Currents

  • Fat White Family

    Fat White Family

    Serfs Up

    Perhaps the world’s last dangerous band, South London’s Fat White Family have stormed the palace, ceased the throne, and on their upcoming third album And Domino debut “Serfs Up!” (4/19), embark on their imperial phase as overlords of a kingdom of their own making. It’s the most gratifying and unexpected creative about-face in living musical memory, and we couldn’t be more thrilled to deliver first single “Feet” first out of the gate.

     

    Seven years into a career defined by collapsing masculinity, Celtic mysticism, provocation, eroticism, wanton violence, joy, radical empathy, narcissism, hog-like indulgence, personality defects and a fondness for both extreme left and right-wing aesthetics – and some of the best musical performances the UK has ever witnessed – South London-spawned Fat White Family return, clean(ish) and serene(ish).

     

    “Serfs Up!” could be called a career-defining moment, were the Fat Whites – always a drug band with a rock problem – to ever have considered this a career. It’s not. It’s so much more. It’s struggle. It’s survival. Potential, finally, has been realised, the odds have been defied, and the Fat White Family’s greatness can no longer be denied.

     

    At the close of 2016 celebrating their largest headline show at the Brixton Academy after four years of touring, FWF were running on fumes. They were just about held together by singer Lias Saoudi who had led, Rommel-like, from day one. Despite hinting at a more streamlined direction on the motoric death disco of “Whitest Boy On The Beach” (chosen by Danny Boyle to feature on ‘T2 Trainspotting’), their second album “Songs For Our Mothers” was the product of psychically-incinerated, part-feral men, an undernourished musical morass described by the band at the time as “going to the extremes.”

     

    With the smoke now cleared and the battlefield-free of casualties, FWF now re-emerge triumphant. The results on “Serfs Up!” offer something utterly sensual. It’s a lush and masterful work, lascivious and personal. Tropical, sympathetic and grandiose. It invites the listener in rather than repel them through willful abrasion. FWF have broken previous default patterns of behavior, and as such their third album heralds a new day dawning for a new world.

    Where once they soundtracked a grubby Britain of vape shops, defrosted dinners and blackened tin-foil, FWFnow inhabit another cosmos entirely. “Serfs Up!” is the product of a band of outlaws reborn. Few but themselves could have forecast it: Fat White Family survived. Fat White Family got wise. Fat White Family got sophisticated.

    Listen: Fat White Family – “Feet” (radio edit)

    Fat White Family – “Feet” (radio edit)

  • White Lies

    White Lies

    Five

    Fresh into the new year and White Lies are excited to share their new single And video for “Tokyo”, with not only the band’s new album “Five” just over the horizon (out 2/1), but news of a whistle-stop tour of North America as well (see tour button)! This triumphant synth-anthem encapsulates the trio’s unerring songwriting chops and acts as a perfect primer for the upcoming album.

     

    As White Lies were working on their new album “Five,” they became aware that its release would coincide with the 10th Anniversary of their breakthrough debut, “To Lose My Life”. It seemed like the right time to close one circle and open another. Over ten years and four albums, the London trio have quietly become one of the UK’s most enduring bands, a cult group who’ve experienced both mainstream success and diehard fandom, a band who make bombastic, grandiose music about the complications and intimacy of day-to-day existence. It was time to kick off their second decade with a statement of intent.

     

    Directed by long-time visual collaborator David Pablos, the “Tokyo” video was shot back to back with the band’s previously released “Believe It” video in Tijuana Mexico at the tail-end of last year and is a brilliant precursor to the band’s imminent album “Five”!

     

    From first hearing “Tokyo,” director Pablos immediately knew what he wanted to create, as he explains: “As soon as I heard the song I knew I wanted to shoot the video during night time. Everything starts with us seeing scenes of life through windows from the outside, but once we go inside we discover nothing is exactly what it looks like or what it appears to be. Each window is a metaphor; more than a real space it is a representation of a mental state. But more than portraying the city, what was important was the human face and to capture the personalities of each one of the characters.”

     

    White Lies explain: “Once again we were lucky to work with David in Tijuana to create what is our best video since ‘Death’. His unique knowledge of the area affording us access into some of the city’s most stunning and bizarre locations helps bring to life his vision of stories of love and loss. Where in the world would you be able to film a scene of the band sat on a 4-story high nude woman? Tijuana, that’s where apparently and resulted in our favourite collaboration with him yet.”

    Listen: White Lies – “Tokyo” (radio edit)

    White Lies – “Tokyo” (radio edit)

  • Royal Trux

    Royal Trux

    White Stuff

    Royal Trux Are Definitively Back! The band’s first album of new songs in 19 Years is “White Stuff” (out 3/1), and the upcoming album not only maintains the magic chemistry between Jennifer Herrema (vocal, moog, guitar, melodica) and Neil Hagerty (vocal, guitar) but expands upon it greatly with their natural ability to give us something unexpected, necessary, and truly unique.

     

    Their lengthy recording break has done nothing to diminish their visionary, visceral intensity and enduring influence. Royal Trux Continue to find innovation in their ‘Bitches Brew’ aesthetic which now defines the standard mash-up approach so commonly ascertained and claimed by the majority of musicians that whether cognizant or not have followed in Trux‘s very large footsteps: “everything in the pot whether you like it or not,” deriving from world music, punk rock, jazz, metal, electronic, southern, teeny-bop and all the rest. In the tradition of the blues, through appropriation and re-evaluation, Royal Trux changed the way we think of music. Their return is nothing short of glorious.

     

    “It’s funny how the outside world perceives or feels compelled to parse complicated relationships and dynamics…Usually it’s an all or nothing game”, muses Herrema. “This next chapter is just another perfectly aligned bit of kismet. No concerted effort to force anything forward or to create something with an eye on the past. Only an awareness that the present had come calling with a gift to assist the future future of Royal Trux. The true believers that were once strangers found their way into our universe because everybody was ready for it and it simply, as if on cosmic cue, came to be.

     

    “its ragged title-track, a barrage of garage-rock distortion, stomping drums, woozy slide-guitar and echoing tandem vocals. Throughout the swaggering cut, Jennifer Herrema and Neil Hagerty celebrate the insanity of touring life, of ‘hanging out and playing all across the land’.”—Rolling Stone

     

    “back up to their old tricks: lots of slithering electric guitar, forceful drums and distorted vocals. ‘White Stuff’ is halfway-punk, with Herrema and Hagerty rocking hard, but musing on some feel-good memories”—PASTE

     

    “a satisfying bar-rock choogle that doubles as the album opener.”—Stereogum

     

    “a gritty party track like rock ‘n roll of ol’”—Consequence Of Sound

     

    “a potent elixir, a moonshine-strong return that contains their illicit chemistry.”—Clash Magazine

    Listen: Royal Trux – “White Stuff”

    Royal Trux – “White Stuff”

  • Perfect Son

    Perfect Son

    Cast

    Polish artist Perfect Son (aka Tobiasz Biliński) is set to release his debut album Cast” on February 15th, 2019. The 10 track album, which features the lead single “It’s For Life,” was co-produced by Biliński and Marcin Buźniak at Axis Audio in Warsaw, with additional production from Jeff Zeigler at Uniform Recording in Philadelphia, and mixed/mastered by Buźniak.

     

    Perfect Son is Sub Pop’s first Polish artist, the result of an extended interest in Biliński’s work and the country itself from label co-founder Jonathan Poneman. Several years ago, Biliński applied to play at South by Southwest as Coldair.  Poneman saw his performance, and was impressed. The two stayed in touch, with Poneman eventually signing Coldair to a publishing deal. “I bugged him about releasing my stuff constantly,” Biliński admits with a laugh. “And I guess he admired my persistence.”

     

    On “It’s For Life,” Biliński’s soft falsetto and arching melodies are embedded in a world of enormous drums, pounded piano, and blown-out bass. The lyric video for the song (below), was co-directed by Biliński and his wife Anna Mayer-Bilińska, and shot in his hometown of Sopot, and in Warsaw, where he now resides.

    Listen: Perfect Son – “It’s For Life” (radio edit)

    Perfect Son – “It’s For Life” (radio edit)

  • The Bright Light Social Hour

    The Bright Light Social Hour

    Jude Vol. 1

    “No matter how much research you put into figuring out who will be the hottest new artists of each year, another act comes into your vision with an output that absolutely blows you away. Today, that band is Austin, Texas’ The Bright Light Social Hour.”—Huffington Post

     

    The Bright Light Social Hour will release “Jude, Vol. 1,” their third full-length album, on February 1st.  Produced by Chris Coady (Beach House, Yeah Yeah Yeahs, Slowdive), the deeply personal album was written after the passing of vocalist and multi-instrumentalist Jackie O’Brien’s brother Alex, the band’s longtime manager who struggled with bipolar disorder. “Jude, Vol. 1”< is the full-length follow-up to 2015’s “Space Is Still The Place,” which spawned songs licensed for HBO, MTV, Fox, The CW, and NBC, and ultimately led to the band composing the theme song for Amazon’s series “Sneaky Pete.”

     

    Known for their incredible live shows, TBLSH is a mainstay on the festival circuit in addition to their own national and international touring, having played Lollapalooza, Hangout Festival, Sasquatch and of course Austin City Limits Fest, to name a handful.

    Listen: The Bright Light Social Hour – “Lie To Me (Große Lüge)”

    The Bright Light Social Hour – “Lie To Me (Große Lüge)”

  • Moving Panoramas

    Moving Panoramas

    In Two

    It’s the triumphant return of Austin, TX’s Moving Panoramas! Spacey but not alienating, loud yet still light, painting panoramic sound against a moving melodic backdrop, the new single “Baby Blues”
    Moving Panoramas‘ 2015 debut LP “One”, conjured a wave of dream gaze and international acclaim, but unexpected roadblocks arose during production of this sophomore album, with health hiccups and timing twists causing release detours. Fortunately, the finish line has been crossed and the new LP, “In Two”, which takes flight 2/22/19 on Modern Outsider Records!

     

    Moving Panoramas break the shell of “One” veritably “In Two” with the new record, expanding room for more diversity, rhythm, volume, instrumentation such as the swimmy pedal steel, plus special guests Matthew Caws of Nada Surf, Sabrina Ellis of A Giant Dog/Sweet Spirit, and past Panoramas Karen Skloss, Jolie Flink, and Laura Colwell. Over the years, the band’s lineup featured a moving cast of magical busy talent, but has luckily landed on the incredibly solid current “Baby Blues” crew with Cara Tillman, Jordan Rivell, Jody Suarez, and Phil McJunkins.

     

    The Austin Chronicle describes MP as, “Conjuring a big yet intimate sound reminiscent of Nineties output from Brit indie 4AD.” Pop Matters compares the music to Dum Dum Girls, Best Coast, and The Aislers Set saying, “Austin-based band Moving Panoramas waste no time creating a niche for themselves within that style…” NPR’s Songs We Love says, “The ingredients and the sentiment might be simple, but the outcome is disarmingly complex.” KCRW’s Today’s Top Tune says, “Moving Panoramas have been honing an expansive sound that is rooted in slithering guitar-work and crisp vocals.” Brooklyn Vegan says, “Austin’s Moving Panoramas make hazy psych pop with the kind of intricate harmonies that instantly elevate things a couple inches off the ground.” The Guardian (UK) New Band of the Week says, “They’re in Warpaint’s ballpark, or Best Coast’s hazy dream pop territory, and are most likely to make Theresa Wayman and co jealous.”

    Listen: Moving Panoramas – “Baby Blues” (radio edit)

    Moving Panoramas – “Baby Blues” (radio edit)

  • Indoor Pets

    Indoor Pets

    Be Content

    Following up their intro track “Hi”, Kent, England’s Indoor Pets swoop in for the kill with the Instant sounding New Single “Being Strange,” and upon announcement of their upcoming album “Be Content” (out 3/8/19)!

     

    Familiar feelings of not fitting in or wanting to play the hand life’s dealt you delivered with self-deprecating wit and Indoor Pets’ frontman Jamie Glass’ trademark use of double-bluffing world play. Think Rivers Cuomo and a pre-sandpit Brian Wilson blowing off school to play records and snigger at the cool kids. Indoor Pets’ music is smart, life-affirming and all contained within a thumping primary-coloured pop wallop.

     

    “I feel like a black sheep a lot of the time,” notes Glass of his approach to writing songs. “The logic I had with songwriting was if I could reveal that in my songs and connect with other people who felt like that, then that will cure the feeling of being a black sheep. Everyone would be like ‘I’m a black sheep too! There’s thousands of us, we’re all loners!’ It nullifies the feeling of being a weirdo. Basically I’m just waiting for everyone to justify me being weird.”

     

    “Shining power pop melody and raucous indie punk”—Clash

     

    “a burst of fuzzed-out guitar riffs combined with soaring pop sensibilities”—DIY

     

    “The quartet deliver a giddy, memorable brand of power pop”—NOISEY/Vice

     

    “Indoor Pets pull out all the stops ensuring they pack in as many catchy hooks and jangly guitar riffs into the song as possible….a self-deprecating blast of refreshingly good fun on their exhilarating new offering”—The Line Of Best Fit

    Listen: Indoor Pets – “Being Strange” (radio edit)

    Indoor Pets – “Being Strange” (radio edit)

  • J Mascis

    J Mascis

    Elastic Days

    J Mascis“Elastic Days” is upon us! A collection of songs brimming with epic hooks and subtle guitar textures that slide against each other like old lovers and snare you in surprisingly subtle ways.

     

    Like its solo outing predecessors, “Elastic Days” was recorded at J‘s own Bisquiteen studio. Mascis does almost all his own stunts, although Ken Miauri (who also appeared on “Tied to a Star”) plays keyboards and there are a few guest vocal spots. These include old mates Pall Jenkins (Black Heart Procession), and Mark Mulcahy (Miracle Legion), as well as the newly added voice of Zoë Randell (Luluc)  among others. But the show is mostly J‘s and J‘s alone.

     

    The biggest difference with this record might have to do with the drums says Mascis. “I’d just got a new drum set I was really excited about. I don’t have too many drum outlets at the moment, so I played a lot more drums than I’d originally planned. I just kept playing. [laughs] I’d play the acoustic guitar parts then head right to the drums.”

     

    “a lovely, open-hearted song that punctuates Mascis’ rich, acoustic strums with some lightning-strike electric solos.”—Consequence Of Sound

     

    “a warm, shaggy strummer that’s still a bit more visceral than most of Mascis’ recent solo stuff. He plays some triumphant, blazing electric solos in there, and his drums sound pretty great, too.”—Stereogum

     

    “Elastic Days promises to have more than a good rhythm: We’re looking forward to unexpected hooks and guitar slides that straddle a broad range of genres.”—PASTE

    Listen: J Mascis – “See You At The Movies”

    J Mascis – “See You At The Movies”

  • KT Tunstall

    KT Tunstall

    WAX

    KT Tunstall’s newly released album “WAX” was produced by Franz Ferdinand’s Nick McCarthy, has a rockin’ sound and and is a Great way to re-discover this passionate artist who delivers powerful tunes and kicks it out hard on her latest!

     

    Speaking about her 6th studio album, KT Tunstall says of ‘WAX’ “I knew before I started writing that I wanted it to be an electric guitar record. It had to be visceral, about the physical, and the weight of that, and the obstacles of that. It’s a record about human-ness, which we so often just write off as ‘flaws’.”

     

    The title a nod to the viscous pungency of one of the body’s natural substances. “Wax evokes colonies of bees, candlelight, the material that the first long-playing records were made of”, Tunstall explains, “but more than that, wax is produced inside your own head. You unconsciously create it, and then weirdly that same basic substance has been used for centuries to make the most lifelike replicas of human beings. It has a life glow to it. It sticks to you. We have these strange, ancient connections and relationships with wax. How odd is it that the body produces all these substances from all these holes!” laughs this stoutly down-to-earth singer, songwriter and guitarist.

     

    Tunstall’s had big hit songs that evolved her earlier in her career, and those songs are powerful pieces and certainly a testament to her songwriting and performance strengths to be sure. Now is the time to see who and what she is TODAY–a rockin’ lady leading a musical and social charge who still commands a significant following here in the U.S. and a bigger one worldwide. We Love Her!

    Listen: KT Tunstall – “Human Being”

    KT Tunstall – “Human Being”

  • Lion

    Lion

    Lion

    Following up her fiery Top 3 SubModern charting Single “Self Control”, and hot on the heels of the Londoner’s self-titled EP release, LION’s latest single is the soaring, jagged rocker “Oh No”. It simultaneously conjures Flo & The Machine and The White Stripes via her signature ferocious and raspy howl and a soaring chorus.

     

    The first time LION (aka Beth Lowen) sang in public, a woman she didn’t know approached her. “You sound like you’ve smoked 20 cigarettes,” she told her, “and drunk a bottle of whisky.” Given that Beth was 10-years-old and unsurprisingly had done nothing of the sort, she started to cry. “I thought that was a bad thing,” she recalls, laughing. “And my parents were like, ‘No, no! That’s good!”

     

    Nowadays, Lowen embraces the ferocious, Janis Joplin-esque rasp of her voice. In fact, it’s one of the reasons she chose to adopt the name LION. “Someone said I sound like a lion,” she explains, “Also, everyone says I have lion hair, and ‘Löwen’ means lions in German.” Still, declaring herself deserving of such a fierce moniker wasn’t something that came easily. “I didn’t mention it to anybody for months,” she admits. “It’s a big statement, it’s pretty extreme. But I was looking at people like Lorde, and I was like, that’s f*cking cool. And then I was like, f*ck it. So now it’s “Lion.” The stage name never feels more apt than it does when LION performs live. Her husky but powerful voice, already so potent on record, is unleashed to its full, roaring potential, as she jitters a little behind the mic, bathed in red light.

     

    Lowen doesn’t make music than can be easily compared or categorized. Each song differs from the next – though there’s one thing she hopes they all manage to achieve. “I hope people feel something,” she says, “like I do when I’m playing it. Take what you want from it, but feel. I want to make boys cry.”

     

    + Executive Produced by Linda Perry (Adele, Courtney Love, Pink)

     

    + Fiction Records partnered for Global Release (We Are Hear for North America)

     

    + BBC Radio 1 TRACK OF THE WEEK!

     

    + Strong supporting slots for Albert Hammond, Jr. The Vaccines and UK Festivals

    Listen: Lion – “Oh No”

    Lion – “Oh No”

  • Bob Moses

    Bob Moses

    Heaven Only Knows

    Bob Moses have just unveiled the brand new track “Heaven Only Knows”! The song is the first new music from the Grammy-winning duo since their acclaimed debut album “Days Gone By” featuring their worldwide hit and Top 15 Alternative single “Tearing Me Up”.

     

    Bob Moses is the Vancouver-bred, LA-based duo of Tom Howie and Jimmy Vallance. Born from the Brooklyn underground scene in 2012, the band’s early single releases on taste-making electronic label Scissor & Thread and captivating live performances led to signing with Domino and the release of “Days Gone By”, which garnered them a pair of nominations at both the Junos and the Grammys (and a grammy win).

     

    Meshing guitar licks, dance-floor ambience and classic songwriting, the duo created a sound that appeals equally to club goers And rock fans. Bob Moses will tour North America this fall swinging through all major markets (see our Tours page)!

    Listen: Bob Moses – “Heaven Only Knows” (radio edit)

    Bob Moses – “Heaven Only Knows” (radio edit)

  • Beach House

    Beach House

    7

    Beach House (Alex Scally and Victoria Legrand) released “B-sides and Rarities” in 2017, which served as a proverbial ‘cleaning out the closet’ to pave way for a new creative process. Their approach in the creation of 7″ was rebirth and rejuvenation.  Scally and Legrand used to limit themselves to what they thought they could perform live, but this time that limitation was ignored.  Also, instead of one long studio session, Beach House recorded when inspired by batches of songs, which resulted in five mini-sessions over the course of eleven months.

     

    Unlike the last four albums, “7” didn’t have a producer in the traditional sense. Spacemen 3’s Sonic Boom (Peter Kember) became a significant force on this record by shedding conventions and helping to keep the songs alive, fresh, and protected from the destructive elements of recording studio overproduction and over-perfection.  The band’s trusted live drummer from 2016 to the present, James Barone, played on the entire record, helping to keep rhythm at the center of a lot of these songs.

     

    “The balance, once again, is everything—weightlessness and ballast, vague hopes and creeping dread, sun and shadow.”—Pitchfork

     

    “the tone is immaculate, just the right blend of messy and pristine. It’s like being forced out of a dream into a reality that’s somehow even brighter.”—Stereogum

     

    “It’s a glorious evolution.”—NPR

     

    “Like ‘Lemon Glow’, ‘Dive’ adds a slightly darker and grittier edge to the band’s signature dream-pop sound.”—NME

     

    “fits neatly into the tonal lexicon of Beach House with Victoria Legand’s regal vocals perfectly accompanying Alex Scally’s shimmering guitar licks…it seems as though Beach House are moving into a slightly intense psychedelic territory.”--NOISEY/Vice

    Listen: Beach House – “Dark Spring”

    Beach House – “Dark Spring”