The Flaming Lips – “Dinosaurs On The Mountain”

The Flaming Lips – “Dinosaurs On The Mountain”

| July 10, 2020 – 9:41 am

Last month, the Flaming Lips appeared as musical guests on Colbert, and they had a pretty slick way of doing it. The Lips played their classic 1999 song “Race For The Prize” in front of an actual audience — something made possible because both the band members and the people in the crowd were in those giant plastic bubbles that Lips frontman Wayne Coyne has been using in live shows for years. This doesn’t seem like a very practical idea, but it’s at least more fun than some of the other live-show social-distancing ideas out there. And it seems a whole lot more sustainable than the total lack of crowd-protection measures that Donald Trump had in place in his recent video to the Lips’ home state of Oklahoma.

Today, the Flaming Lips have offered up another image of that quarantine-bubble live show. They’ve just shared their video for “Dinosaurs On The Mountain,” the latest single from their forthcoming LP American Head. (They’d already shared the early singles “My Religion Is You” and the Kacey Musgraves collab “Flowers Of Neptune 6.”) Wayne Coyne directed the “Dinosaurs On The Mountain” video with longtime collaborator George Salisbury, and the clip seems to come from the same video shoot as that Colbert performance.

The song itself is a gentle, pretty piece of psychedelia, and it has Coyne imagining a utopian pastoral version of Jurassic Park: “I wish the dinosaurs were still here now/ It’d be fun to see them playing on the mountains.” Check it out below.

American Head is out 9/11, with colored vinyl to follow on 10/2. Pre-order it here.

YG – “Swag”

YG – “Swag”

| July 10, 2020 – 10:11 am

The last thing we heard from YG was the fuck-the-police protest song “FTP,” a sequel to his 2016 anti-Trump anthem “FDT.” And now he’s back with another new track, “Swag,” the latest single from his upcoming album Laugh Now Kry Later following “FTP,” “Konklusions,” and the title track.

While the cover artwork and the ARRAD-directed music video for “Swag” show YG taking a knee dressed as Colin Kaepernick, it’s not really another protest song. Instead, it’s a braggadocious banger with a thumping beat: “One call, they pull up fast/ Wrong move, that pistol blast/ I’m dressed in all black/ Match my Glock, I think I’m Shaft/ Swag, swag, swag, swag.”

Watch and listen to “Swag” below.

100 Gecs – “hand crushed by a mallet (remix)” (Feat. Fall Out Boy, Craig Owens, & Nicole Dollanganger)

100 Gecs – “hand crushed by a mallet (remix)” (Feat. Fall Out Boy, Craig Owens, & Nicole Dollanganger)

| July 10, 2020 – 10:36 am

Extremely online weirdo-pop duo 100 gecs broke out in a big way last year with their debut LP 1000 gecs, one of the best albums of 2019. And now they’re taking a well-deserved victory lap with the release of the long-teased 1000 gecs remix album 1000 gecs & The Tree Of Clues.

We’ve gotten a bunch of tracks from 1000 gecs & The Tree Of Clues so far, including remixes with A. G. Cook, Injury Reserve, a Charli XCX, Rico Nasty, and Kero Kero Bonito, Dorian Electra, and GFOTY and Count Baldor. And today, the whole thing is out for your listening pleasure.

In addition to what we’ve already heard, 1000 gecs & The Tree Of Clues features Black Dresses, Danny L Harle, Hannah Diamond, Tommy Cash, Lil West, and Tony Velour and two new songs from 100 gecs’ Minecraft sets. But perhaps the biggest deal is the star-studded remix of “hand crushed by a mallet” featuring Fall Out Boy’s Patrick Stump and Pete Wentz, Chiodos’ Craig Owens, and Nicole Dollanganger. Listen to that and stream the rest of the remix album below.

1000 gecs & The Tree Of Clues is out no via Big Beat/Atlantic Records.

Illuminati Hotties Break Free

Illuminati Hotties Break Free
Sarah Tudzin on the mixtape she made to ransom her new album from her old label


| July 10, 2020 – 10:55 am

CREDIT: Josh Beavers

At any point during 2018 or 2019, do you remember thinking, man, it doesn’t get any better than this? “It feels weird to be nostalgic for anything that happened post-2016,” Sarah Tudzin jokes, but even if every year is indeed “the worst one ever, until the next one,” at least the slow-burn success of Illuminati Hotties was giving her something to look forward to.

Arriving to modest acclaim and jokes about the band name, Illuminati Hotties’ debut Kiss Yr Frenemies became one of 2018’s sleeper critical favorites, establishing the Berklee-trained engineer/producer/mixer as a legitimate songwriting auteur and inventor of “tenderpunk,” equally adept at spiky power-pop, majestic balladry, and songs with fart noises. Increasingly plum support gigs with PUP and American Football gave Tudzin the confidence and security to quit her full-time job as an engineer with indie super-producer Chris Coady, which loaded up her C.V. with credits ranging from Amen Dunes to Macklemore to Weyes Blood to the Hamilton soundtrack. As the fall of 2019 rolled around, she was in the process of strategizing the release of her second LP with Tiny Engines, the Carolinas-based imprint whose founders were likely anticipating another round of “label of the year” tributes after a signing streak that bumped their impossibly stacked roster to 32 artists. “We were gearing up to have another year like that,” Tudzin sighs.

Of course, no one was going to have a year like that in 2020. Tudzin just found out earlier than most. In November, Adult Mom’s Stevie Knipe put Tiny Engines on blast with a Twitter thread that detailed years worth of inconsistent accounting, withheld royalties, and an irresponsible lack of communication that amounted to breach of contract. As to be expected in a public beef that pits Artist Vs. Label, most onlookers reacted with outrage towards Tiny Engines before the conversation became more complicated: Were Tiny Engines crooks or just another revered indie label that had gotten in over their heads once money started coming in? Was the practice of diverting money from top earners to sign baby bands a scam or just a standard business practice that looked far shadier when it was finally exposed to the light? Were the terms of their record contracts exploitative or fair recompense for Tiny Engines taking on the risk of signing unproven bands and financing in-house PR, worldwide distribution, recording advances and vinyl production? Regardless of where anyone stood, Tiny Engines had accrued far more goodwill than money over the past decade and wouldn’t be able to withstand the complete public liquidation of their rep.

But that didn’t mean Tiny Engines would cease to exist.

Co-founder Chuck Daley says over email that he would have liked the label to continue with a reduced release schedule, but he told Tiny Engines bands that they were free to explore other options. However, there were still contracts to fulfill and incoming revenue that needed to go towards prior manufacturing and promotion costs, not to mention the bands who were owed royalties — take a look at the Illuminati Hotties’ Twitter and find a Tiny Engines link still in the bio. Some acts like Empty Country and It Looks Sad. were able to publicly divest themselves from the label, and Long Neck bought back their masters with a successful Indiegogo campaign. But Tudzin says that when she finally got Daley to talk frankly about the status of her band, “He made it very clear that Hotties LP2 would’ve been an important record for him.”

Eventually, the two parties came up with an exit agreement that allowed Tudzin to buy out her Tiny Engines contract with a cash settlement and a payment of royalties on a future project. “In the grand scheme of things, it’s much, much less than what we would have made if we had released the new record,” Daley says. “But we respect Sarah’s need to move on.” Tudzin sees paying her way out of her record deal as, “the most tail-between-my-legs thing I’ve ever done.”

Yet this arrangement inspired one of 2020’s most brash, defiant, and flat-out righteous projects. It’s just not Illuminati Hotties’ second album: Described as a “mixtape,” Free I.H.: This Is Not The One You’ve Been Waiting For — out a week from now — is essentially Tudzin spitting in Tiny Engines’ hand before she puts money back into it. The project’s core is in the spirit of today’s spiteful lead single “will i get cancelled if i write a song called, ‘if you were a man, you’d probably be cancelled’,” the title of which Tudzin salvaged from a text conversation with Sadie Dupuis of Speedy Ortiz and Sad13. “She was like, ‘You should make this whole text the title of the song, not just the part in quotes,’” Tudzin recalls. “It mostly felt pretty fun to me, but the whole record revolves around feeling trapped by the forces surrounding me and the emotions I was feeling and it metaphorically adds up to the same sort of things that the rest of the songs are about.”

With 12 songs clocking in at 23 minutes, Free I.H. condenses the hooks and hilarity of Kiss Yr Frenemies into 90-second blasts honoring the legacy of SoCal pop-punk miniaturists ranging from the Descendents to Joyce Manor. Elsewhere, Tudzin takes advantage of the format to attempt previously inconceivable experiments in Death Grips-styled noise, an homage to Trio’s “Da Da Da,” and the label-baiting venom of Clipse circa We Got It 4 Cheap — “First I made Frenemies/ Made a whole lotta frenemies/ Now I owe ‘em seven stacks/ And won’t even get the circle-p,” she snarls a la Drake’s “Energy” on “Superiority Complex (Big Noise).” But its closest precedent might actually be Marvin Gaye’s infamous Here, My Dear: A 1977 divorce settlement granted Gaye’s ex-wife half the royalties from his next album, which he subsequently used to publicly air out the entire bitter affair over his least commercial music to date.

Free I.H. was inserted into the mix when I got emotionally fired up and realized I had to do something fast if the exit agreement I was signing gave royalties to a label that had nothing to do with this record,” Tudzin says with a deep exhale, and the claustrophobic nature of the music is equally suited to [gestures broadly] all of this going on right now, even if it was written in February and completed before the quarantine. “While the world burns, why would you care about a fucking record?” she asks on “Free Dumb,” describing her career as “non-essential,” a term that had yet to enter the public consciousness.

An actual “mixtape,” as opposed to a DJ-Kicks-style playlist or demo collection, is virtually unprecedented for rock bands, but the format suits Tudzin. After all, Kiss Yr Frenemies itself was a power move frequently seen in hip-hop, where a producer, beatmaker, or songwriter working behind the scenes decides to take on the frontperson role. While Tudzin is inspired by others in this lane experimenting with unconventional release strategies, she still sees herself as a “caveman” in 2020 for her album-focused artistry — “I’m awful at content creation for the purpose of content creation.”

Days after our conversation, peers such as Lucy Dacus, PUP, Oceanator, and Dupuis tweeted out a SoundCloud link attributed to “Occult Classic”; a handful of writers variously compared it to the Dismemberment Plan and the Ting Tings. Just about anyone treating it as a “mystery project” was almost certainly in on the joke — get to “Content // Bedtime,” and “www.illuminatihotties” is an actual lyric. “My project was leaked!?! WHAT!” Tudzin responded in an email a day later, after the SoundCloud had been taken down. “I swear… I will find the marauders that burned me even if it’s the last thing I ever do.” She’s joking, but I don’t think she’s playing — after hearing Free I.H., I wouldn’t want to be in the shoes of someone who burned Sarah Tudzin.

CREDIT: Maddie Ross

STEREOGUM: When I found out this was a “mixtape,” I was hoping to hear more DJ drops.

SARAH TUDZIN: I wish I thought of that! When we first started envisioning everything, I did want to include more skits and spoken stuff and have it be a mixture of songs — noise and vocalizations that weren’t singing. As it came together, I tried more spoken word things and it didn’t feel natural in the end, so those got dropped. But those are such a fun way to create a universe on a record.

STEREOGUM: Releasing an actual mixtape between proper albums is such a rare occurrence for rock bands. I can’t really remember the last one that did it. What do you think prevents them from embracing this format?

TUDZIN: Honestly, bands are generally typecast with the first record or the first two records they make, and the public expects a certain sound from them. But when you’re a rapper or producer or DJ, there are no rules and you can put whatever you want into a collection of works or drop unfinished songs onto a mixtape. And that’s fine, their fans are into that. With rock bands, I don’t know why, but they’re expected to present a fully realized masterwork. Rappers are too, but they just make so much more stuff, and when you’re in the pop world, every single day you’re doing one or more sessions to write more material. And you end up with things that are not a full-blown track that could end up on an LP, but are pretty cool and you want to show to people.

STEREOGUM: Did you have any specific models in mind for Free I.H. as a mixtape?

TUDZIN: The Earl mixtape is a good example, the Free Weezy Album when Lil Wayne was trying to wrap up his record deal. And obviously the king of mixtapes is Dilla, he’s the master at showing people all corners of his artistry and stretching, making tracks that can exist in different contexts.

STEREOGUM: I would guess that indie rock bands and their teams prefer albums because they’re the thing around which touring and press are centered; labels and PR people have expressed their concern that even EPs don’t get taken as seriously for coverage. But in our current situation, do you envision artists being more open to non-traditional releases?

TUDZIN: I haven’t seen too much in the indie rock world, they still sorta feel chained to this album cycle of single, two weeks later, single, two weeks later, single with a music video, two weeks later, album pre-stream and then it drops the next day. It’s not really how the music world works. I think there are some very internet-y bands that have sorta cracked into the pop formula where all they care about is singles and eventually, they’ll put all the singles into one place. I go back and forth about that stuff. As a music fan, I prefer a full record to dive into and I almost don’t ever care when even bands that I really love are just doing the “single/press release” part of the album cycle. I usually wait to hear the record. I also don’t really feel like I can dive into EPs very much, even when bands are like, “here are all the singles at once, here’s the EP.” I know that, just because of budgets and how touring was working, bands were interested in getting out on the road faster and creating content for people to bite into faster. And that’s the more budget friendly way to do that — make shorter pieces.

STEREOGUM: Obviously, many indie rock bands have been devastated by the end of touring, since that was one of the few known sources of significant income. But others have privately expressed relief, that there’s less pressure to be a “full time” band barely making ends meet on the road. Where do you stand now?

TUDZIN: It’s so much work, but at the tail end — the last six months we were on tour — I felt touring was financially sustainable and growing the project in a way that I don’t know how to do just from the internet. It felt like it was paying off, and I couldn’t wait to put something else out and do the big Hotties full US headline [tour], which we’d never really done. We did support acts all over the place and tacked on headliners to the beginning or end of every support tour. The way that Kiss Yr Frenemies came out, I was catching up with that album cycle the whole time and I didn’t realize that there would be a touring market for it. I didn’t have anyone on my team except for my band. This time around, I was looking forward to being gone for a long time and seeing what the Hotties audience would look like, the people who were coming to see us.

STEREOGUM: I’m always curious about what moves the needle for bands, as far as building a fanbase, whether it’s press or touring or song placement — what do you think worked for Illuminati Hotties throughout the past year?

TUDZIN: I think the support touring was huge and we ended up supporting artists that were really great and allowed us to play in front of people that ended up sticking around as fans. Hitting the road in general was the most effective way of spreading the word about your band to other places because then you have flyers in places people visit and you’re just kinda around and making more noise. Also, TikTok… bands having one song that goes off on TikTok and then it’s game over. That didn’t happen to us, but it did with Beach Bunny.

STEREOGUM: The lyrics on “Free Dumb” address the difficulty or even the futility of trying to make art when there are so many other fucked up things doing on in the world. Was there any specific event that inspired that song?

TUDZIN: The weird thing about this project is that I wrote and recorded all of it in three weeks in February — it all happened over the span of a few weeks, and I sent it to my friend Simon [Katz] to mix it at the top of March. As everything shut down, it weirdly became more and more appropriate subject-wise. Shit was hitting the fan big time before we were all trapped inside and forced to face it. That was just a reaction to shit having been bad and been scary, and now that we are forced to deal with bigger things face-to-face, it’s become especially pertinent. There’s a lot of politics back and forth about whether you should be promoting your stuff or how to ethically promote it. How do you keep having a job as an artist, if that is your job, or even if it’s just your hobby? How do you ethically and morally be a part of the world and promote something that, to a lot of people, seems like a luxury item? If you have $20 and you need to buy food, you’re gonna buy that, not a vinyl. There’s a lot of folks who make art for a living and have made art for a living, and it’s not fair to tell those people to just stop. Because they need jobs too, just like people who work blue collar jobs or are accountants.

STEREOGUM: Have you gotten into discussions with other artists about how to proceed with putting out music in this environment? A few weeks ago, there were very heated arguments over whether artists like Phoebe Bridgers or Owen or even Bob Dylan should be releasing new albums on Juneteenth.

TUDZIN: I feel like all the discussions have taken place within myself. When I was making [Free I.H.] and sending it to get mixed, maybe the COVID stuff was barely just starting, but all the in-your-face things that we are reckoning with right now as a society weren’t bubbling as close to the surface. When I was putting this all together, I was planning a basement tour and “We’re gonna do all these DIY venues and cram as many people as I can into small rooms all over the place” and really live in the griminess of this record. But things have since changed big-time, and where I sorta landed with everything is that all this stuff we’re facing right now is extremely important and I don’t want things to go back to the way they were. This is the new normal. I don’t think we should be trying to reach back to what we thought was normal, we should function in this new space.

The stuff that’s been happening is more powerful than ever and has been making changes for the better, and I hope it continues to be that loud, and I hope we can continue to be activists and speak up for people who haven’t been spoken up for or support those folks who are speaking up for themselves and give them space to do so. And I’d like to still be able to do my job during this and make music and hope that people can connect to art. I don’t want to be distasteful in putting out music while there’s more important stuff happening, but there’s always gonna be more important stuff happening than the songs that I have thrown my ego into. I think both can exist. We can promote ourselves and promote our work and bring happiness to fans that want to hear it and we can still be activists and vocal about the things that bother us and continue to shake things up so people in power can hear it.

STEREOGUM: Despite the public perception of Tiny Engines being effectively cancelled, my understanding of this mixtape’s title is that Illuminati Hotties and perhaps some other bands are still under contract. Tiny Engines still exists, right?

TUDZIN: In theory, it exists. In practice… anybody can look at their Twitter. There was a lot of info that was laid on the table for baby bands and bands that are trying to get signed — at any level of the game, whether it’s a small record label that’s gonna give you a $1,200 advance or Universal that could give you $200,000, you have to be careful and protective of your art. It gets dicey when you’re looking at a contract and you’re inexperienced, which I was at the time. You never know what could happen to your art, and you want to be able to advocate for yourself, not just sign because someone who you think is cool thinks that you’re cool too. That info was really important to dispel to the public, but on the other hand, myself as well as a whole bunch of other bands were still stuck under contract with a label that had nothing to say about all this crazy stuff that went down on the internet and was being really unresponsive to myself and other folks that owed Tiny Engines some kind of product or was owed by Tiny Engines.

STEREOGUM: After all the drama that played out online, was there ever any hesitation about addressing the Tiny Engines situation directly on Free I.H.?

TUDZIN: At the time that all this stuff [with Tiny Engines] was happening, I decided to finally write this thing instead of moving forward with the record that I’ve poured my heart into for the year before that; I was just so emotionally oppressed. I was trying so hard to figure out a way to legally and appropriately exit from Tiny Engines when it became apparent that they had no infrastructure for putting out what I thought was gonna be Record 2. I did everything in my power to do the right thing, and it took months and so much back and forth and bothering everyone. We were pretty aggressive trying to free ourselves from that contract in a way that made sense and was ethical in a business context. It felt heartbreaking to pick up a guitar and work on anything when it was like…“Can I ever put this out? Will this ever come out? Is it gonna be me or Tiny Engines? Is it gonna be someone else?” Not to say that I only ever make music to [publicly] go out but I obviously love that part of making music. It was awful, I felt so claustrophobic and trapped and emotionally exhausted trying to deal with all of that stuff when all I really wanted to do was work on the songs.

STEREOGUM: At least from what I saw on Twitter, this whole thing pitted bands against other bands, labels against other labels, even Chuck as the “money guy” at Tiny Engines vs. Will Miller, who was seen more as the A&R side. Did you have to compartmentalize your feelings towards some of these people as both a participant and an observer?

TUDZIN: There is a lot of compartmentalization because I did want to support the bands who felt they were being taken advantage of and, in some cases, were being taken advantage of. And on the other side of the coin…we all signed that contract. Part of it is just business and unfortunately, the contract that I signed was a little exploitative of a band that had no idea what was going to happen. On the other hand, I didn’t have to sign it. I wasn’t presented with some crazy advance that was gonna make or break my life. In fact, I don’t think I even took the advance because I didn’t want to owe them anything and my record was done. I made it in my boss’ studio, it was a pretty expense-less record and I was just excited for someone to print vinyl.

STEREOGUM: What’s the status of Hotties’ LP2 at the moment?

TUDZIN: There is a record that I spent the year I was out on tour writing. And then, over the summer, before we did that last month with PUP, I tracked all the drums and bass and guitars for 20-something songs and I’ve whittled it down to the 10 that will actually make a good record. I still have bells and whistles to put on them. Most of the tracks are done, there’s some housekeeping I have to do. I’d like to put it out at a time that will allow me to tour behind it. I do want to chase that goal as a band, bringing it to the people live and upgrading our live show to be able to play the new songs. I’m hoping we’ll reach a point where we can safely tour and have people in a venue together and obviously, we’ll have to re-strategize if it seems like it won’t be for the next half a decade. I don’t want to wait too long because the songs already feel so old to me. I do want to give it a fair shake as far as a traditional album cycle.

STEREOGUM: Has the process of making some of the more unconventional songs on here — “Content // Bedtime,” the interludes — changed the possibilities you see for Illuminati Hotties?

TUDZIN: I think what I will hopefully learn from the reaction is that I feel really lucky to position Illuminati Hotties in a way where we can sorta do anything. I don’t think we’ve been boxed into one particular style of music and, especially after this comes out, there’s just so many options, which is fun. I don’t always want to make guitar music and I don’t always want to make indie guitar music. This has allowed me to stretch in so many ways and if it still feels authentic and genuine to everybody who listens to it, then it’ll open up more doors for what we can do musically. But I’ve never felt boxed into a style, I don’t think about music like that when it’s stuff that I’m making.

Free I.H.: This Is Not The One You’ve Been Waiting For is out 7/17.

KAYTRANADA – “Look Easy” (Feat. Lucky Daye)

KAYTRANADA – “Look Easy” (Feat. Lucky Daye)

| July 10, 2020 – 10:56 am

The great Haitian-Canadian dance producer Kaytranada released his great sophomore LP BUBBA at the end of last year. A couple months ago, he shared a music video for album track “Need It.” And it seems he has a whole lot more on the way.

“There’s just so many tracks that just didn’t make [BUBBA],” Kaytranada told Zane Lowe in an interview in December. “I intended to put out in two parts. I’m definitely going to do something kind of different on the next one … So that’s going to be a more personal one.”

Kaytranada still hasn’t announced anything about another album. But today, he’s back with a brand new single, “Look Easy,” a smooth-as-hell synth shimmer featuring vocals from singer Lucky Daye. Listen to that below.

Black Thought – “Thought Vs. Everybody”

Black Thought – “Thought Vs. Everybody”

| July 10, 2020 – 11:12 am

It’s been six long years since the Roots released their last album, …And Then You Shoot Your Cousin. Since then, there’s been plenty of talk of a new collection, and they’ve been plenty busy as the house band for Jimmy Fallon. But along the way, Black Thought started released solo work, too. Back in 2018, he started dropping EPs as part of a series, Streams Of Thought. Earlier this week, he shared the very good news that the series would soon continue with its third installment, subtitled Cane And Abel, and today he’s shared a new single called “Thought Vs. Everybody.”

Black Thought had previously hinted at the existence of the third EP a couple months ago, during a Tiny Desk performance in which he debuted a couple new tracks and gave some details about what was to come. Like his collabs with 9th Wonder for Streams Of Thought Vol. 1 and with Salaam Remi for Vol. 2, Black Thought teamed up with one producer for the entirety of Vol. 3. This time, Sean C oversaw the whole EP, but it’s not just Thought and Sean C on this thing — it has a pretty crazy array of guests. Portugal. The Man, who had been involved in that livestream, appear on not one but two tracks. Schoolboy Q shows up on another one. Perhaps most intriguingly, there’s a song where Black Thought raps alongside Pusha T and Killer Mike.

But in the meantime, we have “Thought Vs. Everybody” — which, perhaps fittingly given its title, is just a pure showcase for Black Thought’s unstoppable ability. It’s one of the songs he’d debuted in that livestream, and it was already a fiery, deeply impressive thing. Now we get to hear the proper recording, which features Black Thought going in over a tight, funky beat. Perhaps this comes as no surprise, but it’s looking like Vol. 3 is definitely something to get excited about. Check it out below.

TRACKLIST:

01 “I’m Not Crazy (First Contact)”
02 “State Prisoner”
03 “Good Morning” (Feat. Swizz Beatz, Pusha T, and Killer Mike)
04 “Magnificent”
05 “Experience (Interlude)”
06 “Quiet Trip” (Feat. Portugal The Man And The Last Artful, Dodgr)
07 “Nature Of The Beast” (Feat. Portugal The Man And The Last Artful, Dodgr)
08 “We Should Be Good” (Feat. CS Armstrong)
09 “Steak Um” (Feat. Schoolboy Q)
10 “Thought Vs. Everybody”
11 “Ghetto Boyz & Girls” (Feat. CS Armstrong)
12 “Fuel” (Feat. Portugal The Man And The Last Artful, Dodgr)
13 “I’m Not Crazy (Outro)”

CREDIT: Monte Isom

Streams Of Thought, Vol. 3: Cane And Abel is out 7/31.

Pallbearer – “Forgotten Days”

Pallbearer – “Forgotten Days”

| July 10, 2020 – 11:22 am

It’s been three years since Pallbearer, Arkansan gods of psychedelic doom metal, released Heartless, their masterful third album. Pallbearer have been relatively quiet recently, though they released the one-off single “Atlantis” last year. Today, Pallbearer announce their grand returns. This fall, they’ll come out with the new album Forgotten Days. Today, they drop the title track on us.

Pallbearer recorded Forgotten Days in Texas, with Sunn O)))’s Randall Dunn producing. In a press release, bassist and songwriter Joseph Rowland says that the band was focusing in on the songs that will be good in live shows, once live shows are happening again:

Forgotten Days is us exploring what is natural to us. The songs tell me where I need to go when I write. We wanted to focus on songs that were visceral and enjoyable to play live — that our audiences would enjoy experiencing. We’re also getting back to more of the groovier and heavier elements of Pallbearer. Heartless is fairly uptempo and technical. This one is a little more open, it hammers you.

There’s plenty of hammering in “Forgotten Days,” the six-minute lead single. The song builds up intensity as it goes, and it’s built on top of a huge, bongwater-stained riff. But as usual with Pallbearer, this isn’t punishing music. It’s warm and melodic and comforting. In director Ben Meredith’s video, which I’m guessing is inspired by the movie Solaris, a space traveler goes on an internal journey. Check it out below, along with the Forgotten Days tracklist:

TRACKLIST:
01 “Forgotten Days”
02 “Riverbed”
03 “Stasis”
04 “Silver Wings”
05 “The Quicksand Of Existing”
06 “Vengeance & Ruination”
07 “Rite Of Passage”
08 “Caledonia”

Forgotten Days is out 10/23 on Nuclear Blast.

Bettye LaVette – “One More Song”

Bettye LaVette – “One More Song”

| July 10, 2020 – 11:23 am

Bettye LaVette was supposed to be inducted into the Blues Music Hall Of Fame this year. And although the induction ceremony has been postponed until next spring, the 74-year-old soul singer is still celebrating the blues tradition in her own way, with the release of her new album Blackbirds.

On Blackbirds, LaVette reimagines songs recorded by iconic Black female singers of the 1950s like Dinah Washington, Nina Simone, Nancy Wilson, Della Reese, and Ruth Brown. Last month, she shared a cover of Billie Holiday’s unfortunately all-too-relevant anti-lynching anthem “strange Fruit.” And now she’s back with another song.

Unlike most of the tracks on Blackbirds, “One More Song” appears to be a newer composition. The song was written by Sharon Robinson, who collaborated with Leonard Cohen for decades and previously co-wrote “The High Road” for Bettye LaVette in 2005. Listen to LaVette’s rendition below.

Blackbirds is out 8/28 via Verse.

Stream Sharptooth’s Hard-As-Hell New Album Transitional Forms

Stream Sharptooth’s Hard-As-Hell New Album Transitional Forms

| July 10, 2020 – 11:48 am

You’re not a feminist JUST BECAUSE YOU FUCKED ONE!” That’s Lauren Kashan, singer of the Baltimore band Sharptooth, a few songs into her band’s new album Transitional Forms. That’s Sharptooth in a nutshell: Smart and passionate and angry and unsparing. Sharptooth’s sound is a concussive big-room form of metallic hardcore, and it absolutely never lets up. But it’s also written with a pointed perspective — the type of thing where you feel compelled to read the lyrics when you can’t make them out through Kashan’s world-obliterating roar.

Today, Sharptooth release their new album Transitional Forms, the long-awaited follow-up to their 2017 debut Clever Girl. I’ve been waiting for Transitional Forms for a while. Sharptooth have developed a rep as a mean, destructive unit, and the Transitional Forms lead single “Say Nothing (In The Absence Of Content)” is a fun, layered-meta throwdown. (Kashan, just as the breakdown is kicking in: “Now this is the part of the song where we slow shit way down for you so you can all kill each other! It doesn’t even matter what I’m saying here anyway! Can you even understand a fucking word I say?”) Its deeply funny video might be the best hardcore music video in years.

Transitional Forms is everything you could’ve hoped for. It’s clean and hard and unsparing, just like the stuff that Sharptooth’s labelmates in Knocked Loose make. The riffs are nasty, the breakdowns kick hard, and the moments of gothed-out quiet are effectively ominous. It’s just a kickass hardcore record. But it’s also smarter and more self-aware than most kickass hardcore records — and it gets that intelligence and self-awareness across without skimping on the ass-kickery. Great album. Stream it below.

Transitional Forms is out now on Pure Noise Records.

Into It. Over It. – “Living Up To Let You Down”

Into It. Over It. – “Living Up To Let You Down”

| July 10, 2020 – 12:19 pm

Evan Thomas Weiss will return this fall with his first new Into It. Over It. album in four years. The Chicago emo mainstay has not been entirely quiet lately, releasing music with projects like Pet Symmetry, but the upcoming Figures will be his main project’s first proper LP since 2016’s Standards. It’s introduced today with lead single “Living Up To Let You Down.”

The song is about a stint in Nashville reconnecting with an old friend in 2017, a phase Weiss says “quite honestly may have saved my life.” (They even got matching tattoos.) Regarding the album as a whole, he says, “It’s about trying to make peace with poor decisions that I’ve made, and how I can try to reconcile as much as I can, and what I can’t reconcile, how I’m going to cope with that moving forward, and what I can do to be better to the people around me.” He may be referring to initially brushing off misconduct allegations against his former manager; the subsequent reckoning seems to have informed his new songs.

“Living Up To Let You Down” is available to listen below, where you’ll also find the Figures tracklist.

TRACKLIST:
01 “They Built Our Bench Again In Palmer Square”
02 “Living Up To Let You Down”
03 “Hollow Halos”
04 “Perfect Penmanship”
05 “Courtesy Greetings”
06 “Breathing Patterns”
07 “A Left Turn At Best Intentions”
08 “Brushstrokes”
09 “We Prefer Indoors”
10 “Dressing Down // Addressing You”
11 “A Lyric In My Head I Haven’t Thought Of Yet”
12 “A Light In The Trees”

Figures is out 9/18 on Triple Crown/Big Scary Monsters. Pre-order it here.

Yeasayer Are No Longer Suing The Weeknd For Copyright Infringement

Yeasayer Are No Longer Suing The Weeknd For Copyright Infringement

| July 10, 2020 – 12:19 pm

Earlier this year, the members of the defunct Brooklyn indie band Yeasayer filed a lawsuit against Kendrick Lamar and the Weeknd for copyright infringement. Yeasayer claimed that Kendrick and the Weeknd’s “Pray For Me,” a song from Kendrick’s 2018 Black Panther soundtrack, took elements from “Sunrise,” a song from Yeasayer’s 2007 debut album All Hour Cymbals. At the time, Yeasayer, who broke up at the end of 2019, claimed that “Pray For Me” imitated the “distinctive choral performance” — “comprised of male voices singing in their highest registers, with animated, pulsing vibrato” — from “Pray For Me.” But now Yeasayer have been convinced that the Weeknd didn’t steal anything from them.

Pitchfork reports that Yeasayer have dismissed their own lawsuit against the Weeknd, Frank Dukes, and UMe Recordings. In their legal documents, Yeasayer say that they have “confirmed to their satisfaction that no copyright infringement occurred.”

Yeasayer also filed that initial lawsuit against Kendrick Lamar, producer Doc McKinney, Interscope, Aftermath, and Top Dawg Entertainment. None of those parties are mentioned in the paperwork over Yeasayer dropping the lawsuit.

Stream Skeleton’s Grimy, Crusty Self-Titled Metal-Punk Debut

Stream Skeleton’s Grimy, Crusty Self-Titled Metal-Punk Debut

| July 10, 2020 – 12:38 pm

The state of Texas has a long and proud tradition of punk bands playing metal; Power Trip, from Dallas, might be the current kings of that kind of crossover. Today, the Austin power trio Skeleton take their place in that lineage. Skeleton have been around for a few years, and they released an EP called Pyramid Of Skull in 2018. Today, Skeleton release their self-titled debut album. It is nasty.

Skeleton’s music doesn’t really fit into any particular subgenre. They draw on the sounds of ’80s thrash and ’90s death metal, but they also pull from crust-punk and D-beat. They keep things relatively simple and straightforward — no blazing guitar heroics, no showy time-signature changes. Instead, they rasp and sputter and lurch with commendable abandon.

Skeleton’s self-titled album is pretty raw and lo-fi, and it lurches between styles and influences with a mean sense of confidence. The vocals are so shredded that you might not pick out a single world. The guitars sound like they’re echoing up from the bottom of a well. It’s a new album, but it sounds like some moldy demo from years ago, one that might get discovered in a dank basement and become an online cult favorite. It rules. Listen to it below.

Skeleton is out now on 20 Buck Spin.

Stream SpiritWorld’s Apocalyptic Debut Album Pagan Rhythms

Stream SpiritWorld’s Apocalyptic Debut Album Pagan Rhythms

| July 10, 2020 – 1:19 pm

This is a very, very good day for heavy music. We’ve already posted the ass-stomping new albums from Sharptooth and Skeleton, and now the Las Vegas outfit SpiritWorld have come out with their full-length debut Pagan Rhythms, a blistering piece of pure evil.

SpiritWorld is really just one person, the Vegas doomsayer Stu Folsom, though other musicians, like the former Mars Volta drummer Thomas Pridgen, also play on Pagan Rhythms. SpiritWorld is more of a hardcore band than anything else, though it’s not totally clear what genre it would belong to. Satanic hardcore? Is that something that exists? Because Pagan Rhythms is literally a whole album about Satan returning to earth and wiping out the plague of humankind. It rips so hard.

Folsom delivers all of his lyrics in a vast demonic bellow, and the music is a fast pummel that occasionally takes on the grisly grandeur of death metal. There’s also any old-timey country song in there. Pagan Rhythms is one more extremely good reason to bang your head today. Stream it below.

The self-released Pagan Rhythms is out now, and you can get it at Bandcamp.

Lana Del Rey Announces “Eclectic And Honest” Spoken-Word Album Violet Bent Backwards Over The Grass, Out This Month

Lana Del Rey Announces “Eclectic And Honest” Spoken-Word Album Violet Bent Backwards Over The Grass, Out This Month

| July 9, 2020 – 9:14 am

For a long time now, Lana Del Rey has been talking about releasing Violet Bent Backwards Over The Grass, a book of poetry and an accompanying spoken-word album. Del Rey first mentioned the idea of a poetry book early in 2019. It’s gone through different permutations. At various points, Del Rey said that she was going to hand-bind copies of the book and deliver it to local bookstores, or that she was going to sell the book for a dollar. Neither one of those is happening. The details are now out, and it looks like Violet Bent Backwards Over The Grass will be a relatively conventional project — that is, if a pop star publishing a book of poetry can ever be said to be a conventional project. The book itself won’t be out until September, but the spoken-word audiobook, which will feature Del Rey reading over music from her friend and collaborator Jack Antonoff, is coming out later this month.

Yesterday, Del Rey posted an Instagram promising that the details of Violet Bent Backwards Over The Grass soon. The cover art, it emerged, would be the same thing that Del Rey tweeted and deleted in April. Today, as The FADER points out, Amazon and Waterstones have published product listings for the album and the book. Per Waterstones, the 112-page hardcover book is coming 9/29 via Simon & Schuster. And per Amazon, the 33-minute album, which is being sold as an audiobook, is out 7/28.

On those listings sites, there’s a statement from Del Rey:

Violet Bent Backwards Over The Grass is the title poem of the book and the first poem I wrote of many. Some of which came to me in their entirety, which I dictated and then typed out, and some that I worked laboriously picking apart each word to make the perfect poem. They are eclectic and honest and not trying to be anything other than what they are and for that reason I’m proud of them, especially because the spirit in which they were written was very authentic.

According to that listings page, the album will feature some of these poems: “LA Who Am I To Love You?,” “The Land Of 1,000 Fires,” “Past The Bushes Cypress Thriving,” “Never To Heaven,” “Tessa DiPietro,” and “Happy.” The book itself will feature Del Rey’s typewritten manuscript pages and original photography. In that Instagram post, she talks about the Navajo Water Project, the nonprofit that the book will presumably benefit.

View this post on Instagram

Dates for the release of the audiobook and the physical book tomorrow! Also you should know about – Navajo Water Project www.navajowaterproject.org 1 in 3 Navajo still don’t have a sink or a toilet. That means 1/3 of Navajo families haul water home every day. They pay 67 x more for the water they haul vs. piped water. Access to running water has become more important than ever during the COVID-19 crisis. In May, the infection rate in the Navajo Nation — at roughly 2,500 per 100,000 residents — surpassed that of New York. The Navajo Water Project brings clean, hot and cold running water to families across New Mexico, Utah and Arizona.The installation of a water and solar system takes just 24 hours from start to finish. The Navajo Water Project has a fundraising target of $1,035,000 for 2020 to bring running water and solar power to 230 families. and we plan on fulfilling that target in the next 4 weeks to bring it up to their million dollar mark, and we’ll be traveling throughout New Mexico Arizona and Utah to say hello and make sure it gets done. The Navajo Water Project is Indigenous-led, and registered as an official enterprise on the Navajo Nation. Their work creates meaningful, high-paying jobs, many with benefits like 100% employer-paid health coverage.

A post shared by Lana Del Rey (@lanadelrey) on Jul 8, 2020 at 12:27pm PDT

Back in May, Del Rey shared “patent leather do-over,” a spoken-word poem, which she says is from her second book behind the iron gates — insights from an institution, which will apparently come out next March.

https://www.instagram.com/p/CCb-vW7p8Dt/

Young Jesus – “Root And Crown”

Young Jesus – “Root And Crown”

| July 9, 2020 – 9:26 am

“Every record needs a thesis, needs a crisis or campaign,” John Rossiter sings at the start of “Root And Crown.” “All my feelings need a reason, need a righteousness or blame.” So what’s the point of Welcome To Conceptual Beach, the upcoming Young Jesus album that includes this song? Per Rossiter, Conceptual Beach is the mental refuge where he finds inner peace. “The reason it’s called Welcome To… is because I’m inviting other inner landscapes into it.”

Such heady philosophical framework informed our Band To Watch designation for Young Jesus upon the release of their first Saddle Creek LP The Whole Thing Is Just There two years ago. So did the band’s penchant for adventurous sonic shapeshifting, that sense that you never know exactly what a Young Jesus song is going to sound like. “Root And Crown,” for instance, is both deathly slow and deeply dramatic, a ballad that cuts against the basic understanding of what a lead single is supposed to do. Instead of working to grab your attention, it demands you come to it.

If you so choose, you can do that below via director Blake Holland’s music video.

TRACKLIST:

01 “Faith”
02 “Pattern Doubt”
03 “(un)knowing”
04 “Meditations”
05 “Root And Crown”
06 “Lark”
07 “Magicians”

Welcome To Conceptual Beach is out 8/14 on Saddle Creek.

Lomelda – “Wonder”

Lomelda – “Wonder”

| July 9, 2020 – 10:08 am

Lomelda have a new album on the way. Today, the Band To Watch is announcing Hannah, the follow-up to last year’s M For Empathy, Her last album was released all at once and recorded entirely during a weekend trip back to her hometown in Texas — she’s now based in Los Angeles — but new one is a little more worked over. In fact, project leader Hannah Read apparently recorded it three different times before feeling like it was ready to be released.

Today, she’s sharing lead single “Wonder,” a hypnotic and forceful song that returns the project to the more muscular arrangements of 2017’s Thx, Read’s expressive voice pushing the track to an explosive conclusion. “When you get it give it all you got, you said,” she sings, all her words being mashed up into one thought.

“Wonder is about working hard,” Read said of the song. “It is my most fun song to play. And I got to play drums on it, so it’s my favorite Lom song forever. May it motivate you to move and smash like it does me.”

TRACKLIST:
01 “Kisses”
02 “Hannah Sun”
03 “Sing For Stranger”
04 “Wonder”
05 “Polyurethane”
06 “Reach”
07 “It’s Lomelda”
08 “Stranger Sat By Me”
09 “It’s Infinite”
10 “Hannah Happiest”
11 “Both Mode”
12 “Big Shot”
13 “Tommy Dread”
14 “Hannah Please”

Hannah is out 9/4 via Double Double Whammy. Pre-order it here.

CREDIT: Tonje Thilesen

Jessy Lanza – “Anyone Around”

Jessy Lanza – “Anyone Around”

| July 9, 2020 – 11:30 am

Jessy Lanza has a new album, All The Time, coming out in a couple of weeks. We’ve already heard two tracks, “Lick In Heaven” and “Face.” And today she’s sharing a third, LP opener “Anyone Around,” an intoxicating electronic plea for human connection that Lanza wrote after moving to New York.

The collaborative music video for “Anyone Around,” depicted as a Zoom call, shows Lanza jamming along with her family, other musicians and producers, online tutorial personalities, and more. Members of Junior Boys, Savages, Caribou, and Boy Harsher make cameo appearances.

“I’m very grateful to be connected with everyone in this video, even if we’ve never met in person. Thank you to all of the amazing contributors who made this video possible!” Lanza says in a statement. “[After the move] I became absorbed in the world of online music production tutorials and message boards. Of course the feeling of isolation has taken on new meaning recently, as it’s become a new normal for people around the world.”

Watch and listen below.

All The Time is out 7/24 via Hyperdub. Pre-order it here.

Lady A Responds To Lady A(ntebellum) Lawsuit

Lady A Responds To Lady A(ntebellum) Lawsuit

| July 9, 2020 – 7:39 pm

Yesterday, the Nashville country trio Lady A(ntebellum) filed a lawsuit against blues singer Lady A over their right to use the same name after they announced last month that they were changing it due to the term antebellum’s association with slavery. Their lawsuit claimed that Anita White, the 61-year-old Black woman who has been performing as Lady A for decades, asked for “an exorbitant monetary demand” in order for their two identical project names to coexist.

White’s lawyers asked for $10 million dollars which, in a new interview with Vulture, she says would have gone half toward her effort to rebrand and half to organizations working toward racial justice. Lady A(ntebellum)’s suit does not ask for monetary compensation or for White to stop using the Lady A name, but the band clearly do not want to pay up.

Per White, a contract that Lady A(ntebellum) sent over last week “had no substance.” “It said that we would coexist and that they would use their best efforts to assist me on social-media platforms, Amazon, iTunes, all that,” she told Vulture. “But what does that mean? I had suggested on the Zoom call that they go by the Band Lady A, or Lady A the Band, and I could be Lady A the Artist, but they didn’t want to do that.”

“I was quiet for two weeks because I was trying to believe that it was going to be okay and that they would realize that it would be easier to just change their name, or pay me for my name,” she said. “Five million dollars is nothing, and I’m actually worth more than that, regardless of what they think. But here we go again with another white person trying to take something from a Black person, even though they say they’re trying to help. If you want to be an advocate or an ally, you help those who you’re oppressing. And that might require you to give up something because I am not going to be erased.”

Lady A(ntebellum) have not yet responded. Read the full interview with White here.

Stream My Morning Jacket’s New Album The Waterfall II

Stream My Morning Jacket’s New Album The Waterfall II

| July 9, 2020 – 9:11 pm

Monday night, Louisville rock explorers My Morning Jacket teased a sequel to their 2015 album The Waterfall. Tuesday morning, the band confirmed that The Waterfall II — a whole new LP culled from the same sessions that yielded the original — would be out this week. Now it’s Thursday night, and the entire second Waterfall is spilling out into the world all at once. Starting at 9PM ET, the new album is premiering via a live listening party on YouTube before its official release at midnight.

My Morning Jacket’s Waterfall sessions took place in Stinson Beach, California in a setting Jim James compares to “living on our own little moon.” The result is an especially chill iteration of the band, one that leans heavily into their ’70s inspirations but still revs up into loud rock ‘n’ roll climaxes from time to time. The Waterfall II spans 10 tracks, including 2016 single “Magic Bullet” and “Feel You,” the track they previewed in Monday’s teaser. It’s a rich and rewarding collection, about which we’ll have much more to say tomorrow.

Until then, no more spinning our wheels: Here’s The Waterfall II for the first time.

The Waterfall II is out now on ATO.

Stream Martha Skye Murphy’s Heal EP

Stream Martha Skye Murphy’s Heal EP

| July 9, 2020 – 9:46 pm

Martha Skye Murphy got started in music at a young age. She was 9 when she collaborated with Nick Cave and Warren Ellis on a song for their soundtrack to the 2005 film The Proposition, and those Cave collaborations continued when she contributed some backing vocals on Cave and the Bad Seeds’ 2013 album Push The Sky Away.

More recently, the London-based musician been putting out music of her own. In 2018, she released her debut EP Heroides and last year she put out the one-off “Black Eye.” Today, she’s following those up with another EP called Heal. It’s made up of three spectral tracks, Murphy processing her vocals with ghostly effects and creating some glitchy, operatic soundscapes to surround them with. It’s all very pretty and also more than a little unsettling. Check it out below.

The Heal EP is out now.

Kid Cudi & Eminem – “The Adventures Of Moon Man And Slim Shady”

Kid Cudi & Eminem – “The Adventures Of Moon Man And Slim Shady”

| July 10, 2020 – 12:01 am

Kid Cudi and Eminem have teamed up for a new collaboration called “The Adventures Of Moon Man & Slim Shady,” a combination of the two rapper’s alter egos. Cudi announced the track earlier this week with a video from his daughter, and he shared the single’s comic book-inspired artwork soon after.

Earlier this year, Kid Cudi released a new single, “Leader Of The Delinquents,” ostensibly a preview of his upcoming seventh album Entergalactic. He also made it to #1 with his Travis Scott collab “The Scotts.” Em released a new album, Music To Be Murdered By, at the very beginning of the year.

Listen to “The Adventures Of Moon Man & Slim Shady” below.

Sufjan Stevens – “My Rajneesh”

Sufjan Stevens – “My Rajneesh”

| July 10, 2020 – 12:06 am

Last week, Sufjan Stevens announced a new album called The Ascension, which will be out in September. A couple days later, we got its 12-minute-long lead single “America.” That single is being released on a physical 7″ at the end of the month, and on its B-side is another new song called “My Rajneesh,” which is not included on his upcoming album and is instead a leftover from his last proper album, 2015’s Carrie & Lowell.

Following that album’s Oregon theme, “My Rajneesh”‘s name and narrative seemingly derive from the Rajneeshee bioterrorist attack that took place in the state in 1984. “Illumination I have seen, my need, my Rajneesh,” Stevens sings throughout. “Hallucination I have seen, my need, my Rajneesh.” The song contains a musical callback to his Age Of Adz track “Vesuvius.”

Listen below.

The Ascension is out 9/25 on Ashthmatic Kitty. Pre-order it here. The “America” b/w “My Rajneesh” single is out 7/31, but the physical run is already sold out.

Katy Perry – “Smile”

Katy Perry – “Smile”

| July 10, 2020 – 12:09 am

After releasing a long string of singles in 2019 — “365,” “Never Really Over,” “Small Talk, “Harleys In Hawaii” — as well as “Never Worn White” and “Daisies” more recently this year, Katy Perry has finally officially announced her fifth album. Smile. It’s the follow-up to 2017’s Witness, and it’ll be out in August.

Smile will include the best of Perry’s recent crop of singles, the banger “Never Really Over,” and her most recent one, “Daisies,” along with “Harleys In Hawaii.” The rest of the tracklist is all new — some of those track titles seem to be hinted at in Perry’s new merch store.

Today, Perry is sharing the record’s title track, “Smile.” It’s a bouncy throwback that contains a sample of Naughty By Nature’s 1999 track “Jamboree.” “Yeah, I’m thankful/ Scratch that, baby, I’m grateful/ Gotta say it’s really been a while/ But now I got back that smile,” Perry sings in the chorus.

“I wrote the title track from the album when I was coming through one of the darkest periods of my life and had lost my smile,” Perry writes in an Instagram post. “This whole album is my journey towards the light — with stories of resilience, hope, and love.”

Listen to “Smile” below.

Smile is out 8/14. Pre-order it here.

Elvis Costello – “Hetty O’Hara Confidential”

Elvis Costello – “Hetty O’Hara Confidential”

| July 10, 2020 – 12:11 am

Back in February, Elvis Costello travelled to Helsinki by himself. “I wanted to go somewhere nobody knew me,” he said. While he was there, he took the ferry over to Suomenlinna Studio and spent three days working on new music, playing every instrument himself.

Last month, Costello shared some of the fruits of his labor, a brand new song called “No Flag.” And today, he’s giving us another track born out of the same sessions, “Hetty O’Hara Confidential.” The next installment of this series is due out 8/14.

Listen to “Hetty O’Hara Confidential” below.

We’ve Got A File On You: Tame Impala

We’ve Got A File On You: Tame Impala
Kevin Parker on A-list collabs, pale imitations, & loving acoustic covers of his songs

| July 9, 2020 – 9:30 am

CREDIT: Matt Sav

We’ve Got A File On You features interviews in which artists share the stories behind the extracurricular activities that dot their careers: acting gigs, guest appearances, random internet ephemera, etc.

Kevin Parker chose wisely. In March, when it became clear most people around the world would have to hole up for a while to combat the spread of COVID-19, the Tame Impala mastermind and his wife, Sophie Lawrence, were faced with a significant decision: Stay in LA or make a break for Parker’s native Perth? “We were like, what do we do, what do we do?” Parker recalls. “Because if we were going to go back to Perth we were going to have to fly — two flights, three airports, which were all potentially coronavirus areas.” Faced with the prospect of borders potentially closing, the couple figured they had to move quickly or not move at all. Ultimately, they opted to quarantine Down Under. “The health system in Australia is really good,” Parker reasons. “So we were like, if we’ve gotta go to a hospital, let’s go to a hospital in Perth.”

Thus far hospitalization has not been necessary. When I reach Parker over Skype in early May — him starting off his Friday morning, me wrapping up my Thursday night — it is not yet fully clear what a prescient move he made by getting the hell out of California. Despite a recent surge of infections on the other side of the country, Australia has largely had the pandemic under control for months. Meanwhile Los Angeles County continues to set new daily records for confirmed cases. Although Parker would rather be touring in support of this year’s grand return The Slow Rush, the Fremantle Harbour vicinity is a good place to be right now.

That’s especially true for a notorious studio rat like Parker. At the time of our call, he’s been more or less in his element, spending his days alone in the studio working on recording projects he’s not at liberty to discuss. Occasionally he’ll be bummed out by a calendar reminder on his laptop alerting him to which city Tame Impala should have been playing that night, but overall he’s been in good health and good spirits. “Honestly for me, it’s kind of business as usual because my studio is like two blocks from my house,” he says. “I just go to the studio every day and do my thing.”

He’s been doing his thing for a good solid decade now; Tame Impala’s debut album InnerSpeaker reached its 10th anniversary a couple weeks after our call. In the time since that album dropped, with a boost from creative and commercial level-ups like 2012’s Lonerism and 2015’s Currents, Parker has gone from an obscure retro psych enthusiast to one of the gods of the modern festival-scene. Alongside his own band’s accomplishments, he’s become an in-demand producer frequently tasked with lending his unique sensibility to songs by A-list pop and rap stars. In our interview, we hopped and skipped across his career, discussing various superstar collaborations and bizarre twists in the Tame Impala story.

Guesting On The Streets’ “Call My Phone Thinking I’m Doing Nothing Better” (2020)

KEVIN PARKER: He just got in touch and said he was doing this project. I didn’t know what it was, ’cause I knew he had stopped making Streets albums in like 2009 or something? And I used to be the biggest Streets fan. I still am. A couple of his albums were such important albums to me growing up. They taught me so much about storytelling in songwriting and having such a strong personality in your music. Yeah, he just got in touch and asked me to do something. And I met him really briefly at a festival in, I think it was Belgium, just recently, which was a trip because I’d always wanted to meet Mike Skinner. And then fuckin’ two months later he was at my house in LA, shooting a video!

STEREOGUM: Where did the concept for that song come from? That hook you sing, “I was gonna call you back” — was that something he had already that you built off of, or what?

PARKER: He had most of the lyrics done, and he was like, “Can you sing something over it?” So I just sang the first thing — and it was funny because it’s such a cheeky thing for a song. ‘Cause his first lyric is like, “You’re calling my phone thinking I’m doing nothing better, I’m just waiting for it to stop ringing so I can use it again,” which I thought was hysterical. It’s classic Mike Skinner ’cause it’s kind of funny, it’s kind of true and poignant at the same time. So it just reminded me of all the people that I never got back to [Laughs]. Which is something very close to my heart because I’m rubbish at getting back. I’m just rubbish. It’s this fuckin’ guilt that I carry around with me. Obviously on the scale of things to feel guilty about it’s obviously not something that I should, but it is. So I just sang the first thing that came to my mind. Yeah. “I was gonna call you back, I swear.” [Laughs]

Tame Impala’s US TV Debut On Late Night With Jimmy Fallon (2011)

PARKER: Around that time everything was new. Everything we were doing was a new experience. We were just starting out, young guys from Perth, all fairly socially inept, so everything was pretty intimidating — which I wish it hadn’t been. My main regret in those days was that I was the opposite of a brash young kid not giving a shit. I gave a shit. I really gave a shit. It was still fun, though. I mean, yeah, first TV thing, we were just kind of like “What the fuck is going on?”

STEREOGUM: Nowadays you work with so many famous people, but you mentioned being a shy kid when you were starting out. Did you get starstruck back in those days being around celebrities?

PARKER: What’s funny is I didn’t know who anyone was. We would literally be hanging out in our backyard listening to old music constantly. We didn’t know who anyone fuckin’ was. Like when A$AP Rocky got in touch the first time, I didn’t know who he was. The only people we knew were, like, Noel Fielding and, I dunno, Kings Of Leon or something. I’m joking, obviously. We knew who people were. But in terms of people who were big on Fallon — I didn’t know who Jimmy Fallon was. And that’s not indicative of a regular Australian person. We were particularly closed off.

Collaborating With A$AP Rocky On “Sundress” (2018) And At Coachella (2019)

PARKER: He actually made contact a lot sooner. I met him around the time he released his song “Fuckin’ Problems.” I had heard he used “Why Won’t You Make Up Your Mind?” in his tour video, which I was pretty impressed by. Like, “Oh fuck yeah” — because an American rapper was using my song. I thought that was cool. It’s funny because that’s the song he ended up sampling for “Sundress,” which was like six or seven years later. But yeah, he used that song in his tour video, and we were told he was a fan. But I didn’t meet him until like a year later, whenever “Fuckin’ Problems” came out.

STEREOGUM: With “Sundress,” was that strictly a sample, or did you have some creative input on that track?

PARKER: Yeah, we did a studio session together. I was there with the rest of the A$AP gang. I guess it was like 2018 or something? I was working on a bunch of stuff, just kind of playing some clips of music that I had. He played me the song he’d been working on, “Sundress,” which had the sample, and we messed around a bit in the studio. I played some kind of synth on it, I think. There’s some bits and pieces on top of it that I played, which was funny because I hadn’t played along to a recording of that song since InnerSpeaker, which was like 2010. So yeah, there I was in the studio with Rocky, playing along to my own song for the first time. We did a bunch of stuff, but as with all things, I’m not sure if any of that will surface.

STEREOGUM: And then he came out and performed with you at Coachella.

PARKER: We did “Sundress” and his song “LSD,” which was really fun because we got to practice just doing that, just taking a hip-hop track and doing it in a live band sense. Which can go catastrophically wrong. It can be extremely lame. It’s been attempted many times before, so it’s kind of a challenge: “We gotta try and do this, and do it well.”

STEREOGUM: How do you make it not lame?

PARKER: I guess I was just using all my producer power to make us, a rock band, not sound like a rock band. Which is kind of like my M.O. anyway in a lot of settings. I was trying to make it sound less like a rock band. You’ve just got to have some restraint because hip-hop is about making space in the mix, having things behind you but also keeping space. Like hold up on the distorted guitars, you know? Distorted guitars and hip-hop sometimes go well, like Kanye and Mike Dean, and they can also be a disaster. But yeah, Rocky came through a few days before, and it was such a good vibe. We were immediately really pumped for it.

Contributing To Kanye West’s “Violent Crimes” (2018)

STEREOGUM: You have a writing credit on this song, but as with so many Kanye tracks, there are so many people credited that it’s hard to know who did what. What was your contribution?

PARKER: I just did the drums. I think that song started out as something completely different that he was working on, which me and a friend programmed the drums for. And we programmed a bunch of other stuff. I guess that’s how Kanye works, he just takes bits and puts them where he wants. He’s not afraid to axe an entire part of a song, which I think is amazing. So he ended up taking the drums from a different song and using them in that one. I was working on some other different pieces too that he didn’t use.

STEREOGUM: When you’re programming drums for a rap record, do you approach it differently than if you’re working on a Tame Impala record? Does it just differ from song to song? What’s the determining factor on how you approach it?

PARKER: At the end of the day, it’s the same. It’s this dance between making a rhythm — it’s hard to explain. It’s about making the choice of where to put a beat. It’s just choosing where to put beats and where not to put them. Not like a beat like a rhythm, but like where to hit and where not to hit. Which at the end of the day is the same whether you’re playing drums or programming them. That’s the difference it comes down to. The Tame Impala stuff I’m playing the drums, and with hip-hop I’m programming them. Which is different in how you go about it, but mentally it’s exactly the same. Choosing what rhythms to play. For me it’s everything in a song. It’s everything. I spend by far the most amount of time on drums and rhythms of my songs than any other part.

That’s why I like hip-hop so much, and that’s why I find hip-hop so intriguing, the way it’s made. Because with programming things, it has nothing to do with how good you are at playing the drums. Nothing. It only matters where you decide to put those kick drums. That’s all that matters. Oh, and what kind of kick drum you use, obviously. The best beat makers in the world, they have exactly the same software that some kid in their bedroom does. They have exactly the same software. And so the difference between the best person in the world and a total novice is just where you decide to put those kick drums and those snares. And it makes all the difference. Which is wild to think about.

“The Less I Know The Better” (2015) Ripped Off In A Chinese Blueberry Milk Ad (2017)

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I mean COME ON guys at least put some effort in. @sonyatvaustralia #Lawsuit #nowitsmyturn

A post shared by Tame Impala (@tameimpala) on Apr 27, 2017 at 8:01pm PDT

STEREOGUM: How did you find out about this?

PARKER: I think someone in my record label or management flagged it. I don’t know.

STEREOGUM: They so clearly had just re-created “The Less I Know The Better.” Had they approached you, and you turned them down?

PARKER: No, they were just doing a soundalike. A soundalike is a thing. You hear it all the time. I heard a soundalike of “Someday” by the Strokes on the new Ricky Gervais After Life trailer. If you play that, there’s a soundalike of “Someday” in there. So if I were the Strokes I might go, “Hey.” But the reason it sounded like me is because it’s the art form, making a knockoff of the song and making it sound as much like the song you’re trying to knock off as you can without it being a copyright infringement. That’s just what this was. But I felt like they overstepped. I wasn’t posting it because I was like flagging it for everyone, like trying to rally up support. I just thought it was hilarious. Like I honestly thought it was hilarious. I wanted people to hear this hilarious version.

STEREOGUM: So did you end up suing them?

PARKER: No, they voluntarily compensated me. I think the label got in touch with them, or maybe because I put it online and it became this kind of public thing, they got in touch with us and they were super apologetic. They were very clear about it, actually. They were like, “We wanted a copy of it, so we just did this, and we’re really sorry.” And they paid me whatever I would have normally got paid. Which was surprised everyone. Everyone was telling us, “Don’t bother going after them because in China copyright law is heaps more loose. So it’s not worth going after.” But no, it was a happy ending.

Being Impersonated On The ARIAs Red Carpet (2017)

STEREOGUM: A few years ago Triple J sent a Kevin Parker impersonator to the red carpet at the ARIAs. Did you see that clip?

PARKER: I saw something. I think I looked away as fast as I could because of how cringey it was. It’s not the kind of thing I waste my time on or can even stomach. I was also, I think I was a bit offended by the choice of, like, everything. [Laughs] I don’t know, I don’t know. I think someone used that guy’s photo as a picture of me for something like a year later. Like they found a picture of Kevin Parker and it was that guy.

STEREOGUM: Like, by mistake?

PARKER: Yeah. It’s one of those things that… I literally can’t deal, or whatever it is.

Playing SNL With Travis Scott & John Mayer (2018)

STEREOGUM: Before this Saturday Night Live performance you worked on Travis Scott’s Astroworld album. What’s the vibe with him in the studio?

PARKER: It was great. It was really good. Just super big energy, you know? Nothing was half-baked. It’s kind of like ever since then, now I see that as like the ultimate studio environment. Because there’s zero second guessing. There’s no bullshit. He’s just really into what he does and is so dedicated. I feel like my perspective of being in the studio changed after that.

STEREOGUM: Like you were willing to try more things? How did it change?

PARKER: I realized I wanted to have that kind of attitude in the studio, like, “Fuck yeah, we’re doing this!” And not, like, doubting everything constantly, going like, “Let’s not try this,” or, “Let’s not go ’til five in the morning.” Like fuck it! Let’s go ’til five in the morning. You know? That’s kind of just how I want to approach it, just not being self-aware. Because he had such a big pressure. There was so much pressure on him to deliver an album that was going to perform the way it did after Birds In The Trap. There was tons of pressure on him to deliver his breakout album, or his album that’s going to take him to the next level. But it didn’t show. It was still just like all he wanted to do was make an awesome album. And he was really into it the whole time as well. We only listened to it at like max volume. There was no working on any music at low volume. Which is kind of like me now. I’ve caught that bug. I can’t work on music at low volumes — it’s like, why am I doing this? I know it’s ruining my hearing, I’m damaging my hearing because I work at high volume, but it’s worth it because it carries you to the finish line of finishing music, loving the music more. It just does.

STEREOGUM: How did John Mayer become involved in the SNL appearance?

PARKER: I think he got him to play on a couple of his songs, and Travis just wanted him to be there. ‘Cause we played a medley of my song and another song, and the other song was one that John Mayer played on. But I think Travis just wanted him to play. ‘Cause you know, John’s a good interview, and he’s obviously a great guitarist. So I think in Travis’ sort of grand vision of everything, he’s like, “Oh we’re doing SNL. Fuck yeah, I’ll get the guy from Tame Impala and John Mayer on bass and guitar. Fuck yeah, let’s do it!” You know? And that was that. Which is what I fuckin’ love about him.

https://www.instagram.com/p/BIcPydij04a/

STEREOGUM: Mayer’s a big fan of yours. He posted a few years ago about Currents being his favorite album of the past few years. So he was probably stoked to be there with Kevin Parker.

PARKER: He was, he told me he was too — “I’m really happy we’re doing this because I’m a fan.” He’s an extremely articulate guy, extremely. And extremely intelligent, which admittedly I didn’t expect. He has amazing insight into things.

Ongoing Creative Partnership With Mark Ronson & Their Shelved SZA Collab

PARKER: We met by chance on a festival circuit in Australia. But it’s the kind of thing where we were always going to be musical buddies. We just have really similar perspectives on music and taste. Not always taste-wise as in being into the exact same artists, but we just think the same things are sick. We’re kindred spirits.

STEREOGUM: What are some things you saw eye-to-eye on or connected on?

PARKER: We bonded on everything from like ways to mic a drum kit to weird ’60s songs. But we’re also both into the way that old music could be used in a modern sense. That kind of search, the quest — we were both on this quest to recontextualize old music and make it relevant. Something we both care about deeply is making relevant music. But we’re both retrophiles and audiophiles and all that. We love drum sounds. We have old-fashioned tastes, but care about nothing more than making relevant music.

STEREOGUM: Years ago you guys did some work with SZA, but it never emerged. Do you know if it’s going to come out?

PARKER: I don’t know, man. Hopefully one day, but I’ve been saying that now for years. I’d love to — that song was fire, so I hope that there’s some way we can. At the end of the day, I think it was right at the time when SZA’s career was taking off. It’s been in limbo for two or three years now. I really, really hope that we are given an opportunity to finish it and release it.

Writing & Producing On Lady Gaga’s “Perfect Illusion” (2016)

STEREOGUM: Working with Ronson is also what led to the Lady Gaga record you worked on. That was one of the first big mainstream pop things you worked on. How different was the creative process from your own? I can imagine the squad of writers and producers all working together was a culture shock for someone who famously records his own music in isolation.

PARKER: Mark was producing the album, so he’s not into that as a format anyway. I think he loathes and detests that format. So I think it was only ever going to be really homegrown with Mark producing it. I think Gaga too, that’s probably not something that makes her feel artistically fulfilled. With Gaga, that’s what drives her is feeling like a true artist. So 10 songwriters in a room spitballing ideas, I don’t think that’s something she would be into. I can’t speak for her, I don’t know. But this wasn’t that.

There was four of us, really, ’cause it was BloodPop. He had his own room set up, and we’d be writing lyrics in one room and recording some music, and we’d send bits of music in to BloodPop’s thing, and he’d chop it up and sort of play around with it. It’s funny because the song, it’s this kind of high-tempo thrash pop-rock, I don’t even know what genre it is. It was so much fun.

Rihanna Covering “New Person, Same Old Mistakes” On Anti (2016)

STEREOGUM: One of your other biggest crossovers into the pop realm was when Rihanna covered your song. It was almost like karaoke. When did you hear about that? Did somebody send you a completed track and say “What did you think?”

PARKER: No, no. Her label got in contact and asked if they could have the stems because Rihanna wanted to do something with it — which, I was amazed. I couldn’t believe it. I was in shock. So I did the best damn fuckin’ stems printing I’ve ever done.

STEREOGUM: I don’t know that much about the art of production. I know producers release their stems and say, “OK, remix my shit,” but when you talk about “stems printing” — I didn’t realize that’s something that could be high or low quality. Is there an art to printing stems?

PARKER: It’s kind of just the amount of care you put into it, really. I hate doing stems because you have to send the song out in pieces, basically. Which takes a lot of work, and you have to have high attention to detail. And usually you just kind of press a couple buttons and give them whole sections, but I gave them every little bit of it.

STEREOGUM: So it’s a question of how small you want to make the slices?

PARKER: Yeah, something like that. I just put a lot of care into it.

STEREOGUM: Did you ever talk to her or meet her or discuss the track at all?

PARKER: No, I think she was in quite a hurry to finish her album. So there was no back-and-forth. She’s obviously a busy person, so no, I didn’t chat with her.

STEREOGUM: Have any other covers of your work stood out to you as particularly interesting or changed your perspective on your own song?

PARKER: There’ve been some really nice ones. Honestly my favorite ones are just like when I’m drunk and listening to people’s ones they’ve put on YouTube. I really like the acoustic ones I’ve heard, like acoustic covers, ’cause I’m not capable of doing an acoustic song. I hate my voice too much, and my producer brain just immediately wants to flood it with sounds and noises and drum sounds and shit. So I love it when someone’s reinterpreted them as kind of barebones. And if they have a nice voice, it’s nice to hear what my songs would sound like if I was a good singer. ‘Cause I’m not. I’m honestly not a great singer, but I do what I have to do to make it sound good.

STEREOGUM: So maybe some of you YouTube strivers out there have been visited by Kevin Parker unawares.

PARKER: Oh, many, many have been visited.

The Rolling Stones – “Criss Cross”

The Rolling Stones – “Criss Cross”

| July 9, 2020 – 9:57 am

The Rolling Stones, a good band, came out with a new song called “Living In A Ghost Town” earlier this year. It was impressive. But why listen to a brand-new Rolling Stones song when you could listen to a previously unreleased Rolling Stones song from 1973? Because that’s what you get to do today.

The Stones have just announced a deluxe reissue of their 1973 album Goats Head Soup. Goats Head Soup, the follow-up to the previous year’s Exile On Main St., doesn’t have the vaunted reputation of some of the band’s other records. They recorded it across multiple session in Jamaica, the US, and the UK, while worn out from drugs, touring, notoriety, and various clashes with the law. But Goats Head Soup did produce a #1 single in the lovely wounded ballad “Angie,” and it’s still the fucking Stones in the fucking early ’70s, which means it still kicks ass.

The Stones are releasing the Goats Head Soup reissue in a bunch of different versions, including four-disc CD and vinyl editions. It’ll feature a fancy remaster, alternate versions, outtakes, the 15-song live album Brussels Affair, a 100-page book full of essays and photos, and three reproduced 1973 tour posters. It’ll also feature three previously unreleased songs: “Criss Cross,” “All The Rage,” and “Scarlet,” the latter of which features Jimmy Page on guitar.

Along with the announcement, the Stones have shared “Criss Cross,” one of those three songs. It’s a funky, strutting, classically Stones rocker. The band doesn’t do anything you haven’t heard on “Criss Cross,” but the song does feature Mick Jagger singing the phrase “I think I need a blood transfusion” and pronouncing “transfusion” as “trans-fewww-shawwwwn.” Pretty good! The song has a music video from director Diana Kunst, and the clip follows an attractive young woman getting into wild-child exploits across New York. (This is sadly one of those videos where you hear the sound effects over the song, which is not what you want for a 1973 Stones song that you’ve never heard.) Below, check out “Criss Cross” and an unboxing video for the new reissue.


The deluxe Goats Head Soup reissue is out 9/4 on Interscope/Polydor/UMe.

Erasure – “Shot A Satellite”

Erasure – “Shot A Satellite”

| July 9, 2020 – 10:02 am

Since 1985, Yaz/early Depeche Mode mastermind Vince Clarke been one half of the great synthpop duo Erasure alongside singer Andy Bell. Next month, they’re coming back with their 18th studio album, The Neon, and opening track and lead single “Hey Now (Think I Got A Feeling)” sounded like classic Erasure. New song “Shot A Satellite,” with its insistent synth pulse and soaring chorus, does too, and you can hear it below.

The Neon is out 8/21 via Mute. Pre-order it here.

CREDIT: Phil Sharp

Arcade Fire Members Will Butler & Jeremy Gara Announce Solo Albums

Arcade Fire Members Will Butler & Jeremy Gara Announce Solo Albums

| July 9, 2020 – 11:06 am

Arcade Fire have been working on a new album under quarantine, but in the meantime two members of the band are releasing albums of their own. Multi-instrumentalist Will Butler and drummer Jeremy Gara (pictured) both announced new projects this week, both with September release dates.

Butler will follow up his 2015 solo debut Policy (which yielded a memorable music video starring Emma Stone) in September with a new LP called Generations on Merge. He recently shared a trailer featuring a snippet of a new song called “I Don’t Know What I Don’t Know.” No further details are available at the moment. Butler is also playing a virtual benefit show tonight supporting candidates for the state legislature in Arizona.

As for Gara, he’ll drop Passerine Finale via Geoff Barrow’s Invada label on 9/11. It’s a collection of eight noise and drone instrumentals, “improvised and chiseled at.” Our first preview is “Wraith,” out today. Check it out below along with Butler’s Generations trailer.


Passerine Finale is out 9/11 on Invada Records. Generations is out sometime in September on Merge.

Mica Levi Scoring New Film For Under The Skin Director Jonathan Glazer

Mica Levi Scoring New Film For Under The Skin Director Jonathan Glazer

| July 9, 2020 – 11:09 am

Mica Levi, the artist and composer occasionally known as Micachu, already gave us the defining horror film score of the past decade with her work on director Jonathan Glazer’s unsettling Under The Skin. Last year, she reunited with Glazer on the short film The Fall. And now, IndieWire reports that the duo are teaming up once again for another short film called Strasbourg 1518.

Although details are scarce, Strasbourg 1518 is inspired by the bizarre historical oddity of the dancing plague of 1518, in which hundreds of citizens of Strasbourg were struck by the uncontrollable urge to dance for months. The film was commissioned by Artangel and the Sadler’s Wells dance company for the BBC Arts Culture In Quarantine series and will reportedly feature some of the best dancers in the world.

June Of 44 Release First New Recording In 21 Years

June Of 44 Release First New Recording In 21 Years

| July 9, 2020 – 11:11 am

In 1994, four members of various different beloved underground rock bands — Lungfish, Hoover, Codeine, Rodan — got together to form a new group called June Of 44. Over the rest of the ’90s, June Of 44 perfected a distinctively tingly, evocative, layered sound — mathy but not math-rock, slow but not slowcore, emotive but not emo, hardcore-informed but not exactly post-hardcore. The band released four albums and one EP before going their separate ways in 1999. Now they’re back.

June Of 44 reunited in 2018, touring Europe and the US. Today, they’ve announced plans for a new record that isn’t exactly a new record. As Rolling Stone reports, June Of 44 are getting ready to release the new LP Revisionist: Adaptations & Future Histories In The Time Of Love And Survival, recorded last year in Oakland. But the band didn’t write any new songs for the new record. Instead, they re-recorded songs from their late period.

Talking to Rolling Stone via email, singer and guitarist Jeff Mueller says, “The session for [1999’s] Anahata was pretty tough; many of the songs felt underdeveloped… Speaking for myself… it all just felt rushed and messy — I had very little grasp on how to organize and play my parts.”

On Revisionist, the band reworks songs from both Anahata and their 1999 EP In The Fishtank 6, and there are also remixes from Matmos and Tortoise’s John McEntire. The first song they’ve shared from the new record — the first new June Of 44 recording in 21 years — is “ReRecorded Syntax,” a new version of the Anahata song “Recorded Syntax.” This one is a pretty faithful version of that original track, but it sounds thicker and more pristine. You can hear the “ReRecorded Syntax” at Rolling Stone. Check out the Revisionist tracklist below.

TRACKLIST:
01 “A Chance To Cure Is A Chance To Cut Your Face (Matmos Remix)”
02 “ReRecorded Syntax”
03 “Cardiac Atlas”
04 “Post-Modern Hereditary Dance Steps”
05 “A Past To Face (John McEntire Remix)”
06 “No Escape, Levitate”
07 “Generate”
08 “Paint Your Face”

Revisionist: Adaptations & Future Histories In The Time Of Love And Survival is out 8/7; pre-order it here.