Posts Tagged ‘Cults’

A5c4deb2 d5a8 4811 b9ba 7015971c0b04

Cults’ utterly mesmerizing new album, “Host”, was written more collaboratively than ever before and recorded primarily with live instruments for the first time. The collection marks the start of a bold new chapter for the band, one fuelled by an ever-deepening trust and a boundless appetite for growth and experimentation. The songs here are deceptively charming, with lush, airy arrangements that belie their dark, weighty lyrics, and the production is rich and multifaceted to match, blending retro and futuristic palettes into a spellbinding swirl of high-def indie rock and lo-fi bedroom pop. As its title suggests, Host is an exploration of the sinister dynamics at play in a parasitic relationship, but rather than dwell in the discomfort, the record charts a cathartic journey towards freedom and self-reliance, revelling in the power that comes from standing your ground and declaring independence in the face of exploitation and manipulation.

Cults have embarked on a radical reimagining, both of the band’s sound and its dynamic, and the result is the NYC indie duo’s utterly mesmerizing fourth album, Host. Written more collaboratively than ever before and recorded primarily with live instruments for the first time, the collection marks the start of a bold new chapter for the band. The songs here are deceptively charming, with lush, airy arrangements that belie their dark, weighty lyrics. The production is rich and multifaceted to match, blending retro and futuristic palettes into a spellbinding swirl of high-def indie rock and lo-fi bedroom pop. As its title suggests, “Host” is an exploration of the sinister dynamics at play in a parasitic relationship, but rather than dwell in the discomfort, the record charts a cathartic journey towards freedom and self-reliance,

New York duo Cults struggled to piece together their fourth album. After all of the music was recorded, something wasn’t working and the two artists weren’t happy with it. “It just didn’t feel like an album yet,” says singer Madeline Follin. It wasn’t until she—for the first time—brought her own songs to the table that the album started to become more like what they’d envisioned.

The title Host is partly inspired by this newfound collaborative effort, while also playing with ideas of power dynamics and independence. Multi-instrumentalist/singer Brian Oblivion said of Follin’s contributions: “The music just floored us, and suddenly everything started to click.” the duo broke down every track on Host, explaining themes of exploitation, addiction, relationships, and more.

1. “Trials”

Focuses on the power that addictions and harmful ideologies have to transform. The chorus walks a tight rope between a metaphor for gaslighting and a despairing worry about the person you still hold out hope for.

2. “8th Ave”

A song we wrote a long time ago at our old studio on Eight Avenue across from Port Authority. It’s an area with a well documented history of exploitation and corruption, but freedom and acceptance as well. Sonically it sounded like what we saw out the window and the lyrics flowed from there.

3. “Spit You Out”

This the first song we wrote for this record, trying on some of our more left field influences from the exotica sounds of Esquivel to Nine Inch Nails–style heaviness. It focuses on parasitic relationships and breaking away from toxic patterns of interaction. We never imagined it would relate to a worldwide pandemic.

4. “A Low”

One of the few romanitic-ish songs on the record. It starts with a kind of Greek chorus, setting the scene for the narrator to step in. From there the song tries to explain how transformative relationships can be even in the deepest depression, and even when the other party isn’t aware.

5. “Honest Love”

A quick tune that harks back to our first show at the Mercury Lounge. It draws on the metaphor that the fear of unpreparedness to perform a show shares with feeling unprepared to form a new connection. It also explores the vulnerability that comes with singing a personal song to strangers and how that relates to having intimacy with a new person.

6. “Working It Over”

This is our power ballad and end of side A of the record. The song centers on the importance of holding close to personal support systems and fighting against escapism in the face of hopelessness. It’s a reminder that the past is not greater than the present, and the future is unknowable. You’re probably not going to live in space, so we have to work together to deal with the problems of right now if we want to find satisfaction.

7. “A Purgatory”

Cutting the strings on a manipulative relationship and exiting the purgatory that could have continued without action.

8. “Masquerading”

Impostor Syndrome is the name of the game here. There’s a particular fear you experience every time you hear your words and songs anywhere in public—that fear of inadequacy haunts every new effort. Masquerading is a kind of acceptance that you’ll always have to play different roles as this will likely never go away.

9. “No Risk”

Antithetical to the title, the song is all about the benefits of taking risks, and how difficult that can be as a woman when being constantly told in both transparent and subliminal ways that you’re “second best” or not worthy of the same voice. The song transforms the title from a place of complacency to a challenge to empower yourself.

10. “Like I Do”

The song starts with a boast (“Can’t nobody sleep like I do”), and gradually transforms into a song about self destructively sweeping your problems off to side so you can keep moving forward.

11. “Shoulders to My Feet”

Touches on the difficulty of fending off intrusive thoughts of the past or fears of the future that get in the way of pursuing something positive.

12. “Monolithic”

A kind of happy ending. Its about giving in, and getting outside yourself even if you aren’t sure what the outcome will be in the end. After a record of pain and self doubt, it’s a jump into the abyss.

Trials” is from Cults’ upcoming album ‘Host’, out September 18th via Sinderlyn Records

Image may contain: night and tree, text that says 'RIALS'

Cults duo of Madeline Follin and Brian Oblivion have announced a new album, “Host”, and shared a new song from it, album opener “Trials,” via a video for it. Host is due out September 18th via Sinderlyn Records and features “Spit You Out,” a new song Cults shared in June.

In a press release Cults collectively had this to say about the new song: “‘Trials’ focuses on the power that addictions and harmful ideologies have to transform. The chorus walks a tightrope between a metaphor for gaslighting and a despairing worry about the person you still hold out hope for.”

Jeff Strikers, who directed the “Trials” video, had this to say: “Cults asked me back in April if I had any ideas for a music video we could make while quarantined across the country. Via Zoom, we shot Madeline’s performance against a green tablecloth from a party store. I started experimenting with an old optical illusion called ‘Pepper’s Ghost,’ projecting Madeline’s image onto a sheet of glass to create a ghostly, hologram effect. They use this technique on the Haunted Mansion at Disneyland. It was pretty magical and the whole process was constant discovery and surprise. An ideal creative experience.”

Cults co-produced the Host with Shane Stoneback and it was mixed by John Congleton and mastered by Heba Kadry. Loren Shane Humphrey (The Last Shadow Puppets, Florence and the Machine, Guards) plays drums on the album. The album finds Follin exerting a bit more creative control than before and taking a larger role in the songwriting. “In the past, I’d never brought my own music to the table because I was just too shy,” Follin says in a press release.

“When Shane and I heard what Madeline had written, we couldn’t believe it,” says Oblivion. “The music just floored us.” The band’s last regular studio album was 2017’s Offering. Although in 2018 Cults also released another album where they covered The Motels’ classic 1979 debut album Motels in its entirety as part of Turntable Kitchen’s Sounds Delicious Series.

CULTS – ” Host “

Posted: July 16, 2020 in ALBUMS, MUSIC
Tags: ,

In addition to the album announcement for their new album, they’ve shared the haunting single “Trials”, along with a mesmerizing video directed by Jeff Striker. Cults on “Trials”: “Trials” focuses on the power that addictions and harmful ideologies have to transform. The chorus walks a tightrope between a metaphor for gaslighting and a despairing worry about the person you still hold out hope for.

Host is a radical reimagining of both the band’s sound and its dynamic. Written more collaboratively than ever before and recorded primarily with live instruments for the first time, the album explores the sinister dynamics at play in a parasitic relationship. Rather than dwelling in the discomfort, it charts a cathartic journey towards freedom and self-reliance, revelling in the power that comes from standing your ground and declaring independence in the face of exploitation and manipulation.

Cults have returned with the announcement of their fourth studio album “Host”, out September 18th via Sinderlyn ‼️

Chewing is the solo project of Local Natives’ Nik Ewing. He has announced a new album where he covers Dennis Wilson’s 1977 classic “Pacific Ocean Blue” in its entirety as part of Turntable Kitchen’s Sounds Delicious Series. He has shared two tracks from it: “River Song” (which features the rest of Local Natives) bandmates and “Moonshine” (which features Cults). The album was released December 21st.

http://

Ewing had this to say about the album in a press release: “With zero hyperbole, driving across LA can take half an hour or four days. One of the more manageable times I drove across the city, it took me 37:15, the length of Pacific Ocean Blue by Dennis Wilson. Like many important first album listening experiences, the entire environment surrounding that listen burnt into my memory. It was like that sad, dark album was made specifically for that specific sad, dark drive across LA. A haunted, outcast Beach Boy who still sung simple Beach Boy lyrics like ‘I’m sorry, I miss you’ but whose weathered voice is painfully more honest without the hollow late ’70s shine from his band (who seemingly didn’t miss him that much).

http://

The first single from Chewing’s full album tribute to Dennis Wilson’s Pacific Ocean Blue featuring Local Natives.

“I really love when artists give their own radical take on a song (Jukebox by Cat Power is criminally underrated IMO). Luckily this album isn’t as ‘sacred’ as if I covered Pet Sounds in its entirety, which allowed me a lot more liberty. I wanted to re-imagine this album in a much darker and ambient context: to flow like a lost mixtape, to sound cohesive with all the voices (and trumpet, hi Nico!) weaving in and out throughout (and obviously I couldn’t NOT have my band contribute beautiful, lush harmonies to a Beach Boy cover album).”

http://

The 12th release in the SOUNDS DELICIOUS limited edition vinyl subscription series. Chewing featuring Local Natives, Cults, POP ETC, Evan Voytas, and Nico Segal reimagine and pay tribute to Dennis Wilson’s Pacific Ocean Blue by covering it in its entirety.

The cover of Offering, Cults’ third album and their first in four years, says it all. After the opaque nocturnal allure of their earlier recordings, the New York City-based duo of Madeline Follin and Brian Oblivion have come out of the dark, drenching their sharp pop songs in a warm, sumptuous glow that makes them more approachable and welcoming. While Offering draws on many of the same influences as its predecessors—namely, girl groups of the 1960s, like the Shangri-Las and the Ronettes, as well as chillwave artists like Toro y Moi and occasionally, the airy minimalism of the xx—here, they feel more lived-in. “I Took Your Picture,” for instance, contains echoes of Tame Impala’s kaleidoscopic psych rock, but delivers a human warmth and directness that the former lacks. Later, the thudding piano figures in “Recovery” blur the line between acoustic and electronic instrumentation to captivating effect.

While the song’s narratives aren’t necessarily overflowing with giddiness or optimism, there is a newfound confidence and self-awareness in Follin’s lyrics that melds seamlessly with the songs’ colorful arrangements. The album begins with an intention to live in the present moment—“Know I can’t see it all yet / But it’s so real to me”—and then echoes that sentiment throughout; “Our time is nothing now / It slips through our fingers,” Follin sings later on “I Took Your Picture.” Keeping the forces of time and doubt at bay is never an easy task, she seems to be saying, but it’s worth the battle. Sometimes all you can do is make an offering, and make it as exquisite as possible.

http://

B2e9b90b fe46 4145 8257 7b754fccee2c

The Weather Station  –  The Weather Station

On her fourth (and tellingly self-titled) album as The Weather Station, Tamara Lindeman reinvents, and more deeply roots, her extraordinary, acclaimed songcraft, framing her precisely detailed, exquisitely wrought prose-poem narratives in bolder and more cinematic musical settings. The result is her most sonically direct and emotionally candid statement to date. The most fully realized statement to date from Toronto songwriter Tamara Lindeman. Self-titled and self-produced, the album unearths a vital new energy from Lindeman’s acclaimed songwriting practice, marrying it to a bold new sense of confidence.

CD – Digipack.

LP – Deluxe 140 Gram virgin vinyl LP features heavy-duty board jacket with full lyrics, full-colour inner sleeve, and high-res Download Card.

Yak yala! cover

Yak  –  All I Need Is Some Sunshine In My Life

Limited to just 300 Copies on 7″ Vinyl. Renowned for the ferocious intensity of their live shows, Yak are back with the new single All I Need Is Some Sunshine In My Life. Recorded with Tame Impala’s Jay Gum Watson in Kevin Parker’s studio in Perth, the track is Yak’s claustrophobic interpretation of The Dixie Nightingale’s cult gospel classic. “A loved one departed and on the way out sent me this song, so we ended up recording a delirious version in the blistering heat of Perth,” says Yak frontman Oli Burslem. “I love the original Dixie Nightingales’ version, it reminds me of songs like Wendy Rene’s ‘After Laughter’, which I imagined was recorded in the same studio with maybe even the same people playing.” On the b-side is Yak’s take on Lee Hazelwood’s Wait and See.

Nsnmsddw7 f9wlj9q6v9pncg1fqqh2xyobf6g njm3s vfgry5rvg3gvfl44kfbdswrqk0bmerugkgzt5v3uy1w zsfpswyhkhpotugzwie7tilidayy4zya9uoobcyqpeu

Weaves  –  Wide Open

It’s been almost exactly a year since Weaves released their acclaimed self-titled debut LP, lauded internationally for its exuberant approach to guitar pop and recently nominated for this year’s Polaris Prize. It was a whirlwind year for the band who spent a nearly uninterrupted 12 months on the road, playing festivals across the globe, and touring with their fellow 2016 breakout artists Sunflower Bean and Mitski. Propelled forward by their own momentum, which they corralled like the barely contained energy of their explosive live sets, it was a life changing-experience, and upon returning home to Toronto the band’s leaders, singer Jasmyn Burke and guitarist Morgan Waters, found themselves possessed by an irrepressible burst of creative energy.

Burke and Waters half-jokingly refer to the album as their “Americana” record, and while the statement is made with tongues placed firmly in cheeks, the album, without discarding the punky pyrotechnics that defined their first LP, displays an expansive and anthemic quality in songs like the opener #53 and the sweeping Walkaway, that makes the joke ring half true. The record sees Burke extend herself as a performer – moving more frequently to the center of arrangements and revealing new facets of her unique and powerful singing voice – as the band find ways to interpret the growing diversity of her expression. From the glammy Saturday night strut of Slicked, to the stripped-down, pedal steel abetted torch song Wide Open, to the searing Scream, a warped duet with Inuit throat singer Tanya Tagaq that likely constitutes Weaves’ wildest recording to date, the album captures a band for whom exploration is a compulsion making a self-assured step into the unknown.

LP+ – Limited White Vinyl housed in Gatefold Sleeve with Download.

In 2017, the musical term “electronic” is nearly obsolete given the ubiquity of computerized
processes in producing music. Even so, the prevailing assumption is that musicians working
under this broad umbrella must be inspired by concepts equally as electrified as their
equipment. Kaitlyn Aurelia Smith has demonstrated in her still-blooming discography that this
notion couldn’t be further from the truth, and that more often than not, rich worlds of synthesized
sound are born from deep reverence of the natural world. Smith (who by no coincidence, cites
naturalist David Attenborough as a contemporary muse) has embodied such an appreciation on
The Kid in as direct and sincere a way as possible by sonically charting the phases of life itself.
The album, which punctually follows up her 2016 breakthrough Ears, chronicles four defining
cognitive and emotional stages of the human lifespan across four sides of a double LP.
The first side takes us through the confused astonishment of a newborn, unaware of itself,
existing in an unwitting nirvana. Smith’s music has always woven a youthful thread befitting of the
aforementioned subject. Here she articulates it in signature fashion on the track “An Intention,”
which serves not only as a soaring spire on The Kid, but on her entire output. There is playfulness
here, but it’s elevated by an undertone of gravity into something compelling and majestic that is
fast becoming Smith’s watermark. The emotional focus of side two is the vital but under reported
moment in early youth when we cross the threshold into self awareness. The subject is profound
enough to fill an entire album, but rarely makes its way into a single track, indicating Smith’s
ambition to broach subtler and deeper subjects than the average composer. This side offers up
another highlight in the form of In The World But Not Of The World which serves its subject well
with epiphanic, climbing strings and decidedly noisy textures over a near-Bollywood low end
pulse. Side three emphasizes a feeling of being confirmed enough in one’s own identity to begin giving back to the formative forces of one’s upbringing, which is arguably the duty that all great artists aim to fulfill. This side ends with the exploratory album cut Who I Am and Why I Am Where I Am recorded in a single take without overdubs on the rare EMS Synthi 100 synthesizer. This humble piece of sound design serves as a contrast to side four’s verdant orchestral moments, all written and arranged for the EU-based Stargaze quartet by Smith herself. This final side represents a return to pure being, the kind of wisdom and peace that eludes most of us until the autumn of life. On To Feel Your Best this concept is voiced in the bittersweet refrain “one day I’ll wake up and you won’t be there” which Smith intended to be a grateful acknowledgement of life rather than a melancholy resentment of loss. The song has both effects depending on the mood of the listener, and both interpretations are equally moving. Kaitlyn Aurelia Smith belongs to an ilk of modern musicians who are defined by their commitment to creating experiential albums despite the singles-oriented habits of modern listeners, and here she represents her kind proudly. The subjects on The Kid are not simple to convey, and yet through both emotional tone and lyrical content, Smith does just that. There is a similar gravity to both birth and death, and rarely is that correlation as accurately and enthusiastically mapped as it is here. Alan Watts, another logical inspiration of Smith’s, once expounded that people record themselves to confirm their own existence, and as such, echoes and resonance are reminders that we are alive. “You’re not there unless you’re recorded,” Watts muses, “if you shout, and it doesn’t come back and echo, it didn’t happen.” The Kid speaks to this idea directly. As Kaitlyn Aurelia Smith explores her existence through music, she guides us in gleefully contemplating our own.
2LP – Double Black Vinyl.
A0997252318 16

Yumi Zouma –  Willowbank

Following last year’s lauded debut LP, Yumi Zouma return to Cascine with their sophomore album, Willowbank, a collection of dreamy, disco-indebted pop tracks. The album’s namesake is a wildlife reserve in the band’s home base of Christchurch, NZ, a community on the mend in the wake of a devastating earthquake in 2011. The Yumis, whose four members are scattered across the globe, reunited in New Zealand to write and record Willowbank. The result is an album that channels both the tight-knit togetherness and the unparalleled beauty of their native land. Willowbank is also some of Yumi Zouma’s best work to date, refining their effortless, windswept songwriting sensibility, while also exploring a new pallet of sounds and textures.

A15bd234c30c2fafc047a1bcf3b0b23a.640x640x1

Cults  –  Offering

Cults made their name in black and white. A pair of film school dropouts who burst onto the New York scene with a perfect single and a darkly retro sound, the band’s first two albums play like noirish documentaries on a lost girl group. Four years after Static, Cults returns with Offering, an exciting collection of songs bursting with heart, confidence, shimmering melody and buzzing life. The time off has given the band new energy and new ideas–Cults are working in Technicolour now. The core duo remains the same. Madeline Follin and Brian Oblivion, both 28, still live in New York. They still finish each other’s thoughts and still share a love of catchy music and black humor (this is a band that sampled cult leader Jim Jones on their first hit). But the pair have put some blood on the tracks since their breakout debut: they’ve toured the world, built a devoted audience, survived a breakup, grown up in green rooms, parted ways with their old label and made a home of their new one.

Pains album cover

The Pains of Being Pure at Heart – The Echo Of Pleasure

The Pains of Being Pure at Heart have long set the benchmark for big-hearted, idealistic pop songs. With The Echo of Pleasure, The Pains push beyond their many inspirations and embrace their role as indiepop heroes in their own right. Showcasing the deft songwriting of frontman Kip Berman, The Pains‘ fourth album is their most confident and accomplished. After three critically-acclaimed records, 2009’s The Pains of Being Pure at Heart, 2011’s Belong and 2014’s Days of Abandon received praise from The New York Times, Pitchfork, The Guardian and Rolling Stone, they have put together a collection of songs that possess a timeless grandeur, deeper and more satisfying than anything the band has done since their iconic debut.

It’s an album that reflects the band’s most joyous moments while maintaining Berman’s candid and critical lyricism, free of the self-abasing insecurity of youth. “The album is loving. The music is heavier, more expansive,” he says. “To me, songs about love shouldn’t be thought of as light. Love is big- sometimes it’s emphatic, overwhelming or simple – other times it’s tense, anxious or just exhausting. But at its best, it makes you want to be something better.”

100000x100000 999

Miracle Legion  –  “Annulment”

First ever live album by Miracle Legion, Annulment was recorded during the band’s 2016 US reunion tour. Most of the album comes from a show at Codfish Hollow, Iowa plus tracks from the Bellhouse, Brooklyn show. Double CD with 25 songs

Screen shot 2017 07 05 at 13.39.17

Richard Thompson – Acoustic Classics 2

A continuation of the Acoustic Classics series, this collection features acoustic renderings of classic songs from the Richard Thompson catalog, including some previously recorded by other singers, some only available in a band format, and some only existing as cover versions.

3LP – Triple Gatefold Vinyl comprising Acoustic Classics II and the Acoustic Rarities albums.