For Lindsay Jordan, this “record” would be the songs she wrote at fifteen that lend themselves to 2016’s Habit, her breakthrough EP. Written and recorded in her childhood home in the suburbs of Baltimore, its songs—introspective, sonic documentations of that overwhelming period of change when you sit on the cusp of adulthood—reminded audiences of the infinite, complex emotions adolescent kids experience. Coupled with her prodigious guitar talent and deadpan delivery, Habit unexpectedly made Jordan an indie darling who often evoked critical comparisons to her hero Liz Phair.
With the release of her first full-length, Lush, Jordan takes her music a step forward. In the two years since Habit, she’s come out as gay, graduated high school, and signed to Matador Records. Lush reflects both the realizations and the confusions that come with growing up, deftly straddling the line between youthful vulnerability and adult self-assuredness.
If her emotional candor makes her appear far older than she is (before interviews, she sends a list of frequently asked questions to avoid, like the tired “What’s it like being a woman in a band?”), as soon as she speaks, Jordan reminds you that she’s just nineteen years old. Excitement courses through her rapid, breathless, “like”-peppered sentences. She’s still figuring this all out, a little overwhelmed at the attention she’s received so quickly. If Lush is any indication, though, she’s heading in the right direction. Jordan spoke with us about artistic growth, vulnerability, and both the difficulty and importance of keeping in touch with the person she used to be.
We’re nearly halfway through 2018, but Interpol might still be able to shape it into their year: The band is dropping a new album, Marauder, via Matador Records on August. 24th, their first full-length since 2014’s El Pintor.
The rush has already begun for the band, having been tucked away in rural upstate New York, with recording starting last December and finishing in April, although it’s likely that having the cops called on them while practicing down in the city was more of an annoyance than a thrill.
But for those of us who didn’t get to hear Interpol through the walls or down the street, it really all starts today. And that begins with “The Rover,” a shattering first look at the band’s forthcoming record. The song’s title leans into the album’s name—the roaming air of a marauder directly links to roving and wandering, which are captured in the song’s lyrics. The brash line, “You can stick to the highways and suicide,” is wrapped in the lawlessness of a marauder.
On Marauder, Interpol turn to producer Dave Fridmann for the first time; Fridmann has worked with the likes of Spoon, The Flaming Lips, MGMT and numerous others. The new record’s focus of capturing the band’s live energy is felt strongly on this first track, as the drums pound forward and the sharp guitar pierces through it. You can listen to the band play the song live on The Late Show with Stephen Colbert on Friday, June 8th.
Recent hints appearing on the band’s social media have also been explained: The mural begun in Mexico City has now been unveiled to feature the band’s new album art. Mexico City is also where Interpol are streaming from as they hold a press conference to discuss their new record. The livestream begins today (June 7) at 12:30 p.m. EST (now) you can watch by heading to Interpol’s website or Facebook page.
The band will be roaming across the globe on their tour and will reach the massive Madison Square Garden in February of next year. Listen to “The Rover”
With all the hype surrounding their debut EP, Habit, Snail Mail’s first full-length already seems long overdue. And yet, Lush feels supremely fresh, expanding Lindsey Jordan’s intimate bedroom-pop project into sprawling, emotive rock territory.
Lindsey Jordan has been playing guitar since the age of 5, which goes a long way toward explaining the 18-year-old’s uncommonly assured approach to songwriting under her musical pen name, Snail Mail. Lush, Jordan’s debut full-length on storied indie-rock label Matador Records, follows up on her buzzed-about 2016 EP, Habit,with a collection of songs whose lyrics are bursting with the aimless intensity of adolescent emotion, but whose music belies Jordan’s bedrock confidence by resisting the urge to overfill the space between each note. If you’ve ever wondered what Exile In Guyville would sound like written by someone young enough to carry a fake ID, then look no further.
From Snail Mail’s debut album ‘Lush’ out June 8th on Matador Records.
Snail Mail’s debut album Lush isn’t released until June 8th, a veritable eternity from now, but Lindsey Jordan and her band have shared another preview of their much-anticipated LP this morning in the form of dreamy new single “Let’s Find An Out.”
The song’s escapist sentiment is matched by its gorgeous instrumentation and imagery: “June’s glowing red / Oh, strawberry moon,” sings Jordan over delicate fingerpicking and barely there bass, later urging, “Let’s find an out / We’ll start anew.” At a mere two minutes and change, “Let’s Find An Out” differs from previous Lush singles “Pristine” and “Heat Wave” which clock in at around five minutes each on multiple levels, eschewing their sprawling electric dynamism for a concise acoustic revery. This softer side of Jordan’s songcraft draws from her childhood training in classical guitar, revealing another new dimension of an exciting young artist on the rise.
Listen to “Let’s Find An Out” and check out Snail Mail’s tour dates. Snail Mail’s debut album ‘Lush’ out June 8th on Matador Records.
Ever since their first LP, New Brigade, appeared at the beginning of this decade, the Danish quartet Iceage have been buzzed about in particular punk and indie circles.
We’ve heard four stellar singles from Iceage’s fourth studio album, “Beyondless”: “The Day the Music Dies,”“Pain Killer” featuring Sky Ferreira, “Take It All” and “Catch It.”“The Day the Music Dies” combines raunchy brass, frontman Elias Bender Rønnenfelt’s sassy lead vocals and driving keyboards into a theatrical, Rolling Stones-esque stomper with Rønnenfelt drowning in anxiety (“How can one kill an impulsion / When it’s still kicking and breathing”) and restlessness (“The future’s never starting / The present never ends”).
From the new album ‘Beyondless’ out May 4th on Matador Records
Singer-songwriter Liz Phair’s Exile in Guyville is about to turn 25, and Matador Records is making sure that anniversary doesn’t go unnoticed. On May 4th, the label will issue Girly-Sound to Guyville: The 25th Anniversary Boxset, a 7-LP or 3-CD (or digital) collection tracing her artistic evolution from her three pre-Matador demo cassettes (originally released under the name of Girly-Sound) to her acclaimed debut album.
Girly-Sound to Guyville kicks off with each of the three privately-pressed cassettes remastered and restored on vinyl, and now titled Yo Yo Buddy Yup Yup Word to Ya Mutha (Girly-Sound 1), Girls Girls Girls (Girly-Sound 2), and Sooty (Girly-Sound 3). Volumes 1 and 2 are pressed on two vinyl LPs, while Volume 3 takes up one LP. The box is rounded out, on two LPs, with a remastered version of Exile in Guyville.
Additionally, the box set will feature a book with an oral history by Jason Cohen, drawing on interviews with Chris Brokaw, Gerard Cosloy, John Henderson, Chris Holmes, Tutti Jackson, Nash Kato, Mark Ohe, Casey Rice, Brad Wood, Tae Won Yu, and of course, Phair. Essays by Phair (“You Might Be a Lucky Star”) and Ann Powers (“Talking Back in Guyville”) are also included, along with rare photographs and memorabilia. For her June tour, Phair will exclusively perform material from the Girly-Sound tapes.
For those interested in having the Girly-Sound tapes in their original cassette format, a bundle of three cassettes can be ordered directly from Matador to add to a box set pre-order. Lastly, the original Exile in Guyville album will be reissued on double-vinyl or single CD, also on May 4. Amazon links are currently available below for the vinyl and CD editions of the box set; the standard reissue isn’t yet available for preorder at Amazon.
Originally released in 1993, Exile In Guyville is a seminal album and a feminist landmark. Its legendary status has only grown over the years. It’s continually included in countless lists…Rolling Stone’s 500 Greatest albums of all time + 100 best albums of the 90s, Pitchfork’s Top 100 albums of the 90s, etc. Numerous essays and think pieces have been written about it and the number of accolades piled on is endless. Since the release of Exile in Guyville, Liz Phair has continued to defy expectation and break barriers. She has released five albums, and is currently working on a new one with Ryan Adams. She has also composed music for television shows and received awards for that work. In November, it was announced that she would be fulfilling a longtime dream to be an author, and she received a two-book deal with Random House. Her first book will be called Horror Stories which focuses on “heartbreak, motherhood, and everything in between.” “A landmark of foul-mouthed, compromised intimacy, a tortured confessional, a workout in female braggadocio, and a wellspring of penetrating self-analysis and audacity.” – The New Yorker “Maybe the greatest work of traditional American indie rock that anyone has ever made. It’s also probably the best road-trip album of its generation and the signal of a rare talent’s arrival. It deserves to be celebrated. Let’s do that.”
Liz Phair, Girly-Sound To Guyville: The 25th Anniversary Box Set(Matador, 2018)
Each new song Iceage have released ahead of Beyondless has revealed it’s an album to get excited for, but this one just might be the most intriguing of the bunch. Surrounded by haggard, chain-smoking rockers and arid, brooding slow-burners, “Take It All” instead conjures up the just-left-of-reality experiences of dream states. Iceage have never recorded a song so elusive yet so emotive.
“The Day the Music Dies” combines raunchy brass, frontman Elias Bender Rønnenfelt’s sassy lead vocals and driving keyboards into a theatrical, Rolling Stones-esque stomper with Rønnenfelt drowning in anxiety (“How can one kill an impulsion / When it’s still kicking and breathing”) and restlessness (“The future’s never starting / The present never ends”).
From the new album ‘Beyondless’ out May 4th on Matador Records.
I keep telling everyone check out Snail Mail, along a few others, She will shape the future of the best indie/alt rock to come, and every song they release becomes further proof of this. Lush will be a little gem of a record.
Last month, Snail Mail announced their debut album, Lush, with the track “Pristine,” which became one of the best songs of the week back when it came out. Today, Lindsey Jordan is sharing the LP’s second single, “Heat Wave,” and it’s sticky and humid, much like the unbearable situation that Jordan finds herself wrapped up in.
“Heat wave, nothing to do/ Woke up in my clothes having dreamt of you,” she sings in the first verse, trying to move on from a love that didn’t want to commit long-term. Part of it is genuine remorse at the loss of a relationship, but it’s also partially the boredom that comes with a day where it’s too hot to do anything, when you let your imagination run wild.
Her feelings on the relationship shimmer and shift, caught up in the exhaust of a sweaty summer day stuck inside. Jordan plays the part of bitterly defiant, and she gets her licks in with style: “I hope the love that you find/ Swallows you whole-ly/ Like you said it might,” goes one of the best lines, wishing the same wrenching fate upon whoever the former partner picks up next. For Jordan’s part, she’s ready to find something a little more reliable: “I’m feeling low/ I’m not into sometimes.”
The song comes attached to an excellent video, which was directed by Brandon Herman and finds Jordan revisiting the (not too long ago) time when she played on her high school’s men’s ice hockey team. She starts off by just playing simple air hockey though, sullen and alone, before getting sucked through the board, where she has to fend off a team of men, getting bloodied and battered throughout. It’s the Mighty Ducks continuation you didn’t know you needed.
From Snail Mail’s debut album ‘Lush’ out June 8th on Matador Records.
On June 8th, Snail Mail—which is Lindsey Jordan’s brainchild but performs as a quartet—will release their debut album, Lush, via Matador Records. Now out of high school and pursuing music full time, Jordan still isn’t sure about all the attention, but she’s definitely sure of herself. In her recent interview , she spoke honestly about recording Lush, her identity as an openly gay woman, and how she’s changed her approach to making music now that so many people are listening. Despite the hype—which she admits has forced her to “grow up” and sometimes puts her in a “really weird place”—she is smart, capable and fully in control. “I didn’t care if anybody heard [my music] before,” she said. “Now I don’t really care how people take it, but I do care what I feel about the music that I’m putting out.”
At 18, most people are applying to colleges, falling in and out of first love, still figuring out how they see the world—and how they see themselves. Lindsey Jordan is doing all that, but she’s also playing in her band, Snail Mail.
After coming out of the Baltimore underground scene, where her allies included Washington, D.C. punk mainstays Priests and her guitar teacher, Mary Timony (of Helium and Ex Hex fame), Jordan released the first Snail Mail EP, Habit,
Danish post-punk band Iceage have shared another new track from the band’s forthcoming fourth studio album Beyondless, due out on May 4th via Matador Records.
“Take It All” is the third single from their new album and it follows the release of “Catch It” and “Pain Killer,” the latter of which featured guest vocals from Sky Ferreira. “Catch It” was the band’s first single since their 2013 album Plowing Into The Field of Love,
Their brand new single, “Take It All,” features marching drums, twinkling yet murky guitars and frontman Elias Bender Rønnenfelt mourning the state of the planet (“the world is a crime”) before becoming distracted and utterly mesmerized by the beauty of another human. Rønnenfelt sings as he is reluctantly entranced, “And men were dying for the death of the west / Oh yeah / And the last thing I ever wanted to see was these brand new sparkles / Coming from your ever loving God damned eyes.”
A statement described the sound and themes from the band’s new album, Beyondless:
The intoxication is consistent, this has always been drunk music, but it’s less a stumbling confusion and more a sturdy heartfelt confession with each record. They have finally caught up with their ambition. Their entire charm has always rested in their running ahead of themselves with blind confidence, taunting you to follow and you follow because wherever they are going is vital, is alive; on Beyondless they are treading with an assurance that is disarming, but there is no loss of charm, you are arm in arm now, whispering intimacies.