The United Kingdom’s greatest cult band Uncle Acid & the Deadbeats are to return with their fourth full-length studio album The Night Creeper on September 4 via Rise Above Records. In support of the release they will also be embarking on their largest and longest tour to date, with a variety of US shows which can be viewed below.
Recorded at Toe Rag Studios in early 2015 with engineer Liam Watson (White Stripes, Tame Impala, Electric Wizard), The Night Creeper oozes louche evil. Hear flesh-melting riffs that creep like hot magma bubbling up through the earth’s crust combine with an ear for melody born out of the bands love for girl groups like The Ronettes and The Shangri-La’s. This is Sabbath-meets-Spector and it’s a heady combination.
The Night Creeper has a distinct concept as a starting point. “The idea is that this album could have started life as an old cheap, grime-covered 25 cent pulp paperback like the type sold at news-stands outside train stations,” says enigmatic band leader Kevin Starrs. “But then perhaps it is adapted into a film noir, which itself is then re-made twenty years later as an ultraviolent, slasher Italian Giallo film. The album follows this aesthetic lineage as it descends from trash to noir to something discernibly darker...”
Uncle Acid & the Deadbeats have been called many things: a subversive, dark-hearted, pop band who sing about death and murder; a psyche-frazzling heavy psychedelic band; the greatest cult quartet in the British rock scene by a country mile; the heirs apparent to the dark satanic majesty of both The Beatles and Black Sabbath. They exist in their own self-created world; hoovering up trash/pop culture and spitting it back out in hot chunks of finely hewn riffola and righteous rock ‘n roll noise.
Uncle Acid & the Deadbeats’ breakthrough album Blood Lust (2011) was an homage to British Hammer and folk horror films of the 1970s, a candle-lit head-trip of withered hands, ritual knives and gallows ropes. Mind Control (2013) looked further afield, to the post-Charles Manson US for inspiration: Jim Jones dosing the Kool-Aid, Blue Cheer, Blue Oyster Cult, B-movie biker movies, war, Watergate, serial killers, and suicidal TV evangelists. Now comes The Night Creeper, their darkest journey yet.
The Night Creeper will be released on September 4 via Rise Above Records. Check out the band’s North American tour dates below.
9/9 at Center Stage in Atlanta, GA
9/11 at Baltimore Sound Stage in Baltimore, MD
9/12 at Webster Hall in New York, NY
9/13 at Union Transfer in Philadelphia, PA
9/14 at Royale in Boston, MA
9/16 at Corona Theater in Montreal, QC
9/17 at Phoenix Theater in Toronto, ON
9/18 at Mr. Smalls in Pittsburgh, PA
9/19 at Metro in Chicago, IL
9/20 at Mill city Nights in Minneapolis, MN
9/22 at Summit Theater in Denver, CO
9/23 at Urban Lounge in Salt Lake City, UT
9/25 at Commodore Ballroom in Vancouver, BC
9/26 at El Corazon in Seattle, WA
9/27 at Wonder Ballroom in Portland, OR
9/29 at Slims in San Francisco, CA
9/30 at Slims in San Francisco, CA
10/1 at The Fonda Theater in Los Angeles, CA
10/2 at The Observatory in Santa Ana, CA
Toronto legend k-os’ insightful approach to music making has proven he is an artist with boundless limits, and certainly not one that appeases to fluctuating mainstream trends, in which his 2005 Grammy Nomination can attest. It’s been 10 years since k-os’ transformative sophomore release, Joyful Rebellion, and the artist has spent the past decade trying to explore the movement of hip-hop into infinite new possibilities. Now, k-os is proud to reveal his new album Can’t Fly Without Gravity out on August 28 via Dine Alone Records. In anticipation for the full release, we are now getting a preview with single “Spaceship” which premiered on Okayplayer.
“Spaceship” is a self-affirming track with spirited choruses and confessional verses that offer a glimpse of what youth was like for the hip-hop visionary and what lead him to music in the first place. The MC makes a firm pledge to truth and ideals and accepts the isolation that may come with it. K-os admits it was a hard track to release:
“I was initially scared to release this song - it was supposed to be on my last record Black On Blonde, but I was too shook to release it. It's a vulnerable tune. Sometimes in rap you always wanna present the hardest most secure side of yourself. So when you create a track that embodies a child like essence it's confusing simply because you're not a child anymore. At the end of it all 'Spaceship' takes me back to the record JoyfuL RebelLion - before I was known and before I had an image to protect. It’s like a short biography of my rap life. And even though it's not the hardest or darkest track in the world, fact is human beings aren't always hard and dark. How would you know what was dark If you didn't experience the light? A knife can't cut itself.”
Can’t Fly Without Gravity captures all of the different sides that make up k-os’ musical DNA. It’s an affirmation that “the forces which pull you down are simply put there to inspire you to rise above them’ and promises to be a more stripped-down, holistic effort than its highly conceptual predecessor, Black on Blonde. However, the rock vs. rap dialectic at that album’s core still guides k-os on a more philosophical level. It’s not just a question of reconciling disparate musical styles, but of different workflow strategies. To be k-os in 2015 is to find the happy medium between hip-hop’s penchant for rapid-fire releases and perpetual stylistic mutation with a more measured approach and timeless aspirations of rock n roll artists—all while engineering his music for a post-EDM pop landscape that has not only changed listeners’ tastes, but their very physiology. Welcome to the great beyond.
Upcoming tour dates:
August 8 – Squamish, BC – Squamish Valley Music Festival 2015
September 5 – Edmonton, AB – Sonic Boom Festival
September 6 – Calgary, AB – X Fest
*more tour dates to be announced soon
For Savannah, GA’s Kylesa, made up of Phillip Cope, Laura Pleasants and Carl McGinley, their seventh album, Exhausting Fire via Season of Mist, provides a crowning example of the positive output that comes at the hands of their incendiary and powerful, yet nuanced and colorful framework. Due out October 2, Kylesa has just shared the lead single from Exhausting Fire, “Lost and Confused.” The track is now available to hear and share onSoundcloud. In support of the release they will also be embarking on a tour across the US, tour dates are below.
Following on the heels of the artistic broad jumps the band has exhibited since forming in 2001, Exhausting Fire hurls even more rulebook pages out the tour van window as Kylesa further explore and incorporate psychedelic rock, new wave, space-age twangy Americana, 80s goth and death rock into their pitch-thick DIY punk/metal roots. But as much as change is a constant in their world, there exists connective tissue to the past despite Exhausting Fire being the most diverse, dynamic and fully-realized work of their discography.
In writing Exhausting Fire, the trio found themselves culling inspirations before getting together in various permutations at various times to wade through the amassed collections of riffs and ideas stockpiled before, during and after the punishing Ultraviolet tour schedule. Another curve Exhausting Fire throws at the listener is the manner in which the co-vocalists emerge sounding infinitely more comfortable and confident working as an integrative unit. The pair expertly dodge and weave around one another as an homage to the stratified spirit of their psychedelic influences while respecting the context of the song.
Captured at the familiar confines of the Jam Room in Columbia, SC, Exhausting Fire sees the trio immersing themselves deeper into themselves and their own process by refusing to hire an outside producer to assume Cope’s position. In fact, he reports having additional engineering duties dropped into his production seat, and spending more hours than ever working behind the board. In that sense, it’s not difficult to take the band at their word when Cope describes Exhausting Fire as “an album we really put our hearts on our sleeves for. We’ve always done that, but emotionally, it’s probably the most honest and raw album we’ve ever done.”
“No band sounds like us and we don’t sound like any other band,” concludes Pleasants. “After all these years of experimenting with different styles and sounds, we’ve really developed our own thing and I can faithfully say that we sound like us. With this album, we’ve successfully made a record that incorporates all the elements we’ve always played with into a record that works on its own.”
8/29 in Durham, NC at Motorco
8/31 in Charlottesville, Va at The Southern
9/1 in New York, NY at Gramercy Theater
9/2 in Montreal, QC at Cafe Campus
9/3 in Toronto, ON at Mod Club Theater
9/4 in Chicago, IL at Reggie's
9/5 in St. Louis, MO at Ready Room
9/6 in Louisville, KY at Zanzabar
9/7 in Augusta, GA at Sky City
10/6 in St. Petersburg, FL at State Theatre
10/7 in Miami, FL at Grand Central
10/8 in Orlando, FL at The Social
10/9 in Savannah, GA at Jinx
10/10 in Asheville, NC at New Mountain
10/13 in Columbus, OH at The Basement
10/14 in Grand Rapids, MI at Pyramid Scheme
10/16 in Cleveland, OH at Grog Shop
10/17 in Pittsburgh, PA at Altar Bar
10/19 in Boston, MA at Brighton Music Hall
10/20 in Philadelphia, PA at Black Box at Underground Arts
10/23 in Richmond, VA at The Broadberry
10/24 in Washington, DC at Rock & Roll Hotel
10/25 in Atlanta, GA at The Drunken Unicorn
11/6 in Pomona, CA at The Glass House
11/7 in Los Angeles, CA at The Fonda Theatre
11/8 in San Francisco, CA at The Fillmore
11/10 in San Diego, CA at The Irenic
11/11 in Phoenix, AZ at Club Red
11/13 in Austin, TX at Red 7
11/14 in Houston, TX at Warehouse Live
11/15 in Dallas, TX at The Prophet Bar
11/17 in Colorado Springs, CO at The Black Sheep
11/18 in Denver, CO at Summit Music Hall
11/19 in Salt Lake City, UT at The Complex
11/20 in Boise, ID at Neurolux
11/21 in Portland, OR at Hawthorne Theatre
11/22 in Seattle, WA at The Crocodile
On the heels of two platinum Greek releases, headlining major festivals and gracing the covers of music and fashion magazines in her homeland, Monika is thrilled to announce her 3rd studio album, Secret In The Dark, available October 2 worldwide via Other Music Recording Co. Recorded at the Daptone-renowned Dunham Sounds Studios (Sharon Jones, Charles Bradley, Dan Auerbach) and produced by Dap-Kings & Menahan Street Band founding member Homer Steinweiss, the album breathes generational genre-spanning influences.
A distinctly New York album with a breezy Mediterranean heart, Secret In The Dark is a cunningly crafted record of ‘80s art pop infused with organic leftfield disco tones. Title track “Secret In The Dark” calls upon the genre’s forefathers with its own contemporary edge and irresistible bass line. Featuring Andrew Wyatt (Miike Snow, Mark Ronson), “Shake Your Hands” is a soulful dancefloor-ready single of layered horns, funky guitar, vocals and percussion that build to an epic breakdown. Syncopated, operatic vocals slice into shimmering synths and driving bass, creating a dark, ethereal soundscape on “Stripping.”
“Stripping” premieres with FADER and is available to post & share HERE!
Amassing a dream-team of musicians, Homer Steinweiss, Thomas Brenneck, Nick Movshon, Victor Axelrod, Leon Michels, and others from the Brooklyn scene join Monika on Secret In The Dark. Fans will have a special early chance to experience the funk-pop extravaganza live at Brooklyn’s Union Pool on July 9. Be sure to catch Monika live and stay tuned for more news coming soon!
Hailing from the 500-person mountain valley village of Ulnes, Norwegian singer-songwriter and multi-instrumentalist Farao (aka Kari Jahnsen) is thrilled to share the full album stream of her debut full-length Till It’s All Forgotten today with The New York Times. Released next Friday, September 11th via Arts & Crafts (US) and Full Time Hobby (UK/EU) the album shimmers with depth of determination and sorrow, touching upon experimental pop, R&B, and haunting brass melodies. Till It’s All Forgotten arrives with the conviction of a threat, and the grace of vengeance.
Farao’s vast and powerful army of tools – guitars, synths, organs, glockenspiel, sitar – dance at her fingertips, expertly interwoven with her ethereal vocals to create a suite of music that is otherworldly and entirely her own. With international accolades, Farao will take her captivating live performance to the US as lead support for The Cribs on a national fall tour.
Produced by Mike Lindsay (Tunng) and mixed by Grammy Award winner Andrew Scheps (Hozier, Lana Del Rey, Cass McCombs), Till It’s All Forgotten album seamlessly blending transitive indie rock with starry electronics, Farao creates intricate, enchanting music that reflects the dramatic yet serene environments of her origin.
Pre-order Till It’s All Forgotten now via Arts & Crafts + Full Time Hobby.
9/15: St. Paul, MN @ Turf Club*
9/16: Chicago, IL @ Thalia Hall*
9/17: Detroit, MI @ Majestic Cafe*
9/18: Toronto, ON @ Adelaide Hall*
9/19: Montreal, QC @ Pop Montreal*
9/21: Philadelphia, PA @ Underground Arts*
9/22: Brooklyn, NY @ Music Hall of Williamsburg*
9/23: Washington, DC @ U Street Music Hall*
9/25: Boston, MA @ Brighton Music Hall*
9/26: Portsmouth, NH @ The Music Hall Loft
9/29: Los Angeles, CA @ The Echo^
9/30: San Francisco, CA @ DNA Lounge^
* with The Cribs
^ with Alina Baraz
Worlds Remixed is the next step in the continued evolution of Porter Robinson’s conceptual Worlds vision.
A track-by-track collection of remixes hand-selected by Porter and presented in the same order as the original album tracklist, Worlds Remixed (out October 2 on Astralwerks) expands upon the overall aesthetic of Robinson’s debut album Worlds and doubles as a platform to show off the skills of some of his favorite artists including ODESZA, Mat Zo, Glamatias, Chrome Sparks, & more. (Full tracklist below)
Robinson’s high-concept, multi-faceted Worlds endeavor includes the groundbreaking debut album (released August 2014 via Astralwerks), the technologically ambitious interactive live show (which returns to the U.S. this weekend, dates below), and recent design collaboration with Japanese streetwear brand Galaxxxy (which sold out within hours of Porter announcing it via Twitter last week).
It all began a few years back, with Porter turning down countless DJ offers to move back to North Carolina and devote himself to introspection and reinvention. “I figured that one way to develop a unique identity as an artist would be to combine all my favorite things in music — it would result in a collective expression of my taste and experience. Something nobody else has.”
The resulting debut album Worlds shook the electronic music community to its core and expanded the definition of the genre upon its release. A deeply personal journey through textural synth-pop, it has been called “gorgeous” (New York Times), “delightful” (Rolling Stone), and “imaginative” (NPR).
Robinson’s vision for the Worlds live show was equally ambitious: “The music was meant to be evocative of imagery. The whole theme of the album was this sense of escapism, an homage to imagination. So that’s how I wanted to present it live”
Designed in collaboration with music technologist and artist Laura Escudé aka Alluxe (Kanye, Jay Z, Yeah Yeah Yeahs, Drake) with visuals crafted by ILN (Invisible Light Network) and edited by video artist Ghostdad, the Worlds live show integrates visual and sonic elements into a hyperreal, video-game fueled dream come-to-life with Porter at the helm.
With more than 40 million album streams under his belt, plus 100,000+ in ticket sales for live headline performances & triumphant appearances at festivals across the globe this summer, Porter Robinson continues to refine (and redefine) his overarching vision forWorlds.
Porter Robinson Worlds Live - Upcoming US Dates:
9/5 Chicago, IL @ North Coast Music Festival
9/6 Depew, OK @ Backwoods Music Festival
9/13 Kansas City, MO @ Dancefestopia
9/25 Las Vegas, CA @ Life is Beautiful
Sep 19 - Sacramento, CA @ TBD Festival
9/27 Fairburn, GA @ TomorrowWorld
Oct 30 - Boulder, CO @ Haunted Fest
Oct 31 - San Diego, CA @ Heaven and Hell Fest
WORLDS REMIXED TRACKLIST:
DIVINITY (FEAT. AMY MILLAN) (ODESZA REMIX)
SAD MACHINE (DEON CUSTOM REMIX)
YEARS OF WAR (FEAT. BREANNE DUREN & SEAN CASKEY) (ROB MAYTH REMIX)
FLICKER (MAT ZO REMIX)
FRESH STATIC SNOW (LAST ISLAND REMIX)
POLYGON DUST (FEAT. LEMAITRE) (SLEEPY TOM REMIX)
HEAR THE BELLS (FEAT. IMAGINARY CITIES) (ELECTRIC MANTIS REMIX)
NATURAL LIGHT (SAN HOLO REMIX)
LIONHEARTED (FEAT, URBAN CONE) (POINT POINT REMIX)
SEA OF VOICES (GALIMATIAS REMIX)
FELLOW FEELING (SLUMBERJACK REMIX)
GOODBYE TO A WORLD (CHROME SPARKS REMIX)
The infamously fierce, feminist pioneers of American grunge punk came back into the spotlight upon the announcement of their documentary film, L7: Pretend We’re Dead, fully funded by fans across the globe via Kickstarter. Often credited as a leading force behind the grunge movement of the late ‘80s and for their influence on riot grrrl bands of the early ‘90s, the reaction to the announcement was far more electric than they could have expected, catalyzing a widely anticipated reunion of the band in its original line-up.
L7 took the stage for the first time in 18 years during May of 2015, receiving accolades from the likes of Rolling Stone, LA Weekly, and many more. For a taste of their live energy that still radiates to this day, fans can watch the first reunion performance of “Shit List” at The Echo in Los Angeles.
The band is now set on a North American tour, hitting stages with their high-octane energy from coast to coast. Be sure to catch L7 in a city near you and stay tuned for additional announcements coming soon!
9/6: Toronto, ON @ The Danforth Music Hall
9/8: New York, NY @ Irving Plaza
9/9: Brooklyn, NY @ Warsaw
9/11: Philadelphia, PA @ Trocadero Theater
9/13: Chicago, IL @ Riot Fest
11/2: Portland, OR @ Crystal Ballroom
11/3: Seattle, WA @ Showbox Theatre
11/4: Vancouver, BC @ Rickshaw Theatre
11/8: Austin, TX @ Fun Fun Fun Festival
11/14: San Diego, CA @ San Diego Music Thing Festival
Eskimeaux is the recording project of songwriter and producer Gabrielle Smith, also a founding member of The Epoch, a Brooklyn-based songwriting and art collective. Smith started using the moniker in 2007, releasing experimental and noise albums, and developing the sound over the years into the realm of more structured songwriting. 2011'sTwo Mountains, 2012's EDM, and her new album, O.K., capture her beat-driven and poetic bedroom pop.
Eskimeaux performs live as a four-piece, Gabrielle Smith (vocals and guitar) is supported by Epoch members Oliver Kalb (synthesizer), Felix Walworth (drums), and Jack Greenleaf (bass). The live band replaces the subtleties of the record with a more driving, dynamic approach to the songs.
Two Mountains was recorded in 2010 as a dialogue between Smith and Benjamin Schurr. As former collaborators now living in different states, Smith and Schurr decided to try working together from afar. After finishing up each recording in different bedrooms between the Hudson Valley and Philadelphia, Smith sent them to Schurr in North Carolina to add the finishing touches. Once 11 songs were finished, Two Mountains emerged, originally released only digitally and in a very limited run of handmade CD's. Now, for the first time ever, Two Mountains will be issued on vinyl, cassette, and CD via Yellow K Records. A tentative release date has been set for Fall 2015.
Kagoule is heading to NYC for its debut US performances next week. The two-day stay sees Kagoule playing at the East Village’s Cake Shop 9/10 and a free show at Williamsburg’s Rough Trade 9/11.
The band’s US live debut will be followed up by a host of dates taking the band across Europe in support of Sub Pop’s METZ and finishing with there first full UK headline tour from November to December.
To celebrate the tour, Kagoule have offered up two new live tracks (“Mike” and “Glue”) fromUrth which were recorded in an XFM Session back in July and are available to stream right now for free on soundcloud and shared a video for cover “Walking the Cow” (Daniel Johnston Cover) via YouTube.
Produced by Ross Orton (Arctic Monkeys, M.I.A, The Fall) and Pete Fletcher (Childhood), Kagoule’s debut album Urth recalls the energy and ideas of Bikini Kill, the sugar-dusted grunge of Smashing Pumpkins and the angular rhythms and confrontational post-hardcore blueprint of Fugazi, with a pedal rack metaphorically half-inched from Dinosaur Jr.
The Nottingham-based trio of Cai Burns, Lucy Hatter and Lawrence English has already been tipped as a “2015 Artist to Watch” by Rolling Stone, headlined the BBC Stage at Glastonbury and opened for Johnny Marr, Sebadoh, and Brian May.