LOTS of Run the Jewels (which consists of Killer Mike and El-P) news, folks. They’ve already announced a new album, RTJ2, and now they’ve released the tracklist for the album, shared a massive list of tour dates, AND they’re gearing up for the RTJ2 remix album, which will be out in 2015. These guys are prepared for anything.
RTJ2 features a whole handful of celebrity guests, including Rage Against the Machine’s Zack de la Rocha (on a track endearingly titled “Close Your Eyes (and Count to Fuck”), Foxygen’s Shaun Fleming (a.k.a. Diane Coffee), and blink-182’s Travis Barker. But if that’s not exciting enough for you, you can look forward to the remix album next year (the original album is out October 28 on Mass Appeal). OR you can catch the duo on tour, because they’re hitting up pretty much every major US city and then taking a quick jaunt over to Australia and New Zealand in January. Joining them along the way are Rat King, Despot, and Joey Bada$$.
Over-saturated with Run the Jewels news? Too bad, because here are their tour dates and the RTJ2 tracklist.
02. Oh My Darling Don’t Cry
03. Blockbuster Night Part 1
04. Close Your Eyes (and Count to Fuck)
05. All My Life
06. Lie, Cheat, Steal
08. All Due Respect
09. Love Again
11. Angel Duster
10.15.14 - College Station, TX - Hurricane Harry’s
10.18.14 - Tulsa, OK - Cain’s
10.20.14 - Little Rock, AR - Stickyz
10.21.14 - Memphis, TN - Minglewood Hall
10.22.14 - Nashville, TN - Exit/In
10.23.14 - Birmingham, AL - Iron City
10.24.14 - Columbia, SC - Music Farm
10.25.14 - Charleston, SC - Music Farm
10.25.14 - Philadelphia, PA - Theatre of Living Arts *
11.01.14 - Washington, DC - 9:30 Club *
11.02.14 - Charlottesville, VA - Jefferson Theater *
11.03.14 - Carrboro, NC - Cat’s Cradle *
11.04.14 - Atlanta, GA - Masquerade *
11.06.14- Dallas, TX - Trees *
11.07.14 - Austin, TX - Fun Fun Fun Fest
11.08.14 - Houston, TX - Fitzgerald’s *
11.10.14 - Phoenix, AZ - Crescent Ballroom *
11.11.14 - La Jolla, CA - Porters Pub *
11.12.14 - Pomona, CA - Glass House *
11.14.14 - San Francisco, CA - Mezzanine +
11.15.14 - Portland, OR - Hawthorne Theater *
11.17.14 - Salt Lake City, UT - Urban Lounge *
11.18.14 - Englewood, CO - Gothic Theatre *
11.20.14 - Minneapolis, MN - First Line Music Café *
11.21.14 - Madison, WI - Majestic Theatre *
11.22.14 - Chicago, IL - Metro *
11.25.14 - Detroit, MI - St Andrews Hall *
11.26.14 - Toronto, ON - Danforth Music Hall *
11.27.14 - Montreal, QC - Club Soda *
11.28.14 - Boston, MA - Paradise *
11.29.14 - New York, NY - Stage 48 *
12.30.14 - Lorne, Australia - Falls Festival
12.31.14 - Marion Bay, Australia - Falls Festival
01.01.15 - Sydney, Australia - Field Day
01.02.15 - Byron Bay, Australia - Falls Festival
01.04.15 - Busselton, Australia - Southbound Festival
01.07.15 - Sydney, Australia - Enmore Theatre ^
01.08.15 - Melbourne, Australia - The Forum ^
01.09.15 - Brisbane, Australia - Hi Fi ^
01.10.15 - Auckland, New Zealand - Town Hall ^
* Rat King & Despot
^ Joey Bada$$
Evil shaman and former Whitehouse front man William Bennett a.k.a. Cut Hands has released a couple LPs worth of inspired “afro noise” under his solo moniker, which embalms rich African percussion in abrasive textures. Now the veteran artist has announced that his third record, Festival of the Dead, will be released via Blackest Ever Black, which is kinda funny if you think about it. Not as funny as his cover of Toto’s “Africa” though.
In an accompanying press release, Festival of the Dead has been touted as “music to dance together with, to oblivion, a music both spectacular and ecstatic where, like never before, the spirits of santería and vaudou mix with raw electricity into burning diabolical polyrhythms.” We’re talking noisy voodoo death music guys — Día de Muertos, Dawn of the Dead, and pale goth techno rolled into one. Along with the record details, Bennett has shared opening cut “The Claw,” which has the rapturous bounce of a serious drum circle, only with brutal and shrill drum sounds. Until Festival of the Dead drops on October 13, check out the LP’s full tracklist and “The Claw” below.
Festival of the Dead tracklist:
01. The Claw
02. I Know What I Must Do
03. Damballah 58
04. Parataxic Distortion
05. Festival of the Dead
06. Belladonna Theme
07. Vaudou Take Me High
09. None of Your Bones Are Broken
10. Madwoman (Festival Mix)
11. Fruit Is Ripe
12. Fire Ends the Day
Conspiracy theorists, go ahead and make the leap now: beginning this year, the American government has actively tried to prevent the touring of electronic musicians, under the supposition that their perverse digital beats will hail a wave of cult-followers worshiping an omniscient Korg. I thought it was unusual and downright disappointing when, back in July, I received successive emails notifying me of cancelled/postponed shows from DJ Krush and Venetian Snares, both of whom cited visa issues. Now I’m about to don my tinfoil duster at the discovery that Vladislav Delay (real name: Sasu Ripatti) had to cancel a tour himself earlier this year, citing — you guessed it, because I’m being pretty deliberate in my lead-up here — an unexplained denial of a US visa! I might be outraged if following the system hadn’t imparted floor-level expectations.
But by contrast, Ripatti took the denial in stride, or at least toward an efficient channelling. What could’ve been a dramatic series of angry tweets (the modern outlet for expressions of frustration) instead turned into the album with the relevant title, Visa. It was written in two weeks that Ripatti suddenly found free, and it’s said to be his first truly ambient album in over 10 years — a possible reference to… well, I’m not quite sure. He describes his mindset at the time of Visa’s creation: “a valve broke open… I collected what came out the pipes.”
Ambient music does tend to be more fluid, doesn’t it? Look for Visa in November on Ripatti’s own eponymous imprint. Here’s a preview:
“We’re Burger Records, chomp on THIS” — slogan I’ve been trying to sell Burger Records for a few years now. For whatever reason, the California garage rock label isn’t biting (HYUCK) but that’s not gonna stop me from trying. It’s a good slogan. Here’s something Burger Records is doing though: putting out WHEN, the third record from hazy slack-rockers Tomorrows Tulips, on October 7. And, hey pal, get this: the record features distorted violin and feedback work from the bassist for the Pixies! No, not Kim Deal. Not Kim Shattuck either. Talking Paz Lenchantin here. Current Pixies bassist. Still exciting!
Check out a real NSFW video for WHEN tracks “Baby” and “Glued to You” below:
Now. Let’s say you wanted to hear “Glued to You” but without looking at boobs. Well, listen to that very song at SoundCloud. Now. This time, let’s say you don’t want to hear “Glued to You” and you don’t want to see breasts. All you want is to hear “Baby” but not all of “Baby” and preferably connected to an album trailer for WHEN. In that case, this is for you. I hope you’re happy.
Since 2011, Berlin-based producer Objekt (real name TJ Hertz) has only put out a handful of singles through his own white label imprint, Hessle Audio, and Leisure System (the last being a split with the venerable Dopplereffekt). With each release, Hertz has played with elements of techno and electro, blurring the line between bass-heavy club music and something darker and more experimental. So it isn’t all that surprising that on October 20 he’ll be releasing his debut full-length Flatland on the seemingly infallible PAN label.
Comprised of tracks written between 2012 and 2014, “Flatland imagines a world in which any scene can be seen from every angle at once,” according to PAN. So you can bet your ass it’ll be better than that minimal, ignorant trash coming out of Lineland and Pointland. They have yet to understand the dimensional possibilities that Objekt does.
01. Agnes Revenge
02. One Fell Swoop
05. Agnes Apparatus
07. First Witness
08. Interlude (Whodunnit?)
09. Second Witness
10. One Stitch Follows Another
Soft Swells, the rising synth-rock project fronted by Tim Williams, has a record called Floodlights out next month via Modern Outsider. If that wasn’t newsworthy enough, Williams’ outfit — which features bassist and multi-instrumentalist Christopher Pappas, guitarist Kyle Frederickson, and a cameo from drummer Phil Wilkinson (Brian Eno, Jake Bugg) — has now announced a North American jaunt in support of the sophomore LP. Soft sophomore swells down by the seashore in summer, I’m serious!
Before the official tour kicks off, Soft Swells will play a three-week residency at the Echo in L.A., then surf over to Austin for a gig at Cheer Up Charlie’s. In addition, the group has shared a remix of their title track from mysterious producer EXROYALE, which glides along with a sultry, electro R&B refrain. Shiny stuff. Until Floodlights drops on September 30, the lead single, accompanying remix, and full list of American dates can be found below.
Soft Swells tour dates:
09.08.14 - Los Angeles, CA - The Echo (Residency)
09.15.14 - Los Angeles, CA - The Echo (Residency)
09.22.14 - Los Angeles, CA - The Echo (Residency)
09.26.14 - Austin, TX - Cheer Up Charlie’s
09.27.14 - Houston, TX - Rudyard’s
09.28.14 - New Orleans, LA - The Beatnik
09.30.14 - Athens, GA - Caledonia Lounge
10.02.14 - Washington, DC - IOTA
10.03.14 - Brooklyn, NY - Cameo Gallery
10.04.14 - New York, NY - Piano’s
10.05.14 - Boston, MA - O’Briens
10.07.14 - Columbus, OH - Tree Bar
10.08.14 - Nashville, TN - The Basement
10.09.14 - Chicago, IL - Township
10.10.14 - St. Louis, MO - The Demo
10.13.14 - Denver, CO - Forest Room 5
10.14.14 - Salt Lake City, UT - Bar Deluxe
10.15.14 - Boise, ID - Flying M Room
10.16.14 - Seattle, WA - Lofi
[Photo: Dylan Bell]
From The Times-Picayune:
Nicky da B, the young New Orleans bounce performer best known for his Diplo-produced 2012 track “Express Yourself,” passed away after a brief illness Tuesday (Sept. 2) his manager confirmed. He was 24.
Born Nickesse Toney in New Orleans, Nicky was a high-energy rapper, dancer and fashion plate who emerged on the scene with the frenetic local club hit “Drop It Hot Potato Style,” in 2011. After performing on bills with veteran local rappers and close friends Big Freedia and Katey Red, he began working with DJ and manager Rusty Lazer, making polished, hyperactive contemporary bounce music and slick, artistic videos.
Tuesday evening, Lazer posted this remembrance to his Facebook page:
“There are no words to express the loss all of us who knew Nicky Da B are feeling right now. Thank you all for the kind messages and thoughts. Though his death is tragic he would love nothing more than to be remembered for having brought smiles and joy to people he worked with, performed for and called his friends. He was well loved and one of the brightest artists I’ve ever known.”
• Nicky Da B: http://www.nickydab.com
Radiohead update PolyFauna app with new sounds, images, and the smell of you sweating heavily in anticipation
Radiohead are certainly at a point where actual press releases are mostly superfluous, given that they can spontaneously release a new album and their rabid fans will be on it faster than an actual rabid fan on an exposed piece of red meat. The band could have let the pheromones from Thom Yorke’s operational brainpower transmit details about a new album atmospherically, but instead, they’ve resorted to something a little less (but still) subtle: an update to their PolyFauna app, which was originally released back in February for the sake of showcasing the sounds and images of their 2011 album The King of Limbs. Have you downloaded PolyFauna? I haven’t, because my phone still requires what they call a “flip” motion, but have you?
The app, which was inspired by the work surrounding Björk’s Biophilia, now features “all-new” soundscapes and Yorke harmonies + crazy new landscape imagery. There’s nothing definitively linking this update to work on a new album, but hearken back to when Jonny Greenwood talked about “starting up,” playing, rehearsing, and recording in September (a.k.a. now), and you have what might be too much of a coincidence. Look deeeeeep into the app… are those two chicks making out?!
Check out Yorke’s Twitter for some recently tweeted PolyFauna images.
• Radiohead: http://www.radiohead.com
• PolyFauna: http://www.radiohead.com/deadairspace/140211/PolyFauna
When Aguirre Records reissued Joel Van Droogenbroeck’s debut of library music, Biomechanoid, the world collectively said, “Thanks.” That album’s brand of dark ambient electronics showed a new side of the well-respected Brainticket flutist’s repertoire. Most of the music released in JVD’s post-Brainticket solo mode was issued by Coloursound Library, a label that gave the experimenter free reign to pursue any of his wide-ranging interests, from gamelan-influenced synth excursions to Oberheim DMX drum breaks.
Aguirre’s next batch of reissues relax to even more mellow zones. Meditations Vol. 1 and Vol. 2 both find JVD focusing on his solo flute skills, with plenty of synthetic color to fill out the edges. These Meditations were originally issued on Coloursound in 1980, the same year as Biomechanoid. Both volumes of the Aguirre reissue are available on vinyl now, in limited batches of 500 each.
Languish in “Group Meditation” below:
Meditations Vol. 1 tracklisting:
01. Group Meditation
02. Summer Clouds
03. Sand and Wind
04. Various Reflections
05. A Mantra
Vol. 2 tracklisting:
03. Meditative Contemplation
• Aguirre: http://www.aguirrecords.com
Following the June release of their collaborative album Death Drive (check the Chocolate Grinder), super-duper-indie rapper Sole and super-duper-platinum producer DJ Pain 1 recently released an EP called Pattern of Life. It’s available for free download on Sole’s Bandcamp page along with the album, which, sorry, isn’t free.
Sole co-founded the label Anticon in 1998 with a group of rappers and producers that included Alias, Doseone, and Jel. Currently, the label releases a wide variety of music, but it’s always been founded on an interest in hip-hop that pushed lyrical boundaries.
In regard to his lyrics, Sole has always been exemplary, but his work with DJ Pain 1, who’s produced for Young Jeezy, 50 Cent, and Gucci Mane, finds him treading different waters. Sole is blunter, his flow less varied, more cut and dried, reflecting Pain 1’s impeccable, accessible productions. What Sole actually says, however, remains apart from the mainstream guns ‘n’ hoes chit-chat you may expect over such bangin’ beats.
“Fuck Google” is a good example. Check out the TED Talk-spoofing video for it below. Puts things in good context. And hey, Sole has just begun touring the World minus South America, Asia, and Africa. The dates are right here for you.