Jack F. Williams
No.6 Collaborations Project is set for release on 12 July (19).
The star took to social media on Tuesday to alert fans to the candid chat.
Tour starts: 22nd September 2019More info: Delta Sleep’s Facebook pageFollowing a packed-out EU tour with Mineral and a hotly received 20-date North American tour with Gleemer, Hikes and Bogues, Delta Sleep have now announced a series of new UK tour dates with CHON for September 2019.Alongside the tour dates, the band have also shared a brand new animated video for 'Afterimage', which is taken from their critically-acclaimed new album'Ghost City' (out now). Hand painted (frame-by-frame) by director and illustrator Filippo Morini, the new video for centres around a female protagonist attempting to escape from a dystopian world operating as one city in a collective consciousness. In this world, organic nature and wildlife are a thing of the past and the girl exists as a cog in the machine. WATCH/SHARE THE NEW VIDEO FOR 'AFTERIMAGE' HEREDelta Sleep will play the following dates with CHON in September:22nd Sept - Manchester, Gorilla23rd Sept - Nottingham, Rescue Rooms24th Sept - Glasgow, King Tut's Wah Wah Hut25th Sept - Birmingham, The Asylum26th Sept - Bristol, The Fleece27th Sept - London, Islington Assembly Hall28th Sept - Leeds, Brudenell Social Club29th Sept - Brighton, The Haunt'Ghost City' and the band's latest 'Ghost City Rarities' EP (featuring Tricot) are both out now and are available from Big Scary Monsters HERE. Delta Sleep’s attraction has always come from the dynamics they produce. Drawing as much influence from punk, indie and electronic music as the math-rock world they’re home to, the Canterbury (via Brighton) quartet return with ‘Ghost City, their second full-length album, which is due out this August on Big Scary Monsters.What started as an earnest foray into pushing the boundaries of fledgling math-rock has morphed into something much more for Delta Sleep. The band surprise their listeners with every release by constantly tweaking and perfecting their sound, and their new album is no exception to this ethic. Not content to be defined by any strict sub-genre or category, Delta Sleep continue to mould their sound into something that goes beyond the labels of just math-rock, demonstrating a firm command of structure and melody.‘Ghost City’ was written over the course of two years, between the bands tours in Europe, Japan and Mexico, before heading to Northern Italy to record it. “We figured it was the same price to record in Italy, so we brought our friend and producer Mark Roberts along for the ride,” says Devin Yuceil (vocals/guitar), “we booked a bunch of shows on the way down which pretty much covered our recording costs, which also meant that we had around a week of playing the new material everyday leading to the studio, a luxury we don’t often have.”Conceptually, the new album is a tech-noir wherein the world now operates as one city in a collective consciousness under the rule of vast tech firms - organic nature and wildlife are a thing of the past, a myth. Centred around a female protagonist who exists as a cog in the machine, ‘Ghost City’ is both bleak and dystopian but at times also uplifting and oddly cathartic; exploring existentialism, mundanity, oppression and ultimately the negative effects of technology on the world.The bands future-facing approach to intelligent songwriting has previously garnered them considerable support from fervent fans and critics alike, combining guitar driven melodies over jazz influenced grooves, all topped with thought provoking and emotional vocals. ‘Ghost City’ is the sound of Delta Sleep at their inspiriting best, mirroring the energy of their live shows interlaced with moments of sweeping ambience, uplift and complex yet captivating instrumentation.“This album feels like a snapshot of where the songs were at that time,” says Dave Jackson (bass), “You can even hear little blemishes throughout, which we love - chatter in between takes, us fucking around and generally having fun. A couple of the tracks were even improvised on the day, we’d never played them before, liked the vibe and they made it onto the album. We’ve also sprinkled in some field recordings from our time spent in Japan and Mexico.”For those who were previously enthralled by the band’s richly textured sound this is a significant release on its own terms, let alone as another step towards wherever Delta Sleep might take themselves. ‘Ghost City’ is the sound of their life and subsequent cultural experiences redefining the way the band collectively compose and express themselves, resulting in their most focused and exciting work so far. FOLLOW DELTA SLEEP: FACEBOOK | TWITTER | YOUTUBE | BANDCAMP | SPOTIFY
Young Thug will NOT be prosecuted in his L.A. gun case ... TMZ's learned the District Attorney is rejecting the case. The D.A.'s Office tells...
Tour starts: 22nd June 2019More info: Drahla’s websiteDOWNLOAD EU TOUR POSTERToday, the Leeds-formed three-piece Drahla have announced a run of European and UK shows. These add to previously confirmed performances that include festival slots at Latitude, Loose Ends, Reeperbahn and Primavera Weekender. They will also be playing at London's Shacklewell Arms in August for the Shacklewell's 8th Birthday. The band released their debut album 'Useless Coordinates' via Captured Tracks in May to critical acclaim.Purchase 'Useless Coordinates':https://drahla.lnk.to/uselesscoordinatesSee full tour dates below and at:https://www.drahla.com/liveJune 22nd – VERA, Groningen (w/ FEELS)June 23rd - Loose Ends Festival, AmsterdamJuly 21st – Latitude Festival, Southwold - UKAugust 2nd – Micro Festival, LiegeAugust 4th – Rotondes, LuxembourgAugust 23rd – Shacklewell Arms, London - UK(Free Show - Shacklewell’s 8th Birthday)September 7th – Villa Pace Festival, Sint NiklaasSeptember 10th – Musicbox, LisbonSeptember 11th - Salao Brazil, CoimbraSeptember 12th - Plano B, PortoSeptember 14th - Botanique, Witlof, BrusselsSeptember 16th - Le Badaboum, ParisSeptember 17th - Bumann & Sohn, CologneSeptember 18th - Zukunft am Ostkreuz (Garage), BerlinSeptember 19th – Reeperbahn Festival, HamburgSeptember 20th – Druckluft, OberhausenNovember 8th – Primavera Weekender, Barcelona Praise for "Useless Coordinates":"Leeds’ Drahla are the thrilling new band pushing boundaries in two creative realms." - NME"...cut-up, cerebral lyrics over brooding but catchy post-punk" - The Observer"Drahla's abstract punk songs that are ecstatic about the everyday. The squalls of noise in songs like 'Pyramid Estate' show a band willing to dig beneath the surface." - Noisey"...the kind of literate punk to kickstart a revolution in your mind." - The FADER"Drahla are the UK's most uncompromising new band" - DIY"There's a sinister groove to this fine debut from Drahla, a Yorkshire trio who embellish their disjointed post-punk beats with atmospheric squalls of sax." - Uncut Magazine"Drahla have pulled together pockets of confusion and beauty for a rich and captivating debut unlike any other." - Dork"Leeds trio’s potent first album takes rugged-but-cerebral post-punk on a propulsive, saxophone-tinted journey." - The Guardian--- “Go inwards and be bold.” This was Harmony Korine’s advice to aspiring creatives, during a Q&A at the British Film Institute back in early 2016. For the recently-formed Drahla, his words served as something of a directive, encouraging the trio to trust their own instincts, however far removed they might be from those of their peers. Three years on, the Leeds-formed band have defined their own vital subset of art-rock with Useless Coordinates, a debut album that’s as fearless as it is enthralling.Speaking from her current base in south-east London with bassist Rob Riggs, singer/guitarist Luciel Brown recounts the record’s somewhat chaotic gestation. “Most of last year was spent touring, so we were squeezing writing and recording in from the beginning of 2018 until end of August.” In-between a headline tour, support slots with Ought and METZ, and multiple festival appearances - including at Meltdown at the request of The Cure’s Robert Smith - Brown, Riggs and Wakefield-based drummer Mike Ainsley managed 10 days in the studio in total.It was the unsettled nature of the period that part-inspired the album’s title. “[Useless Coordinates] summarised all of our situations,” Brown explains. “We had all these shows coming up and we knew we needed to leave our jobs and change our living situations to make all this stuff happen. So we had all these fixed points and timelines, but at the same time we felt quite lost within all of that.”Though they felt adrift in their personal lives, artistically Drahla thrived amongst confusion. Experimentation was integral to the creative process, with Brown and Riggs continuing to swap instruments as per their live shows, while collectively they were open to relinquishing traditional song structures in favour of adopting a more instinctive approach. Another integral development proved to be the involvement Chris Duffin of XAM Duo, who played saxophone on large swathes of the record and whose esoteric musical tastes were influential.Via Duffin, they discovered the work of Japanese synth pioneers Mariah and saxophonist Yasuaki Shimizu. These cult figures figure amongst an eclectic array of musical touch points, from Glenn Miller and Swell Maps, to L.A.-band Behavior. As per their earliest releases, No Wave and post-punk remain integral to Drahla’s musical universe, evident in Brown’s brilliantly deadpan drawl, in the Gang Of Four-esque guitars on Gilded Cloud, and in Duffin’s skronking saxophone on React/Revolt, which draws parallels with the work of James Chance and the Contortions.The set’s sharp angles, stark tones and claustrophobic textures are reflected in the album’s artwork. Designed by Brown and Riggs - as per all previous record sleeves and promotional videos - the minimalist, mixed media creation takes inspiration from Talking Heads and Gang Of Four album art, the work of American artist Cy Twombly, and the economical, regimented aesthetic of the Bauhaus movement. “Drahla came about off the back of needing an outlet for creative expression,” Brown explains. “So the whole aesthetic is hugely important. As important as the music.”Whatever the medium, Brown’s interests lie in looking beyond the immediate to the abstract and indefinable. Her lyrics are developed from observations, notes and poems, and the fragmented imagery is spliced together to disorientating effect. On Gilded Cloud elegant snapshots from the golden age of Hollywood are juxtaposed with abrasive guitar textures, Pyramid Estate draws parallels between Ancient Egypt and the present day, and Serenity evokes the violent energy of a Francis Bacon painting. Beneath the abstraction are a diverse array of themes, including gender fluidity (Invisible Sex), city living (Primitive Rhythm) and artistic expression (Unwound).The result is an uncompromising but deeply rewarding debut where the internal and external, cerebral and visceral coalesce to quite startling effect.'Useless Coordinates' Tracklisting:1. Gilded Cloud2. Serenity3. Pyramid Estate4. Stimulus for Living5. React/Revolt6. Primitive Rhythm7. Serotonin Level8. Twelve Divisions of the Day9. Unwound10. Invisible SexFind Drahla online: Website | Facebook | Bandcamp | Instagram | Spotify
Photo credit: Ryan Back Album release: 9th August 2019Label: Joyful Noise RecordingsMore info: WHY?’s websiteWHY?, the creative moniker for consummate wordsmith and beloved songwriter Yoni Wolf, is excited to announce AOKOHIO, a visual album to be released on August 9, 2019 via Joyful Noise Recordings.Pre-order HEREToday, WHY? is sharing the album's second three-song movement and accompanying visual, "II. I've been carving my elbows, I might just take flight.," which features focus track "Stained Glass Slipper." The album's entire visual element stars Emmy-winning actress Tatiana Maslany (Orphan Black) and was directed by Sundance Dramatic Special Jury Award-winner Miles Joris-Peyrafitte. Stream or embed the video HERE. Hear the entire audio-only version HERE, and hear "Stained Glass Slipper" on its own HERE.This new movement follows last month's release of "I. I may come out a broken yolk, I may come out on saddle.," which featured the standout single "Peel Free." The lead-up to AOKOHIO will follow the somewhat unconventional path of gradually revealing the entire album in playing sequence, each movement accompanied by its own visual element, from now until its August 9 release date. The visual component of the album is anchored by a continuing narrative, which will continue to take shape until the album is released.AOKOHIO's themes of familial anxieties and nostalgia will be familiar to many, but few have attempted as clear-eyed and sincere a portrayal as Wolf has succeeded with here. Collaborators like Lala Lala's Lillie West and both members of Sylvan Esso will no doubt come as welcome additions, both serving to bolster the unmistakable sound and vision on which WHY? has grown its legions of fans.WATCH "II. I'VE BEEN CARVING MY ELBOWS, I MIGHT JUST TAKE FLIGHT."HEAR THE AUDIO-ONLY VERSION Yoni Wolf has spent the last two decades traveling the remote sonic terrain where hip-hop, rock, and electronic music meet. In that time he’s cultivated a unique sound, and a unique position as one of contemporary music’s most distinctive voices. Some of Yoni’s most compelling and critically-praised musical experiments have been issued under the moniker WHY? and his latest entry is no exception. On AOKOHIO Yoni condenses the essential elements of WHY? into a stunningly potent musical vision.Co-produced by Yoni and his brother Josiah, AOKOHIO presents a rich palette of musical voices that emerge and disappear into a constantly shifting kaleidoscope of sound. “I wanted a wide variety of sounds. I didn't want this album to sit in one sonic zone. I've always felt like too jagged of a person to be smooth in that way,” Yoni says. While the album features many notable guest contributors, from Lala Lala’s Lillie West, to Nick Sanborn and Amelia Meath of Sylvan Esso, the listener’s attention remains squarely directed on Yoni’s voice and vision. AOKOHIO finds Yoni rethinking fundamental aspects of his approach to creating and delivering his music. The album is presented as six movements comprised of two to four songs each, with some segments appearing as brief fragments that dissolve within seconds.“When I started this project, I decided I needed to try a new approach in creating music and how I work,” Yoni reflects. “I wasn't feeling the idea of going back in and making another ten or twelve song album. It felt arduous. It felt like too much. So I wanted to pare the process down and make it manageable. I thought, 'Why don't I make small five or six minute movements and finish up each movement before I move on to the next.' That's how I started approaching it. The whole process took over five years, I'd start working on something and set it aside for awhile. The earliest songs on this album started in 2013."As Yoni reimagined his approach to creating music, he also began thinking of new ways to share the music with his audience. “I initially wanted to release the music as I progressed through the project,” Yoni says. “When I finished a movement I wanted to put it up digitally on Bandcamp or Soundcloud. I just wanted to make little pieces of music and put them out there. But I had a call with my manager and the label and they said, 'We can release stuff through time like that, but we want to do it properly.' So the idea of the project changed after that, but it retained the integrity of working in movements. It's definitely a very different way of working for me. I think it has yielded some interesting results.”The concept of sharing AOKOHIO in segments over time has been preserved with the release of an accompanying visual album. “I think it's a very artful way of putting the the music out there,” Yoni explains. “It's like a television series, it's revealing itself slowly over time. I think it's cool that the audience gets to hear it one piece at a time, and has to wait and digest each piece before they get the next one.”“I knew early on that I wanted that visual element for this album,” Yoni recalls. “My brother and I have worked on video stuff our whole lives. Our dad had video equipment since we were little kids, he had an editing suite in our basement. We weren't rich, we were actually very poor, but somehow he'd gotten ahold of these video editing desks and cameras. Even though my brother and I had dabbled in video as kids, it's not what we do for a living. So we wanted to find someone, and fucking randomly a guy messaged me on Instagram and was like, 'Hey, I like your music and I'd love to work with you.' I looked at his work and I was like, 'This guy is for real!'"The author of that fateful Instagram message was Sundance award-winning director Miles Joris-Peyrafitte. “Miles directed the first three segments of the visual album and is the mastermind of the overarching video project,” Yoni explains. Joris-Peyrafitte’s visuals cut contemporary footage of Yoni and actress Tatiana Maslany with vintage home videos documenting Yoni’s childhood life in Cincinnati. It’s a fitting juxtaposition, as Yoni’s lyrics on AOKOHIO seem to question how memory, history, and place shape our anxieties and sense of self. “I moved back to Cincinnati after living in the Bay Area for over a decade,” Yoni says. “This album is very much me thinking about my mom and dad, and my siblings.”Yoni’s return to his Ohio hometown brought on a period of critical self-reflection. “Is there a word for bad nostalgia?” Yoni asks. “When I think of the word nostalgia, it seems like pleasant feelings and all that, but this is not really like that. It's more about reflecting on the anxieties I've had since I was born. Why are they there? Is this epigenetics? Is that shit just inside of me because of the Holocaust and my relatives back then? What am I really? Why do I operate in these ways?”Ultimately AOKOHIO sees Yoni pushing to find meaning and peace of mind in the moment, even if it’s not exactly where he wants to be. “The title is sarcastic I guess,” Yoni offers. “But it's also wishful. A lot of my album titles have been names of maladies, like Alopecia and Mumps, Etc. I don't want to project that into the world. You know, ‘A-OK Ohio, I'm here and it's fine.’ It's like a mantra, ‘A-OK Ohio, I'm here and it's OK.’ Even though in reality, everyday I'm like, 'I've got to get the hell out of Ohio.'"AOKOHIO feels like a consequential addition to the WHY? catalog, possibly even an artistic turning point. But its creator remains circumspect when asked to comment on the album’s significance within his discography, instead preferring to characterize the work as the latest iteration of his deep commitment to his artistic practice. “I have no idea if this record is good or not,” Yoni says. “But I never really know. I know that I've never written a song that's indispensable to the American songbook. But in terms of what it is, it's a piece of art. I put blood, sweat, and tears into this album, and struggled through the creative process as I always do. As far as where this sits with the rest of my albums? I can't answer that. I just know that my career is a lifelong career, and I’m working it. Every time it feels right, it makes me feel good.” WHY?AOKOHIOPre-order HERETracklist:I: I may come out a broken yolk, I may come out on saddle.1. Apogee2. The Rash3. Peel FreeII: I’ve been carving my elbows, I might just take flight.4. Reason5. Deleterio Motilis6. Stained Glass SlipperIII: Please take me home, I don’t belong here.7. The Launch8. High Dive9. Mr. Fifths’ Plea10. Good FireIV: The surgeon nervously goes on, he never claimed to be God.11. Narcissistic Lamentation12. Krevin’13. The Crippled Physician14. UstekinumabV: I want to live with conviction, in silence and diction.15. My Original16. Rock Candy17. Once ShyVI: Though I’m tired, I’m still trying.18. The Shame 19. Bloom Wither Bloom (for Mom)---Find WHY? online: WEB | INSTAGRAM | FACEBOOK | TWITTER | BANDCAMP