Ratatat’s video for “Drugs” is very terrifying, in a “Black Hole Sun” kind of way.
LP4 is out via XL.
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Ratatat’s video for “Drugs” is very terrifying, in a “Black Hole Sun” kind of way.
LP4 is out via XL.
“Down By The Water” is the most balladic, down tempo moment on the Drums’ self-titled debut. (Because as “It Will All End In Tears,” the track that follows it, suggests, water’s not always about sun and surfing). I’m not entirely sure how Jonathan Pierce robot dances to this one, but you’ll see firsthand on their co-headlining tour with similarly sandy Surfer Blood. (And note: The above press photo was taken by one Alex Lake, because everything these guys do is somehow associated with H2O.)
Mirroring Casey Dienel’s shift from the acoustic, brushed drum jazz feel of her first outing to the denser, darker electro realm of Kairos, the video for “No Logic” has White Hinterland singing over a shadowy forest with Macbooks in the brush. Pretty, appropriate, pretty appropriate. Directed by Solomon Chase.
Kairos is out via Dead Oceans. Check its other videos, if you want: “Amsterdam,” and “Begin Again.”
The Memoryhouse remixing Oberlin duo Teengirl Fantasy’s debut full-length 7 AM is out this September. Closer “Cheaters” is a fun overlap of gauzy electronics and soulful gospel vocals. Think of it as a hipper version of Primitive Radio Gods’ “Standing Outside A Broken Phone Booth With Money In My Hand.” Or a later, poppier version of Deerhunter’s “So Long,” if that first comparison hurt your heart/sense of style.
Wild Beasts were just nominated for the Mercury Prize, and they’re on tour again, so their label Domino is celebrating with this new EP featuring their single “We Still Got The Taste Dancin’ On Our Tongues,” an acoustic version of “The Devil’s Crayon,” a Jon Hopkins remix of “Two Dancers,” and this rare Japanese b-side “Through The Iron Gate.” Have a listen:
Neige is on a roll. Over the past few years, the French multi-instrumentalist’s honed his “post-black metal” (or whatever you want to call it) to an inspired blackened, dramatic, triumphant pitch. It has sweet, bleak, romantic hooks. The atmosphere’s elegant, furious, gorgeously layered. Songs bleed compellingly into the background while lodging themselves deep in your headspace. Over the last 16 months or so, he’s given us Amesoeurs‘ amazing self-titled collection of urban-existential/isolationist pop and Alcest’s latest, Écailles de lune, a stellar showing of his more rural shoegazing black ‘n’ blue metal. Finalizing the triptych, he (with co-founder/multi-instrumental cohort Herbst) just released Lantlôs’ excellent sophomore album, .neon. Herbst handles main songwriting duties, but the overlaps are there — the sound’s closer to Amesoeurs’ distorted decay than Alcest’s airier childhood idylls/fairytales. The songs feel expansive, but whiz by in less than 40 minutes. You’ll recognize Neige’s voice on “Pulse/Surreal,” an 8-minute track that suggests the dynamic breadth of the collection. In turn, Les Discrets mastermind (and ex-Alcest bassist) Fursy’s cover art offers a visual for the swirling, fists-in-the-sky angst.
A couple weeks back we learned that Corin Tucker’s awaited solo LP had a name, cover art and track list. Now you can hear a track from 1,000 Years. “Riley” starts out okay, but really gets strong at the breakdown, when Tucker comes back in over the hand claps and organ.
Mirroring a post title from earlier this week (via Real Estate), here’s one angled toward the sundown new wave electro-pop of ‘Gum Bowl teamer Elizabeth Harper and her Class Actress project, and a session filed for the Daytrotter crew: Herein you’ll find two from the still-lascivious Journal Of Ardency EP (the title track and “Careful What You Say,” mislabeled “Careful What You Ask For”), along with a pair slated for its full-length followup, due this year. They have names (“Love Me” and “All The Saints”), analog synths, lots of promise, and in the case of “Saints,” a Raymond Carver reference. Here’s what we talk about when we talk about downloading them at Daytrotter.
The lynchpin of the late-night sensual portion of your Cruel Summer, Chromeo’s “Don’t Turn The Lights On” gives you myriad reasons to heed the title track’s call in lyric (“because tonight I want to see you in the dark”) and sound (sexy ’80s synth pop cut to dancefloor guitar funk sounds right in low light), and now in video, too: Dave1 and P-Thugg have a special look about them in the black of night. This one is winning.
“Pigeons” is a single from Brooklyn duo The Hundred In The Hands’ forthcoming post-This Desert full-length debut. Its sweaty late-night clip — which opens like a cautionary Harmony Korine tale from 1995 before the Alice Glass-like protagonist starts puking sparks and defying gravity — was directed by Daniels for Warp Films. (Brooklynites: You’ll get a better view of the fireworks than you did this past Independence Day.)
