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WL//WH - JANUARY 2020 \\ Post-Punk/Coldwave/Darkwave/SynthPop/Minimal Synth
https://whitelight-whiteheat.com/

WL//WH - JANUARY 2020 \\ Post-Punk/Coldwave/Darkwave/SynthPop/Minimal Synth

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ꕀ ismeretlen /㉇ falakꔗꔘ

Prod: wiseguybruno
 https://soundcloud.com/wiseguyradio

Mix: Annie Murnighan
https://soundcloud.com/no_sir

ANOTHER DAY Prod. wiseguybruno

Republican Lolita

Thrilliam Angels - Promise feat. Rei Toei, Reivs

https://effective-power.bandcamp.com/track/b4
shoutsout 2 @innercityafterlife

DRAFT 9/30

One thing you won’t be able to avoid on Bambara’s Stray is death. It’s everywhere and inescapable, abstract and personified  – perhaps the key to the whole record. Death, however, won’t be the first thing that strikes you about the group’s fourth – and greatest – album to date. That instead will be its pulverising soundscape; by turns, vast, atmospheric, cool, broiling and at times – on stand out tracks like “Sing Me To The Street” and “Serafina” – simply overwhelming.
 
Bambara – twin brothers Reid and Blaze Bateh, singer/guitarist and drummer respectively, and bassist William Brookshire – have been evolving their midnight-black noise into something more subtle and expansive ever since the release of their 2013 debut Dreamviolence. That process greatly accelerated on 2018’s Shadow On Everything, their first on New York’s Wharf Cat Records and  a huge stride forward for the band both lyrically and sonically. 
 
The album was rapturously received by the press, listeners and their peers. NPR called it a “mesmerising...western, gothic opus,” Bandcamp called the "horror-house rampage" "one of the year's most gripping listens," and Alexis Marshall of Daughters named it his “favorite record of 2018.”  Shadow also garnered much acclaim on the other side of the Atlantic. Influential British 6Music DJ Steve Lamacq, dubbed them the best band of 2019’s SXSW, and Joe Talbot of the UK band IDLES said, "The best thing I heard last year was easily Bambara and their album Shadow On Everything."  The question was though, how to follow it?
 
To start, the band did what they always do: they locked themselves in their windowless Brooklyn basement to write. Decisions were made early on to try and experiment with new instrumentation and song structures, even if the resulting compositions would force the band to adapt their storied live set, known for its tenacity and technical prowess. Throughout the songwriting process, the band pulled from their deep well of creative references, drawing on the likes of Leonard Cohen, Ennio Morricone, Sade, classic French noir L’Ascenseur Pour L’Echafraud, as well as Southern Gothic stalwarts Flannery O’Connor and Harry Crews.
 
Once the building blocks were set in place, they met with producer Drew Vandenberg, who mixed Shadow On Everything, in Athens, GA to record the foundation of Stray. After recruiting friends Adam Markiewicz (The Dreebs) on violin, Sean Smith (Klavenauts) on trumpet and a crucial blend of backing vocals by Drew Citron (Public Practice) and Anina Ivry-Block (Palberta) Bambara convened in a remote cabin in rural Georgia, where Reid laid down his vocals.
 
The finished product represents both the band's most experimental and accessible work to date. The addition of Citron and Ivory-Block’s vocals create a hauntingly beautiful contrast to Bateh’s drunken baritone on tracks like “Sing Me to the Street”, “Death Croons” and “Stay Cruel," while the Dick Dale inspired guitar riffs on “Serafina” and "Heat Lightning" and the call-and-response choruses throughout the album showcase Bambara’s ability to write songs that immediately demand repeat listens.
 
While the music itself is evocative and propulsive, a fever dream all of its own, the lyrical content pushes the record even further into its own darkly thrilling realm. If the songs on Shadow On Everything were like chapters in a novel, then this time they’re short stories. Short stories connected by death and its effect on the characters in contact with it. “Death is what you make it” runs a lyric in “Sweat,” a line which may very well be the glue that binds the pages of these stories together.

BUY LP/CD

Bambara - Heat Lightning (from the 'Stray' album out 2/14)

LWCA is the investigation of love as a mass phenomenon transformed in a routine of meaningless images by a poetical practice.
LWCA is the dramatic story of the eternal fight between a fragile human being and a society that doesn’t live love because love dominates it.
LWCA is a suffered warning.
LWCA is a loud shout.
LWCA is a violent rebellion.

Love has always had its absolute, strict, seducing rules.
Its dictatorship has been coming back since ever.
It will come back forever.

CREDITS
Music by Talk To Her
Produced by Matteo Scarpa (Kill Your Boyfriend)
Recorded and mixed by Edoardo Pellizzari • Teatro delle Voci - Treviso, Italy
Mastered by Collin Jordan • The Boiler Room - Chicago, USA
Artwork by Sara Murrone • www.studiomai.pizza

Love Will Come Again

Ibisco

Black Room

Second single from the album to be released the 01/24/2020.

"Lonely Walk comes back throwing all their forces in a third album, after "Teen" went out on Born Bad records in 2015.
10 songs composed between Trump's election and the death of the first Yellow Vest, mixing to perfection traditional post-punk like The Sound / Magazine, with a modern sound as Total Control, propelled by Jérôme Vetter's massive production. No doubt the strongest and evident titles the band has ever written."

Records labels :
- Permafrost (lesdisquesdupermafrost.bandcamp.com)
- I Love Limoges (ilovelimogesrecords.com)
- Kerviniou (kerviniourecordz.bandcamp.com) 

Music : Lonely Walk
Recording and mastering : Jérôme Vetter (studiovetter.com)
Photography : Thomas Gosset Valère (https://toums.squarespace.com/)
Artwork : Camille Dalby

Shadow of the Time

"Soft Dance" is the second single from the 'Person' album out on 3/6!

About the 'Person' LP by P.E.

Person is the debut from NYC's P.E., a band born of the city's art-punk underground and dedicated to freaky experimentation. Comprising Veronica Torres, Jonathan Campolo, and Benjamin Jaffe (all of the beloved and freshly defunct Pill) alongside Jonathan Schenke and Robert Jones of the electronic/art-rock favorite Eaters, P.E. features some of NYC's most notable experimental voices. Early shows were entirely improvisational, allowing the group to develop a collaborative chemistry that led to an equally free-form recording process. 

The resulting LP displays the group’s collective experience writing memorable songs, matched with a dedication to tearing them apart at the seams. Recorded at Schenke's Studio Windows, Person holds the spark of P.E.'s early improvisations in its clattering industrial percussion, zigzagging synths and sax, and colorful dystopian poetry. The group's natural language results in a sonic lexicon reflecting the unnatural surroundings of their adopted home in NYC—chaotic yet alluring, gnarly, and fun. Sold and packaged with a tender tone, this is music for fully-formed persons aware of their ideological discrepancies. Turn on the human music of the 21st century.

“Soft Dance” Lyrics

A soft dance
-Night drive alone with you-
Laughing our heads off.

Touch my face and I'll sing you a song,
though your heart may be broken.

We dance to forget out heads,
We dance to lose our heads.

We are just passing through...
We are just passing through.

A soft dance
-I’d rather contemplate abstract thoughts with you - 
And I'm also good with color. 

A soft dance
We dance to lose our heads,
We dance to forget our heads

Ohhh and don't forget to have a good time!
Laughing our heads off!
Tripping our heads off!

Крик

NMDA