“A musical masterpiece!… a musical match made in heaven… A must-have album for anyone who adores everything good about the Electronic, Post Rock, Dreampop & Shoegazing genres” Primal Music Blog
“Transcending physical and political boundaries to make sonic nu-dreamscapes” Impose Magazine
“Perfect match of pristine vocals with the alternative rock stylings of Swervedriver” Stereo Embers Magazine
“A sense of grandiosity” Sounds Better With Reverb
“Kaleidoscope of reverb-soaked guitar, intricate drums, heavy bass and distorted guitars intertwined with ethereal vocals” Louder Than War
“For all the things concealed behind the iron curtain, one very cool sonic phenomenon has emerged Sounds of Sputnik.The world is a slightly better place thanks to their musings” Graham Bonnar (Swervedriver, Brian Jonestown Massacre)
Moscows Sounds of Sputnik has announced they will release their newNew Born Remixed EP via Emerald & Doreen Recordings. Surrounding tracks co-written, produced, and recorded by Canadian-Ukrainian dreampop duo Ummagma, these tracks also feature stellar vocals from Ummagmas Shauna McLarnon and Alexander Kretov.
After a short summer break and the writing of material for their third album nearly complete, WEIRD. have announced there is a new single on the horizon first, for which they are offering a work-in-progress teaser, a somewhat minimalistic version of the track-to-come. They have also announced they will tour this month, with dates confirmed in various cities in Italy, France and Switzerland, and have just released a new live video of ‘Infinite Decay’ as a taste of what to expect.
Ahead of their six-week European tour, NOTHING have shared a new music video for “Curse Of The Sun”, taken from their critically acclaimed second album, Tired Of Tomorrow, out now on Relapse Records.
Filmed at shows through New York City, Philadelphia and Washington on NOTHING’s headlining ‘Tired Of Tourism’ tour through North America this past May, “Curse Of The Sun” was directed by Jimmy Hubbard (Baroness, Carcass etc). Speaking of the track’s ideals, frontman Domenic Palermo explains:
“This song is a nothing more than a declaration of war with the Sun. It’s the center of the universe that’s to blame for spawning this epidemic of life that is laughably plagued by death. The dark Casanova sprouting humans who live to have everything they can get their hands on, just so they can die and litter it all behind. I’m often reminded by this when we’re playing these big venues filled with hundreds of humans, so it only seemed natural to film in a live setting. That’s the only reason I chose to do a live video actually. They’re normally fucking stupid. Well, that and because Jimmy was filming it all.”
NOTHING have toured solidly across North America since the release of Tired Of Tomorrow. In addition to headline dates, the band have shared stages with Jane’s Addiction, Dinosaur Jr, DIIV, Relapse label mates WRONG and California’s Culture Abuse, as well as festival appearances at Lollapalooza, Governor’s Ball, Spillover, Shaky Knees, Levitation, Forecastle and more. Following a sold-out album release show at Hackney’s MOTH Club earlier in the year, NOTHING return to the UK on September 11th starting a run of UK dates at Bristol’s Start The Bus.
Four great bands, two great labels and two continents meet on this stellar mini-LP. Frequent collaborators Slumberland Records and Fortuna POP! team up to bring you ‘Continental Drift,’ a smashing eight song sampler of some of the finest pop out there in 2016.
Philadelphia’s Mercury Girls are one of the most talked-about new bands in ages. Featuring members of Literature, Little Big League and Pet Milk, Mercury Girls have a gorgeous, layered sound that combines post-punk dynamics with soaring/jangling guitars, fantastic melodies and expertly-arranged tunes. Their recent single “Ariana” turned a lot of heads, and their two contributions contained herein should make us all quite excited for their in-progress debut album. Listen to an advance stream of their latest single “Holly,” streaming over at The Fader. Be sure to catch them on tour in October/November with Balance & Composure and Foxing, full list of tour dates below.
Baltimore’s Wildhoney have been making music together since 2011, forging a fresh sound from raw materials of shoegaze, punk and good old indiepop. 2015 saw the release of their debut LP and follow-up EP, and now we’ve snagged two top-quality exclusive tunes for this compilation.
Moon Queen is the first single from the bands third studio album 100% Sunshine. This follows up from last years record Burnt Black Cars, the record which helped propel the bands career forward and gained support from Q Magazine, Noisey & Clash Magazine to name a few drawing comparisons to Slowdive, Toy and My Bloody Valentine for their blend of shoegaze and stoner rock.
On the one year anniversary of her critically-acclaimed, masterful debut full-length,
M, Danish black metal artist MYRKUR unveils a captivating live recording from the historic Emanuel Vigeland Mausoleum in Oslo, Norway. Aptly titled Mausoleum, the album features beautifully dramatic and stripped-down acoustic reinventions of seven songs from M plus one brand new song and a Bathory cover; all with the accompaniment of the storied Norwegian Girls Choir.
Captured in a cold, dimly-lit tomb covered in morbid frescos that depict the circle of human life from conception til death, Mausoleum is an incredible showcase of MYRKUR’s sublime yet haunting voice in a truly chilling, unrivaled atmosphere.
BRONCHO’s new album Double Vanity — out next week — is now available to stream in advance. SPIN premiered the advance stream, calling it “perfection refracted” and stating, “The hooks are still there, buried under hairpin-bent notes and a blanket of reverb that would make anyone but the Jesus & Mary Chain blush.” Double Vanity is out June 10 on Dine Alone Records and is available for pre-order here.
BRONCHO is currently on a North American headlining tour. All dates below.
The quixotic world of Magical Creatures is one of whispered private fairy tales from otherworldly lovers, deified by filled-in blanks and an ever-present spectral haze that softens edges and dulls the will. Much like the lotus eaters of The Iliad, Magical Creatures lull us almost supernaturally on their debut full length Wishing Machine with a myriad of guitars both flowery and direct, subtle electronic percussion that adds fluidity to each track, and airy, enchanting vocals done justice through artful production.
You can almost hear a prom night lament in the longing doo-wop allusions of “Enchant Me Baby” with its saccharine vocals and gently reassuring guitar melancholy. The distinct bravery of teenage naivete and romantic innocence perfumes lyrics about “plucking roses” and the all important question almost posed as a challenge “Would you give your life for love?” Magical Creatures inducts us into their dream with a moonlit serenade in which they’re already drunk on honey wine spiked with stardust. You can almost hear the maturation of teenage vulnerability in the cool laze of the guitars as vocals that could belong to dream girlfriends or maternal ghosts enfold us. A beat shimmering and shining with tambourine sparkle punctuates the aloof charm of “Twilight Soul” which at times recounts the painfully wasted beauty of Love and Rockets. However, the science fiction warbling of what sounds like a theremin underneath it all gives us a window into another romantic world and the track ultimately captures the sonic equivalent of an expansive sky ripening, bursting, and bleeding burning oranges, pinks, and deep violets that make kisses taste sweeter.
Magical Creatures often express a vulnerability in their music like the awkwardness of a young Dorian Gray who hasn’t quite realized how damned attractive he looks. “Birds of Paradise” artfully displays this vulnerability in its guitar strum while vocals carry an energy at once exotic and resigned, like an elegant caged bird that is the last of its kind and actually understands this. The psychedelic shoegaze nod and tastefully subtle programmed beats that give the track motion also lend a clean, refreshing quality of mellow pop modernism.
Plenty of Wishing Machine’s tracks could easily stand alone as strong singles just as they fit snugly into their place on the album. “Spiral Castle” spins a neo-psychedelic fairytale with sunny happy ending guitar lines and avian vocals softened by the purity of their plumage while the chiming psych pop of “Violet Eyes” insulates with fuzzy fullness that simultaneously sounds simple and spaceous in its haziness, further expanded by breathy vocals. “Carnival of Wolves” amplifies Magical Creatures’ charisma with colorful stained glass guitar effects and light doo-wop vocal punctuation while “Satellite City” captures the electrical optimism of new romance through a shared synchronous female and male vocal line over rolling guitar and softly rollicking percussion.
These moments of radio friendly pop perfection are equally matched by Wishing Machine’s more reflective moments. On the stellar “Bounty Hunter”, vocal passion is made clearer against a spacey backdrop of distorted decaying guitar, quickly opening up into an anti-gravity flow of sonic comets, burning tails weaving in and out and gently fading into a greater wall of sound with vocals like love letters broadcast into dead space and left to echo between the asteroids forever. Ornate and intricate guitar swoons into dreaminess on “Helicopter Blues” before culminating into an aural revolution that perfectly soundtrack a new determination in the vocals without compromising their soft allure. “Puella” offers something darker than the rest of Wishing Machine’s tracks, with a foreboding sense of eeriness in its atmosphere and skeletal electronic beat.
With Wishing Machine, Magical Creatures have created a soundtrack to reluctant goodbyes in twilit parking lots, teenage tales of nearly requited love, and imaginary worlds juxtaposed over the universal world that we all share. Each track finds the guitar plugging directly into the heart, vocals as soothing and intangible as gently shifting clouds of cool mist, and a refreshing lack of cynicism that really earns the term dreampop. The only danger of falling into such a dream is never wanting to wake up.
One of the first songs Vallens ever wrote, Devour is about how time can change any strong feeling, about being in a relationship while grieving and going through turmoil. Robyn wrote it during a very personal time of her life.
Robyn Phillips spent her early years in Toronto playing lead guitar in several bands. With an experience of performing and writing in various genres, Robyn began working on material for her first solo project as VALLENS in the summer of 2014. Taking cues from everything from Rowland S Howard to Portishead, the project began to take shape with a concept of “Vallens” as an alter-ego of Phillips. Soon after, Vallens began recording a full length record with friend Jeff Berner of Psychic TV at his now defunct studio Galuminum Foil in Brooklyn, followed by several months recording songs at Candle Recording with Josh Korody (Beliefs, Wish).
Last autumn Toronto’s Beliefs released their second full length album, Leaper.As a surprise treat, from the same recording session, comes an added bonus track “Get There“. It is available now as a FREE download from label Hand Drawn Dracula’s Facebook page.
The band are currently in the studio recording their third album. Since their formation in 2010, Beliefs have released two full length records (self titled, 2013 HDD, Manimal, No Pain In Pop) and last year’s follow up, Leaper via HDD. Beliefs are prolific artists and musicians in the Toronto music scene, with Crowe recording in projects PRAISES and ROLEMODEL, and Korody as a founding member of WISH and NAILBITER as well as producing countless projects at his Candle Recordings studio.