Morly announces debut album, “‘Til I Start Speaking,” and new single – “Dance to You.”

Photo by Megan Kellythorn

Visual artist and singer-songwriter Morly (aka Katy Morley) announces her debut album ‘Til I Start Speaking, out August 20th on Cascine, and shares new single/video “Dance to You.” Morley’s soft, swooning strain of storyteller pop has distilled across the past half decade into an increasingly hushed and heartfelt private language, as lived in as it is lyrical. Her debut full-length took shape slowly during stints in Minneapolis, Los Angeles, and London, stripping back the melodies to their essence, driven by a yearning to “reach ‘the other side,’ to live in and be art and music.” The songs that emerged are time-worn, aching, and acoustically rich, like hymns or traditionals, traced in piano, voice, and percussion. She describes the creation process as almost a “subconscious exorcism,” casting out old ghosts and outgrown loves.

After establishing her singular style with a series of EPs — In Defense of My Muse (2015), Something More Holy (2016) and Sleeping In My Own Bed (2017) — Morley took some necessary time away from the public eye as she battled chronic illness. She returns now with newfound strength and focused sound. Much of ‘Til I Start Speaking revealed itself as she found herself falling in love with someone across the Atlantic. The Minneapolis-born artist relocated from her homebase in Los Angeles to London this year, joining her partner, who was “a beam of light irrupting into the darkness” of her deteriorating health. The album paints a portrait of realizing you’re in love. It’s also the result of Morley finding herself at the crossroads of graduate school and considering pursuing music full time. Morley felt adrift and estranged from herself, but year by year she’s closed that gap in incremental ways: studying piano, pursuing painting (her artwork adorns the sleeves of her entire discography), unlearning self-doubt, trusting one’s inner voice.

Working with frequent collaborator Christopher Stracey, Morley followed a muse of stillness and naturalism, allowing each composition to flower in its own fluid, elegant way – arriving finally at a sequence he quipped as “nine sleep bangers and a bop.” There is indeed a sensuous, low-lidded mood to this music, as though sung at a quiet hour in an intimate setting, a quality she ascribes to her affinity for conscious listening: “It’s in my own silence that the world really comes alive, and I see the deep connections.” Morley’s voice moves in reflective pools, spotlit but subdued, full of lilts and breathy pauses. The effect is one of patience and hidden wisdom, transmuting sorrow into strength, inspired by her hero Nina Simone’s ability to “take the saddest feeling and alchemize it into joy.

‘Til I Start Speaking represents a stylistic movement towards organic sounds that was hinted towards in Morley’s previous works, blending her love of classic acoustic songwriting and minimal electronic music. This manifests in new single “Dance to You,” the follow-up to previously released single “Twain Harte.” “Dance to You” opens with piano before expanding with Morley’s soothing voice and a velvety bass line and a mellow beat. Morley elaborates: “‘Dance to You’ is about the need for–and is the vehicle for–a benevolent exorcism. It sprang from an encounter with someone so radiant to me that they helped light my way, but that I had to outgrow in order to see my own brilliance: I can’t grow/inside your glow.”

The incredible accompanying video, directed by Lawrence Pumfrey and choreographed by Katya Bourviski, explores the sort of dream state and rush of inspiring infatuation, but also its malleability and destabilizing effect. “Katya and I talked about my experiences as a young artist finding my feet in a difficult industry, especially with flagging health, and the constant pressure to define and sell yourself which helped to inform the structure of the piece,” says Morley. “It’s also partially inspired by Pina Bausch’s dance, Kontakthof.
Watch “Dance to You” Video

Pre-order ‘Til I Start Speaking

Stream “Twain Harte”‘Til I Start Speaking Tracklist
1. Til I Start Speaking (I & II)
2. Dance to You
3. Sleeping in My Own Bed
4. Wasted5. Twain Harte
6. Up Above
7. Jazz Angel (Bill)
8. Savior Mind Tattoo
9. Superlunar
10. Eliogy
11. Feels (Bonus Track)

Keep your mind open.

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[Thanks to Patrick at Pitch Perfect PR.]

Herbert Lenoir tells us a “Secret” on his new single.

Photo by Daniel Dugas

After releasing his 2018 debut Darlène, the Quebecois musician Hubert Lenoir made a name for himself by ruffling a few feathers. The breakout album earned Lenoir icon status in his native Quebec, and was the rare French-language Quebec album to find international acclaim, landing Lenoir in publications like i-DVICESSENSE and FADER who declared him “a pop star in any language,” on late night shows in France, where he also landed on the front page of the national newspaper Le Monde, a spot on the Polaris Prize shortlist (the first French-language record to get the nod in seven years), and even, in a bizarre turn of events, on stage at the Barclay Center opening for The Strokes at their New Years Eve show in 2019. All the while he has been a controversial and in some ways transformative figure in his home province, where his antics and transgressive attitude (his initial rise was in part catalyzed by some improvised nudity during a guest appearance on Quebec’s version of The Voice) have both upset many in the traditional media establishment and made him something of a standard bearer for a new kind of youth identity in Quebec. Now, Lenoir has returned to announce his second album, Musique directe, with a track called “SECRET” that features drums from Mac DeMarco and contributions from Kirin J Callinan and is premiering today as part of an interview with FADER.

WATCH: the video for Hubert Lenoir’s “SECRET” on THE FADER

READ: an English translation of the “SECRET” lyrics HERE

WATCH: album trailer “uber lenoir, c’est confirmé” HERE

Lenoir’s rapid rise around the release of his debut album resulted in some blowback, particularly in Quebec where he’s become quite a controversial figure, and his new album is in part an attempt to portray the strangeness of his life over the last few years and the way his sudden notoriety has affected him, particularly with regards to the way the backlash he has faced has given rise to a recurrence of some of the feelings he had as an ostracized adolescent in the suburbs of Quebec City. On “SECRET,” which arrives with a video in which he assumes the role of a skunk trying to win the favor of a popular boy in his high school, Lenoir takes these feelings on directly, with a chorus in which he sends his condolences to everyone who is different like him.

This is a song about the feeling of unshared love and being rejected when you know that it’s only because you’re different,” Lenoir explains. “It talks about social rejection and keeping those feelings for yourself because “what’s the point” and anyway you don’t stand a chance. Not necessarily feeling bitterness or blaming the others but still finding the situation extremely sad and sending condolences to everyone that is like me, everyone that could live with the same ostracization in silence. A way of saying: I’m sorry, it won’t be easy.” 

Keep your mind open.

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[Thanks to Tom at Hive Mind PR.]

Review: Museum of Love – Life of Mammals

Part-krautrock, post-house, part-funk, part-art rock, part…I don’t know what, Museum of Love‘s Life of Mammals is weird and wild.

“Your Nails Have Grown,” for instance, starts the album with Pat Mahoney and Dennis McNany‘s mechaniker krautrock synths for beats and lyrics about someone lost to time, and the extended, haunting saxophone solo by Peter Gordon is outstanding. The title track brings in ambient synths to blend with funky bass and hand percussion beats. It’s a song about facing reality and casting out illusions (“It’s a shocking truth. You were raised by wolves, but never told that rabbits eat their youth.”).

“Marching Orders” is a highly danceable track (those killer beats!), with a whistled chorus and lyrics about retreating into stability and walking away from chaos and the rat race. “Hotel at Home” could be a song about touring or living in quarantine with lyrics like “Everything you’ve done is washed away. This room wasn’t really yours anyway. Curl up and watch. Lockup extended stay.”

“Cluttered World” is a sauntering, sexy track about cutting away attachments in hopes of filling up the space in our homes and heads with better pleasures. “Ridiculous Body,” with its swaying bass and tense drums, is a witty take on toxic beauty and the ravages of time. “Flat Side” has dark-wave elements in its synths and lyrics about patience in love. The guitar on it soars like a robot hawk.

“Army of Children” is a song about regret, and not being able to fix bad habits (“When we met I was a picturesque wreck hanging around your neck…Why can I ever seem to stick to the plan?”). The addition of country guitars and Edwyn Collins-like vocals gives a cool, bluesy feel to the track, even when dance drums walk into the room. Bold horns and bouncing synth-beats propel “The Conversation,” which tells the tale of a talk going out of control in rapid time. The album closes with “Almost Certainly Not You,” in which we hear the tale of a relationship in which someone claims they’ve been telling the truth the whole time, not the other. The song is punctuated by finger snaps and synths that feel like sunlight breaking through cigarette smoke.

A lot of the album sounds like that image feels: Mysterious, yet bright. Angry, yet cheeky. Stealthy, yet bold. It’s a winner any way you slice it.

Keep your mind open.

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[Thanks to Patrick at Pitch Perfect PR.]

Review: Typical Sisters – Love Beam

Mixing jazz, house, and some post-rock, Typical Sisters‘ new album, Love Beam, is a cool record that keeps you guessing as to where it will go next.

Opening track “Water Plants” samples some women singing about New Orleans and bouquets (I think it’s from a film, but I can’t place it if it is.) while drummer Matt Carroll seems to stumble around his kit but is actually setting you up for his funky chops on “Well Done.” Guitarist Gregory Uhlmann plays likes he’s out for a good time and in no hurry. Clark Sommersbass is the real backbone of the tune, even as synth chords and bloops move to the forefront.

“OEO” samples train station sounds that fit in nicely with Carroll’s motor-like beats. The band’s love of experimentation is prevalent on “Owl,” in which they bang on a colander and play an out-of-tune zither. Trust me, it works. Uhlmann’s guitar on “Recurring Memory” bounces around like a baby goat. Sommers is in full funk mode on “King Flipper.”

After the weird tree talk of “Clairvoyant,” the band moves to “No Evil,” which opens with more warped synths and brings in a lot trippy drums. Speaking of trippy things, “Oregano” is a quick, odd instrumental, and “Uni Lunch” samples women talking about lunch and coffee for about twenty seconds.

Don’t worry, because “Clamata” brings in some hot grooves. “Grains” has Carroll’s wife singing Danish folk songs while the band puts down a weird sound behind her, and the sound even gets a little creepy on the closer, “Ephemeral,” which blends some Dick Dale-like guitar with jazz rhythms for a mind-bending effect.

Love Beam is a wild record. It doesn’t assault you like some free-form, loud jazz, but it does shake you out of the fog in your brain now and then and makes you pay attention to what Typical Sisters are creating. We all need to pay more attention, and this is a good record to hear with presence.

Keep your mind open.

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[Thanks to Taylor at Clandestine PR.]

Levitation France announces dates and first wave of lineup.

Great news from Angers, France – Levitation France returns this September.

It will be an open air event this year, and the initial lineup is already top-notch. Shame have released my favorite album of the year so far, The Limiñanas are among the elite of French psychedelia, Slift are a powerhouse, Anika‘s new album is beautiful, and Zombie Zombie put on a killer show.

I’d go to this if I weren’t already locked into plans for that weekend (and as long as travel is open to Europe). You should go in my stead and tell me how it went. Tickets are already available.

Keep your mind open.

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Review: Year of No Light – Consolamentum

In case you’re unaware, Bordeaux, France’s Year of No Light has been churning out some of the heaviest post-metal rock for the last two decades. Their new album, Consolamentum, coincides with the release of the Mnemophobia – a box set that includes twelve LPs covering the earlier parts of their career.

Consolamentum is a double-album and it takes its time to pile riff upon riff on you. The shortest track on the album is over seven minutes long. The opener, “Objuration,” is nearly thirteen minutes in length and sounds like a summoning ritual being prepared in a dark tomb by men and women in black robes, but they’re interrupted by heavy guitar riffs that sound like they’re played by mystic time-traveling warriors from a post-apocalyptic wasteland. “Alèthia” is the “short” track at seven minutes-thirty-nine seconds, and the guitars on it soar like birds over a vast ocean…on another planet.

Want some doom? Well, “Interdit aux Vivants, aux Morts et aux Chiens” (“Forbidden to the Living, the Dead, and the Dogs”) fits the bill with the title and the heavy, sludgy bass and guitars, the monster-walk drums, and the synths that seem to be the sound of an inter-dimensional door opening.

The bass on “Réalgar” hits like a war hammer swung by a frost giant, while the synths and guitars are the avalanche caused by it and the drums are packs of polar bears descending upon your poor fourth-level Dungeons and Dragons party trying to find shelter in the blizzard. The closer, “Came,” has a cool darkwave feel to it with the echoing drums and synths that float between uplifting and menacing.

This is an album that can transport you to another plane, or at least make the one in which you’re sitting seem tenuous.

Keep your mind open.

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[Thanks to Dave at US / THEM Group.]

Levitation 2021 lineup announced.

The lineup for the 2021 Levitation Music Festival is here, and tickets are already on sale!

They’ve added shows on Wednesday night (the festival always started on Thursday night in the past), and I wouldn’t miss Here Lies Man if I were you. Speaking of Thursday, I already have my tickets to see Fuzz and The Well. No Joy, The Vacant Lots, and Public Practice will also put on a good show.

Friday? Well, you shouldn’t go to Levitation without seeing The Black Angels. I mean, they help curate the thing and pretty much started it. The fact that they’re playing with Tinariwen is an added bonus. Black Midi‘s show will probably be nuts, as will A Place to Bury Strangers‘ set.

Thundercat‘s live set is always a groovy show, and I hope to catch Frankie and the Witch Fingers and maybe Ganser – since they’re coming all the way from Chicago. As for Sunday, I’m excited to see The Hives again. They’re one of the best live bands on the planet.

More bands and sets are to be announced, so the weekend is sure to be packed with good stuff. Don’t miss it.

Keep your mind open.

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Kelly Lee Owens announces U.S. tour and remix EP.

Photo by Sarah Stedeford

Producer and musician Kelly Lee Owens is “reclaiming space for women in dance music in really powerful and important ways” (NPR Music). Last year, she released Inner Songone of 2020’s best albums, via Smalltown Supersound. Today, she announces a US tour in support of the album — tickets are on sale. Kicking off at Brooklyn’s Music Hall of Williamsburg, Owens will play across the states, including appearances at Chicago’s Pitchfork Music Festival and Miami’s III Points Festival. Additionally, she will release the Inner Song Remix Series EP this Friday. It features remixes by Loraine JamesCoby SeyRoza Terenzi, Elkka, Breaka, Yazzus, and Haider.

 
Inner Song Remixes EP Tracklist
1. Re-Wild (Breaka Remix)
2. Wake-Up (Loraine James Remix)
3. On (Elkka Remix)
4. Night (Roza Terenzi Remix)
5. L.I.N.E. (Yazzus Remix)
6. Corner of my Sky feat. John Cale (Coby Sey Rework)
7. Jeanette (Haider Remix)
 
Kelly Lee Owens Tour Dates
Wed. Sept. 8 – Brooklyn, NY @ Music Hall of Williamsburg
Fri. Sept. 10 – Chicago, IL @ Pitchfork Music Festival
Sat. Sept. 11 – Philadelphia, PA @ Making Time
Mon. Sept. 13 – Cambridge, MA @ The Sinclair
Tue. Sept. 14 – Washington, DC @ Union Stage
Thu. Sept. 16 – Minneapolis, MN @ Fine Line
Fri. Sept. 17 – Denver, CO @ Globe Hall
Sat. Sept. 18 – Seattle, WA @ Nuemos
Sun. Sept. 19 – Portland, OR @ Holocene
Wed. Sept. 22 – Oakland, CA @ Starline
Sat. Sept. 25 – Los Angeles, CA @ Lodge Room
Fri. Oct. 22 – Sat. Oct. 23 – Miami, FL @ III Points Festival
 
Watch/Listen/Share
Preorder Inner Song Remix Series EP
Stream/Purchase Inner Song
“Melt!” Visuals
“On” Video
“Corner of My Sky” Video
“Night” Stream

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[Thanks to Ahmad at Pitch Perfect PR.]

Madi Diaz returns with a strong new single – “Woman in My Heart.”

“History of a Feeling” cover art – photo by Lili Pepper

Nashville-based songwriter Madi Diaz announces her new album, History Of A Feeling, out August 27th on ANTI-, and today presents a new single/video, “Woman In My Heart.” History Of A Feeling undeniably marks Diaz’s status as a first-rate songwriter, a craft she’s spent years refining. Across the album, Diaz cycles through the full spectrum of emotions as she comes to terms with the dissolution of a meaningful relationship. She plays the line between the personal and the general with dexterity: in Diaz’s hands, quiet moments of self-pity are transformed into grand meditations on heartbreak, and unwieldy knots of big existential feelings are smoothed out with a sense of clear-eyed precision.

Diaz started working on History Of A Feeling three years ago, before beginning collaborations with co-producer Andrew Sarlo (Big Thief, Bon Iver) with whom she worked closely to flesh out the album’s instrumentation. It’s a homecoming record of sorts that points to her Nashville songwriting roots. Pulling from a range of folk, country and pop leanings, as much influenced by Patty Griffin and Lori McKenna as PJ Harvey and Kathleen Hanna, History Of A Feeling is comprised of the most direct and introspective songs Diaz has ever written. Throughout, she seamlessly weaves a profound sense of intimacy and camaraderie as her lyrics are relatable to anyone who has experienced heartbreak and great change in some manner. These universals are shaded by the fact that the relationship breakdown Diaz is chronicling coincided with her former partner transitioning, a complex reckoning Diaz approaches with empathy, candor, and care. “The bulk of this music came from dealing with a kind of tsunami clash of compassion, both for my former partner while she was discovering a deeper part of her gender identity long hidden, and my own raw heartache over having lost the partner I knew,” Diaz says. “I felt so torn through the middle because half of me wanted to hold this person through such a major life event, one that is so beautiful and hard, and the other half felt lost—like I had lost myself in someone else’s story.” It was a sea change that reverberated and ricocheted in her reflections on their relationship and her own sense of self moving forward and her process of healing.

Following the previously released singles “Nervous,” “New Person, Old Place,”and “Man In Me,” which all appear on History Of A Feeling, “Woman In My Heart” came out in one long stream-of-consciousness sweep. Throughout the track, Diaz’s resounding voice pierces through building guitar and percussion. “This song came out in a sort of waking dream while I was actively learning how to part with someone,” says Diaz. “It was hard enough not to miss/hurt/hate/fight/fuck/feel/get over them, and, what was even harder, was the love we had felt more and more like a mystery and the pain was the only thing coming in clear.” The accompanying video, directed by Diaz and Jordan Bellamy and filmed in Colorado, visualizes Diaz’s feelings of unfamiliarity. It was made with no treatment and no plan, just impulse and excitement, letting the music be the guide. Diaz elaborates: “Stumbling in the dark in old abandoned gold mines, whispering to horses at 9500 feet and digging relentlessly, all of these physical motions called out to us as a signal in a desperate attempt to unearth the truth.”

Watch Madi Diaz’s Video for “Woman In My Heart”

Pre-order History Of A Feeling
 
Watch Madi Diaz’s “Nervous” Video
 
Watch the “New Person, Old Place” Video
 
Watch the “Man In Me” Video
 
History Of A Feeling Tracklist
1. Rage
2. Man In Me
3. Crying In Public
4. Resentment
5. Think Of Me
6. Woman In My Heart
7. Nervous
8. Forever
9. History Of A Feeling
10. New Person Old Place
11. Do It Now

Keep your mind open.

[You’ll be in my heart if you subscribe.]

[Thanks to Jessica at Pitch Perfect PR.]

Jyroscope and Montana Macks are “Frozen in Time” with their new single.

Photo by Jason Nelims

Chicago’s Jyroscope – consisting of MCs I.B. FokuzCollasoul Structure and DJ Seanile – and producer Montana Macks announce a collaborative EP, Happy Medium, out July 23rd. Today, they present the EP’s first single, “Frozen In Time,” alongside an accompanying video. Over the last decade, Jyroscope has recognized how difficult it can be to strike a balance between focusing on one’s craft, career, and the life responsibilities that come with putting down roots and starting a family. Happy Medium is a potent manifestation of that endless journey for balance. Over sleepy jazz samples, layered in well seasoned breakbeats, these tracks are born anew by Montana Macks. Collasoul and I.B. trade pointed verses about fatherhood, bills, the hypnotic self-erasing loop that is heading to-and-from the gig and blowing off steam with a beer or three before tomorrow means doing it all over again.

Preceding Happy Medium, Jyroscope released several projects including the Hip House mixtape, On The House, in 2016 and the bouncy boom bap-filled, MUTE EPHappy Medium is the result of over a year’s worth of work that began with a wildly fruitful session in late 2019. They felt the title best reflected where they currently are as artists and people. With other obligations taking up more and more of their time, how much does making space for music matter in the big picture?  At what point do the records start to count and people begin to truly take notice? How do you find the sweet spot, especially when little about life is sweet or easy? As I.B. Fokuz says, “As husbands and fathers, artists… asiatic men. The balance is defined by spinning plates. Managing the day-to-day with our families on our backs. A leap of faith is the dice we roll on our kitchen tables. Still hungry, still crafting our magnum opus. Still men of principle… keeping our worlds intact.”

In the percussive lead single, “Frozen In Time,” Collasoul raps “On the long road to peace baby we gettin’ all the best of it/ it’s scenic wit delicate petals/pedals and we don’t wanna step on it.” He elaborates: “The first 4 songs we created were seeds we planted prior to the pandemic. Those initial songs were actually going to be the full project according to I.B. and I, but Macks called me and said hey, I think something’s missing….He sent over ‘Frozen In Time’ and the moment I heard the horns on that beat I knew we had something special with that one. To me it sounds like we actually start working towards finding peace with the help of those calming horns.”  Montana Macks adds: “I had a beat I was stashing for my next instrumental project, but thought it could round out this EP. I hit up Collasoul and pitched doing another song and he wasn’t terribly receptive to the idea. He agreed to listen to it and passed it along to I.B. Fokuz, I got a call probably 30 minutes later like, ‘say no more’ and it became the single.” The accompanying video, directed by Kory Stewart, was shot across the city of Chicago and is donned in a hazy, black and white filter.

Watch the Video for “Frozen In Time”

“Frozen In Time” is a first offering of the poetic rhymes and heart-felt imagery across Happy Medium. It makes for a captivating listen, one that is sure to have fans new and old itching to run it back well before the final note has faded away.

Pre-order Happy Medium EP

Happy Medium EP Tracklist
1. War Going On
2. Work
3. Auto-Pilot
4. Frozen In Time
5. Take It Easy

Keep your mind open.

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[Thanks to Jim at Pitch Perfect PR.]