Posts Tagged ‘Partisan Records’

Maple Glider’s aka Tori Zietsch striking emotionality is at the centre of her performances, leaning into an intimacy that is achieved by way of deeply personal reflections and velvety melodic compositions. Her vocals melt into layers of plucked acoustic guitar and lulling piano, drawing on the sombre styles of folk contemporaries with a stark tenderness and introspection that assumes the listener is inside her bedroom as she plays for herself. After experiencing falling in and out of love, traveling extensively, writing non-stop, and basking in the lengthy European summer hours, Tori returned to Melbourne late 2019 with a soundcloud account full to capacity of demos. Maple Glider was officially set to take flight.

Tori enlisted Tom Iansek (Big Scary, #1 Dads, The Paper Kites, Lisa Mitchell, Hockey Dad, ) to produce and record some of the many, many songs she was ready to get down. During the shared time spent at our studio BellBird, the wider team (Jo & Tom F. lol) got to fully appreciate the wonderful artistry and beauty of Maple Glider, and welcomed her to the family.
To date Maple Glider has released two gorgeous singles – “As Tradition” and “Good Thing”.

 Both songs’ music videos were made with creative collaborator and housemate Bridgette Winten, in the 5km radius around their Brunswick home (a limit due to COVID lockdown measures). Working with colour and contrast, and shot on Super 8, Maple Glider plays off her surroundings, whether it’s lush creek-beds, neighbourhood rose gardens, or a party for One at home.

We’re also very happy to announce we’ve teamed up with the very passionate Partisan Records (Laura Marling / Fela Kuti / Cigarettes After Sex / John Grant) to release Tori’s music all over the world!

Great songwriting, wonderful arranging and a great voice. electric first moment when you hear a song for the first time that sounds like a classic that’s been part of your soundtrack for years but you know you haven’t it’s just perfectly constructed. a restorative for the soul.

One of those special occasions when a new song becomes an instant classic in the blink of an eye – Triple J Unearthed

Beautiful and devastating… ‘Good Thing’ is a gorgeous indie folk number and a perfect example of that uninhibited, vulnerable quality. – American Songwriter

A series of hairs-on-the-back-of-your-arm moments – For The Rabbits

 ‘Good Thing’ is a delicate ballad, but with all the emotional resonance of a greek tragedy – The Rodeo

Channelling a rich and supple aesthetic throughout, her bold yet tortured voice reigns supreme on this light and airy composition – Mystic Sons

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Maple Glider is the project of Lismore-born, Melbourne-based songwriter Tori Zietsch, a brand new face on the scene. She’s also a brand new signing to Pieater, the Melbourne record label home to Big Scary, #1 Dads, Airling, and more. 

Zietsch originally rubbed shoulders with the label during their Pie School initiative, where she entered a winning demo and ended up recording a track with label head Tom Iansek and the crew. The single unfortunately never saw the light of day – it was recorded under a two-piece band Zietsch was in at the time which has since folded. The music I create as Maple Glider exists because I write to make sense of my experience, to learn, and because to me, it has always felt like my easiest form of communication. However, it wasn’t to be the end of her story. In 2019 Lansek was enlisted once again to produce and record a series of songs Zietsch had written for her solo project, Maple Glider. “As Tradition” was the first song to be released from that collection of tunes, and you can see why the label wanted to sign her.

My songs centre around the lyrics, exploring intimate themes that are often cathartic to write. I don’t have rules when I make music. I play around, express freely, let go of my expectations, have fun, and stay open

Many of you will know I started working with Pieater last year and it has been the best ever. More recently, I have signed to the incredible Partisan Records to release these songs worldwide. I am so grateful to be working with such a hard working and passionate group of people!!! I want to say a massive Thank You to everyone who has worked on the release of “Good Thing” and supported it thus far. It is a song very close to my heart and I’m damn lucky to be able to do this.

The lyrics of “Angry Man” lay out an emotional dilemma in plain, direct language – knowing you have to move on from a relationship with a negative and angry person who doesn’t treat you well, but wishing you didn’t have to because you do love them and you’re not ready to put in the time and energy necessarily for someone else to truly know you well. Aerial East sings all of this as though she’s addressing her ex but it comes across like a letter never sent, things she has to say in the clearest words possible in order to process these complicated feelings. Her voice is sweet but raw as she sings these words to a melody so gorgeous that it hardly matters she doesn’t break away from it for a chorus or bridge.

The song just builds on the theme with a simple beat that has the ambiance of classic Mazzy Star, some lovely understated lead guitar and piano flourishes, and backing vocals that seem to reinforce her as she finds the strength to commit to the decision to move on

“Angry Man” from her new album, ‘Try Harder,’ out now on Partisan Records.

My 2xLP Record Store Day release “All These Perfect Crosses” will be available digitally on 2/26/21 on Partisan Records. Accompanying the release, we’ve partnered with Neighborhood Comics to create a standard and deluxe print edition of Andrew Greenstone’s All These Perfect Crosses comic. To celebrate, we’ve released two versions of “Calvary Court” (full band and piano versions), which is one of a number of songs illustrated in the comic book. You can pre-order both editions now below.

The vinyl is still available in some stores, check your local record shop. Huge thanks to Andrew Greenstone for creating something so cool around these songs, and to Neighborhood Comics for making us the first release on their publishing imprint. Stay Positive.

‘All These Perfect Crosses is a collection of songs that came from the sessions for Faith In The Future, We All Want The Same Things, and I Need A New War. For Craig, these three records are one body of work, and the songs on this collection are pieces of that larger narrative. For various reasons, these songs didn’t appear on the records they were recorded for, but they still tell a part of the same story: modern people trying to make it through, to keep their heads above water, to live past their mistakes, to survive.

‘All These Perfect Crosses’ out February 26th.

Of all the new music I heard during the height of the initial lockdown. ‘Ultra Mono’ was an album that I was already extremely excited to hear; and the stream of songs released during Lockdown only served to raise that excitement to a fever pitch.

Thankfully IDLES didn’t disappoint and when the album arrived it was a pure masterpiece. It shows a natural progression on the bands first two records and grows the bands sound. It still captures what made us all fall in love with the band but by incorporating new elements into the bands sound the album shows that IDLES are no one trick pony.

Above all other releases this year and those that feature in this list, this was the album that we needed this year. In a year where we have all been knocked down one way or another, IDLES and ‘Ultra Mono’ has been a call to arms, to pick ourselves up, dust ourselves down and keep going.”

IDLES third LP, Ultra Mono, was released earlier this year to critical acclaim. The video for “Kill Them With Kindness” was directed and designed by James Carbutt and animated by Pip Williamson, inspired by the working men’s clubs of Barnsley. Brutal guitar work flips between Bowen and Kiernan on a Travis Bean and Esquire respectively, revealing again why they’re the two most important players in the UK today.

Another single from the Bristolian band’s acclaimed third LP on Partisan Records, it begins with a monstrous bass riff that twists around the snare drum, before bellowing into the chorus with pulsating, glistening guitars and the odd bit of ring-modulator thrown in for good measure.

 

The Bristol, U.K. punk outfit are releasing their third studio album Ultra Mono this last year. IDLES recorded Ultra Mono in Paris, working with producers Nick Launay (Nick Cave, Yeah Yeah Yeahs, Arcade Fire), Adam “Atom” Greenspan (Anna Calvi, Cut Copy) and Kenny Beats (FKA Twigs, DeBaby, Vince Staples). Per a press release, “‘Ultra Mono’ was sonically constructed to capture the feeling of a hip-hop record.” The album also features guest vocals from Jehnny Beth (Savages), and contributions from Warren Ellis (Nick Cave and the Bad Seeds), David Yow and Jamie Cullum.

In 2020 there were certainties: third IDLES album, third time among the best fifty of the year. On Ultra Mono we hear a sharper and smoother IDLES than before. A band that takes steps to keep developing its sound, which takes a hip-hop producer under its arm, once worked its crown with the cracks and moments later comes across songs like “Grounds” or “Reigns”. The British are going to be wonderfully retamful about this drive for innovation and the ability to remain fully IDLES. (Post)punk has its heyday again, and part of the answer to the question shines on the chest of the Bristol fivesome.  Ultra Mono also includes a lot of discs that live on a swirling, roaring mass, while a band has the mob on a raise.

Following Brutalism (2017) and Joy as an Act of Resistance (2018), two releases that garnered global critical acclaim, IDLES return with their highly anticipated third album – “Ultra Mono”. Sonically constructed to capture the feeling of a hip-hop record (including production contribution from Kenny Beats), the album doubles down on the vitriolic sneer and blunt social commentary of their past work. Not far beneath the surface of their self-admitted sloganeering lies a deeply complex and brutally relevant album that chews up clichés and spits them out as high art for the masses. This is momentary acceptance of the self. This is Ultra Mono.

Since their 2017 debut Brutalism, British punks IDLES have seemed like a band on a mission. Release a record, tour hard, write more songs, make another album, do it all again. Their new record Ultra Mono is their third in four years, which is impressive when you see the band’s immense pre-pandemic touring schedule. “We never stop writing,” says frontman Joe Talbot,

The band have a method for writing an album that goes well beyond standing in a room and playing. They are organised and focused, which ensures their records remain centred on a theme. “With every album, we start with the title – and artwork normally comes to mind – with a theme around it, and then I kind of build the idea around the album,” Talbot says. “Then we start writing the songs specifically to those ideas, with the idea that if we’ve got boundaries, we can all work within them and work together better, because we’re very different people.

“It’s important for us to understand each other moving forward, because we write democratically. We don’t want it to be some sort of autocracy. We all pitch in.m This time around, Talbot wanted to write about internal struggles. The frontman admits to struggling with certain sides of fame, notably the understanding that his work will now be noticed by more people than ever. Such a profile comes with pressure, and feelings that threaten to inhibit creativity. “I was going through a lot of self-doubt around writing,” he says. “There’s a lot of eyes and ears on us, way more than before Joy… [2018 album Joy Is An Act of Resistance] came out.

“So, I just wanted to focus on that idea of self-awareness as a way of progress and understanding what self-care really meant.” So, Ultra Mono became a record about accepting yourself for who and what you are.

KEXP.ORG presents IDLES sharing songs recorded exclusively for KEXP and talking with Kevin Cole. Recorded Thursday, October 1st, 2020.
Songs:
Model Village
Mr. Motivator
War
Grounds

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Ultra Mono will be released on 25th September 2020 on Partisan Records.

Released September 25th, 2020

Idles are precious and highly reflective of all that’s happening around them and what their role in it is. They are all that in a way few other bands are. “Ultra Mono” as an album though is, if you are familiar with them already, not what the cover image tries to imply: Too seldomly it comes as a surprise. It doesn’t hit just the right spots to make your aching feel worthy. But it still is a powerful, lively statement of one of the most important rock bands of our time. I’m sure we’ll be reminded of that once they return to stage and channel their irressistible, very contemporary complex of politics, decay, love and anger. You just might have to dig a little deeper for it on Ultra Mono.

IDLES found themselves in the middle of a feud again with Fat White Family (following a similar one with Sleaford Mods last year). The short version of this ridiculous rambling is that people constantly seem to deny the band’s status to represent the British working class. It’s the old tale of the left eating itself as if there’s a fixed universal rule that defines who should speak for the poor and needy. I don’t get the point of this beef. I don’t get why they don’t join forces and fight the real evil here. Once Boris Johnson’s Corona and Brexit politics have done the damage the British working class will have bigger problems than asking about the right representation.

Idles, however, answered with what they are best at: humility. Kill Them With Kindness is a track on their new album and that sums up the band’s spirit pretty well. In order to fight the evil, just be nice and kind to each other. It’s a simple yet efficient technique. You dismantle the troll by not following him onto his low level. You react with positivity that might confuse him. In the end hate fuels such people and if you cut them off their energy source and simply stay calm you take a huge amount of ammunition away from them. “Let’s seize the day, all hold hands, chase the pricks away” is the line Idles keep on repeating in their single Mr. Motivator and it’s a fitting credo. The fact that these guys transport their messages of love, feminism and against toxic masculinity in a very aggressive way might sound confusing for many but I think it’s a great method to channel these emotions. Yes, you have the right to be pissed off by these idiotic trolls but don’t address the direct anger towards them – let the music be your outlet. Killing people with kindness is easier said than done.

It’s a tough thing to do. It’s an active choice you make and something you have to remind yourself of every day. Like I said last week – the system didn’t train us to have faith in each other and modern communication tools like Facebook and Twitter want us to compete against each other if we want to get heard. In order to fix this fucked up thing called society we have to rise above that concept because the only realistic way of changing the entire damn construct is to fix the individual parts that make it up and that’s – surprise – us, the people. It’s not easy, I can tell from experience. Overcoming passive cynicism is the first step, learning to trust, communicate and not being afraid to do so is the next step and right now I’m in the middle of that. There are many days where life and our current society make it hard to not fall for the communication patterns of the troll. It takes discipline, patience and most importantly people around you that will support this attitude because – to quote The National – it takes an ocean not to break. 

Idles new album ‘ULTRA MONO’ out now on Partisan Records.

Following Brutalism (2017) and Joy as an Act of Resistance (2018), two releases that garnered global critical acclaim, IDLES return with their highly anticipated third album – “Ultra Mono”. Sonically constructed to capture the feeling of a hip-hop record (including production contribution from Kenny Beats), the album doubles down on the vitriolic sneer and blunt social commentary of their past work. Not far beneath the surface of their self-admitted sloganeering lies a deeply complex and brutally relevant album that chews up clichés and spits them out as high art for the masses. This is momentary acceptance of the self. This is Ultra Mono.

‘A HYMN’ from the new album Ultra Mono”  released on 25th September 2020 on Partisan Records.

‘GROUNDS’ from the new album ‘ULTRA MONO’ released on 25th September 2020 on Partisan Records

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There’s something shattering about the music of Fontaines D.C. Following on from the release of “I Don’t Belong” last month, the Irish post-punk outfit return today with another piercing look into the void in the form of “Televised Mind.” “That’s a televised mind/That’s a televised mind/That’s a televised mind,” repeats frontman Grian Chatten on the song – an incisive indictment of groupthink and echo-chamber living that cuts like a knife.

It is the third track shared from their forthcoming LP A Hero’s Death, which is out on the 31st July.

The track heaves, drones, and churns – a faultless embodiment of the bruised and battered – perfect in its uneasy, resigned melancholy.

“Televised Mind” taken from the forthcoming album ‘A Hero’s Death’ out 31st July on Partisan Records.

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Barely a year since their debut Dogrel earned them a spot as one of the most acclaimed new bands of 2019, Dublin’s Fontaines D.C. will return with “A Hero’s Death” on July 31 via Partisan Records. Arriving battered and bruised – albeit beautiful – the album is anything but a re-hash of the swaggering energy from their first record, instead the music is patient, confident, and complex – heady and philosophical takes on the modern world and its great uncertainty. The album serves as a conscious effort to subvert expectations, to challenge themselves and their listeners, and to sacrifice one identity in order to take on another – one that is fully their own.

We’re giving away handwritten lyrics by Grian for ‘I Don’t Belong’ & ‘A Hero’s Death’ and also a signed 7″. Pre-save ‘A Hero’s Death’ and follow us on Spotify by Monday 6th July for a chance to win fontainesDC.lnk.to/contest

Irish rockers Fontaines D.C. came out swinging on their debut album Dogrel—it became one of the years favourite albums of last year thanks to its propulsive rhythms, Grian Chatten’s mesmerizing speak-sing and their satisfying blend of post-punk, garage and surf sounds. After cementing themselves as one of the most exciting new bands of 2019, excitement began to swirl when news started circulating about a quick follow-up album that was recorded in Los Angeles and influenced by The Beach Boys. I figured an album full of surfy tunes like Dogrel highlight “Liberty Belle” and 2017 b-side “Winter in the Sun” was on the way, which I undoubtedly would’ve devoured, but that’s pretty far from what we’ll actually receive at the end of July.

A Hero’s Death is decidedly not perky—it’s full of somber, gothic numbers, slow ballads and a few very on-the-nose nods to Brian Wilson (but this is dejected Pet Sounds era Beach Boys—not the carefree “Surfin’ U.S.A.” Beach Boys). It’s not what many will expect from the group, but it’s a noticeably more mature second chapter that pays dividends with each listen. Sprinkled with ’60s armchair pop and ’80s post-punk references, this is a gloomy outdoor stroll record—but a very special one at that.

Fontaines D.C. perform A Hero’s Death Live at home for Later… with Jools Holland.