Posts Tagged ‘Anti Records’

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Neko Case  is releasing her first solo album since her 2013 record The Worse Things Get, the Harder I Fight, the Harder I Fight, the More I Love You. Her new album is titled, “Hell-On”, due out on June 1st, it is a 12-song, self-produced LP. Case has given listeners a taste of the new record with tracks “Bad Luck” and “Hell-On,” and now with “Curse Of The I-5 Corridor,” Case has left a final bread crumb before the release of the full-length.

The seven-minute song winds like the long interstate it references: I-5 runs along the West Coast of the U.S., from the Mexican to Canadian border. A duet with Mark Lanegan, who is known for his solo work in addition to collaborations and his work with Queens of the Stone Age, “Curse Of The I-5 Corridor” is a haunting combination of lyrics and sound. The song reflects on the past, and uncovers an unsureness of the future and what it could have brought. Lines like “in the current of your life I was an eyelash in the shipping lanes” and “I fear I smell extinction in the folds of this novocaine age coming on” reveal these aspects. Lanegan’s voice at times becomes an eerie echo to Case’s, lurking in the background, and adds to the tension the song’s instrumental breaks carry.

“Curse of the I-5 Corridor” by Neko Case from the album ‘Hell-On’ available June 1st Anti Records.

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Using guitars, vocals and sparse electronic elements, Prism Tats pulls from various visual and musical inspirations to create waking dream sub-realities that devastate and elate. Prism Tats is the musical moniker of Garett van der Spek, who’s originally from South Africa but now based in LA. He released his self-titled debut album in 2016, followed by last year’s 11:11 EP, and he’s notably opened shows for such indie vets as Guided by Voices and Nada Surf. He’s now set to release a new full-length, Mamba, on March 2 via ANTI-Records, which was produced by Chris Woodhouse, who’s worked with Thee Oh Sees, Ty Segall, The Intelligence, and others.

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Like the other bands Woodhouse works with, Prism Tats channels classic garage rock with a knack for pop hooks and a bit of psychedelia. You can hear that for yourself on Mamba‘s lead single “Daggers,”

The new album ‘Mamba’ comes out 03.02.18 via ANTI- Records.

Five years after reuniting to play live, The Dream Syndicate plans to release its first new album in 29 years, a collection that bandleader Steve Wynn has revealed will feature a guest vocal by founding bassist Kendra Smith  who has sat out the ongoing reunion, but agreed to appear on a song Wynn calls “the perfect coda to the record.”

Wynn announced on his website late last summer that he’d completed work on The Dream Syndicate’s fifth album, the very belated follow-up to 1988’s Ghost Stories. He wrote, “It’s mind-blowingly good and we can’t wait to get it out there,” and said he was looking for the right label to put it out.

The album’s title has not yet been announced, nor a release date confirmed. But Wynn has prepared a new band bio for booking agency Billions that discusses the album recorded by the current lineup of Wynn, original drummer Dennis Duck, bassist Mark Walton (who joined after 1984’s Medicine Show) and guitarist Jason Victor, who plays in Wynn’s band, The Miracle 3.

“Oh, and there was one last surprise, one more perfect link to our past and completing of the circle. One of the more intriguing of the songs we recorded was a hypnotic trance and mantra called ‘Recurring.’ I had a pretty decent lyric and sang a good vocal, but somehow it just didn’t work. The song and the riff were cool, the band’s recording was evocative and beautiful. But I began to realize I wasn’t the right singer for the song. And I knew immediately that the perfect singer would be the only other person to sing lead on a Dream Syndicate song, our original bass player Kendra Smith. I was amazed and delighted that my old friend and band mate agreed to do it and then wrote some astounding lyrics and sang a vocal that at once as true to the spirit of the song and also turned the whole thing upside down. The song, now called ‘Kendra’s Dream,’ is the perfect coda to the record, tying up loose ends from the past and then opening them up again to the future.”

fyffest: “JUST ANNOUNCED: Girlpool will be playing their album release show for the upcoming record “Before the World Was Big” at the Center for the Arts, Eagle Rock on Monday, June 1st. All attendees will receive a special mixtape created by Harmony...

Girlpool have released a video for ‘Powerplant’, the title track from the long-awaited follow-up to the band’s debut album. Relatable songs about growing up as a regular gal and learning to be confident while simultaneously figuring yourself out.

Video director, Philip Steiger says “the music video is a meta-narrative nightmare exploring the power dynamics and manipulation behind an insincere candidness.”

Powerplant is available for pre-order now and out via ANTI- Records on May 12th.

It’s fair to worry that the raw quality of Cleo Tucker and Harmony Tividad’s voices might get muddled with the addition of drums to Girlpool’s signature guitar-only sound. A full band isn’t necessarily the key to a great record, but in the case of the duo’s sophomore release Powerplant, a full band allows Girlpool to reach higher, deeper — even rawer — potential. Their eager and observational lyrics once again come alive with harmonies that stab you in the gut. With Girlpool you can be silly and serious at the same time. You can use jokes and poetic one-liners to express disenchantment and frustration with your surroundings. As time goes on and Tividad and Tucker enter their early 20s, they’ve become even more in-sync than before,

The band has also announced a full European tour in September .

Listen to the full album “Powerplant” by Girlpool available now

Girlpool Debuts “123,” Their New Album’s Totally Gorgeous Opener

The new Girlpool song, “123,” starts like a lot of other Girlpool songs. Its quietly strumming opening guitar melody reminds me a bit of “Chinatown,” one of Harmony Tividad and Cleo Tucker’s best-loved tracks. But then, at around 50 seconds, the drums kick in. It’s our first taste of the full-band sound heard all over Girlpool’s ridiculously good new album, “Powerplant”. And it’s a beautiful moment.
“123” first turned up as a whispery demo on Cleo’s most recent straight-to-bandcamp solo EP. That version is arresting, but this one hits like a bag of bricks; it’s proof of the specific magic that happens when their voices come together. “One two three, will you list it off to me?/ How you’re sorry you feel weird in a jubilation dream,” they sing in the song’s euphoric final stretch.
The music video, directed by Nick Rattigan, is debuting above too. Harmony and Cleo both appear in the weirdly lovable clip, which, according to an email from the band, explores “a relationship that simultaneously exists as toxic and loving.” It was filmed by Stumble On Tapes, the entity responsible for an iconic early live video of the duo.
After some deliberation, Harmony and Cleo have decided to release Powerplant on Anti-Records, the indie label that’s put out albums by Cass McCombs, Neko Case, Deafheaven, and Elliott Smith. It comes out May 12th,

“123” by Girlpool from the album ‘Powerplant,’ available May 12th

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Singer Songwriter and multi-instrumentalist, and member of Australian band Tame Impala will release his debut solo album ‘Ripe Dreams, Pipe Dreams’ on March 10th.

“I always had a piano growing up and always wanted a grand,” Perth-based singer-songwriter and multi-instrumentalist Cameron Avery told us when we asked him about his favorite piece of gear. “I bought it off a friend of mine. It’s a 71′ Kawai KG-5 Conservatorium Grand piano. It’s so played and has such a resonant bottom end. It’s the last year they made them with ivory I’m pretty sure.”
“It’s just fun having such a beautiful instrument to write on. You don’t have to turn it on or plug anything in, just flop outa bed and play it. It’s literally the only piece of furniture I have other than my bed in my loft. It’s definitely opened up a whole different side of my writing, I can sit at it for hours. My neighbors don’t love it though.” Pretty sure we wouldn’t mind it if Avery was our neighbor.

There may be a touch of familiarity in Avery’s music, as he is the longtime drummer of Pond and touring bassist for Tame Impala . In one of his latest videos, “A Day in the Life” (above), we see him recording drums in the studio and talking about his spot in Tame Impala. “Everyone knows their place. I think that’s important in a good band…that everyone knows their role.”
We’re slowly learning that Avery is much more than a bassist and drummer, but also a singer/songwriter and overall very versatile artist. His debut solo record Ripe Dreams, Pipe Dreams, is out March 10th via Anti- Records.

We named Los Angeles Police Department as a band to watch based on the strength of their debut album released in 2014 , and they followed that up with a string of singles over the last year, including Insecurity,” “Water And Wine,” andHard.” Today, Ryan Pollie has announced that LAPD has signed to Anti- Records for a full-length coming later this year, and has since shared a new single called “The Plane 2.” It’s the most lush and ambitious thing that Pollie’s put out under the name yet, a gleaming declaration of devotion that crackles past the four minute mark before cutting out abruptly for a warm piano outro.

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SoCal songwriter Ryan Pollie expertly weaves bedroom pop under the moniker Los Angeles Police Department. and is now gearing up to unveil his follow-up LP later this year.

Pollie’s first for label ANTI- (Japandroids, Neko Case), the record is being teased today with a new single called “The Plane 2”. A press release writes that it’s a love song “deeply adventurous in arrangement,” an apt description considering the loops and layers of twinkling xylophone, dusty percussion, and elastic synths.

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“The Plane 2″ is out now. A full-length is due out later this year

Let Peter Silberman's "Ahimsa" Calm Your Afternoon

The Antlers frontman Peter Silberman’s forthcoming solo debut “Impermanence” promises to be great self-care music—a previously released single “New York” dealt with Silberman’s sensory overload, while the track “Ahimsa” touches on emotional overload. Behind an ambient guitar , Silberman echoes the mantra, “No violence today.” Silberman explains the song’s meaning and value in a statement, saying:

Ahimsa usually translates from Sanskrit as “non-harming”, which I take to mean practicing a non-violent attitude toward others and myself. I wrote the song as a personal encouragement to cultivate that awareness whenever possible, to be less knee-jerk reactive, to snap to fewer judgments, and above all, to be patient. I need this reminder often. “Ahimsa” is also my ridiculous wish: for a unanimous period of calm and safety, for one whole day of peace. I mostly think this is an impossible goal.

But I hold on to some small hope that it can be reached by an incredibly long road,walked with microscopic steps, by creating harmonious moments and stringing them together, one-by-one, over the course of many lifetimes.

Impermanence will be released by Anti Records on February. 24th. Listen to “Ahimsa” below,also check out Silberman’s upcoming tour dates.

“New York” by Peter Silberman from the forthcoming album Impermanence .

Peter Silberman is an ambient indie rocker from Brooklyn. You probably know him as the front man of Brooklyn band The Antlers . The Antlers was a full band, but the first two records (2006’s Uprooted and 2007’s In The Attic of the Universe) were just solo projects for Silberman. But it was the 2009 album Hospice that received universal critical acclaim, I heard Hospice in January of 2010, and I immediately fell in love with his vocal and saw the band at the Live at Leeds Festival the following year. I’ve liked everything else by The Antlers, but Hospice remains a favourite of theirs.

I was surprised to see that Peter Silberman had a solo record coming out. I had high expectations, and the two songs that I’ve heard from the six-song album have exceeded my expectations so far to date.

The softly played guitar bit plays gently off Silberman’s falsetto, and the “horns” and other stuff join in nicely. It’s all very quiet, and that’s on purpose. He says that the whole album is about the ever-changing face of the city he calls home. More importantly, though, it’s about the changes he’s going through. He had to stop playing music for a while after he suffered significant hearing impairment in his left ear and chronic tinnitus. He says that even the sound of his own voice reverberating in his head was painful.

It’s a stunning song on what promises to be a fantastic album.

There’s a video for the song, which features a bunch of “found” archival footage of people in New York.

Impermanence will be released on February 24 via ANTI- Records.

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Tame Impala’s Cameron Avery Is Dropping His Debut Solo Album

The talented multi-instrumentalist and Tame Impala man Cameron Avery has had a big couple of days. Not only have we learnt that he’ll be performing at the SXSW festival in Austin Texas to rep Australian bands on the world stage, but today he’s also dropped the announcement of his debut solo album on us complete with a cheeky taster.

Brand new single ‘Wasted On Fidelity’ is the second single released so far from the forthcoming record, a beautiful contemplative number laden with gorgeous strings arrangement that bodes very well for the rest of his forthcoming album “Ripe Dreams, Pipe Dreams”.

“I just started saying ‘yes’ to things while making the album,” Cameron says, delving into the more and less evident themes on the record. “I figured: I’m in my mid ’20s, I play in a band, I live in Los Angeles—I’m ripe to dream. But the pipe dream, the underlying theme of the album, if you really listen, is that all I really want is to have someone in my life and to be in love.” ahh so nice.

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“Wasted On Fidelity” by Cameron Avery from the album ‘Ripe Dreams, Pipe Dreams,’ available March 10th