Did you just feel the earth shake? I know I did. About an hour ago, Radiohead officially announced their new album, called In Rainbows. From DAS:
Well, the new album is finished, and it’s coming out in 10 days;
We’ve called it In Rainbows.
Love from us all.
I know you’re not interested in my blather right now, so here’s the deal: they’re offering the album in two formats right now, discbox and download. The discbox is £40.00 (a bit over $80) and includes the album on both CD and Vinyl (plus the bonus disc), which will ship on or before December 3rd. The download (which is also part of the discbox deal) lets you download In Rainbows on October 10th; the price you pay for this is entirely up to you. Oh, and the tracklisting!
CD 1 AND VINYL
ALL I NEED
HOUSE OF CARDS
JIGSAW FALLING INTO PLACE
CD 2 AND VINYL
DOWN IS THE NEW UP
UP ON THE LADDER
BANGERS AND MASH
4 MINUTE WARNING
[From In Rainbows, available for download October 10th]
I’ve never been a huge fan of Ricardo Villalobos or the Fabric series, but the latest installment might just turn me one of both. Here’s a track from the incredible Fabric 36, mixed by Ricardo Villalobos.
[From Fabric 36, out October 23 on Fabric]
No, I’m not calling Beck an asshole; I’m referring to the song from his 1994 album, One Foot In The Grave. When I first listened to that album, about two years ago, I immediately pegged it as a straight folk album, and forgot about it until a few days ago. Now that I’ve spent some more time with it, I think it’s safe to say my original assumption was dead wrong. Sure, folk is it’s main influence, but there’s a hell of a lot more here than Beck attempting an impression of early Dylan. No, I’d say this is much closer to Blonde On Blonde-era Dylan, just a bit more drugged out. One Foot In The Grave is just 37 minutes long, but it feels like much more. It feels massive, like a sprawling exploration of a young artists abilities, examining folk-rock at it’s most all the disparate points he can find. While it would be hard to guess the artist here would go on to record Midnite Vultures, it’s clear the album is a distant relative of records like Mutations, Sea Change, and even Mellow Gold. At the very least, it’s an interesting excursion for a fan of Odelay-style Beck.
[From One Foot In The Grave, released 1994 on K Records]
Because I really haven’t posted enough psych-rock lately.
[From Writhing Underground Flowers, out now on Lotus Sound]
Just a friendly warning: don’t listen to Minneapolis duo, To Kill A Petty Bourgeoisie, while your trying to fall asleep. I did this last night, and ended up staying wide awake long after their debut LP, The Patron, had finished playing. During the daylight hours, it’s easy to imagine Jehna Wilhelm’s gentle vocals lulling you off to sleep, but the album becomes clearer, and far more sinister, with darkness. Merging, ambient soft-static with psychedelic dance (is that even a genre??) rhythms , The Patron is constantly shifting focus between these two aspects. As the album progresses, the two styles become more and more intertwined, almost in perfect harmony by the last track.
Obvious references include Björk, My Bloody Valentine, and more recently, Kranky labelmates Deerhunter. But don’t think that Petty Bourgeoisie are some sort of Deerhunter-lite. While the two bands share many similar traits, Petty Bourgeoisie aren’t as immediately accessible. There’s something almost disturbing about the way the album constantly keeps it’s distance from the listener; for every stunning vocal movement, there’s an equally deafening blast of static. Most intriguing, though, is the light-as-air closer, Window Shopping. It leaves us with no grand statement, instead opting to simply fade out. Highly recommended .
[From The Patron, out October 8th on Kranky]
For more up to date images, you may want to visit Hodiau Direkton, a blog which collects and posts images from various Radiohead sites. Thanks to Patricia, Erik, and Merljin for keeping the site up to date!
Sept 23 Update: The new image on Dead Air Space translates to MIGHTNOT OPERATE PROPERLY. This could refer to to yesterday’s indecipherable code, or something new. Also, the arrows on the bottom of the image clearly relate to new song ‘Down Is The New Up’. Expect more news tomorrow morning.
Sept 22 update: Radiohead have posted 3 images on their site, the last of which is new. This image translates to _ENDLESS, using the original code, which was apparently flawed. The code (now referred to as the Worm Buffet Code) has now been update, and is wholly correct, meaning that the third image actually means XENDLESS, as pictured in this poster. Possible album title? I hope not. In more confusing news, a new Hodiau Direkton image has been posted, which you can see here. The worm buffet code doesn’t work for this image, but fans are hard at work trying to break this new code. Many potentially meaningful words (All I Need, Plausible, Old Song) have been found in the image, but nothing substantial enough for the code to be declared broken. More news as it comes.
If you’ve been following the saga of Radiohead’s seventh studio album, you know that the wait for LP7 has been a long and arduous one for fans. Originally rumored for a 2005 release, it wasn’t until last month the the band confirmed the album was even finished. Now, as they promised, new details are beginning to surface about LP7. Over the weekend, Radiohead’s website was updated, replacing the words “hiding in the woods” with “emergent life form”. Many fans took this as a sign that bigger news would emerge soon, and they were right. Yesterday, the website was updated again, with a link to this image, entitled sep20.jpg. Big new, eh? Well, being the insane citizens they are, fans soon realized that the image was a code, and proceeded to “crack it”. The resulting message? YES WEARE STILL ALIVE. Still, not much, but earlier today, more info emerged when this image (sep21.jp) was found on Radiohead’s server. Using the same code that fans so lovingly pieced together, this image read BLINKYOUR EYES ONEFORYES TWOFORNO. These are lyrics from ‘Bodysnatchers’, one of the tracks rumored to be on LP7. So exactly what does this mean? I’m not sure. Maybe that Bodysnatchers will be the first track of the new album. Or maybe that the song is at least on the album. Or, perhaps, nothing at all. This one’s up to you.
I’ve been meaning to post about these guys (and gal) for a while, so here I go. High-energy punk rock, with alternating male and female vocals. Sort of remind me of the Fall, especially on this track. Their new one is a really fun little record. Enjoy.
[From Grass Geysers…Carbon Clouds, out October 9th on Touch & Go]
Right now you can head over to Deerhoof’s site for a new ‘album’, composed of odd little bits of Deerhoof randomness. Go now, as this won’t be around for long.
It took me a while, but lately I’ve been loving Les Savy Fav’s latest album, Let’s Stay Friends.
[From Let’s Stay Friends, out September 18th on Frenchkiss]
For long-time fans, Rawwar, Gang Gang Dance’s latest EP, may come as a bit of a shock. You see, Rawwar is pretty listener-friendly, at least compared to the band’s previous work. Sure, it’s not exactly a Shins record, but it still represents a considerable shift in sound for GGD; the first track actually features conventional vocals. But without their sonic sucker-punches, can Gang Gang Dance still capture the same brilliance that defined their earlier work?
Yeah, they pretty much can. While the first two tracks of the EP could fall under the neutral umbrella of solidity, the third and final track, ‘The Earthquake That Frees Prisoners’, is what truly makes the record. A masterwork composed of ambient tones, echoed cries, tribal drum rhythms, and looped snippets of what sounds like a hallucinogenic soliloquy, Gang Gang Dance makes no efforts to hide that ‘Earthquake’ is Rawwar’s raison d’etre. Clocking in at almost eleven minutes, the track takes up over half the EP, and is surely what most listeners will walk away remembering about it. The first two tracks are merely exposition, and ‘Earthquake’ the core of the record.
As can be expected when a band makes a stylistic shift such as GGD are on Rawwar, fans will be lost in the process. But at the same time, GGD are proving themselves as something more than the avant-garde niche-band most had them pegged for. No longer confined by their fans expectations, if they ever were to begin with, GGD are presenting themselves as a band to be taken seriously, as a band genuinely interested in their own artistic worth. While most modern bands are content to stagnate in their own safety, GGD are not. And for that alone, i applaud them.
[From the Rawwar EP out now on The Social Registry]