ANNOUNCE NEW ALBUM ‘WILD NIGHTS’ RELEASED ON 8TH JUNE
RELEASE NEW 7” SINGLE ‘TOO LITTLE TOO LATE’ ON 30TH MARCH
SLEATER-KINNEY SUPPORT IN MARCH & DRENGE SUPPORT IN APRIL
HEADLINE LONDON SHOW ANNOUNCED
With a slow motion video, which sees PINS, dressed exclusively by Saint Laurent, cut between visuals of screaming and swearing girls amidst overflowing glitter and powder, ‘Too Little Too Late’ is the perfect taster of the bands new album. Premiered this week on Marc Riley’s 6Music show, opening with a fearless drumbeat and heavy bassline, the track slows into a sparse momentary instrumental before reverting back to Faith’s alluring vocal and finally stampeding heavily into a fuzzed up sound clash of guitars and drums.
PINS say; “Writing the ‘Too Little Too Late’ lyrics was very cathartic, they spewed out like hot lava from an angry volcano. It is a middle-finger-to-the-world kind of song and the video mirrors that notion. Hell hath no fury like a woman scorned!”
The B-side to the 7” is a cover of The Misfits ‘Hybrid Moments’, a track the band also perform live, which was recorded for Part Time Punks and mixed by Josiah Mazzaschi.
Recorded in Joshua Tree at Rancho De La Luna with Dave Catching (QOTSA, Eagles of Death Metal) and Hayden Scott, and mixed in New York with Ben Baptie at Atomic Sound NYC (Mark Ronson), PINS second album ‘Wild Nights’ will be released through Bella Union on 8th June. The full album tracklisting is as follows:
Curse These Dreams
Dazed By You
Got It Bad
Too Little Too Late
House of Love
Accumulating high praise and a growing fanbase for their debut album ‘Girls Like Us’, along with packed out headline shows and tour dates supporting the likes of Crocodiles, Sleigh Bells, Warpaint, The Growlers and The Fall, tight-knit girl gang PINS have had quite a two years.
Following on from their first West Coast tour and performances at New York’s CMJ festival at the end of last year, PINS previewed songs from their new album at three sold out UK shows last week and have just been announced to support Sleater-Kinney on their March tour and Drenge on their April tour. They will also play a headline London show on 27th May at The Lexington. Full live dates are as follows:
March (with Sleater-Kinney):
Weds 18th Berlin Huxleys
Sat 21st Antwerp Trix
Mon 23rd London The Roundhouse
Tues 24th Manchester Albert Hall
Weds 25th Glasgow O2 ABC
April (with Drenge):
Fri 10th Nottingham Rescue Rooms
Sat 11th Birmingham The Institute
Mon 13th Gateshead The Sage
Tue 14th Glasgow The Classic Grand
Wed 15th Liverpool The Kazimier
Tue 21st London Electric Ballroom
14th-16th Brighton The Great Escape
Wed 27th: London The Lexington Headline Show
Bella Union are thrilled to announce the signing of Ezra Furman, whose 2013 album Day Of The Dog and riotous live shows with his band The Boyfriends won numerous 5 star reviews.
Furman, who The Guardian has called “a punk-fired rock’n'roll classicist,” has just announced news of his biggest London headline show to date, at Shepherd’s Bush Empire in October, the pre-sale tickets of which go on-sale tomorrow via Songkick followed by general on-sale this Friday 6th March. Date/info below:
Thursday 22nd October – LONDON – O2 Shepherd’s Bush Empire (TICKETS)
This show will follow the summer release of his as-yet-untitled first album for the label. The first taste of its unfettered melodies and charisma can be heard in the forthcoming single ‘Restless Year’ which is streaming here:
The news is the latest chapter in a musical career that redefines slow-burning. Day Of The Dog was already the American’s fifth album; looking back, it seems extraordinary that these early records passed relatively under the radar, given Furman’s inspirational blend of seminal influences, from Fifties skiffle and doo-wop to Sixties garage and the righteous mix of urchin charm, winning melody and caustic humour of Jonathan Richman and The Violent Femmes. But Furman is a true original, equally tapping the godheads of power pop and country blues, with honking saxophone as much a lead instrument as guitar.
Day Of The Dog was dedicated to, “all those who are rejected, abused, destitute, misunderstood, bullied, forsaken, broken-hearted, hopeless, sick, strange, lonely, alienated, widowed or orphaned,” and Furman gives emotionally charged voice to the aforementioned while penning lyrics that jump off the page. The punchy middle-eight of ‘Restless Year’ – “Death is my former employer / Death is my own Tom Sawyer / Death waits for me to destroy her / I never wanna die and I never grow older” – is brilliant testimony to his mixture of outsider-angst and life-affirming energy, which is always reflected in his electrifying stage persona.
Summer 2015 will see the release of Furman’s most fully realised and streamlined record, chock-full of snarling, zestful tunes and invested with the feeling that, this time, people are paying attention. “One of the main things my music is about is feeling totally insane!” Furman concludes. “I feel desperate a lot – desperate to try to explain something, I’m not sure what it is. You can hear it in a lot our songs; that I’m trying to shake people by the shoulders and explain something. And when you feel like that, here’s some music to put on!
A video for ‘Restless Year’ is coming soon along with news of further live shows.
The Line of Best Fit have premiered new track ‘Stay’:
Lost practices, hidden worlds, secret topics – Landshapes shift around the dark, magical borders of alternative culture, soaking up poetry and peccadillos, high art and low desires.
On their second album Heyoon, released on Bella Union on May 4th, Landshapes explore everything from a 17th Century tale about migratory space geese; tragic Dutch artist Bas Jan Ader who died on a failed Atlantic crossing, the desire to inhabit another’s psyche and nights out at drag bars. With Landshapes, anything could happen.
Previously Lulu And The Lampshades, 2012 saw them accrue a wealth of guitar pedals, a fascination for mind-expanding noise and, following a mis-billing in Paris, a new name: Landshapes.
2013 debut Landshapes album Rambutan was a voyage of discovery as they hunted out this elusive new soundscape. Electronics clashed with traditional shanties, eastern atmospherics met spaghetti western overtones, nothing was out-of-bounds.
Described by one reviewer as “conjuring up images of twisted Tim Burton nighttime fairgrounds where all the rides are manned by Tom Waits”, it combined art, folk, psychedelia and math-rock in a beguiling morass of ominous strings, oddball found-sounds and insidious melody.
The band were still mapping Landshapes though. Over the next year of intense rehearsals and live outings – including CMJ, Green Man and End Of The Road, they honed the self-professed “unleashed and loud” sound into a focused tornado.
They worked with an open palate and freeform approach. “Making patterns, moods, and noises, enjoying conflicts of sound that can be explored and then resolved.” Key to this development was a fortnight spent in a cottage in the woods of Cornwall in September 2014
“Something about all that fresh air, sea, and woods and fire manifested in something much darker and much more menacing than anything we’d written so far,” Luisa explains. “That’s when it felt like we’d started the album.”
After road testing the new material and earning all-female mosh-pits in the process, the band hit Soup Studios in Limehouse with producers Giles Barrett and David Holmes. Here two more songs came together including lead single Moongee, a masterpiece of hallucinatory sludge rock inspired by interplanetary wildfowl, a tale by 17th century Bishop Francis Godwin recently re-imagined by artist Agnes Meyer Brandis.
The resulting album Heyoon is astounding, both sonically and thematically. If you want to take the highbrow road through this dense maelstrom of psychedelic math-fuzz beauty, then focus on the lustrous, unsettling lounge drone of Fire. A reflection of a Lydia Davis story called Forbidden Subjects, the track documents a post-break up friendship. “Conversations are so barbed and loaded, it’s the fire of conflict but also the memory of the fire of chemistry.”
There’s a rich seam of break-up philosophy running through Heyoon. The Lynchian torch-gaze of Red Kite concerns “still feeling deeply affected by a past relationship, but putting that neatly, and tenderly in a box so that you can move on.”
The untamed, carnival-whirling pop of Ader recalls tragic visual artist Bas Jan Ader, whose work still remains unexplained following his death in a little sailboat, alone on the Atlantic. “People have speculated over what he’s sad about,” adds Luisa. “That it could be the absolute loneliness of all humans and that you can never completely know another person.”
Wallow in the bass-fuelled end of Heyoon and you’ll embrace the stampeding thunk-punk of opener Stay, a booty-call set to music that shape-shifts into a post-orgasmic bliss dream in its second half. Then there’s the sultry Gallic trembles of Francois, a courage song exploring gender with luring verses coaxing someone to go out, go to a party and be themselves.
Brooding, beautiful, haunted and occasionally barbarous, Heyoon is a record about secret, hidden things, right down to it’s title, a mispronunciation of a secret pavilion hidden in the woods of south-east Michigan, near Ann Arbor.
“These two guys built this weird structure, kind of a pavilion, on one of their properties, hidden in a clearing in the woods. The story goes that teenagers stumbled across it and it became a place people would escape to. Young teens looking for somewhere to hang out, somewhere just to smoke and drink and do all that stuff, a temple of firsts. You can only find it if somebody takes you there who already knows it. It’s a beautiful story, although we’re probably doing something blasphemous, because it’s a secret, calling our album that.”
Landshapes: climb inside and explore.
Dan Blackett (drums, vocals), Luisa Gerstein (ukelele, vocals), Heloise Tunstall-Behrens (bass, vocals), Jemma Freeman (guitar, vocals)
With her sublime second album Pleasure Boy due for release 30th March on Bella Union, HANNAH COHEN has just announced news of London headline show at Corsica Studios to begin a European tour.
Thursday 26 March – LONDON – Corsica Studios tickets
Hannah has also just unveiled a new track “Fake It” from the album which can be heard here…
Music often comes from a deep place, and in the case of Hannah Cohen’s stunning and heartrending second album, it’s very deep indeed. Mainly inspired by a painful break-up and the anxieties that loss can trigger, Pleasure Boy cushions its sadness in an exquisitely nuanced soundscape of aching melancholy and lush melody where Hannah’s vocal conveys all the different shades of heartbreak. Following the album’s completion, she’s survived the calamity and found a new level of happiness, but to paraphrase the classic Sixties hit, there will always be something there to remind her with Pleasure Boy.
‘Pleasure Boy’, like her debut ‘Child Bride’, was produced by Thomas Bartlett, aka Doveman, whose work with artists such as The National, Antony Hegarty and David Byrne singles him out as one of America’s current finest producers and collaborators, though he’s also a talented pianist. The dynamics of ‘Pleasure Boy’ was the result of Hannah and Bartlett, “bunkering down with my songs, experimenting with different tones and sounds, and layering them. My first record was so airy and roomy, I didn’t have patience for that again, I wanted more movement, something more mysterious and witchier, so we created this sound wall together.”
Pleasure Boy will be released 30th March on Bella Union.