Give Ontario jazz-rock trio the opportunity to revise one of the most sensual songs of the year, and what do they do? They make it even more sensual.
Yes, BADBADNOTGOOD basically pulls apart and reassembles Future Islands’ “Seasons Change (Waiting On You),” and they turn it into a sweet piece of vintage soul in the process. What’s even more amazing is that they successfully maintain everything about the track that made it so great in the first place.
Few remixes churn out results this amazing.
Look for the single on Domino Records this August.
Are you one of the admirable few who’s managed to abstain from listening to Swans‘ massive new album To Be Kind? Hang in there – there’s only a handful of days left to go! But maybe you’ve already worn out their other 12 records waiting and need a little something to keep you from cracking? Well, CHVRCHDVST Records is here for you, with this sprawling, 32-song-long tribute album to Swans by various underground acts ranging from drone to folk to post-punk in style. It’s like the length of two whole Swans records (or four early Swans records)! This really oughtta keep you occupied til Tuesday…But seriously, you should just give in and listen to the album already. No one’s gonna judge.
Also, Swans has begun uploading its back catalog to their YouTube channel. Check that shit out if you’ve been meaning to get into their music.
With September’s “Don’t smoke in bed,” Xiu Xiu gave us our first glimpse at its upcoming Graveface Records debut Nina, a collection of 11 Nina Simone covers done in the style of free jazz. Since then, the band has shared two more tracks from the project, “Just Say I Love Him” and “You’d Be So Nice.” The former, which actually has a discernible, catchy groove, can be streamed via the Soundcloud widget below; and the latter, the noisiest offering so far, is accompanied by a classy minimalist music video that can be watched above. Enjoy!
Nina is slated for release December 3.
The Flaming Lips are teaming up with touring mates Tame Impala for an EP that will see both acts covering two of each other’s songs. Tame Impala has elected to take on “Are You a Hypnotist??” and “Silver Trembling Hands,” while The Flaming Lips have chosen “Runway, Houses, City, Clouds” and “Elephant.” Above, check out The Flaming Lips’ surprisingly understated version of the Lonerism standout.
The EP will be for sale on vinyl at the two’s shared shows on October 31 and November 1, in San Francisco and Santa Barbara respectively. The Flaming Lips have also just released Peace Sword, a mini album inspired by the upcoming movie Ender’s Game, via Warner Bros. Spotify Stream
“Ya Hey” is probably one of the most annoying songs on Vampire Weekend’s often-good third LP, Modern Vampires of the City. However, that didn’t stop Phosphorescent from ambling through a quite beautiful performance of it when they stopped by KCSN. Led by Matthew Houck’s well-worn and amber vocals, their version is a lot more bearable than the original, and is definitely worth a listen.
Look out for a deluxe edition of Phosphorescent’s very good 2013 LP, Muchacho, which includes a disc of live cuts, via Dead Oceans on October 29.
Watch Kurt Vile’s hazy take on Nine Inch Nails’ very first single, “Down in It,” for The A.V. Club‘s “A.V. Undercover” series. Kurt brings his easygoing charm to the track’s “white rap” vocals, and receives able backing from bandmate Rob Laakso on electronics. Enjoy!
Although apparently inadvertent on Kurt’s part, the timing could not be better for this cover. Nine Inch Nails’ new album Hesitation Marks is due out next week via Columbia Records and is available to stream in full via iTunes.
And here’s a review of this year’s fantastic Wakin on a Pretty Daze:
Prolific psych-rockers The Flaming Lips have shared yet another new music video; this time for a cover of Devo’s “Gates of Steel.” Shot during the same live session as the “Turning Violent” video that dropped last week, the Freedom of Choice cut is brilliantly adapted to fit the radiantly noisy sonic and visual esthetic that the band’s been flaunting since The Terror.
The cover comes across as incredibly triumphant in its own right, with it’s twangy guitar, deliberate bass, spacey synth, and driving percussion providing a lush backdrop for Coyne’s dramatic vocal delivery and mannerisms. To make matters even more epic, there’s lots and lots of glitter. Enjoy!