The Sunday League's debut self-titled album is ten songs rich in Tasmanian and mainland landscapes. It's music that will take you between a comfortable front porch and the wide open road.
For Noga Erez, there was never any doubt that, whatever music she chose to make, and whatever she felt about her homeland, she could never ignore her surroundings. After all, even escapism acknowledges there’s something to escape from, and at times – like many who’ve grown up in Tel Aviv – Erez has wanted to shut herself off from a world rendered beyond comprehension by forces beyond her control. But if there’s one thing Erez isn’t, it’s naïve. And what this means is simple: her work reflects the manner in which she’s learned to live. As she puts it, “I have this idea of giving people moments of thought and inspiration, and at the same time offering escapism and fun."
Erez says of her debut album, '"Off The Radar' addresses contemporary fears of being anonymous or forgotten, and our indecent urge to leave our mark by publicly sharing thoughts and ideas without due consideration, purely for the rush we get from approval and affirmation."
Uncompromising and unpredictable, sophisticated and bold, Noga Erez is clear about her ambitions. “Our way of trying to keep in contact with our feelings and fears, and of avoiding emotional detachment about everything, is music. Human beings can come from completely different places but share a fundamental basis of emotions. In my opinion, music is the form of art or communication that expresses that most accurately.” The conversation starts now.
Boston based producer M.O.O.N. (also known as Stephen Gilarde) has spent years putting out self released music. Now he has signed to the Friends Of Friends label and has released a new album called Clinically Blasé.
Influenced by house, boogie and synth pop, the album is split into three parts that explore variations on similar themes and shared sounds recording live percussion, guitar, piano, and bass in addition to software instruments and classic analog synth gear. It navigates a wide range of emotive synthesizer music deviating from dance-geared tropes, in favor of freer arrangements and lush instrumentation.
"Clinically Blasé" never tips it's hand stylistically in any particular direction resulting in a playful balance of retro sounds and futuristic ideas highlighting a deft melodic sensibility.
The sequencing ties together 'Clinically Blase' into a compelling journey, ebbing and flowing in energy, timbre, and tempo much like a thoughtful, continuous DJ mix.
Gutful" is Bad//Dreems’ sophomore LP. Working again with the production team of Mark Opitz and Colin Wynne at their West Brunswick studio over the latter half of 2016, ‘Gutful’ is 11 tracks of literate Antipodean rock and roll anthems that refines the powerful sound we heard on their debut record "Dogs at Bay."
But the world has changed dramatically in the year since and throughout "Gutful," Bad//Dreems have brilliantly captured the anger, fear and frustration felt by so many of us. The debut single from the record "Mob Rule" paints a disturbing picture of a modern Australian dystopia, underpinned by the ugliness of the angry mob. The acerbic title track "Gutful" speaks for itself.
The sound of the record will be familiar to those who have witnessed Bad//Dreems live. Essentially tracked live, ragged garage guitars are underpinned by a rocksteady groove James Bartold (bass) and Miles Wilson (drums). Ben Marwe’s voice is more vivid and visceral than before.
Over 10 days in August 2016, Girlpool holed up at Los Angeles' Comp-ny studios to record and mix Powerplant with Drew Fischer. For the first time, Harmony and Cleo were joined by a third performer, drummer Miles Wintner, a friend who easily meshed with the tight-knit duo. The decision to add percussion came as a natural decision for Harmony and Cleo.
The 12 tracks that comprise Powerplant grow and burn with greater fire than the duo have possessed before. Both bandmates were heavily inspired by Elliott Smith, the Cranberries, the Cocteau Twins, Brian Eno, Arthur Russell, and Graham Nash; the influence of each appear in the record's deliberate and intricate guitar work ("Fast Dust," "She Goes By") as well as its embrace of dissonant noise ("Corner Store," "Soup"). Though they were living apart for most of the writing process, the pair still managed to write all but four songs together, another testament to their dedication to Girlpool and each other. Now 21 and 20, Harmony and Cleo confront projections, despondency, apathy, romanticization, love, and heartbreak with a more devastating emotional pragmatism than before.
Perfume Genius, also known as musician Mike Hadreas, has released his fourth album, No Shape, May 5 on Matador Records / Remote Control Records. The album was recorded in Los Angeles, produced by Blake Mills, mixed by Shawn Everett.
Perfume Genius’s 2014 breakout album Too Bright— featuring the anthem ‘Queen’ — marked a musical and performative leap for the artist. 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 praised underground hero to pop auteur.