Following the news that he will release his second album Wysing Forest on 23 June 2014 via Border Community, Luke Abbott has revealed a string of live dates for the summer. Set to take place across the UK, the tour will make two stops in London – one as part of Tyondai Braxton‘s collaborative HIVE performance at London’s Oval Space in May and one as a headline show at St. Pancras Church on 26 June. Luke will also be taking in Totnes, Manchester and Glasgow, with Rival Consoles supporting on all headline June dates.

Luke also recently went back to The Wysing Arts Centre in Cambridgeshire where the album was made to record this live improvised interpretation of immersive first cut ‘Amphis’.

Watch it here: https://www.youtube.com/watch?v=_ziEUmnJyfY
Stream the original here: https://soundcloud.com/border-community/amphis

Luke Abbott Tour Dates

Tues 20 May London Tyondai Braxton’s HIVE performance at Oval Space (Tickets)
Sat 21 June Totnes South Devon Arts Centre (Tickets)
Mon 23 June Glasgow Mono (Tickets)
Wed 25 June Manchester Kraak Gallery (Tickets)
Thurs 26 June London St. Pancras Church (Tickets)

“It’s always more fulfilling when something enters your radar through word of mouth. DIY by nature, Abbott is a wizard with noise.” Hayden Thorpe of Wild Beasts (talking to The Guardian)

The slow-burning success of his 2010 debut album Holkham Drones was something of a dream induction into the world of professional music-making for Luke Abbott. The “game changing electronic opus” stood out as “far and away one ofDrowned in Sound’s favourite records of 2010” and landed in Mojo’s ‘Electronica Albums of 2010′ list, amongst wide-spread critical acclaim. It wasn’t just about 2010 though; far beyond its initial release Holkham Drones has continued to win over convert upon convert.

Finding yourself in the position of having to live up to the expectations of such early promise is a rather less enviable scenario, and it is a bold producer that at this juncture chooses to shun the unending cycle of hype and take a step back. This is just what Luke Abbott chose to do before returning, four years later, with his second full length album WysingForest, due out 23 June 2014 via Border Community.

The follow-up to his two EPs for Gold Panda’s label NOTOWN (Object is Navigator and Modern Driveway), Wysing Forestis named after the Wysing Arts Centre in Cambridgeshire where, over a six week period in 2012 as their first ever musician-in-residence, Luke recorded what would later become the album. The finished article’s 52 minute duration may have been chopped into 9 track-sized chunks but this is most definitely an album which is greater than the sum of its parts, designed to be listened to in one immersive go: edited and compiled after a period of after-the-act reflection into one rapturous movement.

As much an exploration into texture and tone as anything else, Wysing Forest does see a return of sorts to his electroacoustic roots, Luke’s intuitive arrangements ensure that the full scope and variety of his electronic tastes are in no way at odds. It’s not strictly dance music but rather, as Luke’s always said, “Like the second-cousin of dance music. Once removed. You can dance to it if you want, but you don’t have to.”

Praise for Luke Abbott:
“It’s always more fulfilling when something enters your radar through word of mouth. DIY by nature, Abbott is a wizard with noise.” Hayden Thorpe of Wild Beasts (talking to The Guardian)
“Electronic music that is at turns subtle and soothing, intense and challenging. You can trace its lineage back through Boards Of Canada to Aphex Twin and beyond to Eno. A richly rewarding experience” Mojo ‘Electronic Album of the Month’
“If Border Community were taking over the world very slowly, Luke Abbott would be their newest lieutenant.” Pitchfork
“Modern Driveway then, sees Abbott join an elite club of producers who are equally as rewarding in quiet bedroom contemplation as they are on a starry-eyed night out” NME
“Warm, intimate arpeggio-driven techno from this excellent producer” Time Out
“Holkham Drones should stand side-by-side with the masterpieces that Kieran Hebden and Dan Snaith have put out this year.” 9/10 Drowned in Sound
“The future is pulsing, with likes of Luke Abbott, releasing graceful, submerged, ambientish dance albums that are inspiring shifts on a tectonic level” Sunday Times
“By learning from the masters, Abbott informs his own work, then twists it with stunning results” Mixmag
“Luke Abbott has that rare gift of being able to produce something that sounds incredibly comforting with only the most cold and mechanical of tools” 8/10 The Line of Best Fit

DEBUT ALBUM BLACK HOURS NOW OUT JUNE 2ND*

WATCH VIDEO FOR ’11 O’CLOCK FRIDAY NIGHT’ HERE

NEW LIVE DATES ANNOUNCED INCL. LONDON’S BUSH HALL ON MAY 27TH

Hamilton Leithauser recently announced  the release of his debut solo album Black Hours via Ribbon Music which will be released June 2nd/June  3rd (North America), inaugurating a new chapter in an already remarkable career from The Walkmen front man. Today, Hamilton revealed the music video for the track ‘11 O’Clock Friday Night’ which features vocals from Amber Coffman (Dirty Projectors).

The video directed by Paul Maroon, sees Leithauser on a late-night ride through the 9th Ward, Marigny, Bywater, French Quarter, and Treme in the early hours of Mardi Gras – before the Bud Light trucks roll in.

Watch ’11 O’Clock Friday Night’ HERE

Following the change in album release date from May to June, Leithauser has released an updated touring schedule for Spring and Summer. All dates below.  In addition to a two night stand at New York’s Joe’s Pub on April 15th and 16th, Leithauser will be joining Ray Lamontagne on his US tour in June. He will also play a show at London’s Bush Hall on May 27th. Tickets are now on sale and the full list of dates can be found below.

Black Hours brings Leithauser full circle and then some, from lonely midwinter piano-and-vocals sessions, to a loud, live Rock n Roll group and back again.  Featuring Leithauser with a slew of talented collaborators including Rostam Batmanglij (Vampire Weekend), Paul Maroon (The Walkmen), Morgan Henderson and Richard Swift (The Shins/solo), the album showcases Leithauser at his most passionate, personal and free.

Black Hours will be available on CD (RBN035CD), standard (RBN035LP) and limited edition deluxe vinyl (RBN035LPX ) via Ribbon Music. Pre-order the album from Ribbon Music or iTunes in standard  (RBN035D ) or deluxe (RBN035D1) editions and receive an instant download of “Alexandra.” The limited edition deluxe version of the album features a bonus EP of four songs.

Watch the video for current single ‘Alexandra’ HERE

Tour Dates

APRIL
15th                        New York, NY @ Joe’s Pub – 7:30pm
15th                        New York, NY @ Joe’s Pub – 9:30pm
16th                        New York, NY @ Joe’s Pub – 7:30pm
16th                        New York, NY @ Joe’s Pub – 9:30pm
MAY
6th                          Los Angeles, CA @ El Rey Theatre
7th                          San Francisco, CA @ The Chapel
9th                          Seattle, WA @ The Triple Door
10th                        Portland, OR @ Aladdin Theater
12th                        Minneapolis, MN @ Fine Line Music Café
13th                        Chicago, IL @ Park West
15th                        Cambridge, MA @ The Sinclair
17th                        Washington, DC @ Sixth & I Historic Synagogue
26th                         Paris, FR @ La Boule Noir
27th                        London, @ Bush Hall
JUNE
18th                        St Louis, MO @  Fox Theatre  (w/ Ray LaMontagne)
20th                        Lincoln, NE – @ Pinewood (w/ Ray LaMontagne)
24th                        Kansas City, MO @ Starlight (w/ Ray LaMontagne)
27th                        Chicago, IL @ First Merit Bank Pav (w/ Ray LaMontagne)
AUGUST
16th                        Green Man Festival, Wales

Hamilton Leithauser Website@hleithauserFacebook

*please note release date change

White Denim reveal the video for their latest single ‘At Night in Dreams’, released 14 April via Downtown. The song is currently on the A-list at 6 Music. Watch it here: https://www.youtube.com/watch?v=JtAqE48pNsA

The best live band around right now will be touring the UK in May, playing London’s Shepherd’s Bush Empire on the 28th. They will also support the Arctic Monkeys in the US in June.

White Denim UK Dates:
Tue 20 May Bristol Anson Rooms £16
Wed 21 May Liverpool East Village Arts Club £16
Thu 22 May Edinburgh The Caves £16
Fri 23 May Leeds The Cockpit £16 SOLD OUT
Sat 24 May Newcastle Upon Tyne Hoults Yard £16
Mon 26 May Birmingham Glee Club £16
Tue 27 May Brighton Concorde 2 £16
Wed 28 May London Shepherd’s Bush Empire £17.50 

Tickets are available here:
http://www.gigsandtours.com/tour/white-denim

Austin, TX-based band White Denim have unveiled the video for ‘At Night in Dreams’ the new single from Corsicana Lemonade, released on 14th April. The clip, which was directed by acclaimed Texas artist Brian K. Jones of the art duo Chuck & George, pays homage to iconic Big Tex, a 52-ft. tall mechanical talking cowboy that went up in flames on October 19th – the final day of the 2012 Texas State Fair and Big Tex’s 60th birthday.

Brian K. Jones says of the video, “White Denim had really taken a liking to my ‘Meanwhile…back in Dallas!’ two-second animated burning Big Tex/self-portrait video loop. The animation was comprised. There are winks and nods to psychedelic grind house theater graphics of the 70′s and a sprinkling of old Saturday morning cartoons to lighten the mood.”

Praise for Corsicana Lemonade:
‘The last great rock ‘n’ roll band’ The Guardian Guide
‘Rarely has a band sprung so adeptly between genres, and as quickly, as White Denim… only the Beatles or Tim Buckley (are) comparably questing spirits blessed with the ability to realise so many different ideas with such facility’ ‘Album Of The Month’ 9/10 Uncut
‘This extraordinary foursome just go from strength to strength’ 9/10 Classic Rock 
‘This is pretty near perfect’ 4/5 Mojo
‘A staggering, intoxicating record’ 4/5 Q
‘Just as SFTW was finishing its “albums of the year” list, along comes this stupendous gatecrasher’ 4.5/5 The Sun
‘White Denim are gifted purveyors of a kind of fantasy southern rock: musically voracious, deft and yearning… they remind us that there is a real visceral thrill to be had from watching musicians wrangle the shit out of their instruments’ The Guardian Guide
‘White Denim’s fifth album should, by rights, see them do for psych rock what The Black Keys did for blues rock’ 8/10 NME
‘Dreamy, universally appealing southern rockers’ 4/5 The Guardian
‘White Denim can take the familiar and make it feel new, charge it up and make it something special’ 4/5 DIY
‘4/5’ Evening Standard
‘4/5’ The Independent
‘4/5’ Metro
‘4/5’ Financial Times
‘Albums of the Month’ Dazed & Confused
‘Robust rock too tasty to resist’ Esquire
‘A typically accomplished and uplifting slice of progressive blues’ The Times
‘Every rhythmic lurch and stylistic shift remains in service to the band’s greater groove, giving these ten tracks an ease that belies their ferocious complexity’ The Observer

Links:
https://www.facebook.com/whitedenimmusic
https://twitter.com/whitedenimmusic
http://whitedenimmusic.com

Following the release of her incredible debut EP ’Haters and Gangsters’ in February and a string of live shows supporting Young Fathers, rising primal soul-pop queen LAW has revealed the video for ‘O.G (Original Gangster)’.

Its compact beats and woozy vocals are accompanied by a flickering series of snapshots that you can watch here:http://youtu.be/wWK2f-M00R0

She’ll be confirming a headline date in London for the summer following a handful of shows in Scotland.

 Law Live Shows
Fri 4 April Edinburgh Hidden Door
Thurs 10 April Edinburgh Sneaky Pete’s
Wed 21 May Glasgow Milk

Praise for LAW:
‘A revolutionary new blueprint for R ‘n’ B and soul’ The Skinny
‘It’s the ancient yet modern quality to LAW’s voice that intoxicates. Giving the shivers like prime Etta James or Grace Jones’ Mojo
‘Brilliant debut EP, this hair-raisingly good’ Sunday Times
‘She looks positively iconic’ DIY Magazine
‘Haters’ totally rules, thanks to its dystopian R&B’ 4/5 The List
Lauren Holt’s vocals are arresting and purposeful, and demand your full attention’ ‘Track of the Day’ The Line of Best Fit
‘In its seven captured instances of deconstructionist pop, soul and hip-hop, we’re left with a lasting artefact; one that’s well worth treasuring.’ Notion
‘Track of the Week’ London in Stereo
‘Packed with grit and soul, … her new EP ‘Haters and Gangsters’ is bound to impress’ Clash
‘Backed by a vintage, fly on the wall style video; ‘Hustle’ is more than enough reason to get entirely entranced by LAW’ The 405
‘Deep, dark, and brooding, LAW’s debut track ‘Hustle’ fuses primal, pervading bass lines with a driving percussion’ Crack in The Road

“One puff is all that you’ll get” ‘Haters’ LAW

“All good music is soul music.” Wise words from Edinburgh resident Lauren Holt – the voice behind LAW and debut EP ‘Haters and Gangsters’. Having already caught the eye of those in the know with the darkly hued primal soul-pop of last year’s stand out track ‘Hustle’ and most recently with ‘Haters’, LAW’s recently released EP continues in a similar vein and has already captured the wider world’s attention.

“I see the beauty in darkness, the mystery and sickness of it” says LAW of the menacing, pulsating, seven track offering. “I am much more interested in so called dis-functional people, because in the words of Dylan they’ve ‘nothing left to conceal’. I want the darkness inside of me to produce something that is rooted in feeling: Soul music. I try to write lyrics that are rooted in something, whether it be personal experience or the experience of someone I have imagined. I don’t want to be precise. I want to emphasise the murkiness of it all.”

Murky is definitely a quality reflected in the production of lead track ‘Haters’, a fuzzy number whose cyclic momentum rolls over a clattering percussive back bone and that voice – a subdued yet powerful, intoxicating and deep siren call. A unifying call, especially when it comes to the addictive refrain “fickle sickle fickle sickle ya yaa”. 

A brave, addictive and utterly distinctive listen, ‘Haters and Gangsters’ is out now. Download for free here.

FIRST AID KIT TO RELEASE STAY GOLD – THEIR COLUMBIA RECORDS DEBUT ON 9 JUNE 2014

LISTEN TO FIRST SINGLE ‘MY SILVER LINING’

PRE-ORDER ON ITUNES 1 APRIL AND RECEIVE ‘MY SILVER LINING’ AS A FREE DOWNLOAD. DELUXE EDITIONS AVAILABLE FOR PRE-ORDER AT THISISFIRSTAIDKIT.COM FEATURING GOLD VINYL & SIGNED LITHOGRAPH

On 9 June 2014, Swedish duo First Aid Kit will make their Columbia Records debut with their third album Stay Gold. Having had its UK premiere via Lauren Laverne yesterday, the first single ‘My Silver Lining’ is now available for streaming via Pitchfork. The band has also announced UK festival dates at Latitude and Green Man Festivals. More UK dates will be announced imminently.

With Stay Gold, First Aid Kit – sisters Klara and Johanna Söderberg – have honed their musical skills and blossomed as vivid storytellers in creating an ambitious 10-song collection. Recorded at ARC studios in Omaha and produced by Mike Mogis (Bright Eyes, Monsters of Folk), the duo also enlisted The Omaha Symphony Orchestra to play on the record, with arrangements by Nate Walcott (Bright Eyes, Broken Bells, Rilo Kiley). They say of the recording process, “We took new directions and turns with the arrangements, building them up and creating more dynamics, yet always following where the songs wanted to go.”

Watch: Exclusive album trailer, filmed on location in Death Valley (directed by Neil Krug): http://youtu.be/KA4Re2zrTHQ

Drawing inspiration from sources such as Townes van Zandt’s Our Mother The Mountain and Lee Hazlewood productions, ‘My Silver Lining’ features the duo’s most sophisticated songwriting to date. They explain, “It’s song about searching for a reason to keep on keeping on, to find the good that comes with the bad. We wanted to create a piece that was dark yet uplifting at the same time.”

Hailing from a southern suburb of Stockholm, Klara and Johanna began composing songs as teenagers in 2007. Their heart-wrenching song ‘Emmylou’ from The Lion’s Roar was chosen by Rolling Stone as a ‘Single of the Year’ in 2012. That year was an astonishing breakthrough that saw worldwide sales of over 250,000 and saw the album gain silver status in the UK with sales of 68K. They have performed on The Late Show with David Letterman, Conan, shared the stage with artists including Jack White, Lykke Li, and Bright Eyes, played the main stage at Glastonbury and rounded everything out by winning both the Nordic Music Prize and four Swedish Grammy’s in 2013.

On Tuesday 1 April, Stay Gold will be available for iTunes pre-order, orders will come with a free download of ‘My Silver Lining.’ Deluxe collector’s editions will also be available for pre-order at thisisfirstaidkit.com, featuring limited edition gold vinyl, an exclusive tote bag, and an autographed 14×20 lithograph while supplies last. Pre-order here.

Stay Gold Tracklist:
1. My Silver Lining
2. Master Pretender
3. Stay Gold
4. Cedar Lane
5. Shattered & Hollow
6. The Bell
7. Waitress Song
8. Fleeting One
9. Heaven Knows
10. A Long Time Ago

Festival dates:
19 July Latitude Festival http://www.latitudefestival.com
17 August Green Man Festival http://www.greenman.net

Praise for The Lion’s Roar –
‘Album of the Week’ Independent on Sunday
“A brilliant album from sisters Klara and Johanna Soderberg” 5/5 Sunday Telegraph
“An intoxicating mix of widescreen Americana and Scandinavian poise” 4.5/5 The Sun
“The voices of Johanna and Klara are enough to weaken knees… The lyrics’ heavy-hearted take on relationships is more evidence of an astonishing maturity” 4/5 Mojo
“Klara and Johanna Söderberg have crafted remarkably mature work” 4/5 Uncut
“It’s pretty perfect” 8/10 NME
“Nothing short of magical” 4/5 The Fly
“The second album from the Swedish Soderberg sisters is full to the brim with charm”
4/5 The Guardian
“A country-rock revelation” 4/5 The Independent
“There’s genuine beauty here” 4/5 Evening Standard
“Their truly sublime sibling harmonies are still the shining beacon they always were”
4/5 The List
“The Lion’s Roar is full of rich textures that unfurl around Klara and Johanna’s bittersweet harmonies… First Aid Kit have woven their Swedish sangfroid into a bewitching brand of Americana” 8/10 Clash
“4/5” Q
“4/5” The Times
“4/5” Daily Mirror
“8/10” Loud & Quiet

http://thisisfirstaidkit.com/
https://www.facebook.com/firstaidkitofficial
https://twitter.com/firstaidkitband

Tomas Barfod has announced the new album Love Me for release on 9 June via Secretly Canadian.

Listen to his special Record Store Day release, the touching love song ‘True To You’ featuring Gruff Rhys HERE

Tomas will be in the UK in May to play The Great Escape and a headline show in London at Birthdays on the 8th, for more details and tickets visit http://eatyourownears.eventgenius.co.uk/events/Tomas-Barfod/

Artist: Tomas Barfod
Title: Love Me album
Label: Secretly Canadian
Release Date: 9 June 2014
Formats: CD / Double LP / Digital
Cat Number: SC307
Links: http://tomasbarfod.com
https://www.facebook.com/tomas.barfod
http://twitter.com/tomasbarfod

‘His slightly offbeat, sparkling take on body music may stand to reach an even larger audience’ Pitchfork at SXSW

Tomas Barfod UK Dates:
Thu 8 May London Birthdays Tickets
Sat 10 May Brighton Green Door Store Tickets

After the release of the stunning ‘Pulsing’ EP last month, and scoring ‘Single of the Week’ in the Guardian Guide, Tomas Barfod has announced a new album Love Me for release on 9 June via Secretly Canadian. A very special one off track featuring Gruff Rhys called ‘True To You’ is planned for release on Record Store Day, stream the dreamy love song with Gruff’s typically touching lyrics HERE

You can also listen to the excellent Tomas Barfod Loves You mix right now on Soundcloud, featuring tracks from the upcoming album as well as some of his current DJ favourites HERE

Back in the summer of 2012, Danish dance music polymath Tomas Barfod released his debut solo album, the sophisticated mesh of electronics that is Salton Sea. Lauded by the likes of Pitchfork, Dazed & Confused and Gorilla vs Bear, its success took Barfod slightly by surprise. Inspired by a move to LA and mainly written and recorded on the road, it was an album that was imbued with a sense of spontaneity and experimentation. Its success has paved the way for the forthcoming follow-up, Love Me, an album that continues this spirit of adventurousness but takes it to a whole new level. Utilising a supporting cast that includes a string and brass section, and the likes of Here We Go Magic’s Luke Temple and long-term collaborator Nina Kinert on vocal duties, it’s a multi-layered album that effortlessly pushes and pulls pop and electronic music into a myriad different shapes.

This is where his recent EP, ‘Pulsing’, and forthcoming second album Love Me come in. While the crystalline rush of Salton Sea was created mainly in fits and starts, the new album is more precise, more defined and ultimately crafted into more fully-formed pop songs. “Salton Sea was a bit more of a laptop album whereas with this new one I spent more time working with analogue gear and bringing in string arrangers and using Jeppe’s guitar playing,” he says, referencing his bandmate. “I’ve been getting into more vintage synthesizers on this new one too. I think there’s a bit more of a focus on the songs.” While still keeping his debut’s intimate delicacy and beautiful sense of fragility, this follow-up is also more audacious, as showcased on the sweeping strings of the lovely ‘Aftermath’.

This coalescing of the real and the analog is highlighted by the guest vocalists, who range from long-term collaborator Nina Kinert on the lovely electro-squelch of ‘Pulsing’ and the bouncing electropop of ‘Busy Baby’ and American singer-songwriter Luke Temple on the poignant ‘Bell House’. From the start, Barfod was acutely aware that in order for these songs to come to life they needed to have vocals, even if piecing it all together was like finishing a puzzle. “Often I’ll have a track that’s good but when the vocals are on it the songs grows so much,” he explains. “It’s always a big puzzle actually. I have to pick the right songs for each vocalist and they write to it.”

With so much going on, it would be easy to assume that Barfod’s solo career is just a sideline, or a hobby in-between remixing, producing for other acts or working with WhoMadeWho. One listen to the ‘Pulsing’ EP or Love Me, however, should make it very obvious that this is where his heart is. Love Me is a multi-layered, endlessly rewarding, organic-sounding electronic album utilising real heart and soul, flitting between enigmatic instrumentals like ‘’Mandalay’ and the bubbling drama of the keening, Night Beds-featuring ‘Want To Tell You’. “My career so far has been pretty random,” he laughs. “It all started with me saying ‘maybe I should put out a song’, then ‘maybe I should put out an EP’ and then the album… and that did well for me almost out of nowhere. I didn’t necessarily expect anything from it. With this album, however, I knew what I wanted to make; something that people would love and that would stand the test of time.” Mission accomplished. 

Love Me Track List:
1. Bell House (Feat. Luke Temple)
2. Pulsing (Feat. Nina K)
3. Destiny’s Child
4. Busy Baby (Feat. Nina K)
5. Honey (Feat. Sleep Party People)
6. Blue Matter (Feat. Jeppe Kjellberg)
7. Waiting For Us (Feat. Nina K)
8. Mandalay
9. Sell You (Feat. Night Beds)
10. Lost (Feat. Pell)

EMA shares new track ’3JANE’ and posts accompanying explanation, read the full blog and listen to the track here: http://www.thefuturesvoid.net/3jane

The new album The Future’s Void is out 7 April via City Slang.

EMA has announced a UK tour for June, including The Garage in London on the 3rd.

Praise for The Future’s Void:
‘4/5’ Mojo
‘8/10’ Uncut
‘Both a slab of noise a deftly melodic pop… if the future’s void, the present sounds mighty’ NME
‘A deadpan lo-fi introvert who taps The Velvet Underground on ‘When She Comes’ and 70s Eno on ‘100 Years’ which achieves so much with just a delicate vocal, minimalist piano and lowing strings’ Q

“The standout track ’3Jane’, a beautiful but portentous ballad, contains the lines “It feels like I blew my soul out across the interweb / It left a hole so big inside of me / And I get terrified that I will never get back to me” – words which I will subsequently come to realise are hugely illuminating.” The Quietus

“Did you know Facebook just bought the company that makes the Oculus Rift? The VR headset I am wearing on the cover of The Future’s Void? People ask me about themes of paranoia on the record but obviously I am not the only one with dystopian dreams of our plugged-in future.” writes EMA, introducing the latest song from her new album on her blog today.

‘3Jane’, by Erika M Anderson’s own admission, is the lyrical centre-piece of the new EMA album ‘The Future’s Void’ which comes out on April 7th through City Slang.

“No one was really ever that mean to me on the internet. I never had that “thing” that happens when you wake up one morning and somehow your life is ruined because a mortifying picture goes viral or a “funny” tweet becomes horribly misread.  Sure, there were bitchy things in the comments of videos, but organized trolls never unleashed a wave of death threats on me, and only a few people suggested that I kill myself.

So the internet never actually did that to me. But it did that to somebody. And now we all have this stupid crippling fear that someday it will happen to us.  And the likelihood increases as you move from relative obscurity to becoming more broadly visible on the internet.  There are more cameras on you, more chances to be quoted saying something stupid, and more people out there who relish seeing successful people disgraced and dethroned.

“Do you have that fear yet?  Do you want it?”

Read the full blog post accompanying 3Jane here: http://www.thefuturesvoid.net/3jane/

EMA UK Dates:
Tue 3 June London The Garage
Wed 4 June Manchester Deaf Institute
Thu 5 June Leeds Brudenell Social Club
Fri 6 June Bristol The Lantern

Erika M. Anderson first graced the limelight under the guise of EMA in May 2011, when the brilliantly scuffed debut album ‘Past Life Martyred Saints’ was released to a multitude of acclaim.  After having spent time in the California underground fronting the genre-defying cult duo Gowns with Ezra Buchla, ‘Past Life Martyred Saints’ offered a deeper glimpse into the world of EMA. An absorbing and ambitious masterpiece that revealed a unique and feed-backed noisy guitar style, a skill for visceral songwriting and a DIY recording ethos, it showcased a distinctive sonic signature that sounded like nothing else around.

If Past Life Martyred Saints was an inward exploration of human relationships and their toll, The Future’s Void catapults them out into space, both thematically and musically. The album meditates on universal themes of how we interact with the wider world and how that interaction is increasingly modified by technology. Through collaboration with Leif Shackelford on production duties, the sound of this record reflects these themes and instead of using electronics to create a polished, airless environment, Anderson’s techno-future thrashes strongly between harsh tones and paranoia, to beautiful colour bursts and mellow guitar strums.

EMA continues to evoke a unique and ambitious sound that saw her rightfully recognised as one of the most singular artists to emerge in 2011, and is likely to send her back into the public consciousness once again in 2014.

http://emathefuturesvoid.tumblr.com/
http://www.thefuturesvoid.net/
https://www.facebook.com/cameouttanowhere
https://twitter.com/EMAthorstar
http://instagram.com/_ema_usa_

Luke Abbott will release his second album Wysing Forest for Border Community on 23 June 2014. Check the immersive first offering “Amphis’ here: https://soundcloud.com/border-community/amphis

Artist: Luke Abbott
Title: ’Wysing Forest’ Album
Label: Border Community
Release Date: 23 June 2014
Formats: Vinyl / Digital / CD
Cat. Number: 45BCLP /45BCCDD /45BCCD
Distribution: PIAS UK
Links: www.bordercommunity.com
www.lukeabbottmusic.com

“It’s always more fulfilling when something enters your radar through word of mouth. DIY by nature, Abbott is a wizard with noise.”Hayden Thorpe of Wild Beasts (talking to The Guardian)

The slow-burning success of his 2010 debut album Holkham Drones was something of a dream induction into the world of professional music-making for Luke Abbott. The “game changing electronic opus” stood out as “far and away one of Drowned in Sound‘s favourite records of 2010” and landed in Mojo‘s ‘Electronica Albums of 2010′ list, amongst wide-spread critical acclaim. It wasn’t just about 2010 though; far beyond its initial release Holkham Drones has continued to win over convert upon convert. Its joyous arpeggios and rolling primal rhythms seduced wherever they were heard, spawning a string of EPs and sustaining an accompanying live touring schedule that has kept Luke and his handcrafted hardware-jams rumbling across the clubs, gigs and festivals of Europe throughout the intervening years.

Finding yourself in the position of having to live up to the expectations of such early promise is a rather less enviable scenario, and it is a bold producer that at this juncture chooses to shun the unending cycle of hype and take a step back. This is just what Luke Abbott chose to do before returning, four years later, with his second full length album Wysing Forest, due out 23 June 2014 via Border Community.

The follow-up to his two EPs for Gold Panda‘s label NOTOWN (Object is Navigator and Modern Driveway), Wysing Forest is named after the Wysing Arts Centre in Cambridgeshire where, over a six week period in 2012 as their first ever musician-in-residence, Luke recorded what would later become the album. A genuine, heartfelt live performance (as opposed to the painstakingly arranged computer bound product) lies at the heart of the new record: “The record is mostly made up of live recordings” explains Luke. “Some were recorded at a performance at Wysing in front of a very small audience and some were recorded in a temporary studio I had setup during my residency.” The modular synthesizer, more than just the musical accessory of the moment, allows this type of in-the-moment responsive recording process, serving as the perfect conduit for his improvisational impulses. “There was a large emphasis on improvisation during the whole process,” he adds. “A lot of what has ended up on the record was originally recorded as first-takes or sketches of ideas.”

There is a spaciousness inherent in the record that immediately makes its presence felt, a large part of which comes from Wysing. “It was recorded in the winter, it was very cold and the place is quite isolated. It’s in the middle of the countryside, there is no mobile phone reception there and limited internet access. While I was staying there, there were also six other artists in residence, so there were people around some of the time, but there was still a massive sense of distance, like we were far away from the world.”

“While I was recording the album I was listening to a lot of different things within spiritual jazz; Don Cherry’s Organic Music Society and Alice Coltrane’s Journey in Satchidananda were the two main records I was listening to. There was a bit of Terry Riley too and some Team Doyobi.” Add to this what sounds like a less Krautrock Muzik Von Harmonia and you can start to piece together a beautiful patchwork of sound that helped influence and shape this progressive work. It’s not just past influences that are brought to bear on the new record, as Luke’s recent remixes for everyone – from  Nils Frahm and East India Youth to more dancefloor-led exponents such as Jon Hopkins and John Talabot – proves.

The inherent wonk of Luke’s boutique analogue synths and offbeat, polyrhythmic approach to percussion imbue his creations with an overwhelmingly warm, human and positively homemade character. “Sometimes there’s a human presence in music, I’m trying to get that right.  It’s hard to capture that with electronic music because you need to intervene so much more than you’re expected to, but you have to in order to create a performance element.  There’s something magical about good recordings of groups of people playing together, like in the FAME Studios recordings, or The Band record, or those spiritual jazz records… they are capturing moments.  And there’s a kind of majesty in good electroacoustic recordings, things like Denis Smalley’s Pulses of Time record. There’s a level of mastery over technology where it stops being a technical exercise and becomes a human performance.  So I’m trying to get somewhere in-between, where I can capture a moment and forget about the technology.”

The finished article’s 52 minute duration may have been chopped into 9 track-sized chunks but this is most definitely an album which is greater than the sum of its parts, designed to be listened to in one immersive go: edited and compiled after a period of after-the-act reflection into one rapturous movement. “Wysing Forest”, says Luke, “has a very particular arc to it and the tracks only really make sense in the context of that arc. It’s a lot more centred thanHolkham Drones, it has more deeply considered themes and motifs, and it’s been constructed to produce a more focused and involving listening experience. Structuring the album to work as a whole was quite a challenge, almost more of a challenge than making the music but I think I’ve ended up with something that has a kind of internal logic. I hope that it’s a record that people can keep discovering more layers to.”

As much an exploration into texture and tone as anything else, Wysing Forest’s layers do indeed reveal themselves gradually – beginning with the synaptic indulgence of album opener ‘Two Degrees.’ The Conrad Schnitzler-esque abstract explorations of ‘Two Degrees’ or the radiophonic foreboding of ‘Snippet’ that follows later could certainly stand alone as a synth-driven artistic exercise but they are soon imbued with a deep connection to the rest of the record as they merge imperceptibly into the elegiac pastorals of ‘Amphis’ and ‘Amphis (reprise)’. This is where Luke’s retro-futurist hardware takes on the handed-down-through-the-ages proportions of a rural community’s much-loved church organ producing warped, submerged cries that scale Sigur Ros-esque divine heights with a majestic restraint.

‘Free Migration’ with its bubbling synths and quickening pace forms the subtle peak that marks the mid-point of the album alongside the fluttering glitches of ‘Highrise’. Both tracks certainly approach Holkham Drones idiosyncratic danceability, but it is thanks to Luke’s perfectly judged elegant transitional dynamics that neither piece – although as dancefloor-directed as anything he has ever done before – ever feels out of place amongst the new album’s moremellow moments. The softer edges of ‘Tree Spirit’ and ‘The Balance of Power’ mark Wysing Forest‘s denouement – their more melodic, less beat driven cores returning us to the left of centre territory found in the album’s opening moments before aforementioned numbers ‘Snippet’ and ‘Amphis (reprise)’ bring us full circle. “There’s a kind of symmetry to it, and there’s an attempt to present the music as if it has a natural life cycle” Luke says. “It comes from silence and it flourishes until it becomes organised and functional, then it begins to dismantle itself until it plateaus and eventually stops.”

And even though Wysing Forest does see a return of sorts to his electroacoustic roots, Luke’s intuitive arrangements ensure that the full scope and variety of his electronic tastes are in no way at odds. As Luke says himself “I think music is like hand writing; whether you intend to or not, you have a natural and identifiable style that you can’t escape from.” The album may have come from an improvised selection of live recordings but that is not to say he has any intention of giving up on playing to a club audience: it is this improvisational adaptability that lends itself to two complementary touring strands. Ever since his earliest forays into the live performance arena the unique hedonistic freedom of the club dance floor has provided an unusual – but inherently open-minded – sandbox testing ground for his improvisational impulses, and in this context the thudding heartbeat at the centre of Wysing Forest may readily be fleshed out into something of a more club-friendly danceable nature. It’s not strictly dance music but rather, as Luke’s always said, “Like the second-cousin of dance music. Once removed. You can dance to it if you want, but you don’t have to.”

Track Listing:

Two Degrees / Amphis / Unfurling / Free Migration / Highrise / Tree Spirit / The Balance of Power / Snippet / Amphis (reprise)

Praise for Luke Abbott:

“It’s always more fulfilling when something enters your radar through word of mouth. DIY by nature, Abbott is a wizard with noise.” Hayden Thorpe of Wild Beasts (talking to The Guardian)
“Electronic music that is at turns subtle and soothing, intense and challenging. You can trace its lineage back through Boards Of Canada to Aphex Twin and beyond to Eno. A richly rewarding experience” Mojo ‘Electronic Album of the Month’
“If Border Community were taking over the world very slowly, Luke Abbott would be their newest lieutenant.” Pitchfork
“Modern Driveway then, sees Abbott join an elite club of producers who are equally as rewarding in quiet bedroom contemplation as they are on a starry-eyed night out” NME
“Warm, intimate arpeggio-driven techno from this excellent producer” Time Out
Holkham Drones should stand side-by-side with the masterpieces that Kieran Hebden and Dan Snaith have put out this year.” 9/10 Drowned in Sound
“The future is pulsing, with likes of Luke Abbott, releasing graceful, submerged, ambientish dance albums that are inspiring shifts on a tectonic level” Sunday Times
“By learning from the masters, Abbott informs his own work, then twists it with stunning results” Mixmag
“Luke Abbott has that rare gift of being able to produce something that sounds incredibly comforting with only the most cold and mechanical of tools” 8/10 The Line of Best Fit

Tomas Barfod Live in London
Thursday 8 May at Birthdays
Tickets: www.eatyourownears.co.uk

Tomas Barfod has shared a striking video for ‘Happy’, taken from the current EP ‘Pulsing’ out now on Secretly Canadian. Watch it here: http://youtu.be/v6INLl6OnO0

The follow up to 2012’s critically acclaimed Salton Sea album is planned for release later this Spring, more news to come soon.

The video features a lonely man dancing in an empty room, with beautifully timed flashing lights his only partner. The song and video offer a stark contrast to Pharell’s track of the same name; “it’s a glimmering, emotionally lost-at-sea soulful house track” (Stereogum) and features the heartbreaking vocals and lyrics of Eddie Chacon of 90s soul duo Charles & Eddie.

Back in the summer of 2012, Tomas Barfod released his debut solo album, the sophisticated blend of electronics that is Salton Sea. Lauded by the likes of Pitchfork, Dazed & Confused and Gorilla vs Bear, its success took Barfod slightly by surprise. Inspired by a move to LA and mainly written and recorded on the road, often in hotel rooms on his laptop, it was an album that was imbued with a sense of spontaneity and experimentation. Its success has paved the way for the forthcoming follow-up ‘Pulsing’, an EP that continues this spirit of adventurousness but takes it to a whole new level.

Praise for Tomas Barfod:
‘His slightly offbeat, sparkling take on body music may stand to reach an even larger audience’ Pitchfork at SXSW
‘Single Of The Week’ Guardian Guide
‘The aptly named track ‘Pulsing’, a three and a half minute long reminder of what got us so excited about this imaginative Dane’s production work in the first place’ JaJaJa
‘Immerse yourself in the ‘Pulsing’ sounds of this brilliantly infectious new cut’ The Line of Best Fit
‘A sombre, pacey switch in direction’ DIY
‘Laid back, relaxed affair that quietly builds and lets you back down again just as easily’ The 405

Links: http://tomasbarfod.com
https://www.facebook.com/tomas.barfod
http://twitter.com/tomasbarfod

Factory Floor return with ‘How You Say’ released on 19 May 2014. Check the original alongside Daniel Avery and Helena Hauff remixes here https://soundcloud.com/dfa-records/sets/factory-floor-how-you-say-3. Full UK dates for May below, including London’s Oval Space on 15 May.

Artist: Factory Floor
Title: How You Say’ single
Label: DFA
Release Date: 19 May 2014
Formats: 3 x 12”s / Digital
Cat Number: DFA2432
Distribution: PIAS
Website: www.facebook.com/factoryfloor
twitter.com/factoryfloor 
www.dfarecords.com

After a remarkable 2013, Factory Floor reveal the details of their latest release for DFA and one of the Factory Floor  album highlights with the single ‘How You Say’  – the static filled and propulsive sound of New York’s dance underground rebooted and re-imagined for a near future inner city digital versus analogue battle and set for release on 19 May 2014. The single features the original mix, as well as remixes from Phantasy’s very own Daniel Avery (“Avery applies his smoggy-gorgeous touch to Factory Floor” Pitchfork), Invisible Conga People, Gunnar Haslam, Bookworms, and Helena Hauff.

Added to this, the band head back out on tour in the UK in May following US appearances including Coachella. They are hands down one of the best live entities around. Exhilarating in a word. Or as 4/5 live review in The Guardian duly noted recently “Factory Floor create pliable, zoned-out songs that encourage the mind to wander, even as incontestable beats commandeer your feet.” See full list of lives dates below. All this news rounds off a momentous twelve months for Factory Floor. Following years of anticipation, 2013 saw the band release Factory Floor, their long-awaited debut on DFA Records. The album was recorded and mixed by the band in their North London warehouse space (sadly now demolished).

Factory Floor in its current, fully formed incarnation got together in late 2009 when guitarist/vocalist Nik Colk Void joined the dark-hearted, 21st Century rhythm section of drummer Gabe Gurnsey and synth player Dominic Butler. Within months their astonishing gigs had earned them a devoted audience in the UK. In the two years after the trio formed they released a number of EPs and 12”s on labels such as Blast First Petite and Optimo while all the time their live sound was shifting away from an all-out noise assault into a much more spacious and confident exploration of techno, minimal, acid and post-industrial rhythms and textures.

Factory Floor live dates:
Fri 2 May Liverpool  http://liverpoolsoundcity.seetickets.com/event/liverpool-sound-city-2014/various-liverpool-venues/711124
Sat 3 May Manchester http://www.seetickets.com/Event/factory-floor/islington-mill/776415
Thurs 15 May London http://www.seetickets.com/Event/factory-floor/oval-space/776430
Fri 16 May Birmingham  https://www.theticketsellers.co.uk/tickets/factory-floor/10030868
Sat 17 May Brighton http://www.seetickets.com/Event/factory-floor/coalition/775741

Praise for Factory Floor:
‘Best Album of the Month’ 10/10 Vice
‘This forward-thinking ‘rave-in-mind’ debut may go down as one of best albums of the year’ 9/10 Mixmag Electro ‘Album of the Month’
‘The long-awaited LP is here, and is simply glorious’ 9/10 DJ
‘Unparalleled, uncompromising and pretty much unstoppable’ 9/10 The 405
‘A fantastic debut’ 4.5/5 Music OMH
‘This is music that demands to be played loud and often’ 4.5/5 The Fly
‘A sharp, uncompromising, emphatic victory’ 8.5/10 thelineofbestfit
‘Atomic flawlessness, it’s a tribute to the band that the album remains so addictively tactile’ 8/10 Loud & Quiet
‘Big, bold, invigorating stuff’ 8/10 Clash
‘The result is an absolutely belting 10 songs’ 8/10 NME
‘The humanity that manages to shine through this tight, crafted record is a triumph’ 8/10 DrownedinSound
‘This is an album then of irresistible forward momentum; brutal and gentle, alien and human. An album to strap yourself in for and give in to its hypnotising strangeness’
8/10 DIY
‘One of our favourite albums of the year so far’ The Guardian
Factory Floor is a thrillingly hypnotic, hyper-modern record’ Uncut
‘A debut that’s been engineered with machine-like precision, that can sit comfortably alongside the best work of the band’s musical idols. It’s excellent, in other words’
4/5 Time Out
‘At its best, Factory Floor powerfully blurs the lines between human and machine and back again’ 4/5 Mojo
‘The next in a loose chain which includes LCD Soundsystem, Throbbing Gristle and Afrika Bambaataa, and it doesn’t sound like this album has exhausted their potential’
4/5 The List
‘Searingly unique and engagingly familiar, it more than delivers on the London trio’s early promise’ 4/5 The Skinny
‘4/5’ FACT
‘4/5’ The Times
‘4/5’ FT
‘Albums of the Month’ Dazed & Confused
‘Factory Floor are, of course, one of the best bands you will ever see live’ Notion
‘Factory Floor look set to fill the void left by LDC Soundsystem with their awesome debut album. Irresistable’ Diva
‘Their self-titled album takes us on an intense and exhilarating journey’ Grazia
‘A self-titled album which is as bold and beautifully realised as many always knew it would be’ London in Stereo