Premiering this track on giant LED screens in New York City’s Times Square was a pretty ballsy move for George Lewis Jr., a man who isn’t backward when it comes to turning on the charm and making people listen. Which just happens to be fortunate for the fact that “Five Seconds” is the most upfront […]
Posts Tagged ‘4AD’
Electro-rockers The Big Pink follow up their 2009 debut, A Brief History of Love, with the new single “Stay Gold” taken from the forthcoming album Future This, due out November 7 on 4AD. You can check out the clip for “Stay Gold” below as well as download both the track and a remix by AraabMUZIK. […]
Having reeled us in with the provocative teaser track “Surgeon”, we’ve now been given “Cruel” the first proper single taken from Strange Mercy, Annie Clark aka St. Vincent‘s third studio album due out September 12 on 4AD. Directed and produced by long-time collaborator Terri Timely, the video provides the perfect visual accompaniment to the sinister lyrical themes that cut through the song. Seeing Annie Clark situated in various stages of domestic anguish, the video evokes the off-kilter suburban ennui of The Stepford Wives, and is proof positive that Strange Mercy will be St. Vincent’s most memorable work yet. She’ll be touring the UK with a full band this autumn, starting November 10 at Queen Elizabeth Hall, London and finishing up on the 16th at Brudenell Social Club in Leeds.
Can Bon Iver live up to expectation with his self-titled follow-up to the celebrated For Emma, Forever Ago?
Subtle and beautifully and unexpectedly intriguing is “Calgary”, the first single to be lifted from Bon Iver‘s long-awaited (and due any day now) follow-up to For Emma, Forever Ago out June 20 via 4AD. With a little surrendering of your digital details, you can download the track now from www.boniver.org. The physical format will be released on July 4 on 12″. Exclusive to this release will be a cover of Bonnie Raitt’s ‘I Can’t Make You Love Me’. Also confirmed is Bon Iver’s first UK tour dates since 2009. For the shows, Justin Vernon will perform with an 8-piece band that feature many musicians who contributed to the album, including regular Bon Iver contributors Sean Carey (piano), Mike Noyce (guitar) and Matt McCaughan (drums), as well as a well-travelled band of supporting players who’ve done time in Anthony & The Johnsons, Arcade Fire and Sufjan Stevens. The UK tour starts on October 19 at Manchester Apollo, with a show in London at the Hammersmith Apollo on October 24.
Having to write a live review on the fly, almost two weeks after it happened, from notes hastily scribbled, while packing to go to a festival will show us this is not the way to be. There’s no time to go into great detail, to labour the point, to draw comparisons between George Lewis Jr’s physical appearance (a little bit Prince, a little bit Morrissey), or the sound (a little bit Prince, a little bit Morrissey, albeit on a synth-sprung landscape). Twin Shadow, at least from this writer’s perspective, has adequately filled the gap that LCD Soundsystem left by their absence, in making music that moves and is moving, that is confident without being arrogant, and is just too perfect for words.
With each successive show played in London growing in size from venue to venue, it’s a clear indication of the steady rise of this beloved Atlanta four-piece, and with Shepherd’s Bush Empire being sold out, it’s their largest capacity UK headline show to date. For the ardent, precious fan, Deerhunter aren’t your band anymore. The era of slipping into town for a small club tour is over, but from the staid, somewhat bemused crowd, Deerhunter’s roaming psychedelic-shoegaze and mutant folk-pop are still an acquired taste, one that’s seemingly unlikely to assail the upper reaches of the charts like label-mates, The National.
Bound to top many ‘best albums of 2010’ polls is The National‘s roof-tearing slash emotionally-draining 5th album, High Violet. Given an exceptionally praising 9 star review on Webcuts, we said “from start to finish… is a wrenchingly beautiful album. It combines the emotion of Alligator and lushness of Boxer and showcases newfound confidence and maturity”. Coinciding with the release of an expanded 2cd version of High Violet, the band have issued the tender drama of “Terrible Love”, with an accompanying video shot both onstage and backstage at various live shows over the summer, showing a lighter side to these normally stoic Brooklynites. Released as a violet-coloured 7″ and download single on November 22, both the alternate version of “Terrible Love” and B-side “You Were A Kindness” will feature on the expanded “you bought it once, you’ll buy it twice” edition of High Violet released the same day. Don’t complain, you know you want it.
The stakes are high on Deerhunter’s 4th album. Can they beat Webcuts album of the year 2008, their own magnificent Microcastle?
“Take my hand and pray with me”, and how we’ve prayed, patiently awaiting the arrival of Deerhunter’s 4th album Halcyon Digest. For the dimly remembering, the monumental Microcastle was Webcuts album of the year for 2008, and expections have already been set. “Helicopter” is the second track to be previewed from the album and it’s a loop-based, plink-plonk synth-led Deerhunter meets The Littlest Mermaid undersea adventure with Bradford Cox revisiting his usual themes of isolation and escapism, and well you know the rest, drugs and paranoia. Unlike those ‘slacker’ bands out there like Wavves and Best Coast who talk about getting stoned and making music, Deerhunter is the real fuck-with-your-head deal. The collage of visuals for the clip (Deerhunter’s first ever video) is unsurprising for them, but there’s something about “Helicopter” that feels like it will have its greatest effect while being paranoid, trapped, and on drugs.
A few nights before this Pixies warm up concert for Splendour in the Grass, I had a vivid dream. In it I was the tour manager or press officer for the band and they were being put up in a luxury hotel with a huge swimming pool which they were swanning around in and (in)famously not getting along and refusing to do the show. It ended with me giving them a “look all the great rock’n’roll bands are dysfunctional, but when you’re on stage for that hour and a half you come together, that’s when you work, that’s when you function!” speech. And then I drove them to the Zoo in a black hummer.
An hour in the company of The Big Pink is a sensory distorting experiment, and one that also questions your sexuality. It’s not a glam/gay thing, but there is a certain amount of homoeroticism about The Big Pink. The obvious sexual nature of the band name notwithstanding, and their record sleeves are all chicks and tits, but I think that’s to throw off the thinly veiled man-love shared between guitarist/vocalist Robbie Furze and bassist Milo Cordell.
Sounding more like a theme park ride than a band, Ariel Pink pulls off both with a little 70’s funk and 80’s new wave self-exploration.
20th Anniversary? Seriously? You’re twisting my melon, man! Wait, wrong band…
With their fourth album My Maudlin Career Glasgow’s Camera Obscura shifted further away from their indie pop origins to create their own take on Bacharachian orchestral pop and ’60s soul contrasted against sparse country melancholy. Keyboardist and backing vocalist Carey Lander talks about joining the band, meeting Lloyd Cole, the orchestral and country elements in their sound and how they came to cover the Boss.
Riding high on the charts, The National have found a resounding voice where “High Violet’s loneliest, weightiest moments feel like shared sorrow.”
One of the top records of the year that you never want to hear again? Merrill Garbus is Tune-yards and experimental lo-fi folk is the order of the day.
Sultry New York electro-pop quartet Cold Cave are set to tour Europe this May, beginning their journey at the Matt Groening-curated ATP Festival and finishing up at Barcelona’s Primavera Sound festival. To coincide Matador Records are to release Cold Cave live favourite ‘Life Magazine’ as a 12″ featuring a number of high profile guest remixes. The video clip itself is something of a burlesque make-up tutorial as if filmed by Andy Warhol, but it’s actually directed by Aaron Brown and Ben Chappell (Focus Creeps) and stars Marti Domination, star of Matthew Barney’s ‘Cremaster’ (she played Goodyear) and main protagonist on the cover sleeve of Cold Cave’s Love Come Close album.
Having released one of Webcuts favourite albums of 2010, The Big Pink begin the new decade with another single, this time a reworking of album track “Velvet”, set for a full commercial release on February 15th.
Well versed in the Bible John Darnielle’s Mountain Goats new album doesn’t actually require a religious bone in your body to enjoy.
Recently setting the stereo at Webcuts HQ on fire with their debut release A Brief History of Love, we speak to Robbie Furze of The Big Pink as he explains the power of love and offers us a brief history of this incredible electronic/shoegaze duo.
Deerhunter’s willowy singer-guitarist and stand-up comic in the making Bradford Cox entered the 2Ser studios to trade words with Static’s Chris Berkley about all things in the Deerhunter-verse.
On an unexpected jaunt down to the Southern Hemisphere, Webcuts had the good fortune to be in attendance at the Annandale Hotel in Sydney to witness the final show of Deerhunter’s first Australian tour and to record the final song of the night, a mesmerising slow-burning version of Microcastle masterpiece “Twilight at Carbon Lake”. Check back later this week for a review of their Australian tour, as well as an exclusive interview with frontman Bradford Cox.
Hot on the heels of Microcastle comes this warmly welcomed five track EP from Webcuts’ band de jour.
To hell with good intentions – Future of the Left’s second album blows everything else out of the water.
If the news makes you sad, don’t watch it rather listen to Broken Records’ dazzling debut.
Having caught them a few weeks earlier in London, it was like witnessing an entirely different band in the throes of conquering new territory and playing to new audiences.
I’d be surprised if the majority in attendance were familiar at all with Atlas Sound, but the crammed in masses of which Webcuts was one of the last to make the cut, were calling out requests that even Cox felt too obscure and unplayable.
Webcuts delivers the verdict on Deerhunter’s recent Australian assault with reviews of Brisbane, Sydney and also the secret Atlas Sound Sydney show. Let the hunting begin.
First single from St.Vincent’s sophomore release, Actor, finds Annie Clark in venomous delight, calling her own casting call and taking the tinsel out of tinseltown. “You’re an extra causing a scene/I think I love you, I think I’m mad”. Actor is released May 5 on 4AD in the UK and May 9 in Australia through Inertia.
The honeymoon of Marry Me is over for Annie Clark, aka St. Vincent, as she sets her gaze on the big stage in Actor.
Four albums in, Camera Obscura assess their career, wisely trading ‘brilliant’ for ‘maudlin’ and coming up somewhere inbetween.
The Breeders are back with a new EP Fate to Fatal out on 21 April. The title track is the usual Deal deal — ramshackle guitars, barely in tune vocals, chugging bass — but yet strangely compelling. The video features ultra-aggressive roller girls breaking bones and shredding rubber and is actually a real team, St Louis’ Arch Rivals, and not a figment of a video director’s suicide girl addled imagination.
How does Anni Rossi rock? Does she rock well? Well, no, not so much actually.
After the enticing invitation given on her 2007 debut album Marry Me, St. Vincent (née Annie Clark) had all possible suitors rushing out in a panic to be the first to buy a copy and profess their affections. As both real beauty and extraordinary talent seems on the wane these days, Marry Me was as […]
As Conor Oberst once proclaimed, “M. Ward for President”. As far-fetched as it sounds, Oberst may have a point.
North America’s finest show their charitable side with this awe-inspiring collection. Just call it “No Alternative Part 2”.
Having just released one of the stand-out (and Webcuts approved) albums of 2008 with the awe-inspiring brilliance of Dear Science, Static’s Chris Berkley spoke to Jaleel Bunton, drummer of Brooklyn’s roof-raising TV On The Radio as the band embark on their American tour. Webcuts was on hand recently to see TV On The Radio debut their […]
4AD, 2008 It’s refreshing to listen to a band riding on a wave of no hype. No Myspace campaigns, no sycophantic hipsters attempting to crystal ball the next Vampire Weekend. Bradford Cox could probably walk into a bar anywhere and not get a second glance, and even then only for his rakish frame and elongated […]
4AD, 2008 Brooklyn art/beat innovators TV on the Radio return with their third album, a soulful slice of inspiration and invention, moving away from the doom and desperation of 2006’s Return to Cookie Mountain to give us their own potent and poignant sign o’ the times. TV on the Radio’s chief technician David Sitek once […]
For a long time The Breeders seemed to go the way of the Pixies. As both Deal sisters battled their demons, Kim with liquor and Kelley with drugs, attempts at reviving their careers in the late ’90s proved disappointing. Returning with Mountain Battles, their second album since their comeback in 2002, The Breeders bounced back […]
4AD, 2008 Stereolab were an essential part of the 90s and a flipside to the wave of angst-ridden guitar bands that characterised that decade. Influenced by obscure experimental and pop bands, Stereolab set about creating a post-rock avant-garde sound that would hold them in high regard with critics and music fans alike. Returning with their […]
We talk with Tindersticks keyboardist and founding member David Boutler about version 2.0 of The Tindersticks, the stunning new album The Hungry Saw, the re-issue of their back catalogue, Songs for the Young at Heart and more. It’s been half a decade since the last Tindersticks album, Waiting for the Moon, a fine record and […]