With the release of their new album ONDA less than two weeks away, Jambinai have debuted yet another enthralling single, titled ‘Sun.Tears.Red’, showcasing their extra-ordinary fusion of metal, post-rock and noise. Of the track, band spokesperson Lee Il-woo explains that, “Most people expect Asian traditional music to make something smooth for yoga or meditation. We wanted to break all of that.”
Early acclaim for Jambinai’s upcoming new album ONDA…
“A triumph… Countless bands can switch from quiet to loud effectively; few do it with such overwhelming power as Jambinai.” MOJO – 4 stars ****
“Fusing traditional Korean music with post–rock, ONDA is their heaviest yet… ’Sawtooth’ starts as an ambient wash of dulcimers and oboes that mutates into a piece of grindcore, while ‘Sun.Tears.Red’ is a riot of overlapping zithers and post–punk beats… Clever and thrilling in equal measure.” Uncut – 8/10
“With soaring melody lines, ONDA is a seismic return… Especially striking is Sun Tears Red. Culminating in a cascade of bittersweet, melancholy arpeggios, wailing haegeum, pounding geomungo and screaming vocals that wash over like ocean waves, it’s one of Jambinai’s most emotive tracks to date.” Record Collector – 4 stars ****
Jambinai have announced a number of international festival appearances and headline shows, with further dates to be added soon. Tour dates + ONDA album artwork below:
31st May – Hilvarenbeek – Best Kept Secret Festival
5th June – Brussels – AB Club
6th June – London – The Garage
7th June – Porto – NOS Primavera Sound Festival
5th July – Belfort – Eurokeennes De Belfort
13th July – Monts – Festival Terres du Son
8th – 10th August – Incheon – Pentaport Rock Festival
20th September – Clonakity – Clonakilty
22nd September – Monthey – Route Du Pont Rouge
24th September – Quasimodo – Berlin
25th September – Dresden – Beatpol
26th September – Prague – Palac Akropolis
27th September – Linz – Stadtwekstratt
28th September – Kulfstein – Kultur Quartier Kulfstein
Today, Marissa Nadler is pleased to announce her upcoming EU tour for September 2019. To celebrate the announcement Nadler has shared an entrancing TOUTPARTOUT session version of ‘Poison’, filmed and performed in the Pacification Room of Ghent City Hall. Watch the video now and see full dates listed below…
14th September – Leffinge – Leffingeleuren
17th September – Luzern – Neubad
18th September – Bologna – Locomotiv
19th September – Rome – Monk
20th September – Milan – Ohibò
21st September – Zagreb – Mochvara
22nd September – Budapest – A38
24th September – Bucharest – Control Club
27th September – Vienna – Waves
28th September – Leipzig – UT Connewitz
30th September – Copenhagen – Vega
1st October – Aarhus – TAPE
Critical acclaim for For My Crimes, out now on Bella Union:
“The Boston singer–songwriter is at her most powerful yet… With a new strength to her songs, Nadler’s force has never seemed greater.” Q Magazine – 4 Stars ****
“Brooding, intimate songs about long nights of the soul, but with a thoughtfulness and lightness of touch that makes the album a calm, reassuring listen.” The Times – 4 Stars ****
“Beautifully eerie… She’s caught the openness of spirit of her early albums and added a gorgeously gothic undertow – there’s a stately beauty to songs like I Can’t Listen To Gene Clark Anymore, or the devastating intimacy of Interlocking, that’s hard–won.” Uncut – 8/10
“A record that glimmers in all it’s tenebrous ambience… A master–class in Southern Gothic.” Record Collector – 4 Stars ****
“Variously evoking the Cowboy Junkies and 4AD’s 90’s country–goths Tarnation, For My Crimes’ brooding, melancholic songs burn with tangible ardour.” MOJO
“Her best album yet… The ability to detail the minutiae of relationships with detached but recognisable emotion has distinguished the Boston–based musician over her 15–year career.” Rock’n’Reel – 5 Stars *****
“Spellbinding… For My Crimes feels inherently like a chronicle of fading love, but it’s also a potent expression of femininity.” Long Live Vinyl – 8/10
“Her melodies are captivating and her craft comes through strongly… Despite its lyrical themes of romantic suffocation and nostalgia, For My Crimes is steady and unwavering.” The WIRE
Last month saw Danish quintet Lowly release their brilliant sophomore album Hifalutin via Bella Union, a wildly impressive and intricate collection of 14 songs that have along their way caught the ear of many a fan, including Brian Eno. With an EU tour having just been wrapped up the band have today shared a black and white film to accompany their beautiful track ‘12:36‘. Directed by Martin Masai Andersen and shot over four weekends in London, the video documents Stefani and David, a homeless couple struggling with addiction. Speaking of the video the band have shared the following statement…
“Martin has created a documentary about two people finding comfort in each other. He has shown a stark and very honest look into a “day-in-the-life” of a drug addict with all the issues surrounding it, including sleeping rough and also being in a relationship.
He does it in a poetic and empathic way, not to manipulate or be sentimental about it, but just to show a real story.
The meeting between our music and his visuals is pretty remarkable. To us the song embodies the collision between conflict and peace and identity, between the female and masculine, the fragile and soft against the hard. It’s a song about existing and being hyper sensitive about that very fact.
Through Martin’s lens we get a view of Stefani and David’s life, but also their emotions and thoughts as well.
We feel honored to be invited into all their worlds.”
“Lowly make lush, confident pop, layering traditional textures over less orthodox sounds, topped off with crystalline vocals.” Uncut
Lowly have created their entirely own universe of dreamy, luxurious pop.” Clash
“The best albums create their own distinctive worlds that invite the listener to be part of them and Heba is no different… It’s a remarkable debut, it doesn’t sound like anyone else, it sounds like Lowly, who are a band completely on top of their own game.” The Line Of Best Fit
“Their songs nod to the multilayered textures of Cocteau Twins, the lush experimentalism of Radiohead and Little Dragon’s dubby soundscapes. This is music to lose yourself in.” Sunday Times
“A dream–pop masterclass, daring in its vision and exexcution… Lowly have hit the heights for a second time.” The Sun
Just a year and a half since the release of his critically acclaimed LP Transangelic Exodus, Ezra Furman returns with Twelve Nudes, yet another incendiary and inspiring classic from the singer/songwriter/guitarist/bandleader. The album will be released worldwide on 30th August via Bella Union and is available to pre-order here. To celebrate the release Furman has shared an animated video for the album’s lead track “Calm Down”, directed by Beth Jeans Houghton. Additionally, Furman has announced news of an extensive international touring schedule the dates of which are here.
“This is our punk record,” says Ezra Furman. “We made it in Oakland, quickly. We drank and smoked. Then we made the loud parts louder. I hurt my voice screaming. This was back in 2018, when things were bad in the world. The songs are naked with nothing to hide.”
Immediate proof is offered by ‘Calm Down’ (aka ‘I Should Not Be Alone’), the album’s insanely catchy opening track and lead single, bound up in a compact two minutes and 22 seconds.
“Desperate times make for desperate songs” says Furman. “I wrote this in the summer of 2018, a terrible time. It’s the sound of me struggling to admit that I’m not okay with the current state of human civilization, in which bad men crush us into submission. Once you admit how bad it feels to live in a broken society, you can start to resist it, and imagine a better one.”
Furman’s preceding album, 2018’s Transangelic Exodus, was “an angry and fearful and pent-up reaction to events too,” he recalls. “But it was a carefully written and recorded version; we took a lot of time with edits and overdubs. I knew I wanted I make this album quickly and not spend time thinking how to play the songs. Twelve Nudes is a ‘body’ more than a ‘mind’ record – more animal than intellectual, And by affirming negativity, it gives you energy, to reject stuff. There’s more space for positivity.”
Far from being defeated by a world in turmoil, Furman’s productivity has only increased the worse things have got – and he’s taken up different disciplines to boot. Between Transangelic Exodus and Twelve Nudes, the 33⅓ imprint published his deeply personal, thoughtful and incisive book on Lou Reed’s legendary 1972 album “Transformer”, before Furman scored the soundtrack to Netflix’s acclaimed comedy Sex Education (it aired in January), which showcased the tender side of his songwriting.
But all his pent-up energy had to be channelled somewhere: hence Twelve Nudes, which Furman and band recorded in October and November 2018 before the album was mixed by the venerated producer John Congleton (Sharon van Etten, St Vincent, John Grant). Furman says the album has two spiritual heroes – the late great punk rock rocker Jay Reatard, and Canadian poet, philosopher and essayist Anne Carson. “She’s one of my top three living writers,” he says. “Anne had these visions, or meditations, to deal with the intense pain in her life, which she calls ‘nudes’, and similarly these songs are meditations on pain and recognising what’s there if you go digging around in your anger and fear and anxiety. So, my album is called Twelve Nudes.”
“The record is political,” says Furman, “but it offers an emotional reaction rather than being specific or partisan.” Furman’s Jewish identity shapes ‘Rated R Crusaders,’ triggered by the Israel/Palestine conflict and its complex web of refugee trauma. ‘Trauma’, meanwhile, seethes with the spiritual malaise brought on by watching wealthy bullies accused of sexual assault rise to power. America, Furman well knows, is balanced on a knife-edge between white male supremacy and the dream of universal opportunity; hence the references to Mexico, slave–owners and US ‘founding father’ Ben Franklin in ‘In America’. As Furman sings, reiterating the spirit of punk rock, and positivity, “Put it all in a two-minute pop song / A really-mean-it-a-lot song for America.”
“One of my goals in making music is to make the world seem bigger, and life seem larger,” he concludes. “I want to be a force that tries to revive the human spirit rather than crush it, to open possibilities rather than close them down. Sometimes a passionate negativity is the best way to do that.”
Twelve Nudes will be released 30th August via Bella Union and is available to preorder here.
Following the success of their recent Nature EP, Modern Nature have today announced news of their debut album How To Live, released 23rd August via Bella Union and available to preorder here. The band have shared a video for first single “Peradam” of which frontman Jack Cooper says: “Peradam is a word from René Daumal’s novel Mount Analogue, which was the source for Jodorowsky’s Holy Mountain. In the book ‘Peradam’ is an object that is revealed only when someone knows they are seeking it. The song is about striving for something but not knowing what that something is and feeling like whatever it is might be unattainable anyway. A futile quest or some kind of circular dream. I’m sure most people can empathise with that feeling.”
Modern Nature are currently lining up headline shows, the dates of which will be announced soon. In the meantime the band have announced the below festival appearances:
Friday 26th July – Cornwall – Port Eliot Festival
Sunday 18th August – Brecon Beacons – Green Man Festival
Sunday 14th September – Flintshire – Good Life Experience
The city and the country both have distinct, vibrant energies – but there’s something happening in between, too. As factories give way to fields, and highways drift into gravelly roads, the friction can be palpable, the aura electric.
The lines between city and country were on Jack Cooper and Will Young’s minds when they named their new band Modern Nature. They took the phrase from the diaries of filmmaker Derek Jarman, written on the coast of Kent in his Dungeness cottage. Visiting Jarman’s home, Cooper was struck by what he calls a “weird mix of urban and rural” – such as the way a nuclear power station sits next to open grasslands.
On Modern Nature’s debut album, How to Live, urban and rural cross into each other. Plaintive cello strains melt into motorik beats. Pastoral field recordings drift through looping guitar figures. Rising melodies shine with reflective saxophone accents, placing the record somewhere between the subtle mediations of Talk Talk, the stirring folk of Anne Briggs and the atmoshperic waves of Harmonia.
Throughout this continuous work, where no song ever really seems to end, there’s an indelible feeling of constant forward motion. It’s as if the band is laying down a railway and riding it simultaneously, and you can hear all kinds of landscapes passing by.
The endless feel of How to Live was inspired by Cooper’s experience making his 2017 solo album Sandgrown. It was the first time he made a record with a defined theme – a suite of songs about his hometown of Blackpool – and imposing a narrative framework turned out to be refreshingly liberating. “When I started thinking about a new project,” he recalls, “going back to making an album of unconnected songs seemed as strange as making a movie with completely unconnected scenes.”
As he began writing songs, Cooper was also tuning to the vibes of Earth Loop, an instrumental solo album by BEAK>’s Will Young (under the name Moon Gangs). For a long time, Cooper had hoped to work more with Young, who almost joined his first band, Mazes, and was in the touring version of his next group, Ultimate Painting. So he decided now was finally the time, as he puts it, “to make good on hundreds of late night ‘we should really do music together’ conversations.”
“Over the next few weeks I started sending Will songs, and we began meeting up, working on ideas and formulating the bigger picture as it were,” Cooper recalls. “Approaching the album as a film or play made complete sense, and from that came the idea to have a very defined narrative, reoccurring themes and chord progressions, field recordings and a set palette of instruments and sounds. Each song came with pages and pages of notes, musical references, films, books, places, words and feelings.”
The richness of the ideas in these songs is matched by the resonance of the music. Cooper and Young’s organic compositions gain muscle through the thoughtful cello of Rupert Gillett, the insistent drumming of Aaron Neveu (of compatriot outfit Woods), and the expressive saxophone of Jeff Tobias, from Brooklyn jazz/rock juggernaut Sunwatchers. Each track on How to Live evolved as these creative forces joined the group, and it shows. The entire album courses with both precision and vitality, and is a work of surprising layers and limitless depths. Modern Nature may have been inspired by the line between urban and rural, but with How To Live they’ve gone a step further, and created their own complete world.
How To Live will bereleased 23rd August via Bella Union and is available to preorder here.
Having recently announced their self-titled debut album, The Soft Cavalry (husband/wife duo of Steve Clarke and Rachel Goswell of Slowdive) today share the visuals for current single ‘Dive’. Speaking of the track Steve Clarke describes his perpetual fear of being out of depth in the sea, “as long as my feet can touch the bottom and I can see what’s beneath me I’m OK, although the slightest feel of seaweed or a slippery rock sends my anxiety levels through the roof. I try to remind myself… to date… I’ve never been attacked by a shark. The song ‘Dive’ is about conquering fear and an acceptance that for every answer there’ll always be another question.”
So… The Soft Cavalry. What is it? A happy accident? A lovers’ story? A crisis of faith? In reality, it’s all of these.
For Steve Clarke, The Soft Cavalry’s self-titled debut album is equally a labour of love, and the first record he’s masterminded from start to finish, with invaluable contributions from his wife, Slowdive’s Rachel Goswell, on co-vocals and spiritual/practical guidance, and Steve’s brother Michael, who produced the record.
The band’s music is a particularly British brand of intense cinematic drama. Melodic and timeless, the album lands in the atmospheric dimensions between Pink Floyd, Talk Talk and R.E.M. A record radiating midlife crisis but equally enormous elation; a helix of fear and hope, aching for resolution. A record Steve emphasises that he “needed” to make.
The album is also a way of rewriting a man’s narrative, and proof that relative late bloomers (Steve was in his late 30s when he made the album) can make the record of their dreams.
In 2014, Steve was stuck. Divorced since 2011, the intervening three years had been, “a haze,” he admits. Since the late nineties he’d played bass and sung backing vocals in bands (both studio and live) and sessions, while also working as a tour-manager. His new assignees were reformed Home Counties faves Slowdive.
“I was hungover in the back of my van trying to work out how I was going to fit all the band’s gear into this confined space whilst I still had all of mine from the show that I’d played in London the night before,” he recalls. “The second of two sold-out shows at Hammersmith Apollo with David Brent!”
That was the day Steve was introduced to Rachel… A year later, they were living together in Devon, before marrying in 2018. Rachel not only, “turned my world upside-down,” but unwittingly provided, “the catalyst,” for The Soft Cavalry. “I’d always had ideas but never felt that anything I had to say was worthy of anyone’s attention, let alone my own,” he says. “I wish that I could have done this fifteen years ago but, in reality, I simply couldn’t have. But I’m not one to overly wallow. I’d rather plough the various levels of confusion into songs.”
The Soft Cavalry is equally an exercise in creative and personal therapy. The first songs Steve wrote for the album were less about confusion than Rachel-inspired paeans to fate, love, new beginnings: ‘Passerby’ (“Waters break and we are born restlessly into the arms of this unknown”), with Rachel’s gorgeous lead vocal underlining the arrangement’s Slowdive-adjacent ethereality, and ‘Spiders’ (“strand of woven thread / Could be the start of something beautiful?”), a starker, shivery ballad with a feeling of suspended animation. But as Steve opened up, the past began to seep in; years of frustration, anxiety and confusion.
If the album has a theme, reckons Steve, “it’s recovery versus new doubt. I’m there, in the middle. The word that kept coming back to me was ‘resilience’. With the right mentality and people around you, especially family, we get through, and find a level of hope.”
The Soft Cavalry became something of a conversation, even couple’s therapy. Steve, says Rachel, “is always writing, his head always full of lyrics.” Rachel, says Steve, “reins me in when I get obsessed. She’s a good editor. She says my songs can still work without sections of words, that leaving spaces is OK.”
As Steve assembled songs, his invited friends – keyboardist Jesse Chandler (Mercury Rev, Midlake), guitarist Tom Livermore, drummer Stuart Wilkinson and multi-instrumentalist/album producer Michael – helped mould the record’s breathtaking sonics. Says Steve, “I’d grown up with guitar bands and I didn’t want it to be overly guitar-y. We evolved things by trying out ideas. We’d build things up, and then strip them back, and build them again.”
As the album progressed, Rachel formed Minor Victories in 2016 while Slowdive had a gap in the schedule, alongside similarly holidaying members of Mogwai and Editors, for a self-titled album that she and Steve contributed vocal melodies and lyrics to: “it got the cogs turning on a writing and lyrical level, and gave me a certain amount of self-belief,” he says.
After he and Rachel finished their album, Steve found a name for it, out of thin air: The Soft Cavalry. “I can’t explain its literal meaning,” he says. “It just made sense.” Might Rachel be the cavalry? “Maybe! It would be subconscious, but that makes sense too, strangely.”
So, this happy accident, lovers’ story, crisis of faith, labour of love and therapy session is set to continue – Steve’s already got the next installment written, titled The Lost Decade. Lost versus found. Recovery versus self-doubt. The Soft Cavalry has arrived.
The Soft Cavalry will be released 5th July via Bella Union.