on a North American tour run beginning July 27 in San Diego and concludes August 23 in Los Angeles.
Hear “SPEEDBOAT” above, find full tour routing and more album details below and stay tuned for more from Denzel Curry coming soon.
GRAMMY® Award- and Academy® Award-winning artist, rapper, actor, philanthropist, and New York Times best-selling author Common recently unveiled a new single and music video entitled “H.E.R. Love” [feat. Daniel Caesar with special guest Dwelle].
It heralds the arrival of his anxiously awaited debut for Loma Vista Recordings,
Let Love Have The Last Word, coming very soon.
In his lexicon, “H.E.R.” is short for “(Hip-Hop in its Essence is Real)” and would be
first introduced on 1994’s “I Used To Love H.E.R.” The tradition continued on his
verse from The Roots’ “Act Too (The Love Of My Life” off Things Fall Apart in
1999 and within his bars from Erykah Badu’s “Love Of My Life (An Ode To Hip-Hop).” Now, the spiritual successor, “H.E.R. Love” doubles as his rap “State of the Union Address.”
Boasting an unheard beat by longtime collaborator the late and great J Dilla, the
soulful production underscores rhymes celebrating the culture from Jam Master
Jay all the way to Lil Uzi Vert, Nipsey Hussle, and Cardi B. It illuminates the
genre’s power to him as he claims, “You see a Malcolm X in a YG.” Of hip-hop,
Common admits, “You gave me a voice in the world, it’s been hard to choose
For the cinematic music video, he tapped the talents of director Savannah Leaf
[Gary Clark, Jr]. The clip intercuts intimate vignettes with impressionistic
explorations of urban culture, developing a captivating narrative befitting of the
song’s homage to hip-hop. It stands out as a thought-provoking visual statement
bearing the same heft, heart, and high art of the track and lyrics.
For Sophie Allison, aka Soccer Mommy, color theory is a distillation of hard-won catharsis. The album confronts the ongoing mental health and familial trials that have plagued the 22-year-old artist since pre-pubescence, presenting listeners with an uncompromisingly honest self-portrait, and reminding us exactly why her critically-acclaimed debut, 2018’s Clean, made her a hero to many. Wise beyond her years, Allison is a songwriter capable of capturing the fleeting moments of bliss that make an embattled existence temporarily beautiful. With color theory, Allison’s fraught past becomes a lens through which we might begin to understand what it means to be resilient.
Clean demonstrated Allison’s nuanced approach to lyricism and her disinterest in reducing complex emotional worlds into easily-digestible sound bites. On it, she projected the image of a confused but exceedingly mature teenager — the type to offer up life-saving advice while cutting class under the bleachers. Clean led Soccer Mommy to sell out tour dates and play major music festivals around the world on top of opening for the likes of Kacey Musgraves, Vampire Weekend, and Paramore. A grueling touring schedule made it so that Allison had to get used to writing on the road, a challenge that exhilarated her. She wrote dozens of songs in hotels, green rooms, and in the backseat of the van. The ones that make up color theory were recorded in her hometown of Nashville at Alex The Great, a modest studio where the likes of Yo La Tengo have recorded, just two miles from her childhood home. Produced by Gabe Wax and engineered by Lars Stalfors (Mars Volta, HEALTH, St. Vincent), color theory’s sonic landscape is vast and dextrous, illustrating how much Allison has evolved as a musician and matured as a person over the past year. The melodies on color theory shimmer on the surface, but they reveal an unsettling darkness with each progressive listen.
“I wanted the experience of listening to color theory to feel like finding a dusty old cassette tape that has become messed up over time, because that’s what this album is: an expression of all the things that have slowly degraded me personally,” Allison says. “The production warps, the guitar solos occasionally glitch, the melodies can be poppy and deceptively cheerful. To me, it sounds like the music of my childhood distressed and, in some instances, decaying.” Allison used a sampling keyboard and string arrangements drawn from old floppy discs to lend color theory a timeworn aesthetic. She also opted to enlist her band in the recording process, which hadn’t been the case on any of her earlier releases. “At the base of every song on color theory is a live take done to tape. This album reflects our live performance, which I’ve grown really happy with,” she says.
color theory is thematically subdivided into three sections, each of which is named for a color that distills the mood Allison wanted to freeze in time. We begin with blue, a color that evokes a certain melancholy, and for Allison, illuminates depressive episodes and memories of inflicting self-harm. On “circle the drain,” she admits that “the days thin me out or just burn me straight through” over a swirling, guitar-driven arrangement that inspires a sense of ease in spite of the distressing lyrical content. The next section is represented by yellow, a color that points to illness, both mental and physical. “My mom has been terminally ill since I was a pre-teen, and I never really found a way to deal with it,” Allison says. “On ‘yellow is the color of her eyes,’ I sing about a period when I was on an international tour and kept feeling like my time with her was ticking away.” Lackadaisical from the outset, the song marries its relaxed arrangement with gutting lyrics that will ring true to anyone who has ever witnessed a loved one’s health decline.
The final section, represented by gray, addresses that fear of loss directly. “Watching my parents age and witnessing sickness take its toll made me think a lot about the cycle of life, and forced me to confront the paranoid sense that death is coming for me,” Allison says. On the color theory’s closer, “gray light,” she doesn’t shrink from the terrifying promise of death’s inevitability and instead gives herself over to it completely. Atop a faded, oceanic bed of instrumentation, she unflinchingly admits, “I see the noose/ It follows me closely whatever I do.” But it’s not all tragic, and moments of lightness appear on this album, too. Take lead single “lucy,” which navigates an all-consuming dread with cunning wit and showcases Allison’s deft songwriting prowess. Here, she pleads with a devilish character and succumbs to his cruelty just as easily as she delights in his attention. “That irks me — that I’m falling down/ From heaven through the Earth/ To hellfire to wear his crown,” she sings, the twinkling instrumentation taking on an eerie, unsettling bent as the song progresses.
color theory investigates a traumatic past in exacting detail; in doing so, Allison finds inroads for healing through self-acceptance, and occasionally, humor. (“I’m the princess of screwing up!” she declares at one point.) This isn’t a quest to uncover some long-since forgotten happiness so much as it is an effort to stare-down the turmoil of adolescence that can haunt a person well into adulthood. Allison is a gifted storyteller, one who is able to take personal experience and project it to universal scale. On color theory, she beckons in outsiders, rejects, and anyone who has ever felt desperately alone in this world, lending them a place to unburden themselves and be momentarily free.
Like most of Robert Glasper’s projects – the Emmy and three-time Grammy winner’s approach to Fuck Yo Feelings was born of pent up passion and brought to life with spontaneity. Incubated in a fraught political climate, Glasper felt driven to use his singular standing and network to make a statement, while also reviving the lost art of creative improvisation through an approach to collaboration only one of the world’s most respected musicians could dare to pull off.
On a whim, Glasper booked Henson Studios in Los Angeles for two days in late May 2019. He called up his day ones – drummer Chris Dave, bassist Derrick Hodge, and DJ Jahi Sundance (the former two of which he had not recorded with since Black Radio over 8 years ago) – to come down and jam. With the foundation in place, he stocked a bar and thumbed texts to photographers, friends, family, musicians, singers, rappers, and poets to come by and hang and see what comes. Two days later, 85% of the Fuck Yo Feelings mixtape, Glasper’s latest musical project, was done.
“I wanted to use my network as a platform. I wanted to acknowledge that channeling frustration through art can be therapeutic,” he says of the impetus for the mixtape. Channeling jazz’s juke joint and speakeasy origins, a grip of curious onlookers stopped by to have drinks, hang out, listen, swerve and in some cases, participate in the music. With no more than his texts and years of banked goodwill, Glasper brought together both legends and breaking artists from rap, jazz, R&B, and neo-soul, for a historical, live collaboration.
“As we were jamming, SiR was writing songs. We would hit something, a certain groove, and come out of the booth, and he’d say, ‘I wrote something to it.’ It was really off the cuff how everything happened,” Glasper recalls. Affion Crocket penned the spoken word intro on the spot. Jazz giant Herbie Hancock played on several songs, including one with YBN Cordae (the rapper wrote his verse while sitting at the bar in the studio, listening and sipping a drink). West Memphis songstress Yebba was in the area and ended up collaborating on the title song, and multi-instrumentalist Terrace Martin played synths on what would become “This Changes Everything.”
The end result, which also features contributions from Bilal, poet Staceyann Chin, Yasiin Bey, Andra Day, Denzel Curry, and more, wasn’t made to be a jazz album – there are elements of R&B, hip-hop, and experimental music – yet it embodies the purest spirit of jazz. It feels immediate, visceral, alive, and important. Only Glasper, with his big personality and respected pedigree, could have served as the nucleus for this moment. He describes it best: “I always say I feel like black music is a big house, and I just like to go room to room. I’m gracious and I’m honored that so many amazing artists rock with me.”
Fuck Yo Feelings is a comprehensive document subverting its would-be genre… offering an inspired dissemination of musical ideas from the dispora of what might otherwise be called “urban music”. It reincarnates and re-imagines the spirit of jazz as an affront to the conventional, a snubbing of cultural norms and a means to flip off hegemonic structure.
“Fuck Yo Feelings is really just an acknowledgement of the struggle that’s not yours, and putting your feelings aside. It’s like, this is what I’m going through. Fuck your feelings, this is real. And fuck your feelings, this is real for us.”
(And from the lawyers: No endangered turtle’s feelings were hurt in the making of Fuck Yo Feelings.)
Shaving their heads, grabbing guitars, and pulling no punches, Overcoats etched a ten-song battle-cry on their second full-length album, The Fight [Loma Vista Recordings]. Their vision is not about picking up arms, but rather about picking oneself up. It’s the kind of record that might inspire you to quit your job, run a marathon, divorce your husband, change your life in the way you always wanted to, but needed an extra push for. This is the push…
As New York-natives Hana Elion and JJ Mitchell wrapped up touring behind their critically acclaimed 2017 debut YOUNG, it seemed as though the world was collapsing around them. There was no choice but to fight. “We lost friends to addiction and to gun violence, we were battling an extremely tough political climate, and feeling the weight of existential loneliness,” admits Hana, “We had to learn how to take care of ourselves and each other in a different way.” “There was a realization that we couldn’t wait for life to get easier,” adds JJ. “The idea you have to fight for who you are, what you want, and what you hope to see in the world became poignant for us. We realized the thing to do is not to wait for life to get easier, but to start fighting harder.”
So, they donned guitars in a shared New York city apartment and wrote the soundtrack to their fight. Hana and JJ personally assembled a team around themselves to help support their vision. Within a self-contained environment and under the watch of one London-based creative director, two LA-based producers, and, of course the two creators, the album came to life. They even self-produced a music video in which they shaved each other’s heads. Yes, that’s right. They shaved each other’s heads. They agree, “We decided it was time to take matters into our own hands and shock some people. We needed to become warriors to fight for the future we wish to see in the world.”
Inspired by everything from Young Marble Giants to The Violent Femmes to Iggy Pop, Overcoats rooted this next chapter in electric guitar and punk energy culled from nearly two years on the road. At the same time, they tempered the energy with a vulnerable vitality and irresistible catchiness. JJ explains, “The new music is a bit grittier and more rock-leaning, but there has always been and will always be a through-line of our voices singing in harmony.” “This album is going to break your heart, but also try to put it back together,” states Hana. “Allowing the guitar to dictate the sound, we tried to represent all of the stages of what this realization was. It’s not just depression, anger, and sadness; it’s the motivational stage too. It’s the pop song that helps to distract you from your sadness. It’s a call-to-arms to pull yourself up by your bootstraps and fight to stay alive.”
In early 2019, they committed this vision to tape alongside producer Justin Raisen [Angel Olson, Charli XCX, Santigold] and Yves Rothman [Courtney Love, Yves Tumor, Miya Folick]. “We’re always very D.I.Y.,” comments JJ. “We weren’t going to wait for some fancy producers and pop writers to pen us a record. We wrote it ourselves. We needed the right partners to record it. That’s Justin and his secret weapon, collaborator, Yves. They’re both as crazy as we are. They understood our vision: future-classic bangers.”
Finding a kindred creative spirit, Overcoats cranked out sticky sweet pop subversion tightened up to Swedish standards under a Seattle grunge haze – all initially born out garage band demos of guitar and voice, made in those apartments. Overcoats introduced this body of work with “The Fool.” Neon synths, disco beats, and a hummable bass bop glimmer between catchy confessions such as “Somedays, I’m a warrior. Somedays, I’m out of my mind.” It culminates on an immediately irresistible gang vocal chant upheld by glitchy distortion.
“We wrote it based on ‘The Fool’ tarot card,” says JJ. “It signifies taking a leap of faith and jumping into the unknown. Conceptually, it felt like the beginning of the project. We wiped the slate clean and decided to jump. That’s why the video includes the footage of us shaving our heads. We’re ‘The Fool’; we’re making our leap.” “It’s an empowering message,” continues Hana. “I don’t need to be defined by the opinions of others or go with the status quo; I can be myself.”
Rattling percussion and resounding keys underscore “Leave If You Wanna,” which builds towards a melancholically danceable bridge. JJ states, “It’s about stubbornness and ego that will get you in a lot of trouble in fights with your partner, family, or anyone. Perhaps, it’s the doubt that creeps in after you jump.”
“Keep The Faith” hinges on fuzzed-out nineties guitars and a hunkering drum roll as it transmits a stark valentine between the battle. “It’s a straight-up love song,” Hana goes on. “We decide to let our armor down, because you’ve got to keep the faith.”
“Fire & Fury” encapsulates many of the themes. JJ writes, “It’s a battle-cry against climate change and the myopic vision of those in power. It’s also an intimate look at a perpetual fight with your partner.” Hana responds, “Through the darkness, there is light. We have to have hope even as the world around us appears to crumble or go up in flames.” The track remains dark and brooding as well as hopeful and anthemic. An understatedly pop pre-chorus mounts in the background. Soon, a thunderous kick drops into a wall of guitars and synth bass as the duo scream, “There’s a fire, there’s a fury. Sky is falling, but we’ll get through it.”
At some point, all ten songs incorporate the word “Fight.” The title track sums up the vision as a whole. “It’s representative of what the story is,” explains Hana. “The word manifested itself in every lyric, but it goes back to our first call about the theme. Late one night, JJ called me and said, ‘I wrote something, I think it’s called ‘The Fight’. It applied to everything we felt. The more the shit hit the fan, the more it became so relevant.” When Hana heard the song she said, “‘The Fight,’ – that’s what this story is called.” And then, they both cried.
“ Each song on this record draws on the concept of fighting – whether it’s a fight with a significant other, a fight for rights and representation in politics, or a fight against inner demons,” says Hana.
Overcoats draw the same unfettered emotion from listeners. Since forming out of a Wesleyan dorm room in 2015, Hana and JJ quietly molded provocative pop into power. YOUNG stood out as “one of the Top 5 bestselling albums from a debut artist on an independent label in 2017,” bowed at #4 on the Alternative New Albums Chart, and landed at #12 on the Heatseekers Chart. Billboard touted YOUNG among “The Best Albums of 2017 – Critics Pick,” and NPR Music named it the “#4 Album of 2017” in addition to praise from New York Times, NPR, Entertainment Weekly, and more. Additionally, they toured alongside Mitski, Tennis, Rhye, Matt Corby, The Japanese House, and Joseph.
By crafting and recording The Fight, they continue their journey, encouraging listeners to fight alongside them. “I want people to feel revved up,” Hana leaves off. “I want them to feel like things they thought were futile are possible. I want them to feel excited for the future. We have to keep trying. In trying, I want people to feel powerful in who they are.”
Skegss are an Australian power trio that combine surf, slacker, and garage elements to create their own dynamic sound
“Skegss deal in short garage-punk blasts of the kind that usually come replete with a skateboard, a spliff and a weary sigh from your Mum. But though Skegss tick many of the classic shambolic boxes, there’s something a little more self-aware going on in ‘My Own Mess’ than just a fug of drugs, booze and good times” – DIY
Andrew Bird confirms the release of his forthcoming album, My Finest Work Yet, due March 22 on Loma Vista Recordings. Preorder the album here. The record features ten songs including the new single, “Sisyphus,” which debuts today—watch/share here, stream/purchase here.
My Finest Work Yet finds Bird grappling with themes of current day dichotomies and how to identify a moral compass amidst such divisive times. “I’m interested in the idea that our enemies are what make us whole—there’s an intimacy one shares with their opponent when locked in such a struggle. If we were to just walk away would our enemies miss us? How did we get to this point and how can we, through awareness of it, maybe pull ourselves out of this death spiral,” says Bird.
He tackles these topics with a more direct songwriting approach than his previous releases, taking greater risks both lyrically and in recording. Bird and the band taped all the songs live without headphones or separation attempting to create a sound where all instruments bled into each other’s microphones. Of the new music, Bird reflects, “There is a certain optimism to this record…it’s pretty up musically though it doesn’t pull any punches when it comes to the lyrics.” Produced by Paul Butler, My Finest Work Yet was recorded at Barefoot Recordings in Los Angeles, CA.
The new single, “Sisyphus,” is titled after the Greek king punished by Zeus for trying to outsmart the gods and cheat death. Bird shares that the track, “is about being addicted to your own suffering and the moral consequences of letting the rock roll.” His previous single, “Bloodless,” which debuted in November along with the track’s official music video (directed by Matthew Daniel Siskin), also appears on the new album—watch/share here. Written after the 2016 election, Bird states, “‘Bloodless’ has always been the template for the rest of the album,” furthering, “it took me a while to step back and say, ‘What can I say that’s going to be helpful?’ I feel like if I’m going to contribute to anything, it should be coming from some perspective that we haven’t yet thought about.”
Andrew Bird is an internationally acclaimed multi-instrumentalist, vocalist, whistler and songwriter who picked up his first violin at the age of four and spent his formative years soaking up classical repertoire completely by ear.
MY FINEST WORK YET TRACK LIST
4. Cracking Codes
7. Proxy War
9. Don the Struggle
10. Bellevue Bridge Club
Arizona rap trio Injury Reserve has announced their debut album Injury Reserve
for May 17th via Loma Vista Recordings. The group, consisting of MCs Ritchie
With a T, Stepa J. Groggs and producer Parker Corey are the rap game Talking
Heads with a Mystery Science Theater-like commentary on art and culture.
Through the depths of the internet, they’ve always been ahead of the curve
musically and aesthetically amassing a devout fan base whose only grown with
the release of the first two singles/videos for “Jawbreaker” ft. Rico Nasty and
Proteens and “Jailbreak The Tesla” ft. Amine. “Jawbreaker” stirred up needed
conversation calling out some of fashion’s problematic figureheads. Pitchfork
pointed out that “Injury Reserve’s creativity is on display in both the song and
video and the collective continuing to push the culture’s hand on an increasingly
bold Ian Connor and its blatant disregard of abusers, is an added bonus.” The
weekend after “Jailbreak The Tesla” dropped, someone literally hacked a Tesla
Injury Reserve is art scene shit stirrers and with the release of each new video
we’re witnessing it in real time; just one of the many reasons influential A&R
Kyambo “Hip Hop” Joshua signed them to their new label home. The new single
and video for “Koruna & Lime” directed by IR member Parker Corey, who directs
all the groups videos, might be their most impressive visuals to date. Taken in
one shot, the M.C. Escher-esque cinematography explores impressive camera
use and angles solidifying Corey’s excellence as a director on top of being an
already admired producer. The song itself features additional scratching from A-
Trak that Corey interestingly explores through the camera lens.
These are heavy times. You can feel a deep anxiety about the future seeping into every genre of music. For a while, drugs or dancing or escapism could keep it at bay. That’s not enough anymore.
HEALTH has always pushed the edges of that aggression. From its twitchy 2007 debut, through its groundbreaking 2012 score for Rockstar Games’ “Max Payne 3” and 2015’s landmark LP “DEATH MAGIC,” the L.A. band snuck beauty and rigor into blinding noise. They draped moody violence over trap beats and warehouse raves alike.
Few artists were better prepared to confront the confusion of life in 2019. With its new album “VOL4::SLAVES OF FEAR,” the trio has not only made the heaviest, most genre-obliterating album of its career. They’ve documented just how frightening it feels to be alive right now.
“VOL4::SLAVES OF FEAR” will be the most ferocious album of 2019 across every genre it touches.
Over the last year, the band hinted at a new range and ambitiousness. Shows with black-metallers Deafheaven and R&B-savvy rockers The Neighbourhood led to single collaborations with indie heroes Purity Ring and Soccer Mommy, French techno brutalist Perturbator and L.A. industrial fiends Youth Code (with plenty more to come).
Meanwhile, the band covered New Order’s “Blue Monday” for the Charlize Theron-starring action film “Atomic Blonde,” while honing its radical new approach to contemporary heavy music.
From the sample-triggered thrash metal of “THE MESSAGE” and “GOD BOTHERER,” to the bone-scraping sub-bass of “FEEL NOTHING” and “BLACK STATIC,” this is HEALTH at its most lacerating yet. With longtime producer Lars Stalfors (Lil Peep, St. Vincent, Bob Moses), they’ve upended their sound palette for our post-everything era: “NC-17” feels like Arabic bass music dragged through hell; “RAT WARS” groans with derelict, slow-rolling L.A. funk.
“VOL4::SLAVES OF FEAR” uses every tool in contemporary production to make a terrifying, exhilarating LP. But beneath all of that, “VOL4::SLAVES OF FEAR” also has some of the most vulnerable and evocative songwriting of HEALTH’s career.
In the lyrics, singer Jake Duzsik confronts death, isolation and hopelessness with an uncommon candor and intimacy. Album closer “DECIMATION” is the most radical move in the band’s catalog to date: a gorgeous guitar ballad, a plea for purpose and meaning in a time that makes both feel impossible.
“VOL4::SLAVES OF FEAR” is out on Loma Vista Recordings on February 1,2019.
LINKÖPING, SWEDEN – APRIL 13, 2018 – Grammy® Award-winning band Ghost today announced their fourth sacred psalm Prequelle (pronounced prē-KWELL) will be released on June 1, 2018 via Loma Vista Recordings. Prequelle is available for pre-order starting today HERE. Limited edition bundles featuring Colored Vinyl with 3D Lenticular Cover Art, 8-Track Cartridge, Cassette Tape, “Rats” die cut picturedisc, plague mask, musical eucharist case, pins, and more available exclusively in the Ghost Shop here HERE.
Fans have come along for the ride for years, not knowing for certain who was behind the anonymous band… that is, until Tobias Forge recently revealed himself as the man behind Ghost. Each album is more like a film release than a record release. In addition to serving as director, Forge conceives the role of every character, and oversees everything from the screenplay to video to wardrobe design to artwork to cinematography to soundtrack.
In an interesting twist in Ghost’s saga, Cardinal Copia has been appointed to take over vocal duties for the forthcoming psalm. Meet him HERE. Lyrically, Prequelle delves into the plague, the apocalypse, and dark ages. The entire body of work is also a snapshot of the world in which we live in on a daily basis, brought to life through an emotive, enlightening, and riveting body of songs.
Ghost today also shared Prequelle’s lead single “Rats” with an accompanying music video directed by Roboshobo. Watch the video HERE. “Rats” is available to stream and download now via iTunes, Apple Music, Spotify, Amazon, and Google Play. Fans who pre-order Prequelle will receive an instant download of the track.
Prequelle follows Ghost’s third studio album, Meliora, and its accompanying EP Popestar, which elevated the Swedish rock band into the pantheon of the greatest rock bands on earth and resulted in a Grammy® Award for ‘Best Metal Performance’. Meliora debuted at No. 1 at Independent Retail, No. 2 at Rock, and in the Top 10 on Billboard’s Top 200 Album Chart, selling over a quarter million copies globally. The band made their network television debut performing the album’s lead single “Cirice” on CBS’s The Late Show with Stephen Colbert. Popestar debuted at the No. 1 position on Billboard’s Top Rock Albums and Hard Rock Albums chart and produced an Active Rock chart topper with “Square Hammer”.
Marilyn Manson confirms his new album, Heaven Upside Down. The new single “WE KNOW WHERE YOU FUCKING LIVE” trolls the dark frenetic territory that made Manson a God-like figure to so many. The ten tracks on Heaven Upside Down were recorded in Los Angeles and create a cinematic sonic palate that harkens back to the ferocity of seminal Manson albums Portrait of an American Family and Holy Wood. On the new album, he reunites with producer and film composer Tyler Bates following an epic collaboration on Manson’s critically acclaimed 2015 release The Pale Emperor.
Themes of violence, sex, politics and romance slice through Heaven Upside Down. Manson asks his fans to brutally pledge their devotion on “KILL4ME” and delves into new genres with a trap beat on the track “SAY10” as he proclaims “I’m a legend, I’m not a fable.”
Manson’s sensationalist music and art that rejects conservative values created an icon who has infiltrated fashion, television, film and music, and whose fingerprints coat modern culture. 20 years into his career, Manson is still a lightning rod of controversy and the pageantry and debauchery of his life are perfectly intact.
HEAVEN UPSIDE DOWN TRACKLIST:
1. Revelation #12
2. Tattooed In Reverse
3. WE KNOW WHERE YOU FUCKING LIVE
7. JE$U$ CRI$I$
8. Blood Honey
9. Heaven Upside Down
10. Threats of Romance
St. Vincent – aka Annie Clark – has announced her new album, ‘MASSEDUCTION,’ to be released October 13on Loma Vista Recordings. Themes of power and sex, imperiled relationships and death slice through the album, Clark’s first since her 2014 breakout ‘St. Vincent.’ The thirteen tracks on ‘MASSEDUCTION’ swirl with guitar and piano, synths and strings, and drum beats that punch with purpose. The album was co-produced bySt. Vincent and Jack Antonoff at Electric Lady Studios in Manhattan, with additional recording at Rough Consumer Studio in Brooklyn, and Compound Fracture in Los Angeles.
“Every record I make has an archetype,” says Clark. “‘Strange Mercy’ was Housewives on Pills. ‘St. Vincent’ was Near-Future Cult Leader. ‘MASSEDUCTION’ is different, it’s pretty first person. You can’t fact-check it, but if you want to know about my life, listen to this record.”
‘MASSEDUCTION’ is the culmination of years of writing, with songs crafted from voice memos, text messages, and snippets of melodies that came to Clark while traveling the globe. Special guests on the album include Thomas Bartlett on piano, Kamasi Washington on saxophone, Jenny Lewis on vocals, and beat production from Sounwave. Greg Leisz and Rich Hinman add pedal steel, and Tuck and Patti Andress contribute guitar and vocals respectively on select tracks.
St. Vincent’s 2014 self-titled album was her best-reviewed and best-selling to date, topping many year-end lists and culminating in her first GRAMMY® nomination and win for Best Alternative Music Album in 2015. Shortly after the album’s release Clark performed with a re-formed Nirvana at the 2014 Rock & Roll Hall of Fame Induction Ceremony and on the 2014 season finale of Saturday Night Live. In 2015 Clark won the ASCAP Vanguard Award and she was 2017’s Record Store Day Ambassador.
‘MASSEDUCTION’ TRACK LIST:
1. Hang On Me
5. Los Ageless
6. Happy Birthday, Johnny
8. New York
9. Fear The Future
10. Young Lover
11. Dancing with a Ghost
12. Slow Disco
13. Smoking Section
Sam and Jerome work in a converted medical clinic near the intersection of Wilshire and Bonnie Brae. In the former examination room, drum machines and samplers rest on sawhorse tables. A black-and-white American flag hangs over a mixing desk made from gray block and plywood. Outside their window, the green concrete stairs are coated with scars. An immense stump supports a pile of deceased fronds and deserted wet mops. The pulse of MacArthur Park pushes through a tangle of bushes and barbed wire.
In January, 2015, the duo learned by phone that the building was being sold. A reaction was hammered out on keyboard. Simple chords, frustrated but motivated. Nothing was settled, nothing certain. Within two days, the piano loop became a complete demo for “You Don’t Have To Be Alone.” It set the tone for nine more. Together, those songs became Stand Up And Speak.
Inspired or not, they convened in the room five days each week. Locals nourished the music. The man who sings the title track works as a doorman at a downtown hotel. Live drums were recorded in the living room of a Filipinotown mansion. The city’s sounds were sewn into songs. A Korean church’s morning din.
Nighttime traffic headed west on the 10 Freeway. Sidewalkers passing the Body High studio without awareness of anything inside.
Stand Up And Speak was completed in September. Beneath Sam and Jerome’s studio, a team of seamstresses makes dresses through the night. Next door, a community organizer counsels Salvadoran immigrants. To not disturb the religious services he holds in his cramped office, DJDS breaks on Sundays. The building has been sold, but no one has left. Together they wait for whatever change comes next.
Words by Sam Sweet
A Black Mile to the Surface out July 21, 2017 via Loma Vista Recordings
Manchester Orchestra had always prided themselves on their approach. The Atlanta-based band, led by singer/lyricist Andy Hull with Robert McDowell (who is also Hull’s brother-in-law and lifelong friend), had spent their career challenging each other to build a poignant, exhilarating narrative with each new album and EP. The band had worked relentlessly to cultivate a passionate fan base the old-fashioned way: releasing music, making music videos, and touring (most recently with drummer Tim Very and bassist Andy Prince). Their previous long-player, 2014’s Cope, had even spawned a cover album of itself by its creators, an acoustic-reworking and reimagining of its songs with a heavily emotional bent that they called Hope. But now — thirty years old, stable, and a first-time father — Hull found himself facing a crisis of inspiration. Since the beginning, each subsequent Manchester Orchestra album had been a grand statement for that specific moment in their career, originated in a desire to push themselves forward creatively. The desire to achieve greatness is often followed by a need for that same desire to evolve. So, for a musician used to writing out of self-reflection, what do you sing about when life is good? For a band on record number five and seeking innovation, how do you untangle yourself from the past? How do you write songs about being happy?
It was becoming clear that they required a completely new approach from an entirely different sphere and set of faculties — and, lo and behold, just such a moment arrived when Hull and McDowell were offered the chance to score a movie.
In the midst of the Cope/Hope LP release cycle, the directing duo The Daniels — who had created a dense, theatrical music video for Manchester Orchestra’s “Simple Math” in 2011, winning Vimeo’s “Music Video of the Year” in the process — countered Hull and McDowell’s request for them to work on another video with the idea of scoring the directors’ in-the-works feature film debut, Swiss Army Man. They had never written a film score before, but the pair of musicians happily rose to the challenge. The Daniels’ immediate guideline was: “Cool, don’t use any instruments.” In the project, Hull and McDowell recognized an opportunity to leave their comfort zone and to push emotion to new heights.
“Cope was very much a record where we knew what we wanted and it was a goal in our heads we could chase; that was followed by the polar opposite in Hope. But once we started work on the soundtrack, we threw the textbook out and started approaching music against our instincts,” says McDowell. “I think the score kind of was like going back and getting a doctorate. Once we finished it, there was this whole new realm of situations and sounds that we could go down.”
Swiss Army Man was a weird — albeit cult — Sundance hit, and the film’s New York Times-lauded “marvelously melancholic music” earned rave reviews around the world. Riding that excitement, Hull and McDowell decamped to a cabin near Asheville, North Carolina, with bandmates Very and Prince to write a new record. Inspired by their experience creating the score, they seized the chance to rethink Manchester Orchestra’s typical methods of working.
“We’re a band that loves to use heavy, crunchy guitars,” says Hull. “We wondered how we could limit the use of that, so that when the guitars come in they can be creative and impactful. For Swiss Army Man we had to make seventy minutes of music with our hands tied behind our backs. When you’re creating all the sounds you need just from the human voice, it allows you to rethink what is possible, and determine what is really needed. We wanted to make an album in a ‘non-Manchester’ way if there is such a thing. So we started looking for people to help us do that.”
This process gave them new ideas of how to think about writing, how songs could flow, and how to layer melodies on top of one another to propel the tune into a new emotional arena. To manifest this vision, the band turned to producer Catherine Marks (Foals, PJ Harvey, The Killers, Interpol) and began working with her at Echo Mountain studio in Asheville. “She just got it immediately. Catherine looked at us and said, ‘I hear Twin Peaks: The Album here,’” says Hull. The band instantly connected to her unique sonic outlook for the record: Marks wanted each song to sound like a different room. “Like you could understand where you were in the room and identify where each particular sound was coming from, pick it out with your hands and pull it out,” Marks explains, adding, “Being able to utilize the sound of the rooms we recorded it in, whether it was at Echo Mountain, or literally standing in a bath and engaging with the reverberation and reflections that those rooms provided — as opposed to manufactured reverbs — was super exciting to me.”
In addition to mixing with Marks at her Assault & Battery studio in London, Manchester Orchestra also worked with John Congleton (St. Vincent, Explosions In The Sky, Angel Olsen, Cloud Nothings) in Los Angeles — gathering new sounds, adding to and widening the songs’ dimensions — as well as their longtime producer Dan Hannon, who offered an invaluable perspective that only an old friend could give. Encouraged to go against first instinct, each collaborator added their own touch to the music, pushing it to places no Manchester Orchestra record had ever gone before. As Marks says, “Throughout the entire process, the band fought for the unknown and the unquantifiable.” In thoughtfully deconstructing and rebuilding their songwriting process, the band pushed themselves to create their best album yet.
“It was a test—personally, emotionally, creatively—to see how far we could push ourselves without breaking,” says McDowell. “This record was intentionally un-compromised on every level. We made sure to explore all the options and that we were moving forward with the strongest approach for each song—strongest part, strongest melody, strongest lyric.”
Describing a rock record as “cinematic” usually implies a double-length, sprawling album with a full orchestra on every song; A Black Mile to the Surface is cinematic in that it conjures worlds. There’s magical surrealism at work, with songs about a boy with no ears (“The Alien”) and the father/sleeping child callback of “The Sunshine.” There’s a story to parse here — three brothers, an abandoned wife and child, a mysterious journey through the depths of a miles-deep mine, a narrative of twists and turns, recurring characters, alternating timelines — but the songs and melodies stand on their own.
The initial creative spark for Hull’s lyrics came from a photograph. “While we were writing the album in Asheville it was snowing heavily at the cabin. I was reminded of what it feels like to live in a place that is cyclically cold. No matter what happens you can’t escape it,” says Hull. “I had written a song with a character in South Dakota, so I started looking up pictures of ‘winter in South Dakota,’ and there it was.” What he found was a picture of a road with snow piled high forming walls on either side, maze-like; cars were frozen in time, the sky a white-nothing blur.
Hull began to write songs from the perspectives of different characters who might live in the scene, and found that as he was creating these fictional stories, it became much easier for him to talk about the things that were happening in his own life. In “The Gold,” a song about a woman missing her husband as he descends into the blackness of the mines, Hull saw his own wife left alone with their young child after yet another months-long tour. As he sang these characters’ concerns, he realized he was really singing his own.
A Black Mile to the Surface is a bold record of vision and purpose, inspired by and dwelling in a sensory and imaginative experience. It’s a reinvention of sorts, both musically and personally—a sort of cosmic worldview shift. But in the end, the record’s themes are universal. On the stunning final track, Hull sings, “Let me watch you as close as a memory/ Let me hold you above all the misery / Let me open my eyes and be glad that I got here.” Certainly, that’s a father speaking hope to his daughter, but it’s also a message to listeners. How do you write songs about being happy? With your eyes wide open, your loved ones in front of you, and the misery of the world waiting just outside the door.
Some people say ‘luck is the intersection of hard work and opportunity’. On their fourth full-length album and first for Loma Vista Recordings, The Revivalists chronicle, catalog, and capture an unbelievable ride where ten years of tireless hard work would be unexpectedly revved up by the wrongly dubbed “overnight success” of the gold-selling number one single “Wish I Knew You.” Like any enduring band worth its salt, they reacted the best way possible to newfound popularity – by buckling down and turning up with an album chock full of tunes worthy of even greater success. It’s the result of a trip that unassumingly commenced in 2008 with hundreds of underground shows yearly and culminated 10 years later with not only “Wish I Knew You,” but three years of back-to-back sold out headline tours. In life, like rock ‘n’ roll, some questions get answered while others stay unanswered. Our personal backroads tuck, twist, and turn through ups, downs, and everything in between at light speed, sometimes without explanation or a moment for reflection. Mirroring the push-and-pull of the past few years, the boys—David Shaw [lead vocals, guitar], Zack Feinberg [guitar], Andrew Campanelli [drums], George Gekas [bass], Ed Williams [pedal steel guitar], Rob Ingraham [saxophone], Michael Giradot [keyboard, trumpet], and PJ Howard [drums, percussion]—deliver a bevy of anthems marked by moments of sonic complexity, celebration, and catharsis.
“As far as the music goes, sometimes I just have a feeling, and it comes through in a song,” says David. “I don’t know what it is, but it makes me feel something. I wanted this album to be simply about that. Making the new music has been a bit of a cathartic process for me—just to get some of these feelings out, lose myself in the art, and become someone else. Songwriting is the great escape. It’s where I can be who I want to be. It’s been three years of touring our asses off, writing in between, and honing our craft. Then, ‘Wish I Knew You’ happened. Everything got even crazier. This album basically came together the way we always make records though. It’s simply a collection of songs from where we were at that point in our lives. We didn’t want to divert too much from what we’ve always been, but we wanted to take it to the next level and continue that trajectory of our artistry and creativity.”
Simultaneously, life was rapidly changing around the band, and the music spoke to that.
“Everything going on these past few years certainly informed the direction,” David continues. “I don’t know if I was ready for some of what transpired emotionally. I got personal on some of the songs. I said some things I might not have otherwise. Thankfully, I have a good family network and amazing girlfriend to balance all of the changes.”
“We were fortunate enough to have this ‘hit’ on the last record, and things have changed,” adds Andrew. “We had to keep pushing forward.”
For the first time, The Revivalists recorded and co-wrote with multiple producers and writers, enlisting the talents of Dave Cobb [Sturgill Simpson, Chris Stapleton], Andrew Dawson [Kanye West, Fun., Sleigh Bells], and Dave Bassett [Elle King, Vance Joy] for sessions in New Orleans and Nashville, which became a hub for the band. They spent three weeks recording at the iconic RCA Studio B, soaking up the aura of one of the most storied studios in music and the city’s rich musical history. Additionally, it would be the first record with drummer/percussionist PJ joining the band in the studio.
Bringing sixty songs to the table, the guys whittled the batch down to the best fourteen of the bunch.
Andrew continues, “On the first few records, we were figuring out what our identity is, so we were really involved in the minutia of recording. After all this time, we have an identity, and it’s more based in our songs. We were able to let go and allow these producers to take us into a direction that we wouldn’t go on our own. We got to explore a little more. Being ten years in empowered us to do that.”
“We had the opportunity to work with more people, which was amazing,” David goes on. “The main difference was having this team and the chance to co-write. It really elevated our craft in a way that I don’t think we ever thought about previously. We were all working together in the studio, while keeping the true heart and soul of the band intact through the whole process.”
The first single “All My Friends” speaks to that spirit. Driven by swaggering piano, boisterous horns, and bluesy leads, the track swings towards an unshakable chant, “All my friends take good care of me.” Striking, sharp, and soulful, it introduces this chapter with confidence and charisma.
“I actually wrote those verses when I was 27,” says David. “I met up with Dave Bassett in Malibu where I did some writing sessions, and I brought the lyrics to the table. It’s a bit of a retrospective look back. You’re in your twenties, staying out for three days, not contacting your significant other, and getting into some bad shit. Looking back, I realized, I had an amazing group of friends who stuck by my side.”
“Musically, it bridges the gap between what we’ve been doing and what you’re about to hear,” explains Andrew.
Representing a vast swath of the country and defying regional pigeonholes, David’s roots are in the Rust Belt, while Zack, Ed, and George hail from the Tri-States and Michael and Rob from the Southwest. Andrew cut his teeth bashing the drums in the DC scene and newcomer PJ made his bones in Chicago. However, The Crescent City would ultimately bring them together. Since forming in New Orleans, the group quietly grinded towards international ubiquity one gig, song, and album at a time. Seven years in, 2015’s Men Amongst Mountains represented a high watermark. Its lead single “Wish I Knew You” became a slow-burning hit, racking up more than 200 million streams and ascending to #1 on Adult Alternative and Alternative radio. On the latter, it clocked a record for “most single-week spins ever at the format” before eventually receiving a gold certification from the RIAA. A mainstream phenomenon, the song found traction at Hot AC and Top 40 and bubbled up on to the Billboard Hot 100 for nine weeks as the band made the rounds on television with performances on Today, Jimmy Kimmel LIVE!, Ellen, and Conan. Acclaim came from USA Today, Entertainment Weekly, Forbes, Flaunt, Buzzfeed, Uproxx, Billboard, and more with Rolling Stone touting them among “10 Artists You Need To Know.” Along the way, they garnered a Billboard Music Awards nomination and two nods at the iHeartRadio Music Awards. Between countless gigs, the musicians also ignited festival stages at Bonnaroo, Governor’s Ball, New Orleans Jazz Fest, Outside Lands, and Pilgrimage, to name a few.
Looking back, the frontman smiles, “It’s been quite the ride.”
In the end, The Revivalists welcome listeners on this journey with them as they set out with a newfound depth and ambition.
“As we went along, we found there are more questions than answers, and we’re all sort of figuring it out,” concludes Andrew. “We’re all doing the same thing. We hope people listen to the record and maybe can go out and keep making connections. That’s what we’re supposed to do. It’s the human experience.”
“We’re in this together,” David leaves off. “We love to take people on an emotional rollercoaster with us. That’s what this record is. It’s who we are. There’s some real magic in that.”
Acclaimed duo Sylvan Esso – comprised of Amelia Meath and Nick Sanborn – have released their first new music since their celebrated self-titled debut came out in 2014. The new single, “Radio,” is bold and boundary-pushing, turning the band’s signature sounds in brilliant new directions.
The 12” pairs “Radio” with “Kick Jump Twist,” a fan favorite featured prominently in the band’s live set. The vinyl comes out November 18th and is currently available for pre-order from the band’s website.
Sylvan Esso will release their highly-anticipated sophomore album in 2017.