Beginning with the haunting alt-pop smash “Ocean Eyes” in 2016, Billie Eilish made it clear she was a new kind of pop star—an overtly awkward introvert who favors chilling melodies, moody beats, creepy videos, and a teasing crudeness à la Tyler, The Creator. Now 17, the Los Angeles native—who was homeschooled along with her brother and co-writer, Finneas O’Connell—presents her much-anticipated debut album, a melancholy investigation of all the dark and mysterious spaces that linger in the back of our minds. Sinister dance beats unfold into chattering dialogue from The Office on “my strange addiction,” and whispering vocals are laid over deliberately blown-out bass on “xanny.” “There are a lot of firsts,” says Finneas. “Not firsts like ‘Here’s the first song we made with this kind of beat,’ but firsts like Billie saying, ‘I feel in love for the first time.’ You have a million chances to make an album you're proud of, but to write the song about falling in love for the first time? You only get one shot at that.”
Billie, who is both beleaguered and fascinated by night terrors and sleep paralysis, has a complicated relationship with her subconscious. “I’m the monster under the bed, I’m my own worst enemy,” she told Beats 1 host Zane Lowe during an interview in Paris. “It’s not that the whole album is a bad dream, it’s just…surreal.” With an endearingly off-kilter mix of teen angst and experimentalism, Billie Eilish is really the perfect star for 2019—and here is where her and Finneas' heads are at as they prepare for the next phase of her plan for pop domination. “This is my child,” she says, “and you get to hold it while it throws up on you.”
Figuring out her dreams:
Billie: “Every song on the album is something that happens when you’re asleep—sleep paralysis, night terrors, nightmares, lucid dreams. All things that don't have an explanation. Absolutely nobody knows. I've always had really bad night terrors and sleep paralysis, and all my dreams are lucid, so I can control them—I know that I'm dreaming when I'm dreaming. Sometimes the thing from my dream happens the next day and it's so weird. The album isn’t me saying, 'I dreamed that'—it’s the feeling.”
Getting out of her own head:
Billie: “There's a lot of lying on purpose. And it's not like how rappers lie in their music because they think it sounds dope. It's more like making a character out of yourself. I wrote the song '8' from the perspective of somebody who I hurt. When people hear that song, they're like, 'Oh, poor baby Billie, she's so hurt.' But really I was just a dickhead for a minute and the only way I could deal with it was to stop and put myself in that person's place.”
Being a teen nihilist role model:
Billie: “I love meeting these kids, they just don't give a f**k. And they say they don't give a f**k because of me, which is a feeling I can't even describe. But it's not like they don't give a f**k about people or love or taking care of yourself. It's that you don't have to fit into anything, because we all die, eventually. No one's going to remember you one day—it could be hundreds of years or it could be one year, it doesn't matter—but anything you do, and anything anyone does to you, won't matter one day. So it's like, why the f**k try to be something you're not?”
Embracing sadness:
Billie: “Depression has sort of controlled everything in my life. My whole life I’ve always been a melancholy person. That’s my default.”
Finneas: “There are moments of profound joy, and Billie and I share a lot of them, but when our motor’s off, it’s like we’re rolling downhill. But I’m so proud that we haven’t shied away from songs about self-loathing, insecurity, and frustration. Because we feel that way, for sure. When you’ve supplied empathy for people, I think you’ve achieved something in music.”
Staying present:
Billie: “I have to just sit back and actually look at what's going on. Our show in Stockholm was one of the most peak life experiences we've had. I stood onstage and just looked at the crowd—they were just screaming and they didn’t stop—and told them, 'I used to sit in my living room and cry because I wanted to do this.' I never thought in a thousand years this s**t would happen. We’ve really been choking up at every show.”
Finneas: “Every show feels like the final show. They feel like a farewell tour. And in a weird way it kind of is, because, although it's the birth of the album, it’s the end of the episode.”

jan and naomi が待望のセカンドEP『Leeloo and Alexandra』リリース!
7月8日(金)に品川キリスト教会グローリア・チャペルにてワンマンライブ "Leeloo and Alexandra" Japan Tour 2016 in Tokyoが決定!
《狂気的に静かな音楽》という新たなミュージックスタイルを確立し、儚く切ないメロディーセンスで多くのリスナーを虜にしてきた jan and naomi ( ヤン・アンド・ナオミ)の待望の6曲入りセカンドEP『Leeloo and Alexandra』 (リールー・アンド・アレキサンドラ)! ! レコーディングには前作同様カメラ=万年筆の佐藤優介、そして、アレンジャーとしてGreat3 のshiranekenichi manmancer が参加! ジャケット・アートワークは、とんだ林蘭。

New Zealand collective LEISURE to play the Powerstation Friday 26th July & release of their eagerly awaited sophomore album TWISTER.
LEISURE: “It’s been two and a half years since we released our debut album. Admittedly, we had no idea what we were doing at the time, the only certainty was that the combination of the creative energies when we were all in a room was a feeling none of us had felt before.”
“LEISURE have no bad tracks to their name, so it follows that their debut album is one of the very best this year” - HillyDilly.
“The Kiwi collective hasn't missed a step since first catching our ear” - Pigeons and Planes.
The collective’s self-titled album has now amassed 65 million streams, with an ever-growing worldwide fanbase who continue to connect with their manifesto to “keep things LEISURE”. This marks a new chapter for LEISURE who head to Europe in early May for a sold out headline show in London, before heading to Paris and Berlin and back to the UK for The Great Escape.
“We make our favourite things when we become creatively unconscious. Our sophomore album was a good opportunity for us to explore new ideas. We took turns as the album took shape to fall in love with each song and the process of how each one was made. We land with an eclectic collection of 14 songs; each swirling with their own mood and colour. An album we are very proud of, TWISTER.”
TWISTER bends and breaks the boundaries between electronic, funk and soul. Fans have been given a few tasters already with infectious tracks ‘Feeling Free’, ‘Easy Way Out’ and the latest single 'On My Mind', a boiling pot of its predecessors.
“‘On My Mind’ is a song about “dealing with an intense magnetism to a significant other, giving in to the power that takes hold.”
Slow burners, face-slappers, shoegazers, strut-steppers and midnight moodmakers unite, for 2019’s highly anticipated; LEISURE - TWISTER.

Laetitia Tamko, better known by her stage name Vagabon, is a Cameroon-born multi-instrumentalist, singer-songwriter and producer currently based in New York City.

A huge return from a total icon. With a career spanning nearly four decades, Kim Gordon is one of the most prolific and visionary artists working today.
A co-founder of the legendary Sonic Youth, Gordon has performed all over the world, collaborating with many of music’s most exciting figures including Tony Conrad, Ikue Mori, Julie Cafritz and Stephen Malkmus. Most recently, Gordon has been hitting the road with Body/Head, her spellbinding partnership with artist and musician Bill Nace. Despite the exhaustive nature of her résumé, the most reliable aspect of Gordon’s music may be its resistance to formula. Songs discover themselves as they unspool, each one performing a test of the medium’s possibilities and limits. Her command is astonishing, but Gordon’s artistic curiosity remains the guiding force behind her music.
+ The indie version is very limited and pressed on white vinyl.
+ Preorder No Home Record and we'll enter you into a draw to win a special limited edition 12” version of the new track ‘Sketch Artist’, backed with the previously released ‘Murdered Out’. These 12”s are limited to 500 worldwide and are individually hand-stamped with a bespoke design drawn by Kim.
It makes sense that this “American idea” (as Gordon says on the agitated rock track “Air BnB”) of purchasing utopia permeates the record, as no place is this phenomenon more apparent than Los Angeles, where Gordon was born and recently returned to after several lifetimes on the east coast. It was a move precipitated by a number of seismic shifts in her personal life and undoubtedly plays a role in No Home Record’s fascination with transience. The album opens with the restless “Sketch Artist,” where Gordon sings about “dreaming in a tent” as the music shutters and skips like scenery through a car window. “Even Earthquake,” perhaps the record’s most straightforward track embodies this mood; Gordon’s voice wavering like watercolor: “If I could cry and shake for you / I’d lay awake for you / I got sand in my heart for you,” guitar strokes blending into one another as they bleed out across an unstable page. Front to back, No Home Record is an expert operation in the uncanny. You don’t simply listen to Gordon’s music; you experience it.

Ghostpoet is pleased to announce his forthcoming album ‘Shedding Skin’.
The first fruits of the album, the track ‘Off Peak Dreams’ has already been premiered on Zane Lowe’s Radio One show and sees Ghostpoet, London-based Obaro Ejimiwe moving on from the cathartic musings of 2013’s ‘Some Say I So I Say Light’ album.
‘Shedding Skin’ is the manifestation of a new challenge of fresh thinking and a brave confident stride into previously uncharted waters. Ten songs that embrace, unite and narrate observations that are designed to sit beside each other through bright peaks and dark shallows.
Unlike his previous albums, ‘Shedding Skin’ was recorded with a traditional live set up with what has become his touring band; Joe Newman on guitar, bass player John Calvert and John Blease on drums.
The self-produced album also features guest vocals from Nadine Shah, Etta Bond, Melanie De Biasio, Lucy Rose and Maxïmo Park’s Paul Smith, amounting in a collection that sets a new precedent as his very best work yet.

"我总是有意识地避开录音室，" Cigarettes After Sex的主唱Greg Gonzalez说道："在世上某个开敞的角落完成录制总会给专辑带来别样的感受。录制地点的特质或氛围就像是某种未知因素，它会成为专辑情感表达中至关重要的一环。
声音和环境的巧妙结合的确塑成了Cigarettes After Sex 第二张全新专辑《Cry》的灵魂。录制于西班牙马略卡岛上一座令人艳羡的宅邸，《Cry》用极简的笔触描绘出曼妙的线条与柔媚的光线，让人在这般声音图景中感到难以言喻的美丽、情迷意乱的渴望。受到岛上鲜活色彩和新鲜环境的感染，Gonzalez常常在与鼓手Jacob Tomsky、贝斯手Randy Miller和键盘手Phillip Tubbs录音前几分钟才写好歌曲。他亲自操刀录音及制作工作，将重心聚焦于捕捉现场表演的氛围，并从录音环境和乐队成员间的交流中获取灵感，探索录音素材的可能。
收录九首歌曲的《Cry》虽然精练，但仍有着难以掩盖的深度。五零年代末、六零年代初流行乐的浪漫氛围只是专辑中容易察觉的要素，Gonzalez此番的尝试还远不止如此；回溯自己童年在德克萨斯州埃尔帕索度过的时光，他从九十年代特哈诺（Tejano）音乐天后Selena和主流乡村歌手Shania Twain等经典音乐人身上汲取到诸多灵感。除了旋律上的花费的心思，Gonzalez在歌词创作上也不遗余力地进行着革新。他毫无畏惧与窘迫，以类似Henry Miller或Leonard Cohen的直白方式坦诚勾画时常露骨的爱欲交缠场面。Gonzalez创作时好比一个电影人，他用细腻、有着电影质感的方式捕捉不易察觉的时刻，并设法从平凡中提炼深刻的意义。

Think big, girl, like a king, think kingsize. Jenny Hval’s new record opens with a quote from the Danish poet Mette Moestrup, and continues towards the abyss. Apocalypse, girl is a hallucinatory narrative that exists somewhere between fiction and reality, a post-op fever dream, a colourful timelapse of death and rebirth, close-ups of impossible bodies — all told through the language of transgressive pop music.
released June 9, 2015

A huge return in these parts from one of our most favourite voices.
The descent into darkness is a trope we find time again across history, literature and film. But there’s also an abyss above. There’s a winding white staircase that goes ever upward into the great unknown — each step, each turn, requiring a greater boldness and confidence than the one before. This is the journey on which we find Angel Olsen.
+ Available whilst stocks last on a limited crystal clear vinyl edition.
Olsen’s artistic beginnings as a collaborator shifted seamlessly to her magnificent, cryptic-to-cosmic solo work, and then she formed bands to play her songs, and her stages and audiences grew exponentially. But all along, Olsen was more concerned with a different kind of path, and on her vulnerable, Big Mood new album, All Mirrors, we can see her taking an introspective deep dive towards internal destinations and revelations. In the process of making this album, she found a new sound and voice, a blast of fury mixed with hard won self-acceptance.
“In every way —from the making of it, to the words, to how I feel moving forward— this record is about owning up to your darkest side,” Olsen said. “Finding the capacity for new love and trusting change, even when you feel like a stranger. This is a record about facing yourself and learning to forgive what you see. It is about losing empathy, trust, love for destructive people. It is about walking away from the noise and realizing that you can have solitude and peace in your own thoughts, that your thoughts alone can be just as valid, if not more.”

“If you stick to just what you know, your music, your art or whatever your situation is becomes stagnant”, say Denmark’s Lowly. “And we wouldn’t like to miss out on anything, just because we felt too comfortable.”
A band unafraid to reach beyond their comfort zone, Lowly thrive on the embrace of doubt and curiosity. An inquisitive spirit drives the quintet’s second album, which evolved from an open-ended process in large spaces, from lost factory halls to water towers. Released via Bella Union in April, Hifalutin brims with suggestive discoveries from its title onwards. Dictionary definitions include “pompous” and “larger than life”; the word is also antonymic with the word Lowly. However you take it, the result is the work of five people expressing themselves freely as a tight collective: focused, yet fertile with possibility.
Warmly received in Pitchfork, Uncut and elsewhere, Lowly’s debut album, Heba, was a feast of dramatic dream-pop. Yet Hifalutin is more ambitious still. The album was primarily recorded in a 150 square meter warehouse, just outside the city of Aarhus. Band members recorded their parts as individuals and as a group; meanwhile, the producer, Anders Boll, placed microphones in nooks and crannies of the enormous space, all the better to highlight the dynamics between the band members.
“We dared to be even more curious,” explains guitarist and singer Nanna Schannong, “and started recording without knowing where we would end up. This curiosity released a huge amount of trust and confidence between us: we became much more tolerant of each other's diversity, and dared to give each other space. It also meant that some sketches suddenly became two pieces… or, that eight to nine different pieces suddenly found themselves in one song."
A willingness to turn their backs on accepted frames of practise, for both recordings and performances, has characterized Lowly since their formation in 2014 at the music academy in Aarhus, Denmark, where they studied different subjects but forged a unique chemistry out of contrast. Last autumn, they played a concert in Brønshøj Water Tower, in the suburbs of Copenhagen, where the reverb was long and pronounced. The band had to carefully reconsider which notes and chords they could play; too many tones would muddy the sound. Pieces from this concert would find their way to Hifalutin.
As synthesizer player Kasper Staub reflects, “We want to give doubt, and curiosity, a voice. It is needed in a world characterized by obsession and goal-orientated living. You don’t need to know the answer in advance to express yourself. If we don’t allow ourselves to forget the goal, we risk missing all that we did not already know.”
Fittingly, Hifalutin is an album of many entrance points. After the glistening come-hither to wandering minds of ‘Go for a Walk’, ‘Stephen’ reflects on death, inspired by the loss of Professor Stephen Hawking. The warm trip-hop currents of ‘Baglaens’ (or “backwards”) contrast sharply with the buoyant beats cluster of ‘Staples’. ‘i’ resembles a hymnal Stina Nordenstam, constantly seeking new ways into a song, while the alt-R&B-ish ‘In the Hearts’ offers an unguarded paean to connectivity: as Lowly put it: “It’s about the magnificent power of love that transcends everything and connects us all.”
With each band-member’s input emphatically felt, ‘Out Beyond’ locates a sweet spot between the synthetic and the organic in its interplay between trance-y synths and Spanish guitars. The momentous crescendo of ‘Children’ and the strange pulses of ‘ii’ showcase Lowly’s powerful, experimental range; meanwhile, the echoing piano of ‘Delicate Delegates’ finds them at their most beautiful. ‘Selver’ offers space to breathe and ’12:36’ revisits the dream-dotted paths of Heba, before the sublime synths of ‘Wonder’ bring the album to an immersive, expansive climax.
These diverse songs find hidden connections to each other through the chemistry between the sounds and Boll’s productions. And, of course, through the literate, abstract lyrics, which include references to works by experimental poet Inger Christensen and Persian poet Jalal ad-Din Rumi. “Our lyrics consist of images and scenes that briefly glide into one’s field of view, and then disappear again,” co-lead singer Soffie Viemose explains. “We’d rather show something than say something quite literally.” An invitation sent from and to curious minds, Hifalutin is luminous modern pop at its most delicate and robust, assertive and open-ended. You wouldn’t want to miss out.

Yann Tiersen releases his brand new album All. All is the first album to be recorded at Tiersen’s new studio, venue and community centre, The Eskal, built in an abandoned discotheque on the island of Ushant, a small island positioned in the Celtic sea between Brittany and Cornwall, Tiersen’s home for the past 10 years. The album, mixed and co-produced by Gareth Jones, continues the themes of environment and a connection to nature first explored on EUSA, incorporating recordings from outside of Brittany, such as the redwood forests of California as well as field recordings from Tempelhof airport in Berlin (on ‘Tempelhof’), plus guest vocalists.

"Cellophane" is a song by English singer FKA Twigs, released as a single on 24 April 2019 through Young Turks. It is her first single in three years. Its music video was also released on 24 April.

2010 album from one of the most exuberantly inventive and acclaimed bands around today. Hot Chip have built a devoted fanbase with their soulfully eclectic records and incendiary live shows. Hotly-anticipated by fans and media alike, One Life Stand is the band's most boldly accomplished record yet, at once offbeat and anthemic, cerebral and danceable. Features the single 'One Life Stand'.

Big Thief's music, rooted in the songs of Adrianne Lenker, paints in vivid tones "the process of harnessing pain, loss, and love, while simultaneously letting go, looking into your own eyes through someone else's, and being okay with the inevitability of death," says Adrianne.
Masterpiece, Big Thief's debut album, is filled with characters and visceral narratives, songs that pivot in the space of a few words. Adrianne's voice and guitar playing speak of rich emotional territory with grace and insight. In her words, the record tracks "the masterpiece of existence, which is always folding into itself, people attempting to connect, to both shake themselves awake and to shake off the numbness of certain points in their life. The interpretations might be impressionistic or surrealistic, but they're grounded in simple things."
Adrianne met her longtime musical partner, guitarist and singer, Buck Meek, in Brooklyn a few years ago, and they quickly formed a creative bond tempered by the experience of traveling and performing for months on end in old dive bars, yards, barns, and basements together. They recorded a pair of duo albums (A-Sides and B-Sides), and Adrianne showcased her songs on a solo album, Hours Were The Birds.
Now, as a full rock and roll band, with Buck on guitar, Max Oleartchik on bass, and James Krivchenia on drums, they bring a steady wildness, giving the songs an even deeper layer of nostalgia. "These guys feel like a pack of wolves at my back," says Adrianne, "they make the songs howl and bark with a fierce tenderness that gives me courage."
After spending last July in an old house that they turned into a studio on Lake Champlain with producer Andrew Sarlo, the resulting collection soars on what Big Thief fan Sharon Van Etten calls "...a real journey, with intelligent stories and twist-and-turn melodies."