Claire Elise Boucher, known professionally as Grimes, is a Canadian musician, singer, record producer and visual artist. Born and raised in Vancouver, Grimes began releasing music independently in the late 2000s, releasing two albums, Geidi Primes and Halfaxa in 2010 on Arbutus Records.

After much speculation, 4AD can confirm that Scott Walker will release Bish Bosch this December, his first studio album since 2006’s The Drift.
Scott began writing new material around 2009 - whilst also scoring the ROH 2’s Duet For One Voice ballet - recording it sporadically over the following three years. The end result is Bish Bosch, a tauter but more colourful experience than The Drift, with greater emphasis on processed, abrasive guitars, digital keyboards and thick silences.
Aided again by co-producer Peter Walsh and joined by a regular core of musicians, Ian Thomas (drums), Hugh Burns (guitar), James Stevenson (guitar), Alasdair Malloy (percussion) and John Giblin (bass). Musical director Mark Warman also played a prominent role, both as conductor and keyboardist, while guests include trumpeter Guy Barker and pedal steel guitarist BJ Cole, who worked on three of Scott’s mid-seventies LPs. For tracks 'SDSS1416+13B (Zercon, A Flagpole Sitter)', ‘Dimple’ and ‘Corps de Blah’, Scott drafted in an orchestra, recording them in The Hall at Air Studios last November. For the cover art, Scott worked closely with painter Ben Farquharson and designer Philip Laslett.

Big Thief had only just finished work on their 3rd album, U.F.O.F. – “the celestial twin” – days before in a cabin studio in the woods of Washington State. Now it was time to birth U.F.O.F.’s sister album – “the earth twin” – Two Hands. 30 miles west of El Paso, surrounded by 3,000 acres of pecan orchards and only a stone’s throw from the Mexican border, Big Thief (a.k.a. Adrianne Lenker, Buck Meek, Max Oleartchik, and James Krivchenia) set up their instruments as close together as possible to capture their most important collection of songs yet. Where U.F.O.F. layered mysterious sounds and effects for levitation, Two Hands grounds itself on dried-out, cracked desert dirt.

Holly’s third full-length album PROTO isn’t about A.I., but much of it was created in collaboration with her own A.I. ‘baby’, an entity called 'Spawn'.
For the album, she assembled a contemporary ensemble of vocalists, developers and an inhuman intelligence housed in a DIY souped-up gaming PC to create a record that encompasses live vocal processing and timeless folk singing, and places an emphasis on alien song craft and new forms of communion.
'PROTO' makes reference to what Holly refers to as the protocol era, where rapidly surfacing ideological battles over the future of A.I. protocols, centralised and decentralised internet protocols, and personal and political protocols compel us to ask ourselves who are we, what are we, what do we stand for, and what are we heading towards?
‘Eternal follows the 2018 release of Holly and Jlin’s collaborative song ‘Godmother (feat. Spawn)’. The skittering track, which was created by Spawn reimagining the artworks of her ‘godmother’ Jlin in a trained model of her mother’s voice with no editing or sample trickery, was praised everywhere from NPR to The Guardian to New York Times, and elsewhere.
You can hear traces of Spawn throughout the album, developed in partnership with long time collaborator Mathew Dryhurst and ensemble developer Jules LaPlace, and even eavesdrop on the live training ceremonies conducted in Berlin, in which hundreds of people were gathered to teach Spawn how to identify and reinterpret unfamiliar sounds in group call-and-response singing sessions; a contemporary update on the religious gathering Holly was raised amongst in her upbringing in East Tennessee.
“There’s a pervasive narrative of technology as dehumanizing,” says Holly. “We stand in contrast to that. It’s not like we want to run away; we’re very much running towards it, but on our terms. Choosing to work with an ensemble of humans is part of our protocol. I don’t want to live in a world in which humans are automated off stage. I want an A.I. to be raised to appreciate and interact with that beauty ”
Since her arrival in 2012, Holly has successfully mined the edges of electronic and Avant Garde pop and emerged with a dynamic and disruptive canon of her own, all while studying for her soon-to-be-completed PhD at Stanford University, researching machine learning and music. Her LP Platform closed out 2015 by gracing year-end lists from Pitchfork, The Guardian, NME, and The Wire. In the aftermath, Radiohead hand-picked her to open up their European tour.
Just as Platform forewarned of the manipulative personal and political impacts of prying social media platforms long before popular acceptance, PROTO is a euphoric and principled statement setting the shape of things to come.

Big Thief return with U.F.O.F., their highly anticipated third record and first in a new partnership with 4AD.
It was recorded in rural western Washington at Bear Creek Studios with engineer Dom Monks, and producer Andrew Sarlo who was also behind their previous albums.
+ Available as an indie exclusive edition pressed on orange vinyl. One pressing only, don't miss out.
The New York-based band, featuring Adrianne Lenker (guitar, vocals), Buck Meek (guitar), Max Oleartchik (bass), and James Krivchenia (drums), has spent the last 4 years on an incessant world tour, winning the devotion of an enthusiastic and rapidly expanding audience.
Their songs represent an emotional bravery and realness that weaves intimate relationships with the listener, a phenomenon that has made them one of the most widely-respected bands of the current era.

沉寂7年后，21世纪最具持久创作活力的纽约乐队 Gang Gang Dance 宣布回归。他们的全新专辑《Kazuashita》将于6月22日正式发行。
《Kazuashita》是乐队继2011年名作《Eye Contact》后的首次重聚，他们带来的 shoegaze 与电子氛围，依旧令人沉醉不已。拥有脱俗嗓音的 Lizzi Bougatsos 也是乐队背后的主脑，十多年来，她和伙伴 Brian DeGraw、Josh Diamond 一起，不断试图打破音乐与艺术的界线。如今，他们已从一支即兴组合，成为无论在 Coachella 音乐节还是惠特尼艺术双年展上，都能从容表演的乐队。
专辑在纽约的数个录音室与艺术空间录制，由 DeGraw 担任制作，并得到鼓手 Ryan Sawyer、制作人 Jorge Elbrecht 等的鼎力相助。

In a Poem Unlimited is an album by U.S. Girls, the solo project of Toronto-based American musician Meghan Remy. It was released on February 20, 2018 through 4AD.

An artist of rare calibre, Aldous Harding does more than sing; she conjures a singular intensity. Her body and face a weapon of theatre, Harding dances with steeled fervor, baring her teeth like a Bunraku puppet's gnashing grin.
Her debut release with 4AD, Party (produced with the award-winning John Parish; PJ Harvey, Sparklehorse) introduces a new pulse to the stark and unpopulated dramatic realm where the likes of Kate Bush and Scott Walker reside.
Comprising a formidable clutch of songs, 2017’s Party sees Harding shape-shift through a variety of roles: chanteuse, folk singer and balladeer - all executed with her twisted touch of humour, hubris and quiet horror. In other words, she’s having a good time. Stretching her limbs with playful cunning; every note, word and arrangement posed with intellect and inventiveness.
Created in Parish’s hometown of Bristol, Party saw Harding depart her New Zealand base in the antipodes for an intensive two-week immersion in the studio. Articulating her ambitions for Party to Parish was a galvanizing process for Harding, met with stunning results. The pair developed a near non-verbal shorthand, audibly evident in a raft of musical contributions from Parish. Alongside such special guests as Perfume Genius’ Mike Hadreas (having worked with Parish and toured with Aldous, it only took asking once), there is an exhilarating sense of risk throughout the record as Harding’s muscular wingspan extends. Teased out with inflections of experimental instrumentation and arrangements; Party is always anchored by Aldous’s intimidating command of her own songs.
First single ‘Horizon’ is a lover’s call to arms, powerful for its brutal simplicity and rawness of feeling, love and loathing colliding to devastating effect. “Aldous Harding repeats the line as a mantra, as a truth, as a reality. It's as if the gift of life is right here, with all its beauty and its limitations”, said NPR.
‘Imagining My Man’ commands an air of delicacy as Aldous explores the curiosity of a lover’s idiosyncrasies; steering listeners into a state of intense intimacy laced with hyperactive shots, dirgey saxophone and Harding’s aching voice. The track is one of two that Mike Hadreas lends his inimitably sultry vocals to, the other being the intimate Party closer ‘Swell Does The Skull’.
‘Blend’ sensitively ushers the mood of Harding’s flourishment throughout Party. Its opening lines a nod to the mood of Harding’s last record; sameness is quickly quashed with an electronic drumbeat and the announcement of Aldous Harding as an artist of stirring ambition and trajectory.
The album’s eponymous single ‘Party’ harks to Aldous’ earlier work; delicately pulling at the threads of a seemingly late-night love affair. Again, it’s not long until the rug is pulled out, with a searing chorus - Harding’s electrifying vocal accompanied by a choir of women and waves of percussive bass clarinet - piercing the balloon of expectations around Harding's new record with effortless vigour.

TORRES is the creative alter-ego of Brooklyn-based Mackenzie Scott. In describing the new album Three Futures, Scott says it “is entirely about using the body that each of us has been given as a mechanism of joy”. The 10 original tracks on Three Futures embrace ecstasy, desire and indulgence rather than self-denial, and exude this idea via immersive music. Mechanized grooves are placed at the forefront, providing a framework for perforated electro-pop static, harsh gothic / industrial textures, and insistent Krautrock motifs.
For Three Futures, Scott reconnected with producer Rob Ellis (PJ Harvey), who worked on TORRES’ last album Sprinter, to record in Stockport and Dorset, England. David Tolomei (Beach House, Future Islands) mixed the album.

The work of Illinois-born, Toronto-based artist Meg Remy, U.S. Girls has evolved in recent years from the coarse 4-track fidelity found on her early recordings to more luscious and unabashed works, packed with fiery pop sensibilities. Half Free is the next step in this impressive progression, an honest and lyrically jarring exploration of emotions, drenched in a bath of raw beats and loops that have become the hallmark of her work with producer and frequent collaborator Onakabazien. Other album guests include Slim Twig (DFA), Ben Cook (Fucked Up, Young Guv), Amanda Crist (Ice Cream) and Tony Price.
The second track to be heard from the album, ‘Woman's Work’, debuts online today, accompanied by another
hypnotic video directed and edited by Remy. Following up on the release of the mutant dub of 'Damn That Valley' earlier this year, 'Woman's Work' builds further anticipation and intrigue; Remy has delivered a nagging, arpeggio-laced stormer, picking away at the themes of beauty and neurosis, with a video that examines our collective paralysis in the face of ageing. You can watch the video via the 4AD YouTube channel here, or in the player below.
U.S. Girls is currently on tour in Europe, with further tour dates planned in North America for later this summer and fall, including support dates for Peaches. You can see all announced shows below. More live dates will be detailed soon.

Love Streams takes its cues from the avant-classical orchestration and extreme electronic processing of Tim Hecker's previous full-length, 2013’s Virgins, but shaped into more melancholic, ultraviolet hues. Inspired by notions of 15th century choral scores (particularly those by Josquin des Prez), transposed to an artificial intelligence-era language of digital resonance and bright synths, the album was assembled gradually, with layers of studio-tracked keyboards, choir and woodwinds being woven into the mix, then molded and disfigured through complex programming. Like hearing some ancient strain of sacred music corrupted by encryption, Hecker admits to thinking about ideas like “liturgical aesthestics after Yeezus” and the “transcendental voice in the age of auto-tune,” during its creation.
The Love Streams sessions took place throughout 2014 and 2015 at Greenhouse Studios in Reykjavik, Iceland – where parts of both Virgins and Ravedeath, 1972 were tracked – with Hecker reuniting with the same crew of collaborators from Virgins (Kara-Lis Coverdale, Grímur Helgason) and bolstered by the Icelandic Choir Ensemble, whose vocal arrangements were scored by Icelandic composer Johann Johannsson.
The title of Hecker’s new work can be interpreted any number of ways – erotic, technological, spiritual – although his own conception is appropriately vast, calling it “a riff on the ubiquity and nihilism of streaming of all forms of life.” Now we stream more than we love. Nowadays music too frequently resembles a product, or white noise. With a career spanning fifteen years, Tim Hecker belongs to a select camp actively resisting this undertow, this reduction in significance.

Holly Herndon has become a leading light in contemporary alternative and electronic music by fearlessly experimenting within the outer reaches of dance music and pop songwriting structures. A galvanizing statement, Platform cements Herndon's reputation as a unique musician with a singular voice.
Born in Tennessee, but reared on music abroad, Herndon broke out from her formative years in Berlin's minimal techno scene to repatriate to San Francisco, where she currently lives and studies as a doctoral candidate at Stanford's Center for Computer Research in Music and Acoustics (CCRMA).
To achieve Platform, Herndon has opened up her process to vital artists and thinkers from her creative circle, including radical Dutch design studio Metahaven and digital DIY artist Mat Dryhurst, leading by example to tackle a host of topics ranging from systemic inequality, surveillance states, and neo-feudalism. Platform underscores the need for new fantasies and strategic collective action.
Herndon's debut album Movement, released in 2012, showcased Herndon's fascination with trance and the disjunctive sampling techniques pioneered by avant-garde composition. Subsequent singles ‘Chorus’ and ‘Home’, rolled out in advance of Platform, humanized the laptop by celebrating its capacity for memory- storage and lamenting its vulnerability in light of revelations of mass surveillance.
Offering what Herndon describes as "a rupture, a paradisic gesture", Platform is an optimistic breakthrough for Herndon, an appeal for progress, and a step toward new ways to love.
Following on from their treatment for ‘Home’, Metahaven have collaborated once more with Herndon on a video for Platform opener ‘Interference’, which airs today. You can watch in the player below.
Platform is Holly Herndon’s debut album for 4AD, a cooperative effort with RVNG Intl., the NYC imprint with whom Herndon has worked for many years and released her first record Movement. Platform can be pre-ordered from today and all iTunes pre-orders will receive album tracks ‘Interference’, ‘Chorus’ and ‘Home’ instantly.

When Efterklang premiered their fourth album, Piramida, to a sold out audience at the Sydney Opera House with the Sydney Symphony Orchestra last year, it gave birth to The Piramida Concerts - a special presentation of the record that had been orchestrally arranged by fellow Dane Karsten Fundal and New York composer Missy Mazzoli.
Allowing the band to present a different side to the record, they decided to commit one of the performances to tape. Fittingly they chose the concert they played in their native Copenhagen to be the one. Recorded live at the city's Royal Academy of Music Concert Hall in October 2012, the end result is this live album, The Piramida Concert.
Over the course of two sold-out nights, Efterklang - plus Peter Broderick, Katinka Fogh Vindelev and Budgie (Siouxsie and The Banshees) - teamed up with the 33-strong Copenhagen Philharmonic Orchestra and German conductor André de Ridder to perform Piramida in its entirety. The live performance also included 'So', a song written during recording sessions for the album, and 'Vælv', a classical piece commissioned by the band and composed by Karsten Fundal.

Liima is a new band formed by Finnish percussionist Tatu Rönkkö plus Mads Brauer, Casper Clausen and Rasmus Stolberg of Danish act Efterklang.
Their debut album, ii, features songs written in Finland, Berlin, Istanbul and Madeira during four week-long residencies, with each one ending with a live concert, performing the freshly written songs in front of an audience.
Translated from Finnish as ‘glue’, Liima found the spontaneity of writing and performing in a limited time frame hugely liberating and took the same instinctive approach when recording this album. In October 2015, the band along with producer Jonas Verwijnen headed to Vox-Ton studio in Berlin, recording the album in just three days, playing everything together live with no overdubs. ii was mixed to tape by Francesco Donadello.

In the Flat Field was released on 3 November 1980 by record label 4AD. It was met with a negative response from critics, but topped the UK Independent Albums Chart and made the UK Albums Chart for one week, peaking at No. 72.
The album was first released on CD by 4AD in April 1988, with eight bonus tracks including three non-album singles: "Dark Entries", "Terror Couple Kill Colonel" and a cover of T. Rex's "Telegram Sam." Five of these bonus tracks had been previously compiled on the 4AD EP in 1983.
On 19 October 2009, 4AD/Beggars Banquet reissued the album as an "Omnibus Edition", featuring the 24-bit John Dent remastered CD of the original nine-track album in a replica mini-LP sleeve (with corresponding inner sleeve featuring the lyrics), plus a 16-track bonus disc of singles, outtakes, alternate recordings and original versions. The set came inside a semi-long box, coupled with a 48-page book that included comments from band members, photos, complete lyrics, complete tour date information for 1979 and 1980, and an essay by Andrew Brooksbank on the formation and creation of the band, the singles and the album.
or journalist Andy Gill, the dark atmosphere of the record was reminiscent of previous works by groups like Siouxsie and the Banshees, Adam and the Ants, and Joy Division. In his AllMusic review, critic Ned Raggett described Bauhaus as a "glam-inspired rock band", said that singer Peter Murphy channeled both Iggy Pop and David Bowie, and compared Daniel Ash's guitar playing to Mick Ronson's. Raggett noted that the album concluded with "a dramatic ending" with the song "Nerves"

Australian reissue of their second album (1981) plus two outtakes from the sessions for the album. 13 tracksin all.