Tag: IDLES

Tennin · The What – The Notorious B.IG, Method Man [Tennin Remix]

With the release of a handful of singles that received attention from InRocksLab, Radio Nova, Earmilk and Afropunk, the rising Paris-based alternative pop artist Tennin quickly exploded into the international pop scene in 2015. The Paris-based artist ended a momentum building year by performing at La Cigale, as part of a showcase featuring rising female Parisian artists.

The following year, Tennin built upon her growing profile through tours across France, Germany and the UK. Adding to a relatively young career of big career highlights, the French pop artist’s single “Heal You,” catches the attention of acclaimed, trip hop pioneer Tricky, who signed her to !K7 Records. She then contributes a track to the Test of Time compilation, which featured tracks from Saul Williams, IDLES and others.

Additionally, last year saw her becoming a finalist of the Afropunk springboard but she also opened for the likes of Dope Saint Jude and Muthoni Drummer Queen at Les Cuizines — and she played the final show at Les Etoiles. She ended the year with a live interview and session for Radio Campus Brussels.

Earlier this year, the rising French pop artist signed to renowned Parisian electronic label Kitsune Music, who released her first single of this year “Guys in Tears.” Interestingly, Tennin posted a cover/remix of The Notorious B.I.G.‘s “The What,” feat. Method Man on Instagram that received such positive reactions that she decided to record and release a full-version. While retaining the original’s memorable beat, the addition of Tennin’s vocals adds sultry, Aaliyah-like air to the proceedings. Naturally, while being a shoutout to Golden Era, East Coast hip-hop, the song is also a vital reminder that hip-hop is the lingua franca of kids across the globe.

 

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Kopper · Fake It

Kopper · How Can You Be Sure

KOPPER is a rapidly rising London-based post-punk trio, who have begun to receive attention across the blogosphere for a primal yet melody-driven clashes of power chords and thunderous drumming paired with seemingly off-the-tongue, politically charged lyrics, inspired by the likes of Girl Band, IDLES and Protomartyr.

Last month, the British post-punk trio released the Dion Lunadon-mastered double A-side single “Fake It”/”How Can You Be Sure?” Centered around the sort of arena friendly power chords and thunderous drumming reminiscent of Foo Fighters, “Fake It,” seethes with fury and disgust, yet is probably one of the most ironic songs I’ve come across over the past few months. Based on the grifting, phoniness and influencer culture that created Fyre Festival, the band explains in press notes “We were inspired by the idea of corporations faking wealth to acquire wealth, and how few people question this.” Additionally, the song points out that there’s an overwhelming conformity in the music business, in which the presentation and appearance of the artist wind up being more important than the actual art of the artist. And if you’re doing something unusual or different from the norm, you’ll be fighting an Sisyphean battle for the attention of others.

“How Can You Be Sure” continues in a similar vein as its predecessor — but without the irony, as it’s a incisive commentary on human behavior and moral norms with the song pointing out the spectrum of shifting morality within people, when it serves them and their needs. Certainly, in the age of Trump, “How Can You Be Sure” should feel uncomfortably familiar, as we see some of our leaders’ mores and values shift whenever it’s politically necessary. But it also loudly points out that we should always be distrustful of these leaders and public figures. Fiery and forceful, both of these tunes find this rising band kicking ass, taking names with a self-assuredness and fury that sets them apart from most of their contemporaries.

 

 

 

 

New Video: Savages’ Jehnny Beth Releases a DIY visual for Sultry and Slinky “Heroine”

Camille Berthomier is a Poitiers, Vienne, France-born, London-based singer/songwriter, actress, author and musician, professionally known as Jehnny Beth — and as the frontwoman of the Mercury Prize-nominated, critically applauded act Savages. With Savages, the Poitiers-born, London-based singer/songwriter and multi-disciplinary artist has developed a reputation for a unique lyrical perspective and a powerful stage presence that has captivated audiences across the world over the past 15 years.

Beth’s solo debut, To Love Is To Live was originally slated for release  last week through Caroline Records — but the album was pushed back to June 12, 2020, as a result of Beth’s desire to support local, independent record stores by ensuring that the physical album could come out at the same time. “Record stores are where I found myself as a teenager, digging through albums that ultimately shaped who I have become,” Beth says in press notes. “To release my first ever solo album in a way that would leave them out felt wrong to me; luckily, we were able to find a date that would allow us to release the physical and digital album at the same time.”

Recorded in Los Angeles, London and Paris, To Love Is To Live finds the longtime Savages frontwoman boldly stepping into and claiming the spotlight as a solo artist, and collaborating with an eclectic array of producers and artists including Flood, Atticus Ross, longtime collaborator and Savages bandmate Johnny Hostile, Adam “Cecil” Bartlett, The xx’s Romy Madley Croft, IDLES’ Joe Talbot and Golden Globe-winning actor Cilian Murphy. Thematically, the album sees Beth tapping into and accessing the darkest and least comfortable parts of herself to craft material that’s cathartic, abrasive, fearlessly honest and vulnerable, making the material a dark and cinematic meditation on the very strangeness of being alive.

So far I’ve written about two of the album’s singles: the brooding and atmospheric “Flower,” a track that was reportedly written about a pole dancer at Los Angeles’ Jumbo’s Clown Room and seethes with a feverish and obsessive lust  — and “Innocence,” a dark ad sultry track that evokes the uneasy feelings of isolation, loneliness while ironically living in a big city surrounded by seemingly endless people. “Heroine,” the album’s fourth and latest single is centered around a similar, slinky off-kilter motorik groove as its immediate predecessor, rapid-fire four-on-the-floor, shimmering synth arpeggios, brief blasts of horn, twinkling keys and an achingly vulnerable vocal performance from Beth, the track probes deeply into the dark recesses of her psyche with a fearless abandon.

“When I think of this song, I think of Romy from the xx strangling my neck with her hands in the studio,” Beth recalls in press notes. “She was trying to get me out of my shell lyrically, and there was so much resistance in me she lost her patience. The song was originally called Heroism, but I wasn’t happy because it was too generic. Flood was the first one to suggest to say Heroine instead of Heroism. Then I remember Johnny Hostile late at night in my hotel room in London saying ‘I don’t understand who you are singing about. Who is the Heroine? You ARE the Heroine’. The next morning, I arrived early in the studio and recorded my vocals adding ‘to be’ to the chorus line: ‘all I want is TO BE a heroine.’ Flood entered the studio at that moment and jumped in the air giving me the thumbs up through the window. I guess I’m telling this story because sometimes we look around for role models, and examples to follow, without realising that the answer can be hidden inside of us. I was afraid to be the Heroine of the song, but it took all the people around me to get me there.”

The recently released video is split between footage that the Savages frontwoman and Johnny Hostile shot and edited  — including footage of her walking and vamping in a London tube station, of Beth glistening with droplets of water and in a murky pool, as well as footage of Beth as a little girl, shot by her family, which creates an eerie and intimate look into the artist and her psyche. The DIY nature of the video manages to bring the songs message of self-belief and resilience into a deeper clarity. “We couldn’t plan that the current worldwide circumstances would push us to make this video entirely ourselves at home but sometimes working with constraints is the best fuel, and it fits perfectly with the positive message of self-belief and resilience of the song, pursuing childhood dreams and destiny,” Beth explains in press notes. 

Camille Berthomier is a Poitiers, Vienne, France-born, London-based singer/songwriter, actress, author and musician, professionally known as Jehnny Beth — and as the frontwoman of the Mercury Prize-nominated, critically applauded act Savages. With Savages, the Poitiers-born, London-based singer/songwriter and multi-disciplinary artist has developed a reputation for a unique lyrical perspective and a powerful stage presence that has captivated audiences across the world over the past 15 years.

Now, as you may recall. Beth’s solo debut, To Love Is To Live was originally slated for release later this year through Caroline Records — but the album was recently pushed back to June 12, 2020, as a result of the Beth’s desire to support local, independent record stores by ensuring that the physical album could come out at the same time. “Record stores are where I found myself as a teenager, digging through albums that ultimately shaped who I have become,” Beth says in press notes. “To release my first ever solo album in a way that would leave them out felt wrong to me; luckily, we were able to find a date that would allow us to release the physical and digital album at the same time.”

Recorded in Los Angeles, London and ParisTo Love Is To Live finds the longtime Savages frontwoman boldly stepping into and claiming the spotlight as a solo artist, while collaborating with an eclectic array of producers and artists including Flood, Atticus Ross, longtime collaborator and Savages bandmate Johnny Hostile, Adam “Cecil” Bartlett, The xx’s Romy Madley Croft, IDLES‘ Joe Talbot and Golden Globe-winning actor Cilian Murphy. Thematically, the album sees Beth tapping into and accessing the darkest and least comfortable parts of herself to craft material that’s cathartic, abrasive, fearlessly honest and vulnerable, making the material a dark and cinematic meditation on the very strangeness of being alive.

So far I’ve written about two of the album’s singles: the brooding and atmospheric “Flower,” a track that was reportedly written about a pole dancer at Los Angeles’ Jumbo’s Clown Room and seethes with a feverish and obsessive lust  — and “Innocence,” a dark ad sultry track that evokes the uneasy feelings of isolation, loneliness while ironically living in a big city surrounded by seemingly endless people. “Heroine,” the album’s fourth and latest single is centered around a similar, slinky off-kilter motorik groove as its immediate predecessor, rapid fire four-on-the-floor shimmering synth arpeggios and an achingly vulnerable vocal performance from Beth, the track probes deeply into the dark recesses of her psyche with a fearless abandon.

“When I think of this song, I think of Romy from the xx strangling my neck with her hands in the studio,” Beth recalls in press notes. “She was trying to get me out of my shell lyrically, and there was so much resistance in me she lost her patience. The song was originally called Heroism, but I wasn’t happy because it was too generic. Flood was the first one to suggest to say Heroine instead of Heroism. Then I remember Johnny Hostile late at night in my hotel room in London saying ‘I don’t understand who you are singing about. Who is the Heroine? You ARE the Heroine’. The next morning, I arrived early in the studio and recorded my vocals adding ‘to be’ to the chorus line: ‘all I want is TO BE a heroine.’ Flood entered the studio at that moment and jumped in the air giving me the thumbs up through the window. I guess I’m telling this story because sometimes we look around for role models, and examples to follow, without realising that the answer can be hidden inside of us. I was afraid to be the Heroine of the song, but it took all the people around me to get me there.”

 

New Video: Savages’ Jehnny Beth Releases Intimately Shot Footage of Swaggering Album Single “Innocence”

Camille Berthomier is a Poitiers, Vienne, France-born, London-based singer/songwriter, actress, author and musician, professionally known as Jehnny Beth — and as the frontwoman of the Mercury Prize-nominated, critically applauded act Savages. Interestingly, as a member of Savages, the Poitiers, Vienne, France-born, London-based singer/songwriter has developed a reputation for a unique lyrical perspective and a stage presence that has captivated audiences across the world over the past 15 years. 

Beth’s solo debut To Love Is To Live was originally slated for a May 8, 2020 release through Caroline Records — but the album was recently pushed back to June 12, 2020, as a result of the Savages frontwoman’s desire to support local, independent record stores by ensuring that the physical album could come out at the same time. “Record stores are where I found myself as a teenager, digging through albums that ultimately shared who I have become,” Beth says in press notes. “To release my first ever solo album in a way that would leave them out felt wrong to me; luckily, we were able to find a date that would allow us to release the physical and digital album at the same time.” 

Recorded in Los Angeles, London and Paris, To Love Is To Live finds the longtime Savages frontwoman boldly stepping into and claiming the spotlight as a solo artist, while collaborating with an eclectic array of producers and artists including Flood,Atticus Ross, longtime collaborator and Savages bandmate Johnny Hostile, Adam “Cecil” Bartlett, The xx’s Romy Madley Croft, IDLES‘ Joe Talbot and Golden Globe-winning actor Cilian Murphy.

Thematically, the album sees Beth tapping into and accessing the darkest and least comfortable parts of herself to craft material that’s cathartic, abrasive, fearlessly honest and vulnerable, making the material a dark and cinematic meditation on the very strangeness of being alive. 

Earlier this month, I wrote about the album’s second single “Flower,” a brooding and atmospheric track centered around a murky and tempestuous pulse, shimming synth arpeggios and Beth’s sultry cooing and crooning. The end result is a song that’s simmers with a feverish and obsessive lust. Reportedly written about a pole dance at Los Angeles’ Jumbo’s Clown Room, the song details the complicated and confusing depths of sexuality, desire, possession and loss. “Innosence,” To Love Is To Live’s third and latest single continues a run of dark and sultry material as its centered round an off-kilter motorik rhythm  and a swaggering yet brooding trip hop-like air, while Beth purrs, howls, struts and pouts. But at its core is an eerie and uneasy feeling of isolation, loneliness and distance — and although inspired by the very things that its creator’s has experienced and felt countless times in large cities, despite being near people all the time. Recorded before the COVID-19 pandemic, the song sounds like a prescient foresight of what would eventually happen to us right now. 

The single is accompanied by live video footage filmed at rehearsals for Beth’s now-critically applauded, incendiary live show, which debuted at the BBC 6 Music Festival earlier this year. Naturally, the video gives the viewer a sense of her live show’s energy with a you-are-there intimacy. 

Along with the release of her solo debut, the acclaimed French-born, British-based singer/songwriter, musician and actress will be releasing her first book, a collection of erotic short stories paired with photography from her longtime collaborator and bandmate Johnny Hostile. Slated for a June 11, 2020 release through White Rabbit, Crimes Against Love Manifesto (C.A.L.M.) will help to establish Beth and Hostile as two of the most provocative and forward-thinking voices in contemporary fiction and erotic art.

Live Footage: Dublin’s The Murder Capital Performs “For Everything” at Tapetown Studios

Aarhus, Denmark-based recording studio Tapetown Studios teamed up with Sound of Aarhus to invite national, regional and internationally recognized touring bands to stop by Tapetown to do a live session, which is filmed and then distributed across the internet through all of your favorite social media and streaming sites. During the live series history, they’ve hosted British indie rockers Ulrika Spacek, Gothenburg, Sweden-based trio Pale Honey, the Bay Area-based JOVM mainstay Tim Cohen and his The Fresh & Onlys, renowned British psych rockers The Telescopes,  Malmo, Sweden-based punk rock act Sista Bossen, Copenhagen, Denmark-based indie rock quartet ONBC,  Los Angeles-based post punk rock act and JOVM mainstays Moaning, and Oslo, Norway-based punk trio  Dark Times

Tapetown Studios and Sound of Aarhus recently invited rising Dublin-based post-punk act The Murder Capital, who were in Denmark during the Scandinavian leg of their tour to support their critically applauded, Flood-produced full-length debut When I Have Fears. Since their formation back in 2015, the band — James McGovern (vocals), Damien Tuit (guitar), Cathal Roper (guitar). Gabriel Paschal Blake (bass) and Diarmuid Brennan (drums) —  have been compared favorably to the likes of Idles, Slaves, Shame, and Fontaines D.C. 

The band performed a blistering and furious take on album opening track “For Everything.” Interestingly, the live session is a great taste of the band’s live sound: raw, noisy, primal and uneasy. Sonically, the live version of “For Everything”  reminds me a bit of Joy Division and Disappears. 

New Video: Savages’ Jehnny Beth Releases a Feverish and Sensual Visual for “Flower”

Camille Berthomier is a Poitiers, Vienne, France-born, London-based singer/songwriter, actress, author and musician, professionally known as Jehnny Beth — and as the frontwoman of the Mercury Prize-nominated, critically applauded act Savages. With Savages, Beth has developed a unique lyrical perspective and stage presence that has captivated audiences across the world for the better part of the past 15 years or so. 

Interestingly, Beth’s solo debut To Love Is To Live, which is slated for a May 8, 2020 release through Caroline Records finds the longtime Savages frontwoman boldly stepping into and claiming the spotlight. Recorded in Los Angeles, London and Paris, the album finds Beth collaborating with an eclectic array of producers and artists including Flood, Atticus Ross, longtime collaborator and Savages bandmate Johnny Hostile, Adam “Cecil” Barlett, The xx’s Romy Madley Croft,IDLES’ Joe Talbot and Golden Globe-winning actor Cilian Murphy. Reportedly, the album is ad ark and cinematic meditation on the strangeness of being alive. Thematically, the album sees Beth tapping into and accessing the darkest and least comfortable parts of herself to craft material that’s cathartic, abrasive, fearlessly honest and vulnerable. 

To Love Is To Live’s second and latest single “Flower” is a brooding and atmospheric track centered around a murky and tempestuous pulse, shimming synth arpeggios and Beth’s sultry cooing and crooning. The end result is a song that’s simmers with a feverish and obsessive lust. Reportedly written about a pole dance at Los Angeles’ Jumbo’s Clown Room, the song details the complicated and confusing depths of sexuality, desire, possession and loss. 

Directed by Peaky Blinders’ Anthony Byrne, the recently released video for “Flower” continues an ongoing collaboration with the acclaimed director. Shot in a gorgeously cinematic black and white, the video — fittingly enough — is a fever dream that captures the intersection of fantasy, desire, longing and loss. 

Along with the release of her solo debut, the acclaimed French-born, British-based singer/songwriter, musician and actress will be releasing her first book, a collection of erotic short stories paired with photography from her longtime collaborator and bandmate Johnny Hostile. Slated for a June 11, 2020 release through White Rabbit, Crimes Against Love Manifesto (C.A.L.M.) will help to establish Beth and Hostile as two of the most provocative and forward-thinking voices in contemporary fiction and erotic art. 

Auckland, New Zealand-based indie rock outfit Miss June — comprised of Annabel Liddel (vocals, guitar), Jun Park (guitar), Chris Marshall (bass) and Tom Legget (drums) — have received attention both in their homeland and elsewhere for a jagged, feedback-driven alt rock meets New Wave meets No Wave sound that’s been described by some critics as “some unholy union between Sonic Youth and Le Tigre” and for a formidable, attention-grabbing live show that has earned them opening slots for Foo Fighters, Shellac, Wolf Alice, IDLES and Die! Die! Die!
Earlier this year, the Kiwi-based quartet signed to New York-based indie label Frenchkiss Records, who released their double A-side 7 “inch “Twitch”/”Best Girl” earlier this year. Now, as you may recall, I wrote about “Best Girl,” a riot grrrl-era punk and 90s alt rock-like track with a rousing, arena rock friendly, mosh-pit friendly hook. Both of those singles will be featured on the band’s highly-anticipated, full-length debut Bad Luck Party, which is slated for a September 6, 2019 release. Just a few days before the album hits the street, the band release the album’s final single, “Anomaly.” Built around a classic alt-rock song structure — quiet, loud, quiet — “Anomaly” may arguably feature the most straightforward yet explosive hook of the entire album.
“I have an incredible ability to attract individuals that are as flawed as I am. It’s made my life chaotic and beautiful. This song is about a girl. A girl I will never understand. A girl that’s a gun, a burning sun and an anomaly to me,” the band’s Annabel Lidell says of the song in press notes.”
The Auckland-based indie rock act will be embarking on a lengthy world tour throughout the fall and it’ll include an October 14, 2019 stop at Rough Trade. Check out the tour dates below.
TOUR DATES
September 6 – San Fran Bath House – Wellington
September 7 – Galatos – Auckland
September 11 – The Vanguard – Sydney
September 18 – Maze – Berlin
September 19 – Blue Shel – Cologne
September 20 – Reeperbahn Festival – Hamburg
September 23 – Cinetol – Amsterdam
September 24 – Trix – Antwerp
September 28 – The Flapper – Birmingham
September 29 – Yes – Manchester
September 30 – Headrow House – Leeds
October 1 – Poetry Club – Glasgow
October 2 – Sneaky Petes – Edinburgh
October 5 – Tiny Rebel – Cardiff
October 6 – Port Mahon – Oxford
October 7 – Rough Trade, Bristol
October 9 – Latest Music, Brighton
October 10 – The Lexington, London
October 14 – Rough Trade – Brooklyn, NY
October 15 – Once – Boston, MA
October 16 – DC9 – Washington, DC
October 17 – Kung Fu Necktie – Philadelphia, PA
October 19 – Velvet Underground – Toronto, ON
October 21 – Subterranean – Chicago, IL
October 23 – The Basement – Nashville, TN
October 24 – The Earl – Atlanta, GA
October 27 – Bronze Peacock – Houston, TX
October 28 – Hotel Vegas – Austin, TX
November 1 – Valley Bar – Phoenix, AZ
November 2 – Moroccan – Los Angeles, CA
November 4 – Rickshaw Stop – San Francisco, CA
+FURTHER NORTH AMERICA DATES TO BE ANNOUNCED

New Video: Up-and-Coming Kiwi Band Miss June Releases Feverish Visuals for Mosh Pit Banger “Best Girl”

Miss June is an up-and-coming Auckland, New Zealand-based indie rock quartet, comprised of Annabel Liddel (vocals, guitar), Jun Park (guitar), Chris Marshall (bass) and Tom Legget (drums), and in their homeland, they’ve received attention for a jagged, feedback-driven alt rock meets New Wave and No Wave sound that’s been described as “some unholy union between Sonic Youth and Le Tigre” and for a formidable, attention-grabbing live show that has earned them opening slots for Foo Fighters, Shellac, Wolf Alice, Idles and Die! Die! Die!

The Kiwi-based band has recently signed to acclaimed New York indie label Frenchkiss Records, who will be releasing their double A-side 7 inch “Twitch”/”Best Girl” on June 10, 2019. Building upon a growing profile, the band will be playing shows in London, Los Angeles and New York; in fact, they’ll be playing three shows in town: June 17, 2019 at Elsewhere, June 18, 2019 at Berlin Under A and June 20, 2019 at Union Pool with Twen. (You can check out the tour dates below.) The double A side 7 inch’s latest single “Best Girl” immediately recalls riot grrrl-era punk and 90s alt rock, as the track is centered around Liddel’s sultry vocal delivery, fuzzy distortion pedaled power chords, thunderous drumming and and an rousing, arena rock meets mosh pit friendly hook. The song as the band says in press notes “is anthem for anyone, who has been misled from birth, into battle for a spot that doesn’t exist.” 

Directed by Chi’lita Collins and shot in the band’s hometown of Auckland, the recently released video for “Best Girl” features the band getting out of a broke down hoopty and passionately performing the song in a wind-swept  suburban backyard. But just behind them is some surrealistic, logic-defying action — a man wearing a suit and a tiger face paint pulls a passenger out of the trunk, who begins dancing on top of the car. Their drum kit is set on fire, another older, Rick Rubin lookalike tries to put it out and stands next to the man in the suit, watching dispassionately. Simply put it’s a 120 Minutes-era MTV fever dream. 

Comprised of Lucy Jowett (vocals), Joe Clarke (guitar) and Jacob Marston (drums), the up-and-coming Leeds, UK-based art punk trio Dead Naked Hippies formed back in 2016 and since their formation they’ve received praise from BBC Introducing, KCRWDIYClashDORK Magazine, Metro and PRS Magazine for a face melting take on art rock and art punk centered. Adding to a growing profile, the Leeds-based trio have shared stages with Dream Wife, IDLES, Queen Zee and DZ Deathrays, and have played at Live at Leeds and last year’s Leeds Festival.

The trio’s latest single “Rare” will further cement their growing reputation for crafting blistering and furious punk rock centered around a pummeling and angular guitar line, thumping and forceful four-on-the-floor drumming, and a shout along in a sweaty mosh pit worthy hook; but at the core of the song is a rebellious and cathartic rallying yell. As the band’s Jowett explains in press notes, It is a song about self love. I think we’re quick to judge the term & deem it laughable or irrelevant in fear of being arrogant, or weird. But if you take a hard look at the society we live in, it’s clear to see why so many people struggle to feel content in their own minds and their own bodies. I’ve always struggled with myself and it sickens me to think that so many other people feel the same. It needs to change.

“We’re used by advertising companies, so they can make money out of our discontentment. Bombarded with images of fake realities, only to make us feel like ours isn’t enough. We’re made to feel like our creativity and passion will never be as important as serving a functional purpose in society. It’s dull, boring and I’m fucking mad about it. Most importantly, I want people to know that they’re not alone.”