Future Of The Left are once again contractually obliged to tell you that their new album the peace and truce of future of the left will be released in Australia on the 8th April 2016 via Remote Control Records.
Recorded by Anthony Chapman at Monnow Valley studios in Monmouth it contains thirteen songs (you are welcome to call them ‘tracks’, only not near the band) and is, once again, their best one yet, obeying the universal law that the new album is always the best one, otherwise it wouldn’t be released in the first place.
The album (and, once again, an accompanying mini album, to failed states and forest clearings, which was recorded at the same time) will be available earlier to anybody who contributed to the pledgemusic campaign, which was launched in December 2015 and reached its funding target within three and a half hours (beating the five hours it took to fund the previous album how to stop your brain in an accident). details of the campaign can be found here.
After teasing its release at SXSW this week, KAYTRANADA is back to share details of his highly anticipated debut album 99.9%. Due Friday 6th May via XL Recordings / Remote Control Records, the album finds the Haitian born, Montreal raised producer delivering on the promise of his early self-released EPs and remixes.
Since the age of fourteen, when he first began to DJ and when his brother introduced him to music production software, his output has been relentless. He explains, “after he showed me the basics, from that day on I couldn’t stop making beats,” pumping out a handful of tracks per day for the next couple of years.
Having released singles like ‘Drive Me Crazy‘ with Vic Mensa and ‘Leave Me Alone‘ with Shay Lia, KAYTRANADA has since cemented his reputation and his sound; an undeniable swing of the drums comparable to Dilla’s, a signature soulful touch in the melodies, and a healthy dose of funky bass lines.
99.9% continues that tradition, and new track ‘Bus Ride,’ which features acclaimed percussionist/producer Karriem Riggins as well as rising Toronto vocalist River Tiber, demonstrates that KAYTRANADA has stayed within his canon while demonstrating growth on the new album.
Singer and producer Rostam releases ‘Gravity Don’t Pull Me‘ as a beautiful dance video.
Alongside previously released tracks ‘EOS‘ and ‘Wood,’ ‘Gravity Don’t Pull Me‘ is part of a collection of singles Rostam is releasing on XL recordings this year. The video for ‘Gravity Don’t Pull Me‘ was co-directed by Rostam and Josh Goleman (who he previously worked with on Ra Ra Riot’s ‘Water’ Music video).
“This video was in some ways years in the making,” explains Rostam, “After the release of the Discovery LP in 2009 I began to see people posting videos of themselves choreographing sections of songs from the album. It was then I realised I really wanted to make a dance video.”
The video features dancers Jack Grabow and Sam Asa Pratt, who have posted their own videos improvising dance to Rostam’s music in the past. Catching Rostam’s attention, it was only a matter of time until a collaboration came into the works. The final result is the visually engaging video for ‘Gravity Don’t Pull Me‘ which showcases mirrored dance choreography for a symmetrically shot performance on camera.
EL VY’s Matt Berninger and Brent Knopf have made good on their promise to deliver a video for every song on their debut album… watch ‘Sad Case/Happiness, Missouri’ and ‘It’s A Game’ videos below. Return To The Moon is out now via 4AD / Remote Control Records.
‘It’s A Game’, directed by Tom Berninger (Matt’s brother, director of the award-winning Mistaken For Strangers film and creator of all preceding EL VY videos thus far), sees Tom’s artwork time-lapsed to life, while he and Matt struggle to come up with imagery that works for both of them.
‘Sad Case/Happiness, Missouri’, filmed by Michael Brown and Ben Krall, and edited by Kelly Lyon, is a music horror video, of sorts. It captures Matt and Brent in a fight for survival, combined with live EL VY performance footage.
Today – Friday 4th March – sees the release of 19 year old singer, producer and songwriter Holly “Låpsley” Fletcher’s highly anticipated debut albumLong Way Homeon XL Recordings / Remote Control Records.
The twelve track album features new versions of her previous releases ‘Hurt Me’, ‘Falling Short’, ‘Painter’ and ‘Station’, in addition to current single ‘Love Is Blind’. For much of the album Låpsley worked with XL’s in-house producer Rodaidh McDonald, in addition to production contributions from Paul O’Duffy and Mura Masa.
Long Way Home documents a turbulent time in Låpsley’s life — a period in which she revelled in her new-found music career as it took her from Liverpool to London to Los Angeles and back again. Of the album, Låpsley says “I think it’s helped me to be able to collect everything for those moments when I’m writing. I think that’s what’s driven this album.”
Låpsley’s determined views on her own production have ensured her involvement in every element of these songs — a fact that in the early days seemed to confuse many of the producers she met. “They didn’t want to listen to me,” she says, “or they think a girl’s just there to add a top line, or they come to the table with ideas already. Straight away if I come in to a studio and someone says ‘I’ve written something for you’, then I’ll just walk out. I don’t care. I’m not there for that.”
NYC’s The Prettiots (Kay Kasparhauser and Lulu Prat) will release their debut album, Funs Cool, on Friday 5th February 2016 via Rough Trade / Remote Control Records.
They recorded a Rough Trade session in Brighton UK – check out new track ’18 Wheeler’ as well as their totally refashioned take on The Strokes’ ‘Someday’ via the images below.
Packed with catchy melodies, memorable hooks and heart on the sleeve lyrics, Funs Cool acts as a thoughtful, funny, and catchy-as-hell state of the union address from young women living in a big city and watching life unfurl in fits and starts before them.
Funs Cool comes hot on the heels of their recent rapturously received first UK shows in November, and recent single, ‘Stabler,’ at once an ode to Elliot Stabler, the detective with a heart of gold from NBC’s Law & Order series, and a wistful examination of idealism in romantic relationships.