'Opening The Door' EP out 16 September

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the new album “i got too sad for my friends’ out now.

CONTACT
jp@atcmanagement.com

BOOKINGS
UK & EU: oliver.ward@unitedtalent.com
North America: ryan@arrivalartists.com 

PRESS
chris.cuff@goodmachinepr.com

Spread Love & Pussytivity //  Music is the geometry we experience with our ears~

https://phantogram.komi.io/

Fall In Love Again (Desmond Remix) Out Now
Move In Silence feat. Big Boi Out Now

Sparked by a color or song that recalls the most joyful and tragic moments in your life, a sense memory vaults you into the distant past. These subtle triggers remind us that memory isn’t confined to the mind; it lives in the body, too. Phantogram’s fifth album, Memory of a Day, captures that disorienting sense of time travel. “We put these songs together as a capsule, thinking about how a certain sound or melody can bring you back instantly to a memory of a day,” Phantogram says. 

While they were recording, the duo fixated on life calendars, a gridded sheet in which each unit represents a single week of a person’s life on the planet. As you fill in the grid, you witness the progression of your life in stark terms. The older you get, the darker the grid becomes, reminding you of how much time you have lived, and how little you may have left. “It’s this exploded view,” Phantogram says. “Like an image of Earth from a distance.” The life calendar is both morbid and nostalgic, a physical representation of our ephemeral time on Earth. 

“Days are only numbers,” Sarah Barthel sings on the chorus of “Come Alive.” That lyric became a north star for the duo as they set forth to make Memory of a Day. At once heavy and ebullient, “Come Alive” distills the lasting impact Phantogram has made on popular culture. Since their 2010 debut, Eyelid Movies, Phantogram has been comparable to no one, futurists who still manage to stay ahead of the curve more than a decade into their career. Their genre-bending approach to pop has led them to work with everyone, from Big Boi, with whom they founded Big Grams, to Subtronics, Future Islands, Deftones, the Flaming Lips, Tom Morello, and Miley Cyrus, to name just a few. A festival staple across the globe, Phantogram has also toured with Queens of the Stone Age, Arcade Fire, the XX, and many more. “We’ve always been proud of that: not being afraid of the experimental.”

Though their music has always been future-facing, to make Memory of a Day, Phantogram looked back. “Recording this album, it felt like how it did when we first started making music together,” Phantogram says. Alongside special collaborators like Mikky Ekko and Dan Wilson, Phantogram was joined in the studio by producer John Hill, who helmed Phantogram’s second album, Voices. The duo experimented in the studio and indulged in the music that brought them together in the beginning, artists such as J Dilla, Prince, Slowdive, and so much more. They reference new wave acts like the Talking Heads, ESG, and Liquid Liquid as influences on the percussive punk track “Feedback Invisible,” which is followed by the wistful burst of color “Attaway.” It’s a shoegaze song so sumptuous “you can almost see the grain in the guitar sounds.” 

Phantogram think in images when they write, drawing on scenes from films that linger with them years on. “Ever since Eyelid Movies, our work has been visually driven,” Phantogram says. In the video for the fuzzed-out waltz “All a Mystery,” snippets of human lives coalesce into a montage of experience. “Erase all the tapes in my mind/ Throw them all away,” Barthel sings, accompanied by a bittersweet swell of synths. “Turn back the tables of time/ Let all those memories die.” A swirl of memories, both triumphant and tragic, surface on Memory of a Day. “Come Alive” was written after Barthel experienced a transformative live show on her own, while the title track recounts the moment Josh Carter had to put his dog down. “It’s what you wanted, but couldn’t say,” he sings. “I’m not afraid of dying or what it feels like”

The album’s penultimate track, “Happy Again,” is a thrumming, bass-heavy rock song with a chorus that sounds like a wave crashing against the sand. “Another empty summer sunset/ Feeling homesick,” Barthel sings ahead of the bridge, her voice catching on the breezy, luminous production. “Can you believe this is your life?” It’s a moment of realization Phantogram compares to the dour scene in Forrest Gump, where Lieutenant Dan, “mega depressed and drunk,” throws a bummer New Year’s Eve party. Still, the song ends with an enlivening mantra. “I can be happy again,” Barthel repeats as guitars careen and crash. If days are only numbers, then how else can a person measure a life? On “Ashes,” the answer seems to be in moments of resilience. Based on the adage “you came into this world alone and you’ll leave it alone,” the throbbing production infused with elements of trip hop, shoegaze and indie accompanies Barthel as she reminds the listener: “Ashes rise, ashes rise.”

When they penned the lyrics, Phantogram thought of the mythical phoenix spreading its wings after catastrophe to take flight. The vulnerable, even despairing moments on Memory of a Day are stark, but they’re buoyed by a relentless optimism that has driven this project from the outset. In the Los Angeles studio where they recorded Memory of a Day, Phantogram often marveled at the distance they’ve come, both physically and spiritually, since they first started making music together in a barn in Upstate New York. “Tomorrow never knows,” Barthel nods to the Beatles on “Come Alive.” The accumulation of days together tell a story bigger than any finite lifetime, and Phantogram’s life calendar is only a fraction full.

New album, "The Far Field", out April 7th
www.future-islands.com

Management: ben@constantartists.com
Booking: ben@billions.com
Press: sarahwilson@beggars.com
Licensing: info@bankrobbermusic.com

Chicago born, London-based Kate Simko is a classically trained composer and electronic music producer. For over a decade now, Kate has been affirming her status as one of dance music’s standout artists. Her catalogue includes releases on Get Physical, Hello?Repeat, Leftroom, No.19 and most recently, Sasha’s Last Night On Earth imprint.

While studying music at Northwestern University in Chicago, Kate began DJing on WNUR radio and taking jazz piano lessons, which inspired a shift to composing. Kate recorded her first album in Chile with Andres Bucci in 2002, and has since released three albums, various EPs, and film soundtracks.

A classically trained pianist with roots in Chicago house, her diversity as a musician is apparent throughout her productions. Whether remixing Philip Glass to Guy Gerber, or touring with interactive audio-visual live sets, she excels throughout. Named one of Chicago’s “Top 10 DJs” by XLR8R Magazine, Kate has performed at some of the world’s leading locations such as Panorama Bar, Warung, fabric, the Montreal Jazz Festival, Movement Festival, MUTEK, Eleven, Verboten, and Millennium Park. 

Now London-based, in 2014 Kate completed a masters in Composition for Screen at the Royal College of Music and launched her genre-bending project London Electronic Orchestra, which has performed at iTunes Festival, LEAF festival, Latitude Festival, the National Gallery, and Heart Ibiza.  

In fall 2015 Kate will release an  album with Tevo Howard on Last Night on Earth, and her debut London Electronic Orchestra EP on The Vinyl Factory.  Melodic, driving, jacking and funky, Kate’s distinctive sound continues to inspire dance floors across the globe.



Death From Above 1979 (DFA), the boundary pushing musical alliance created by Sebastien Grainger and Jesse F. Keeler, roared out of Toronto with the uncompromising one-two punch of 2002’s fuzz-bomb EPHeads Upand 2004’s epochal debut albumYou’re a Woman, I’m a Machine,complete with a North American arena tour with Nine Inch Nails and Queens of the Stone Age, before deciding mid-tour to part ways due to the strain of constantly touring.Almost a decade later, the rekindled DFA fireworks lit stages around the world a blaze -amassing a posse of fans so passionate they incited a genuine, barricade-smashing riot at Austin’s Beauty Bar at the 2011 South by Southwest festival. Playing Lollapalooza, Coachella, Glastonbury, Reading / Leeds, Osheaga, Lowlands and more, DFA continued to take the world by storm. Their second album,The Physical World(2014) took a No. 3 spot on the Canadian Billboard album chart and peaked at No. 28 on the U.S. Hot 200, not to mention No. 3and No. 7 shots on Billboard’s Top Alternative and Top Rock registries, respectively. TV appearances around their first two albums on iconic late-night shows including David Letterman, Conan O’Brien and Jimmy Fallon showed a whole new audience the DFA live goods.Arriving at No. 20 on the CanadianBillboardalbum chart, DFA’s scorching 2017 outing,Outrage! Is NowpromptedPitchforkto remark that “Death From Above now sounds more vital than ever.” With three smashing albums to their name, the duo drummed up an easy 10 million views before going silent once more, to the dismay of fans.DFA is back with their new single, “One + One” -reimagining the Dance Punk format they created more than 20 years ago.

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