Brooklyn-based indie pop band HAERTS will release their self-titled debut album on October 28th via Columbia. After previewing the album with opening track “Heart” and the exciting single “Giving Up”, they’ve returned with three more songs in the form of “No One Needs To Know”, “Be The One”, and “Hope”.
Like their fellow labelmates Haim, HAERTS take whimsical, Fleetwood Mac-inspired pop and give it a distinctly modern spin. While all three tracks have sugary choruses and smart hooks, it’s on “No One Needs To Know” that the band really exemplifies the best qualities of pop music. With its tightly constructed melody and slippery bass line, the song could easily propel the four-piece into radio stardom.

Mirah纖細中富含韌性的vocal中和著Angie Heart(Frente)的親切婉轉和Lisa Germano的冷列疏離，信手把玩幾件基本配器，致力在樸實清簡的lo-fi indie-pop中翻出新把戲。所以在首張專輯You Think It’s Like This…中平易近人的復古流暢旋律中可以聽到In Fanilia直逼Shelle You Orphan的隔世星晨意境，讓人聯想到Dot Allison一曲Message Personnel的低酷lo-fi電子之Of Pressure；又或Small Ton的走調鋼琴還是Water And Sleep一路從三走到Garage Distorted Sound，連同Hidden Track仿爵士女Vocal的慵懶，除了做為一張水準以上的處女專輯之外，也為女創作人的領域提供了一個另類的選擇。(文/吉娃娃,转自小白兔橘子)

Mirah纖細中富含韌性的vocal中和著Angie Heart(Frente)的親切婉轉和Lisa Germano的冷列疏離，信手把玩幾件基本配器，致力在樸實清簡的lo-fi indie-pop中翻出新把戲。所以在首張專輯You Think It’s Like This…中平易近人的復古流暢旋律中可以聽到In Fanilia直逼Shelle You Orphan的隔世星晨意境，讓人聯想到Dot Allison一曲Message Personnel的低酷lo-fi電子之Of Pressure；又或Small Ton的走調鋼琴還是Water And Sleep一路從三走到Garage Distorted Sound，連同Hidden Track仿爵士女Vocal的慵懶，除了做為一張水準以上的處女專輯之外，也為女創作人的領域提供了一個另類的選擇。(文/吉娃娃,转自小白兔橘子)

The songs of Grouper aka Elizabeth Harris are densely compelling micro-universes. Each piece is layered with glowing washes of reverb and softly howling echoes of delay, in which Harris positions herself. Soft focus, and at times lost amid the clouds of audio, her voice emerges with a haunting fragility.
Grouper’s work epitomises the potentials of textural songwriting – a practise of ukiyo-e like qualities, where audio colours are squeezed through a gauzy treatment, ultimately imprinting new and unexpected sound-shapes.
For her limited edition 7” tour single Grouper unveils two works, unsettled explorations into the counterpoints of the human condition. “They’re about feeling like an observer of one’s owns emotions,” Harris explains, “You’re in that space where you’re not sure whether to follow or reel them in.”

Sacred Bones already have a working relationship with one iconic director/composer, and now, they've announced plans to release an album by another. Lost Themes is the debut non-soundtrack album from horror icon John Carpenter. It's out February 3. Listen to "Vortex" above, or if you'd prefer, you can hear it set to clips from Carpenter's films.
Carpenter's most recognizable music, arguably, comes from his first three Halloween movies. He also provided the music for Dark Star, The Fog, Big Trouble in Little China, Escape From New York, and most importantly, the 1988 Roddy Piper-starring sci-fi classic They Live.
He said of the album:
"Lost Themes was all about having fun. It can be both great and bad to score over images, which is what I’m used to. Here there were no pressures. No actors asking me what they’re supposed to do. No crew waiting. No cutting room to go to. No release pending. It’s just fun. And I couldn’t have a better set-up at my house, where I depended on (collaborators) Cody (Carpenter, of the band Ludrium) and Daniel (Davies, who scored I, Frankenstein) to bring me ideas as we began improvising. The plan was to make my music more complete and fuller, because we had unlimited tracks. I wasn’t dealing with just analogue anymore. It’s a brand new world. And there was nothing in any of our heads when we started other than to make it moody."

Mystery and confusion are sexy, and Indian Jewelry get that. From the lost ruins of their vocals to the fuzz and feedback shot through their tightly produced tracks, the Houston psych band maintain a tranced-out, sexy, subterranean groove over the course of their fourth full-length. Lead single “Oceans” shows their ability to stuff a vast textural vocabulary into a tidy, capsular pop format: radiating waves of percussion, an elemental guitar line, and a spiked bass groove evoke the more sinister dance elements of Closer-era Joy Division. Singer Erika Thrasher’s delicate turn on “Excessive Moonlight” is like the sonic equivalent of black licorice — dark, idiosyncratic, with an insistent aftertaste. (They could almost be the bizarro Beach House.) These pop elements take abstract turns on “Diamond Things,” where repositioned drumbeats begin to resemble baile funk, and delay-damaged vocals and synths morph into a sort of spectral spray. For a band known more for untamed drones and out-there sonics, Totaled’s tempering of pop and experimentation is a welcome new feel. Indian Jewelry emerged from the Houston underground noise scene in the early 2000s, and they’ve since had a two successful LP’s on We Are Free (which has also put out records by Ponytail and Yeasayer). Bandmates Erika Thrasher and Tex Kerschen draw from the rich effluvia of their outsider lives to construct Totaled, which is, they say, “the sum of hundreds of shows on the road and hundreds of hours under headphones.” They also grift from their Houston-based Prince cover band, Diamond+Pearls, for a funk element that’s delicious under the grime of their shamanistic lo-fi style. This album finds the current market to have drifted away from the drone-core trend that made for such a welcoming reception of 2008’s Free Gold. But if the musicians themselves are as immersed as their sound, that doesn’t matter.

Since his first live performances in 2002, Sean McBride, aka Martial Canterel (who also performs as half of the duo Xeno & Oaklander), has crafted his electronic sound in a peculiar intersection between avant-garde and pop. Merging the influences of the first wave of relatively unknown minimal electronic bands in northern Europe, and seminal industrial noise bands such as Throbbing Gristle and SPK, with the smoothly stylish songcraft of early British New Wave, Martial Canterel records and performs using analogue synthesizers, sequencers and drum machines exclusively, molding electricity to fix the action of music creation in substance. The mastery of his composition technique, a second nature of harmonic complexity, along with a unique talent for melodies, enables him to manufacture gems of extreme noise pop, making use of all its unexpected ingredients.
Gyors, Lassù marks an important milestone in the evolution of Martial Canterel's music, progressing far beyond the cages of “minimal synth” and embracing the noisier qualities of its sound with a renewed urgency, a kind of thickness embodied in multiple layers using only eurorack, Serge and Roland 100 modular systems at his disposal and flushing out the entire session in one take. Sine waves are rendered into walls of guitar-like noise on songs like “And I Thought”, while the stretching out and liquifaction of what were once very precise pointillistic staccato synth arpeggios are marshaled into layers of violent bliss on “Gyors/Lassù”. The analogue labor and the density of sound highlight the character of continuous performance of the music, where the intertwining of the artist and his work is profoundly material in its quality. As in a modern embodiment of the potter's wheel…the hands, the texture of clay, with ceramic material. Translated lyrically and conceptually, music performance is for time what travel represents in space, and Gyors/Lassù is the sonic rendering of McBride's wanderings between Hungary (“Bulvàr”, “Budapest II”) and the South of Italy (“Teano”), between vibrant rhythmic structures and melancholic instrumentals, balancing its bodily intensity with abstract experimentation against the regression of the modern listener.
Edition of 500 vinyl copies and available digitally.

Release due on October 28, 2014.

Screen Vinyl Image is formed by ex-members of
DC shoegazer’s Alcian Blue and members have
also worked in Skywave and Ceremony. Their
music is best described as Electronic Psychedelic,
with infl uences that range from early electronic
artists like Tangerine Dream, Patrick Cowley, John
Carpenter, and early Chicago House to shoegaze/
psychedelic bands like Curve, The Jesus & Mary
Chain, Loop, Suicide, and My Bloody Valentine.
While the duo has only been around for a little over a
year, their tour schedule has reached near 50 shows
including touring with Ulrich Schnauss, Auburn Lull,
The December Sound, and shows with A Place To
Bury Strangers and A Sunny Day in Glasgow. Their live
show has been compared by many to Suicide and My
Bloody Valentine both in volume levels and intensity and
their DIY visuals combined with 2,100 watts of strobes
take their audience into a trip of sensory overdrive.
Screen Vinyl Image have released a 5-song EP
(The Midnight Sun), a single (Chaser), a split 12
inch (Ceremony/SVI), and now release their debut
full length “Interceptors.” The album presents
the full gamut of the band’s infl uences, from
atmospheric synths, dancy electronic beats, tripped
out drones over hypnotic samples, and of course
layers of fuzz and guitar over slamming beats.

Lucifer is the second full length release from West Coast dub heroes Peaking Lights. The golden duo of Aaron Coyes and Indra Dunis continue to crystallize their mesmerizing sound and find new dimensions within. Lucifer also comes at a time of great transition for this married couple and it reflects the possibilities that they have found during this new life era, especially with the birth of their son, Mikko- a guiding light muse for the album.
Recorded in Brooklyn at Gary's Electric studio over the course of a month, Peaking Lights consider Lucifer a nocturnal version of their sound. It s slinkier and full of grooves. "To us this record is about play and playfulness, unconditional love, rhythms and pulses, creation and vibration," says Coyes. Lucifer is also Peaking Lights most ambitious release to date in terms of its approach and scope. Through their studio experiments, the duo has managed to link their musical loves dub, krautrock, analog electronic dance music, sound collages, pop music all while maintaining cohesive songs. Lucifer was self-produced and engineered by Al Carlson (Yeasayer, Ford & Lopatin, 0PN).

Jack White’s solo career has been in high gear lately, but as far as we know, the White/Allison Mosshart side project the Dead Weather still intends to release a new album next year. Not too long ago, they gave us the new singles “Open Up (That’s Enough)” and “Rough Detective.” And as part of Third Man’s Vault subscription series, the band will shortly drop a 7″ single with two new songs, “Buzzkill(er)” and “It’s Just Too Bad.” The band has shared a 30-second clip of “Buzzkill(er),” and they sound as feral as ever. Listen below.

Ever since the Dead Weather, the new band featuring Jack White on drums and the Kills' Allison Mosshart on vocals, revealed their existence to the world in March, we've been excited to see what develops from this intriguing new supergroup.