Baltimore noise rock band Dope Body drops a track from their forthcoming album, Lifer. It’s looking at a release this October on Drag City Records, just like their last album, and this new track of theirs is a heavy, wild piece of rock ‘n’ roll. While it’s not as kooky or groove-oriented as the cuts on Natural History, the band still brings forth some visceral riffs and a dynamic guitar interlude as well. Enjoy!
UK-based electronic music producer Hudson Mohawke has recently announced that he’s got a new EP on the way via Warp Records. He’s dropped a new track along with the announcement, and it’s the title track of that forthcoming EP, Chimes. It’s dropping officially on September 29th.
Needless to day, considering I’ve enjoyed Hudson’s previous projects so much, I’m excited for what’s coming up on Chimes. The title track itself takes an incredibly loud, rowdy approach to the trap banger. While there are some ethereal, glossy synth passages on this track, much of it’s runtime is taken over by loud, distorted sub-bass and slightly offbeat synth horns.
It’s unquestionably colorful, and even though it might share a little too much common ground with what Hudson’s already done in TNGHT, I’m still loving what’s going on here.
Ethiopian-born Finnish singer-songwriter Mirel Wagner very quietly released her debut of creaky, stark folk music with a self-titled record in 2012. The whole thing was very minimal and dark and somber, so it isn’t too much of a surprise that it didn’t catch too much buzz (which is unfortunate, really). But now, Wagner has signed to Sub Pop for her sophomore record, When the Cellar Children See the Light of Day, and has released a new song.
“The Dirt” follows a similar pattern to her debut songs, but it has a richer production and songwriting value, with Wagner’s voice really shining throughout, with just the right dab of reverb. It has a bluesy strut (blues has always been a clear influence on her brand of folk), and the electric guitar that comes sliding in has a rustic, rickety feel that fits the song perfectly. It’s nice to hear Wagner’s songs get a couple more musical elements embedded into them; she does a nice job with these small but important assists. And when she closes the song with the chilling, “You’ll be in the dirt / You’ll be the dirt,” it just gets me all scared and excited.
When the Cellar Children See the Light of Day is out August 12 via Sub Pop.
Jenny Hval and Susanna are both well-respected Norwegian singer-songwriters with striking voices who favor unique, complex, and often quite minimal compositions. Last year, Hval released a pretty good experimental pop LP called Innocence is Kinky, and Susanna released her fourth solo full length (she has an additional three under the name Susanna & the Magical Orchestra), The Forester. Together on this new collaborative project, they form a very clear bond between their favorite styles.
“I Have Walked This Body” opens on a dark, somber drone, with Hval delivering a keening but mostly placid vocal. Soon though, things get weird. An eerie vocal affect and some well-placed static later, it almost leaks into Shaking the Habitual territory. Both singers’ voices get nicely showcased here, as the song slowly morphs and slides through a few different phases, before growing quite cacophonous and intoxicating, and then finally collapsing back into the void from whence it came. The two women clearly know what they’re doing here. Their collaborative album is a whopping 15 tracks long, so I am very interested to see what they do across such a huge canvas.
Meshes of Voice comes out Aug 19 via SusannaSonata.
“Holy Holy,” Orenda Fink’s third song to drop from her forthcoming record Blue Dream, opens with a very classic-sounding guitar progression. Then you realize the almost spiderweb quality it has–spindly, dewy, and delicate. Fink’s vocals come in shortly and it’s all just pretty, blissful, and mournful. Fink wrote the song while grappling with the struggle of how we can love someone so deeply if the relationship ends in death. “Where does the love go?” she asks. The album was written after the death of her beloved dog. It all sounds very dour, but in this track (and the two others she’s dropped) there is also a sense of hopefulness, of yearning. Fink is looking for answers.
The song progresses quite nicely, with a beautiful chorus replete with a luminous harmony (which has always been one of Fink’s strong suits). In the first verse Fink sings, “We come into this world all alone/And we leave with not much more,” but by the chorus she seems to exalt her deceased love into the clouds above. A shimmering chime sounds out for emphasis, and then a keyboard gently glows, like the embers of a sinking fire. Fink has always been an astounding talent – her group Azure Ray’s debut remains one of my all-time favorite records – and her forthcoming record is bound to be one of aching loss, but also of a tender beauty, the kind that comes from having hope in times of darkness.
Blue Dream is out August 19 via Saddle Creek.
Previously mentioned Neil Cicierega has a new megamix of insanity out titled Mouth Silence. In the piece’s first few moments alone, there’s an amazing, heavenly remix of 3rd Eye Blind’s “Semi-Charmed Life” propped up against a fusion of Nine Inch Nails’ “Closer” with the Ohio Players’ “Love Rollercoaster.” Just let that settle in for a minute. Yeah, that happened.
Anyway, expect some hilariously insane musical clashing going on in this thing, and enjoy!
Digging on some fiery jazz rock from this new Daniel Rosenboom Quintet album, Fire Keeper. The kinetic energy in the performances on this thing is m-a-s-s-i-v-e. The production is a little flat at times, but the performances are just stellar throughout.
Chicago rapper Mick Jenkins is gearing up to drop his new project titled The Water[s]. It’s dropping August 12th. Just take a listen to this dude’s lyrics. The wordplay is tight, the the passion in his delivery is immeasurable! Keep tabs on this dude!
Whimsical, delicate, and moving, these five new tracks from singer-songwriter Shara Worden–a.k.a. My Brightest Diamond–make for a pretty captivating lead-up to her next full-length album, which is dropping later this year. We actually shared a track from it a little while ago.
Seems like a pretty capable EP, and doesn’t really feel like any material that’s completely throw-away. If this is what didn’t make the album, I can only imagine how great this next release is going to be.