EVERYWHERE FEBRUARY 9, 2024
Chelsea Wolfe’s latest album, She Reaches Out To She Reaches Out To She, is a rebirth in process. It’s about how such a moment connects to our past, our present, and our future. It’s a powerfully cathartic statement about cutting ties, as well as an important reminder that healing is cyclical and circular, and not a simple linear process. As Wolfe explains, “It’s a record about the past self reaching out to the present self reaching out to the future self to summon change, growth, and guidance. It’s a story of setting yourself free from situations and patterns that are holding you back, in order to become self-empowered. It’s an invitation to step into your authenticity.”
On She Reaches Out To She Reaches Out To She, there are references to shedding exoskeletons, to excommunication, and to permanent fissures. The liminal, the in-between, and the unseen are recurring characters. As Wolfe puts it, “like the dark moon, that void space can feel unpredictable and looming, but it also holds so much potential, mystery, and excitement.” Dense and minimal, raw and opulent, intimate and expansive, the production also breaks apart then rebuilds—samples of the band are cut and pasted back together, heavy guitars dissolve into trip-hop breaks; the vocal delivery is both hushed and soaring. As Wolfe sings in the blistering opener, “Whispers In The Echo Chamber,” she’s “twisting the old self into poetry.” (The same track finds her “bathing in the blood of who [she] used to be.”)
There’s an intimate, ASMR-like quality to the vocals on this album, delicate and detailed. Nothing feels straightforward, left to chance, or as expected. Wolfe said of She Reaches Out: “This album demanded to be lived.” Throughout, these vocals hold specific keys to meaning, and feel sculptural.
The initial songwriting was kept to a core of longtime collaborators, as Wolfe worked closely with multi-instrumentalist Ben Chisholm, along with drummer Jess Gowrie and guitarist Bryan Tulao. The songs were written and workshopped remotely from the spring of 2020 through the end of 2021 by Wolfe and these collaborators. In early 2022, she brought the work she had collected to producer and TV On The Radio co-founder Dave Sitek, who worked with the band to deconstruct the compositions, pushing the songs into uncharted waters where they were then transformed and reborn. The pieces found their final focus at the mixing console of Shawn Everett (Slowdive, SZA, Alvvays, the Killers, Yeah Yeah Yeahs); Everett and Wolfe worked to extract the fine details from the vocals, blending them into the lush sonic production world. Everett mixed in a sense of urgency and excitement, while still maintaining the delicate sections of its production.
This leap into the unknown shouldn’t be surprising: Wolfe has never been afraid to experiment, traverse genre, or invent her own hybrids. If you return to her 2010 debut, The Grime and the Glow, amongst the room-tone atmospherics, punk drums, dark melody, and Wolfe’s commanding voice you can already see the prototypical skeleton, a visionary scratchpad, for what would follow. An early approach to She Reaches Out To She Reaches Out To She’s pulsing electronics and break beats are there in 2013’s Pain Is Beauty. 2015’s Abyss established a space between folk and industrial and noise rock and metal. 2017’s Hiss Spun burrowed deeper into heaviness. Wolfe returned to her earlier, folkier beginnings on 2019’s Birth of Violence, which was recorded at home in Northern California, and links back to 2012’s acoustic collection of songs, Unknown Rooms.
Opener “Whispers in the Echo Chamber,” ties together a number of elements Wolfe has explored in the past, rolling in dynamic waves between minimal synth electronic and heavy, full-band moments, and refracted through a hall of mirrors. The explosive “House of Self-Undoing,” a song about Wolfe getting sober after the touring for her last album concluded, feels like electronica meets post-hardcore. Wolfe explains, “When you become sober after years of numbing out, you feel, deeply: the moments of joy are euphoric, and the moments of pain are more visceral. But it’s like a call to adventure, facing life fully present is exciting when you’ve spent half your life only half-present.” Wolfe describes the song as an underworld journey – this journey takes many forms.
The slow-burn “Everything Turns Blue” is an anthem about “finding yourself again after a long era of being part of something toxic,” she says. ”Making a split with someone after 10 years, 20 years, 30 years—there’s going to be some high highs and low lows as you begin to process it all.” The production here is deep, smoky, cavernous, and glitchy. Wolfe’s voice is raw, honest, and carries a weight with it, the feeling of burnout and also healing. “I’ve been living without you here/ and it’s alright/ I’d been looking for a way out a long time/ I’ve been living without you here and I can fight/ I’ve been living softly my whole life,” she sings. On this track, Wolfe asks another question central to She Reaches Out To She Reaches Out To She: “What do I have to do to heal you out of me?”
Closer “Dusk,” which opens smoky and sensual and ends as a towering psychedelic guitar shredder, sees an empire burning and dissipating, and a dusk before a new dawn. It’s a sentiment echoed throughout She Reaches Out To She Reaches Out To She. On “Tunnel Lights,” a song that has a late-nite Twin Peaks feel until it cracks open into a miasmic swirl of analog and electric waves, is about, as Wolfe describes, “actually living instead of just ‘getting by,’ about waking up to the fact that you’ve been languishing in the dark and it’s time to start taking steps towards the lights that’ll guide you out of the tunnel-cave.”
At its core, She Reaches Out To She Reaches Out To She is realizing the way forward is through, contemplating what must be cut and left behind, while also figuring out what lies ahead and what there is to discover once you get there. Wolfe guides us on that quest, asking us these questions as she asks herself the same. As the title of the album hints, She Reaches Out to She Reaches Out to She is a reminder to look within, to remember that all the power you need resides there. Reach out to the selves, reach out to one other. Reach to the ancient and to the end of all things, to remember that the only time we truly have is now.
There is about grief the necessary aftertaste of dreaming. In the wake of sudden loss – a moment, a person, a way of being brought violently to an end – the thing lost is gone but not its outline, a strange unstable place in which festers all manner of strange unstable thinking. The rules of reality temporarily subside, and mourning makes of the world a negative space.
Plunged without warning into that space, Sleater-Kinney returns with Little Rope, one of the finest, most delicately layered records in the band’s nearly 30-year career. To call the album flawless feels like an insult to its intent – it careens headfirst into flaw, into brokenness, a meditation on what living in a world of perpetual crisis has done to us, and what we do to the world in return. On the surface, the album’s ten songs veer from spare to anthemic, catchy to deliberately hard-turning. But beneath that are perhaps the most complex and subtle arrangements of any Sleater-Kinney record, and a lyrical and emotional compass pointed firmly in the direction of something both liberating and terrifying: the sense that only way to gain control is to let it go.
In the Autumn of 2022, Carrie Brownstein received a call from Corin Tucker, who herself had just received a call from the American embassy in Italy. Years earlier, Brownstein listed Tucker as her emergency contact on a passport form, and while she had since changed her phone number, Tucker had not. The embassy staff were desperately trying to reach Brownstein. When they finally did, they told her what happened: While vacationing in Italy, Brownstein’s mother and stepfather had been in a car accident. Both were killed.
In the months that followed, Brownstein took solace in an act that felt deeply familiar – playing guitar. “I don’t think I’ve played guitar that much since my teens or early twenties,” she says. “Literally moving my fingers across the fretboard for hours on end to remind myself I was still capable of basic motor skills, of movement, of existing.”
As Brownstein and Tucker moved through the early aftermath of the tragedy, elements of what was to become the emotional backbone of Little Rope began to form – how we navigate grief, who we navigate it with, and the ways in which it transforms us. Sometimes the process of putting the songs together involved Tucker and Brownstein alone in a room with nothing more than a couple of guitars and amplifiers – a process unchanged since the band started recording in the mid-90s. Sometimes songs that started out quiet slowly transformed into something triumphant. Sometimes the triumphant ones turned out to be quiet songs in disguise.
The result is a collision of certainty and uncertainty that’s evident from the first few spare seconds of the record’s opening track, “Hell,” where over an agoraphobic expanse of tone and a trickle of chords, Little Rope’s emotional thesis statement begins to take form:
Hell don’t have no worries
Hell don’t have no past
Hell is just a signpost when you take a certain path
It’s a restrained, controlled prologue, but control is fleeting. A few seconds later, well, all hell breaks loose.
That interplay of lyrical and musical moods gives the record an immense depth. Even the catchiest hooks are hiding something. The album’s second track, “Needlessly Wild,” starts out delicious, the single-syllable “wild” bending like taffy. But then the lyrics betray something a little more malicious, a little more marked by pain, and soon “I’m needlessly wild” festers into “I’m needless and wild, needless and wild.”
Time and again – on second, third, tenth listen – the songs on Little Rope begin to upend their initial impressions. The jangly, upbeat “Don’t Feel Right” camouflages an unshakable loneliness, a longing for something that’s never coming back. In “Hunt You Down,” the opening riff sounds a warning that smashes against a chorus delivered with a hint of deceptive sweetness: “The thing you fear the most will hunt you down” – a line Brownstein heard in an interview with a funeral director, said to him by a father preparing to bury his child.
One of the album’s standout tracks, “Say It Like You Mean It,” is an amalgam of so much of what the band does best – an unforgettable, unadorned riff backing a raw examination of a relationship coming apart, and the damage done by an insincere goodbye. It’s an exposed nerve ending of a song.
Little Rope also marks the first time the band has worked with Grammy Award-winning producer John Congleton.
“We’ve actually wanted to work with John for a long time, but it wasn’t until this record that the stars aligned and we made it happen,” says Tucker. Congleton’s fingerprints are all over the album – he built a lot of the atmospherics in songs such as “Hell” or “Six Mistakes,” which both started out as much more spare tracks. It was also Congleton who heard the Tucker’s first run at the vocals for “Say It Like You Mean It” needed rework, a piece of advice that at first didn’t land too well.
“I was fuming inside, but I decided to take the song home that night and think about it,” Tucker says. “I woke up in the middle of the night and a new vocal melody popped into my head, which I sang very quietly into my phone at 3 in the morning. The next day I came back into the studio and sang the new version, and it turned out John was right – the song needed that reworking to get at the emotional peak.”
In many ways, Little Rope unleashes one of Sleater-Kinney’s most potent weapons: the shattering emotional range of Tucker’s vocals. In an album so centered on the vulnerability required to face the world as it is, Tucker manages to find her way from composure to its utter absence, and what she conjures is a series of visceral turns, a sharper, heavier manifestation of a rawness that’s always been there, most notably on the band’s early landmark record, Dig Me Out. Perhaps the most unforgettable of these moments comes near the very end of the album, in the brilliant closing track, “Untidy Creature” – a song that almost didn’t make it onto the record, but ends up being the perfect coda, at once the biggest-sounding track on the record and its most lyrically intimate:
But there’s too much here that’s unspoken
And there’s no tomorrow in sight
Could you love me if I was broken
There’s no going back tonight
Then the chorus gives way, and in its place a deep, desperate wail that closes one of the most honest and soul-bearing albums by one of modern rock’s most vital bands.
The L.A. industrial-rock band HEALTH’s new album RAT WARS is the most violent yet vulnerable LP of their career. It is somehow fitting that such a brutal collection of songs is at the same time their most comprehensive artistic statement.
Meticulously aggressive production detail collides with painfully personal confessions and a strange savage grace is paired with icy gallows humor… surprisingly it’s still fun as hell.
RAT WARS joins the lineage of groundbreaking heavy acts like Nine Inch Nails and Ministry, which re-drew the borders between metal, electronic and pop music. It also speaks directly to the band’s young, fervent online subculture.
It could be The Downward Spiral for people with at least two monitors and a vitamin D deficiency.
Written during the most emotionally trying period of the band’s life, the album builds on their chaotic yet re-invigorating pandemic years. In that time, HEALTH cut dozens of tracks with heroes and inheritors like Nine Inch Nails, Lamb of God, 100 Gecs, Poppy, and Pertubator on DISCO4.
RAT WARS captures all the fury and ambition their LP’s have until now aspired to. It’s their boldest statement on the insanity and the insipidness of contemporary life.
The arena-rock grandeur of “DEMIGODS” segues into the jittery techno of “HATEFUL” (co-written with Spanish EBSM artist Sierra) and the merciless gabber-thrash of “CRACK METAL.” “CHILDREN OF SORROW” (with guitar from Lamb of God’s Willie Adler) and “SICKO” (which samples Godflesh’s “Like Rats”) slink with ‘90s goth menace. “ASHAMED” is corrupted R&B pop, while “DSM-V” is for peak time at the blood rave.
Born in the heady grime of downtown L.A.’s noise scene, singer-guitarist Jake Duzsik, bassist-producer John Famiglietti and drummer BJ Miller set out to be divisive as they sliced bare fragments of songs out of backfiring guitar pedals. But by 2009’s GET COLOR, everyone knew this band was something different.
They played major global festivals like Coachella and Primavera Sound, and after a brief detour to score the groundbreaking Rockstar games title Max Payne 3, they returned in 2015 with the long-awaited DEATH MAGIC.
That LP fully harnessed digital production tools, grafted into their shrieking noise and avant-garde soundscapes. The album became an entry point for a new generation of fans, finding an audience as easily in goth clubs as in bedroom production studios.
2019’s VOL.4 :: SLAVES OF FEAR won over heavy music fans with its thrash riffs dissolving into ambient melancholy and hip hop beats, while the lockdown era, two-part DISCO4 fully explored collaborative songwriting with peers from across metal, rap, electronic, and indie rock.
This long and willfully unconventional career arc has coalesced in RAT WARS. They are, at last, a band that is comfortable with their own uncomfortableness.
Killer Mike is celebrating his birthday by formally launching the countdown for his new solo album MICHAEL via the release of “DON’T LET THE DEVIL (feat EL-P & thankugoodsir).” MICHAEL marks the celebrated MCs first solo project since 2012’s critically lauded R.A.P. Music and serves as an introduction to the totality of Michael Render, a lifelong rap fiend whose consciousness is seeped in the sounds of community that raised him – multiple eras of southern rap flows, Sunday church service, and barbershop discourse. Speaking on his most autobiographical and independent album to date, Mike states “RTJ is the X-Men, this is my Logan.” For the new single Mike linked with his Run The Jewels partner in rhyme EL-P, trading verses over a lilting soul loop produced by No I.D., EL-P, & Little Shalimar. “My favorite group (US) with my favorite producers! It’s our 10 year anniversary and MICHAEL is an origin story so I wanted to start w/ El.”
“DON’T LET THE DEVIL” arrives in the wake of RTJ announcing a 10 year anniversary run this Fall, the release of their collaborative sneakers with Nike this week, and Mike’s recent appearance at SXSW, where he performed an intimate career-spanning show at Stubb’s flanked by a choir, and previewed several new songs that are expected to appear on the Atlanta MC’s new album (read more here). He further brought the album to life at a private listening event in NYC this past Monday, where a couple hundred attendees crowded into St. Ann's & the Holy Trinity Church in Brooklyn to hear Mike present the album in his own words.
The single was preceded last year by “RUN (ft. Young Thug)” and “TALK’N THAT SHIT!,” his first batch of solo material since linking up with El-P to form Run The Jewels in 2013, who have gone on to create four fanatically received albums and achieved near cultural ubiquity. Mike has also frequently surfaced as a cultural commentator in high regard, from his own shows Love and Respect and Trigger Warning (Netflix), to regular appearances on Late Show with Stephen Colbert and Real Time with Bill Maher, to his stint as a campaign surrogate for Bernie Sanders, to viral moments addressing the public in the wake of the Ferguson verdict and the police killing of George Floyd. Last week he re-asserted his acting bonafides in a cameo on FX’s Dave, where the titular rapper agonizes over a perceived Twitter beef with Mike, adding to a growing acting CV that also included an appearance on the last season of Netflix’s Ozark.
Militarie Gun are a truly uncategorizable band. Led by vocalist Ian Shelton, the band’s debut full-length, Life Under The Gun, is forged by a lifetime of experience and effort, offering 12 tracks that manage to blend the unbridled aggression of hardcore with massive hooks and personality to spare. Throughout the record, Militarie Gun demonstrates their mastery of melody and grit as Shelton interrogates a lifetime of interpersonal relationships through a distinctly blunt, empathetic, and self-aware lens. Ultra catchy tracks like “Do It Faster” and “Very High” look at his challenging upbringing with adult perspective, while “Never Fucked Up Once,” demonstrates a willingness to approach the third rail, juxtaposing some of Life Under The Gun’s most darkly comedic lyrics with its most overt pop-rock sensibilities. The album closes with its anthemic title track where Shelton sings the final refrain “a life of pursuit ends up pursuing you” like an urgent reminder to himself: move forward or get swallowed up–your past might shape you, but it doesn’t have to define you. The song’s final lone chord rings out like a question, a fittingly hopeful yet ambiguous ending for the debut album from a band that’s already come so far and evolved so much but whose story has only just begun.
Following their acclaimed 2021 album The Million Masks of God, Manchester Orchestra is back with The Valley of Vision, a brand new project that takes on the weighty themes of adulthood, faith and redemption through a wealth of fresh new sounds and textures. But if The Million Masks of God served as a cry for help – exploring a man’s encounter with the angel of death, inspired by frontman and songwriter Andy Hull’s reflections on grief as well as the battle with cancer faced by guitarist Robert McDowell’s father – The Valley of Vision offers a collective, cathartic expression of gratitude. Throughout the 27-minute album, you can almost feel the band take a giant exhale and then put its arms around you.
Continuing to push themselves into fascinating and immersive creative realms with each release has always been the mantra for Manchester Orchestra, and The Valley of Vision finds the band reinvigorated once again. Across the six-song salvo and VR film out March 10th, the band conjures a story that is further illuminated through a cinematic experience by writer-director Isaac Deitz, created with 3D-computed radiography technology.
Hull started writing and recording The Valley of Vision in the summer of 2021, sparking a spontaneous and new approach to releasing his band's music. “Making this was an exciting idea of what the future could be for us in terms of how we create.”
Hull was inspired to begin writing the record while rummaging around in his suitcase looking for his lyric notebook and instead found The Valley of Vision, a 1975 book of old Puritan prayers his mom had given to him the previous Christmas. “I realized it should be our title too, because to me, it meant you can’t see the forest for the trees, but you’re recognizing you’re in the valley, and you can eventually get out,” he says.
Sonically, those energies evoke places Manchester Orchestra has visited on prior albums without ever really setting up a permanent home. In fact, there’s not much guitar at all on The Valley of Vision, and Andy Prince’s bass operates in sub-synth frequencies rarely utilized before. In other instances, drum parts by Tim Very were excised from one song and repurposed in other places they weren’t originally intended to go. The whole feeling is one of peacefulness, even zen — perhaps because recording sessions at a converted manor in Muscle Shoals, Ala., were “almost a complete abandonment of all the instruments we’re used to using,” Hull says.
“None of these songs were written with the band being in the same room in a live setting,” he continues. “They were really like science experiments that started from the bottom and were added to gradually over time, to catch the vibe of each one.”
Opener “Capital Karma” and “Quietly” are both songs Hull composed via his idiosyncratic self- taught methods on piano, which involve him physically writing notes on the keys to remind himself what he’s actually playing. “The Way” is a beautifully atmospheric, piano-and-beats-powered ballad, which Hull credits Million Masks producers Ethan Gruska and Catherine Marks with helping him shape after struggling for years with how to present it.
Elsewhere, the uplifting “Lose You Again” is the first Manchester Orchestra song in a long time that could be played with acoustic guitars around a campfire, while “Letting Go” threads wisps of emotive, effects-drenched vocals through gorgeous shimmers of sound.
“We decided, let’s live in that feeling,” Hull says. “When we tried to add anything that took us out of it, it started to feel contrived and forced. We try to listen to our instincts when it comes to that. As far as just going for some of the sounds, we’re intrigued by doing things the wrong way or attempting things we haven’t done before and getting inspired by them.”
Following her inaugural Coachella performances, Zambian-born Botswana-raised poet and rapper, Sampa The Great today ushers in a new era with the release of “Lane”, featuring Florida rapper and labelmate, Denzel Curry. “Lane” is the first single Sampa the Great is releasing with Loma Vista, and the first taste of her own new music since 2019’s ARIA Award and Australian Music Prize-winning debut album, The Return.
After relocating home to Zambia during the pandemic, Sampa reconnected with a different side of herself, one closer to the younger artistry that was nourished growing up in Africa. Now, in an age of authenticity, meet a 360 Sampa, a higher version of herself. No mask on, or role to play, “Lane” is Sampa The Great’s call out to create and explore her own lanes, and go beyond what’s prescribed without judgment. A vocoded voice leads the track, to the tune of jilted organs and choral harmonies. A trap beat with a rolling bass melody sets the pace for Sampa the rap in defiance of being shoved in a box, calling out for courage to try willingly and freely. Denzel Curry’s verse is a powerful statement of similar essence, further adding to the gravity of “Lane’s” message.
Accompanying the song is a video directed by Rochelle Rhembard and Imraan Christian. A long-form piece, book-ended and balanced with the spoken-word piece “Origin” is a fitting reintroduction. From the depths of an underground cave, we are first introduced to Eve: the persona and blueprint of Sampa’s highest version of self. From a juxtaposition of four-walled concrete rooms to Sampa’s younger self, to children in black suits running through nature with automatic weapons in hand, we follow the story of Sampa’s newest journey. Denzel Curry completes the narrative in a virtual reality headset, rapping in time to spell out a dynamic ending.
Sampa The Great says of “Lane”: “We’re not going to stay in one lane, we’re going to create multiple ones… My truest self encourages me to explore different lanes, and go beyond what I think I know of myself.”
Sampa The Great has spent much of the past two years writing and recording while home in Zambia during the pandemic. In 2020, Sampa The Great took home three ARIA Awards for her debut album The Return, including Best Independent Release, Best Female Artist and Best Hip Hop Release before executing a thrilling live performance filmed from a rooftop in Botswana. Later that same month, the Music Victoria Awards saw Sampa take home four wins, including Best Album, Best Solo Artist, Best Soul, Funk, Gospel or R&B Album and Best Song, to cap off a year that included becoming the first solo artist and female musician to win Best Live Act at the National Live Music Awards and BET Amplified’s first-ever global artist. As a highly applauded live performer, Sampa has entertained audiences across the globe with appearances at festivals like Glastonbury, Splendour in the Grass and Laneway, alongside virtual sets for AFROPUNK, Black August and the Roots Picnic, as well as support slots for artists including Kendrick Lamar and Ms Lauryn Hill. Last weekend, Sampa The Great performed for the first time at Coachella 2022 and gave fans a taste of what to expect during her US festival run this summer at Lollapalooza, Pickathon and Outside Lands this July and August.
In 2019, Sampa took home Best Hip Hop Release for “Final Form” at the 2019 ARIA Awards, alongside multiple other wins at the annual J Awards, including Video of the Year and Double J’s Artist of the Year, Best Hip Hop Act at the Music Victoria Music Awards and broke industry records by winning the prestigious Australian Music Prize twice in her career. The Return LP received praise from the likes of The Guardian, NPR, Pitchfork, The FADER, Billboard, OkayAfrica and countless others. Sampa then re-released The Return track, “Time’s Up” with new verses from New York rapper Junglepussy, collaborated with the likes of The Avalanches, Denzel Curry & Tricky, as well as featured on Michelle Obama’s esteemed playlist.
Today marks the arrival of Sampa The Great’s newest form and music ahead of a thrilling run of live performances in Australia for An Afro Future 2022 with a full band. Don’t miss absorbing the message of “Lane” to stick yourself in the present, and find your own highest version of self, before securing your ticket to witness the track live below.
Show Me The Body is a New York City based ecClesiastical hardcore trio consisting of Julian Cashwan Pratt (founder; banjo and vocals), Harlan Steed (founder; bass), and Jackie McDermott (current drummer). The band has organized non-traditional, intentional DIY spaces for NYC youth since 2015, and since expanded that work to a global capacity through their urgent, ceremonial live shows, subterranean punk and hip-hop mixed tours, and their CORPUS NYC platform. Trouble the Water is the culmination of nearly a decade of barrelling against New York City’s structural ambivalence and indifference; an invocation to a like-minded global community to consider the alchemy of family-building, and of turning water to blood.
Trouble the Water both references and pays homage to the physical city, and the New York Sound: not one particular genre, but the people and subcultures that encapsulate it’s true foundation, style, and spirit; while expanding upon and reckoning with the hyperlocal territory of 2019’s Dog Whistle. With Pratt’s most encantatory, interrogative poetry to date, and Steed expanding the glitchy, caustic arena of his electronic experimentation, the band is feeling more like themselves than ever. The founding duo, who have worked together since 2009, used Trouble The Water to methodically inhabit one another’s forms; Pratt experimented recklessly with production and synths, while Steed challenged his own focus to include melodies and riffs.
Although the title invokes the ancient alchemy Moses wielded to free and unite Israelite peoples, Trouble The Water refuses nostalgia, or mimicry. Instead, it considers the sublime power of the unifying physical practices that can be enacted daily, to invoke immeasurable spiritual and collective reactions. Buoyed by moments of stinging stillness and compulsive, almost optimistic, malfunctioning rhythms, the work is literally a conjuration to dance, and move. If we are really living through the end of the world, maybe every movement we make, no matter how slight, is actually boundless and radical. How do we find freedom through rejecting time altogether, and existing only in communion, in space, and in the constellations we form as we choose our “blood” families? Or, as Pratt demands on Demeanor, “What’s better than when we come together? Fighting, dancing, fucking together.” Trouble the Water is at once a homily for those left behind or displaced, and a searing investigation of what survival looks like from within the borders of an aggressively policed city and state, that postures those unignorable calls for rage and migration to a world at war.
Bandmate and long-time music inspiration Jackie McDermott (Sediment Club, Urochromes), joined Show Me the Body in 2020 as drummer, and is featured on the project. Trouble The Water was recorded entirely at the band’s CORPUS Studios in Long Island City, with veteran metal producer Arthur Rizk, and co-engineered by studio co-founder Aidan Bradley.
Dog Whistle (2019) was produced by Chris Coady, Show Me The Body and Gabriel Millman. The heavy, honest project was in direct conversation with the oppressive, claustrophobic psychology of the city, and their most critically-acclaimed work to date, described by NME as “a dedication to the community, friends and family at the heart of Show Me The Body” coupled with “the jarring noise and harsh sonics that made [SMTB] one of punk’s most idiosyncratic voices.” Dog Whistle followed Show Me The Body’s now historic, genre-defying debut album Body War (2016).
Since 2015, Show Me the Body have expanded their international music community into an independent label, recording studio, and community organizing platform. The band recently completed their Half-A-USA tour with support from Soul Glo and WiFiGawd, which included their inaugural In Broad Daylight festivals in New York and Los Angeles. Through the intentional cultivation of their local and global chosen families, and a decade-long dedication to sustaining the New York Sound, Show Me the Body has solidified a legacy of confronting and permanently shifting the rigid limitations of the hardcore genre.
The bio you are reading right now, like all bios, is by its very nature inaccurate. Okay, “inaccurate” may be too strong a word. Let’s go with “imprecise.” In a perfect world, this bio would express the thoughts, feelings and motivations of its subject as close as you can get with the written word. But what if the subject is perpetually changing? Not on a yearly or monthly basis, but weekly? Daily? Hourly? By the minute?
For an artist like Meechy Darko, who has achieved both critical acclaim and commercial success as one-third of Brooklyn hip-hop group Flatbush Zombies, getting more personal was a fait accompli decided for him by external forces.
“I had no choice but to make this the most personal thing I’ve ever done because fortunately or unfortunately, I’m in an extremely soul-stirring part of my life right now,” he says. “Who I was yesterday may not be who I am tomorrow. I’m not who I was last week. There’s no telling who I’ll be next year or the year after, so it’s very important to capture this while I can still feel.”
He’s talking about Gothic Luxury, the rapper’s debut album after numerous LPs, EPs and mixtapes with his group. Meechy Darko is well aware that the “crazy shit, crazy-colored hair and psychedelics” of his group “are imprinted in the brains of many fans.” But on Gothic Luxury, drawn-out piano intros and laid-back funk meld with dark mini-symphonies that complement the album’s intensely candid themes; as a result, the album comes off as far more a solo album than an offshoot of the group.
“Gothic Luxury is a terminology and a mood I created in my head so I knew where to stay when I’m writing,” the rapper says, noting that it’s a quasi-continuation to the group’s acclaimed 2018 album Vacation in Hell. “Even with success, you can have the biggest king-sized bed, but you still can be lonely as hell at night. Even with all this great stuff going on around you, I don’t ever forget the darkness. I can’t escape it. It’s about finding comfort in the darkness, accepting it and becoming part of it, but in the boss way possible.”
While the genesis of some songs go back to 2018, the album was started in earnest in early 2020. For the record, the Zombies are still very much together. However, Meechy eschews the production of Zombies producer Erick the Architect to avoid falling back into “a comfort zone I’ve been in for years.” Inspired by Rick Ross — “His voice has so much bravado and bass over angelic, symphonic beats” — it’s an album informed by many things, not the least of which is the killing of the rapper’s father in 2020.
Grief is an amorphous, mutable emotion, with the rapper admitting to still processing the death. “I didn’t want to exploit it,” he says. “I really want to understand how I feel before I tell people how I feel. Once you tell your story, people are not always gonna know the backstory or give you the benefit of the doubt. It’s very conflicting.”
The autobiographical “On God” invokes his father’s funeral; the man who molded the rapper’s personality and psyche. “He may be dead in the flesh, but what it really did is resurrect me,” Meechy says. “His spirit is in me now.” Elsewhere, “Every Time,” written before his father’s death, recalls the rapper talking to his dad in stark detail.
“Kill Us All,” which finds Meechy bringing his “Tupac back-against-the-wall energy,” touches on everything from conspiracy theories to government and corporate overreach to the role of media in shaping public perception, while “What If” finds the rapper challenging both himself and the audience with a concept song around the titular phrase. ”I felt naked dropping an album that didn’t have a concept song,” he says. “I know that when a concept is put in front of me I rap in my highest form.”
Despite the myriad musical undercurrents that flow throughout the album, there’s a through line of brutal honesty and catharsis that continues to find Meechy Darko among the rawest and most candid rappers in the game. “I use the studio as my journal,” he says. “I kinda wear my heart on my sleeve. I’m like a trigger-sensitive gun with a big extended clip. When I shoot, I SHOOT. I don’t want to bottle any of this stuff up. I know what separates me from them: It’s my lack of fear when it comes to saying what I think of something or how I feel about it.”
Margo Price has got nothing to prove, and nothing to promote but the truth. Today, with the release of new single and video “Been To The Mountain,” she takes both a hard look at the past and a firm step into the future. She has been a lover, a queen and a drifter, a cowboy devil, a bride and a boxer; a child, mother and even a number. Over a flurry of fuzzed-out guitar, she belts about being on food stamps, rolling in dirty dollars and standing in the welfare line. But across five and half minutes of the song’s unflappable groove, underlined by organ, harpsichord, and a soul-stirring, spoken-word breakdown in the bridge, Price previews another stronger, freer side of herself that will soon be seen.
“Been To The Mountain” was produced by Jonathan Wilson (Angel Olsen, Father John Misty), written by Margo Price and Jeremey Ivey, and recorded during a blissful week they spent at Fivestar Studios in California’s Topanga Canyon. With a scorching sound that expands upon the rock n roll roots Price showcased on 2020’s widely acclaimed That’s How Rumors Get Started, the song is accompanied by a mind-altering, mushroom trip of a music video directed by Courtney Hoffman and shot in Los Angeles.
“‘Been To The Mountain’ is part one of an introspective trip into our subconscious. It is the perfect continuation of my search for freedom in my art and freedom in the modern age,” says Margo Price. “I have a lot of high hopes for this next chapter and truly believe this is the most exciting music I’ve ever made in the studio with my band. We have all grown so much, we operate like one single organism – it’s telepathic. Courtney Hoffman brought my wild visions to life with the help of an incredible cast and crew in the music video. I wanted the story’s hypothetical 8 to 12 hour window to feel like a mini-lifetime. We also wanted to portray how an intense psychedelic experience has the potential to become a spiritual experience, and how that can change your perception of the world around you.”
In addition to unveiling “Been To The Mountain,” Margo Price is proud to announce her own Sonos Radio podcast, Runaway Horses. Beginning today with an inspiring interview from Emmylou Harris, the series will see Price host raw, cathartic conversations with artists who aren’t afraid to break the mold and follow their own path. All six of the episodes in this first season are about the search for freedom through music and the shared human experience, featuring influences, heroes and contemporaries like Amythyst Kiah, Swamp Dogg, Bob Weir, Bettye LaVette and Lucius. New installments of Runaway Horses will be released weekly for the next five Thursdays, and are available on Sonos Radio in the Sonos app, the Sonos Radio website and all major podcast platforms.
On the launch of Runaway Horses, which evolved out of an internet radio program she started live-streaming in the earliest days of the COVID-19 lockdown, Margo Price says, “The thing about runaway horses is that you can really never truly break them. They are incredibly unpredictable. You never know what they’re going to do next. I’m calling this show ‘Runaway Horses’ because wild freedom is exactly what I crave from music — I just want a complete and total release. I hope that the conversations on this show help you feel a sense of freedom, too.”
In the coming months, Margo Price will continue a busy year of touring with performances at Sacred Rose, Born and Raised and other festival appearances, plus Red Rocks with Wilco, and Farm Aid, where she recently became the first-ever female artist elected to the Board of Directors. She will also embark on a national book tour throughout October and November, in support of her forthcoming, debut memoir, Maybe We’ll Make It. Out October 4th on University of Texas Press, it tells a story of loyalty, loss, grief and forgiveness, from moving to Nashville with $57, to losing one of her newborn twin boys, pawning her wedding ring and facing rejection by almost every record label in town, to eventually reclaiming her power, freeing herself from substance abuse, and fighting for the opportunity to be herself in the music business. “Margo’s book hits you right in the gut – and the heart – just like her songs,” says Willie Nelson.
(January 24, 2022) – Today, Denzel Curry shares “Walkin,” the first single from his forthcoming album Melt My Eyez See Your Future, which he announced is coming soon with an official album trailer earlier this month. Additionally, in support of the forthcoming project, he also reveals the dates for his world tour kicking off this spring in North America and running through performances in Europe and the United Kingdom this summer. “Walkin” arrives with an epic Sci-Fi Western visual directed by Adrian Villagomez which sees Denzel trekking across a desert planet before a cinematic face-off with his antagonist, John Wayne. The Kal Banx-produced song steadily builds into one of the most dynamic rap performances from Curry to-date, foreshadowing what is to come from Melt My Eyez See Your Future.
The end of 2021 marked the end of an era – the ending of Denzel’s characters and alter egos. Describing his upcoming album Melt My Eyez See Your Future, he says: “I like traditional hip hop, I like drum and bass, I like trap, I like poetry, so a lot of that is going to be interwoven in this album including jazz and a lot of genres that I came up on as a kid and just being in my parents’ house. This album is made up of everything that I couldn’t give you on TA13OO or Imperial because I was going through depression anger issues.”
New music from Denzel arrives following his first new standalone single in a year with last summer’s “The Game,” which appeared on the Madden NFL 2022 soundtrack. Last year Denzel additionally connected with Robert Glasper for an exclusive Record Store Day release of their joint album Live From Leimert Park as well as appearing on the new season of TV series’ The Choe Show and an episode of Dave (FX).
This week Denzel caught up with Apple Music’s Zane Lowe to discuss the new single, which was also the cover of Apple’s New Music Daily playlist today. Additionally, in support of the release a limited edition “Walkin” 7″ disc is now available for pre-order. Listen to “Walkin” above, check out his interview with Zane Lowe and cover of Apple Music’s New Music Daily, purchase limited edition “Walkin” discs, see upcoming tour dates below and stay tuned for more from Denzel Curry soon.
“We’re building our empire from the ashes of an old” as GRAMMY-winning Swedish theatrical rock outfit GHOST announces the impending arrival of IMPERA the band’s fifth full length studio album out March 11 via Loma Vista Recordings.
IMPERA is heralded by today’s release of its first official single, the sublime and haunting “Call Me Little Sunshine,” available now across digital platforms—and as a phantasmagoric visual interpretation lensed by iconic director Matt Mahurin and starring Ruby Modine. The album will also feature “Hunter’s Moon,” Ghost’s fourth consecutive Active Rock #1 radio single, as heard over the end credits of the horror smash Halloween Kills—and manifesting physically in the form of a 7” vinyl single release this Friday, January 21.
IMPERA finds Ghost transported literally hundreds of years forward from the 14th century Europe Black Plague era of its previous album, 2018’s Best Rock Album GRAMMY nominee Prequelle. The result is the most ambitious and lyrically incisive entry in the Ghost canon: Over the course of IMPERA’s 12-song cycle, empires rise and fall, would-be messiahs ply their hype (financial and spiritual alike), prophecies are foretold as the skies fill with celestial bodies divine and man made… All in all, the most current and topical Ghost subject matter to date is set against a hypnotic and darkly colorful melodic backdrop making IMPERA a listen like no other — yet unmistakably, quintessentially Ghost.
Produced by Klas Åhlund and mixed by Andy Wallace, IMPERA consists of the following 12 songs:
Call Me Little Sunshine
Watcher In The Sky
Darkness At The Heart Of My Love
Bite Of Passage
Respite On The Spital Fields
Robert Glasper’s contribution to music and culture spans over two decades, forming an exceptional legacy that permeates throughout contemporary art and advocacy. 2022 not only marks the 10 year anniversary of the era-defining, Grammy-winning album Black Radio but also Glasper’s solo return with the upcoming release of Black Radio III.
Arriving alongside the announcement is new single, “Black Superhero” featuring Killer Mike + BJ The Chicago Kid + Big K.R.I.T. The official music video first premiered yesterday via broadcast channels BET Soul, BET Jams, MTVu, MTV Live, and Yo! MTV including social support across MTV, BET Soul, and BET Jams platforms. Shot in Los Angeles and directed by award-winning Director/Filmmaker, Charlie Buhler, the video takes viewers through a series of vignettes that highlight real-life Black heroes who live in and work for their communities.
On creating the music video, Buhler says “Black Superhero” is a visual love letter to the Black community. It’s an ode to our strength, vibrancy, and joy. We have struggled, and yet we are still here, and not only are we here, but we are so much more than the adversity heaped upon us. I am grateful to Robert and the team at Loma Vista for trusting me with such a powerful and important song, and everyone who came together to help bring the concept to life. It was a true labor of love.”
Like its predecessors, the new studio album celebrates Black joy, love and resilience and features Grammy-winning single “Better Than I Imagined” featuring H.E.R + Meshell Ndgeocello and “Shine” featuring D Smoke and Tiffany Gouché. Black Radio III’s guests also include Q-Tip, Jennifer Hudson, H.E.R. Yebba, Common, Ty Dolla $Ign, Esperanza Spalding, Ant Clemons, India.Arie and more.
Glasper reflects, sharing “I couldn’t think of a better way to celebrate the 10 year anniversary of Black Radio than by releasing Black Radio 3. To debut a live performance of “Black Superhero” on The Tonight Show with some of my own heroes is really special to me. Hopefully, it inspires more to come.”
The 4x Grammy and Emmy winning artist, composer and producer made history with Black Radio as the first album to debut in the top 10 of 4 different genre charts simultaneously: Hip Hop, R&B, Urban Contemporary, Jazz and Contemporary Jazz, as did the follow-up album Black Radio 2. The ongoing Black Radio brand has become synonymous with Black music culture and has placed Glasper alongside some of music’s most legendary- from early days with J Dilla, Bilal and Yasiin Bey to playing alongside Kendrick Lamar, Kanye West, Herbie Hancock, Erykah Badu, Snoop Dogg, Jill Scott, Brandy and more.
Glasper is nominated for two 2022 Grammys, including Best Progressive R&B Album for Dinner Party (Robert Glasper, Terrace Martin, Kamasi Washington and 9th Wonder) and Best Traditional R&B Performance for “Born Again” with Leon Bridges.
Tune in live to The Tonight Show Starring Jimmy Fallon on January 17th for a special MLK Day performance from Robert Glasper, performing “Black Superhero” with Rapsody, BJ The Chicago Kid, Amir Sulaiman and DJ Jazzy Jeff, backed by The Roots.
Black Radio lll will be available on all formats (digital, CD, and 2xLP) worldwide on February 25th via Loma Vista Recordings – more to be announced soon.
Today, Korn announces their new studio album Requiem. In tandem with the album announcement, the band shares the lead single and video “Start The Healing.” The first offering from Requiem arrives with a video directed by Tim Saccenti (Flying Lotus, Run The Jewels, Depeche Mode) that is a live action and animated visual feast about death and re-birth amidst an array of preternatural creatures, humanoids and Korn’s electrifying live performance symbolizing the dawn of a new era for the band.
Director Saccenti’s words on the genesis of “Start The Healing” visuals:
“Our idea for this video was to mutate that aspect of the DNA of Korn, of what makes them so inspiring, their mix of raw power and transportive aesthetics and human emotion.
I wanted to take the viewer on an emotional journey, as the song does, a visceral, cathartic death and rebirth that will hopefully help transport the listener through whatever their personal struggles are.
Collaborating with 3-D artist Anthony Ciannamea we tapped into Korn’s mythology and explored their vast well of light and darkness to create a surreal, liminal-pace body-horror nightmare.”
Due to the effects of Covid and the inability to play live shows for the first time in the band’s illustrious career, Requiem was conceived out of very different circumstances than the majority of the band’s catalogue. It is an album born of time and the ability to create without pressure. Energized by a new creative process free of time constraints, the band was able to do things with Requiem that the past two decades haven’t always afforded them, such as taking additional time to experiment together or diligently recording to analog tape – processes which unearthed newfound sonic dimension and texture in their music. Requiem was produced by Chris Collier and Korn.
Fans have been anticipating new music after Korn previewed a snippet of “Start The Healing” within an augmented reality filter and billboards bearing the band’s iconic logo began appearing worldwide last week.
Watch “Start The Healing” and pre-order/save Requiem above, get more album details and information on the band below and stay tuned for more Korn coming soon.
Korn changed the world with the release of their self-titled debut album. It was a record that would pioneer a genre, while the band’s enduring success points to a larger cultural moment. The FADER notes, “There was an unexpected opening in the pop landscape and Korn articulated a generational coming-of-angst for a claustrophobic, self-surveilled consciousness. Korn became the soundtrack for a generation’s arrival as a snarling, thrashing, systemically-restrained freak show.”
Since forming, Korn has sold 40 million albums worldwide, collected two Grammys, toured the world countless times, and set many records in the process that will likely never be surpassed. Vocalist Jonathan Davis, guitarists James “Munky” Shaffer and Brian “Head” Welch, bassist Reginald “Fieldy” Arvizu, and drummer Ray Luzier, have continued to push the limits of the rock, alternative and metal genres, while remaining a pillar of influence for legions of fans and generations of artists around the globe.
The level of Korn’s reach transcends accolades and platinum certifications. They are “a genuine movement in a way bands cannot be now,” attests The Ringer. They represent a new archetype and radical innovation, their ability to transcend genre makes barriers seem irrelevant.
Sometimes, Forever, the immersive and compulsively replayable new Soccer Mommy full-length, cements Sophie Allison’s status as one of the most gifted songwriters making rock music right now. Packed with clever nods to synth-filled subgenres like new wave and goth, the album finds Sophie broadening the borders of her aesthetic without abandoning the unsparing lyricism and addictive melodies that make Soccer Mommy songs so easy to obsess over. Sometimes, Forever is the 24-year-old’s boldest and most aesthetically adventurous work, a mesmerizing collection that feels both informed by the past and explicitly of the moment. It’s a fresh peek into the mind of an artist who synthesizes everything — retro sounds, personal tumult, the relatable disorder of modern life — into original music that feels built to last a long time. Maybe even forever.
Sophie was only 20 when she put out Clean, her arresting studio debut, which became one of the most beloved coming-of-age albums of the 2010s. Its bigger-sounding followup, color theory, brought more acclaim and continued to win her fans far outside of the lo-fi bedroom pop scene she cut her teeth playing in. But with all the highs came inevitable lows. Navigating young adulthood is often spiritually draining, to say nothing of the artless administrative chaos associated with being a popular full-time musician. And yet she never stops writing, consistently transforming bouts of instability into emotionally generous music. The latest culmination of that process is Sometimes, Forever, which sees Sophie once again tapping into the turn-of-the-millenium sensibilities she’s known for. This time, though, she advances her self-made sonic world beyond the present and into the future with experimental-minded production, an expanded moodboard of vintage touchstones, and some of her most sophisticated songwriting to date.
To support her vision, Sophie enlisted producer Daniel Lopatin, a.k.a Oneohtrix Point Never, whose recent behind-the-boards credits include the Uncut Gems movie score and The Weeknd’s chart-topping Dawn FM. While the pairing might seem unexpected, active listening reveals a kindred creativity; both artists are interested in utilizing memory-triggering sounds and melodies to make invigorating music that transcends its influences. On Sometimes, Forever, Lopatin employs his boundless synth vocabulary and knack for meticulous arrangements to complement Sophie’s well-crafted compositions. The result is an epic-feeling mix of raw-edged live takes and studio wizardry.
Nowhere is Sophie’s exploration more spellbinding than “Unholy Affliction,” a first-half highlight with a paranoid post-rock rhythm and cursed-sounding synths. “I don’t want the money / That fake kind of happy,” she sings with dead-eyed disaffection. In addition to showcasing Sophie’s appreciation for textures that are at once pretty and unsettling, “Unholy Affliction” foregrounds one of Sometimes, Forever’s more compelling narrative tensions: the push and pull between Sophie’s desire to make meaningful art and her skepticism about the mechanics of careerism. “I hate so many parts of the music industry, but I also want success,” Sophie says. “And not just success — perfection. I want to make things that are flawless, that perfectly encapsulate what I’m thinking and feeling. It’s an unachievable goal that keeps you constantly chasing it.”
Sometimes, Forever fixates on those sorts of contradictory forces: desire and apathy, ecstasy and misery, good and evil, self-control and wildness. Straight-up love songs — like the ultra-catchy “Shotgun,” which likens romance to a chemical high without the gnarly comedown — rub up against much gloomier fare, like the Sylvia Plath-referencing “Darkness Forever,” a sludge-rock fever dream from the album’s midsection. The weightless “newdemo” spins delicately layered harmonies and mystical synths into an end-of-the-world reverie; the impending apocalypse has never sounded so jaw-droppingly beautiful. “I didn’t want to make something super depressing without any sense of magic,” Sophie explains.
The title Sometimes, Forever refers to the idea that both good and bad feelings are cyclical. “Sorrow and emptiness will pass, but they will always come back around — as will joy,” Sophie says. “At some point you’re forced to say, I’ll just have to take both.” She articulates this sentiment on the gut-punch opening of “Still,” her clear voice imbued with a heartbreaking blend of wisdom and hurt: “I don’t know how to feel things small / It’s a tidal wave or nothing at all.” Sophie understands that Sometimes, Forever is lyrically dark, with macabre imagery haunting even its most upbeat passages. But because she’s in a better place than when she wrote the songs, she has no trouble luxuriating in the moments of uncomplicated bliss that coexist alongside the bleakness.
One of those moments comes on the record’s penultimate track, “Feel It All The Time,” a song-length metaphor about a resilient old truck. “I wanna drive out where the sun shines / drown out the noise and the way I feel,” goes the hook, a heart-bursting blur of shoegaze-y Americana. By song’s end the narrator returns to a state of world-weariness, resigned to the fact that she probably can’t outrun her demons forever. But for a few flickering moments — Sophie’s voice freewheeling over warm guitar ripples, the sun-drenched sound of a generational talent at the height of her powers — it feels like maybe she could keep on driving, faster and faster until all of that existential darkness is behind her, just a cloud of red dust in a dirty rearview mirror.
“The darkness of Minnesota winters contrasts with his youth, and his new EP Greenhouse aims to bring some sunshine to his current home.” – NPR Music, All Songs Considered
“blissed out” “shoegaze-pop rumination.” – The FADER
“bright, shoegaze delight.” – NYLON
“Miloe’s reach exceeds the suburban backyard, elsewhere capturing the travelogue of his youth in finger plucks and gently swaying piano.” – MTV
“With only five tracks, [Greenhouse] showcases Miloe’s seemingly almost effortless knack for melodies and simple, yet captivating instrumentals that make the project as a whole undeniable. Not much is known about what’s on Miloe’s docket for 2021, but consider us excited for whatever that may be” – UPROXX
“lovely…smooth pop number” – DORK
Born in the Democratic Republic of Congo, Bob Kabeya moved to the U.S. with his family at the age of 8 to reunite with his father, a journalist who was granted asylum three years prior. Greenhouse is an exhilaratingly energetic and youthful homage to Summer and the weather patterns of his childhood, paired with lyrics of teenage melodrama and idealism. “The Minnesotan climate can feel so limiting compared to where I grew up, almost like we’re waiting half the year to actually live our lives,” he explains. Living in a region that faces harsh winter for much of the year, and in 2020 served as ground zero for uprisings against police violence, Kabeya created Greenhouse as an offering of sunshine to his community as winter returned.
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.
“Daddy’s Home collects stories of being down and out in downtown NYC. Last night’s heels on the morning train. Glamour that’s been up for three days straight.”—St. Vincent
Daddy’s Home, the sixth album from Annie Clark a/k/a St. Vincent, is the latest facet of an ever-evolving artist regarded by many as the most consistently innovative and intriguing presence in modern music.
Annie Clark made her recorded debut as St. Vincent in 2007 with Marry Me. Her subsequent albums would grow in stature and complexity, including Actor (2009), Strange Mercy (2011), and the self-titled fourth album that won the 2014 GRAMMY for Best Alternative Album, making her only the second female artist ever to win in that category. In addition to these solo works, St. Vincent plays nice with others: Her collaborations have included an album with David Byrne (2012’s Love This Giant), a performance as singer and lead guitarist of Nirvana at the band’s 2014 Rock and Roll Hall of Fame induction, and a 2019 GRAMMY Awards duet with Dua Lipa.
In 2017, working with co-producer Jack Antonoff, St. Vincent created a defining statement with MASSEDUCTION. As ambitious as it was accessible, the album broke St. Vincent into the U.S. and UK top 10s while landing at #1 on the Best of 2017 lists of The New York Times and The Guardian—and placing high in the year-end rankings of The AV Club, Billboard, Entertainment Weekly, Mashable, The New York Daily News, the NME, Paste, Pitchfork, Q, Stereogum, USA Today, and more.
St. Vincent’s 2018 album, MassEducation, revealed another dimension of MASSEDUCTION. Recorded live in the studio by Annie on vocals and Thomas Bartlett on piano over two nights in August 2017, the album lays bare the exquisite songcraft of its other half, rendering songs like “Slow Disco” and “Savior” and their subjects in vivid, vulnerable new light.
In the winter of 2019, as MASSEDUCTION’s title track won the GRAMMY for Best Rock Song and the album won Best Recording Package, St. Vincent’s father was released from prison. She began writing the songs that would become Daddy’s Home, closing the loop on a journey that began with his incarceration in 2010, and ultimately led her back to the vinyl her dad had introduced her to during her childhood. The records she has probably listened to more than any other music in her entire life. Music made in sepia-toned downtown New York from 1971-1975.
Preceded by a foreboding teaser, the first full broadcast from St. Vincent’s synthesis of this era reaches us in the form of “Pay Your Way In Pain,” a slinky slab of sweaty funk—punctuated by a few examples of Clark’s ability to shred vocal cords rivaling her shredding on her signature Ernie Ball Music Man guitar. The song plays like the result of time travelers from the future having booked a session Electric Lady in the early 70s. The video for “Pay Your Way In Pain,” directed by Bill Benz (director of the forthcoming The Nowhere Inn, co-written by and starring St. Vincent), opens up Daddy’s Home’s visual world—a world in which the most forward-looking artist of an era throws herself willingly into a network TV variety hour rabbit hole.
Daddy’s Home is out May 14, 2021 on Loma Vista Recordings. Pre-Save the album now, or pre-order your choice of 8-track (if you know, you know…), CD, Vinyl, Deluxe Vinyl, and Cassette. Or visit https://lnk.ilovestvincent.com/DHStore to pre-order exclusive picture disc, merchandise and more.
The album was produced by Annie Clark and Jack Antonoff, recorded by Laura Sisk, mixed by Cian Riordan, and mastered by Chris Gehringer. The music was performed by Annie, Jack, Cian, Thomas, Evan Smith, Sam KS, Greg Leisz, Daniel Hart, Michael Leonhard, Lynne Fiddmont and Kenya Hathaway.
And Candy Darling lived within and presided over it all.
“And your wig, blonde, rolls home waving from the latest uptown train I never wanna leave your perfect candy dream. So candy darling I brought bodega roses for your feet and candy my sweet I hope you will be coming home to me.”
… Daddy’s Home.
01. Pay Your Way In Pain
02. Down And Out Downtown
03. Daddy’s Home
04. Live In the Dream
05. The Melting Of The Sun
06. The Laughing Man
08. Somebody Like Me
09. My Baby Wants A Baby
10. …At The Holiday Party
11. Candy Darling
Multi-Gold and Platinum punk rock band RISE AGAINST is back with a provocative and dynamic new album, Nowhere Generation, the group’s first new studio effort in four years. On the upcoming release, the outspoken band points a finger at big business and politics for stacking the social and economical deck against Millennials’, Gen Y’s, and Gen Z’s pursuit of The American Dream. Musically, the album is blazing, aggressive punk rock; lyrically, the eleven songs were inspired in part by input from band members’ young children and Rise Against’s community of fans. Nowhere Generation is set for a June 4 release and is Rise Against’s first with new label Loma Vista Recordings.
Said McIlrath, “Today there is the promise of the American Dream, and then there is the reality of the American Dream. America’s ‘historical norm’ that the next generation will be better off than the one that came before has been diminished by an era of mass social, economic, and political instability and a sell-out of the Middle Class. The brass ring that was promised by hard work and dedication no longer exists for everyone. When the privileged climb the ladder of success and then burn it from the top, disruption becomes the only answer.”
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
On White Bronco, Action Bronson’s 2018 release, he rapped “my next album’s only for dolphins,” and the principled MC is nothing if not true to his word. Today he announces his long-awaited new album and debut for Loma Vista Recordings, Only For Dolphins, to be released on September 25. Additionally, he has shared a new single, “Golden Eye.”
Only For Dolphins hums with Bronson’s voracious appetite for sounds encountered during his escapades circling the globe. Turkish psych, reggae, French film music, lovers rock, Russian funk. Joining Bronson is his long-running crew of producers including The Alchemist, Harry Fraud, Daringer, Budgie, DJ Muggs, Tommy Mas and Samiyam.
Listen to “Golden Eye” below, a slow-burn reggae send-up produced by Budgie with a title that, in typical fashion, name checks both the classic video game and the resort. He raps: “Twenty Kawasaki’s looking like wild horses on stampede / I look like a character that was drawn by Stan Lee / All around the world I’m known by different names / But never the real one, because motherf*in sh*t done changed.”
A Queens legend, celebrated for his idiosyncratic pen and vivid raps, Bronson is a decade into his career and still deepening his skillset. “The dolphin is one of the most intelligent creatures ever created on whatever planet we’re on,” he explains. “They have their own way of communicating. They have nuance and intangibles like we do.” In a perfectly unusual analogy, he likens the aquatic mammal to the storied “five-tool” baseball player—that is, the extraordinary class of player who combines all elements of the game. “The only people who understand me are those five-tool players, those higher beings who are on the same telepathic wave as me.”
Action Bronson painted the Only For Dolphins album artwork himself, like he did for both his 2018 White Bronco LP and 2019 Lamb Over Rice EP.
Recorded live by Andrew Bird and his three-piece band of bassist Alan Hampton, drummer Abe Rounds and guitarist-producer Mike Viola, the loose and tantalizing groove of “Atomized” is overlaid not only with hypnotically-plucked violin, seamless and sudden interludes, and trance-inducing vocal chants, but sharp affirmations delivered with an effortless cool. Andrew Bird offers, “It’s not just society that is getting atomized but the self that is being broken apart and scattered”.
Stay tuned for more in 2022 for Bird.