Austra has shared the second single, “Siren Song”, off her upcoming album “Chin Up Buttercup” out November 14th via Domino.
The video for the song was directed by Vanessa Magic.
Katie Stelmanis shared this about the song: “ABBA inspired the early songwriting with [co-writer] Patrick [Holland]. The Siren introduced herself to me while I was improvising the demo recordings and I quickly realized that Orpheus would be our common nemesis. Following a recent X-Files binge, I was heavily inspired by Mulder’s desperate search for his sister. Ray Of Light came in at the end as my co-producer Kieran Adams and I were establishing the sonic realm which would become the backdrop for our Siren to lament the loss of her lover to Orpheus and his pesky Lyre.”
The Charlatans have shared the second single, “Deeper And Deeper”, off their upcoming album “We Are Love” out October 31st.
Tim Burgess shared this about the song: “It kicks in with a sense of immediacy. It’s Altered States meets Pincher Martin. The Hammond organ leads the way and hands you over to the irresistible and relentless bassline, a sense of giving in to what surrounds you. Sometimes it’s where you should be going. But you only get the answer once you can’t turn back.”
Jake Xerxes Fussell & James Elkington have shared 2 songs, “Glow In The Dark” and “Contemplating The Moon”, off the soundtrack to the movie “Rebuilding” directed by Max Walker-Silverman to be released in November via Fat Possum.
Max Walker-Silverman shared this about the score: “I could hear the cinema in it right away. His music is rooted firmly in all the folkloric traditions I love but not at all nostalgic. And that was much like the film we were making; a story in which the past is all around but firmly of the here and now. And since so much of his music has no lyrics, Jake already understood the challenge of telling a story through instrumentation alone.”
James Elkington shared this about it: “I think Max had a suspicion that we’d be able to improvise a couple of new pieces in the room, while watching the picture, which turned out to be true. Some of our favorite cues were written that way, in the room while watching the picture. Not only are both “The Straight Story” and “Paris, Texas” great soundtracks, but the films themselves hold hands with Rebuilding as modern inversions of the western.”
“Rebuilding” synopsis says: “After losing the old family ranch to a wildfire, a cowboy, Dusty, winds up in a small FEMA camp in the vast American West. The last of a long line of ranchers, he’s stranded between the legacy of his land and the changes to it. But he begins to reconnect with his young daughter, Callie Rose, and his ex wife, Ruby, and ultimately the neighborhood around him that he never chose-a world of people who all lost their houses like he did. Together they find an unlikely community-and maybe even hope, beauty, and a future in this wild place.”
Preoccupations have shared two new songs, “MUR” and “PONR”, outtakes from their recently released album “Ill At Ease”.
Matt Flegel shared this about “MUR”: “With ‘MUR’, I was trying to translate the feeling of overwhelming, aggressive, helplessness and unwillingness to talk about things that scare you, into the form of sound. It builds up and hits the point of almost rapture, and then explodes into a rant and rage, and unburdening of all the things you were exasperated about.”
For “PONR” Flegel shared this: “Is set in a far future, where the feeling of nostalgia died a long time ago. It’s about finding a trove of relics that you think of as new and incredible, but they’ve existed in far superior forms in the past. You don’t know any better, but it makes you feel good, so you don’t question it. Time moves on a you eventually grow tired of it all and burn it, and try to find or create better versions of the things. It’s basically about the inevitability of disappointment, and the inherent human need to tear things down, make a blank slate, and create something new.”
Nala Sinephro has shared the single, “Grand Prix”, off the score for the film “The Smashing Machine” directed by Bennie Safdie that was released via Warp Records.
Nala Sinephro shared this about it: ” It was an amazing and incredible journey creating the score with Benny, grateful for all the wonderful people who’ve been part of this special project.”
Just Mustard have shared the third single, “ENDLESS DEATHLESS”, off their upcoming album “WE WERE JUST HERE” out October 24th via Partisan Records.
The video for the song was directed by David Noonan.
Katie Ball shared this about the song: “I wrote the lyrics for this song by imagining myself on a dance floor. We wanted to write more songs that suited places like that. I suppose I would describe it as an existential love song but you can hear it and feel it anyway you like.”
DU-DA has shared the first single, “Transmisión Maldita”, off what will be their debut EP “DOCUMENTOVISIÓN”.
DU-DA is a band theat emerges from the imagined city of Tijuana. Their music traverses thru noise pop, hyperpunk and the satire of B-movie in order to invoque their own universal narrative: the Creepypantopía.
The initiation ritual is “Transmisión Maldita”. The rift that opens this new dimension to the beat of a hellish parade projected via the Camarena chromoscope. A new vision seeped into this reality media hell: the evening announcement that never was.
This is the first Sonic Curation from Paradox Effects, the pedal maker by excellence out of the aforementioned imagined city.
Sleaford Mods have shared a new single, “Megaton”, available via Rough Trade and with all proceeds of the song going to War Child.
The video for the song was directed by Nick Waplington.
Jason Williamson shared this about the song: “We should be aligned with one another but instead we are crippled by social media and the resulting separatism: Genocide… swipe… gym bods… swipe… food pics… swipe… starvation. Killing upon killing, so much terrible, horrifying information followed by a cat meme followed by faces filtered beyond recognition. Such is the weight of trauma, guilt and powerlessness in privileged societies that we squirm like an overloaded petri dish full of algae fed by the algorithm. Everything is wrong and everything as a reaction is argued to be right, and in this we give birth to behaviours that smother solidarity and cause mass waves of haemorrhaging alienation while the world quietly collapses offscreen.”
i think i better follow you around 