Tag: rough trade

New Video: Immersion Returns with a Krautrock-Inspired New Single

Last month, I wrote about the Brighton, UK-based art rock duo Immersion, and as you may recall, the act, which is comprised of husband and wife duo, Wire‘s Colin Newman and Minimal Compact’s Malka Spigel can trace their origins back to when the duo initially collaborated together in the early 90s on a handful of Colin Newman’s solo albums and later as Immersion.  Slated for a June 15, 2018 release, Sleepless is the follow up to 2016’s critically applauded Analogue Creatures Living on an Island and the forthcoming album is reportedly both an extension of its predecessor’s sound and a leap forward sonically. While still deeply influenced by Tangerine Dream and Popal Vuh with a textured, painterly approach, Newman and Spigel have expanded their sonic palette, to incorporate guitars, drums and bass with analog synths; and in fact, the album features the duo collaborating with Holy Fuck‘s Matt Schulz, and Hexenschuss‘ Gil Luz and Asi Weitz.

“Microclimate,” Sleepless’ first single was an lush yet atmospheric composition consisting of gently arpeggiated synths, simmering guitar chords, swirling electronics and a stuttering bass line — and while being meditative and dreamy, the song possesses an cinematic quality, as though it should be part of the soundtrack of a futuristic, sic-fi-leaning drama. The album’s second and latest single “Propulsiod” is a decidedly krautrock-inspired affair, as it’s centered around an appropriately propulsive, motorik groove with squelching and trembling synths and electronics. As the duo says about the song, “The roots of Immersion lie in abstract techno but somehow over the years we’ve acquired the motorik of krautrock without ever consciously deciding on that direction. ‘Propulsoid’ is a kind of propulsive mythical beast, an unholy alliance of Klaus Dinge’s beats and acid squelch filtered through the ever present MS-10. We guess it’s a kind of dance music! The video was made by us in the same spirit as we make the music and write these words. It’s about speed, light & repetition.” Unsurprisingly, the video features footage of relentless transpiration, movement sped up and occasionally in reverse, which emphasizes the sense of repetition and endlessness to it. 

Newman and Spigel will be touring to support Sleepless and it includes a July 14, 2018 stop at Rough Trade. Check out the rest of the tour dates below.

Advertisements

Perhaps best known as a co-founding member and lead guitarist of the Brooklyn-based indie rock act Big Thief, Buck Meek is finally stepping out on his own with his highly-anticipated self-titled, full-length debut, which is slated for a May 18, 2018 release through Austin, TX-based label Keeled Scales. Reportedly, Meek’s solo debut is extension of his work and role in Big Thief, but it can also be seen as being a revealing look at his primary act’s hidden talent. And so far, this year has been a breakthrough year for Meek as he’s received attention from NPR and American Songwriter and has toured with Margaret Glaspy, Twain and others.

“Maybe” the third and latest single off Meek’s self-titled debut is a shuffling and shambling song that draws from rock and country in a way that may remind some of Let It Be-era Beatles (think of “Get Back” “I’ve Got a Feeling” and “One After 909“), Harry Nilsson (think of “Jump Into The Fire“)and others but with a straight out of left field take, thanks to a song structure that eschews the traditional chorus, verse chorus format while being held together with razor sharp hooks and a mischievously free flowing vibe. The song may have been released in 1972, 1982, 2002, 2012 or 2018 but no matter what, there’s a deliberate attention to craft that’s charming.

Meek will be touring to support the album with a backing band and the tour will include a June 8, 2018 stop at Rough Trade. Check out the tour dates below.

Rough
TOUR DATES
May 30 | Kerrville, TX at Kerrville Folk Festival
June 07 | Allston, MA at Great Scott
June 08 | Brooklyn, NY at Rough Trade
June 09 | Washington, DC at Songbyrd
June 10 | Durham, NC at The Pinhook
June 12 | Nashville, TN at The High Watt
June 13 | Bloomington, IN at The Bishop
June 14 | Chicago, IL at Schuba’s
June 15 | Millvale, PA at The Funhouse
June 16 | Philadelphia, PA at Johnny Brenda’s
June 7-16 with Sam Evian
June 7 & 8 also with Katie Von Schleicher

New Video: Wire’s Colin Newman and Minimal Compact’s Malka Spigel Team Up on a Lush and Painterly Track

Comprised of Wire’s Colin Newman and Minimal Compact’s Malka Spigel, the Brighton, UK-based art rock duo Immersion can trace their origins back to when the duo initially collaborated together in the early 90s on a handful of Newman’s solo efforts and later with Immersion. Sleepless which is slated for a June 15, 2018 release is the follow up to 2016’s critically applauded Analogue Creatures Living on an Island and their forthcoming album is reportedly both a logical development and a leap forward — while still deeply influenced by the likes of Tangerine Dream and Popal Vuh with a textured, painterly approach, Newman and Spigel have expanded their sonic palette, to incorporate guitars, drums and bass with analog synths; in fact, the album also features guest appearances from Holy Fuck’s Matt Schulz, and Hexenschuss’ Gil Luz and Asi Weitz. 

Sleepless’ first single, album opener “Microclimate” is an atmospheric yet lush and upbeat composition consisting of gently arpeggiated synths, shimmering guitar chords, gently swirling electronics and a stuttering bass line — and while being dreamy and thoughtful, it’s a decidedly cinematic track that possesses a mysterious quality. 

New Video: JOVM Mainstays Preoccupations Release Surreal Visuals for Haunting New Single “Disarray”

Over the past couple of years, I’ve written quite a bit about the Canadian post-punk act Preoccupations, and as you may recall the band which features Matt Flegel (bass, vocals), Mike Wallace (drums), Scott Munro (guitar) and Daniel Christiansen (guitar), initially formed under the highly controversial name Viet Cong, which put the band in the middle of a furious and tumultuous debate centered around the appropriation of terms, names and symbols associated with historical groups and actions that evoke the horrors of despotism, fascism, genocide and so on. Ultimately, the band decided it was best to change their name before the release of their highly-anticipated sophomore album, an album that that found the individual members of the band in an unsteady and uncertain positions: at the time, each  member and relocated to different cities across North America, which made their long-established writing process of writing and testing material while on the road both extremely difficult, if not highly impractical. Along with that, several members of the band were reeling from having serious, long-term relationships end, around the time they were preparing to enter the studio. And unlike their previously recorded efforts, the band went into the writing sessions without having a central idea or theme to consider or help guide them along, essentially making the recording sessions akin to collectively blind leap of faith. Eventually the album’s material wound up drawing from something specific and very familiar — the anxiety, despair and regret that causes sleepless nights.  

Building upon a growing reputation for crafting dark and moody post-punk centered around themes of anxiety, uncertainty, creation, destruction and futility will be releasing their third album New Material is slated for release on Friday through Jagjaguwar Records, and the album, which finds the band recording and producing themselves is as the band’s Matt Flegel said in press notes, “an ode to depression. To depression and self-sabotage, and looking inward at yourself with extreme hatred.” Interestingly, much like their sophomore album, the band met without having much written or demoed beforehand — and according to the members of the band, it was arguably one of the most collaborative writing sessions they ever had as a band, with the sessions being extremely architectural in nature, with some ideas (proverbially speaking) being built up while others were torn down to the support beams. And although they didn’t initially know what the songs were about or where they were going with them, they had resolved to let the material show and not explicitly not tell. 

However, the writing and recording sessions reportedly led to a reckoning for the band’s Flegel. “Finishing ‘Espionage’ was when I realized. I looked at the rest of the lyrics and realized the magnitude of what was wrong,” says Flegel. In fact, the murky and angular  Manchester/Joy Division-like first single “Espionage,” while being among the most danceable songs they’ve written and released, focuses on a narrator, who has finally become aware of a disturbing penchant for self-sabotage in every aspect of his life. “Antidote,” New Material’s second single was centered around propulsive, industrial clang and clatter based rhythm meant to convey a sweaty anxiety, while being about how people forget that we’re all talking, walking, shitting animals, who have an infinite amount of knowledge within their fingertips but still manage to repeatedly make the wrong choices. 

“Disarray,” New Material’s third single is a meditative and slow-burning single featuring shimmering guitar chords, an angular and propulsive bass line, organic drumming and boom bap-like drum machine work during the song’s bridge. And while superficially nodding at Turn On the Bright Lights-era Interpol, the song captures something much darker and uncertain — as it’s centered around someone, who from their perspective, views everything they’ve ever known to be a lie. As the band’s Flegal recalls, When I was writing ‘Disarray,’ it started off with an image of a mother combing her daughters hair that came into my mind, I liked the metaphor of splitting the braids and combing through the tangles, and wrote the rest of the lyrics around that image. This song sat untouched for close to 6 months as a recording with just bass and drums before we came back to it and wrote and recorded the guitar line while out of our minds one night in the early AM.” 

Directed by Ruff Mercy, the recently released video pairs animation and live footage of the band’s Flegel walking on a deserted beach while singing the song’s lyrics, shot with a grainy, almost Instagram-like filter. At points, animated and cartoonish figures and lines burst into the proceedings and superimposed over Flegel’s face to convey deep, inner turmoil and chaos. 

New Video: Imarhan Releases Hallucinogenic Visuals for the Funky Disco Groove-based single “Ehad Wa Dagh”

Comprised of Iyad Moussa “Sadam” Ben Abderahmane, Tahar Khaldi, Hicham Bouhasse, Abdelkader Ourzig and Haiballah Akhamouk, the Tamanrasset, Algeria-based quintet Imarhan formed back in 2008 and are among a newer generation of Tuareg musicians that haven’t fought in the armed conflicts that have devastated Saharan Africa over the past 3 or 4 decades. Unsurprisingly, the members of Imarhan have been mentored by members of the internationally renowned Tuareg collective Tinariwen, while developing their own reputation across both the Tuareg world and elsewhere for pairing the ancestral tamashek poetry and rhythms of their elders with the contemporary sounds that reflect their urban upbringings, listening to a wide variety of music from across the globe.
 
With the 2016 release of the Algerian quintet’s critically applauded, self-titled debut album, they quickly became a buzz-worthy act with a growing internationally recognized profile which found them opening for a number internationally renowned touring acts including Kurt Vile, the aforementioned Tinariwen, Songhoy Blues and Mdou Moctor at venues across the US, the European Union and China. Imarhan’s highly-anticipated sophomore album Temet officially drops today and the Patrick Votan and Eyadou Ag Leche-produced album derives its name from the Tamashek word for “connections,” — and interestingly enough, the album reportedly is meant as an urgent wake up call to the listener, reminding them (and us, of course) that we are all deeply connected and without unity and understanding, we will never solve the world’s most urgent and pressing problems — i.e., environmental destruction, inequality, racism, growing strife and conflict, etc. As the band’s Ben Abderahmane said in press notes some time ago, “People should love each other. They need to know each other, we need to know each other, everyone should get to know their neighbor. We need to have the same approach as our elders,” he continues. “You will stumble across an old man who knows the world and will hand down his knowledge to his children.”
 
Now, if you’ve been frequenting this site over the past few months, you may recall that the album’s first single “Azzaman” was a meditative, hypnotic yet subtly contemporary take on the region’s desert blues sound that nods at psych rock — while thematically the song focuses on the passing of time and the handing over of a heritage and traditions by each successive generation, and the importance of leaving the right legacy. But along with that, the song makes a point of connecting different cultures of mixing the old and the new in a sensible way. Temet‘s second single “Tamudre” consists of a hypnotic and downright propulsive groove, punctuated with layers of percussion (both drumming and handclaps), call and response vocals and some impressive guitar work. Naturally, the song manages to remind me quite a bit of Tinariwen’s “Sustanaqqam” and “Adounia Ti Chidjret” but with a loose, bluesy vibe.
 
Temet’s latest single “Ehad Wa Dagh” features a stomping, dance floor-friendly, trance inducing, disco-like groove paired with some incredibly dexterous guitar pyrotechnics, making the song a funky and bold modernization of the desert blues that finds the band retaining familiar elements — the call and response vocals and the propulsive rhythms.
 
Directed by Visions Particulières, the recently released neon colored video focuses on Tamanrasset’s nightlife with members of the band arriving at a local nightclub to play a show — throughout it’s an explosion of colors, lights, and superimposed footage of the band members playing over an overhead of Tamanrasset. It’s a fitting psychedelic stomp.

Initially formed under the highly controversial name, Viet Cong, the members of the band now known as Preoccupations — Matt Flegel (bass, vocals), Mike Wallace (drums), Scott Munro (guitar) and Daniel Christiansen (guitar) —unknowingly and unwittingly found themselves in the middle of furious and tumultuous debate around cultural association and the association with historical groups and actions that would immediately evoke the horrors of despotism, war and genocide. And as an understandable result of that controversy, the members of the Canadian post-punk act made the difficult decision to change their name before releasing their highly-anticipated sophomore album.

When the members of the band reconvened to write the material that would comprise their self-titled effort as Preoccupations, each individual member of the band was in a rather unsteady and uncertain position: the members of the band had all relocated to different cities across North America, which made their long-established creative process of writing material while on the road extremely difficult. Along with that, as it turned out several members of the band were dealing with the heartache of having long-term relationships end, just as they were set to write. Adding to a growing sense of uncertainty, their sophomore effort found the band going into the writing session without having a central idea or theme to consider or guide them, making the sessions a collective and blind, leap of faith.

The end result was an album that drew from very specific things — the anxiety, despair and regret that has most people up at night. In fact, album singles like  “Anxiety,” focused on the natural and forced change placed upon the members of the band, and more generally on people while simultaneously capturing the confusing push and pull of human relationships, while “Degraded” one the album’s most straightforward and hook-laden songs was full of bilious accusation and recrimination. The album’s expansive, third single “Memory” as comprised of three distinct and very different movements held together by the song’s central narrative, which focused on the weight of one’s memory and the past has on every relationship and aspect of our lives.

Building upon a growing reputation for crafting dark and moody post punk, centered around themes of creation, destruction, futility, the Canadian post-punk band’s third, full-length album New Material is slated for March 23, 2018 release through Jagjaguwar Records, and the album, which finds the band recording the album themselves and enlisting the assistance of Justin Meldal-Johnson on mixing duties is as the band’s frontman Matt Flegel says in press notes, “an ode to depression. To depression and self-sabotage, and looking inward at yourself with extreme hatred.” Much like their previous album, the band went into the process without much written or demoed — and it was arguably the most collaborative writing sessions that they’ve ever had. While, writing New Material may have been extremely architectural with the band building ideas up, tearing others down to the support beams without quite knowing what exactly they were about, and as they were writing they had resolved for it all to show, not tell.

But reportedly, the writing and recording sessions led to a reckoning for Flegel.  “Finishing ‘Espionage’ was when I realized. I looked at the rest of the lyrics and realized the magnitude of what was wrong,” says Flegel. To that end, it’s interesting that “Espionage,” the murky and angular Manchester/Joy Division-like single is the first single off New Material — and in some way, the song evokes a narrator, who has finally become aware of his disturbing penchant for self-sabotage in every aspect of his life but despite the dark theme of the song, it finds the members of the JOVM mainstays crafting some of the most infectious, danceable material they’ve written to date.

Preoccupations will be embarking on a lengthy tour to support the album that begins in Toronto and includes two NYC area dates — April 19, 2018 at Rough Trade with Freak Heat Waves as an opener and April 20, 2018 at Elsewhere’s Zone One with Odonis Odonis as an opener. Check out the rest of the tour dates below.

 

TOUR DATES
4/14/18 Toronto, ON @ Horseshoe Tavern
4/18/18 Boston, MA @ Brighton Music Hall *
4/19/18  Brooklyn, NY @ Rough Trade *
4/20/18 Brooklyn, NY @ Elsewhere (Zone One) ^
4/23/18  Philadelphia, PA @ Underground Arts *
4/24/18  Washington, DC @ Rock & Roll Hotel *
4/26/18  Columbus, OH @ The A&R Music Bar *
4/27/18  Chicago, IL @ Empty Bottle *
4/29/18  Minneapolis, MN @ 7th Street Entry *
5/1/18  Winnipeg, MB @ Pyramid Cabaret *
5/3/18  Edmonton, AB @ Starlite *
5/4/18  Calgary, AB @ Palomino *
5/5/18  Calgary, AB @ Palomino
5/9/18  Vancouver, BC @ The Cobalt
5/11/18 Seattle, WA @ Barboza #
5/12/18  Portland, OR @ Star Theater #
5/14/18  San Francisco, CA @ Rickshaw Stop #
5/18/18  Los Angeles, CA @ The Echo #
5/19/18  Phoenix, AZ @ Valley Bar #
5/22/18 Austin, TX @ Barracuda
5/23/18  Dallas, TX @ Club Dada
5/24/18  St. Louis, MO @ Firebird
6/5/18 London, UK @ London Underground
6/7 Berlin, D @ Musik & Frieden
6/10/18 Hilvarenbeek, NL @ Best Kept Secret Festival
6/11/18 Paris, France @ Maroquinerie
6/12/18 Ramsgate, UK @ RMH
6/13/18 Leeds, UK @ Brudenell Social Club
7/3/18 Amsterdam @ Sugarfactory
7/4/18 Hamburg @Molotow
^ w/ Odonis Odonis
* w/ Freak Heat Waves
# w/ Moaning