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April 11, 2019 Announcing the official reissue of Thee Oh Sees ‘Thee Hounds of Foggy Notion’

Announcing the official reissue of Thee Oh Sees ‘Thee Hounds of Foggy Notion’

Oh Sees have announced the reissue of Thee Hounds of Foggy Notion which will be out 5/24 on Castle Face Records. The band also recently announced a run of Fall North American tour dates. You can check out where they are playing below and also check out their forthcoming Spring/Summer shows that include stops at Shaky Knees Fest and Solana Beach.

“Thee Hounds of Foggy Notion / Live Performances Sans Stages And Whatnots With Thee Oh Sees (2008), is a film we made just over a decade ago, and this record is the soundtrack. I loved making it, and I love all that were involved. I’m honestly blissed-out proud to hear over the years that it somehow is loved by so many others, too.

I first met John Dwyer on Flag Day. I was blown away by a trio of roving Coachwhips guerrilla street shows that climaxed at the the scenic vista parking lot high above San Francisco atop Mt. Sutro. Amongst the gathered uninitiated hordes of souvenir sweatshirt selling families, and puzzled elderly global tourist translators, and a white weirdo tuxedo wedding party, was the sonic corruption of the Coachwhips that was collaborating with the all-female, fake-pregnancy, jump-rope-y, real-pit-bull-shredding-fake-plastic-baby fantasy majesty of the performance artist crew Double Dutchess. I’m certain that this exact event was the idea seed for Thee Hounds Of Foggy Notion, and that it saved my life a little bit.

When JPD asked me to consider making a video for Thee Oh Sees with the sole stipulation that he didn’t want to do anything fake-y to playback, my head started swimming. What we mutually agreed upon was to essentially reprise Flag Day, and film Thee Oh Sees performing live, but not on stages. My own secret undisclosed personal caveat was to see this as an opportunity to document his process by mixing in some interstitial interviews between the roving live shows. He shut the ‘interview’ idea after I asked the very first question. Instead, what we got was infinitely more true to the free fun reality of the scene in the form of a multitude of glorious stories.

I rented a 15-passenger van, a generator, and the minimal cinematic equipment my trusted cinematographer friend James Wall deemed we needed. Everything sound wise was JPD territory and went through an ancient mixing board that Johnny had housed within a Samsonite suitcase. We ran all the plate mics from the drums, and the lil pedestal mics from the amps through this old mixer, and we all believed that all would be well and swell. As an emergency audio backup, I also grabbed a 12” Sennheiser directional mic in a fluffy wind muff that directly fed into one of our Canon XL-2s. My residual fear that the only thing that ruins docs or indie films is shit sound came true when we discovered that all the multi-tracking through the mixer was hopelessly covered in geiger counter static tics. All of the audio that you hear on the LP is sourced from that single Sennheiser mono mic that we then dual-mono’d in post.

As great as JPD is as a live performer, he was in absolute alpha epic story-teller genius mode during every single spare second of the journey. Brigid Dawson added some delicious gems as she always does. Petey Dammit is a pretty quiet private guy, but even he proved to be very funny when he gets loose. Patrick Mullins on the other hand is literally Castleface. After editing through 40+ hours of footage of live performances and interstitial stories, it became very shockingly clear to myself, and editor Akiko Iwakawa, that his expression never ever ever changes. He is Castleface incarnate.

Massive Love yous and Thank yous to all involved and to all of Yous toos” – Brian Lee Hughes

It’s out on Castle Face Records May 24th

May
3-5 Atlanta, Georgia Shaky Knees Fest

18 Manchester Albert Hall

19 Glasgow QMU

20 Belfast Limelight 18-20

21Dublin Button Factory

23 Cardiff The Tramshed

24 Derby Bearded Theory Festival

June
7 Nelsonville, OH Nelsonville Music Fest

14 Solana Beach, CA San Diego Belly Up
W/ Bronze And Fuckwolf

July
11-13 Carnation WA Timber! Festival

August
9 Pioneertown, CA Pappy and Harriet’s

23 Charleville Cabaret Vert festival

24 Guéret Check-in Festival

27 Ravenna Hana-Bi (Free)

29 Vienna Arena

30 Munich Strom

31 Berlin Kreuzberg Festsaal

September
1 Brussels Les Botaniquesen

3 Bordeaux BT 59

4 Toulouse Le Bikini

5 Paris Le Bataclan

6 London Troxy

7 Amsterdam Paradiso

30 San Francisco The Chapel

October
1 San Francisco The Chapel

2 San Francisco The Chapel

4 Portland Crystal Ballroom

7 Vancouver Rickshaw Theatre

10 Minneapolis First Avenue Ballroom

11 Chicago Thalia Hall

12 Chicago Thalia Hall

14 Toronto Danforth Music Hall

15 Montreal Le National

16 Cambridge The Sinclair

18 Brooklyn Warsaw

19 Brooklyn Warsaw

20 Brooklyn Warsaw

22 Philadelphia Union Transfer

23 Carrboro Cat’s Cradle

24 Nashville Mercy Lounge

25 New Orleans One Eyed Jacks

26 Austin Hotel Vegas

27 Austin Hotel Vegas

29 Albuquerque Sister Bar

31 Los Angeles Teragram Ballroom

April 11, 2019 Crying High Announces Debut LP, Shares “Hold Yr Terror Close” Track

Crying High Announces Debut LP, Shares “Hold Yr Terror Close” Track

Arbutus Records signee Crying High has announced his new record ♬ (‘Music’) and shared the new track “Hold Yr Terror Close” on BrooklynVegan.

When talking about the track David Kleiser says, “Sarah Brunning sings with me on this song. We have been very close friends since high school, and this has always been our song. I can still remember how excited she was to show it to me, and how we both sat and took it in; how Chi Fukami had just hit the nail on the goddamn head, and how sad-and-then-safe she made us feel in her honesty and vulnerability. I wanted to reinterpret this Go! Team original as a remind myself and Sarah of the brilliant (as in radiant) truth behind Chi’s message: Fear is real and cannot be ignored, BUT it can be corralled and harnessed if you have your shit together and insist on going wherever yourself takes you. Thats why I think this song is here anyway.

The video was filmed by Airick Woodhed of Doldrums, another dear and long time friend of both Sarah and I. It was shot on 16mm film in High Park, Toronto- which is where I “grew up”

Crying High’s debut album ♬ will be out 4/22 on Arbutus Records.

Kleiser started bringing Crying High to life on the road in 2017 while opening for and playing guitar with Doldrums in Europe. Although Crying High is a new project, Kleiser has been producing weirdo bedroom pop albums for 11 years with The Walls are Blonde (as well as comic books and hand built art toys with ORG), in addition to creating Album art and Music videos for a host of amazing MTL and TO bands. By 2014, while greyhounding between Toronto and Montréal for shows Kleiser and friends began The Rotating Cassette Carrousel project, an ongoing mixtape compilation of demos and home recordings from across Canada. From this, Kleiser began crafting a new and more theatrical solo act that would ultimately become the ‘Karaoke’eko’ cassette, then ‘The Story of Pop Music’, and finally, after learning from and improving upon each of its proto-forms…. CRYING HIGH.
Crying High is vapornoir from Montreal: disco and ebm slowed down beyond dance utility and used as the framework to support late night phone confessional vocals that sing heartbreak, joy, catharsis, pleas and attitudes of gratitudes. On-stage, Kleiser evokes Andy Kauffman’s Hawaiian singer, or coo’s like a delay-and-sweat soaked Slim Whitman; A cheap Angel Olsen halloween costume: A yawn is a silent scream. The voice as Analogue VR: Part banshee on Earth and part Bowie in the bardo. Crying Highs music, lyrics and dancing combine to carry its audience thru a dynamic spectrum of emotion and character: screaming every high, milking every low. Serious face. Happy face! It takes only minutes for an audience to realize that Kleiser is watching each performance along with them.

Crying High is the new project from Toronto born multimedia artist and psychedelic crooner, D Kleiser. A new album of 12 songs will be released internationally by Arbutus Records on April 22nd, 2019. The album is called ♬ . You can call it “Music” if that’s easier. It was produced in Montreal by D Kleiser, and is a wonderful introduction to the proud world of Kleisonia, and all the artifacts of its inward adventures.

Kleiser utilizes the raw power of garage band to produce midi-karaoke versions of AM radio hits from deep within the youtube-algorithmic pata-verse. Largely recorded in bed or at the kitchen table, recruiting whichever friends were proximate to sing into that little-built-in-mic-on-everyones-earbuds. Elements of the album (see: trumpet sections, songs about cats/dead friends) belay Kleiser’s desperate affinity for an era when Airplane Over The Sea was the thing, but this music is truly a direct product of its time. Here, Crying High broadcasts little alternative pop pata-communications into the void in an attempt to forgive it. 斤 could not have been made in any other temporal elsewhere. Sifting thru the mp3 junkyard of 20th-century pop culture to cobble together something pretty. A personal exercise in Memehommage-as-Shadow Work, 斤 comes complete with a solid and timeless moral, simply put: learn to love yourself or you’ll die.

CRYING HIGH – 2019 TOUR DATES

Apr 19th | Toronto | Handlebar
Apr 20th | Montreal | Brasserie Beaubien
May 20th | Brussels, BL | CHAFF
May 23rd | Ventspils, LV | Zalais Namins
May 24th | Liepaja, LV | Kursas Putni
May 25th | Riga, LV | Nurme Bar
May 26th | Manchester, UK | Yesfest
May 28th | London, UK | The Victoria
May 31st | Kraków, PL | Klub RE (Green ZOO Festival)
June 1st | Prague, CZ | A(VOID)
June 15th | Brooklyn, NY | Sunnyvale

LINKS

Website
Bandcamp
Instagram

April 8, 2019 Hatchie shares new single & video ‘Stay With Me’

Hatchie shares new single & video ‘Stay With Me’

Australia’s Hatchie has shared a video for “Stay With Me,” the second single from her highly anticipated debut album, ‘Keepsake’ which is set for release on June 21st via Heavenly.

Of the song Harriette Pilbeam says: “‘Stay With Me’ was written as a writing exercise in an effort to step away from my usual style into something more fun and dancey. We originally wrote it with someone else in mind, but realized it was the perfect fit for my album as I wanted to expand into a different sound. It became one of my favourite songs on the record because I’m a sucker for crying-in-the-club tracks.”

On her debut EP ‘Sugar & Spice’, Hatchie delivered the sonic equivalent of falling deliriously in love: a sustained rush of feeling, rendered in swoony melodies and gauzy guitar tones and endlessly hypnotic layers of sound. Now, with her full-length debut ‘Keepsake’ due for release in the height of summer, the Australian singer/songwriter tries on countless new textures, exploring everything from industrial to new wave to dance-pop, handling each with understated elegance and pure, powerful feeling.

Throughout ‘Keepsake’, Hatchie’s kaleidoscopic sonic palette draws out distinct moods and tones, continually revealing her depth and imagination as a musician and songwriter. In the making of the record, the Brisbane-bred musician otherwise known as Harriette Pilbeam recorded in a home studio in Melbourne and worked again with John Castle—the producer behind ‘Sugar & Spice’. And while the album begins and ends with two massively catchy pop tracks—the brightly defiant “Not That Kind,” the euphoric and epic “Keep”—many songs drift into more emotionally tangled terrain, shedding light on experiences both ephemeral and life-changing.

From “being dragged to a party I don’t want to be at, then getting at a fight at the party, and kind of hating myself for it but hating everybody else too” amidst the wobbly synth lines and fantastically icy spoken-word vocals of “Unwanted Guest,” to radiant jangle-pop gem “Her Own Heart”, which puts a singular twist on the post-breakup narrative, there’s a self-possessed spirit that infuses all of the record.

Ultimately ‘Keepsake’ serves as a document of a particularly kinetic moment in Hatchie’s life. “I’m not much of a nostalgic person when it comes to memories, but I do have a tendency to hold on to certain things, like tickets from the first time I went someplace on holiday,” says Hatchie in reflecting on the album’s title. “It made sense to me to call the record that, at a time when I’m going to probably end up with a lot of keepsakes—and in a way, this whole album is almost like a keepsake in itself.”

‘Keepsake’ will be released on June 21st via Heavenly. Pre-order links here:

Hatchie live dates:
29-May Primavera Sound Barcelona, ES
1-Jun Heartland Festival Copenhagen, DK
3-Jun Obaren Stockholm, SE
5-Jun Berghain / Kantine Berlin, DE
7-Jun Paradiso (Small Hall) Amsterdam, NL
8-Jun Villette Sonique Paris, FR
9-Jun Green Door Store, BRIGHTON UK
11-Jun The Louisiana, BRISTOL UK
12-Jun Moth Club, LONDON UK
13-Jun Yes, MANCHESTER UK
14-Jun Brudenell Social Club, LEEDS UK (Heavenly Weekender)

‘Keepsake’ tracklist:
1. Not That Kind
2. Without A Blush (YouTube)
3. Her Own Heart
4. Obsessed
5. Unwanted Guest
6. Secret
7. Kiss The Stars
8. Stay With Me (YouTube)
9. When I Get Out
10. Keep

April 8, 2019 Cate Le Bon announces extensive tour to accompany new album ‘Reward’

Cate Le Bon announces extensive tour to accompany new album ‘Reward’

Cate Le Bon has shared the video for “Daylight Matters,” the first single from her forthcoming release, Reward, out May 24th on Mexican Summer. Pitchfork named the single “Best New Track,” it as “more Young Americans than Low, all glowing and swaggering and lovesick.” The video (launched on NME), directed by acclaimed film maker and multimedia artist Casey Raymond (John Grant,  DJ Shadow) against the solitude of the Welsh coastline, utilizes saturated hues of reds and pinks to accentuate the sense of expanse. As described by Le Bon, the video represents “playful solitary despair in an alien landscape of sinking sand and towers in the sea. Searching or running away? A little bit of both, maybe.”
 
It was on a mountainside in Cumbria that the first whispers of Cate Le Bon’s fifth studio album poked their buds above the earth. “There’s a strange romanticism to going a little bit crazy and playing the piano to yourself and singing into the night,” she says, recounting the year living solitarily in the Lakes District of the U.K which gave way to Reward. By day, ever the polymath, Le Bon painstakingly learnt to make solid wood tables, stools and chairs from scratch; by night she looked to a second-hand Meers — the first piano she had ever owned — for company, “windows closed to absolutely everyone”, and accidentally poured her heart out.
 
The multifaceted nature of Le Bon’s art — its ability to take on multiple meanings and hold motivations which are not immediately obvious — is evident right down to the album’s very name. “People hear the word ‘reward’ and they think that it’s a positive word” says Le Bon, “and to me it’s quite a sinister word in that it depends on the relationship between the giver and the receiver. I feel like it’s really indicative of the times we’re living in where words are used as slogans, and everything is slowly losing its meaning.” The record, then, signals a scrambling to hold onto meaning; it is a warning against lazy comparisons and face values. It is a sentiment nicely summed up through her woodwork: “Always keep your hand behind the chisel.”
 
Reward’s ten songs were conceived alone at a piano, which remains evident by the feeling of closeness that they convey. Although eventually recorded across America and the UK, and roping in a rollcall of trusted collaborators (including Stella Mozgawa of Warpaint, H.Hawkline and Samur Khouja as co-producer), Reward miraculously maintains its sense of privacy and intimacy throughout. This stems directly from Le Bon herself and the inimitable way in which she works, all of which preserves a signature sound despite relatively drastic changes in approach. The result is an album every bit as stylistically varied, surrealistically-inclined and tactile as those in the enduring outsider’s back catalogue, but one that is also intensely introspective and profound and significantly her most personal to date.
 
Cate Le Bon will be returning to the US for a tour this summer, including a previously announced appearance at Pitchfork Music Festival. All tour dates are below.

Cate Le Bon Tour Dates
Sat. May 18 – Wrexham, UK @ Focus Wales Festival
Fri. May 24 – Rouen, FR @ Rush Festival
Sat. May 25 – Toulouse, FR @ Discipline Festival
Sun. May 26 – Madrid, ES @ Independance Club
Mon. May 27 – Donostia, ES @ Dabadaba
Tue. May 28 – Barcelona, ES @ Primavera Sound Festival
Wed. May 29 – Bordeaux, FR @ iBoat
Fri. May 31 – Hilvarenbeek, NL @ Best Kept Secret Festival
Sat. June 1 – Neustrelitz, DE @ Immergut Festival
Sun. June 2 – Berlin, DE @ Kantine Am Berghain
Mon. June 3 – Copenhagen, DK @ Den Grå Hal (w/ Deerhunter)
Tue. June 4 – Aarhus, DK @ Tape
Thu. June 6 – Cologne, DE @ Bumann & SOHN
Fri. June 7 – Brussels, BE @ Les Ateliers Claus
Sat. June 8 – Paris, FR @ Villette Sonique
Mon. June 10 – London, UK @ Village Underground

Sat. June 22 – Calgary, AB @ Sled Island Festival
Tue. June 25 – Kingston, NY @ BSP Kingston
Wed. June 26 – Brooklyn, NY @ Elsewhere
Thu. June 27 – Washington, DC @ Black Cat
Fri. June 28 – Philadelphia, PA @ Boot & Saddle
Sat. June 29 – North Adams, MA @ Solid Sound Festival
Sun. June 30 – Somerville, MA @ ONCE Lounge
Fri. July 5 – Pioneertown, CA @ Pappy & Harriet’s
Sat. July 6 – Los Angeles, CA @ The Getty Center
Sun. July 7 – Santa Cruz, CA @ Moe’s Alley
Tue. July 9 – San Francisco, CA @ The Chapel
Fri. July 12 – Seattle, WA @ Doug Fir Lounge
Sat. July 13 – Seattle, WA @ The Crocodile Cafe
Thu. July 18 – Minneapolis, MN @ First Avenue (w/ Parquet Courts)
Fri. July 19 – Chicago, IL – Constellation
Sat. July 20 – Chicago, IL @ Pitchfork Festival

Fri. Aug. 23 – Bethesda, UK @ Neuadd Ogwen
Sat. Aug. 24 – West Lothian, UK @ Jupiter Rising Festival
Sun. Aug. 25 – Edinburgh, UK @ Edinburgh Fringe Festival
Tue. Aug. 27 – Manchester, UK @ Gorilla
Wed. Aug. 28 – Leeds, UK @ Riley Smith Theatre
Thu. Aug. 29 – Cardiff, UK @ Portland House
Sun. Sept. 1 – Dorset, UK @ End of the Road Festival

Follow Cate Le Bon:

 Website | Twitter Facebook | Bandcamp