Grouper: Ruins


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From Liz Harris AKA Grouper:
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Ruins was made in Aljezur, Portugal in 2011 on a residency set up by Galeria Zé dos Bois. I recorded everything there except the last song, which I did at mother’s house in 2004. Iʼm still surprised by what I wound up with. It was the first time Iʼd sat still for a few years; processed a lot of political anger and emotional garbage. Recorded pretty simply, with a portable 4-track, Sony stereo mic and an upright piano. When I wasnʼt recording songs I was hiking several miles to the beach. The path wound through the ruins of several old estates and a small village. The album is a document. A nod to that daily walk. Failed structures. Living in the remains of love. I left the songs the way they came (microwave beep from when power went out after a storm); I hope that the album bears some resemblance to the place that I was in.”
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Ruins is out November 3 via Kranky; listen to “Call Across Rooms” below.
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Sleaford Mods: Chubbed Up +

Cover for Chubbed Up +
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From the bio:
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Sleaford Mods are a duo that need little introduction, but here’s one anyway: electronic munt minimalist punk-hop rants for the working class and under from Nottingham, UK. Since fiercely penetrating people’s consciousness on a large scale with their sixth album Austerity Dogs in 2013, they’ve garnered critical acclaim with this year’s brilliant Divide And Exit and now they’re joining forces with Ipecac Recordings to release a physical version of their previously released digital compilation Chubbed Up +, which includes three previously unreleased tracks “The Committee”, “Bring Out The Canons,” and “Fear Of Anarchy.””
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Chubbed Up + is out now on Ipecac Recordings; check out “Jolly Fucker” below.
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Dan Bodan: Soft


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From the label:
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Soft, the new album from Dan Bodan, is a rose-scented journey through millennial love issues, Soundcloud collage, and post-empire paranoia, co-produced with Physical Therapy and Ville Haimala (Renaissance Man) and featuring M.E.S.H., 18+, Great Skin, Latisha Faulkner, Dena Yago, and Stadium.

Berlin based songwriter Dan Bodan was born in the wide open Canadian prairies and raised in Montreal. Reared on the city’s underground noise and experimental music scene, Bodan moved to Berlin eight years ago; blossoming in the city’s unique mixture of crumbling old-world european values, start-up philanthropy, sleepless techno and epic grey skies, he began writing songs to soundtrack his train rides through the city and make sense of it all.

Working together with a team of world-class producers, poets and artists, Bodan writes songs to fit comfortably in that space between the finger and the mousepad, the bedroom and the club, the earth and the ether.”
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Soft is out now on DFA Records; listen to “Jaws Of Life” below.
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Run The Jewels: RTJ2

Killer Mike and El-P have been telling us that a sequel to last year’s crushing Run The Jewels album was in the works ever since that record dropped, and they’ve just made good on their promise in typically generous fashion, releasing RTJ2 as a completely free download in the early hours of last Friday morning – five days ahead of its official commercial release on Nas’ Mass Appeal label. Now, I could waste 200 words telling you how heavy El’s grimy space-battle beats are, espousing the heartwarming camaraderie between these real-life best buds or trying to describe the vein-popping ferocity with which both MCs deliver their rhymes throughout, but if you’re familiar with the first RTJ or either of the pair’s 2012 solo LPs you’re going to know about all of that already; I could also assure you that RTJ2 belongs to the Godfather II/ Empire Strikes Back/ Terminator 2/ Dark Knight school of darker, angrier, better-than-the-OG sequels, but why would I waste your time doing that when you can just grab it for free – with Jaime and Mike’s blessing – and come to that conclusion all by yourself? Do that, then do the right thing and buy the motherfucker too.
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Mysteries: New Age Music Is Here


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From the bio:
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Mysteries is just as it implies. A few months ago the Felte label received an anonymous demo accompanied by a photo of three figures, faces covered like some sort of futuristic druids. To this day the label still doesn’t know the group’s origin, but the joy of discovering this music unimpeded renders this fact almost irrelevant. With guesses ranging all the way from Wild Beasts to Abe Vigoda, and some places drawing comparions to the likes of Depeche Mode and Antony & the Johnsons, their debut album New Age Music Is Here – exotic, crunchy, muscular, expressive pop music built around vocals and drums, rather than the big synth or guitar riffs prevalent today (almost like a psych-rock, cyborg, 50’s doo-wop Alice Coltrane if you will) – marks the beginning of one very exciting anonymous project.
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New Age Music Is Here is out now on Felte; listen to “Newly Thrown” below.
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Dope Body: Lifer


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From the press release:
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“Baltimore quartet Dope Body return with their second album for Drag City, Lifer, refining the aural yawp they have been perfecting for some time, wild windmills honing into surgical strikes, the band’s gut-busting repulsion-sound continuing to expand without losing any of the feral energy that the group have become renowned for. There is a distinct evolution from one Dope Body record to another, and Lifer is no different. “Repo Man” showcases the progression of the band’s songwriting, a creeper, crooning with an oscillating bass groove before whipping into a frenzied stomp. “Day By Day” has a propulsive sound, demonstrating the band’s frenetic spirit and “Hired Gun” is pure sonic pyrotechnics with a forward-evolving, dynamic range of loud/soft/loud and a big singalong chorus. Where most songs showcase singer Andrew Laumann’s rhythmic ability, “Rare Air” is one of the first Dope Body tracks that exhibits his talent for constructing melody. Although it is tempting to imagine the members of Dope Body emerging from some rock and roll cave to terrorize yet again with a new wave of Sabbath-refracted mayhem, when these musicians and fine artists get together the storm brews, songs are rocked and written and we’re propelled into another sweaty go-round. This is actually a controlled demolition, planned but with room to take down additional structures.”
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Lifer is out now on Drag City; check out “Hired Gun” below.
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Objekt: Flatland


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From the label:
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“Written between 2012 and 2014, Objekt‘s debut album Flatland follows up a succession of dynamic single releases from his base in Berlin. His recorded work so far has toyed with techno and electro conventions and has turned dancefloor tropes on their head, tickling the boundaries of what can or can’t constitute an effective club record. Approaching the album format on its own terms, TJ Hertz makes full use of the larger canvas to explore a framework of competing truths, multiple perspectives and conflicting accounts. Flatland imagines a world in which any scene can be seen from every angle at once; semblances and cross-references entwine the eleven original tracks and Objekt’s existing recordings, shaping a powerful and absorbing album that weaves between the alien and the hauntingly familiar. This is an effervescent body of work, its sound design evoking vivid imagery and conveying the same unmistakeable sense of detail and movement for which Hertz has become known. On his first attempt, Objekt has constructed a mature and multilayered album with its own story to tell, from whichever angle you choose to approach it.”
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Flatland is out now on PAN; listen to “Second Witness” below.
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Peter Broderick: Colours Of The Night # Satellite


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From the label:
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(Colours Of The Night) Satellite is Peter Broderick’s first song-based release in two years, during which the singer-songwriter-composer-multi-instrumentalist and serial collaborator was struck down by a debilitating illness that forced him to re-evaluate his life. It meant a scaled-back workload and moving from his Berlin home back to his home state of Oregon. Thankfully, after a period of rehabilitation, he’s now back on track. “One of the record’s main themes is how bad stuff can have a rejuvenating effect,” says Broderick. The 5-track EP opens with ‘Colours Of The Night (Satellite Version)’, a sparkling, Afro-pop-tinged beauty that embodies the concept. “Night time is so monochromatic, but actually there are all these different shades of grey. I’ve often explored melancholic moods before, but this time I wanted a balance of darkness and light. I wouldn’t feel so happy now without the struggle.” A rejuvenated Broderick began recording again. Back in Berlin, an alternate, dub-enhanced and expanded version of ‘Colours of The Night’ was created by best friend and collaborator Greg Haines. He also helped record the EP’s closing track ‘More And More (Mouth Trumpet Version)’, with its beautiful and uncanny brass coda sung by what Broderick calls his, “fake trumpet voice.” Despite its European origins, Broderick says (Colours Of The Night’) Satellite was inspired by, “getting back in touch with my American-ness,” after seven years living abroad. He name-checks Neil Young, Chet Baker and Arthur Russell as particular influences, which is America as it should be, a mix of folk, jazz, rock and rhythm that perfectly reflects Broderick’s new music, which sounds like the cleanest bill of health that anyone could possibly hope for.”
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(Colours Of The Night) Satellite is out now via Bella Union; check out the title track below.
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Oozing Wound: Earth Suck

Modernity is a bummer, and humanity’s drive towards its own destruction is at a fever pitch. Oozing Wound finds humor in our ridiculous habits and, by magnifying our most destructive behavior to its extreme end, allows us to laugh at the idiocy and the horror of it all. This mindset is at the center of their second full-length Earth Suck, a collection of destructive thrash that is seemingly teetering at the edge of control and collapse. Zack Weil’s guitar is reckless, his palm-muted chugs coming at breakneck speed and pinch harmonics squealing like sonic bolts of electricity; Kyle Reynolds’ drumming is unrelenting, wild and unrestrained but executed with a level of jaw dropping precision; Kevin Cribbin’s manic, mammoth bass delivers wallop after wallop of fuzzed out low-end. Oozing Wound revels in the absurdity of horrifying realities, playing up fear and desperation to reveal the underlying humor. On Earth Suck they offer increasingly extreme portraits of moral and societal decay seen through the eyes of those doing the perpetrating. On “Genuine Creeper” Weil embodies a fetus eating its twin: “Kill your neighbor or kill yourself – I creep tonight”; on “Hippie Speedball” he becomes an addict who can’t go to work without getting high: “I can’t wake up without my hippie speedball.” Oozing Wound’s energetic and expansive variation on thrash thrives on antagonistic repetition and addictive riffage, avoiding pretense like a plague.
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Earth Suck is out now on Thrill Jockey; check out “Going Through The Motions Til I Die” below.
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Scott Walker + Sunn O: Soused


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From Boomkat:
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“…And the earth crack’d to reveal Scott Walker & Sunn 0)))‘s colossal offspring Soused in its riveting, tragic glory. Four years on from their proposed collaboration on the latter’s Monoliths & Dimensions, arch avant-crooner Walker meets the robed duo of Greg Anderson and Stephen O’Malley (and their live cohort Tos Nieuwenhuizen) at the apex of their powers, presenting a peerless, operatic vision of doom metal informed as much by Native American history and underground US psych as experimental jazz and electronic dynamics. Soused offers a complex, widescreen portal to a chiaroscuro world slashed in black by Anderson and O’Malley and illuminated by Walker’s range of possessed vocal personas, from anguished despair to internal torment and shocking convulsions. Embarking over the bull-whipped Moog bass momentum and banking riffs of ‘Brando’, Walker is a disturbing yet utterly compelling presence enticing us to cross thresholds into the arcane, uncanny worlds animated by Sunn 0))), whether projecting across the molasses drone trudge of ‘Bull’ or alternately wilting and lashing out from the percussive attacks and abyssal tar pits of ‘Herod 2014′. By fourth song ‘Fetish’ their path has narrowed to a nightmarish corridor of re-amped synth ghouls and spectral noise before distant drums abort the pregnant drones somewhere in the final third, for closing shot ‘Lullaby’ to emulsify their unheimlich resolution at its most dramatic, synth-fired and intimate. It’s a genuinely remarkable session, surely one of 2014’s best.”
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Soused is out now via 4AD
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