Beach House will release 7, the group’s 7th full-length record, on 11th May 2018 via Bella Union Records in Europe and Sub Pop in the US. 7 features their latest offering, ‘Dive‘. All of the songs on 7 began in Beach House’s home studio in Baltimore, and were finished at Carriage House in Stamford, CT and Palmetto Studio in Los Angeles. The album was mixed by Alan Moulder.
Beach House (Alex Scally & Victoria Legrand) released B-sides and Rarities in 2017. Scally and Legrand used to limit themselves to what they thought they could perform live, but this time that limitation was ignored. Also, instead of one long studio session, Beach House recorded when inspired by batches of songs, which resulted in five mini-sessions over the course of eleven months.
Unlike the last four albums, 7 didn’t have a producer in the traditional sense. Spacemen 3’s Sonic Boom (Peter Kember) became a significant force on this record by shedding conventions and helping to keep the songs alive, fresh, and protected from the destructive elements of recording studio overproduction and over-perfection. The band’s trusted live drummer from 2016 to the present, James Barone, played on the entire record, helping to keep rhythm at the centre of a lot of these songs.
Beach House has also scheduled a worldwide tour in support of 7 beginning April 30th ending in October 20th in Dublin, IE at Vicar Street. The tour reaches the UK for the 2 dates so far in London and Manchester shows this Autumn:
Thursday 18th October – LONDON – Troxy , Friday 19th October – MANCHESTER – Albert Hall
Beach House have shared a brand new song, ‘Lemon Glow.’
The track will appear on their forthcoming new album which is set to land laters this spring: “Wishing everyone out there love tonight,” they wrote on Instagram while announcing the news. Jam-packed with synths, Lemon Glow is a glimpse into what to expect from their new album which will be their seventh studio full-length and the follower to the 2015 double-release of ‘Depression Cherry’ and ‘Thank Your Lucky Stars’.
Last year, they released a collection of unreleased music called B-Sides and Rarities.
With his new album Transangelic Exodus due for release 9th February via Bella Union, Ezra Furman has shared a live performance video of the track “Driving Down To L.A”. Filmed at SPACE in Evanston, Illinois, over the course of a day, Furman and his band The Visions performed three songs from the new album live for the first time, an exclusive for an attentive audience. The band had been building and creating a special stage design to set the world of Transangelic Exodus.
Transangelic Exodusis a new landmark for the American singer-songwriter: “Not a concept record, but almost a novel, or a cluster of stories on a theme, a combination of fiction and a half-true memoir,” according to its author. “A personal companion for a paranoid road trip. A queer outlaw saga.”
The music is as much of an intense, dramatic event, full of brilliant hooks, with an equally evolved approach to recorded sound to match Furman’s narrative vision. In honour of this shift, his backing band has been newly christened: The Boy-Friends are dead, long live The Visions. In other words, the man who embodies the title of his last album ‘Perpetual Motion People’ is still on the move… Or, in the vernacular of the new album, on the run.
Bella Union Records are celebrating the release of Ezra Furman’s beautiful, pioneering, thrilling, tremendous new album “Transangelic Exodus”, which is available now via Bella Union! Transangelic Exodusis a new landmark for the American singer-songwriter: “Not a concept record, but almost a novel, or a cluster of stories on a theme, a combination of fiction and a half-true memoir,” according to its author. “A personal companion for a paranoid road trip. A queer outlaw saga.”
After five years since the release of “Transangelic Exodus”. This record means so much to me & I can never fully explain it.
One thing I can say: so much hard work and soul went into it. Five people made this record and we gave our lives to it for months and months. My four bandmates were all operating at maximal creativity & dedication, willing to explore possibilities with me, to try new things, to rip it up & start again. None of it could have been done if I was a “solo artist,” as some call me. This was a collaborative work, and I am so grateful to my collaborators: Tim, Sam, Jorgen & Ben. It really became a musical rebirth for me, first as a songwriter & then as a musician in general.
It was also a crucial ingredient of an ongoing queer awakening, a spiritual awakening, a social/political awakening—America was in scary upheaval in 2017, & so was my own life and spirit. These tracks reflect that—fear, rage, joy, despair, adventure, a fierce inner peace in direct contradiction to the violence that churns all around it.
“Transangelic Exodus” is in the running for my favourite thing I have ever made. It is probably the hardest I have ever worked on any piece of art.
The reward for our efforts was the album’s reception: not by blogs or critics and certainly not by the pop charts, but by the individual people who opened their hearts to this record. I know it’s a weird record and I never expected most people to understand it. But those who got it, really really got it. Travelling around playing this music, I met these wonderful people who brought me so much happiness. You used the album as it was intended to be used: as shelter for the mind, as tinder for a parking lot fire of the heart. Some of you were runaways of one sort or another, some of you outlaws on paper or in spirit, & so many were young queers working your asses off to totally change your lives. As was I. We did it, & we’re still doing it. Thank you.
Blessings to all Ezra
Transangelic Exodus Ezra Furman’s second album for Bella Union, is a new landmark its “not a concept record, but almost a novel, or a cluster of stories on a theme, a combination of fiction and a half-true memoir,” according to its author. “A personal companion for a paranoid road trip. ” The music is as much of an intense, dramatic event, full of brilliant hooks, with an equally evolved approach to recorded sound to match Furman’s narrative vision. In honour of this shift, his backing band has been newly christened: The Boy-Friends are dead, long live The Visions. In other words, the man who embodies the title of his last album Perpetual Motion People is still on the move… Or in the vernacular of the new album, on the run. His musical DNA remains intact – a thrilling, literate form of garage-punk rooted in The Velvet Underground, Jonathan Richman and ‘50s rock’n’roll. Standout tracks include the album’s lead single Driving Down To LA, a sparse, but explosive, mix of doo-wop and digital crunch.
Another is the haunting Compulsive Liar. Transangelic Exodus addresses another kind of coming out, as Furman addresses his Jewish faith on record much more openly than before, from the shivery ballad God Lifts Up the Lowly (which includes a verse in Hebrew) to the exquisite Psalm 151 and the line “I believe in God but I don’t believe we’re getting out of this one” in Come Here Get Away From Me, a heady blend of rock’n’roll rumble and ghostly clarinet. Crossing between love, gender, sexuality and religion, and singing in solidarity with the innocent, persecuted, oppressed and threatened, Ezra Furman has soundtracked the current fear and loathing across America like no other, while pushing ahead with his own agenda, always on the move.
“2016 was a hard year,” Furman notes in a statement. “While the political and cultural conversation devolved in a very threatening way, we travelled and toured a lot. We saw ourselves coming to the end of what we were, and we wanted to become something new.”
This sea change included an album full of memoir-like material, in which Furman opens up more about his personal journey of coming out as queer and gender-fluid, as well as addresses his Jewish faith. “Not a concept record, but almost a novel, or a cluster of stories on a theme, a combination of fiction and a half-true memoir,” explains Furman. “A personal companion for a paranoid road trip. A queer outlaw saga.” Speaking about the concept behind the record, Furman continues,
“The narrative thread is I’m in love with an angel, and a government is after us, and we have to leave home because angels are illegal, as is harbouring angels. The term ‘transangelic’ refers to the fact people become angels because they grow wings. They have an operation, and they’re transformed. And it causes panic because some people think it’s contagious, or it should just be outlawed. The album still works without the back story, though. What’s essential is the mood — paranoid, authoritarian, the way certain people are stigmatized. It’s a theme in American life right now, and other so-called democracies.”
Furman cites Kendrick Lamar’s To Pimp a Butterfly, Vampire Weekend’s Modern Vampires of the City, Kanye West’s Yeezus, and Angel Olsen’s Burn Your Fire For No Witness as influences on Transangelic Exodus.
acclaim for “Transangelic Exodus”
“Thelma & Louise meets Angels In America… Pop has plenty of angels, and Transangelic Exodus joins them in the firmament.” Mail On Sunday – 5 Stars ***** (Album of the Week) “This is one of the most probing and pioneering avant–retro–pop albums of the age.” Classic Rock – 8/10
“By way of glam, garage rock, baroque’n’roll balladry and declamation, Furman fashions a bold and engrossing manifesto.” Sunday Times
“Both sonically and lyrically, it’s an album that is explicitly, thrillingly transgressive, and is already an early contender for one of the albums of the year.” Uncut – 8/10
“His seventh album vibrates with fear, rage and fierce defiance… Transangelic Exodus feels like an appropriately angry response to a repressive political moment.” MOJO – 4 Stars ****
“Furman’s music has been rethought, cut up, redrafted into something irresistibly modern. The songs are tremendous – melodic, unsettling and laugh–out–loud brilliant.” Q – 4 Stars ****
“Transangelic Exodus sets out for fresh horizons with a full tank of passion, purpose, political rage, raucous invention and rock’n’roll fire.” Record Collector – 5 Stars ****
“A sense of defiance and unrest runs throughout Transangelic Exodus… Timely and uncompromising, it feels like a record of real importance.” DIY – 4 Stars ****
“This is a fascinating, mature set from an artist who feels as vital as ever.” DORK – 4 Stars ****
We loved Suck The Blood From My Wound, the last single Ezra Furman shared from his much anticipated new long player Transangelic Exodus, which will be released on the 9th February on Bella Union Records.
Now we have his latest offering from the record, the jagged, agitated, and it must be said, spectacularly named “Maraschino-Red Dress $8.99 at Goodwill”.
Ultimate Painting, the duo of Jack Cooper and James Hoare, are back with their fourth album (and first for Bella Union). After cranking out albums at a pace of one a year over three years, the boys decided to take a break. That led to some second-guessing, scrapped sessions and overall confusion on where to take this project next. Up! is where they wound up. Here’s some info on the lead track.
First single “Not Gonna Burn Myself Anymore” reflects that. Cooper says, “I wrote it in one go and disregarded it as I thought it’d come too easy or that it was too much like something I’d obviously write. Over the next few days I kept singing it to myself. Sometimes the best songs are completely spontaneous and pure. I wrote the words to reflect that… not everything worthwhile has to be hard work.”
Taken from the new Ultimate Painting album “Up!” due for release 6th April via Bella Union Records
Psychic Markers are a quartet consisting of Alannah Ashworth, Lewis Baker, Steven Dove, Leon Dufficy and Luke Jarvis – will make their debut on the Bella Union label early next year with the release of new album Hardly Strangers.
Premiering is the album’s title track which marries motorik influences from key proponents of Krautrock with the indie-pop of acts like Stereolab. The release of Hardly Strangers follows on from 2014’s Scrapbook No. 1, which marked the group’s debut full-length outing. The new album was crafted over the course of a week spent holed up in Devon writing and recording.
“It’s more of an unwritten understanding between ourselves,” the band’s Steven Dove says, expanding of their songwriting process. “If something doesn’t feel right for the band, we lose it.”
Creep Show brings together John Grant with the dark analogue electro of Wrangler (Stephen Mallinder / PhilWinter / Benge) to create the debut album Mr Dynamite packed with experimental pop and surreal funk.
John Grant hooks up with a few friends on new project titled Creep Show.
The four piece features two producers and two singers, with John Grant and former Cabaret Voltaire frontman Stephen Mallinder sharing the microphone. other members Phil Winter and Benge battle the machines, with Creep Show releasing their debut album ‘Mr Dynamite’ on March 16th through Bella Union Records.
John Grant comments: “I do like theatre of the absurd and some of it is that, but most of it is just having fun. We did a lot of laughing and just had a blast doing it.”
debut track ‘Pink Squirrel’ is available now, with the woozy analogue synths sitting against an incredibly infectious melody.
Jonathan Wilson is the goods. He’s a phenomenal guitar player, singer, producer and rumor has it; the man makes a top-notch guacomole as well. “Rare Birds” will be the follow up to one of my favorite albums of 2013, Fanfare.Father John Misty, Lucius, Laraaji and Lana Del Rey all chipped in to help on this new album. Here’s a little more on the album and the lead track.
Although much of the album is comprised lyrically of meditations on a failed relationship and its aftermath, Wilson insists that Rare Birds is not really a concept album. “It’s meant more as a healing affair, a rejuvenation, a reconciliation, for others, and for me. I wanted to balance personal narrative with the need I feel for calming, healing music. I think we need journeys in sound, psychedelic gossamer-winged music, to incite hope, positivity, longing, reckless abandon and regret. It’s all in there.”
And, for this one, music critics will need to retire the comparisons to heritage rockers and Laurel Canyon troubadours as they’re hardly useful anymore. Wilson’s new sound takes a synthetic/acoustic, best-of-both-worlds analog/digital hybrid approach to achieve the complexity, sonic density and glossy hi-fi coating of Rare Birds. Heard for the first time on a Jonathan Wilson album are the sounds of synthesizers and drum machines.
Ezra Furman will return with new album ‘Transangelic Exodus’ on 9th February 2018.
Transangelic Exodusis a new landmark for the American singer-songwriter: “Not a concept record, but almost a novel, or a cluster of stories on a theme, a combination of fiction and a half-true memoir,” according to its author. “A personal companion for a paranoid road trip. A queer outlaw saga.”
Furman, who’s queer and gender-fluid, speaks from experience. “What’s essential is the mood—paranoid, authoritarian, the way certain people are stigmatised. It’s a theme in American life right now, and other so-called democracies,” he continued. The inclusion of the word “trans” in the album’s title was similarly deliberate.
Furman also said he wanted to make the new record feel “more original,” a process that involved multiple demo versions and rearrangements. He’s renamed his backing band for the occasion: formerly known as the Harpoons and then as the Boy-Friends, they’re now called the Visions. Truthfully, none of this information is required to enjoy “Love You So Bad”—it’s just a good song by Ezra Furman.
The Fat Angel Sings 