Posts Tagged ‘Real Estate’

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Real Estate named their fifth LP after a Roxy Music song from 1982—a dark, seductive groove that defines the band’s mastery of hi-fi mood. It’s an odd reference on paper; after all, it’s not like frontman/chief songwriter Martin Courtney has started channeling the glammy art-rock stylings of Bryan Ferry. But the inspiration holds up in a roundabout way: After years of defining “dreamy guitar rock” for the modern indie era, the band was eager to experiment with a more expansive sound.

“With this record, we were looking to not repeat ourselves— that was kind of the main thesis,” says bassist and cofounder Alex Bleeker. “We were at this place of, ‘What is the point of making a fifth Real Estate album in 2020 when it feels like our lives have changed; the musical climate has changed; the cultural climate has changed?’ [2017’s] In Mind was critically well received as ‘good ol’ Real Estate,’ and we were like, ‘We just don’t feel like there’s a point to doing that again. So how do we make sure we don’t do the same thing?’”

They found the answer at Marcata, a massive barn-cum-studio outside New Paltz, N.Y., where they hunkered down with engineer Kevin McMahon. A longtime friend and mentor who co-produced their 2011 album, Days, McMahon helped the band whittle away at their massive pile of songs for more than a year, urging them to question their entire creative ethos along the way. As Courtney would ponder throughout the finished LP, he and his bandmates had started to question the driving force behind this “main thing,” this music career to which they’d devoted their lives.

“It’s funny that we went back to someone we worked with before in order to achieve that,” notes Bleeker. “I kept making the joke that it was like Rocky going back to Mickey’s gym. We needed to get back to the emotional center of the band—we needed to remember who we were before we were on Domino and had much of an audience. We needed to get back to the musical heart of things.”

The process began as it always does, with Courtney building up a stack of rough drafts at the band’s gear hub/demo space. Ironically, given the album’s lengthy gestation period, he started quickly—around six months after the release of In Mind, with the aim of breaking their streak of three-year gaps between records. Even more ironically, he spent less time than usual labouring over the minutiae of the arrangements: With three young children at home, including one in kindergarten and another in preschool, Courtney opted for a series of more structured writing sessions this time—an efficient process that churned out a number of tracks in bare-bones, guitar-and-vocals form. But that shift brought its own unique challenge, too: letting go.

“I left some of these songs a little more open for the rest of the band to interpret,” he says. “I wanted to keep writing and didn’t want to linger too long. I almost want to say it’s harder to get excited when a song feels half-done. A lot of times, I record the drums, bass, lead guitar and keyboards parts when I’m writing. And it’s a lot more exciting to listen to those demos because they’re fully finished songs. Sometimes, I can’t stop listening to them. With these demos, it was like, ‘OK, this is promising. This is a good seed of a song, and I’m psyched about this vocal melody. I’m gonna leave it at this and move on to the next one.’”

Since the band’s formation in 2008, the other members of Real Estate have always helped shape their own parts. But Courtney completely relinquished the reins for The Main Thing, opening up his songs to new grooves, arrangements, even instrumentation. That sense of freedom became a throughline for the entire process, allowing Bleeker, drummer Jackson Pollis, keyboardist Matt Kallman and guitarist Julian Lynch to help bring Real Estate into an entirely new era.

“It can be frustrating, going through the process of fleshing out a song with the band,” he says. “Even if I haven’t finished the demo, I sometimes have an idea of how the song should sound, and if it starts going in another direction, sometimes I get really frustrated. But the process of making this record was me trying to let go of that feeling and just let it be more of a collaboration. This band has been together for a long time, and that’s where I was: Just allow these songs to evolve. I can always go back and make a solo record, and do everything myself and scratch that itch. Sometimes it’s exciting to see the songs go in a different direction and take on a different life than what you expected them to.”

For Bleeker, that process was liberating—an excuse to incorporate influences that may have previously been deemed incompatible with the Real Estate brand. “Certain songs that Martin wrote, like ‘Friday’ or ‘Paper Cup,’ didn’t really have [our usual] rhythmic groove underneath them in the demos,” he says. “That came with other people putting their spin on them: Jackson playing a soul beat, me playing a funky bassline and Martin having the grace to be like, ‘OK, let’s try that. That’s not the song that was in my head but, you’re right—maybe we should push it into some new territory.’ It can be difficult. As we’ve gotten older, we’ve found ourselves in this position where, in places that we thought we’d have more stability, we’ve actually realized there’s no shortcut. You almost have to work twice as hard because you’ve already invented this one sound and—in order to expand on it successfully or change in a way that’s not disingenuous—you’ve got to put in at least twice as much work.”

However, The Main Thing isn’t a major departure from the band’s sweet spot: The hazy electric jangle of “Friday” and “November” could slot in seamlessly on their previous albums, from their partly home-recorded debut, 2009’s Real Estate, to the polished In Mind. But it’s their most confident tweak to their signature sound: Early single “Paper Cup” finds Courtney singing over a vintage soul wash outfitted with strings, auxiliary percussion (courtesy of The Walkmen’s Matt Barrick and Brazilian Girls’ Aaron Johnston), buzzing synthesizers and the call-and-response vocal of Sylvan Esso’s Amelia Meath; and the ambient interlude “Sting” layers reverb-heavy piano over a pitter-patter beat; the gently cascading “Also a But,” Lynch’s first composition for the group, veers more into full-fledged psychedelia.

Lynch’s fingerprints are all over the album, including the liquid-y guitar solo on “Also a But” and a particularly glorious melodic part on “You,” a song Courtney wrote for his then-unborn child. The guitarist—who grew up with Courtney and Bleeker and officially joined Real Estate in 2016 after the well-publicized exit of cofounder Matt Mondanile—became fully ingrained in the group’s creative process on The Main Thing.

“With In Mind, I’d just joined the band and there was some degree of hesitance on my part. I didn’t want people to think: ‘Who is this stupid guy who’s in the band now? Why’s he playing guitar in my favourite band and not me?’ There was some suspicion toward me initially, and I didn’t want to be blamed for some new element introduced—some guitar sound that wasn’t characteristic of the band. I didn’t want people to say, ‘This guy just ruined my favourite band.’ So I didn’t take too many chances on In Mind, but my guitar approach was much more deliberate on this album. I had more time to think out my solos. I was in an environment I felt really comfortable with.”

That environment, friendly yet philosophical, was fostered by McMahon, who has known many of the members of Real Estate since their teenage years. But McMahon was still an unlikely choice for a band hesitant to repeat themselves. Their record label, for one, was afraid everyone would be too comfortable. But the opposite happened. When Courtney reconnected with McMahon to record some songs for a friend’s movie, he realized they’d both wound up in a headspace of creative self-doubt—leading to lengthy conversations about career goals and their place in an erratic industry. It was the perfect time to reconvene with Real Estate—the familiarity of working with an old friend, away from the stress and clinical atmosphere of a top-dollar studio, gave them the confidence to branch out of their comfort zone.

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“One thing I remember him doing is asking us why we were doing things,” says Bleeker. “Not in a negative way but just like, ‘Why are you playing the bass like that?’ He was like, ‘If you have an answer for me, that is satisfactory. I’m not making a judgment call on whether that’s good or bad.’ I realize now that five albums deep, you tend to be like, ‘This is what we do.’”

“Obviously our lineup has changed a few times, but we became a 10-year-old band two years ago, and this is our fifth record, so we don’t want to start going through the motions,” adds Courtney. “The idea was to question every decision we were making as we were doing it, which was also something really encouraged by Kevin. The record was as important to him as it was to us, and he was really invested in it both in terms of his career and since we are friends. It’s been a collaboration with every producer we’ve worked with, but this was deeper in some way.”

McMahon was crucial in urging the band to embrace their new sounds and sound-makers—one of many factors that led to the album’s long arc.

“We made a conscious decision to work with outside musicians for the first time,” Courtney says. “That was something Kevin encouraged us to do—maybe to make it feel fresh. In the past, we’ve been really [hesitant] to do that. I’ve always looked at this band as four or five people and whoever we’re working with as a producer at any given point, and that’s it. Whatever sounds were on the record were made by us, and I’ve become very protective of that. I was [scared of what would happen] if someone else came in and we didn’t like it. You don’t trust anyone to tamper with your sound. But I’m really glad we did. We were pushing ourselves to try new things, trying to be more thoughtful about the parts we’re playing.”

“We got to some places that were uncomfortable and scary,” adds Bleeker. “Julian’s song is one of my favorites and a standout because it’s by a songwriter who’s never written for Real Estate before and has a different sensibility. I remember being psyched on the song when we were recording it, but I also thought, ‘How are our fans gonna take this? It doesn’t sound like Real Estate.’ You have these weird little neuroses that build up and you have to push through.”

The sessions were revelatory. They recorded enough material for a double album, though they decided to table some of the recordings—including the recent, jam-heavy live favourite “Half a Human,” which they hope to revisit down the line. (“I’m the resident jamband lover of the band,” Bleeker says, breaking down the track.) Despite the productivity, the length of their process eventually started to wear on Courtney, as deadline after deadline slipped between their fingers.

“I did get frustrated a few times because I wanted it to be done,” he says. “I kept setting these arbitrary [timelines] for myself, ‘We’ll get this record done by June and get it out by October.’ Then, when we realized that wasn’t going to happen, we said, ‘We’ll get it done by October and get it out early next year.’ But, these deadlines meant nothing. Maybe I was just excited to have the record come out. Then it was like, ‘This record has to be done within the calendar year of 2018.’ And then, January comes around and we’re still recording strings and stuff. I kept having to be told to just relax. Alex and Kevin kept being like, ‘Why do you need to have this record done? Really ask yourself that question—there’s no reason to have this record come out at any given point.’

“Making a record becomes stressful because the band is pretty off the radar,” he adds. “We were touring a little bit, but we didn’t have anything new coming out, so people stopped talking about us. You feel like, every day that goes by, fewer people are going to care when the record actually does come out. I’ve felt that way with every record after our first one, and I’ve always been surprised that [fans] end up caring, no matter how long it takes.”

More crucially, Real Estate still care about Real Estate. Recording The Main Thing reinforced their reasons for making music in the first place.

“[That’s] part of the reason we ended up working so hard and for so long,” Courtney says. “It felt a little more important this time around. We really felt like it was a milestone record for us. If we’re gonna do it, we should try to make it the best thing we’ve ever made.”

Real Estate – from ‘The Main Thing’, out now on Domino Record Co.

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October 18th 2011, New Jersey’s Real Estate released “Days”, their second album and first for Domino. A coming of age moment for childhood friends Martin Courtney (Guitar and Vocals), Matt Mondanile (Guitar) and Alex Bleeker (Bass), “Days” was recorded over the course of five patient months in a remote New Paltz, NY barn-cum-studio with the help of Kevin McMahon (Titus Andronicus, The Walkmen).

A gorgeous suite of guitar-pop songs, Days is a testament to the fact that the sonic formula Real Estate developed and shared with their debut album (Real Estate, Woodsist 2009) heralded the arrival of a new, genuine and enduring group of voices in American independent music. Days sees the band tighten and refine their brand of timeless, melodic and genuine music- consolidating the breezy sketches of their earlier work into considered, graceful pop songs.

The songs are built around deceptively simple, cyclical riffs; caressed and performed with a rhythm and restraint that is atypical for a band Real Estate’s age. The instruments swim together, anchored down by Bleeker’s firm Lesh-esque bass, ebbing and flowing, occasionally enriched with flourishes of country piano, soft synths and slide guitar. Several songs, like the album’s rousing first single “It’s Real” were written by Courtney in the way he wrote some of his first songs  more


Originally released October 17th, 2011

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Real Estate return with ‘The Main Thing’ on Domino Recording Company.
Indie exclusive edition with limited deluxe tip on gatefold sleeve. Frontman Martin Courtney says the track is “an inspiration In a press release, Real Estate’s Martin Courtney explained:

“The Main Thing” is my attempt at writing an inspirational anthem for anyone who’s ever been in an existential crisis… specifically, me.

I was asking myself a lot of uncomfortable questions throughout the process of making this album. Wondering if being an artist is irresponsible or selfish, particularly with the world in the state that it’s in, particularly as a parent of young kids. This was the last song I wrote for this album, and I think it kind of distills where I found myself at the end of what turned out to be a long and extremely rewarding process: psyched on the power of music, for real!

The lyrics in this song are sort of tongue in cheek, but the sentiment is very real. Basically… when life gets tough, when the stresses start piling up, when you start second guessing every decision you’ve made, what do you do? You double down on the thing that makes you happy, the thing that feeds your soul.

At Long Last ! We can finally share our new single “Paper Cup” with you. It’s the second song on our new album, ‘The Main Thing’ which comes out on February 28th, The Main Thing is Real Estate’s follow-up to 2017’s In Mind. The band heads out on tour in support of The Main Thing in April.

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Indie-rock quintet Real Estate have announced their first new album since 2017’s In Mind, previewing their fifth LP The Main Thing with the track “Paper Cup,” is a danceable, strings-accented search for purpose that features background vocals from Sylvan Esso’s Amelia Meath—the 13-track album, first teased a year ago, is Real Estate’s first time recruiting outside instrumentalists and special guests like Meath.

Real Estate – “Paper Cup”, from ‘The Main Thing’, out February 28th on Domino Record Co.


Ducktails is the one-man psychedelic pop project of Matthew Mondanile, guitarist for New Jersey’s Real Estate and, more importantly, a proud son of the mid-1980s. At 22 years old, he started releasing his own cassette albums. His first 7-inch came out on Breaking World Records and was followed by a string of LPs, cassettes, and CDs on independent labels like Not Not Fun, Olde English Spelling Bee, Release the Bats, Arbor and Goaty Tapes.


Now surrounded by a crew of young songwriters, Mondanile spends his time either touring or recording in the basement of his parent’s house. Categorized by David Keenan as part of the ‘hypnagogic pop’ movement, Ducktails realizes a shared cultural memory and nostalgia through various genres. “Ducktails III: Arcade Dynamics” is Mondanile’s third official full-length LP and first for Woodsist Records.

DUCKTAILS III: Arcade Dynamics – CD / LP


In Mind

Never the most hell-raising or fiercely innovative band on the scene, Real Estate nonetheless have made a name for themselves for simply sticking to one paradigm – that of bright and deliriously melodic indie-rock – and doing it with so much charm and skill that it would be churlish to criticise. Well hold the front page, they’re back again, and still doing that same old fabulous thing, with guitars never more rich in their jangly filigree nor harmonies more heavenly. Drifting along a continuum that starts with Big Star and takes in Teenage Fanclub and R.E.M. on the way, ‘In Mind’ remains the sonic equivalent of a cool drink of water on a sunny day.

Real Estate – In Mind. The new album, out March 17th.

Real Estate are releasing a new album , “In Mind” on March 17th via Domino Recordings . Previously the band shared the video for its first single and opening track, “Darling” Now the band has shared a funny little tutorial video to its webpage where they teach you how to play In Mind’s next single, “Stained Glass.” The catch is that there’s no sound to the video, the band want you to come up with your own version based on the video’s two guitar parts and keyboard notes. The band writes on Facebook: “We’d be psyched to hear your take, your version post it with #StainedGlassTutorial. Don’t worry about getting it right… make it your own.” The full song will be released next week. Check out the video below, followed by the band’s upcoming tour dates.

In Mind is the band’s first album since guitarist Matt Mondanile left the lineup to focus on his project Ducktails.  Julian Lynch (also from the band’s home state of New Jersey and a well-regarded solo artist in his own right) replaced him on tour and this is Real Estate’s first album with Lynch as a new full time member. The album is the follow-up to 2014’s widely acclaimed Atlas and was recorded in Los Angeles with producer Cole M.G.N. (Beck, Julia Holter).

Real Estate’s Martin Courtney also released a solo album in 2015, Many Moons.

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Moon Duo –   Occult Architecture Vol 1,

Meaning all things magick and supernatural, the root of the word occult is that which is hidden, concealed, beyond the limits of our minds. If this is occult, then the Occult Architecture of Moon Duo’s fourth album – a psychedelic opus in two separate volumes released in 2017 – is an intricately woven hymn to the invisible structures found in the cycle of seasons and the journey of day into night, dark into light.

Offering a cosmic glimpse into the hidden patterning embedded in everything, Occult Architecture reflects the harmonious duality of these light and dark energies through the Chinese theory of Yin and Yang.

In Chinese, Yin means “the shady side of the hill” and is associated with the feminine, darkness, night, earth. Following this logic, Vol. 1 embraces and embodies Moon Duo’s darker qualities — released appropriately on February 3rd, in the heart of winter in the Northern Hemisphere.

According to guitarist Ripley Johnson, “the concept of the dark/light, two-part album came as we were recording and mixing the songs, beginning in the dead of winter and continuing into the rebirth and blossoming of the spring. There’s something really powerful about the changing of the seasons in the Northwest, the physical and psychic impact it has on you, especially after we spent so many years in the seasonal void of California. I became interested in gnostic and hermetic literature around that time, especially the relationship between music and occult qualities and that fed into the whole vibe.”

Adds keyboardist Sanae Yamada, “the two parts are also intended to represent inverted components of a singular entity, like two faces on the same head which stare always in opposite directions but are inextricably driven by the same brain.”

Vol. 1 was mixed in Berlin by the band’s longtime collaborator Jonas Verwijnen.

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Real Estate – In Mind

On In Mind, the fourth full-length record from Real Estate, the band fine-tunes the winsome songwriting and profound earnestness that made previous albums – 2009’s Real Estate, 2011’s Days, and 2014’s Atlas – so beloved. Recorded in Los Angeles with producer Cole M. Greif-Neill (Julia Holter, Beck), In Mind delivers the same kind of warmth and soft-focus narratives that one has come to expect from the band – pastoral guitars, elegantly deployed arrangements, a sort of mindful melancholy – but there is also a newly adventurous sonic edge to the proceedings.

It offers a mild shifting of the gears, positing a band engaged in the push/pull of burgeoning adulthood. Reflecting a change in lineup, changes in geography, and a general desire to move forward without looking back, the record casts the band in a new light – one that replaces the wistful ennui of teenage suburbia with an equally complicated adult version.

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Surfer Blood –  Snowdonia

Surfer Blood are one of the best young indie-rock bands around, and their fourth album, Snowdonia, is their most ambitious effort yet. Overcoming adversity, the band has artistically grown and thrived. Following the departure of bassist Kevin Williams and guitarist Thomas Fekete (tragically lost to cancer in May), singer/guitarist John Paul Pitts and drummer Tyler Schwarz have rebuilt a talented lineup with guitarist Michael McCleary and bassist Lindsey Mills, all four alumni of the same high school in West Palm Beach, Florida.

Pitts wrote specifically with the new band’s talents in mind: “When I was writing I was thinking more about background vocals and harmonies. Lindsey and Michael are great singers, and I really wanted that to show in the songs. There are layers of vocals on almost every track, and the call-and-response parts between Lindsey and I are something totally new.” Along with plenty of Surfer Blood’s signature hooks, the band concocted some epic and more complex songs with enormous attention to sonic detail. Pitts wrote and mixed the album alone, for the first time since their debut Astro Coast. The immediacy is intoxicating and the musical and lyrical results are fantastic. Surfer Blood get better and better with each album, and we’re sure they’ll be making great records for years to come

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Weyes Blood and Ariel Pink  –  Myths 002

Myths 002 brings together Natalie Mering – aka Weyes Blood  and Ariel Rosenberg – aka Ariel Pink – for the second installment in Mexican Summer’s collaboration series. Composed and captured in Marfa, Texas during the annual Myths music and arts festival, Mering and Rosenberg inspire each other’s inner pop madrigals to mythological heights for Myths 002. In the middle of March 2016, over a week-long musical residency in the desert, two weird planets went conjunct. Both bore a bright colour palette: Ariel Rosenberg (aka Ariel Pink), an underground icon known for his stylized, subversive pop, and Natalie Mering (aka Weyes Blood), bold bringer of a future cosmic folk realm. They composed and captured the EP, Myths 002. As West Coast singer-songwriters with a shared sensibility for mood, Natalie and Ariel have been collaborating artists, mutual admirers, and friends for years. Mering appeared as guest vocalist on Pink’s 2013 album Mature Themes, Pink produced the infectious Drugdealer song Suddenly featuring Mering. Mering’s third album, Front Row Seat To Earth, was released in October 2016 on Mexican Summer. The atmosphere and auras of these two pop artists assemble as new hues on Myths 002, their distinct voices inexplicably, effortlessly folding into harmony. The four songs capture musicians at play – speak-talking dramatic interludes, twisting up songs strangely before releasing them assuredly in New Romantic resolves. During the annual Marfa Myths festival, Mexican Summer and Ballroom Marfa brought these two musicians together for the second in a record series that promotes collaboration between artists within the label crew and kindred musical spirits from outside the catalog. Marfa is small town known for its remote desert locale in Texas, its arts community, and its strange heavenly lights.

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Ron Gallo  –  Heavy Meta

Heavy Meta is 11 tracks of lyrical confrontation and laughter for cynics laid down roughly on a bed of fuzz, chaotic structures and primal sounds evoked from a red Fender jaguar electric guitar – there is bass, there are drums and not much else besides the occasional icing (no artificial colours or dyes).

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Communions – Blue

Communions are a four-piece from Copenhagen, made up of brothers Martin and Mads Rehof, Jacob van Deurs Formann and Frederik Lind Köppen.

‘Blue’ is Communions’ debut album, following a series of singles over the last two years. ‘Blue’ makes the most of everywhere Communions have been. Through all of this the stakes have changed but the sensitivity and craft with which the band takes risks has bloomed. An eloquence now shines through and you can take it or leave it.

Discarding some of the moodiness found in their previous recordings, ‘Blue’ tells us what was always natural to Communions. It’s about love and taking chances. It’s about trying something and it still doesn’t matter if there’s apprehension.

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The Besnard Lakes  –  Are the Divine Wind

Early in 2016, The Besnard Lakes released their finest album to date, the magisterial A Coliseum Complex Museum and toured worldwide throughout the following months. Jace Lasek and Olga Goreas, the couple at the heart of the band, had spent the previous summer on their annual retreat to their namesake Besnard Lake. In a place with so much personal significance, they spent time writing the music that was to form the album. Culling the tracks down to an album proved a difficult task and inevitably there were tracks they loved that just didn’t quite fit with the overall album. So it is with delight that almost exactly a year on, the band are able to release this 12″ of two brand new, exclusive tracks written and recorded at the same time as the album. Laura Lee is a sibling track to the album’s illustrious first single, The Golden Lion – spacious reverb-y drums echo around an almost sci-fi vocal line sung by Olga Goreas. Meanwhile, the title track The Divine Wind is the Besnard Lakes at their expansive, psychedelic best: a sustained keyboard building through to a bombastic coda, complete with Lasek’s unmistakable falsetto. If you ever needed a reminder of just how unique, beautiful and far-reaching this band is, then The Besnard Lakes Are the Divine Wind delivers.

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Mumford and Sons  –  Dust and Thunder

Chronicling the first meeting of South Africa with its favourite British band, Mumford and Sons, award-winning director Dick Carruthers gets to the very heart of what makes Mumford and Sons such a special act. Filmed live against the beautiful Pretorian outback, the band performs their most recent material and classic hits in front of an exhilarated crowd. Filmed in stunning 4K and mixed in 5.1 surround sound.

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On the new record, the band fine-tunes the winsome songwriting and profound earnestness that made previous albums—2009’s Real Estate, 2011’s Days, and 2014’s Atlas—so beloved, and pushes their songs in a variety of compelling new directions. Written primarily by guitarist and vocalist Martin Courtney at his home in Beacon—a quiet town in upstate New York—In Mind offers a shifting of the gears, positing a band engaged in the push/pull of burgeoning adulthood. Reflecting a change in lineup, changes in geography, and a general desire to move forward without looking back, the record casts the band in a new light—one that replaces the wistful ennui of teenage suburbia with an equally complicated adult version. The record not only showcases some of the band’s most sublime arrangements to date, it also presents a leap forward in terms of production, with the band utilizing the studio as a tool to broaden the sonic landscape of their music to stunning effect.


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Real Estate have announced the release of new album In Mind coming out on the 17th of March via Domino. The news has been accompanied by the release of the new single and video ‘Darling’ which sees the band demonstrating their limited equestrianism skills and new line up including new guitarist Julian Lynch.

After a solo release from Martin Courtney and the departure of Matthew Mondanile, New Jersey indie rock treasures Real Estate have pulled together their fourth full-length, their first in 3 years.  Known for their sunny indie pop style, Real Estate make technical musicianship look easy.  From hazy 70s AM radio harmonies to jangly Byrds-era guitar tones, 2017 will see 11 new songs from the fellas,

The release with be the band’s first since the departure of Matt Mondanile last year to focus on his band Ducktails and Martin Courtney’s 2015 solo album Many Moons. The band have recently finished a short US tour but are expected to release new dates in support of the new album.

“Darling” from Real Estate’s album, In Mind, out March 17, 2017 on Domino Records.

Watch the new video for ‘Darling’ below:

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