Tag Archives: American

SHLOHMO Announces new album Dark Red

SHLOHMO Announces new album Dark Red and shares new single ‘Buried’


chuck has sussed two tracks from this one, Buried & Emerge From Smoke and I think, judging from these tracks, this album is going to be well received by fans of Electro-anything!!

Dark Red is the second full-length album from Shlohmo, aka 25 year-old Los Angeles native Henry Laufer. The record is an uncanny marriage of his ever-evolving, richly textured sound with shades of ’90s IDM, R&B, cassette-tape Jungle, and, in an unexpected turn, sludge metal. “It sounds like if Electric Wizard tried to make an R&B record,” he says, “or Boards of Canada meets Burzum by the River Styx.” 

Shlohmo’s Dark Red is released in Australia on Friday 3rd April via True Panther / Remote Control.

Shlohmo’s music thus far exists in the poles between the subtly textured tracks of Bad Vibes (2011) and the booming sinister synths and hi-hats of his production work and remixes (such as his split EP with Jeremih, Banks’ ‘Brain‘, remixes for Drake + The Weeknd). Dark Red utilises Shlohmo’s existing palate but also mines the noises and imperfections inherent in analog production and naturally damaged sounds. Side-stepping current trends that lean towards pristine, computer-generated production, Dark Red explores natural distortion, fuzz and noise as compositional tools, intentionally distressing sounds to echo the feeling of the icy menace and emotional charge found on early black metal tapes. The result is a deeply personal listen, Shlohmo’s boldest statement yet.

This isn’t an album which fades into the shadows. The eerie, squalling synths of ‘Ten Days of Falling’ usher in a world of phosphorescent disintegration and decay; from the looming claustrophobia of new single ‘Buried‘ to the minimalist pindrop orchestration of ‘Remains’ and the carnal hum of ‘Ditch‘, there is palpable anxiety and discord. ‘Relentless‘ and ‘Slow Descent‘ explore an internal sense of pain and sorrow that adds a stark emotional charge to the record.

Laufer explains,

“When I started working on Dark Red about two and a half years ago, I had just moved back to LA and built a small studio in my apartment, mostly with my dad’s old gear from the 80s. I had just lost some people close to me and was dealing with another loved one’s health issues. I was all over the place mentally, and I think it reflects in this record whether I like it or not.

The only thing I did know going into it, was that I wanted this one to be loud, and not just loud but really really f***ing loud. I wanted the sound of the thing to be devastating and violent. Recordings that force you to feel something even if that something isn’t good. I’m proud to have made something polarizing, a record that’s strong and undeniable even in its moments of pure anxiety and confusion. It’s tragic and painful at times, but that’s all part of it and I want that to be heard and felt. You don’t have to like it, just listen to it.”

Stream new single ‘Buried’ here:

Shlohmo – Dark Red is released Friday 3rd April via True Panther / Remote Control Records.

Bop English Releases ‘Dani’s Blues’ From forthcoming album “Constant Bop”

Bop English Releases ‘Dani’s Blues’ From forthcoming album “Constant Bop”

bop english

Bop English, the recording name of White Denim frontman James Petralli, has announced a debut record titled Constant Bop that will be released 17th April via Create/Control and Downtown. The first single entitled ‘Dani’s Blues’ was premiered through Gorilla Vs. Bear, who called the track “…a beautiful, sprawling, and characteristically genre-defying record.”
“Constant Bop” is the result of years of persistence and determination/ It is an album born of real studio magic; dozens of musicians contribute to its ten tracks including White Denim’s drummer Josh Block, guitarist Austin Jenkins and bass player Steve Terebecki, as well as former Shearwater bassist Kevin Schneider.

The album sees James stepping into the light as a storyteller, enriching his already vivacious and dynamic album with vignettes of tantalising characters. With an uncanny ability as a songwriter “Constant Bop” brilliantly interweaves his own experiences with those of his dreamed-up narrators.

Musically, “Constant Bop is full of disparate influences, but under the spell of James Petralli it all makes for an incredibly coherent album. From start to finish, it’s as if embarking on a journey through James’ musical history, one that bears thrilling and enthralling moments each time the road twists and turns.

Iron & Wine’s Archive Series Volume No.1 on his own label, Black Cricket Recording Co.

Chuck’s favourite Americana artist, Iron & Wine has continued his archival quest begun in 2009 with Around the Well.

Iron & Wine’s Archive Series Volume No.1 is the first in a series of releases pulled from tapes found in the back corners of closets and dusty shoe boxes – long neglected, but never forgotten. Sam Beam has been creating music as Iron & Wine for more than a decade; with the Archive Series, he will be gathering otherwise unreleased home recordings, covers, and live sets from his entire career and releasing them on his own label, Black Cricket Recording Co.

iron & wine new release

The songs on Volume No. 1 came to life at the same time as those selected for Iron & Wine’s debut album The Creek Drank The Cradle. The songs on Creek were only 11 of the many performed and recorded by Sam at home on a 4-track cassette. While some of this material has been widely bootlegged, it has never received a widespread or proper release until now.


Iron & Wine Archive Series Volume No. 1
Available February 24, 2015.

Pre-order 2xLP & CD today via 
Iron & Wine Webstore


  1. Slow Black River
    02. The Wind is Low
    03. Eden
    04. Two Hungry Blackbirds
    05. Freckled Girl
    06. Judgement
    07. Sing Song Bird
    08. Beyond the Fence
    09. Quarters in a Pocket
    10. Loretta
    11. Everyone’s Summer of ’95 (preview track here.)
    12. Minor Piano Keys
    13. Your Sly Smile
    14. Halfway to Richmond
    15. Wade Across the Water
    16. Postcard
  • Vinyl is 2 x LP in gatefold packaging and includes an MP3 download of entire album
  • LP pre-orders are special limited edition of white vinyl
  • The first 200 LP pre-orders include a limited edition, 12×12″ screen printed track listing hand signed by Sam – and reminiscent of the CD-R’s he created when first sharing Iron & Wine music

All pre-orders via the Iron & Wine Webstore include a free Black Cricket Recording Co. sticker


SAN FERMIN Announce New Album “Jackrabbit” + Single ‘Parasites’

SAN FERMIN Announce New Album “Jackrabbit” + Single ‘Parasites’

san fermin


On April 17, San Fermin will release “Jackrabbit”, the follow-up to their “jarringly accomplished” (NPR) self-titled debut album. Recorded in the midst of a year of heavy touring, “Jackrabbit” blends the lush, pop-leaning elements that made ‘San Fermin’ so “infectious” (Pitchfork), with the more manic and evolved sound of an experienced eight-piece rock ensemble.

NPR Music premiered “Parasites”, the first track from “Jackrabbit”, calling the band “electrified, amplified and, above all, emboldened.” Listen here!

Bandleader Ellis Ludwig-Leone wrote “Jackrabbit” by himself from start to finish, only to find that after a year testing the songs on the road – which included shows with St. Vincent, Arctic Monkeys, a co-headlining tour with Courtney Barnett, and festival stops at Lollapalooza, Fun Fun Fun Fest, and more – the album wasn’t nearly finished. Ellis explains, “I went from being this isolated composer guy, out in the woods, to sitting in the back of a van with seven other members playing shows in rock clubs every night. When I got back, I revisited it all, ripped these holes in the middle of all the existing songs and added some new songs. I rethought everything I had been writing.”

Co-produced by Peter Katis (The National, Interpol) and Ludwig-Leone, “Jackrabbit” bears the scars of experience admirably, with the touring band on full display: Ludwig-Leone on piano/synth, Allen Tate and Charlene Kaye on vocals, John Brandon on trumpet, Stephen Chen on saxophone, Rebekah Durham on violin, Michael Hanf on drums, and Tyler McDiarmid on guitar. If their debut could seem prepared and guarded to the point of being polite, “Jackrabbit” lines that record’s complicated compositional maneuvers and grandiose pop eruptions with necessary aggression.

On February 12, San Fermin will join a prestigious list of artists ranging from Steve Reich + Stephen Sondheim to Talib Kweli in performing as part of Lincoln Center’s American Songbook series, where they’ll be accompanied by the Metropolis Ensemble in the Appel Room (formerly the Allen Room). They are also confirmed to play with the Alabama Symphony Orchestra on March 6, where Ludwig-Leone is the composer-in-residence, before headlining the Savannah Stopover Festival. San Fermin will tour extensively in 2015, more tour dates will soon be announced.

New Release by Bass Drum Of Death – Rip This

Bass Drum Of Death “Rip This” released Friday, October 10 via Create/Control | Innovative Leisure.

In the past, BDoD brainchild John Barrett wrote and recorded all the material and toured with a revolving lineup of hired guns on drums and guitar. This time around, drummer Len Clark joins Barrett as a full-time member and collaborator. The duo began discussing plans for a new record when touring with Unknown Mortal Orchestra in 2013. Barrett and Clark then convinced UMO bassist Jacob Portrait to take on the role of producer when the band booked a session in March at Prairie Sun Studios in Sonoma County, California. With a few rough demos, Barrett, Clark, and Portrait hunkered down for two weeks and cranked out the band’s first proper studio album. Rip This retains BDoD’s trademark sorry-for-partyin’ swagger while scrapping the crackling hiss and lo-fi fuzz. The result is a record that still relies on an obliterating attack of heavy guitars, danceable hooks, and kinetic drumming, but will appeal as much to KISS fans as the music freaks and geeks who worship Nuggets. Both a challenge to music critics and a rock call-to-arms, the title says it all. You’re not going to hear many records this year that rip like this, so shotgun a beer, tune in, and turn up.

1. Electric
2. Left For Dead
3. For Blood
4. Everything’s The Same
5. Sin Is In 10
6. Black Don’t Glow
7. Burn’s My Eye
8. Lose My Mind
9. Better Days
10. Route 69 (Yeah)

Review: Emily Jane White – Ode to Sentience

Artist: Emily Jane White
Album: Ode to Sentience
Label: Antenna Farm
Date: June 12, 2012
Rating: 68 / 100

There is magical gothic beauty to be found on this, White’s 3rd album. The opener Oh Katherine sets the tone for the best tracks of the album, from the delightful finger picking embellishing tracks throughout Ode to Sentience to her tasteful and economic use of string and piano accompaniment providing just the right amount of flesh to tracks like The Black Oak and Requiem Waltz. Of course, the skeleton of the album is the strength and fragility of Emily’s vocals. When a singer-songwriter (or band for that matter) is blessed with a quality voice, it is a pleasure to hear it shine through the production, rather than be drowned out in the instrumentation.

My only problem with this recording is the descent into what I’ll call ‘count-your-fingers country’ such as tracks The Cliff & Broken Words. When the ear starts to hear fiddle instead of violin; stop. When slide guitar impels you to put a grass stalk in your mouth; stop.

Having said that; there is so much more to admire on this album than to fear. There’s a wonderful foreboding quality to some of the tracks, providing a real atmosphere for the ears. This is mature composition, not the result of some fly by nighter given the keys to the orchestra by a new label. Looking forward to the next release, hopefully recorded in a run down gothic looking castle or a haunted old prison overlooking a rough ocean.

Links –

Review: Dodos – Carrier

Artist: Dodos

Album: Carrier

Label: Polyvinyl

Date: 2013

Rating: 65 / 100


Fifth album adrift of the drive and focus of their last.

I have followed the output of the Dodos since Visiter (released 2009) and I may be a victim of expectations but I can’t see this release as progressing from the last in any way. At best this album could be described as putting your foot down with a disengaged clutch.

In fact disengaged is how my ears felt after a few listens. The barrelling rock of their last release (No Color – 2011) that bounced from track to track and made the album such an awesome driving CD, is mostly missing here. The album was recorded in the band’s hometown of San Francisco, CA at John Vanderslice’s iconic Tiny Telephone Studios and with no line up changes,(though touring guitarist Reimer died in 2012, and this had an impact), his departure seems to have set the template.

Tracks like Substance and Confidence remind one of where their sound seemed to be travelling but these tracks are isolated amongst other less engaging numbers. I still think Dodos are a promising band and there are some solid tracks on the album but at the moment they seem to be indie minstrels who have misplaced their muse.