PIXX - THE AGE OF ANXIETY CD / Random Coloured Vinyl LP / Black Vinyl LP IN STORES JUNE 9
Hannah Rodgers, the 21 year old musician behind Pixx, has announced details of her long-awaited
debut album, The Age Of Anxiety and previewed its opening salvo, ‘I Bow Down’. Following the singles
‘Baboo’ and ‘Grip’, its technicolour video was created by Natasha Lawes and premiered by FADER.
Released on June 2nd, The Age Of Anxiety is a brave step forward from Pixx’s first release, 2015’s Fall
In EP. A deeply personal document of heartbreak, those four folk-infused torch songs drew early critical
praise, with the Sunday Times hailing it “one of the most arresting debuts of the year,” and led to tours
with the likes of Daughter, Lush and Glass Animals.
Instead of tales of loss and affairs of the heart, The Age Of Anxiety finds Rodgers ostensibly place
herself outside looking in. Her twelve-song collection seeks to address a generation increasingly isolated
by an unprecedented new world order, from the pressures of social media to ever-changing political
This bold debut borrows its title from W.H. Auden’s final poem, charting one man’s quest to find
substance and identity in a shifting and increasingly industrialised world. Published in 1947, Auden’s sixpart
rumination on human isolation in the modern age parallels the overarching themes of Pixx’s work
some 70 years later.
Originally from Chipstead, just beyond the fringes of south London where suburban sprawl start to
break into countryside, Rodgers experienced a year-long period of insomnia caused by recurring
nightmares at age 9 – her first awareness of anxiety. It left a lasting impression, inspiring a fascination
with different states of consciousness, and is one of many somnolent events she draws upon for The Age
A newly-formed four-piece Pixx live band headlined Birthdays in London in February, and has also been
confirmed to open for Austra on their upcoming Spring UK and European tour.
The initial LP pressings come on coloured vinyl, with three different colours available and allocated at
random, in addition to a black vinyl version. These limited edition coloured LPs are available while stocks
“Pixx possesses the same celestial qualities as fellow label-mates Cocteau Twins or Blonde Redhead
with a little astral, new age aesthetic of Grimes, and the gothic melancholy of Bauhaus.” – The Guardian
“As a gateway into Pixx’s debut LP, ‘I Bow Down’ shows that anything’s possible from here.” – DIY
Originally from Chipstead, Hannah’s is a family of music lovers and her early life was soundtracked by
her father’s expansive record collection; she has previously cited acts as diverse as Joni Mitchell, Kate
Bush and Altered Images. Encouraged to sing and write, these formative years led to her creative talents
being recognised by the prestigious BRIT School. Aged 16, and already with a number of her own songs
sketched out, Rodgers enrolled at the renowned performing arts college, previously attended by the likes
of Adele, Amy Winehouse and King Krule. It was only after graduating that she begin to think of doing
anything with her own music, resisting the more mainstream route traditionally taken by her peers.
Adopting her grandmother’s nickname, Pixx was born.
Signed to venerable indie 4AD at just 19, Pixx released her first collection of music, Fall In, in 2015. An
EP of four folk-infused torch songs, it is, by Rodgers’ own admission, a deeply personal collection writ of
heartbreak and introspection. Fall In went down a storm amongst critics which helped her secure crucial
slots at Glastonbury and Latitude festivals.
An ambitious debut , The Age Of Anxiety represents the first true statement from a unique British talent,
drawing on deeply personal experiences to present a bold, relatable new commentary on her world order.
A1. I Bow Down
A6. Everything Is Weird In America
B2. A Big Cloud To Float Upon
B4. Your Delight
B5. The Girls
B6. Mood Ring Eyes
Sufjan Stevens, Nico Muhly, Bryce Dessner and James McAlister- Planetarium 2 LP / CD in stores June 9
Planetarium, the new collaborative album co-composed by Sufjan Stevens, Bryce Dessner, Nico Muhly
and James McAlister, is set for release June 9 via 4AD.
A completely reimagined version of the project originally undertaken years ago and performed in various
iterations around the world, Planetarium unites Stevens’ vocals, McAlister’s beats, Dessner’s guitar
performance, and Muhly’s instrumental compositions—part rock odyssey, part electronic experiment, part
Conceptually, Planetarium revolves around the cosmic ideas Stevens’ lyrics explore: mythology,
astrology, science, astronomy and the intricacies of human consciousness.
The album began when Dutch concert hall Muziekgebouw Eindhoven commissioned Muhly to create a
new piece and he enlisted friends Dessner, Stevens and McAlister, all of whom had been looking for the
opportunity to collaborate on a larger scale.
After sketching the framework of the song cycle and performing the piece as a band—flanked by a
string quartet and seven trombones—in various forms, the quartet put the project on hold for several
years. Returning to the raw material in 2016, Stevens and McAlister reversed their typical process, taking
recordings of the live show and adapting to the studio. “We had recorded all the arrangements and the
live parts in a studio after our last performance,” says Stevens, “so years later when we all kind of settled
down, we said, ‘let’s open Pandora’s box.’”
Stevens and McAlister worked to arrange Muhly’s symphonic framework and Dessner’s guitar virtuosity
alongside their own lyrics and beats. Stevens became the driver behind the “song” part of the song cycle,
his unique voice providing a clear and coherent center of gravity for the whole project.
In the time between Planetarium’s conception and release, Muhly wrote a new viola concerto and a
commission for the Metropolitan Opera; Dessner released Trouble Will Find Me with The National, toured
extensively and moved to Paris; and Stevens recorded and released Carrie & Lowell and, with McAlister,
toured the album worldwide.
Flanked by a string quartet and a consort of seven trombones, this unique collaborative ensemble have
assembled an expansive song cycle that explores the Sun, the Moon, the planets and other celestial
bodies of our solar system (and beyond) through soundscape, song, science and myth.
The subject of the album is not just the wilderness of outer space, but also the interior space of human
consciousness and how it engages with divinity, depravity, society and self – what does it mean to be
A musical and aesthetic journey as far-reaching as its subject: from lush piano ballads to prog-rock
political anthems, curious electronic backbeats to classical cadenzas, which occasionally give way to
ambient interludes and majestic brass chorales, buttressed by a percussive drive that keeps the
In spite of all the experimentation in sound and style, Sufjan’s vocals provide a clear and coherent centre
of gravity, and includes some of his most diverse vocal performances to date (from soft hush to guttural
scream); whether he’s singing through effects pedals, vocoders, auto-tune or not, his voice delivers an
ambitious flight map through the cosmos.
A3. Halley’s Comet
B3. Black Energy
C5. Kuiper Belt
C6. Black Hole
C8. In The Beginning
HELIUM ENDS WITH AND - Double Vinyl IN STORES MAY 19
Led by Mary Timony (Ex Hex, Wild Flag, Autoclave), Helium was one of the most important bands of
No history of American indie should be written without a chapter on Mary Timony, who managed to
straddle multiple worlds—among them Boston’s college-borne rock realm and Dischord’s DC-based DIY
scene—over the course of her early career.
In the Boston band Helium, Timony took centre stage, playing rock and roll that was anything but
Ends With And collects the band’s singles and compilation tracks. Early singles like the liberatory “Hole
In The Ground,” from their second 7-inch, and the churning “XXX”-”OOO” diptych, from the Pirate Prude
EP, show how immediately Helium’s aesthetic was established; later offerings like the swirling “What
Institution Are You From,” off 1995’s Superball EP, and the crystalline “Puffin Stars,” from a 1994 Kill Rock
Stars compilation, show Timony’s fluid ability to move between sinewy rock and refracted pop.
The collection contains previously unreleased material including the spindly “Golden Bridge,” the last
song Timony wrote for Helium, and buyers can also download rarities including an early version of The
Dirt Of Luck’s music-box fantasia “Lucky Charm” and an up-from-the-vaults live version of the slashing
(and previously unreleased) “Green Chair.”
Available as US import 2 LP pressed on yellow and blue vinyl featuring 19 tracks, 3 previously
unreleased demos, one completely unreleased song and 6 bonus downloads,
Liner notes feature essays from Matador Records honcho, Gerard Cosloy and Mary Timony with
contributions from all her former band members.
Ends With And is the centre piece of a reissue campaign which includes The Dirt Of Luck and The
North American tour billed as Mary Timony Plays Helium stops in Toronto June 12th at The Horseshoe
“Compiling Ends with And has been like stumbling upon a long forgotten time capsule and trying to put
the pieces in order. I hadn’t heard most of the songs in a very long time. I pored over hours of unlabeled
cassette demos, odd test pressings, and DAT tapes. A few of the live recordings and bonus tracks were
hard to find – I knew that they existed but I had lost copies, but luckily a few kind souls had stored tapes
in dusty basements and attics in various parts of the country. It’s good to know that these songs will all be
in one place now.” – Mary Timony
“Timony was way ahead of her time in reviving King Crimson-style stoner-prog textures. It took a lot of
artistic integrity to sing about “Cosmic Rays” in 1997.” – Rolling Stone
“Boston’s Helium served as a vehicle for the fascinating lyrical perspective and detuned, lurching guitar
expression of Mary Timony.” – Trouser Press
1. Baby Vampire Made Me
4. Love $$$
6. Termite Tree
7. Hole In The Ground
8. Magic Box
9. Superball (Demo)
10. What Institution Are You From?
11. Lucky Charm
12. #12 L’Enfant
13. I Am A Witch
14. Ghost Car (Demo)
15. Puffin Stars
16. Leon’s Space Song (Demo)
17. The Dragon #1
18. Fantastic Castle
19. Golden Bridge (Demo)
ALDOUS harding - party Limited Edition LP + 7” / LP / CD in stores may 19
4AD welcomes Aldous Harding, a remarkable talent from New Zealand.
Aldous Harding’s music is not for the faint of heart. Disarming in its desolate imagery and stark
instrumentation, her songs draw from the core facets of life: death, birth, grief and love. There are few
happy endings, but the power is in how Harding enters into battle; with a dancer’s grace and a boxer’s
Her 4AD debut, Party, was produced with the award-winning John Parish (PJ Harvey, Sparklehorse) in
Bristol, a world away from Harding’s New Zealand home. As well as contributions from Parish, Perfume
Genius’s Mike Hadreas lends vocals to ‘Imagining My Man’ and Party closer ‘Swell Does The Skull’.
Igniting interest with her eponymous debut album released just two years ago, Aldous Harding quickly
became a name murmured on many lips. She’s known for her sinister torch songs, gentle laments and
eerie odes delivered with a charismatic combination of hubris, shrewd wit and quiet horror. Party
introduces a new talent to the stark and unpopulated dramatic realm where Kate Bush and Scott Walker
‘Imagining My Man’ is an intensely intimate listen as Aldous explores the curiosity of a lover’s
idiosyncrasies. The video was created by ‘Horizon’ director Charlotte Evans and once again draws focus
on Harding, tracking her movements throughout the city of Auckland.
First single ‘Horizon’ is a lover’s call to arms, powerful for its brutal simplicity and rawness of feeling,
love and loathing colliding to devastating effect. “Aldous Harding repeats the line as a mantra, as a truth,
as a reality. It’s as if the gift of life is right here, with all its beauty and its limitations”, said NPR.
To celebrate the release of Party, Aldous Harding will be performing in Europe. She’ll play four UK
shows in London, Bristol, Glasgow and Manchester during the week of release, before heading to Europe
in late May. The New Zealander also brings her captivating live show to North America this summer,
including the June 11th in M o n t r é a l (Le Divan Orange), June 12th at the Velvet Underground Toronto,
Vancouver July 31st (The Biltmore), and Calgary on Aug. 2nd (The Palomino).
UK import indie only LP package includes a limited edition 7” featuring the track, Elation.
On Imagining My Man Harding says “It has a fluidity that works nicely. I couldn’t think of anything that
would work better. I want people to feel calm, I was just trying to look friendly. It was also lovely being
driven around Auckland City, I hadn’t done that in a while.”
“While she can move from forceful, expressive howling to a raspy, somewhat detached croon within a
span of seconds, some playful embellishments like a high-pitched “hey,” are just a touch saccharine.” -
Pitchfork on Imagining My Man
An artist of rare calibre, Aldous Harding does more than sing; she conjures a singular intensity. Her body
and face a weapon of theatre, Harding dances with steeled fervor, baring her teeth like a Bunraku
puppet’s gnashing grin.
Comprising a formidable clutch of songs, 2017’s Party sees Harding shape-shift through a variety of
roles: chanteuse, folk singer and balladeer – all executed with her twisted touch of humour, hubris and
quiet horror. In other words, she’s having a good time. Stretching her limbs with playful cunning; every
note, word and arrangement posed with intellect and inventiveness.
Articulating her ambitions for Party to Parish was a galvanizing process for Harding, met with stunning
results. The pair developed a near non-verbal shorthand, audibly evident in a raft of musical contributions
from producer John Parish. Alongside such special guests as Perfume Genius’ Mike Hadreas (having
worked with Parish and toured with Aldous, it only took asking once), there is an exhilarating sense of
risk throughout the record as Harding’s muscular wingspan extends. Teased out with inflections of
experimental instrumentation and arrangements; Party is always anchored by Aldous’s intimidating
command of her own songs.
A2. Imagining My Man
A3. Living The Classics
A5. I’m So Sorry
B2. What If Birds Aren’t
Singing They’re Screaming
B3. The World Is Looking For You
B4. Swell Does The Skull
Bonus 7”: Elation
PANTHA DU PRINCE - THE TRIAD AMBIENT VERSIONS Limited Edition 2 LP IN STORES JUNE 9
Hendrik Weber (a.k.a. Pantha Du Prince) has been on a near-nonstop international tour since the May
2016 release of his first studio album in six years, The Triad. Created in collaboration with two likeminded
musicians, NYC’s Scott Mou (Queens) and Norway’s Bendik Kjeldsberg (of Bell Laboratory), The
Triad was both a return to, and a significant leap forward from, the form and style Pantha Du Prince had
become known for.
But The Triad had more to offer, and Hendrik has worked with longtime engineer Kassian to create an
ambient version of last year’s triumphant studio return. This reworking showcases the otherworldly and
moody delicacy that makes Weber’s music so absorbing and affecting; with the beats and most vocals
removed, his dreamy sonic details come to the fore.
In addition to Weber’s ambient recreations, a handful of esteemed electronic musicians have
contributed reworkings of ‘The Triad‘’s songs to an EP of Remixes, which will be released digitally
alongside the Ambient Versions LP. ‘The Triad Remixes’ features deep-house royalty Solomun, Berlin
acid house adventurer Recondite, eclectic minimalist Efdemin, Amsterdam-via-Nigeria house innovator
Shinedoe, experimental polymath Alva Noto, and more.
Weber has carved out a unique space, not only in electronic music, but also the indie world generally.
An early star of the influential Berlin dance label Dial thanks to the stunning one-two of Diamond Daze
(2004) and This Bliss (2007), Pantha Du Prince made the leap to Rough Trade for 2010’s breakthrough
Black Noise, which featured a notable cameo from Noah Lennox, a.k.a. Panda Bear of Animal Collective,
on the single “Stick to My Side.”
LP is limited to one pressing only, and will be accompanied by a digital download that includes extra
vocal versions of some of the album tracks.
Weber describes the concept behind The Triad Ambient Versions:
“The Triad Ambient Versions bring the listener into a free space, as music consists of strictly folded sonic
spaces that can be structured for the dance, for body-movement: the heart beat synchronizes the
The ambient versions have no beats and the listener gets a more transparent musical picture, an image
full of light-atmosphere non-defined and free, for the human spirit to unfold its own way of receiving
space folded into time.
The straight columns of rhythm were taken away for a light wind of silence and non-structured fluid
“Hendrik Weber is one of the leading figures in modern techno.” – Pitchfork
A1.The Winter Hymn (Ambient
A2. You What? Euphoria!
B1. Frau Im Mond, Sterne Laufen
B2. In An Open Space (Ambient
C1. Lions Love (Ambient Version)
C2. Dream Yourself Awake
(Ambient Version Instrumental)
D1. Lichterschmaus (Ambient
D2. Islands In The Sky (Ambient
D3. Wallflowers for Pale Saints
1. The Winter Hymn (Ambient
2. In An Open Space (Ambient
3. Dream Yourself Awake
4. Islands In The Sky (Ambient
john MOreland big bad Luv LP / CD / Digital Download in stores May 5
Critically acclaimed songwriter John Moreland releases his fourth solo album, Big Bad Luv on May 5 via
4AD. The album is an honest, bruising experience. A beautiful record about love, faith and the human
Big Bad Luv marks a change in Moreland’s sound and outlook on life. With lyrics that are as intense
and unfiltered as on his earlier work, Moreland delves into finding peace within. He also branches out
sonically on the new album, which is injected with a heavier dose of rock ‘n’ roll.
Big Bad Luv was recorded at Fellowship Fall Sound in Little Rock, AR, produced by Moreland and mixed
by Tchad Blake (The Black Keys, Tom Waits, Sheryl Crow). The brutal honesty of John Moreland’s
singing and songwriting has touched listeners across the country. He silences rooms from dive bars to
more recently the historic Ryman Auditorium stage. The simple and eloquent way that he’s able to speak
about life rings as true as ever.
Big Bad Luv, was recorded in Little Rock, AK, and mostly with a crew of Tulsa friends: John Calvin
Abney (piano and guitar), Aaron Boehler (bass), Paddy Ryan (drums), Jared Tyler (dobro) and Lucero’s
Rick Steff (piano). Coming together in three sessions over ten months, which were sandwiched between
touring dates and life, the final album was then mixed by GRAMMY winning Tchad Blake, who has
worked with iconic acts from Al Green to Tom Waits.
Hailing from Tulsa, OK, John composes both pointedly and prodigiously, and has released largely selfproduced
albums every other year since 2011. Playing an equally pivotal role in his rise have been his
mesmeric solo performances (including his TV debut on The Late Show with Stephen Colbert last year),
which coupled with his incredible records, has helped to create a real word-of-mouth about him.
John will be supporting the album with dates in M o n t r é a l June 9th (Le Ritz) and Toronto June 10th
“John Moreland has a beautifully abraded voice, full of potholes and gravel…” – The New York Times
“Moreland sings heart wrenching lyrics in an earthy voice that sounds worn in beyond his 29 years.” -
Wall Street Journal
Big Bad Luv is the record John Moreland made after, after everything in his life changed. For the better.
He sings in one of those accents from flyover country that’s impossible to locate and implausible to
mimic. (Texas, by way of Northern Kentucky, but mostly Tulsa, as it happens.) He sings directly from his
heart, with none of the restraint and filters and caution the rest of us would apply for public protection. He
sings with resolute courage.
And writes. Writes with simple eloquence about love and faith and isolation; the human condition; what
every song and poem and novel is about, at the core: Life.
“Break My Heart Sweetly” came from his second solo album, released in 2013 and titled In the Throes.
High on Tulsa Heat, released through Thirty Tigers, landed him on Stephen Colbert’s stage. Song
placements on “Sons of Anarchy,” an emerging artist nomination from the Americana Music Association.
Enough sales to compel Moreland to give up his DIY label operation, and sign with 4AD.
“It grew to the point where I couldn’t really handle everything myself,” he says. “Even
with a manager and a small team, I came to the conclusion that I’d like to play music and not worry about
the other stuff.”
Enough success to buy a measure of peace, and not more pain. “I expected to just play in the corner of
the bar and have people not really pay attention, make $100, go home and go to work the next morning,
doing something I didn’t like,” Moreland says. “So, yeah, I didn’t really expect to be here. But, then, on the other hand, I did. I feel like I’m good enough to be here. And I’ve always been confident, even when I probably shouldn’t have been. I knew I was an outsider. I didn’t have a lot of faith in the music industry to let me in. But I guess they have. To some extent. That’s what I hoped for, but I wasn’t sure that would be how it worked.”
A1. Sallisaw Blue
A2. Old Wounds
A3. Every Kind of Wrong
A4. Love Is Not an Answer
A5. Lies I Chose to Believe
B1. Amen, So Be It
B2. No Glory in Regret
B3. Ain’t We Gold
B4. Slow Down Easy
B5. It Don’t Suit Me (Like Before)
B6. Latchkey Kid
PERFUME GENIUS - NO SHAPE / CD / 2 LP / 2 LP CLEAR VINYL IN STORES MAY 5
Perfume Genius, nom de poster-wraith of musician Mike Hadreas, releases his fourth album, No Shape
May 5 on Matador Records. The album was recorded in Los Angeles, produced by Blake Mills, mixed by
Perfume Genius’ 2014 breakout album Too Bright— featuring seismic anthem ‘Queen’ — marked a
musical and performative leap that sounds unlike anything before or since.
With his new songs, Hadreas goes even further, merging church music, makeout music, R&B, art pop,
krautrock, and queer soul into his take on stadium anthems, completing the journey from critically
acclaimed underground hero to fully fledged pop auteur.
First single ‘Slip Away’ encapsulates this bold, expansive and sophisticated sound, marrying powerful
and intimate songcraft with a newfound visceral and immersive sonic gusto.
Directed by frequent Björk collaborator Andrew Thomas Huang, the video for ‘Slip Away’ is a
phantasmagorical narrative painting come to life, depicting the intimate relationship between two sisters,
one of whom is played by Perfume Genius.
Of the album, Hadreas says: “I pay my rent. I’m approaching health. The things that are bothering me
personally now are less clear, more confusing. I don’t think I really figured them out with these songs.
There’s something freeing about how I don’t have it figured out. Unpacking little morsels,
magnifying my discomfort, wading through buried harm, laughing at or digging in to the embarrassing
drama of it all. I may never come out the other side but it’s invigorating to try and hopefully, ultimately
helpful. I think a lot of them are about trying to be happy in the face of whatever bullshit I created for
myself or how horrible everything and everyone is.”
Perfume Genius will support No Shape with a tour that stops May 11 in Toronto (Mod club), May 12
M o n t r é a l (Fairmount Theatre), and July 15th in Vancouver (Imperial Theatre).
“Staggeringly fantastic new Perfume Genius album.” – NPR
“Our first taste of his new album, No Shape is Slip Away and it’s beautiful.” – The Fader
“There are several moments on No Shape that burst with so much incandescent noise, they’ll make you
feel glad just to be alive.” – Pitchfork
2014’s Too Bright showcased Mike Hadreas stepping out saucily onto a bigger stage, expressing, with
the production help of Portishead’s Adrian Utley, emotions arranged all along the slippery continuum from
rage to irony to love.
Here in 13 new ferocious and sophisticated tracks, Mike Hadreas and his collaborators blow through
church music, makeout music, an array of the gothier radio popular formats, rhythm and blues, art pop,
krautrock, queer soul, the RCA Studio B sound, and then also collect some of the sounds that only exist
inside Freddy Krueger. Tremolo on the electric keys.
Nightclubbing. Daywalking. Kate Bushing, Peter Greenawaying, Springsteening, Syreetaing. No Shape
was produced by Blake Mills, the man behind Alabama Shakes’ Grammy Award winning album. He
added precision and expansion. Some things are pretty and some are blasted beyond recognition.
Records like this, records that make you feel like you’re 15 and just seeing the truth for the first time, are
excessively rare. They’re here to remind you that you’re divine.
FUTURE ISLANDS - THE FAR FIELD CD / LP / 180 G WHITE LP / CASSETTE IN STORES APRIL 7
Future Islands release their fifth studio album, The Far Field, on April 7th 2017, their second full length
The Far Field refines and builds on the breakthroughs of the Baltimore-based trio’s 2014 album Singles,
bursting with undeniable hooks and disarmingly honest lyrics written by Samuel T. Herring (vocals, lyrics),
William Cashion (bass, guitars) and Gerrit Whelmers (keyboards, programming).
After the success of Singles and the hundreds of Future Islands shows played in that period, the trio
came off the road and jumped straight into other projects, releasing albums as Peals (Cashion’s project
with Bruce Willen from Double Dagger), Moss Of Aura (Welmers), Hemlock Ernst (Herring), and the
Snails (Cashion and Herring), whilst Herring also lent his idiosyncratic vocals to collaborations with Clams
Casino and BADBADNOTGOOD.
The band began writing new material in January 2016 on the coast of North Carolina, and continued
throughout the year in Baltimore before road-testing these songs at a series of secret shows under fake
Later that year, they travelled to Los Angeles to record with Grammy Award-winning producer John
Congleton at the legendary Sunset Sound, where everyone from The Beach Boys to Prince have laid
With string and horn arrangements by Patrick McMinn, The Far Field is the first Future Islands record to
feature live drums by Michael Lowry, who joined the band prior to their sensational performance of
“Seasons (Waiting On You)” on David Letterman’s late night TV show.
Blondie’s Debbie Harry also makes a guest appearance, in a duet with Herring on penultimate track
Across The Far Field’s twelve chest-pounding love songs and odes to the road, Future Islands brilliantly
expresses the band’s central themes they’ve been exploring for the last decade: that there is power in
emotional vulnerability, that one can find a way to laugh and cry in the same breath – and be stronger for
The band premiered lead single ‘Ran’ on Late Night with Jimmy Fallon Feb. 9.
In July 2015, Future Islands celebrated the milestone of playing their 1,000th show, and the North
Carolina natives continue to add to that extraordinary figure this year with world wide tour dates including
Toronto on May 27 at The Danforth Music Hall, which sold out in 3 days!
The Far Field is available digitally, on UK import 180 gram white vinyl, standard black vinyl, CD, and
““Few bands strike a balance between unfettered joy and wistful reflection as brilliantly as Future
Islands.” – NPR
“This is the kind of band that makes you wish other bands tried harder.” – Pitchfork
“An absolute and unqualified triumph.” – Stereogum
“Mournful, triumphant, heroic.” – Complex
A2. Time On Her Side
A4. Beauty of the Road
A6. Through the Roses
B1. North Star
B2. Ancient Water
B4. Day Glow Fire
B5. Shadows (feat. Debbie Harry)
B6. Black Rose
arca - arca CD / deluxe gatefold lp in stores april 7
On the 7th of April, Arca will release his third full-length album. Available via XL Recordings, the self-titled record is the first to feature the Venezuela-born, London-based producer’s untreated singing voice. He sings in Spanish – the language of his childhood home, Caracus. It stands as a defiant, delicate statement of intent, and cements his position as one of this turbulent decade’s defining musicians.
Previous work has incorporated snatches of song and Arca’s rapping, but on Arca, his voice is front-and-centre on eight of the album’s 13 tracks. Frequently, he has used his first-takes, untreated and without post-production: clicks of saliva and burrs of the throat carry melodies of staggering richness and delicacy.
His masterful production knits together vocal tracks like “Sin Rumbo” and first single “Anoche” with instrumentals like “Whip” and “Urchin”, each as extreme as the other. Across the album, the tectonics of pure digital sound, his own piano playing and voice combine, weaving the album together like folds of skin, or wounds healing post-trauma.
Arca has made some of most brazenly forward-thinking music of recent years, both on his previous solo albums Xen (2014) and Mutant (2015), and in collaboration with fellow futurists Björk (Vulnicura), Kanye West (Yeezus), and fashion collective Hood By Air.
Arca represents a stunning step forward in his celebrated catalog, one that will excite his long time fans and find him many new ones.
The album features stunning artwork from long time Arca visual collaborator Jesse Kanda and is available on CD, single vinyl LP with gatefold sleeve with three 24”x12” prints & printed inner sleeve.
‘Piel’, the first song to be released from the album, was met with widespread acclaim. Pitchfork stated “The first taste of Arca does more than subvert the expectations we have of Ghersi, it annihilates them” while i-D described Arca’s music as “pure, fragile and sincere, full of wounded experimental, electronic majesty”.
Following Piel, came Anoche, the second song and first video, again in collaboration with Jesse Kanda.
Major press is forthcoming from The FADER (Cover), New York Times, Dazed & Confused (Cover), i-D (Cover), Pitchfork, Rolling Stone, Slate, Spin, Vice and more.
“Here’s my voice and all my guts: feel free to judge it. It’s like a bullfight: you’re watching emotional violence for pleasure. So this is a character who, almost as a mockery of the transaction, goes uncomfortably deep, into self-mutilation. ‘You want gore? Here’s gore’” – Arca on Arca
“Intelligent, impassioned and inspired by integrity, Arca’s continued growth as an artist promises to be one of the most exciting journeys of the coming years. The musician has no plans to stop either, telling us in no uncertain terms: ‘I want to make music until I die.’” – Dazed
“Arca was making body music for the active mind.” – New York Times
B1. Sin Rumbo
SPOON HOT THOUGHTS Standard Black Vinyl / LTd Edition Red Vinyl / CD IN STORES MARCH 17
March 17 sees the release of ‘Hot Thoughts’, the 9th studio album from Spoon, available world wide
from Matador Records.
’Hot Thoughts’’ is the bravest, most sonically inventive work of Spoon’s career. With all due respect to
earlier efforts that have made the quintet both critically acclaimed and a commercial contender,
preconceptions about this band are about to be obliterated.
Co-produced by Spoon and Dave Fridmann and reunited with Matador (third time’s the charm), with the
crackling, incandescent, multi-dimensional backdrop conjured on ‘Hot Thoughts’, the lines between
accessible and experimental become non-factors for once and all. It’s pop as high art, delivered with total
confidence and focus.
Debut single and title track, Hot Thoughts (available Jan. 17th) is being Cadel a “scorcher” and an
“orchestral disco opus” and gives the band the genre-smasher they have flirted with in the past but not
In support of the album the band will be touring across the world April – November with a run of
Canadian dates to be announced shortly. Spoon are also playing a full sleight of late night TV
appearances, including the one with the 3 letter abbreviation.
Additionally Spoon have shared news of being the first band to have an official residency during SXSW.
The venue formerly known as Emo’s, currently The Main and too-be-called Eno’s for those 3 March 14-
The album is being presented on standard black vinyl and a limited edition indie exclusive red vinyl
pressing, both with MP3 download.
“As consistent as it is beloved, Spoon never fails to hit its mark — delivered forcefully, and with hooks for
days…has a rangy, swirly sparkle to it, portending an album that spreads out for a bit of a journey.” – NPR
“The dynamic new song rises and falls like an orchestral disco opus, with singer Britt Daniels first
unleashing a mechanized croon over a simple beat and trembling strings that bursts with a flourish of
guitars. ‘Hot Thoughts’ grows vibrant with each peak and closes with Daniels wailing over a euphoric
vamp.” – ROLLING STONE
“Whew, is the song a scorcher…mixes sultry disco-indebted bass with jarring orchestral moments and
psychedelic sweeps.” – VULTURE
“Exuding a familiar swaggering essence this band will probably never shake, this song brings in all sorts
of unexpected ingredients, from a beat that could practically qualify as dance-rock to dramatic orchestral
accents. It’s fascinating.” – STEREOGUM
The ten songs on Hot Thoughts run the gamut from the kaleidoscopic opening title track (as tone-setting
as say, “Dirty Mind” for the album it commences) through the gargantuan stomp of “Do I Have To Talk
You Into It” and ubiquitous wiry hooks of “Can I Sit Next To You” to the bittersweetness of “I Ain’t The
One” and the deadpan swing of “Tear It Down” — less the telling of an apocalyptic vision and more what
Daniel describes as a song about “empathy for strangers.”
Without question, the prior works of Daniel, drummer Jim Eno, bassist Rob Pope and no-longer-a-secret
weapon Alex Fischel have scaled some lofty heights (from 1996 debut LP Telephono, 1998’s A Series Of
Sneaks, 2001’s Girls Can Tell, 2002’s Kill The Moonlight, 2005’s recently reissued in deluxe 10th
anniversary grandeur Gimme Fiction, through the trifecta of U.S. Top 10 albums that was Ga Ga Ga Ga
Ga (2007), Transference (2010) and They Want My Soul (2014), you’re talking about a winning streak
that’s nothing short of Mayweather-esque), but Hot Thoughts is a daring, futuristic chapter in the Spoon
story. Daniel’s spot in the pantheon of rock’s genius songwriters was established long ago—but with the
crackling, incandescent, multi-dimensional backdrop conjured on Hot Thoughts, the lines between
accessible and experimental become non-factors for once and all. It’s pop as high art, delivered with total
confidence and focus.
1. Hot Thoughts
3. Do I Have to Talk You Into It
4. First Caress
5. Pink Up
6. Can I Sit Next to You
7. I Ain’t The One
8. Tear It Down
NOLIFE - YOU WON’T SURVIVE THE STATE OF NEW YORK 12" EP in stores march 10
NOLIFE : 25. NEW YORK. CHIMERIC ULTRA-VIOLENT SONIC ANOMALY.
YOU WON’T SURVIVE THE STATE OF NEW YORK:
A REFLECTION OF DISCOMFORT. UNCERTAIN. UNYIELDING. OBJECTIVELY GRITTY. A SNAPSHOT
OF TWO YEARS ALONE IN AN UNFAMILIAR CITY. ELECTRIC CHAOS ASSEMBLED BY AN
Originally from Albany, New York and having since moved to NYE, NOLIFE is the latest signing to the
Young Turks label.
Incorporating influences from noise, hardcore, hip-hop, and electronic, NOLIFE has created an
assaulting take on contemporary experimental electronic music. With his sole physical release being an
extremely limited self-released cassette earlier this year, the forthcoming YOU WON’T SURVIVE THE
STATE OF NEW YORK EP is the most fully realized NOLIFE project to date.
Created in a state of isolation and poor health, the five seamless tracks of heavy beats laced with
dissonant noise samples create a dark picture of the NOLIFE existence.
RIYAL – Areca, Amnesia Scanner, Oneonta Point Never, Death Grips
NOLIFE is the project of 25-year-old Sean Engvall. Born and bred in Schenectady, New York – a city
transformed by the presence of Thomas Edison, General Electric and the American Locomotive
Company – Sean cut his teeth in a hardcore scene whose sound was defined by the industrial
environment that it was set in. In high school he began to experiment with electronic music, transposing
the sensibilities he gained from his involvement in Schenectady’s hardcore community to a new genre.
It was during his time at SUNY New Palti that Sean was brought closer to the DIY noise and electronic
music scene that would later inform NOLIFE. At New Palti, Sean rented a room in The Alter (formerly
Mosh Depot) – a split level apartment by day and basement venue by night. Bare walls, concrete floors
and a fine layer of dust and broken 40s. Among noise shows, DJ sets, and conceptual applications of
music in class, Sean found himself at a point of creative evolution.
Prompted by the uncertainties that follow graduation, Sean dropped everything and moved to a couch in
New York City to pursue a career in film production. It wasn’t until Sean found himself sitting alone and
broke in his first Brooklyn apartment with a case of the flu that he began making music again.
The first NOLIFE track, “Unkind”, was born out of the struggle of surviving in New York City while
participating as part of the problem that creates the struggle, a theme that would come to recur across
the music Sean makes as NOLIFE. A project deeply rooted in chaos, NOLIFE is anxiety, doubt, and
isolation at a breaking point – it is the noise of post industrialism and the affective bond with one’s
environment. You Won’t Survive the State of New York, NOLIFE’s debut EP on Young Turks, is a project
that reaches beyond the state it was born in and creates a sound of dejection that is universally relatable.
SLEAFORD MODS ENGLISH TAPAS Import CD / Red Vinyl LP / Standard Black Vinyl LP IN STORES MARCH 3
Sleaford Mods are pleased to announce the release of their new album ‘ENGLISH TAPAS’, released via
Rough Trade Records on March 3rd, 2017.
The album, recorded at Steve Mackey’s (Pulp) West Heath Garage studios in London, UK, is available
on CD, limited edition red vinyl for the initial pressing and a black vinyl version.
Sleaford Mods are the duo of vocalist Jason Williamson and musician Andrew Fearn, who provides the
beats. Iggy Pop calls them “Undoubtedly, absolutely, definitely the world’s greatest rock ‘n’ roll band.”
Jason Williamson discusses ‘English Tapas’: “Andrew walked into some random pub and saw “English
Tapas” scrawled on the menu board. Underneath this beautiful coupling of words were it’s components,
half a scotch egg, cup of chips, pickle and a mini pork pie.” It says everything about this fucking place.
It’s comedy, it’s make do, it’s ignorant and above all, it’s shit.”
Ahead of the album, Sleaford Mods have shared the first single and video, “B.H.S.” The song takes its
title from a defunct department store chain, whose prior owner, billionaire retail tycoon Sir Philip Green,
sold the company for just £1 in 2015. The chain was shuttered in the summer of 2016, and 11,000 jobs
were lost, as well as £571 million from the pension fund, leaving 22,000 former employees without
Following release, Sleaford Mods will embark on their first ever North American tour, including April 1 at
The Opera House in Toronto, moved up from Lee’s Palace and already very close to sold out.
Also coming in 2017 is Christine Franz’s ‘Bunch of Kunst’ – the definitive Sleaford Mods film. Taking
over two years to record, it charts the rise of the band from back street pub venues to rock arenas. The
film will be released in early in the year. Watch teaser http://www.bunchofkunst.com/. “This documentary
film is the perfect antidote to those sexy, racy, rocknroll yawns most bands hide behind. We are indeed A
Bunch of Kunst.” – Jason Williamson
“Combining minimal electronica with inventive expletives and astute social commentary, the duo manage
to turn imagery that would otherwise feel depressing and downtrodden into something humorous and
often painfully familiar.” – Line Of Best Fit
“It’s essentially angry swearing atop rudimentary bedroom synth sounds. But that would be reckoning
without Jason Williamson’s supremely entertaining delivery.” – The Guardian
“The delivery is relentless.” – Mojo
Call them minimalist agit-rock, beat-based political punk, or…don’t, but what you can’t call Sleaford Mods
is half-arsed. They’re aggressive, abrasive, and unabashed in their lyrical support for England’s working
class and in railing against the oligarchs who deny people their basic human and civil rights.
Vocalist Jason Wiliamson shouts against austerity-era Britain’s malaise and stagnation with plenty of
profanity, but even more cleverness and wit; and while his lyrics specify conditions in his home country,
his anger and call-to-arms can unite all of us who witness and work under a system that privileges the
wealth of the few over the bare comfort, and even the survival, of the just-as-worthy many.
With Andrew Fearn’s deceptively simple beats and melodies underpinning Williamson’s virtuosic vocal
performances, this would be a fascinating record, message or no; but the drive, meaning, and
compassion behind these catchy, and even dancefloor-ready tunes make this album as vital politically as
it is artistically.
Sleaford Mods are at their sneering, yowling best with English Tapas.
Methyl Ethel - Everything Is Forgotten CD / Standard Black Vinyl / Magenta Coloured Vinyl IN STORES MARCH 3
4AD release Everything Is Forgotten, the new album from Australia’s Methyl Ethel.
Released on March 3rd, Everything Is Forgotten is a vivid, compelling and mysterious creature, all
sinewy, curvaceous pop nuggets and enigmatic currents. Written and recorded by Perth-based frontman
Jake Webb, the album was brought to life by acclaimed British producer James Ford (Arctic Monkeys,
As demonstrated by last year’s single ‘No. 28’, the pair’s collaboration has infused Methyl Ethel’s
shoegaze dream-pop palate with electronic and polyrhythmic flourishes, allowing Webb’s keening,
gender-fluid vocals and searing poetry to take centre stage.
Following ‘No. 28’ is ‘Ubu’, a frenetic pop song inspired by Alfred Jarre’s surrealist play Ubu Roi. A selfportrait
of self-flagellation and guilt, its companion video, directed by Paxi, takes some of its absurdist
cues from Jarre.
Having recently finished a lengthy North American tour with Preoccupations, Methyl Ethel have
confirmed 2017 live shows in their native Australia as well as Europe and North America, which include
April 5th Vancouver (The Cobalt) and April 15th Toronto (The Garrison).
Initial LP pressings come in a gatefold jacket and come on magenta coloured vinyl, in addition to
standard black LP and CD formats.
OH Inhuman Spectacle
“Perth’s Methyl Ethel makes dream-pop for insomniacs—shadowy, nocturnal music whose surface
shimmer barely conceals the fidgety, restless soul lurking underneath.” – Pitchfork
“A perfect soundtrack for those mysterious twilight hours.” – Drowned In Sound
“To make this music, you put all your influences into this giant collage, and when it’s done, you think,
what is this monster you’ve created? That’s why I try for things to be as interpretative as possible, it lets
me off the hook.”
The monster that is the new Methyl Ethel album Everything Is Forgotten is a vivid, compelling and
mysterious creature. But ask Webb to explore those enigmas is met with a little resistance. “Ideally, I
want the music to speak for itself, rather to present myself,” he explains. “When I was making music
alone, before I had the band, it was genderless and without a paper trail of information about my past.”
That paper trail leads back to Perth, the capital of Western Australia, where Webb imbibed the cassettes
that he’d hear in his parents’ car – “doo-wop, the Beatles, the Everly Brothers, Del Shannon, the Beach
Boys, Harry Nilsson,” he lists his favourites. “All my knowledge of songwriting is the old way. But I play
with the form, to try and push the boundaries.”
The new sound slips alongside other adventurous synth/dance alumni such as LCD Soundsystem, rather
than the shoegaze-adjacent dream-pop guitars that defined the debut album and which still underpins the
trio’s foreboding live sound. “Everything Is Forgotten sounds that way for the sake of the song, I don’t
want to make the sound fit the band,” says Webb. “For me, the studio is the best instrument to be able to
play. I like to think we’re just the cover band for the artist that makes the album.”.
Suitably, for a record with irresistible danceable properties and yet deep undertows that reveal states of
anxiety and enigma (‘See gold is cold all over / a symphony in a very beautiful car accident,” goes
‘No.2’), a palpable sense of duality permeates Everything Is Forgotten, heaviness and lightness
combined. In a musical capacity, there’s ‘Femme Maison / One Man House’, “saccharine pop that tears
itself apart in the end,” Webb reckons. “The approach for the live show is the same – creation and
destruction all in one.”
A1. Drink Wine
A3. No. 28
A4. Femme Maison/One Man
A5. L’Heure des Sorciéres
B1. Act of Contrition
B3. Hyakki Yako
B4. Summer Moon
B5. Weeds Through The Rind
LONDON O’CONNOR - OΔ CD / Opaque Yellow Vinyl IN STORES FEB 17
London O’Connor is a New York based self-produced songwriter from suburban Southern California.
His debut album, titled OΔ, was created entirely from his backpack while living between apartments in
OΔ is based on the suburban upbringing he fled to NY from. Initially released on Soundcloud, the album
garnered him international critical acclaim, which led him to travelling to play shows in the UK, France
and New York (as part of MoMA’s PS1 concert series) and perform on BBC’s Radio1 within months of its
London O’Connor’s work is honest, inventive and spatial, ranging from expansive ambient renderings of
his travels to more turbulent, focused pop statements about the unrest of domestic American life. OΔ
represents a new type of musical project, birthed onto the internet and referential to a range of musicians
from the likes of Earl Sweatshirt to early Beck in its genre-spanning explorations.
Originally released on Soundcloud, the album has been remastered and is presented on opaque yellow
vinyl for the first pressing.
With a North American tour coming in 2017, press has appeared in Pitchfork, Fader, DAZED, SPIN, The
Guardian and long form New Yorker piece.
“As expertly constructed a pop album as anything that will be released this year.” – Pitchfork
“A singular talent.” – The Guardian
“A dreamy tribute to growing up bored in the suburbs and finding adventure in the nether regions of his
imagination.” – The FADER
“Effortless and blissful, like falling asleep in the grass.” – DAZED
“OΔ works like a mini motion picture.” – Pigeons & Planes
Born and raised in San Marcos, CA, 24-year-old London O’Connor knows first hand about suburban
boredom. Hazy summers, quiet nights, all of that shaped his childhood, and that boredom, per say,
helped him become more in tune with so much of today’s youth—video games, neighbourhood hangs,
growing up on the internet. These days London, who moved to New York to study at NYU’s Clive Davis
Institute of Recorded Music after graduating from high school in 2009, is spending his time skating,
accumulating one of the best wardrobes in music, and making some incredible music.
OΔ is a melting pot of sounds, entirely produced, written and performed by O’Connor. It’s not a rap
album, it’s not a pop album—it’s a truly all-encompassing project filled with crooning, rhymes, and a
variety of different sounds that, all at once, capture teenage angst, growing up, and romance. There’s
obvious standouts—“Oatmeal,” his debut single for which he created an entire video game around,
“Nobody Hangs Out Anymore,” a song about disconnection from the world and friends. But it’s on tracks
like “Natural,” where his overwhelming, lush production paired with conversational rhymes hit you dead in
your heart, because there’s not one song on the project people won’t relate to.
His rhymes are vulnerable, and insecurities and honesty run rampant throughout the project. – Complex
1. (OPEN) 00 00
5. NOBODY HANGS OUT
8. LOVE SONG
10. 09 87 (WHERE IS YOUR
bing & ruth no home of the mind cd / 2 LP in stores Feb 17
Bing & Ruth have announced the third studio album No Home of the Mind. Continuing with the deft
minimalism that has marked them out in critical circles in recent years, the New York ensemble’s new
record will be released on February 17, 2017.
With No Home of the Mind, the evolving ensemble has been streamlined to five and, after a year of
heartfelt composition with everything meticulously rehearsed in advance, it was recorded in two days with
the fewest takes possible.
An attempt to recreate the immediacy of classic session-style musicianship, where one-take recordings
were a standard to keep costs down, No Home of the Mind explores piano’s percussive qualities
alongside running woodwinds, warbling tape delays and splattered upright bass lines that stare out with a
wide-eyed transcendence, taking so-called “classical” music to new limits.
The visuals for lead video ‘Starwood Choker’ were created by Sébastien Cros, a trusted collaborator
who has been responsible for the Bing & Ruth videos, ‘The Towns We Love Is Our Town’ and ‘Rails’.
Cros calls it “a collective dreaming effort. Images are trying to recreate a hypnogogic stage, a state in
between awakened consciousness and sleep, a shift dream/reality, closely tied to David’s score
Established in 2006, Bing & Ruth is an ever-evolving collective steered by composer David Moore. A
pianist from Kansas and graduate of New York’s school of Jazz and Contemporary Music at the New
School, Moore’s work follows in the great tradition of fellow alumni John Cage and Steve Reich, albeit
looking past the more studied repetition of the style’s forerunners toward a meditative form built on
With Moore at its nucleus, Bing & Ruth’s line-up has transmuted from the eleven-strong line-up that
created debut album City Lake (“A stunning, humble record built on traditions we all understand, yet,
somehow feels dizzyingly new.” – The Quietus) to a cast of seven for 2014’s Tomorrow Was The Golden
Age (“One of the finest leftfield releases of the year.” – Pitchfork).
Their 4AD debut is available on CD, 2 LP and a limited edition double translucent vinyl configuration.
In 2006, David Moore started Bing & Ruth as a way to bring his compositions to an audience beyond
academia. A pianist from Kansas, studying at the New School for Jazz and Contemporary Music in New
York’s Greenwich Village, Moore was writing the sort of music he wanted to hear: minimalist ensemble
music with a certain filmic sensitivity, one that prioritized grace and texture over the style’s once-radical
subtraction. Following the seasoned history of minimalist heroes at the New School like John Cage and
Steve Reich—both of whom taught at the institution throughout the 1950s and ‘60s—Moore’s
compositions looked past the studied repetition of the style’s most prominent forerunners
towards a form built on feeling, a mobilization of time-honoured shapes, now angled outward towards a
greater totalizing sublime. The piece’s mark the culmination of Moore’s piano studies, pairing tender lines
that emphasize the instrument’s more percussive qualities with running woodwinds, warbling tape delays,
and splattered upright bass lines that stare out with a wide-eyed transcendence.
Now almost two years after their heralded Tomorrow Was the Golden Age, No Home of the Mind finds
Moore returning to the piano a heavier, more driven feeling. Composed on seventeen pianos across
North America and Europe over numerous sessions, tours, and travel, the pieces channel the
idiosyncrasies and respective limitations of each instrument into inspiration. “For me I feel like different
pianos all have their own personalities,” Moore says, “So in writing these new songs, I tried to embrace
the personalities of the pianos I was spending time with.”
After over a year of heartfelt composition, No Home of the Mind finds a newfound confidence, a
refinement of colour and cadence that pulls together a year’s worth of studied feeling into an album that
looks outward with fresh-faced, affective new forms.