Releases Canal Electro Rock - #Rock #Indie #Alternative #NewWave #Electronic

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Releases Canal Electro Rock (September 2017) #Rock #Indie #Alternative #NewWave #Electronic

::: e radio: september 2017

This was an astounding week for new music, and the Weekend Showcase is 59 songs long. The artists represent 14 countries. Learn more about them and everything we've covered here:

http://therevue.ca/2017/09/17/weekend-showcase-3-36/

Weekend Showcase 3.36

2017-10

2017-A

whirr

GRAVE118 - Whirr 'Sway' out 9/23/14 on CD/LP/Tape/Digital (pre-order here: http://www.graveface.com/graveface-catalog.html)

When Sway begins, you might at first press pause, reaching for your headphone wire or peeking behind your speaker cables to make sure nothing has come undone. The blister of distorted guitar that opens the album comes only from the right channel, howling and hanging there in irascible isolation until it seems that something must be wrong.
But be patient: After a dozen seconds, the rest of Whirr—a five-piece of blanketing rock focus and comforting pop finesse—pours in from the left channel. They meet the guitar in the middle, together racing headlong into a short section that’s heavy as metal but pliable enough to be the springboard for the galloping shoegaze beauty that soon arrives.
For the next 36 minutes, you need not worry again about lost connections, split channels or anything else, really. More than any Whirr release to date, Sway creates a definitive sense of immersion, sculpting an environment that breathes you in instantly and breathes you out only when the record snaps into silence.
That bifurcated start is an appropriate image for Whirr in 2014. Last year, the band headlined a tour with the Philadelphia group and fellow admirers of heaviness and harmony, Nothing. Not only did the crews become fast friends, but their respective founders—Whirr’s Nick Bassett and Nothing’s Dominic Palermo—decided to start a group of their own, Death of Lovers. When the shared tour was finished, Bassett headed to Philadelphia for a month of writing and recording. He’s never really left. He calls Philadelphia home now, so Whirr has become a bicoastal band.
In Philadelphia, Bassett worked on Death of Lovers’ debut for Deathwish Inc., toured as the bassist for Nothing and steadily composed new material for the next Whirr album, their first full-length for Graveface. Back in Oakland, the rest of Whirr had committed to the project full-time, too, so the West Coast contingent wrote and rehearsed new material without Bassett. Joey Bautista took the lead on two songs, Loren Rivera on three.
Indeed, against most odds, Bassett’s move made for a more democratic Whirr. In their salad days, Bassett had written most of the material and built the bulk of the arrangements, too, using the support only to enrich and enliven them. After a slew of splits and singles and EPs, Sway is the second Whirr LP, but it is only the first to be rendered by a fully functional rock band, having shaped the songs slowly and over some distance.
Before the quintet entered Oakland’s Atomic Garden to work with longtime producer and collaborator Jack Shirley, they reworked the contributions of all three writers, massaging the material into a cohesive dynamo. Rivera, for instance, rewrote the words for Bassett’s material, folding his songs into the album’s presiding sense of dusky melancholy.
“It’s not conceptual, entirely, but it’s intended to ebb and flow in a certain way—one song being aggressive, then dropping out and being pretty but devastating,” Bassett says. “We tried to create an atmosphere, where you listen and get vibed into one tone. ”
That rhythm presides over Sway, tying its distinct parts into a seamless unit. The restless “Heavy” churns somewhere between Godflesh and Gish, its lumbering beat and foreboding guitar buoyed by a melody that feels like a secret hymn for which you’ve long searched. Gorgeous and sprawling, “Sway” floats through luxuriating guitars and pillowed vocals, offering an impressionistic but intoxicating inversion of Whirr’s typical propulsion. Even here, during the record’s prettiest moment, Whirr maintains a righteous minimalism, emblematic of members who met one another as skateboarding high-school kids.
“The aesthetic of the band is more aimed at mature punk rather than alternative rock,” Bassett confirms. “There are these more aggressive punk elements—noisy feedback, a snare roll that just goes into super-punchy, driving songs.”
“Clear” brilliantly paints its lyrical quest for lucid communication—“I want words/to understand you,” runs one plaintive, surging bit—in music that takes up the same challenge. Whirr pushes past a pastel instrumental haze into a hangdog march, with near-whispered vocals bruised by Devin Nunes’ drums and Eddie Saldago’s orotund bass line. But as the end approaches, the band builds together, the riffs and the rhythm colliding into one triumphant, redemptive crest.
And that’s the victory of Sway, too, an album written by five people on two coasts but executed with the force and splendor of, at last, a fully unified Whirr.
Graveface will release Sway on CD, LP and digitally September 23.

Whirr - Mumble

GRAVE118 - Whirr 'Sway' out 9/23/14 on CD/LP/Tape/Digital (pre-order here: www.graveface.com/graveface-catalog.html)

When Sway begins, you might at first press pause, reaching for your headphone wire or peeking behind your speaker cables to make sure nothing has come undone. The blister of distorted guitar that opens the album comes only from the right channel, howling and hanging there in irascible isolation until it seems that something must be wrong.
But be patient: After a dozen seconds, the rest of Whirr—a five-piece of blanketing rock focus and comforting pop finesse—pours in from the left channel. They meet the guitar in the middle, together racing headlong into a short section that’s heavy as metal but pliable enough to be the springboard for the galloping shoegaze beauty that soon arrives.
For the next 36 minutes, you need not worry again about lost connections, split channels or anything else, really. More than any Whirr release to date, Sway creates a definitive sense of immersion, sculpting an environment that breathes you in instantly and breathes you out only when the record snaps into silence.
That bifurcated start is an appropriate image for Whirr in 2014. Last year, the band headlined a tour with the Philadelphia group and fellow admirers of heaviness and harmony, Nothing. Not only did the crews become fast friends, but their respective founders—Whirr’s Nick Bassett and Nothing’s Dominic Palermo—decided to start a group of their own, Death of Lovers. When the shared tour was finished, Bassett headed to Philadelphia for a month of writing and recording. He’s never really left. He calls Philadelphia home now, so Whirr has become a bicoastal band.
In Philadelphia, Bassett worked on Death of Lovers’ debut for Deathwish Inc., toured as the bassist for Nothing and steadily composed new material for the next Whirr album, their first full-length for Graveface. Back in Oakland, the rest of Whirr had committed to the project full-time, too, so the West Coast contingent wrote and rehearsed new material without Bassett. Joey Bautista took the lead on two songs, Loren Rivera on three.
Indeed, against most odds, Bassett’s move made for a more democratic Whirr. In their salad days, Bassett had written most of the material and built the bulk of the arrangements, too, using the support only to enrich and enliven them. After a slew of splits and singles and EPs, Sway is the second Whirr LP, but it is only the first to be rendered by a fully functional rock band, having shaped the songs slowly and over some distance.
Before the quintet entered Oakland’s Atomic Garden to work with longtime producer and collaborator Jack Shirley, they reworked the contributions of all three writers, massaging the material into a cohesive dynamo. Rivera, for instance, rewrote the words for Bassett’s material, folding his songs into the album’s presiding sense of dusky melancholy.
“It’s not conceptual, entirely, but it’s intended to ebb and flow in a certain way—one song being aggressive, then dropping out and being pretty but devastating,” Bassett says. “We tried to create an atmosphere, where you listen and get vibed into one tone. ”
That rhythm presides over Sway, tying its distinct parts into a seamless unit. The restless “Heavy” churns somewhere between Godflesh and Gish, its lumbering beat and foreboding guitar buoyed by a melody that feels like a secret hymn for which you’ve long searched. Gorgeous and sprawling, “Sway” floats through luxuriating guitars and pillowed vocals, offering an impressionistic but intoxicating inversion of Whirr’s typical propulsion. Even here, during the record’s prettiest moment, Whirr maintains a righteous minimalism, emblematic of members who met one another as skateboarding high-school kids.
“The aesthetic of the band is more aimed at mature punk rather than alternative rock,” Bassett confirms. “There are these more aggressive punk elements—noisy feedback, a snare roll that just goes into super-punchy, driving songs.”
“Clear” brilliantly paints its lyrical quest for lucid communication—“I want words/to understand you,” runs one plaintive, surging bit—in music that takes up the same challenge. Whirr pushes past a pastel instrumental haze into a hangdog march, with near-whispered vocals bruised by Devin Nunes’ drums and Eddie Saldago’s orotund bass line. But as the end approaches, the band builds together, the riffs and the rhythm colliding into one triumphant, redemptive crest.
And that’s the victory of Sway, too, an album written by five people on two coasts but executed with the force and splendor of, at last, a fully unified Whirr.
Graveface will release Sway on CD, LP and digitally September 23.


Whirr - Heavy



GRAVE118 - Whirr 'Sway' out 9/23/14 on CD/LP/Tape/Digital (pre-order here: www.graveface.com/graveface-catalog.html)

When Sway begins, you might at first press pause, reaching for your headphone wire or peeking behind your speaker cables to make sure nothing has come undone. The blister of distorted guitar that opens the album comes only from the right channel, howling and hanging there in irascible isolation until it seems that something must be wrong.
But be patient: After a dozen seconds, the rest of Whirr—a five-piece of blanketing rock focus and comforting pop finesse—pours in from the left channel. They meet the guitar in the middle, together racing headlong into a short section that’s heavy as metal but pliable enough to be the springboard for the galloping shoegaze beauty that soon arrives.
For the next 36 minutes, you need not worry again about lost connections, split channels or anything else, really. More than any Whirr release to date, Sway creates a definitive sense of immersion, sculpting an environment that breathes you in instantly and breathes you out only when the record snaps into silence.
That bifurcated start is an appropriate image for Whirr in 2014. Last year, the band headlined a tour with the Philadelphia group and fellow admirers of heaviness and harmony, Nothing. Not only did the crews become fast friends, but their respective founders—Whirr’s Nick Bassett and Nothing’s Dominic Palermo—decided to start a group of their own, Death of Lovers. When the shared tour was finished, Bassett headed to Philadelphia for a month of writing and recording. He’s never really left. He calls Philadelphia home now, so Whirr has become a bicoastal band.
In Philadelphia, Bassett worked on Death of Lovers’ debut for Deathwish Inc., toured as the bassist for Nothing and steadily composed new material for the next Whirr album, their first full-length for Graveface. Back in Oakland, the rest of Whirr had committed to the project full-time, too, so the West Coast contingent wrote and rehearsed new material without Bassett. Joey Bautista took the lead on two songs, Loren Rivera on three.
Indeed, against most odds, Bassett’s move made for a more democratic Whirr. In their salad days, Bassett had written most of the material and built the bulk of the arrangements, too, using the support only to enrich and enliven them. After a slew of splits and singles and EPs, Sway is the second Whirr LP, but it is only the first to be rendered by a fully functional rock band, having shaped the songs slowly and over some distance.
Before the quintet entered Oakland’s Atomic Garden to work with longtime producer and collaborator Jack Shirley, they reworked the contributions of all three writers, massaging the material into a cohesive dynamo. Rivera, for instance, rewrote the words for Bassett’s material, folding his songs into the album’s presiding sense of dusky melancholy.
“It’s not conceptual, entirely, but it’s intended to ebb and flow in a certain way—one song being aggressive, then dropping out and being pretty but devastating,” Bassett says. “We tried to create an atmosphere, where you listen and get vibed into one tone. ”
That rhythm presides over Sway, tying its distinct parts into a seamless unit. The restless “Heavy” churns somewhere between Godflesh and Gish, its lumbering beat and foreboding guitar buoyed by a melody that feels like a secret hymn for which you’ve long searched. Gorgeous and sprawling, “Sway” floats through luxuriating guitars and pillowed vocals, offering an impressionistic but intoxicating inversion of Whirr’s typical propulsion. Even here, during the record’s prettiest moment, Whirr maintains a righteous minimalism, emblematic of members who met one another as skateboarding high-school kids.
“The aesthetic of the band is more aimed at mature punk rather than alternative rock,” Bassett confirms. “There are these more aggressive punk elements—noisy feedback, a snare roll that just goes into super-punchy, driving songs.”
“Clear” brilliantly paints its lyrical quest for lucid communication—“I want words/to understand you,” runs one plaintive, surging bit—in music that takes up the same challenge. Whirr pushes past a pastel instrumental haze into a hangdog march, with near-whispered vocals bruised by Devin Nunes’ drums and Eddie Saldago’s orotund bass line. But as the end approaches, the band builds together, the riffs and the rhythm colliding into one triumphant, redemptive crest.
And that’s the victory of Sway, too, an album written by five people on two coasts but executed with the force and splendor of, at last, a fully unified Whirr.
Graveface will release Sway on CD, LP and digitally September 23.


Whirr - Lines

First single from the forthcoming EP "Vicious Folly", due December 1st on Grand Gallop.

Mixed by Jonathan Low (The National, The War On Drugs) at Long Pond studio in Hudson Valley, New York. Produced by Line & Circle & Lewis Pesacov.

Man Uncouth

Somewhere Nice, Someday

Headlights

Saturn Over Sunset

Clown

Smut - Video Cell

JuJu is the brainchild of Sicilian multi-instrumentalist Gioele Valenti (Lay Llamas, Herself). Following on from the projects 2016 debut – widely hailed as one of the best, most innovative psych albums of the year – Valenti has signed to Fuzz Club for the release of sophomore LP ‘Our Mother Was A Plant’, released September 22nd. Carrying on in its predecessor’s footsteps, the new LP is a continuation of JuJu’s ritualistic sonic exploration into the cultural implications of the current refugee crisis, humanities increasingly strained relationship with Mother Earth and neo-pagan mythology.


Even more forward-thinking and adventurous than the last, the new album summons all kinds of spirits with its rhythmic, otherworldly psychedelia – changing the game, once again. Calling it just a ‘psych’ record would be an injustice though, JuJu’s shamanic mantras are influenced just as much by afrobeat, krautrock, glam, post-punk, art rock, drone and everything in between. As The Quietus put it: “Along comes an artist who resets the coordinates and makes the past seem startling new again”

Our Mother Was A Planet

JuJu - Patrick

Makthaverskan - Eden

Keep Moving

Fovea is the 1st single off Úlfur's "Arborescence" - out this fall via figureight.

Engineered, mixed and produced by Randall Dunn 
Recorded in two different locations by Randall Dunn and Alex Somers 
Guitars and bass performed by Skúli Sverrisson 
Percussion by Greg Fox 
Written and arranged by Úlfur Hansson

www.figureightrecords.com
www.ulfurhansson.com

Úlfur - Fovea

Dollhouse

'Recorded Songs' EP out now: https://atlanti.cr/recordedsongs

2017 tour dates on sale here: http://smarturl.it/FRShows

Follow Frightened Rabbit here: 
Twitter: http://smarturl.it/FRTwitter
Instagram: http://smarturl.it/FRInstagram
Google +: http://smarturl.it/FRGooglePlus
YouTube: http://smarturl.it/FRYouTube
Soundcloud: http://smarturl.it/FRSoundcloud
Website: http://smarturl.it/FRWebsite

Recorded Songs

Rained On

New album "Beach House 3" out now!
iTunes: http://smarturl.it/BeachHouse3
Apple Music: http://smarturl.it/BeachHouse3AM
Spotify: http://smarturl.it/BeachHouse3SP
Google Play: http://smarturl.it/BeachHouse3GP
Amazon: http://smarturl.it/BeachHouse3A
Tidal: http://smarturl.it/BeachHouse3T

Get an exclusive signed "Beach House 3" CD bundle and merchandise now here: https://smarturl.it/BeachHouse3D2C

Join Ty Dolla $ign's mailing list for exclusive updates: http://dollasignworld.com/mailing-list

Connect with Ty Dolla $ign:
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So Am I

Download

So Am I (feat. Damian Marley & Skrillex)

From the album OK out 29th September 2017.

Pre order - http://smarturl.it/OtherkinOK

Come On, Hello

Hello to the second single taken from our debut album! Recorded between Islet's hillside Pontvane Studio, a decommissioned nuclear bunker (ROC2) and our home in Wrexham. Mixed by Mike Collins at Big Jelly.

Shoreline

Dalmata Daniel's next up is a collaboration with the Bristol-born "weirdo disco guy” Antoni Maiovvi and also a contribution of Heinrich Dressel who is an unavoidable column of Rome's  electronic music scene. Maiovvi's Pleasure Model project is all about youth - replaced by Blade Runner-esque replicas. His first release under this moniker was "Kendo Dynamics” on 100% Silk in 2016. It aimed for  presenting a persuasive world of fiber optic paranoia and technoid effacement. DD006 is the next level of the concept and the first time on vinyl. The tracks are driven by the characteristic haggard drum machine's sound on side A with a  melancholic or dark synth themes what becomes a dreamy melody in the "Prism Riot” on side B. The remix by Heinrich Dressel is a turn back directly into the darkness, but it is faster and more like a film soundtrack with his own characteristics, of course.  The whole EP has a strong vintage mood and sound. It can be said that Update 1.1 is definitely dystopian, coming from the future of our past.

LISTEN ON YOUTUBE

PREMIERE : Pleasure Model - Drill Sergeant

From the This Is The Bridge album 'Broken Sculptures'.

Available on limited edition clear 12" vinyl from TONN Recordings Bandcamp.

Mastered by Jean-Dante Vuillemin at Precision Studio France.

Broken Sculptures

Brave New World

Brave New World - This Is The Bridge (from the vinyl album 'Broken Sculptures')

…and in the end, not a great deal is known about the Spanish duo Futuro. The saga begins with the discovery of a cache of test pressings deep within the shelves of a very dusty record shop near the Plaza Del Toros De Valencia. As is the case with these things there was no promo sheet or any other information outside of three clues etched into the run-out groove: Futuro, Jollyman, MCMLXXXVII. Through deduction and reasoning it was soon realised that Jollyman was a short lived Italian record label that closed it’s doors in 1987. There were rumours for a while that Jollyman was a mafia wedding gift to a music enthused female family member, but as the journey continued it became slightly more likely that this was a tax write-off for it’s owners, as the label itself was never very successful, and was more likely an afterthought rather than a full on passion project. That is not to say that there were not gems hidden within it’s small catalogue, most notably from noted library musician, composer and arranger Alessandro Signoretti, without whose help this release would not be presently in front of you. Alessandro’s assistance led us to the infamous Hafenklang Studio in Hamburg, Germany. The very same studio used by Boytronic to record their classic LP ‘The Continental’ (some of the same DX presets can easily be heard on both albums) and despite the insane amounts of musicians that have passed through those doors the owner clearly remembered the duo and finally the mysterious Futuro had names: Javier C Rayón and Raúl Láynez.

Too late for the Italo boom, and too early for the Sonido De Valencia craze, the recordings of Futuro have sat on master tapes since 1987 finally awaiting their much deserved audience. Bordello A Parigi are more than proud to present this lost Late slow-mo synthesizer Italo masterpiece onto the world.

Futuro - Lancia Beta Montecarlo

'Sugar' is our new single - out now on Hand In Hive

Stream on Spotify : https://open.spotify.com/album/7ggwwR34Bv2ZayBwhMoniC

Pre-order EP : http://radi.al/DamaScoutEP

London headline show on Nov 16. Tickets : http://smarturl.it/DamaScout-Nov16

Facebook / facebook.com/damascout
Instagram / instagram.com/damascout
Twitter / twitter.com/damascout

Recorded / Mixed by Dama Scout

Sugar

De Lux - 875 Dollars

Now available on streaming services: https://songwhip.com/song/hoult/pharmacy

Twitter: @houltuk
Facebook: https://www.facebook.com/houltuk

Pharmacy

Listen / Buy:
http://spoti.fi/2y468j6
http://apple.co/2xmEBFT
http://amzn.to/2wBbXBw

<a href='https://theartistunion.com/tracks/b170a0'>Download for free on The Artist Union</a>

Tell You

Free Download

Can't Have You

Alien Sun

'Let Your Dogtooth Grow' was once again recorded and produced by the legend that is Marta 'bueno' Salogni. It features our first (but certainly not last) outing with the Mini Moog, which oscillates freely throughout the closing minute of the track. Furthermore, the outro to the song becomes a melting-pot of our influences, combining guitar riffs reminiscent of Turkish psychedelic musician, Mustafa Ozkent with the Moog Synth riff which is redolent of Donna Summer's 'I Feel Love'. 
 
Taking influence from Lanthimos’ abstruse, fictitious world where kids are brainwashed into thinking that they are confined within the boundaries of their household until their ‘Dogtooth’ falls out, the lyrics discuss how in reality, people our age face similar (albeit less bizarre) forms of oppression. 
Whilst we’re much more than a stones throw away from knocking our teeth out in order to break from the omnipresent restrictions us teenagers and young adults face, it’s still something that really bugs us as a ‘young band’! When are you gonna let us out of the house?

Let Your Dogtooth Grow is the first single from The Orielles' debut album 'Silver Dollar Moment' set for release in February 2018 on Heavenly Recordings.

Silver Dollar Moment

Let Your Dogtooth Grow

Spotify: http://spoti.fi/2zlNUY1
iTunes: http://apple.co/2gwNYk7
Apple Music: http://apple.co/2gwNYk7
Deezer: http://bit.ly/2gSdld0

Manchester’s The Slow Readers Club are probably the biggest band you’ve never heard of. But that’s all about to change.

The Slow Readers Club are Aaron Starkie (vocals), Kurtis Starkie (guitar and vocals), James Ryan (bass) and David Whitworth (drums). They are a Manchester based four piece who specialise in dark and brooding indie electro that has drawn comparisons with Interpol, The Killers and The National and which feels equally at home in big arenas and festival fields as it does in intimate surroundings.

Formed in 2010, they’ve taken the long road to recognition. Their self-titled debut album featured live favourites like One More Minute, Feet On Fire, Sirens and Block Out The Sun, but despite rave reviews, they remained firmly under the radar. Many bands would have called it a day, but their self-belief, coupled with a growing band of influential bloggers and radio presenters, kept them going. 

The phrase “underground phenomenon” doesn’t do justice to what this four-piece have achieved to date. Self-funded and self-managed with no more than word of mouth and an album called Cavalcade at their disposal, they sold out The Ritz in Manchester two months in advance last year and have just repeated the trick with The Albert Hall. Not only that they went to London and sold out Oslo and The Borderline with their army of fans and their ubiquitous “READERS” chant as well as playing to growing crowds around the rest of the country.

You can catch them on tour at the following dates: 

21st October - The Button Factory, Dublin 

4th November - Academy 2, Birmingham 

10th November - The Garage, London

17th November - Thekla, Bristol 

23rd November - Rescue Rooms, Nottingham 

24th November - The Albert Hall, Manchester [SOLD OUT]

9th December - King Tuts, Glasgow [SOLD OUT]

Lunatic - The Slow Readers Club

Written by Headclouds. Recorded at Blank Studios with Chris McManus.

'Seen It Before' released Friday 27th October.

Spotify: http://spoti.fi/2hfKRKu 
Apple Music: http://apple.co/2lmRuyT

Seen It Before

Brooklyn-based independent record label
₪₪₪₪₪₪₪
Incapable of repetition, going by unobserved, terrestrial existence, has no love life

Smut - Video Cell

B.C.