‘Did you know that there’s a tunnel under Ocean Blvd’ 

The New Album Out March 24th, Pre-Order – 
 http://lanadelrey.lnk.to/oceanblvdID  

Listen to ‘Did you know that there’s a tunnel under Ocean Blvd’ – http://lanadelrey.lnk.to/oceanblvd_sID

http://lanadelrey.com

Contrary to popular belief, and what your ears may tell you, the songs posted on this blog were not recorded by Fleet Foxes, but rather one dude who impersonates Fleet Foxes using overdubbing and lots of reverb.

Born the youngest of ten children, raised in Southwest Detroit and a resident of Nashville since 2005, Jack White is one of the most prolific and renowned artists of the past fifteen years.

When the White Stripes started in 1997 no one, least of all Jack, ever expected that a red-and-white two-piece band would take hold in the mainstream world. With the release of 2001’s White Blood Cells the band was thrust on magazine covers and captivating audiences through worldwide touring. “Fell in Love With a Girl” served as the band’s breakthrough hit and its accompanying Michel Gondry Lego clip was chosen by Pitchfork Media as the #1 music video of the 2000’s.

The release of Elephant in 2003 not only cemented the band’s reputation as a force to be reckoned with, but it also offered the hit “Seven Nation Army” which has since become appropriated as a de facto stadium chant for many sports teams the world over.

In 2004 White teamed up with Loretta Lynn to produce and perform on her Van Lear Rose album, an effort that won Grammy’s for Best Country Album and Best Country collaboration with vocals for the single “Portland, Oregon.” To date White has won nine Grammys in seven different categories.

White formed a “new band of old friends” the Raconteurs in 2006 and their debut album Broken Boy Soldiers showed a markedly different side, most notably one where songwriting, vocal and guitar duties were shared. The success of their debut-single “Steady, As She Goes” proved that White’s previous accomplishments were no fluke.

To take it even further, in 2009 White took to his original instrument, the drums, and started the Dead Weather with members of the Kills, Queens of the Stone Age and the Greenhornes. Releasing two albums in two years and unleashing a dark, captivating live show upon curious audiences, the Dead Weather futher-cemented Jack White’s musical versatility and range.

Also in 2009, White opened the doors to his very own record label, Third Man Records, where he has produced over 120 records in less than three years. Spanning artists as varied as Jerry Lee Lewis, the Smoke Fairies, Wanda Jackson, Black Milk and Stephen Colbert, the label has quickly developed a reputation as a leader in the vinyl record industry.

In January 2012 White announced the upcoming release of his debut album Blunderbuss which will be accompanied by extensive touring across the world.

New album PersonA out on April 15th! Preorder now on iTunes here:  smarturl.it/PersonAiTunes. 

Listen to the first single "No Love Like Yours" now!
iTunes: smarturl.it/PersonAiTunes
CD/LP: smarturl.it/PersonAMerch
Tidal: smarturl.it/NoLoveTidal
YouTube: smarturl.it/NoLoveYT
SoundCloud: smarturl.it/NoLoveSC
GooglePlay: smarturl.it/NoLoveGP
Amazon: smarturl.it/NoLoveAmazon
Rhapsody: smarturl.it/NoLoveRhapsody

BΔSTILLE

For more information please visit:

http://www.bastillebastille.com


New album 'The Phantom Five' out August 30.

Our new album, "Recover" OUT NOW: https://TNAF.lnk.to/recover

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.

kay h is following