Posts Tagged ‘Anti Records’

Hi friends! Today you can hear the B side of my new 7″, a song called “Party’s Over.” I’m so excited to share it with you!

New song and video out today, along with the limited edition 7” that includes “Orange Blossoms” as the A side! This is a song for remembering how good it feels to keep moving, letting the source of your discontent slide into the background till it blinks out like a distant star. A song for not just carving out your own path, but dancing down it. For accepting yourself for who you are. For casting aside the imagined ideals that scream at you like a neon sign: Never Enough. It’s a song for when you’re standing on the outside and you know you’re not alone. Out in this wide world, it’s a party where everyone is invited.

I wanted to write a song that would set my body into motion, propelling me away from the source of a dark feeling – the feeling of not belonging. How many times have I stood on the outside, wanting to be inside? This song is a reminder in those moments to keep moving, to feel your strength build with the distance gained, to not only carve out your own path but to dance down it. There is so much joy in releasing ourselves from what we think of as the center and discovering that the real depth of experience exists at the margins: a space that embraces our full complexity. That’s where the real party is happening.

This song is another product of my collaboration with Zubin Hensler, and the video was made with my partner-in-crime Kenna Hynes.

“Party’s Over” by Half Waif on Anti -Records

My new single “Have to Do For Now” was on NPR Music’s All Songs Considered this week

my new single. In case you missed it, I just released a new song called “Have To Do For Now”

Best Of Luck is one month old as of today! I learned so much in the process of making this record. From day one Ben Harper had my back. If he hadn’t showed up for me not only would I not have had a new record to share with you all, but I wouldn’t be out here again working across the country (and soon Europe) doing what I love night after night. Thanks Ben for your friendship and guidance. Thank you for the example you set for me to clean up my act, get sober, and get to work. This is just the start.

“Something In Return” (Live) by Christopher Paul Stelling The new album album ‘Best Of Luck,’ produced by Ben Harper, is available now

 

Half Waif, aka Nandi Rose Plunkett, released her best album yet, “The Caretaker”, last year, and now she’s revealed her first new music of 2021. She has a new 7″ due out February 24th via ANTI-Records, and she’s shared its A-side, the gorgeous, haunting “Orange Blossoms.”

“I wrote ‘Orange Blossoms’ soon after finishing The Caretaker, and in some ways, it feels like the next chapter in that story,” Nandi Rose says. “In the fall of 2019, I found myself taking care of someone close to me who was struggling with addiction, and as a caretaker often does, I internalized that immense pain and took it on as my own. It’s paralyzing, to feel so powerless when trying to help someone you love. The song came out like an incantation, a desperate plea to be rescued from wrestling with everything. But it unfolded into something more resolute as I refocused on the task of taking responsibility for myself and my own life. The song touches on a phrase that kept coming back to me at that time, which was: ‘no one’s going to do it for you.’ You can help and be helped, you can love and be loved, but salvation is your own to seek and claim.”

“Orange Blossoms” by Half Waif

Image may contain: plant and flower, text that says 'Glitterer Life Is Not A Lesson FEB. 26, 2021'

Title Fight co-frontman Ned Russin has shared a second single from his upcoming Glitterer album, “Life Is Not A Lesson”, which arrives 26th febuary via ANTI-Records (pre-order). Like lead single “Are You Sure?”, the just-released “Didn’t Want It” is a little closer to the loud, driving Title Fight sound than the last Glitterer album was, and it’s another very promising taste.

“‘Didn’t Want It’ was the first song I wrote for the new record,” Ned says. “Despite having no road map for how the rest of the songs would turn out, this track established a lot of the qualities that would be further explored as I continued to write – more present and fuzzed out guitars, minimalistic chord changes, and uncertain, longing lyrics.” It comes with an animated lyric video by Rob Fidel, which you can check out below.

“Didn’t Want It” by Glitterer​ from the album ‘Life Is Not A Lesson’, available February 26th

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It was a sort of dark time in my life when I was struggling to find my way. I was in a relationship when it occurred to me that a lot of times you find yourself apologizing to someone after you’ve let them down. So, the idea came to me to apologize in advance. Instead of waiting to apologize until I mess up, let me apologize before, ha ha!

The song went through a lot of changes. From point A to point B there was a bunch of things I put in and took out but what I ended up with was weirdly similar to what I started out with… In spite of that, all the things that I did were necessary. There were times when I took out the main electrical piano that I started with and tried to fill the space with something different, but it never sounded right to me, so I put it back in.

This comes up a lot, I think. You’re always looking for this vibe or tone, you want it to be as pristine and well-recorded as possible, but sometimes there’s really no substitute for the feeling you that had in the beginning. At this point I don’t even remember where I played that electric piano sound or where it came from, but after trying to duplicate it in the studio with all the grand equipment I just couldn’t seem to get the right sound. Sometimes you have to try things that are wrong to figure out what you don’t want, just to confirm that your original idea was right.”– Aaron Earl Livingston,

“Demon To The Dark” by Son Little from the album ‘New Magic,’ available September 15th

Andy Shauf Shares New Song "You Slipped Away"

Andy Shauf has shared a new song “You Slipped Away,” It was a demo recorded during the sessions for his 2020 album The Neon Skyline. “You Slipped Away” is a sombre song filled with Shauf’s subtle-but-stunning layered harmonies.

“You Slipped Away’ was a song that I wrote shortly after moving to Toronto, right after I’d just moved into an apartment and had acquired an 80s Yamaha CP60 stage piano,” Shauf says. “This song was an attempt to write something that sounded like an old standard, using big general metaphors and universal themes.”

Few artists are storytellers as deft and disarmingly observational as Andy Shauf. The Toronto-based, Saskatchewan-raised musician’s songs unfold like short fiction: they’re densely layered with colourful characters and a rich emotional depth. The The Neon Skyline 11 interconnected tracks follow a simple plot: the narrator goes to his neighbourhood dive, finds out his ex is back in town, and she eventually shows up. While its overarching narrative is riveting, the real thrill of the album comes from how Shauf finds the humanity and humour in a typical night out and the ashes of a past relationship. For The Neon Skyline, Shauf chose to start each composition on guitar instead of his usual piano. Happy accidents like Shauf testing out a new spring reverb pedal and experimenting with tape machines forced him to simplify how he’d arrange the tracks. Over the course of a year-and-a-half, Shauf had ended up with almost 50 songs all about the same night at the bar. 

“You Slipped Away” by Andy Shauf, available now Through Anti Records

The Antlers are very pleased to share another new song with you today. This one’s called “It Is What It Is,” and it’s out now via Anti Records and Transgressive. “It Is What It Is” is a song about hindsight. It considers what might have changed had you handled things differently back then, and the reluctant acceptance that it’s too late for all that now. It the inevitability of changing seasons, transitions that feel like loss in the moment, but come to represent growth over time. Accompanying the song is another beautiful video. 

The Antlers shared the video for new single ‘It Is What It Is’, which sees the New York band enlisting the skills of world-renowned contemporary dancers Bobbi-Jene Smith and Or Schraiber.

Describing the new offering, lead singer and songwriter Peter Silberman said:
“‘It Is What It Is’ is a song about hindsight. “It considers what might have changed had you handled things differently back then, and the reluctant acceptance that it’s too late for all that now. It’s the inevitability of changing seasons, transitions that feel like loss in the moment, but come to represent growth over time.”

The latest effort comes after they returned last month with ‘Wheels Roll Home’, which ended the long wait for new material from the band, whose last album came in 2014

Fleet Foxes have annouced the release of their surprise new album titled ‘Shore’.  The album news was shared today (September 22nd) to mark the beginning of the autumnal equinox. It was first teased with posters displayed around Paris at the weekend. ‘Shore’ follows the band’s 2017 album ‘Crack-Up’, and was recorded in New York, Paris, Hudson, Los Angeles and Long Island City between September 2018 and September 2020. The band’s fourth record features contributions from Uwade Akhere, Hamilton Leithauser, Grizzly Bear’s Chris Bear and Daniel Rossen, Kevin Morby, and others

“I see “Shore” as a place of safety on the edge of something uncertain, staring at Whitman’s waves reciting ‘death’,” frontman Robin Pecknold said of the new album in a statement. “Tempted by the adventure of the unknown at the same time you are relishing the comfort of the stable ground beneath you. This was the mindset I found, the fuel I found, for making this album.”

The album comes complete with an accompanying film, also entitled Shore. It was shot in Washington, Oregon and Idaho on 16mm film by Kersti Jan Werdal. “I listened to the album while driving, and observationally shot landscapes that I felt resonated with the music, yet also stood on their own,” Werdal explained.

“The film is intended to co-exist and engage with the album, rather than be in a direct and symbiotic relationship with it. The urban and narrative scenes interact with the more surreal landscapes, rather than sit in opposition of one another. My hope is that the film, much like the album does, reflects optimism and strength.”

Speaking of the new album, Pecknold added: “Since the unexpected success of the first Fleet Foxes album over a decade ago, I have spent more time than I’m happy to admit in a state of constant worry and anxiety. Worried about what I should make, how it will be received, worried about the moves of other artists, my place amongst them, worried about my singing voice and mental health on long tours. I’ve never let myself enjoy this process as much as I could, or as much as I should. “By February 2020, I was again consumed with worry and anxiety over this
album and how I would finish it. But since March, with a pandemic spiralling out of control, living in a failed state, watching and participating in a rash of protests and marches against systemic injustice, most of my anxiety around the album disappeared. It just came to seem so small in comparison to what we were all experiencing together.

“In its place came a gratitude, a joy at having the time and resources to devote to making sound, and a different perspective on how important or not this music was in the grand
scheme of things. Music is both the most inessential and the most essential thing. We don’t need music to live, but I couldn’t imagine life without it. It became a great gift to no longer carry any worry or anxiety around the album, in light of everything that is going on.”

Fleet Foxes’ last album, 2017’s ‘Crack-Up’, was given the four-star album review, writing: “Some may be unconvinced by the ambitious leap Fleet Foxes have made on album three, but there’s really no doubting the first-rate intelligence behind this uncompromising and ever-changing piece of work.” Pecknold:  I wanted to make an album that celebrated life in the face of death, honouring our lost musical heroes explicitly in the lyrics and carrying them with me musically, committing to living fully and vibrantly in a way they no longer can, in a way they maybe couldn’t even when they were with us, despite the joy they brought to so many. I wanted to make an album that felt like a relief, like your toes finally touching sand after being caught in a rip current. I wanted the album to exist in a liminal space outside of time, inhabiting both the future and the past, accessing something spiritual or personal that is untouchable by whatever the state of the world may be at a given moment, whatever our season. I see “shore” as a place of safety on the edge of something uncertain, staring at Whitman’s waves reciting “death,” tempted by the adventure of the unknown at the same time you are relishing the comfort of the stable ground beneath you. This was the mindset I found, the fuel I found, for making this album.

Elsewhere in the statement, Pecknold wrote that, next year, the band will release nine more songs, “co-written from the ground up with [Fleet Foxes members] Morgan Henderson, Skyler Skjelset, Casey Wescott, and Christian Wargo.”

Fleet Foxes are to release their fourth studio album “Shore” . The bright and hopeful album, released via Anti-Records, for a February 5th street date. In addition to the album, a 16 mm road movie of the same name by Kersti Jan Werdal that showcases the landscapes of the Pacific Northwest.

Image may contain: one or more people, people on stage, people playing musical instruments and night, text that says 'JAPANDROIDS MASSEY FUCKING HALL Digital 6.26 Vinyl 10.2 ANTH'

Canadian garage rockers Japandroids shared their first live album, “Massey Fucking Hall”, recorded at the aforementioned iconic Toronto venue from their 2017 tour with Cloud Nothings. “We’ve actually recorded a number of shows over the years, and for one reason or another, they just didn’t turn out,” drummer David Prowse explained. “We both like where this show catches us. We are at a bit of a crossroads in some ways between the band that put out Post-Nothing back in 2009 and where we are going. This setlist captures the first three albums really well and shows how much we’ve changed since those Post-Nothing days. We still have the energy but we have better command of our instruments and our voices. It feels a little less off the rails but still has a ton of momentum.

After playing the last of their 200 shows in more than 40 countries in support of their critically acclaimed 2012 album Celebration Rock, Japandroids took a much needed break to rest and recover after their last show in November of 2013. The band would not play again for three years. This month, they made their triumphant return to the stage, playing intimate shows in Vancouver, LA, Toronto, London and NYC, in which they treated fans to their favourites from Celebration Rock and Post-Nothing, and previewed a handful of new, unreleased songs. 

Near To The Wild Heart Of Life, was written clandestinely throughout 2014 and 2015 in Vancouver, Toronto, New Orleans, and Mexico City. It was (mostly) recorded by Jesse Gander (who had previously recorded both Post-Nothing and Celebration Rock) at Rain City Recorders in Vancouver, BC (September-November, 2015). One song, True Love And A Free Life Of Free Will, was recorded by Damian Taylor during an exploratory recording session at Golden Ratio in Montreal, QC (February, 2015). 

Like Post-Nothing and Celebration Rock, the album is 8 songs. This is because 8 songs is the standard template for a great rock n roll album: Raw Power by The Stooges, Born To Run by Bruce Springsteen, Marquee Moon by Television, IV by Led Zeppelin, Horses by Patti Smith, Paranoid by Black Sabbath, Remain In Light by Talking Heads, Master Of Puppets by Metallica, etc.

Like Post-Nothing and Celebration Rock, the album was sequenced specifically for the LP. On Near To The Wild Heart Of Life, side A (songs 1-4) and side B (songs 5-7) each follow their own loose narrative. Taken together as one, they form an even looser narrative, with the final song on side B (song 8) acting as an epilogue.

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Back in October we played at Massey Hall. It was surreal to play such a beautiful and historic venue. The people at Massey Hall filmed and recorded the entire show and have put together this mini concert documentary, which shows some of the songs we played that night along with some clips from an interview we did right before the show. It’s a pretty cool document of an unforgettable night.

Band Members:
Brian King & David Prowse

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“My new song is an ode to melody, saxophones, King Curtis and Sam Cooke, unqualified joy, positivity, singing a simple song and being a fool,” says Steve Marion aka Delicate Steve. “It’s about an optimism and about our place within the human pageant.” There’s a little bit of a Ratatat vibe with this one.

This is Steve, Delicate Steve’s first new record in 4 years, and first for the ANTI– imprint, is an articulation of this spirit. Joy. Love. Positivity. Perseverance. Meditation. A general communion with the people and world around him. Easy to call such things hackneyed in this cynical time, but in Steve’s case, it’s very hard to separate the person from the art. It’s real. It’s pure. This, is Steve.

Melody begins with the needle drop on This is Steve, and it’s this hallmark as a songwriter on display in tune after tune that has defined all of Delicate Steve’s work. It’s his incredible capacity to write wordless songs that are impossible not to sing along to. He works in no genre, there are no words, but there is never a question as to what he is saying. Tunes like “Animals,” “Help,” and “Nightlife,” establish their hooks immediately, and drop you with Steve as he runs alongside leopards, scales a Western peak, nurses a boozy Kingston come-down, before clocking out at under three minutes and depositing you somewhere else on a technicolor continuum. Throughout the set, Steve’s guitar melodies rise and crest, unguarded expressions of wonderment and positivity.

Steve produced and played all the instruments on this record. He created it as an introduction from himself to you, and named it appropriately. If there is a question as to who This is Steve’s creator is, you’ll find it imbued in these ten songs. As he has done from the start, Steve lets the music speak for itself. Without a word.

“Some Hope” by Delicate Steve ANTI-Records