With their powerful harmonies and imaginative songwriting in full force, Girlpool are making new creative leaps with their new album, “What Chaos Is Imaginary”. Combining elements of shoegaze, folk, and 80’s postpunk with their own melodic gifts, these two great songwriters come up with a modern classic full of great tunes and sonic surprises. Impressive growth for this already celebrated band.

The music Cleo Tucker and Harmony Tividad release as Girlpool occupies a transient space. Their constant evolution makes it perfectly impossible to articulate exactly where their project falls within the contemporary musical canon; this is one of the many reasons Girlpool’s music is so captivating.

They met in November of 2013, and released their self-titled EP just 3 months later. Both were playing in multiple bands at the time. Harmony was 18. Cleo was 17.

The growth they have fostered in one another over the years explains the project’s disparate discography; each record is a photograph of Girlpool, growing over time. Their roots are a certain shade of punk—organized chaos dressed as earworms. “Where You Sink,” one of the first singles off their upcoming record, What Chaos Is Imaginary, gives you an idea of how much things have changed since 2014.

It’s not all good.

“I was experiencing a lot of mental health issues,” says Tividad of the title. “That song comes from a place of being disconnected from reality. The world is so complicated. It’s hard to believe in magic, or that anything exists.” Notice the order: magic, then the principle existence of things. A peak into Harmony.

Though it is the 3rd track on Girlpool’s newest record, “Where You Sink” was written at a time when the two were living in different states on the East Coast. It proved to be a period of immense change for the both of them; each focused—more than they ever had before on their solo music.

“Before, we would build our songs together with four hands, from the ground up,” says Tucker, referring to the songwriting process that produced the debut EP and 2015’s critically acclaimed follow-up, Before The World Was Big “Our songs used to be intertwined in a different way. We brought our separate experiences to the songs that we crafted together, we valued understanding that they were multidimensional.”

Their solo work consistently breathes new life into Girlpool. The two have since become comfortable with the process being more independent, more fluid. They both take part in the production and arrangement of the music, but they’ve strayed from beginning hand in hand in every instance. They connect somewhere along the way, working together when it feels right.

Discussing the new process, Harmony says, “It’s helped me find validity in parts of my writing I found to be unapproachable. I thought my stream-of-consciousness was unsophisticated.” There’s probably a great pun available re: shedding self-consciousness to release a more sophisticated stream-of-consciousness. In any case, What Chaos is Imaginary—the record and the song—is what the stream looks like when self-consciousness is shed.

Where Harmony embraces chaos, Cleo organizes it. “It’s hard for me to feel completion without achieving a vision that I have. I’ll imagine the kind of climate I want to create inside a song,” says Cleo of his process. “Once I fall in love with the direction, it’s getting there that can take time.” Finishing a song may take time and even prove to be difficult for him at times, but the product is invariably polished. Considering the near-perfect balance in the songs on What Chaos is Imaginary, their dynamic makes sense. “It took a really long time to record this record. It feels like a photograph of a very transitional time.”

What Chaos is Imaginary is a collection of songs unlike any Girlpool songs you’ve ever heard, exactly what Powerplant was to Before The World Was Big. For the first time, it is clear who wrote what song. 2019 will see drum machines and synthesizers and beautiful/new harmonies and huge guitars and at least one orchestral breakdown by a string octet.

“It was invigorating playing stripped down and raw when Girlpool began. As we change, what gets us there is going to change too.”

It’s hard to imagine what might follow What Chaos is Imaginary. Girlpool’s growth has a steady momentum forward, towards something greater with every stride that they take. By the time the record comes out, they’ll be far from here, wherever here is.

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Elena Tonra is the singer, songwriter and guitarist for Daughter. This is her first album for the new project that she runs simultaneously alongside Daughter. The album was recorded with Fabian Prynn (4AD producer/engineer) with Josephine Stephenson on cello and inspired by a shattered relationship. ‘Romance’ is the first single taken from Ex:Re’s self titled debut album, digitally out now on 4AD & Glassnote Records.

Running parallel to Daughter, Elena has assumed the pseudonym Ex:Re(pronounced ex ray) for her eponymously-titled debut solo album. The 10-track album ‘Ex:Re’ out now.

Warm, rattling, reassuring strings, tickling percussive beats and rhythms. Soft soothing vocals pair with warm strings, wrapping themselves around the vocals and hugging the strings of your heart. Sliding, picked strings match heartbeat rhythm pulses. The intimate, warm sound of home. Mood is turned into an instrument and a feeling of closeness surrounds you. Eastern tinges edge into the music, climbing vocals and sinuous, resonating drums. An eloquent tale, a catharsis of feeling. The sound of a heart breaking is something to fall in love with.

Elena has said of the album,“Although the record is written for someone, a lot of the time it’s about the space without that person in it. In every scenario, there’s either the person in memory or the noticeable absence of that person in the present moment. I suppose it is a break-up record, however I do not talk about the relationship at all, and he hardly features in the scenes. He is only felt as a ghostly presence.”

The band will perform Our Endless Numbered Days in its entirety (and with an orchestra) in Cincinnati, Los Angeles and Washington, D.C.

Sub Pop Records and Iron & Wine will celebrate the 15th anniversary of Our Endless Numbered Days with the release of a newly expanded deluxe edition on CD/2xLP/DL worldwide on March 22nd, 2019. This version will feature eight previously never before heard demos, new artwork, and a 12-page booklet including liner notes from author Amanda Petrusich. You can now hear the demo version of “Passing Afternoon” here.

Iron & Wine received its second Grammy nomination in two years as “Best Folk Album” for 2018’s Weed Garden. Their previous nomination was for “Best Americana Album” for 2017’s Beast Epic.

Sam Beam, aka Iron & Wine, released Our Endless Numbered Days, his second album, in March of 2004. It followed his seemingly out of nowhere debut arrival, The Creek Drank the Cradle (2002) which was a quiet word of mouth treasure. Our Endless Numbered Days was recorded in Chicago and was the first in a string of releases to be produced by Brian Deck (Red Red Meat, Modest Mouse, Ugly Casanova, etc.).

Our Endless Numbered Days, which has sold over 556,000 copies, marked many firsts for Beam both professionally and personally and as Petrusich so rightly calls it in her liner notes “Our Endless Numbered Daysis a timeless record about the passage of time.”

Upon its release SPIN called the record a “masterwork” one that is “self-assured, spellbinding, and richly, refreshingly adult.”  Pitchfork, which gave the original album “Best New Music,” had this to say, “An astoundingly progressive record: Beam has successfully transgressed his cultural pigeonhole without sacrificing any of his dusty allure.”

Our Endless Numbered Days (Deluxe Edition)is now available for pre-order from Sub Pop Records. 

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Ian Sweet has been the source of and solution to many of Jilian Medford’s deepest anxieties. But now, two years after her soul-bearing debut LP Shapeshifter, Medford is confronting that reality with surprising optimism on her new full-length Crush Crusher. After relocating to Los Angeles, Medford has decided to make the project a solo endeavor once again (as it had been in her salad days in the Boston DIY scene) and took the opportunity to compose some of her most self reflective and emotionally analytical songs to date.

In writing Crush Crusher, Medford committed herself to exploring her own issues with self-image, self-respect/worth, and the responsibility she has felt to others. Album opener “Hiding” was one of the first songs she wrote for the record while living in a frigid Brooklyn apartment during a winter break amidst her grueling tour schedule. In the song, Medford reflects on an interpersonal relationship that fell apart because of an inability to feel supreme comfort in sharing all the pieces of herself with someone. Nevertheless, a hopeful demeanor shines through on “Hiding” and in her writing across the album, with lyrics that embrace life’s hurdles and make them feel a little less scary.

Much of Crush Crusher’s songs deal with Medford’s internalized pressure to become a caretaker in many of her close friends’ lives. As a defense mechanism for her own insecurities, Medford projects a sense of invincibility and benevolence to feel more deserving of the love received from others; we hear this on “Holographic Jesus” when she repeats the phrase “the sun built me to shade everybody,” characterizing the sacrifice and responsibility she feels in ways that could easily go unnoticed. “Holographic Jesus” ultimately represents a façade of strength that Medford has clung onto and, in true Taurus fashion, is stubborn to let go of.

Musically, Crush Crusheris full of dissonant open chords and abnormal progressions, finding beauty in a level of conflict not seen on Shapeshifter. To help achieve this expansive-but-focused sound, Medford enlisted the help of someone who was just as ambitiously experimental in their approach, producer and engineer Gabe Wax (Deerhunter, The War on Drugs, Soccer Mommy). Medford and Wax set up shop at Rare Book Room studios in Greenpoint, Brooklyn, and completed the basic tracking with musicians Simon Hanes on bass and Max Almario on drums. “Coming into a space where some of my biggest inspirations like Bjork, Dirty Projectors, and Deerhunter had all once also recorded, I felt determined to push myself and test every boundary that I may have subconsciously created along the way. Gabe made me feel comfortable with attempting anything,” Medford says. By the end of the recording process, Ian Sweet wound up with an unconventional assortment of songs featuring disparate elements of psych-rock, trip-hop, and shoegaze that together forged a sound uniquely her own.

Crush Crusher’s closing track “Your Arms Are Water” serves as a thematic reprise for the whole album, telling the story of an inspiring relationship in Medford’s life that was drowning in doubt. The song’s nuanced perspective captures the record’s thesis—that to escape your misery sometimes requires accepting your imperfections. Such compassionate and densely-realized observations make Crush Crusher more nourishing food for thought for fans of Ian Sweet.

Trip out to the digital dimensions of “Holographic Jesus” from Ian Sweet’s 2018 album Crush Crusher.

Run, don’t walk. With our boys KG & the LG blowing up the way that they have it seems to give a rub to the other acts on Flightless, but especially the ones directly related to his majesty.

This is their third LP, and their last one sells for stupid amounts now. Like I said, FOMO is real.

Their last record was a great discourse on the trappings of Australian psychedelic rock that was steeped long and hot in American soul and r&b and it was just so, so amazing.

Our new album ‘Old Locomotive’  will be released on July 28th, 2017  on Flightless Records 

“Old Locomotive” on Flightless Records

 

 

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Calgary post-punk outfit Preoccupations have shared a video for “Compliance,” the epic instrumental closer of their 2018 album New Material. The black-and-white video was directed by Nicholas Brown and Evan Henderson, and follows a forest spirit named Mariah as she explores a post-apocalyptic universe.
“Mariah has awakened from eons of slumber to a world that has long been abandoned by humans and heavily mutated by their waste and consumption,” Preoccupations say of the video in a statement. “As Mariah struggles to make sense of this new world, she grieves for the one she has lost forever. The Mariah creature was painstakingly designed and constructed by Brown, portrayed by Henderson, and captured by the haunting and beautiful cinematography of Adam Stewart. ‘Compliance’ brings a close to this chapter of the band as we look towards the future and marvel at the new heights their music will take.”

Along with the video, Preoccupations have also announced a string of tour dates for this spring that cover much of southern and western Europe.

Extensive 5CD/book set exploring the ‘second wave’ of music on Merseyside, from 1976-1988

Features classics, rarities, album tracks and previously unreleased gems from Echo And The Bunnymen, Teardrop Explodes, OMD, The La’s, Frankie Goes To Hollywood, Dead Or Alive, China Crisis, A Flock Of Seagulls, Wild Swans, Big In Japan and many more.

5CD + 56pp A5 book format contains many artists’ own sleeve-notes, previously unseen photographs and essays from key observers and participants in the city’s music scene – Bernie Connor, Mike Badger, Yorkie and Joe McKechnie.