Posts Tagged ‘XL Recordings’

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It’s hard to believe that it was already four years ago when a 19-year old Låpsley released one of the most promising debut records in recent memory in the spectacular, “Long Way Home”. Songs like “Hurt Me,” “Falling Short” and “Operator” are still on heavy rotation for us (the latter thanks in part to DJ Koze’s popular Disco remix), and Through Water is an exciting next phase for the songwriter and producer.

That was the first track I wrote for the record. I’ve been touring since I was eighteen and then took a year off for many reasons, trying to recharge. I wrote it in quite a difficult place from the point of view of a version of myself in the future that knew her shit and was more confident. It’s funny, because now when I sing it it’s my present. I originally wrote and produced that track in my flat in Manchester just with a little home set-up. Then I reproduced it with Peter Grady who has a project called Joy Orbison. I re-did a lot of the synth lines in his studio.”

I wrote it in quite a difficult place from the point of view of a version of myself in the future that knew her shit and was more confident…”

Låpsley’s early work came with a certain elegance that she’s certainly built upon on last December’s These Elements EP. Two songs from that EP, “My Love Was Like The Rain” and “Ligne 3” will also appear on Through Water and show the exquisite production and distinct vocal duality that put Låpsley on our radar to begin with.

An electro-pop music with slow and measured rhythms, all accompanied by a voice to fall in love. Finesse and excellent fuel economy, the young British singer Lapsley book a great EP that points to a nagging R & B and languorous.
Handsome as hell.

Taken from the forthcoming album, Through Water. Available 20th March on XL Recordings.

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This week English singer/songwriter Jack Peñate announced his first new album in 10 years, “After You”, and shared its new single, the dance-y “Murder,” via a video for the track. After You is his third album and the long-awaited follow-up to 2009’s Everything Is New. After You is due out November 29th via XL Recordings.

After You was produced in collaboration with Paul Epworth, Inflo, and Alex Epton. It includes the previously shared single “Prayer.” Eddie Peake directed the “Murder” video, created the album artwork, and also directed the “Prayer” video. The “Murder” video was filmed in Dorset, England at Winspit quarry and shot on an iPhone. Peñate’s long break between albums was the result of various things, including Peñate’s desire to master his craft and build his own studio.

‘Prayer’ is out now on XL Recordings.

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Thom Yorke  has shared the first song from his forthcoming score to Luca Guadagnino’s horror reboot Suspiria, following the film’s premiere at the Venice Film Festival this past weekend. Yorke’s Suspiria score will be out October. 26th through XL Recordings. The song, titled “Suspirium,” is one of 25 tracks Yorke wrote and performed for the film. “Suspirium,” which Yorke teased last week, features the melodic theme that recurs throughout the film and its score. Fans of Radiohead’s most recent album A Moon Shaped Pool will find plenty to love here, with Yorke’s ethereal vocals gliding over a simple piano figure reminiscent of tracks like “Daydreaming” or “Codex.” The song’s accompanying video features color-shifted images of ballet dancers. 1977’s original Suspiria, directed by Dario Argento, focused on a haunted ballet academy. Suspiria (Music for the Luca Guadagnino Film) marks Yorke’s first foray into film scoring.

Taken from Suspiria (Music for the Luca Guadagnino Film) Available on XL Recordings, October 26th

Radiohead - In Rainbows

When a band you once feared dead returns out of nowhere with one of their greatest albums, it feels a little like a resurrection. So Radiohead fans around the globe enjoyed a collective rush of euphoria in the early morning hours of October. 10th, 2007, when the band emailed out downloads of their first album in more than four years.

Radiohead worked on In Rainbows for more than two years, beginning in early 2005. In mid-2006, after their initial recording sessions with new producer Spike Stent proved fruitless, the band toured Europe and North America performing In Rainbows material before re-enlisting their longtime producer Nigel Godrich. The album is more personal than previous Radiohead albums, with singer Thom Yorke describing most of the songs as his versions of “seduction songs”. Radiohead incorporated a variety of musical styles and instruments, using electronic instruments, string arrangements, piano, and the ondes Martenot.

As In Rainbows hit the inboxes of everyone who’d pre-ordered it — for a price of the buyer’s choosing, in a somewhat revolutionary show of goodwill on Radiohead’s part .

In Rainbows  the seventh studio album  their first release after their recording contract with EMI ended with their previous album Hail to the Thief (2003). It was a surprise in several senses, and many of them had nothing to do with the sounds contained therein. After a brief hiatus, some public struggles to find their way forward in the studio, and a blossoming of side projects that suggested the band could be finished, the biggest surprise at that time was that a new Radiohead album existed at all. The band also released In Rainbows without a label, announced it just 10 days before its release, and didn’t share any songs ahead of time a unusual and minimal rollout by today’s standards and practically unheard of in that time . Even more radical was the pay-what-you-want scheme, which set off all kinds of debates about the viability of such a plan for smaller artists and the value of recorded music going forward.

In conjunction with its release and the absence of a record-label middleman, the payment-optional approach was Radiohead’s way of both accepting and subverting the reality of album leaks, which had compromised the rollout of their previous LP. Thom Yorke and friends weren’t about to have college radio stations blasting lo-fi MP3s of their new album weeks before the release date again. By tightly controlling everything except the price point, the band seemed to be telling listeners, “OK, you can have the music for free if you wish, but you’ll have it on our terms.” Not that the band ever really risked losing money on this gambit. Hardcore fans like myself shelled out big bucks for deluxe vinyl with an entire second CD of music, a package that ensured Radiohead would still be richly rewarded for their efforts. And when the experiment ran its course and TBD Records gave In Rainbows a conventional physical release the following year, it still sold enough copies to debut at #1 in the US and UK, rendering the project a win for Radiohead on all commercial fronts.

The strategy was fascinating and worthy of examination, but it unfortunately came to overshadow the album’s creative achievements. For students of the music business and most casual observers, the mode of release is the album’s legacy. In Rainbows was another batch of classics and consider how they fit within the arc of the band’s catalogue. Not including “Last Flowers”, which Yorke recorded in the Eraser sessions, the In Rainbows sessions produced 16 songs. After the 56-minute, 14-track Hail to the Thief, Radiohead wanted their seventh album to be concise;[ they settled on ten songs, saving a further six tracks (not counting short instrumentals) for the limited edition “discbox” release. Fans could order a limited “discbox” edition from, containing the album on CD and two 12″ heavyweight 45 rpm vinyl records with artwork and lyric booklets, plus an enhanced CD with eight additional tracks, digital photos and artwork, packaged in a hardcover book and slipcase. The “discbox” edition was shipped on 3rd December 2007. In June 2009, Radiohead made the second In Rainbows disc available for download on their website for £6

There are days when In Rainbows sounds like the best Radiohead album. It’s definitely in contention with 1995’s The Bends as the band’s most approachable, compulsively listenable release — the one you can just put on and enjoy without turning it into a full-blown immersive experience, the one that will meet you wherever you’re at and be beautiful in your presence. It absolutely holds together as a coherent statement, 10 songs inspired by related themes and woven from a shared sonic fabric. Yet you never get the sense you’re beholding some epic musical journey á la OK Computer or Kid A, the other albums I’m most likely to name as Radiohead’s crowning achievements. .

That In Rainbows sounded this way was nearly as unexpected as its method of release. Here was their poppiest, most guitar-based collection of songs in more than a decade, a pronounced swerve away from the chilly electronics and crushing paranoia that had been a hallmark of their sound since OK Computer and swallowed it up completely on Kid A and Amnesiac. In hindsight, the group had already edged back toward guitars on 2003 career overture Hail To The Thief, an album that begins with the hard-rocking “2+2=5″ and includes the soaring career highlight “There There” among other six-string excursions. But those were part of a wide-ranging patchwork, whereas this album largely nudged electronics into the background in favor of an upbeat, organic sound, frequently accented by Jonny Greenwood’s orchestral arrangements but firmly grounded in the sound of a guitar-driven rock combo.

In Rainbows presented Radiohead with an unprecedented warmth as it found their singer exploring a more mature version of the sad sack from “Creep.” There are bittersweet tracks, like the fatalistic torch song “Nude” and the brisk yet self-loathing schoolyard chant “15 Step” and the clattering power ballad “Reckoner,” a treatise on facing down death. And there are angry tracks, like the powerhouse rock rave-up “Bodysnatchers” and the acoustic-orchestral pocket suite “Faust Arp.” No song ever fully gives into its darker impulses, though. The feeling when the band queues up “15 Step” or rips into “Bodysnatchers” in concert is pure visceral elation, and the lingering memory of “Nude” and “Faust Arp” and especially “Reckoner” is not ache so much as aching beauty.

And then there are the love songs. Most of the favorite tracks on In Rainbows are the ones on which Yorke risks an emotional wipeout by giving himself over to entirely to breathless affection, songs that revel in real or imagined romantic bliss even as they acknowledge life’s bitter realities. “Weird Fishes (Arpeggi)” gorgeously captures the feeling of being possessed by attraction only to be left unsatisfied yet again, its plaintive guitar needlework building to a transcendent climax then careening off a cliff and into the depths. The darkly swooning “All I Need” traces similar paths; as Yorke professes his unrequited desire for a woman who seems to be missing him in plain sight, the song’s remarkably straightforward structure culminates in an overwhelming wave of melancholy.

“House Of Cards,” Radiohead’s idea of a sexy slow jam, is probably the tenderest song in Yorke’s catalog. “Jigsaw Falling Into Place” details the flickering passion of a barroom flirtation against a locomotive backbeat that very much recalls a bar band. And as In Rainbows draws to a close, the deconstructed piano ballad “Videotape” returns to the themes of fleeting ecstasy and creeping death. The lyrics are basically Yorke putting a morbid twist on Lou Reed, realizing this “perfect day” with a friend or lover will be part of the highlights montage when his life flashes before his eyes.

Many of us have had a similar epiphany moment while listening to In Rainbows. One last surprise to consider is how well this album holds up 10 years later. It felt like a private gift at first, overflowing with delights but too minor in scale and conservative in style to qualify as the latest Radiohead masterpiece. To return to it more than any other Radiohead album, and its tracklist is as stunning front to back as any of the group’s other elite LPs. A decade down the line, with two more albums in the rearview, it’s becoming increasingly clear that In Rainbows deserves to be in the conversation when discussing Radiohead’s finest recorded work.

EAST INDIA YOUTH aka William Doyle has unveiled the second track to be taken from his upcoming album “Culture of Volume”. The record is the follow-up to last year’s “Total Strife Forever”, which gained critical acclaim, got a Mercury Prize nomination. ‘Turning Away’ is a driving piece of synth-pop with an infectious melody and enthralling build. In all honesty it sounds a lot more like a single than the previously revealed ‘Carousel’, which was the first taste were given. Read our preview of the track here.

For those who are already well familiar with both tracks and are begging for more, however, you’ll have to wait until April 6th, whenCulture of Volume gets its full release on XL Recordings.

IBEYI – ” River “

Posted: February 14, 2015 in MUSIC
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Ahead of its release this weekend February 17th, Ibeyi’s self-titled debut album is currently available for fans to stream in full. The highly anticipated album features their singles “Ghosts” and “Mama Says.” Throughout the album, the various musical and cultural influences that inspire the Paris-based, French-Cuban twins can be heard vividly. The album also features “River,” the single which helped Ibeyi gain the attention of the media.


XL Recordings are celebrating their 25th anniversary this year with a special label history spanning compilation  and looking back at all the artists they’ve broken and albums they’ve released is a firm reminder of the label’s great taste. French-Cuban twins Ibeyi are next in line.

They just released their debut EP, “Oya”, via XL and have recorded their debut album with the label’s founder, Richard Russell. The two twins, Naomi and Lisa-Kainde Diaz, are daughters of the late Cuban percussion legend Anga Diaz, and mix the traditional Yoruba music of their heritage with modern styles and influences that range from electronic music to dance hall. Their first two songs, “Oya” and “River,” , are at once timeless and modern. There’s a spiritual, soulful element to the music that makes it feel as if it comes straight from the heart, and the unique blend of influences .