Chris Cohen has announced his upcoming sophomore album, ‘As If Apart’, to be released on Friday 6 May via Captured Tracks / Remote Control. In celebration of the announcement, Cohen has premiered ‘Torrey Pine’ the first music to be heard from the forthcoming album via Stereogum.
The project will be Cohen’s first release since his 2012 solo debut, Overgrown Path. Stream the track below and read more on Chris Cohen and ‘As If Apart’ below.
As If Apart, the long-awaited sequel to Chris Cohen’s 2012 soft psych garden of unearthly alter-pop earworms and studio-sonic delights Overgrown Path, follows on its predecessor with another bittersweet ensemble of dreamy, complex songs. Pushing the idiosyncrasies of Cohen’s melodic and rhythmic approach into even more fractured, shifting spaces, As If Apart unsettles lazy pop conventions, upending jaded heads and hearts with an expansive, moody psychedelia. Where Overgrown Path plunged within, As If Apart voyages out. And up.
Sometimes as a leader, sometimes as a sideman and collaborator; sometimes as an invisible musician but you’ve heard him: the chest-high bass drum thump, the tightly paired flight of guitars in odd harmony, the disorienting shift in time and texture that resolves itself into song. Chris Cohen has plied the inside and outside folds of pop musical possibility since at least 1978, when he first set infant drumstick to skin at the tender age of three, initiating decades of sonic experimentation across multiple bands and nearly a dozen recordings.
FKA twigs has shared a brand new single and video, ‘Good To Love’. The song was originally aired live during FKA twigs’ Soundtrack 7 residency at the Manchester International Festival and is produced by FKA twigs alongside Rick Nowels.
‘Good To Love’ is available to hear right now via a self-directed video below, and will be available across all digital platforms this afternoon, featuring cover photography by Alexandra Horgan.
The release of ‘Good To Love’ follows FKA twigs’ acclaimed 2015 M3LLI55X EP and her 2014 debut album, LP1, for which she recently won two awards at the 2016 Music Producers Guild Awards (for ‘UK Single of the Year’ and ‘UK Album of the Year’).
FKA twigs is also pleased to announce that she will perform ‘Good To Love’ on Late Night With Jimmy Fallon this coming Wednesday 24 February.
MssingNo returns with the ‘Fones’ EP. Out now, the EP is the London artist’s debut release for XL Recordings.
MssingNo first came to prominence in 2013 with the release of his debut ‘MssingNo’ EP on Goon Club Allstars. The EP immediately sent a seismic shock through the underground electronic music scene, especially EP track ‘XE2’ which became one of the year’s defining anthems and was named FACT magazine’s ‘track of the year’.
Listen to single ‘Scope’ below:
The EP follows a series of remixes of the likes of Cashmere Cat & Ariana Grande and Shura, plus collaborations with artists such as Katy B (on her forthcoming Honey album.)
Overflowing with trademark anthemic, ultra-melodic hooks, the Fones EP is a further pointer towards MssingNo’s bright future. One track – Inta – was first featured on XL Recordings’ 2015 XL Chapter VI compilation album, while ‘Scope’ premiered earlier this week by Radio 1’s Annie Mac.
Nordic four-piece Liima have premiered the video for their debut single ‘Amerika’, from their forthcoming album ‘ii’, out on March 18.
The short film was directed by Olivier Groulx and filmed on America’s west coast in Palmdale, CA. It was shot entirely on smart phones and features all four members of Liima.
The Finnish word for ‘glue’, Liima was formed by Finnish percussionist Tatu Rönkkö plus Mads Brauer, Casper Clausen and Rasmus Stolberg of Danish act Efterklang.
Ii features songs written in Finland, Berlin, Istanbul and Madeira during four week-long residencies, each place influencing the sound, sometimes literally through field recording and sampling. Every residency ended with a live concert, performing the freshly written songs in front of an audience.
Dinner is Danish producer and singer Anders Rhedin. He leads a nomadic existence, dividing his time between Los Angeles, Copenhagen and Berlin. So far, Dinner has 3 EPs and a guided hypnosis tape under his belt.
Dinner is excited to announce the release of his debut albumPsychic Lovers, out Friday 1 April via Captured Tracks / Remote Control Records. He has also unveiled the first taste of the release, the synth-laden dance track ‘Turn Me On.’
“Dinner‘s music is about parties. And women. Late nights and early mornings in strange cities. But mainly it’s about magic and the communion with spirits,”Dinner says. “It’s like sexual Christian rock, really. But with out all the Christianity.”
U.S. Girls has shared her new video for ‘Navy & Cream’ prior to her debut Australian tour beginning this March. Check it out below!
Meg Remy will play headline shows in Brisbane and Melbourne. In addition, she has been announced as the support for Sleater-Kinney in Sydney and Melbourne and will also be performing at Divine Times as a part of Spectrum Now in Sydney. Get your tickets here.
‘Navy & Cream’ is the next track from Half Free to get its own accompanying video. Working with artist and animator Emily Pelstring, whose hand-drawn animations coupled with footage of Meg singing have been processed through various equipment like VJ software, a video projector, an antique video camera and an analog color-corrector before being mixed with a feedback loop on one channel and the original source material on the other to create a beguiling montage of screen-glare, echoing trails and softened edges.
TimHecker has revealed details of his latest album, and the first record to be released via 4AD / Remote Control Records. The Canadian composer will release Love Streams, on Friday 8April 2016.
Love Streams takes its cues from the avant-classical orchestration and extreme electronic processing of his previous full-length, 2013’s Virgins, but shaped into more melancholic, ultraviolet hues. Inspired by notions of 15th century choral scores (particularly those by Josquin des Prez), transposed to an artificial intelligence-era language of digital resonance and bright synths, the album was assembled gradually, with layers of studio-tracked keyboards, choir and woodwinds being woven into the mix, then molded and disfigured through complex programming. Like hearing some ancient strain of sacred music corrupted by encryption, Hecker admits to thinking about ideas like “liturgical aesthestics after Yeezus” and the “transcendental voice in the age of auto-tune,” during its creation.