Posts Tagged ‘Slotface’

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From performing for inmates in a Norwegian jail chapel to hitting up the Art Rock festival stage straight from a hospital ward, Sløtface don’t do things by halves. Informed, intellectual, badass and upfront, the young band from Norway’s Stavanger have not only made waves thanks to their pop punk hooks and sharp, relatable lyrics, but also their steadfast belief that a band can do more than just make music.

That approach has already afforded them some rare experiences, like, as lead singer and songwriter Haley Shea puts it, their own version of Johnny Cash’s Folsom Prison performance. “That was our reference point,” she says.

“We did a government-funded tour of these Norwegian high schools that have this cultural program and the inmates at this prison receive the same high school education, so obviously they have the rights to the same cultural exchange program. We played in their chapel in the prison to like 30 inmates who were between 18 and 60 years old. We had no idea what to expect, but it was really interesting. It was a really special experience.”

Intimate performances have been the group’s preferred gig of choice since they spent their formative years kicking around Stavanger, cutting their teeth as Slutface (before social media censorship prompted a slight name change). An obsession with classic high school movies meant it was a natural step for the band to smash out sets at parties whenever possible, and they came to love the tight confines of Norwegian living rooms.

But regardless where in the world they play, Shea is just happy if they reach like-minded people, bring them together and – most importantly – entertain them.

“Obviously it’s really fun to play big stages with, you know, thousands of people, but we still enjoy a really sweaty atmosphere, whether it’s at a tent at a festival or club, just because you’re closer to people and you can feel their energy levels.

“But then we did Sløtface karaoke,” she laughs, “as the closing slot at this big Norwegian festival where we were the band and the audience members came up and sang. We had like five or six people up onstage at all times and that felt like it was a giant house party – one with like 2,000 people.”

She pauses for a moment; reflects. “When we go to a show, we want to be entertained, have a really good time and make friends with other fans, so we hope that that’s what people get out of listening to our band and coming to our shows. We are kind of being inspired by each other, and by all of the cool things that young people all over the world are doing to make the world a better place.”

This month Shea, along with guitarist Tor-Arne Vikingstad, bassist Lasse Lokøy and drummer Halvard Skeie Wiencke, get to broaden their reach even further as they head to all corners of the globe, playing their first shows on our soil just before the release of their debut album Try Not To Freak Out.

The anticipation is high on both sides. “We’re really excited. It’s also the farthest away from home we’ve ever played; it’s like the exact opposite of the world from where we live.”

When it comes to their live show set-up, Shea and her bandmates embrace their punk sensibilities, and they like to use gigs as a chance to let loose. “We’ve always tried to lean as close towards a punk live show and a punk aesthetic as we can,” she says.

“People use their stage personas for different things, but they also provide a chance to release a lot of anger and frustration. That’s kind of what I use those stage performances for: to be like the gassiest, angriest version of myself; the person that I can’t really be in real life because I want people to like me too much. Onstage it doesn’t really matter if you piss a few people off.”

Try Not To Freak Out is a pure, undiluted expression of the band’s intentions, an album that melds the Scandinavian hard rock and metal scene’s trademark energy and intensity with the pop sensibility Sweden has been championing over the last few decades.

With each member bringing demos to jamming sessions, the group built the record from cherry-picked parts, trying a swathe of different directions before Shea began carving out the lyrics. Indeed, it’s their differing musical tastes that she attributes to the idiosyncrasies on the record, although at the end of the day, Freak Out takes the nostalgic, familiar hum of American high school movies and makes it the band’s own.

That’s not even to mention the lyrics, which seem more nuanced and referential than those that carried Empire Records, their 2016 EP. Lead single and feminist pop opener ‘Magazine’ makes clear Shea’s intentions as a songwriter from the very outset.

“Patti Smith would never put up with this shit,” she snarls, the song going on to challenge the patriarchy while both addressing and rubbishing societal pressures. There is a reason, after all, Shea has been called the heir apparent to musicians like Kathleen Hanna and PIL-era Johnny Rotten.

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There are times when the record slows – when Shea takes the time to address her intense, often anxious thought patterns, as on mid-record stand out ‘Night Guilt’.

Part of the reason that Shea can talk about anxiety so honestly is that she still finds herself hounded by it. Some might think that success and acclaim have a calming effect on shattered nerves, but often the opposite is the case, and Shea still has to fight hard to conquer her negative thought spirals.

“Some days it’s really, really tough,” she says. “When you work really hard on something, you want it to be the best that it can be, and you get that sort of fear about not quite meeting expectations that you have for yourself.

“So there were days when I was really struggling with anxiety and then had to sing a song about anxiety. That was a little bit tough.”

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Hope Sandoval and The Warm Inventions – Son Of A Lady

Hope Sandoval And The Warm Inventions are Mazzy Star’s Hope Sandoval and My Bloody Valentine’s Colm Ó Cíosóig. This limited 10″ vinyl features new tracks alongside recordings from their 2016 critically acclaimed LP ‘Until The Hunter’ sessions.

The release includes an acoustic version of their album favourite ‘Let Me Get There’ featuring Kurt Vile as well as three new tracks Sleep, Son Of A Lady and Antiquity – the latter track being exclusive to the vinyl format.

Until The Hunter‘ also featured guest performances from longtime friends and collaborators Dirt Blue Gene, Mariee Sioux, Kurt Vile and the ‘Artist General’ Michael Masley.

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Siv Jakobsen  –  The Nordic Mellow

Having impressed with single Like I Used To earlier in the year, Norwegian songwriter Siv Jakobsen is now making waves with her debut album. Produced by Matt Ingram (Laura Marling, The Staves) at Urchin Studios in London, The Nordic Mellow is a brooding and intense work, loaded with the intimacy of her delicate voice, acoustic guitar, strings and unfiltered lyrics, that calls to mind the earlier works of Ane Brun and Laura Marling. It follows her seven-track EP from 2015, The Lingering.

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Julia Jacklin  –  Eastwick / Cold Caller

Limited 7″ on Light Blue Vinyl. Julia Jacklin releases a new 7″ released via Transgressive Records. The first single Eastwick is a captivating, slow building track, inspired by a night in front of the TV watching Dancing With The Stars. It’s a bittersweet and mourning pop nugget.

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Slotface – Try Not To Freak Out

Following 2 critically acclaimed digital-only EP’s, Slotface return with their debut album Try Not To Freak Out recorded with producer Dan Austin (Pixies, Doves, Queens Of The Stone Age). Try Not To Freak Out is nothing short of a massive rock record – one that weds the pop nous of Robyn and Blondie to the exuberant, freewheeling attack of bands like Joyce Manor and Little Big League.

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Flowers  –  Say 123

Limited Edition Red Vinyl 7” (300 copies). London trio Flowers return with a new single via Fortuna Pop!, the last to be released on the label, singer Rachel Kenedy’s ethereal vocals and Sam Ayres textured guitar are, as always, backed by the powerful, metronomic beat of drummer Jordan Hockley. Rachel told us a little bit about the genesis of the recordings: “Sean from Fortuna Pop! is sadly moving on to greener pastures in Japan and ending the label, but he asked us to do one last single for him, as we owed one for his Jukebox 45s Singles Club. We don’t know where we’ll end up next after Fortuna Pop!, so rather than looking forwards for this single we decided to be nostalgic and do something that, for us at least, is classic. For the three of us in the band, “Flowers” has always meant our live performances and our home demos, of which Sam and I have produced hundreds and hundreds (we write them every day), and most of which will probably never be heard by anyone except us, our dog and our long-suffering neighbours. Say 123 is one of these home recordings. The best bit is at the end. The b-side, Rhodes, was recorded at Big Jelly Studios, where we’d gone to record an EP. We realised after recording the songs we’d brought with us that we’d made a mistake, as the songs weren’t quite right or ready yet. But while we were there, we fell in love with the sound of the Fender Rhodes in the corner of the studio. With about half an hour left before the van arrived to take us back to London, Sam quickly played me some chords on guitar and hummed a melody for a verse. I got out a pencil and paper and somehow by the time all our gear was loaded into the van we’d written and recorded this song (we did it live and used one take).”

 

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Susanne Sundfor  – Music For People In Trouble

Acclaimed Norwegian singer-songwriter and producer Susanne Sundfor releases her highly anticipated new album Music For People In Trouble, through Bella Union. Sundfor’s most poignant and personal album to date, Music For People In Trouble marks her out as one of the most compelling artists in the world. The album was inspired by a journey Susanne made in a bid to re-connect, travelling across continents to contrary environments and politically contrasting worlds from North Korea to the Amazon jungle.

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Courtney Marie Andrews  –  Sea Town / Near You

Courtney Marie Andrews brings you the first new recordings since her highly successful album Honest Life. With an album already tipped for a place in everyone’s end of year lists under her belt, Courtney Marie Andrews wastes no time in following it up with two brand new songs. Songs written on the road about being on the road – “I’ve probably driven north up I-5 towards Seattle five hundred times by now. I wanted to write a song that documented that feeling I get when I’m driving back up north after many months spent on the road. So much of my life has been spent driving that portion of highway, and I wanted to sonically capture the feeling I get when I’m headed north for that sweet Sea Town.” These two songs are exclusive to this release.

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Ariel Pink –  Dedicated To Bobby Jameson

Los Angeles’s prodigal songwriting son Ariel Pink shares his eleventh studio album, “Dedicated to Bobby Jameson”. The album’s title makes a direct and heartfelt reference to a real-life L.A. musician, long presumed dead, who resurfaced online in 2007 after 35 reclusive years to pen his autobiography and tragic life story in a series of blogs and YouTube tirades. Standout tracks from Dedicated to Bobby Jameson include Feels Like Heaven, a lovelorn insta-classic paying tribute to the promise of romance, Another Weekend, which encapsulates the lingering euphoria of a regrettable weekend over the edge, “Dedicated to Bobby Jameson,” a rah-rah psych romp paying homage to L.A.’s punk history, and Time to Live, an ironic anti-suicide anthem that promotes survival as a form of resistance before devolving into a grungy, Video Killed the Radio Star-style breakdown that supposes life and death as being more or less the same fate and embraces the immortal anarchy of a rock song as an alternative to the prison of reality. Alternately contained and sprawling, Dedicated to Bobby Jameson is a shimmering pop odyssey that represents more astonishing peaks and menacing valleys in the career of a man who, through sheer originality and nerve, has become an American rock and roll institution. The album marks his first full-length release with the Brooklyn-based label Mexican Summer.

The Doors   –  The Singles

Singles compiles all 20 of the singles from The Doors’ official discography. This not only includes every A and B-side from their core studio albums, but several albums recorded and released after the passing of frontman Jim Morrison, including Other Voices (1971) and Full Circle (1972) plus An American Prayer (the divisive 1978 album which put Morrison’s poetry recordings to music) and the 1983 live set Alive, She Cried. All tracks are sourced from the original analog single masters and remastered by the band’s engineer Bruce Botnick. That means all the original, unique and rare single mixes and edits will appear in this set, many for the first time on CD. The pot is sweetened even further with the presence of mono radio versions of “Hello, I Love You,” “Touch Me,” “Wishful Sinful” and “Tell All the People,” entirely unreleased since their appearance on promotional singles.  Two deluxe editions will also be available. One adds to the 2CD set a Blu-ray Audio disc of 1973’s quadraphonic The Best of The Doors. A vinyl version, limited to 10,000 copies and available through the band’s official web store, features all 20 45RPM singles in replicas of their original sleeves (with an enclosed poster featuring all those sleeves as well).

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Deer Tick  –  Vol 1

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Deer Tick  –  Vol 2

Deer Tick proves with their two new simultaneously released albums titled, Deer Tick Vol. 1 and Deer Tick Vol. 2 that their punk-roots rock have only gotten better with age since their last LP. The twin albums complement one another but also stand independently. Vol. 1 is classic Deer Tick: folk-rooted acoustic guitars and soft piano cushion out-front vocals. Vol. 2 commits wholly to the band’s longtime garage-rock flirtations for a triumphant foray into punk. McCauley sees the two records as a natural progression as he’s always had one foot in each door. It’s been four years since Deer Tick’s last release, Negativity. In the meantime, Deer Tick – an all-consuming band known for constant touring and steady artist output – took a backseat. The band – made up of McCauley, guitarist Ian O’Neil, drummer Dennis Ryan, and bassist Christopher Ryan pursued solo and worked on others’ projects. Personal lives also underwent massive changes, especially for McCauley, who married Vanessa Carlton and became a dad. When the band came back together for their beloved after-party shows at the Newport Folk Festival, the reunion reminded them what they missed about creating with one another so they started making plans to go in the studio.

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Steve Miller Band  – Ultimate Hits

Steve Miller Band’s Ultimate Hits, available as standard (1CD/2LP) or deluxe (2CD/4LP) packages, features the many AOR-oriented hits that made Miller’s first compilation, Greatest Hits ’74-’78, one of the highest-selling albums in America, including “The Joker,” “Rock’n Me,” “Fly Like An Eagle” and “Jungle Love,” plus later hits like “Abracadabra” and “I Want to Make the World Turn Around.”  Rarities abound on both sets: the standard version includes unreleased live versions of “Living In The USA” and “Space Cowboy” plus a solo rendition of “Seasons” from Steve Miller Band’s 1969 album Brave New World. The deluxe edition features 40 tracks total, including all those rarities plus unreleased live versions of “Gangster of Love” and “Kow Kow Calculator,” a demo of “Take the Money and Run” and unheard studio versions of “Baby’s Callin’ Me Home” and “In the Midnight Hour,” for a total of eight bonus tracks in all

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Shawn Colvin – A Few Small Repairs – 20th Anniversary

Columbia / Legacy Recordings celebrate the 20th anniversary of Shawn Colvin’s masterpiece, A Few Small Repairs, with the release of a newly expanded edition of the album. A Few Small Repairs includes the Grammy Award-winning Sunny Came Home plus chart-toppers You and The Mona Lisa and Nothin’ On Me (the theme song for the NBC sitcom Suddenly Susan). A Few Small Repairs reunited her with producer / cowriter John Leventhal (who’d helmed Steady On) and proved a watershed in the artist’s career and musical evolution. While her previous albums were founded mainly upon first-person confessionals, A Few Small Repairs saw Colvin foray into third-person storytelling with a powerful impact. Drawing from the downs and ups of her own life experiences, Shawn Colvin crafted an album of emotional complexity, nuance and revelation, combining images of traditional femininity and domesticity–wedding gowns, kitchens, white picket fences–with images of tools as metaphors for reparation. The album paints a searingly honest portrait of the scope of human relationships, from the acrimonious Get Out of This House to the wistful The Facts About Jimmy, a duet with Lyle Lovett, to the quiet resignation of Wichita Skyline to Sunny’s ultimate act of revenge in Sunny Came Home. With brutal honesty, Colvin examines the harrowing potential for emotional damage to the redemptive power of subsequent emotional redemption. This 20th anniversary edition is a newly remastered and expanded edition, featuring the 12 track original album (remastered) plus 7 rare and unreleased bonus songs. Enhanced artwork, includes newly written liner notes by Shawn Colvin and producer John Leventhal, plus recently discovered archival photographs.

Rusty Young  – Waitin’ for the Sun

Poco’s Rusty Young has a new solo album featuring ten original compositions inspired by artists and friends such as Neil Young, Stephen Stills, and America’s Gerry Beckley.  Waitin’ for the Sun was recorded at Cash Cabin in Hendersonville, Tennessee.

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Linda Ronstadt – Simple Dreams 40th Anniversary Edition

40 years ago, Linda Ronstadt released one of the most successful albums of her ground breaking career in 1977 with Simple Dreams. The new expanded version features remastered audio plus a trio of live songs taken from a 1980 concert performance. Simple Dreams spawned two massive hits thanks to Ronstadt’s cover of Buddy Holly’s It’s So Easy and Roy Orbison’s Blue Bayou earning Ronstadt Grammy nominations for both Record of the Year and also Best Pop Vocal Performance Female. The album also won the Grammy for Best Recording Package. Along with major hits, Simple Dreams also featured several tracks that would emerge as fan favourites, like the singer’s take on Warren Zevon’s Poor Poor Pitiful Me and the Rolling Stones’ Tumbling Dice. Country superstar Dolly Parton joined Ronstadt on the traditional ballad I Never Will Marry. Almost a decade later, Ronstadt, Parton, and Emmylou Harris would release their first Trio album. In addition to newly remastered sound, the Expanded Edition of Simple Dreams also includes bonus live recordings of It’s So Easy, Poor Poor Pitiful Me, and Blue Bayou. All three are taken from a concert recording that originally aired on HBO in 1980 and are available here for the first time as standalone audio tracks.

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Sløtface are a quartet consisting of vocalist Haley Shea, guitarist Tor-Arne Vikingstad, drummer Halvard Skeie Wiencke and bassist Lasse LokøySløtface sound is short, sharp blasts of pop-punk; rapid drum beats fused with chiming guitars. We’re instantly taken back to the early-noughties, indie nightcluubs where Rilo Kiley and We Are Scientists filled the floors. Sløtface formed back in 2012, and despite limited releases have slowly developed a reputation as a hardworking, hard touring band. They released their debut EP, We’re Just Ok, back in 2014, and have recently released the follow-up, Empire Records, through Norwegian label, Propeller Recordings. Their debut album should be due out in 2017.

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Sløtface are from the Norwegian city of Stavanger. Along with the neighbouring city of Sandnes, Stavanger forms a conurbation of over 210,000 making it Norway’s third largest urban area, or as they’re known in Norway, tettsed, literally meaning dense place. One of Norway’s oldest cities,

When it comes to their live show set-up, Shea and her bandmates embrace their punk sensibilities, and they like to use gigs as a chance to let loose. “We’ve always tried to lean as close towards a punk live show and a punk aesthetic as we can,” she says. With each member bringing demos to jamming sessions, the group built the record from cherry-picked parts, trying a swathe of different directions before Shea began carving out the lyrics. Indeed, it’s their differing musical tastes that she attributes to the idiosyncrasies on the record, although at the end of the day, Freak Out takes the nostalgic, familiar hum of American high school movies and makes it the band’s own.

Sløtface’s debut album Try Not To Freak Out is available now on vinyl, CD and digital formats via Caroline Australia, Nancy Drew is the Second single from Sløtface’s debut album ‘Try Not To Freak Out’. Available order now at: http://www.slotface.no

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Like A Version is a segment on Australian radio station triple j. Every Friday morning a musician or band comes into the studio to play one of their own songs and a cover of a song they love.

Norway’s Sløtface have been kicking goals all over the place lately. Fresh from performing a number of killer gigs on their debut tour, the group found time to drop into triple j’s studios to deliver an absolutely awesome cover of Lorde’s ‘Supercut’. Ducking into the triple j studios to help promote their debut record, Try Not To Freak Out, which is released next week, the Norwegians first delivered a blistering run-through of their track ‘Magazine’, before turning their attention to our Kiwi neighbours.

Stripping away the rippling synths, and layered vocals of Lorde’s original, Sløtface’s Haley Shea delivers the track’s lyrics with pure pop-punk conviction, while the rest of the group dutifully re-imagine the track with some typically brilliant punk-rock instrumental.

 

Of course, this isn’t the first time that Like A Version has delivered the goods this year, with Maggie Rogers recently giving us a sublime performance of The xx’s ‘Say Something Loving’, while Something For Kate’s Paul Dempsey dropped into the studios back in May for an astonishing cover of Middle Kids’ ‘Edge Of Town’.

Make sure you catch Sløtface soon while they were in the country, the group’s debut record, Try Not To Freak Out, is set for release on Friday, September 15th. So be sure to grab a copy and support some brilliant musicians doing what they love.

Try not to freak out, but what could be your new favourite band are releasing their debut album this September. Following a handful of EPs, four in their native Norway, two in the UK, Sløtface are finally about to make the step up into the big leagues.

“It’s time for it to come out now,” explains bassist Lasse Lokøy. “I feel like we dared to do a bit more than we’ve done before on this record. We have our first song that’s over five minutes, which feels like a big thing for us.”

“We moved back in with our parents for six months to write the album because we couldn’t afford to pay rent and just write every day,” continues vocalist Haley Shea. With the four-piece writing everything together, there’s a lot of back and forth over every movement. They spent a long time writing because they wanted thirty songs to play with. They ended up with 25, “which is a lot for us.” Hacking it down to ten brand new cuts saw the band get rid of songs they loved a lot, but just didn’t fit with the rest of the record.

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A big part of ‘Try Not To Freak Out’ is about dealing with anxiety. The record’s title is the band “telling ourselves not to freak out,” to not worry. “It’s a lot about the anxiety of such a big project and that thing a lot of people feel in their twenties where you don’t completely know what’s going on. You don’t have a plan, and you’re a little bit lost. Being back home makes me question ‘Am I doing things I thought I wanted to be doing? Is this how I wanted my life to go?’ A lot of those feelings came out on the record.” There’s also a tongue in cheek grin alongside it. “As if people would freak out because we’re releasing a record, it’s super cocky,” grins Haley. “We found it funny though,” adds drummer Halvard Skeie Wiencke.

The band’s debut is less plug in and play than everything that’s come before. They had time in the studio to redo bits they weren’t happy with, play with the song a little more and add extra textures. There’s apparently a little bit of everything, from trumpet and cello to one song where everything is completely live. “Even the vocal take is live in the same room,” explains Haley. “We got to do all the different things we like to do, [and so] the album has a lot of directions within it because we just wanted to write the ten best songs we could. We didn’t spend much time thinking about ‘Is going to be our pop punk record, or this is going to be our rock record?’ It has all the different sides to us.”

Lead single ‘Magazine’ was inspired by college as well as a long conversation that saw the band asking, “Can we actually do this? Can we write a four-chord song?” and realising, “this sounds like it should be in one of those high school movies, is that a good thing?” The answer is a resounding yes from us and the band alike. “A big part of the album was accepting that songs that are more popper than we’ve done before are okay. It doesn’t make us a lazy band to do poppier stuff; sometimes it’s just good.”

The songs might have a bit more fizz in their glass, but the lyrics aren’t holding anything back. “I wanted to tell all of the stories that your favourite indie rock bands that are all male have told, and been really good at telling,” starts Haley, referencing both Arctic Monkeys and Los Campesinos!. “They’re really good at telling specific stories about youth but from the male perspective. College rock has this bad rep for being this misogynistic genre, so we wanted to turn that on its head and tell those coming of age stories from the female perspective. Lyrically I hope that people think that things are relatable or hear things that have happened to them but we also wanted to show people that we’re a more versatile band than we may have got the chance to be in the past.”

“We enjoy being in the studio but the type of music we play, it’s supposed to be onstage,” adds Lasse. “It’s where we belong.”

Sløtface’s debut album ‘Try Not To Freak Out’ is out 15th September.

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Norwegian four-piece touting bruising rock with a bark that accurately prepares you for its bite. Following the break-out success of last year’s Empire Records EP, Norwegian pop-punkers Sløtface, are gearing up for a monumentous 2017. They’ve just added a huge October headline tour on top of a raft of festival slots and support dates with both Los Campesinos! and The Cribs. They’ve also got the small task of releasing their debut album, Try Not To Freak Out, which is will be out in September.

Why to get excited about them: Early single ‘Shave My Head’ is a brutal riposte to controlling partners and they’ve followed it up with an equally fiery ‘Empire Records’ EP. Exciting times for Scandinavia’s boldest.

Try Not To Freak Out is out September 15th on Propeller Records.

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Having been fans here of Norwegian indie rockers Slotface since we saw them at a 2014 festival , we’re delighted with the news that the foursome are finally releasing their debut album in September this year.

Haley Shea, Tor-Arne Vikingstad, Lasse Lokøy and Halvard Skeie Wiencke have got better with each release, with last year’s double apex of the Sponge State and Empire Records EPs being examples of how the band’s punk roots and pop nous have combined to greater and greater effect .

“Magazine”, the opening track from Try Not To Freak Out , hints that there’s still much more to come from the Bergen outfit.

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New single ’Magazine’ out now Debut album ‘Try Not To Freak Out’ out September 15th via Propeller Recordings

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Sløtface (yes, prounounced that way) has been through many “phases” as a band, and their next one is sure to be the biggest yet.

Four years ago, there was no Sløtface, just four teens looking to turn the Norwegian music industry on it’s head. Concerned with the progressive disappearance of rock and guitar in Norway’s pop music, as well as the restrictive point of views that were being represented, the band members were focused on changing that scene.

“We deserve to hear different identities.That’s owed to us,” said lead singer Haley Shea. “I write from a female perspective because I feel like women’s voices are underrepresented in general. Especially women angry about things. And I think it’s okay to be angry about things.” And thus the unabashedly unique pop-punk Sløtface was formed.

Their new track “Bright Lights,” proves they’re entering their prime. Think the Neighborhood meets your favorite pop-punk band from middle school—absolutely classic. Living up to its lyrics, the track “never feels the same anyway,” taking a classic song structure for a loop with a commanding bridge. The track itself was inspired by an overwhelming need to get away.

“Bright Lights’ is about escaping from things that are going on in your own head and in society in general by distracting yourself, especially from the minor and major personal issues we all have,” Shea explained. “It’s about a desire for escape, and a break from dealing with things that might seem too hard.”

With their forthcoming EP Empire Records EP will no doubt spark a riotous response from their already devoted fan base came out November 18th, it’s safe to say we’re soon going to be hearing a lot more about Sløtface. Nevertheless, we won’t help but giggle a little when we mention their name to everyone we know.

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Sløtface have  unveiled their new video for ‘Bright Lights’ – tackling the subject of the dangers that face young women walking home at night.

Taken from their acclaimed new EP ‘Empire Records’, the new video from the rising Norwegian punks seeks to raise awareness of the ‘everyday sexism’ that faces females at night time. “We wanted to show people all of the things women do to feel safer when they’re walking home at night alone,” singer Haley Shea  “We think it’s wrong that you should feel less safe being a woman on the streets, and worry that people don’t pay enough attention to it as an issue. It’s all about removing everyday sexism and making the world a safer place for everyone. We think awareness is a good place to start.”

“Maybe sometimes it feels like you’re putting someone on the spot when you’re asking them to have real opinions, which seems like a weird way to approach music in general but for our sake our whole thing is trying to write pop music that’s catchy enough but it’s actually about something important,” Shea told NME about the band’s approach. “Like we’re tricking you into listening to this feminist anthem with like super-clear tendencies but you never realised it.”
Read more at http://www.nme.com/blogs/nme-radar/sl-tface-bright-lights-listen-759740#RwJ2SWfqMtmvRBHs.99

The ‘Empire Records EP’ is out now.

Meanwhile, as well as appearing at The Great Escape, South By South West and Eurosonic Noorderslag in 2017, Sløtface’s upcoming UK headline tour dates are below.

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The Castle, Manchester (13)
Oporto, Leeds (14)
Nice N Sleazy, Glasgow (15)
Kamio, London (17)
Green Door Store, Brighton (18)

Technically, “Sponge State” is Sløtface‘s first single. Well, the first name under the name of Sløtface, anyway. You see up until 1st April 2016, the four-piece band, who hail from Stavanger in Norway, were known instead as Slutface. The change came about because of “social media censorship”, but what the band didn’t change was their brilliant brand of feminist pop punk.

Clearly it hasn’t been a set back for the band, either. “Sponge State” is the first single off an EP of the same name due to be released 27th May 2016 via Propeller Records. From the outset it’s a typhoon of heavy punk guitars and defiance, reminiscent of bands like Bully and Doe. “All my friends are making names for themselves,” singer Haley Shea spits in this anthem to disenfranchised, angsty youth. It’s so relatable that the chorus literally features the line “I keep thinking about that summer we discovered Bon Iver.” We all, and I think I speak for pretty much for the entire planet, remember where we were for that summer,

The EP is set to feature new versions of some of the band’s previously released songs, including the anthemic “Get My Own”, which finds Haley pushing out her own space, not just for herself, but for all women. “We refuse to scared to walk all alone,” she shouts in a particularly rousing cry. It’s the kind of song that is necessary at the moment, the kind of song that people can unite around.

Sløtface are a band that you need to get behind; a band with that rare blend of passion, politics and great song writing.

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New single ’Sponge State’ out now via Propeller Recordings


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