The multifaceted artist FAX has created a 19 minute piece that mirrors the title of the track. It builds and starts to swallow you little by little. It pulsates as it embraces you and holds you closer. It wraps around you in a claustrophobic way that feels soothing. We also really really liked the 2 (or should it be 3?) subtle references to David Bowie. Go and immerse yourself in this cinematic piece, which brings us to ask ourselves why hasn’t FAX worked in a film score, or better yet why hasn’t a film been built around one of his pieces.
The Limiñanas and dj / Producer Laurent Garnier have partnered up to release an album titled “De Película” which will be out September 10th via Because Music. Now they’ve shared the single ‘Que Calor’ (feat. Edi Pistolas).
TRACKLIST 1. Saul 2. Je Rentrais Par Le Bois … Bb 3. Juliette Dans La Caravane 4. Que Calor ! 5. Promenades Obliques 6. Tu Tournes En Boucle 7. Steeplechase 8. Juliette 9. Ne Gâche Pas L’aventure 10. Au Début C’était Le Début 11. Saul S’est Fait Planter
The video was directed by Sylvain Rusques.
The relationship between the Limiñanas and Laurent Garnier started with a ringtone. Yes. A ringtone. Back in 2017, Lionel and Marie Limiñana were invited by Laurent Garnier to perform at the Yeah Festival. The sound of Lionel’s ringtone, the signature riff from The Kingsmen’s ‘Louie Louie’, caught Laurent’s attention and so started a new adventure for them in this sort of international psychedelia (whatever that term means).
This album tells a story, a heated road trip following Juliette and Saul, two teenage rascals straight out of a ‘60s classic movie – think ‘Breathless’ meets ‘Wild at Heart’. The location is the southern border with Spain, stifled by heat and cheap liquor. ‘De Película’ is a true concept album that’s not afraid to stray and run free, or rather “an Italian anthology film” as Lionel Limiñana puts it, a great mumbo jumbo where it takes two, humour and melancholy, to tango. Picture squalid brothels, third-rate dance clubs, ‘60s vintage caravans, smack, Roger Harth and Donald Cardwell productions, distortion and fuzz-pedal sound effects. Gilles Deleuze, Professor X and the preacher from ‘The Night of the Hunter’ are some of the characters that inhabit the world of this drama-inspired record. ‘De Pelicula’ started through a shared love for the German band Can, trance music, psychedelics, but also dancing and all those “genres of music that allow you to drift off” as Laurent Garnier puts it. The result is neither a Limiñanas techno record nor a Laurent Garnier rock album. “We worked together as if we were shaping the same bit of clay”, explains Lionel Limiñana. “Laurent’s contribution goes beyond the mere production of beats and samples. He’s much more involved in the whole production, contributing themes, additional production and his writing skills. It was a fully collaborative project.”
They had previously released the opening track for the album “Saul”. This had a cinematic album teaser feel to it.
As of now no tour dates for the USofA (nor Tijuana) have been announced yet.
The video is directed by Sven Gutjahr whose collaborative credits include Versace and Holly Herndon. Anika and director Sven had lived in the same apartment building in Neuköln, Berlin during 2017 yet never met. Fate, and a bunch of people around a table 3,965 miles away brought them together to collaborate on this and the Finger Pies video.
A British ex-pat and former political journalist, Anika has collaborated with BEAK>, Tricky and released two albums with Mexico City’s ExplodedView to great acclaim. The single Change tackles personal growth as well as wider issues and grapples with eternal questions as to whether one can ever truly change.
Given that it has been 11 years since Berlin-based musician Annika Henderson – better known simply as Anika – released her last solo album, 2010 cult-favorite Anika, the artist suddenly found herself with a lot to say. When asked to describe the circumstances that influenced her beautifully fraught new work she quickly articulates a set of feelings and unpredictable circumstances that are familiar to anyone who tried to make art—or simply tried to live through—the recent global pandemic. “It’s a moment caught in time,” she says of Change, her much-anticipated new record.
Psychic Graveyard announced the release of their 3rd album “Veins Feel Strange” out September 10 via Deathbomb Arc. With it they’ve shared the first single “Word Machine”.
The video for “Word Machine” was done, fittingly, by Nathan Lee Joyner.
Psychic Graveyard comment on the new track: “The single is a hallucinatory account of a man who is seeking solace from a cruel machine that manipulates his thoughts. He is so troubled by this awful machine that he begs for hospitalization. He begs to escape to another psyche. He begs for his own language.“
If we have to take a guess on how the album will sound based solely on this song and their album progression and their fiery live performances, well then this album is going to be insanely good.
They have an upcoming tour starting April 2022 around Europe supporting METZ. They have a couple of dates in the fall of 2021 in the USofA but not a tour yet. Hopefully soon enough they’ll announce some dates in the USofA (or Tijuana).
Calvin Love released his second single off his new album “Lavender” which was released May 27th via Taxi Gauche Records.
The video for the new single was directed by Allie Yonick and it stars Brigette Briggs.
Maybe this is what heartbreak sounds like. Maybe this is what finding yourself after a heavy loss sounds like. Maybe this is one of the sounds we need to process the year we’ve gone through collectively. Either way this album so far feels like it was brought here in a time capsule, Calvin’s voice and arrangements pair up sync up just right.
No tour dates have been announced yet in the USofA (nor Tijuana).
The video for “Morning Star” was directed by Muted Windows and it’s a great fucking video for a song that feels as epic as it does claustrophobic.
“Creating this album has brought me great peace and closure,” says Esfandiari of Celestial Blues. “Grateful to finally share it with all of you.”
Celestial Blues was recorded in Oakland, California by GRAMMY-nominated engineer Jack Shirley (Deafheaven, Amenra, Oathbreaker). The band is rounded out by drummer Joseph Raygoza and guitar player Peter Arensdorf. Visual collaborations featured in the album packaging were created by Nedda Afsari, Collin Fletcher, and Jamie Parkhurst.
King Woman has confirmed a series of performances in support of the new album.
July 30 Los Angeles, CA Lodge Room July 31 Los Angeles, CA Lodge Room
October 15 Brooklyn, NY TBA October 16 Brooklyn, NY TBA October 17 Brooklyn, NY TBA
October 29 Oakland, CA Starline October 30 Oakland, CA Starline October 31 Oakland, CA Starline (covers show)
Alexis Marshall, singer for the band Daughters, has announced the release of his solo album “House Of Lull . House Of When” and with it it’s first single ‘Hounds In The Abyss’. The album will be released July 23rd via Sargent House.
Tracklist:. 01 Drink From the Oceans . Nothing Can Harm You 02 Hounds in the Abyss 03 It Just Doesn’t Feel Good Anymore 04 Youth as Religion 05 Religion as Leader 06 No Truth in the Body 07 Open Mouth 08 They Can Lie There Forever 09 Night Coming
The video for “Hounds in the Abyss” was directed by Jeremy W. The video is really good. It’s so good it could be presented as a permanent piece in a museum. It’s great to look at and uncomfortable to listen which is a very good thing. Alexis Marshall says of the video: “The long stare into the room of self—the universe’s middle distance—the many hidden doors we locate, the many rooms we find. Populated not only by whom else we are, but by places we have been. The places we are. We don’t always pull away from the hot stove.”
Via the press release from Sargent House: Produced by Seth Manchester the album is crafted around moments of spontaneity and sonic detritus. For it Marshall brought together an impressive group of collaborators to execute his vision, a vision that for the first time was under his full creative direction. Jon Syverson (Daughters), Kristin Hayter (Lingua Ignota), Evan Patterson (Jaye Jayle, Young Widows)joined Marshall in Pawtucket, Rhode Island at Machines with Magnets studio with no material. The strategy was to embrace new sounds, employ the element of chance, and capture the creative process in a song format. The genesis of a song could be anything—a fragmented piano line, a drum pattern—but the impetus was often a non-musical sound. Marshall sourced a lot of his textural contributions from a hardware store all contributing to a proto-industrial rattle-and-rumble. The resulting material stands to be the boldest and exciting work of his career.
No live shows have been announced just yet in the USofA (or Tijuana).
Satanic Planet have officially released their debut self titled album on May 28th via Three One G Records.
The tracklist: 1. Baphomet (feat. Jung Sing) 2. 999 3. Grey Faction 4. Passage 5. Invocation 6. Devil In Me (feat. Nomi Abadi) 7. Unbaptism (feat. Travis Ryan, Shiva Honey) 8. Vete al Infierno (feat. Jung Sing, Carrie Feller) 9. The Hell 10. Strangers 11. Exorcism (feat. Travis Ryan, Shiva Honey) 12. Satanic Planet (feat. Eric Livingston) 13. Liturgy
The video for the closing track “Liturgy” was directed by Neil Edwards.
The video for the self titled track “Satanic Planet” was directed by First Church Of The Void aka as Eric Livingston who collaborates on the track himself.
Satanic Planet is Justin Pearson and Luke Henshaw, who also work as Planet B, and Dave Lombardo, who also drums on Dead Cross alongside Justin, and Lucien Greaves who is the founder of the The Satanic Temple.
This album has an impressive list of collaborations which include Jung Sing (Silent, Maniquí Lazer), Eric Livingston (does video work/art as First Church Of the Void), Shiva Honey, Carrie Feller (Hexa). The album was produced by Luke Henshaw and Dave Lombardo.
This band, album have checked almost every box to make sure the pearl clutchers hold tight to their jewels, from the band name to the band members to the song titles and lyrics and themes and artwork and hidden satanic messages. The only thing that looks to be missing is children. Children laughing. Children singing. As we said before regarding this Satanic Planet release or any other: We believe it will be interesting if we have evolved into a place where we could sit down and enjoy this (or any) album in a family setting (your children included, no one excluded) without being held back by some sort of religious guilt. We wholeheartedly believe that there are still people, families that are bound by this cloud of religious fear that will look and use this band as a scapegoat. Hopefully their children will find the album or maybe the music will find them.