Photo Credit: Jonathan Hyde
Doldrums has solidified his position as one of the year’s most progressive and promising new artists, lauded by critics as an innovator whose approach is shaping the future of electronic music. Following the Arbutus Records release of the well received debut, Lesser Evil, this past February, Doldrums delivers a fiercely energetic live show, with a national tour supporting Crystal Castles kicking off next week. FADER just premiered a swooping cinematic short film for “Lost In Everyone” today, co-directed by Angus Borsos and Woodhead
FADER writes, “until it explodes into a hallucinatory palette of oranges and blues, this Angus Borsos and Airick Woodhead-directed film for Doldrums‘ ‘Lost in Everyone’ is locked into a particularly cold-feeling grayscale, its breathtakingly photographed trees and puddles and dark corridors seeming only to underscore the inner restlessness of a single, wandering figure, who seems to be escaping to nowhere fast. We’re reminded of the timeless, colorless place that Milo visits at the beginning of The Phantom Tollbooth—and from which Montreal’s Airwick Woodhead took the project’s name—yet something in the song’s atonal lurch smacks less of childlike boredom than of a very adult kind of existential angst.” Read more
They say that imitation is the sincerest form of flattery. Omaha based electro-pop three-piece, Icky Blossoms, have paid homage to Siouxsie and the Banshees’ post-punk classic, “Arabian Knights.” Icky Blossoms’ rework is powered by subterranean synth lines, a propulsive electro-industrial rhythm, and the same classic guitar riff that you know oh so well.
Since the 2012 release of their self-titled full-length, the trio has been hard at work on Cowboy Knights, their upcoming seven-inch split with Black Lips. Check the stream below and be sure to pick up Cowboy Knights from Saddle Creek on 4/20.They say that imitation is the sincerest form of flattery. Omaha based electro-pop three-piece, Icky Blossoms, have paid homage to Siouxsie and the Banshees’ post-punk classic, “Arabian Knights.” Icky Blossoms’ rework is powered by subterranean synth lines, a propulsive electro-industrial rhythm, and the same classic guitar riff that you know oh so well.
Detroit duo Jamaican Queens has debuted a brand new video for their single ’Caitlin’ with Nowness, and are excited to announce their first ever West Coast tour dates. The video for the single is taken from their acclaimed debut, Wormfood on Notown, utilizes innovative green-screen techniques and colorful animation. The song was written by Ryan Spencer as a Secret Santa gift to comfort a friend, Caitlin, who had recently suffered a tremendous loss. For the video, the band collaborated with Dan Demaggio, another Detroit native, who spent a month creating the animations for the video. After performing at SXSW, touring with the likes of Javelin and Dustin Wong, and sharing videos for ’Caitlin,’ ‘Water,’ and ’Kids Get Away,’ the band has many causes to celebrate. So, what better way to celebrate than a tremendous homecoming record release show and west coast debut? The band will play Detroit’s Trinosophes this Friday, April 12th and briefly return to the New York area before embarking on their west coast dates.
Cold War Kids shared a special moment with a sold-out crowd at the Newport Music Hall in Columbus, Ohio April 9.It’s not a band, which interacts much with the audience. But the crowd was prepared to be wowed by their heroes. And the fans were rewarded for their devotion. Cold War Kids rock hard. “Mexican Dogs,” the second song, was where the they started to cut loose.
Nathan Willett put on a good show whether he was singing vocals sans instrument, playing guitar, sitting at the piano or shaking the maracas. The new album, Dear Miss Lonelyhearts, was well represented in the set, which took a little more than an hour. Among the new songs, “Miracle Mile” was the biggest hit with the crowd. The band was entertaining throughout the night, moving about the stage effortlessly. Read more
The Features will tour this spring and summer in support of the new album The Features.
With their fourth full-length album, the band look to build upon the success of their most recent record Wilderness, which earned them their late night TV debut on Jimmy Kimmel Live!, and won praise from the likes of Time Magazine, Bust, American Songwriter, and SPIN who described the record as “commanding, spewing volcanic rock with a dramatic flourish, then holding your attention by revealing a deceptively sophisticated wit.”
The band took a dramatic change of pace when it came to recording The Features, spending a spontaneous few weeks in Vancouver, WA outside of Portland at the cabin-esque confines of Ripcord Studios. Unlike on past albums where songs had been worked out on the road in front of crowds, the few of songs pegged for The Features had been played live, and several were still works-in-progress when the band arrived in Canada. “I don’t think we really had any expectations,” says band frontman Matthew Pelham, “we just thought, ‘lets do it differently.’” He and his band mates – keyboardist Mark Bond, bassist Roger Dabbs, and drummer Rollum Haas – were game to shake things up. The result is The Features most inventive and assured album to date. Read more
Starting April 10th in Brooklyn, NY and ending April 26th in San Francisco, CA AraabMUZIK will be showcasing his inconceivable MPC skills across the US. With the backing of hip-hop icon Duke Da God and his imprint Duke Da God Productions , an overwhelming response to his last mixtape and a follow up to Eletronic Dream Pt. 1 on the way, AraabMUZIK remains to be one of the hardest working DJ/Producers of the year. Check out his brand new track “Motion Picture” and newest live version of the “The Prince is Coming” video that premiere on Billboard today, brought to you by TrillHD.com and L-R-G; a stripped down, mind boggling feature of AraabMUZIK on the MPC to help you gear up for the dates.
A producer capable of using the Akai Music Production Center (aka the MPC, a drum machine and sampler) on the fly, AraabMuzik was inspired by the likes of Dr. Dre, Swizz Beatz, and Just Blaze but is known to incorporate samples from high-gloss trance singles into his output. The Providence, Rhode Island native creates hard-hitting beats swathed in dramatic strings, spiked with repetitive piano and synthesizer vamps, and switches between stripped-down and layered arrangements to equal effect. During the latter half of the 2000s, he broke into the Dipset camp, where he contributed productions to tracks by the Diplomats, Duke Da God, Jim Jones, Cam’ron, and Vado, and he went outside the crew to assist Capone-N-Noreaga on 2010’s The War Report 2. The same year, he issued a mixtape of instrumentals, a volume in the Instrumental Kings series, and followed it in 2011 with Electronic Dream — a dance album featuring samples of tracks by Jam & Spoon, Ian van Dahl, andKaskade.
Two of our favorite hip-hop artists have collaborated together…again. We have been following both K. Flay and Danny Brown since late 2011/early 2012. And now it’s been just over a year ago when the two first hooked up. In March of 2012, they dropped a track “Party All The Time”, which was a K. Flay remix. Now they are back again with the brand new “Hail Mary”. Both are not only great MC’s, they both also share a passion for electronic music. Just wait until you hear this eargasm. It was produced by none other than K. Flay’s friend, EDM maestro Felix Cartal. It is off her latest mixtape West Ghost.
Danny Brown is getting ready to launch a small tour before a larger one, and just today released a PSA promo video for it. Find out the latest info on his new album, and hear his newest music here.
It’s been a little more than a year since John Barrett and his punk band Bass Drum of Death put out their debut album-a year that took this kid from a sleepy Mississippi hometown (where the bars close at midnight) and got him doing encores in front of 5,000 screaming Europeans and playing back-up band for Hodgy Beats and Left Brain of Odd Future on live TV. But no matter what, he always had new songs rattling around in his head, and when it was time to get them out, he did what he had to do-like sneak away from tour on an all-night detour to his home studio to start an emergency recording session, and then get back out on the road the very next afternoon. And that’s how he finished off his new self-titled album on Innovative Leisure.
2013′s self-titled Bass Drum of Death album is everything about 2011′s debut GB City amplified, in every sense of the word. With nothing but his inspiration and his instruments, Barrett spent the fall of 2012 in his studio, smashing out punk rock. This time it was just him, lots of coffee, a Realistic reverb unit to give everything just a little of that stoned-in-outer-space and for the first time in Bass Drum of Death history, a bass that he used on every new track. Why? Because why not, says Barrett: “I don’t ever wanna feel stuck, like, ’I can’t put bass on this because I didn’t do that before.’” Read more
Last month, GRMLN released a new track to introduce his upcoming debut LP on Carpark Records. “Teenage Rhythm” is streaming at Consequence of Sound. Now enjoy a cover of Vampire Weekend‘s “The Kids Don’t Stand A Chance” at MTVHive! As Yoodoo shares, ”my album is more focused on live instruments, as well as being more aggressive and abrasive compared to my earlier stuff and this cover. I just made this song so people can relax and zone out to hopefully.”
Empire is GRMLN’s album for the cruis’n world: Upbeat rock ‘n’ roll with the feel of ’90s pop-punk. The new tracks are much more rock-driven than Explore‘s gentle, dreamy tunes. Wanting to capture the sound of a live band, Yoodoo Park—the born in-Japan Southern Californian behind GRMLN—recorded the album with his brother Tae San Park on bass and friend Keith Frerichs on drums. Album standout “Hand Pistol” is a catchy mix of polished-up Superchunk and poppier Jimmy Eat World. There’s “Cheer Up” with its ’50s-style chord progression and climactic, fiery plea of “Don’t break me down!” Empire‘s quietest number is the closer “Dear Fear,” an acoustic strummer about the damage time can do. The record’s energy and brevity translated to a concise recording process. The nine songs (all but two are under three minutes) were recorded and mixed in a span of five days at Different Fur Studios in San Francisco with Patrick Brown and Sean Paulson (Toro Y Moi’s Anything In Return).