Tag: Pitchfork

New VIdeo: Follow St. Vincent on a Gritty 70s Inspired Heist

Initially starting her professional career as a member of The Polyphonic Spree and as a touring member of Sufjan Stevens’ touring band, the Tulsa-born, New York-based singer/songwriter and multi-instrumentalist Annie Clark stepped out into the limelight as a solo artist and frontperson with her acclaimed project St. Vincent. Since the release of 2007’s full-length debut Marry Me, Clark’s work has continued to grow in stature and complexity with her self-titled fourth album winning a 2014 Grammy for Best Alternative Album, making her only the second female artist to ever win in that category.

Along with her work as a solo artist, Clark has collaborated with the legendary David Byrne on 2012’s Love This Giant, performed with the living members of Nirvana at the 2014 Rock and Roll Hall of Fame induction ceremony and da 2019 Grammy Awards duet with Dua Lipa.

Clark collaborated with co-producer Jack Antonoff on 2017’s critically applauded, smash hit album MASSEDUCATION, an album that landed on both the US and UK Top 10 Charts while landing at #1 of the Best of 2017 list of The New York Times and The Guardian — and placing high on the Best of 2017 lists of The AV Club, Billboard, Entertainment Weekly, Mashable, New York Daily News, NME, Paste, Pitchfork, Q, Stereogum, USA Today and a length list of others. 2018’s MassEducation found Clark collaborating with pianist Thomas Bartlett: Recorded over two nights in August 2017, the effort found Clark stripping back MASSEDUCATION’s material to its bare bones, revealing the vulnerable and earnest songwriting at their core.

MASSEDUCATION’s title track won a Grammy for Best Rock Song with the album winning another Grammy for Best Recording Package in 2019. As she was celebrating an enviable run of critical and commercial success, Clark’s father was released from prison. Clark began writing a new batch of materials which would become her soon-to-be released seventh album, Daddy’s Home. Daddy’s Home thematically closes the loop the loop on a journey that began with her father’s incarceration back in 2019 — and it ultimately led her back to the vinyl records her dad had introduced her when she was child — the gritty and sleazy rock records written and recorded in New York between 1971-1975.

Interestingly, Daddy’s Home’s latest single, “Down” is centered around a groove that’s simultaneously sultry and anxious with the track evoking images of the legendarily sleazy New York: in this case, a coke and booze fueled bender that starts at the local bar, features a stop at CBGB’s or Max’s Kansas City to see Blondie or Ramones before heading off to Studio 54. Warhol is somewhere in this picture, right? Now, while some critics have compared the album’s overall aesthetic and sound to Young Americans-era Bowie and Prince, “Down” to my ears reminds me more of Station to Station and Lodger-era Bowie. It’s far more anxious and murkier with a bit of menace seeping through.

Co-directed by Clark and Bill Benz, the recently released video features Clark in Candy Darling-like regalia through an anxious chase that’s one part French Connection and one part drug-fueled, paranoid fever dream. It fits the song’s careening and glitchy groove perfectly.

New VIdeo: Morningbell’s Travis Atria Releases a Quiet Storm-Inspired Meditation on Climate Change

From 2004-2013, Travis Atria was a member of acclaimed Gainesville, FL-based indie rock act Morningbell, which released six critically applauded albums of material, which includes songs featured in film and television. The band also played sets at Bonnaroo and SXSW and commissioned a custom star show at the Kika Silva Pia Planetarium while on tour to support 2013’s excellent album Boa Noite. Travis also had a side project The Slims, which released two albums and kept him pretty busy bon top of his Morningbell duties. In 2014, Morningbell went on indefinite hiatus when his brother Eric and his sister-in-law Stacie Thrushman-Atria started a family.

After spending a decade of recording and touring, Travis Atria turned to another lifelong dream of his — books. In 2016, Atria co-wrote Traveling Soul, the first biography of the legendary soul singer/songwriter and producer Curtis Mayfield — a major influence on Atria’s music — with Mayfield’s son Todd Mayfield. Traveling Soul received praise from Rolling Stone and Pitchfork. He then wrote Better Days Will Come Again, a biography of jazz trumpeter Arthur Briggs, who was among the greatest musicians of Paris’ Jazz Age — and who spent four years in a Nazi prison camp during World War II, where he conducted a classical orchestra of prisoners.

Adding to a rather productive period for the now-acclaimed musician and author, Atria had been writing new material, which would eventually become his soon-to-be released solo debut, Moonbrain, and at the tine he had started he was searching for the album’s heart. Of course, that process came about in stages: While working on his Arthur Briggs book, Atria went to Paris in August 2017 to see the site of Briggs’ prison camp. On the night he had visited Briggs’ prison camp, the Parisian news reported on the now-infamous Unite the Right Rally in Charlottesville, VA. For Atria, who was studying World War II history in Paris, it was a chilling to see his own countrymen staging what was a pro-Nazi rally.

The following year, the IPCC released their updated climate report, which said that we were maybe 20 years away from permanently damaging the environment as we know it. Atria, who had been involved in climate activism since 2004 began to fear the world the his niece and nephew would inherit, and decide that the album had to be more than the sensual rock ‘n’ soul he had been known for in Morningbell. Taking Curtis Mayfield’s “painless preaching” as a model fo this solo work, Atria focused on creating the material’s grove, initially steering clear of lyrical polemics — but while still trying to write about the truth about the world. “I felt too few artists were trying to deal with what we’re going through,” Atria says. “I owed it to these kids to try.” 

Unsurprisingly, Moonbrain’s material is a reflection of our time — and it pulls no punches about it, even if they sometimes seem like love taps. The album’s first single “Jazz Cigarette” is a shimmering Quiet Storm-like slow jam featuring shimmering guitars, twinkling keys, smooth horns, and a sinuous bass line paired with Atria’s plaintive crooning. But underneath the sultry, late night grooves, the song is focused on the dire state of the globe’s climate, suggesting that things are really even more fucked up than you think.

The accompanying video was shot primarily on the streets of New York — with most of the footage set in and around the 59th Street Bridge, Roosevelt Island and Long Island City. Throughout, the video reminds us all of the city’s constant activity and constant motion; but with the uneasy reminder that those beloved sites may at some point be in endangered, and real soon.

Moonbrain is slated for an April 2, 2021 release through Gold Robot Records.

New Video: JOVM Mainstays Thyla Releases a Shimmering Ode to Loneliness, Heartbreak, and Survival

Rising Brighton, UK-based indie rock band Thyla can trace its origins to when its founding trio — Millie Duthie (vocals), Danny Southwell (drums) and Dan Hole (bass) — met while attending college. Bonding over shared musical interests, the band’s founding trio started writing original material together, but with the addition of Mitch Duce (guitar) , the band began to reimagine their sound and aesthetic, centered around a distaste what they felt was the stale, boring and tired state of the British recording industry.

As they quickly became JOVM mainstays back in 2019, the Brighton-based act helped to cement their hometown’s growing reputation for a music scene that features some of England’s hottest emerging acts while playing shows with Dream Wife, Luxury Death, Matt Maltese, Yonaka, Husky Loops, Lazy Day, Sunflower Bean, INHEAVEN and Fickle Friends. Adding to a growing profile in their native England, the band was spotlighted alongside Pale Waves, Nilüfer Yanya, and Sorry in NME‘s 100 Essential Acts for 2018.

The act’s debut EP 2019’s What’s On Your Mind was released to critical applause from Pitchfork, Stereogum, NME, The Line of Best Fit and Dork — and it received airplay from BBC Radio 1, BBC Radio 6, Radio X and KCRW. Adding to a momentous year, which saw the band receive attention from outside the UK, the Brighton-based JOVM mainstays opened for Rolling Blackouts Costal Fever, played attention-grabbing sets at The Great Escape, Live At Leeds and Hit The North. They then followed all of that with their first national tour, which also included one of their biggest shows to date at London’s Electrowerkz.

Last year, Thyla released their sophomore EP Everything at Once, which featured the anthemic and boldly ambitious “Two Sense,”and the shimmering yet anthemic, coming-of-age story “Lennox Hill,” which was arguably the most personal song the band’s Millie Duthie had written to date. And although, last year had put everyone’s career plans and aspirations on hold, the Brighton-based JOVM mainstays had been busy working on their long-awaited and highly-anticipated full-length debut

The quartet’s latest single “Breathe” is their first single of 2021 — and is the first taste of their full-length debut, slated for release later this year. “Breathe” is an atmospheric yet dance floor friendly track featuring glistening synth arpeggios, a sinuous bass line, squiggling blasts of guitar, stuttering four-on-the-floor, Duthie’s ethereal yet plaintive vocals and an enormous hook. While the song sonically may remind some folks of When The Night-era St. Lucia, the song manages to be completely of this moment: Thematically, the song sees the band further exploring the idea that in a constantly connected world, we are paradoxically even more shut off from each other as individuals, evoking the profound and uneasy loneliness many of us have been struggling with. And unsurprisingly, the song captures our longing for the normalcy and real world interactions we can’t have right now while touching upon the fact that we will all get through this somehow. It may change us but we will get through.

“‘Breathe’ was written in the early hours of the morning. Eventually we chanced upon this really vibey atmospheric lick that you hear in the intro, and the whole song grew from there,” Thyla’s Millie Duthie recalls. “The song blossomed into a slightly melancholic dream-pop bop, it’s bittersweet and has a slightly inconclusive feeling to it; imagine a film where the main character never actually gets the happy ending you’ve been so long yearning for. The result of how the instrumental sounded no doubt manifested lyrics that held the same sentiment. The song is about loneliness, estrangement from family and close friends, yet despite this, feeling a sense of inner strength about the situation. It’s like recovering from a breakup and realising you’ve come out stronger, but a reflection of the scar tissue that resulted from the trauma.”

Directed by Joseph Daly, the recently released video for “Breathe” is a glittering yet intimate and hazy, 80s prom-inspired visual that captures the band in intimate and lonely moments, seemingly finding their own strength to continue onward — with the video turning into a sort of dance party for the lonely.

Live Footage: King Gizzard and The Lizard Wizard Perform “Evil Death Roll” — from “Live in San Francisco ’16”

Formed back in 2010, the acclaimed, genre-defying Aussie psych rock and JOVM mainstays King Gizzard and The Lizard Wizard have maintained a long-held reputation for being a restlessly prolific act has released boundary pushing material that frequently draws from psych rock, heavy metal, thrash metal, thrash punk, Turkish pop, prog rock, and more.

2016’s Nonagon Infinity began an enviable and insanely prolific run of material that found the Aussie act doubling their overall output in only a handful of years. Released to major critical praise internationally from the likes of NPR, who hailed it as “masterfully bizarro” and Pitchfork who wrote that the album yielded “some of the most outrageous, exhilarating rock ‘n’ roll in recent memory.” The album was also a commercial success in their native Australia, wining an ARIA Award for Best Hard Rock/Heavy Metal album. Interestingly, as a result of the album’s critical and commercial success, Nonagon Infinity has proven to be a major career turning point for the band with the band’s live show quickly moving from more intimate settings — 500 or so capacity joints to 2,500-5,000 capacity clubs and amphitheaters.

Written and recorded over a two year period, Nonagon Infinity is a drastic departure from its immediate predecessor, 2015’s Paper Maché Dream Machine with the band taking a bold creative leap in its structure and arrangements. “I wanted to have an album where all these riffs and grooves just kept coming in and out the whole time, so a song wasn’t just a song, it was part of a loop, part of this whole experience where it feels like it doesn’t end and doesn’t need to end,” King Gizzard and The Lizard Wizard’s Stu Mackenzie explained in 2016. The album is the world’s first infinity looping album, which each track flowing seamlessly into the next with the album’s closing track linking back to the album’s opener. The band tears through the album’s set of material with a furious intensity — and without ever breaking. For the band and the listener, its meant to induce a joyful and feverish delirium.

The Aussie psych rock JOVM mainstays just released a live double LP album Live in San Francisco ’16. Recorded during a tour stop at San Francisco’s The Independent, the live album captures the band’s infamously explosive live shows — and the sweaty and intense intimacy of the 500 capacity room. With nearly half of that tour’s setlist made up of Nonagon Infinity tracks, the live album unfolds with furious yet controlled sense of chaos while capturing the band at arguably their tightest ever. “2016 was peak tightness for Gizz,” Stu Mackenzie recalls in press notes. “Around this time we were really into tightly composed sets, and the show was like one long song—everything linked, everything planned. We threw that idea out the window later on, but this live record is a great document of that moment in our collective psyche.”

Along with the live album, the Aussie JOVM released a live concert film — from that same live recording. As a taste of both the album and the live concert film, King Gizzard and The Lizard Wizard released footage of an explosive performance of Nonagon Infinity album track “Evil Death Roll” that will further cement the band’s reputation for being one of the world’s best live acts.

You can purchase the Concert Film here: https://vimeo.com/ondemand/liveinsanfrancisco16

New Video: Soccer Mommy Releases a Creepy and Dread-Fueled VIsual for “crawling in my skin”

Sophie Allison is a Swiss-born, Nashville-based singer/songwriter, guitarist and creative mastermind behind the critically applauded indie rock project Soccer Mommy. Allison first picked up guitar when she was six — and as a teenager, she attended Nashville School of the Arts, where she studied guitar and played in the school’s swing band. In 2015, the Swiss-born, Nashville-based singer/songwriter and guitarist began posting home-recorded sons as Soccer Mommy Bandcamp during the summer of 2015, just as she was about to head to New York University (my alma mater, no less!), where she studied music business at the University’s Steinhardt School of Culture, Education and Human Development.

While she was in college, Allison played her first Soccer Mommy show at Bushwick, Brooklyn’s Silent Barn. She caught the attention of Fat Possum Records, who signed her to a record deal — and after spending two years at NYU, she returned to Nashville to pursue a full-time career in music. Upon her return to Nashville, the acclaimed Swiss-born artist wrote and released two Soccer Mommy albums — 2016’s For Young Hearts released through Orchid Tapes and 2017’s Collection released through Fat Possum. Allison’s proper, full-length debut 2018’s Clean was released to widespread critical acclaim, and as a result of a rapidly growing profile, the Swiss-born, Nashville-based artist has toured with Stephen Malkmus, Mitski, Kacey Musgraves, Jay Som, Slowdive, Frankie Cosmos, Liz Phair, Phoebe Bridgers, Paramore, Foster the People, Vampire Weekend, and Wilco.

Before the pandemic, Allison was gearing up for this year to be a massive year: she started off 2020 by playing at one of Bernie Sanders’ presidential rallies and joined a lengthy and eclectic list of artists, who endorsed his presidential campaign. Her highly-anticipated sophomore album color theory was released to critical praise earlier this year — and like countless artists across the globe, she was about to embark on a headlining tour with a number of dates sold-out months in advance that included a Glastonbury Festival set. And she was supposed to be make her late-night, national TV debut on Jimmy Kimmel Live!

With touring at an indefinite halt, Allison, like countless other artists recognized that this period offered a unique opportunity to get creative and experiment with new ideas and new ways to connect with fans. Combining her love of video games and performing, the Swiss-born, Nashville-based artist had a digital show on Club Penguin Rewritten with over 10,000 attendees, who all had to make their own penguin avatars to attend. The show was so popular, that the platform’s servers crashed, forcing a rescheduling of the event. Of course, Allison has also played a number of live-streamed sets, including ones hosted by NPR’s Tiny Desk At Home (which she kicked off) and Pitchfork‘s IG Live Series. She also released her own Zoom background images for her fans to proudly show off their Soccer Mommy fandom.

Earlier this year, Aliison and her backing band embarked on a Bella Clark-directed 8 bit, virtual music video tour that had the act playing some of the cities she had been scheduled to play if the pandemic didn’t happen — Minneapolis, Chicago, Seattle, Toronto, and Austin. And instead of having the virtual shows at at a common tourist spot or a traditional music venue, the members of the band were mischievously placed in rather unusual locations: an abandoned Toronto subway station, a haunted Chicago hotel, a bat-filled Austin bridge. Of course, the video tour featured color theory single “crawling in my skin,” a song centered around looping and shimming guitars, a sinuous bass line, shuffling drumming, subtly shifting tempos and an infectious hook.

Allison recently released an Adam Kolodny-directed, fittingly Halloween-themed visual for “crawling in my skin” that’s full of creeping and slow-burning dread that reminds me of Roger Corman’s Edgar Allan Poe movies with Vincent Price. “I’m excited to put out this video for crawling in my skin right at the end of spooky season. I hope everyone enjoys this video and their Halloween! 🎃“ Allison says.

New Video: JOVM Mainstay Washed Out Teams Up with Caroline Koning for an Intimate Meditation on Longing and Touch in the Age of COVID-19

Throughout the course of this site’s ten year history, I’ve spilled quite a bit of ink covering Ernest Greene, a Perry, GA-born, Athens, GA-based singer/songwriter, multi-instrumentalist and producer, best known as the creative mastermind behind the acclaimed synth pop/chillwave act Washed Out.  The project can trace it origins back to around 2009: After earning an undergraduate degree and a Master of Library and Information Sciences degree from the University of Georgia, Greene was unable to find a job as a librarian. Greene moved back in his parents and began writing and producing material in his bedroom studio as well as with a local electro pop act Bedroom.

Shortly after posting Washed Out material on his MySpace page, the Perry-born, Athens-based singer/songwriter, multi-instrumentalist and producer was discovered and championed by a number of influential blogs, who compared his sound to Neon Indian and Memory Tapes. He released his first two Washed Out EPs in rapid-fire fashion in August and September of that year. Building upon a growing profile, 2010 saw Greene continue the amazing momentum of the previous year: he played that year’s Pitchfork Music Festival and “Feel It All Around” became the opening theme song for the acclaimed TV series Portlanadia.

In early 2011, Greene signed with Sub Pop Records, who released his his full-length debut Within and Without, an album of icy yet plaintive synth pop to critical applause and commercial success: the album peaked at #26 on the Billboard 200 and #89 on the UK Albums Chart. He ended a breakthrough 2011 by co-curating that year’s ATP Nightmare Before Christmas in Minehead, UK with Battles. 

Greene’s sophomore Washed Out album 2013’s Paracosm was a decided change in sonic direction, as it featured a warmer, tropical-inspired sound that paired organic instrumentation with electronic production — all while retaining the ethereal quality of his previously released material.  

2017’s Cole M.G.N. co-produced Mister Mellow was released through renowned hip-hop label Stones Throw Records, and the album took on a bit of a J. Dilla-esque beatmaking feel. Since the release of Mister Mellow, Greene released a handful of singles including “Face Up” as part of Adult Swim’s applauded Singles Series. Earlier this year, the Perry-born, Athens-based artist released “Too Late,”  a swooning yet bittersweet bit of synth pop centered around layers of arpeggiated synths, stuttering beats, Greene’s ethereal and plaintive vocals and a soaring hook — but with a subtly Mediterranean feel.

As it turns out, “Too Late” was unofficially the first single off Greene’s highly-anticipated and long-awaited fourth album Purple Noon. Written, recorded by Greene with mixing handled by frequent collaborator Ben H. Allen, the album’s production followed a brief stint of writing with other artists — most notably writing with Sudan Archives on her debut Athena. Those collaborations allowed Green to explore R&B and modern pop and those sounds have made their way into Purple Noon‘s material. Not only is the material reportedly the brightest and more robust sounds he’s ever worked out; it’s also a decided step forward: unlike his previous released work, the vocals are placed front and center at the mix, with slower tempos, bolder, harder-hitting beats and a more comprehensive dynamic depth.

Deriving its name from Rene Clement’s 1960 film Purple Noon, which was based on Patricia Highsmith’s novel The Talented Mister Ripley, the album’s material is deeply inspired by the coastlines of the Mediterranean — with Greene paying tribute to region’s island-based culture, elegance and old-world charm. But the surroundings serve as the backdrop to stories of passion love and loss — with a deeper, perhaps more urgent emotional intensity: the album’s first single “Too Late” is a tale of a first meet, with all the confused and swooning emotions that come about. Continuing in that same vein, Purple Noon‘s second single “Time To Walk Away” told the story of a the disintegration of  relationship with an aching sense of loss, confusion and longing. 

“Paralyzed” Purple Noon’s third and latest single continues in a a similar vein — brooding, shimmering yet ethereal synth pop with twinkling keys, thumping beats and subtle Mediterranean flavor through the addition of fluttering flute. Greene’s plaintive vocals sing lyrics detailing the power of love and lust with an ache and longing that should feel familiar to all who have been there before. 

Directed by acclaimed fashion film director Caroline Koning and shot in her native Holland, the recently released video follows a real-life couple Shay and Dories in their most unguarded and intimate moments, conveying love, lust and longing with a simple look, a smile, a touch of the hand. Considering how dangerous human touch is during an age of pandemic, the video will bring back memories of far simpler times — of intimate moments we all may have had with lovers and even with random hookups. 

“Human contact, and something as simple as a touch, has new meaning in the context of today,” Caroline Koning explains in press notes. “These special times make the viewing experience of physical togetherness a different one, and I wanted to tap into that sentiment in a pure way. The couple we follow in the film capture this simplicity beautifully, and what we see on screen all happened very organically. Encapsulating a perhaps general longing for closeness through a very unpretentious narrative gives this spot a natural honesty that I think visualizes the track in a strong manner.”
 
Washed Out has also announced Purple Noon Nights, a culmination of four months of new tracks and visuals leading up to the new album’s release over four nights this weekend. Beginning this Thursday, August 6th and ending on Sunday, August 9th at 8:30 pm ET/5:30 pm PT each night, Washed Out’s Ernest Greene will be hosting a different Purple Noon-related event each night:
 

Thursday, 8/6: Purple Noon listening party
Friday, 8/7: the Washed Out live band’s first live-streamed concert, performing selected tracks from Purple Noon along with highlights from his catalog
Saturday, 8/8: Q&A with fans via @realwashedout’s Instagram Live account
Sunday, 8/9: Greene will host the sixth in his popular Magic Hour Mix DJ sets, with this set focusing on the Washed Outcatalog
 
The listening party, full band set, and Magic Hour DJ set will be broadcast live from Washed Out’s YouTube, Facebook, Instagram TV, and Twitch accounts.
 

Live Footage: PUP’s Quarantine Session Version of “Anaphylaxis”

Formed back in 2015, Toronto-based punk act PUP — Stefan Babcock, Nestor Chumak, Zack Mykula and Steve Sladowski — quickly became punk scene darlings with their first two albums, which received critical applause from The New York Times, Pitchfork, NPR, Rolling Stone and a long list of others.

The band’s third and latest album, last year’s Morbid Stuff found the band maturing and further honing the approach and sound that won them international attention — by doubling down on the gang’s-all-here vocals, big power chord-driven choruses and lyrics about death. And as a result, the album’s material teeters between gleeful chaos and bleak oblivion while delving into Stefan Babcock’s struggles with depression. In some way, admitting his depression allowed him to take some control — and to laugh in its face.   The album was released to critical applause, and as a result of a rapidly growing profile, the band wound up making their late-night Stateside television debut on Late Night with Seth Meyers. They also supported the album with a largely sold-out world tour that found them on the road for most of the year.

The band’s latest single, the breakneck  “Anaphylaxis” is the first batch of new material from the band this year and the single which features shouted, “the gang’s-all-in” vocals, rousing hooks, enormous power chords and thunderous drumming is the sort of song that’s simultaneously a mosh-pit friendly ripper and the “raise-a-beer-with-your-buddies-and-shout-along” anthem, centered around lyrics that balance sincerity with heavily winking irony. Everything is falling apart all around us — and holy shit, ain’t it kind of funny that it is?

“I got the idea for the song when I was at my partner’s cottage and her cousin got stung by a bee and his whole head started to swell up,” says singer Stefan Babcock. “His wife, although she was concerned, also thought it was pretty hilarious and started making fun of him even as they were headed to the hospital. He ended up being totally fine, but it was just funny to watch him freaking out and her just lighting him up at the same time. It reminded me of all the times I’ve started panicking for whatever reason and was convinced I was dying and the world was ending and no one would take me seriously. In retrospect, I always find those overreactions pretty funny. So we wrote a goofy song about being a hypochondriac and tried to make our guitars sound like bees at the beginning of it.”

The band got together — virtually — to record a live version of the song that features three of the members  playing in their houses or practice space with the band’s Stefan Babcock in the backseat of his van. “During our quarantine, I couldn’t go to our jam space,” the band’s Stefan Babcock says in press notes. “I also live in a small apartment and my neighbours understandably get very annoyed and/or concerned about my mental state when they hear me yelling my head off about getting stung by bees or killing my bandmates or whatever garbage these dumb songs are about. So I started making demos and recording in my car in a parking lot across the street from my house. Every few minutes, cops would slowly drive past to see what the unhinged kid in the busted up Ford Escape was doing. But I’m white, so lucky me, my biggest worry was that they’d judge my precious lyrics. White privilege is real. Defund the police.”

New Audio: Sports Releases a Slinky New Single

Currently split between Los Angeles and Norman, OK, the acclaimed indie electro pop act Sports — Cale Chronister and Christian Theriot — can trace their origins back to when the duo met in grade school. Throughout their history together, they’ve honed and refined  their unique take on slinky and funky electro pop, with their first two albums, 2015’s Naked All The Time and 2016’s Can’t Stop Chillin, which featured a handful of critically applauded singles including “You Are the Right One,” “Panama,” “Whatever You Want:” and “Someone  You’d Rather Be Dating.” 

Building upon a growing profile, 2018’s Everyone’s Invited was released to critical praise from Pitchfork, Pigeons and Planes and Ones to Watch. The album also received airplay on KCRW’s Morning Becomes Eclectic and was playlisted on Spotify’s New Indie Mix playlist. 

The breezy yet slinky  “Tell You Something,” is the first bit of new material from the duo since Everyone’s Invited. Centered around shimmering synth arpeggios, a sinuous and propulsive bass line, copious amounts of cowbell-led percussion, an infectious hook and Chronister’s breathy vocals, the song finds the band blurring the lines between synth pop, funk, psych rock and Quiet Storm R&B in a way that reminds me of Currents-era Tame Impala. “It’s an anthem of uncertainty. I was taught how to socialize by television, and never learned how to verbalize my feelings,” Sports’ Cale Chronister explains in press notes. “I’m learning to say what’s on my mind, even when it’s uncomfortable . . . I’m celebrating the most ridiculously small feat just by admitting this.

There is still something dark, uncertain in the song, which is left intentionally unknown, and I guess it reflects the lingering anxiety the person on the other side of this conversation could be feeling – still waiting to hear what I have to say.”