Posts Tagged ‘Carpark Records’

See the source image

New Zealand trio The Beths channel their friendship into high-energy guitar pop with a smart lyrical bite. 2018 was their breakout year, beginning with signing to Carpark Records and Dew Process, before releasing the internationally acclaimed debut album “Future Me Hates Me”, which was heralded as one the stand-out music releases of that year. The Beths have toured relentlessly on the back of Future Me Hates Me, getting audiences hooked on their ebullient sound. After selling out shows across Australia, New Zealand, North America, the UK and Europe in 2018, the band are proving to be one of the most in-demand live acts on the planet.

We are really lucky and grateful that the four of us will be able to get together for this one and play as a full band. We’ll once again be announcing something new, playing some songs and having some yarns. It’ll be on Youtube this Mon/Tue, if you need time-zone assistance comment your location and i’ll help.

Artists like The Beths have been greatly impacted by the COVID-19 crisis. Donations can be any amount of your choosing. If you have the means, your support would be much appreciated!.
“Dying To Believe” is taken from The Beths’ forthcoming record, “Jump Rope Gazers”, out July 10, 2020 on Carpark Records.

Artists like The Beths have been greatly impacted by the COVID-19 crisis. Donations can be any amount of your choosing. If you have the means, your support would be much appreciated!
“I’m Not Getting Excited” is taken from The Beths’ forthcoming record, “Jump Rope Gazers”, out July 10, 2020 on Carpark Records.

We hope that if you join us you’ll consider donating to the Marsha P. Johnson Institute, which protects and defends the human rights of Black Transgender people, or to Bail Funds.

Songs Featured in this Show:
3:49 i’m not getting excited
10:13 future me hates me
21:45 river run lvl 1
32:36 out of sight
41:33 if swearing makes you nervous cover your ears or something
42:16 idea/intent

THE BETHS ARE:
Elizabeth Stokes,
Jonathan Pearce,
Benjamin Sinclair,
Tristan Deck,

 

0

It’s been 10 years since the release of “Turning On”, Cloud Nothings’ debut album. Singer-songwriter Dylan Baldi was just 18 years old when he began recording the album, creating each track in his parents’ basement in Cleveland, Ohio. Over one winter, Baldi produced an album of taut, lo-fi guitar-pop songs, playing each instrument himself. His music gained traction in the increasingly popular music blog circuit, allowing Baldi to book his first shows in new places, like New York City. He gathered a band together to play live, and Cloud Nothings were on their way. The band has accomplished a great deal since “Turning On”, signing to Carpark Records, releasing seven albums, and headlining numerous international tours. Yet, their debut isn’t dusted over in the band’s history. “Turning On” still remains the stripped-back core of Cloud Nothings style: raw and grungy, filled with catchy earworms that are surprisingly pop. The album carries all the stored potential of someone ready to venture off into the world, a feeling that bursts with energy even 10 years later.

All the tracks on “Turning On” are eruptive and restless, its lo-fi quality embodying the desperate need to record an idea by any means necessary. Songs like Hey Cool Kid encapsulate Baldi’s talent for churning, hook-filled guitar. The vocals on songs like “Can’t Stay Awake” are distorted, with scattered lyrics that echo the angst of a teenage diary. As a whole, the album delivers dissonance and edge, without sacrificing the authentic romanticism of someone who is on the verge of something big and doesn’t know it yet.

A necessary album to fully understand the world of Cloud Nothings, “Turning On” is a welcome return to the band’s origins before the release of their eighth album, “The Shadow I Remember”.

Uncut’s John Robinson awarded “Turning On” 4 stars saying the music was “tuneful, witty and sounds fantastic”. Spin ‘s Josh Modell wrote that “Baldi has a melodic knack that approaches Guided By Voices at their prime”.

Our fully quarantine-recorded album came out, called “The Black Hole Understands” It’s me on instruments with strings and singing, Jayson on drums. it is poppy and sort of sad. Cloud Nothings released The Black Hole Understands this summer, a remotely assembled album that followed the free-jazz spirals of frontman Dylan Baldi and drummer Jayson Gerycz in the spring. Then, in December, they shared the Bandcamp-exclusive “Life Is Only One Event”. Soon, they’ll deliver the all-new “The Shadow I Remember” which was produced by Steve Albini, who helmed 2012’s classic Attack on Memory

Part of the proceeds from this will be going to play on Philly and the Rainey institute (in Cleveland), two organizations dedicated to helping provide arts education in areas of Philladelphia and Cleveland where its not generally easy to access.

Cloud Nothings dropped a new song “The Spirit Of,” and it’s the latest glimpse of their forthcoming album The Shadow I Remember, out on February 26th via Carpark Records. “The Spirit Of,” the follow-up single to “Am I Something?,” is a fast-paced track propelled by ascendent guitars, and Dylan Baldi’s punk vocals reach a mighty peak by the end. We are also reissuing our debut album “Turning On” – can’t believe it’s been 10 years since it was originally released! 

Another throwback was Baldi’s return to constant song writing à la the early solo days, which led to the nearly 30 demos that became the 11 songs on “The Shadow I Remember”. Instead of sticking to a tried-but-true formula, his song writing stretched out while digging deeper into his melodic talents. “I felt like I was locked in a character,” Baldi says of becoming a reliable supplier of heavy, hook-filled rock songs. “I felt like I was playing a role and not myself. I really didn’t like that role.” More frequent writing led to the freedom in form heard on The Shadow I Remember. What he can’t do alone is get loud and play noisily, which is exactly what happened when the entire band — bassist TJ Duke, guitarist Chris Brown, and drummer Jayson Gerycz—convened.

The band had more fun in the studio than they’ve had in years, playing in their signature, pulverizing way, while also trying new things. The absurdly catchy “Nothing Without You” includes a first for the band: Macie Stewart of Ohmme contributes guest vocals. Elsewhere, celebrated electronic composer Brett Naucke adds subtle synthesizer parts.

The songs are kept trim, mostly around the three-minute mark, while being gleefully overstuffed. Almost every musical part turns into at least two parts, with guitar and drums opening up and the bass switching gears. “That’s the goal — I want the three-minute song to be an epic,” Baldi says. “That’s the short version of the longass jam.”

Lyrically, Baldi delivers an aching exploration of tortured existence, punishing self-doubt, and the familiar pangs of oppressive mystery. “Am I Something” Baldi screams on the song of the same name. “Does anybody living out there really need me?”, It’s a heart breaking admission of existential confusion, delivered hoarsely, with an instantly relatable melody. “Is this the end/ of the life I’ve known?” he asks on lead single and album opener “Oslo.” “Am I older now/ or am I just another age?” Despite the questioning lyrics, the band plays with more assurance and joy than ever before. The Shadow I Remember announces Cloud Nothings’ second decade and it sounds like a new beginning.

The Shadow I Remember is the hugely triumphant return of Cloud Nothings. It’s pretty raw, but singer-songwriter Dylan Baldi’s ability to write a banger has arguably never been as clear. Melodic whilst still full of grit.

“The Spirit Of” is taken from Cloud Nothings’ forthcoming album “The Shadow I Remember”, out February 26th, 2021.

“Does anybody living out there really need me?” is what Cloud Nothings wonder on their new single, “Am I Something,” from their forthcoming album “The Shadow I Remember”. It shows that, even though the ten-year anniversary is approaching for their debut album, not much has changed about the bands’ insecurities and contemplations. “I became familiar with Lu Yang’s work through her exhibit in Cleveland, Ohio at MOCA Cleveland in 2017,” vocalist/guitarist Dylan Baldi noted about the music video in a press release. “I was really drawn to her approach of tying religion into gender and various gendered bodily functions.

The animation style of some of her work is also exactly on my wavelength—like a psychedelic genderless Sims game. Very excited to be able to work with Lu!”

On January 29th, we are reissuing our debut album, The band can’t believe it’s been 10 years since it was originally released! reissuing Turning On for its anniversary. The Shadow I Remember arrives February 26th via Carpark Records. Listen to “Am I Something”. 

Image may contain: 1 person, grass, child, stripes, outdoor and nature

Last week, Oakland, C.A singer songwriter Madeline Kenney released her third LP, “Sucker’s Lunch”, which reinforced the twangy dream pop sound she’d been working toward on her first two full-lengths. Her capacity for piling on layers of muted instrumentation to match her hushed vocals arguably hits its peak on the mid-album “Tell You Everything,” a climatic moment of vulnerability on the lovelorn LP.

It’s this track that Kenney chose to play for us on her acoustic guitar in Oakland’s Joaquin Miller Park for “Neighborhoods,” strumming and singing over programmed drums and woodwind-like synths. Watch the performance below, and grab a listen to Sucker’s Lunch  (or, if you purchase it on Bandcamp today, 100 percent of proceeds will go to the artist and Carpark Records—additionally, proceeds from her merch will benefit a BIPOC doula training fund and Beirut relief orgs).

Madeline Kenney performs a track from her new album, “Sucker’s Lunch,” at Joaquin Miller park in Oakland, CA.

Image may contain: text

Sonic Boom, better known as Peter Kember, has always followed an unconventional musical path, whether under the Spectrum banner, his expeditions with Experimental Audio Research (a fluctuating soundscape project that has included Kevin Shields, Delia Derbyshire and AMM’s Eddie Prévost, among others), his recordings as Sonic Boom, and collaborations with acts including Stereolab, Yo La Tengo and Dean & Britta, or his work as a producer (MGMT, TEEN, Beach House). But on the recording side, the Ex-Spacemen 3 co-founder has been uncharacteristically quiet over the past ten years, aside from a Sonic Boom collaborative EP with Canadian shoegaze duo No Joy a couple years’ back, and a 16-minute track by E.A.R. in 2014, “All Things Being Equal.”

That changes June 5th when Carpark Records issues an album titled All Things Being Equal, not by E.A.R. but instead Kember’s first full album as Sonic Boom since his debut in 1990 (which was itself titled Spectrum, adding to the mixed-up confusion).

The new album first began taking shape in 2015 as instrumental electronic jams and sketches that Stereolab’s Tim Gane encouraged Kember to release as-is. “I nearly did,” says Kember, “but the vibe in them was so strong that I couldn’t resist trying to ice the cake.” Three years later, after moving to Portugal, he added vocals inspired, he says, by Sam Cooke, the Sandpipers and the Everly Brothers, as well as spoken word segments and guest singers Panda Bear and Britta Phillips, with whom he’s worked in the past.

“I learn from everyone I work with, and I wanted to bring what I learnt into this record,” Kember explains. “Everybody thinks about and listens to music in different ways.”  Thus far, a pair of trippy advance tastes from All Things Being Equal have been released: “Just Imagine” and “The Way That You Live.”

It’s auspicious that Sonic Boom—the solo project and nom-de-producer of Peter Kember (Spectrum, Spacemen 3)—returns in 2020 with its first new LP in three decades. Kember’s drawn to the year’s numerological potency, and this intentionality shines into every corner of All Things Being Equal. It’s a meditative, mathematical record concerned with the interconnectedness of memory, space, consumerism, consciousness—everything. Through regenerative stories told backwards and forwards, Kember explores dichotomies zen and fearsome, reverential of his analogue toolkit and protective of the plants and trees that support our lives.

His new home Sintra’s parks and gardens provided a different visual context for Kember’s thoughtful observations, and he thematically incorporated sunshine and nature as well as global protests into the ten resulting tracks. “Music made in sterility sounds sterile,” he says, “And that is my idea of hell.”

Over the vivid, calculating arps of opener Just Imagine, Kember nudges listeners to do as the title suggests. It’s based on a story he read about a boy who healed his cancer by picturing himself as a storm cloud, raining out his illness. The Way That You Live, a rollicking drone powered by drum machine rattles and bright chord beds, morphs political distrust into a revolutionary mantra about ethical living. “I try and live my life by voting every day with what I do and how I do it, who I do it with and the love that I can give them along the way,” offers Kember.

It’s rare to see liner notes where synthesizers rather than humans are credited (other than guest vocal stints from “co-conspirators” Panda Bear and Britta Phillips), but Kember is masterful at finding the unique personality in his machines. “I tried to find the deepest essence of the instruments and let them play,” he offers. What emerges from these considerations on technology and humanity is a honed collection both philosophical and grooving, spacious even as it fills to its brim. It’s distinctly Kember—more than that, it’s distinctly Sonic Boom.

Image may contain: text

Sonic Boom  are Experimental, psychedelic pop rockers . was formed by Pete ‘Sonic Boom’ Kember, founder of Spacemen 3.

Sonic Boom’s music is often a headtrip but the video for “Things Like This (A Little Bit Deeper)” from his forthcoming All Things Being Equal is literally one, a nesting doll journey that heads deeper and deeper inside a bust, each time exploring unknown territory, blowing new minds. A fantastic, mind bending music video for Sonic Boom is out today! The official music video for Sonic Boom’s latest single ‘Things Like This (A Little Bit Deeper)’ is a must see – animated and directed by James Siewart.

“Things Like This (A Little Bit Deeper)” is taken from Sonic Boom’s forthcoming record, ‘All Things Being Equal,’ out June 5th, 2020 on Carpark Records.

UK/EU TOUR DATES:
September 12, 2020 – Yes – Manchester, UK
September 13, 2020 – Dingwalls – London, UK
September 14, 2020  – The Green Door Store – Brighton, UK
September 17, 2020 – Le Petit Bain – Paris, FR

Image may contain: text

The Beths are an Auckland quartet who pen stylish guitar pop with a keen lyrical bite. All four members studied jazz at University giving them the technical proficiency to contort simple pop structures and perfect, lush vocal harmonies. Check out a super rad performance by the Beths “Live at Lincoln Hall”. Recorded on March 6th, 2019 in Chicago, IL.

Tracklist:
1. Whatever
2. Happy Unhappy
3. Little Death

Band Members
Elizabeth Stokes – Vocals and Guitar
Jonathan Pearce – Guitar and Vocals
Benjamin Sinclair – Bass and Vocals
Ivan Luketina-Johnston – Drums and Vocals

Image may contain: 4 people, people sitting

Cloud Nothings is a ferocious, melodious alternative rock band signed to Carpark Records. The aggressive quartet have been releasing stellar post-punk influenced offerings for a decade yet continue to push the boundaries of their immense guitar-focused sound. Watch this fresh performance by Cloud Nothings live at Brooklyn Boulders Climbing Gym in Chicago, IL. Far Out is an Audiotree series

Elizabeth Stokes named her band after herself, or, rather, her nickname. So it should come as no surprise, then, that the debut album from New Zealand-based rockers The Beths, Future Me Hates Me, is sharply self-aware. Stokes, a music teacher who quit her day job to tour the world with The Beths, pairs clever, refreshingly straightforward lyrics with uber-catchy guitar pop, and she never stutters in delivering even the most blunt assessments of her doubts, fears and anxieties. “Sometimes I think I’m doing fine / I think I’m pretty smart,” she sings on the album’s title track before, later, completing the thought: “Oh then the walls become thin / And somebody gets in / I’m defenseless.” On dizzying love song “Little Death,” she captures and tames all the butterflies swarming around in her stomach: “And the red spreads to my cheeks / You make me feel three glasses in.”

The Beths sound as if they’re already three albums in, playing with the musical and lyrical finesse of a much older and more experienced band. Every single song on this record arrives with as many contagious hooks and honest confessions as on the sparkly, frank “Little Death” and the toe-tap-inducing examination of overthinking “Future Me Hates Me.” Indie rock is alive and well in Oceania—The Beths, like their Australian neighbors Rolling Blackouts Coastal Fever, hit it out of the park in crafting one of the sturdiest rock debuts of the year.

“Little Death” is taken from The Beths‘ album, “Future Me Hates Me,” out now on Carpark Records.

A delightful pop collection full of power chords and sing-alongs about the confusion, angst, and pain as we fall in and out of love. Hard not to smile, even while you’re crying. The Beths have a way of giving luminescence and pep to even the most harrowing aspects of love and human relation; bright, bespoke chord progressions and glittering harmonies as the backdrop to self-destruction, the grief of loss, and the pain that can come with finding yourself with a crush. “Broke every window pane/so I can feel the cold rain/when I lie in bed catching death, trying to wash it all away…”

http://