Canadian producer Dan Snaith revived his long-running Caribou project late last year with the singles “Home” and “You And I.” Exactly one month from today, he’s releasing his first new album in five years, Suddenly, a loose concept album about family and the sudden moments of dramatic change that can shape it. And today, he’s sharing another new track from it, “Never Come Back,” which just premiered as Annie Mac’s Hottest Record In The World.
“‘Never Come Back’ was the first track from Suddenly that I finished. It came together very quickly and was one of those tracks that is a lot fun to make,” Snaith says. “As soon as I landed on the main synthesizer chords and the repeated refrain the rest came together very quickly and naturally. I felt like it was my job to get out of the way and not over complicate or over think it. Sometimes the best pleasures are the simple ones.”
Like many of the songs on Suddenly, “Never Come Back” coalesces around repeated samples, offering a mechanical counterpoint to Snaith’s warmly organic vocals as the track slowly builds itself up into a persistent house-music thump.
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“Tennis Fan” is Banoffee’s first new single since last year’s “Bubble”.
Speaking to The FADER about her new collaboration with Empress Of, Banoffee says, “Working with Lorely (Empress Of) and Quinn was such a pleasure and it turned into a daytime slumber party of sorts, with all ideas being welcome and nothing deemed too silly. I hope when people watch this clip they feel the good feelings we were all experiencing at the time. It’s a song about rejecting the yuck stuff but it’s just as much about celebrating the good stuff. I think this video does a great job of showing how strong friendships can make anything unkind feel unimportant and trivial.”
Banoffee’s debut album Look At Us Now Dad will feature other collaborations with SOPHIE, Cupcakke, and Umru, and is co-produced by Banoffee and Yves Rothman.
The LP was written after Banoffee relocated to LA from Melbourne. She says of the record, “Each track is about a struggle and achievement that anyone could experience, the ones that seem so trivial. We’re all survivors for one reason or another.”
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Dan Bejar of Destroyer calls his upcoming album, Have We Met, a Y2K album. “The songs do seem to point at a very modern dread — one that heightens the more you consider it,” the band said in a statement, a sentiment that could easily apply to any Destroyer record.
Tuesday, Destroyer released “It Just Doesn’t Happen,” the second song off of their new album, out January 31, 2020. “You’re looking good/In spite of the light,” Bejar intones in the video for the new song as the headlights of a snowmobile cut through the dark, “and the air/And the time of the night.” Like the vehicle, Bejar’s vocals are solitary at first — with faint guitar strumming in the background.
After quoting the Platters (“Smoke gets in your eyes”), Bejar heads into the chorus —“You throw yourself down on the playground/Skid to a halt on the runway/You cast a poisonous look to the sun/You know it doesn’t just happen to anyone” — before ushering in bass and drums.
Have We Met follows Destroyer’s 2017 album, Ken, which was named after the original name of Suede’s song “The Wild Ones.” Bejar has said that he was thinking of the Margaret Thatcher era in British politics when working on that record — and it seems he’s now stuck on Y2K.
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Hinds’ sophomore album I Don’t Run arrived just under two years ago. The Madrid quartet has moved at a pretty steady clip since they first popped up in the middle of the ’10s, and the release of “Riding Solo” in December hinted we might be on the cusp of another Hinds album. Today, that’s confirmed: Hinds have announced their third collection, The Prettiest Curse, will be out in April via Mom + Pop.
“We have this incredible job, but it’s really transformed the way we live,” guitarist/vocalist Carlotta Cosials said in a press release, explaining the title of the new album. “We know we’re not going to stop, so we’ve decided to embrace it — to see this curse as something pretty.” And while the album signals the band embracing the direction of their lives, it also denotes some changes — The Prettiest Curse is supposedly bigger and glossier than their sweaty garage rock roots, and it features songs sung in Spanish for the first time in their career.
The announcement comes with a new single, “Good Bad Times.” Here’s what the band had to say about the song:
you know that part in the movies when two people in a relationship are living complete opposite realities? when one thinks everything is great and the other one is about to drown?
good bad times is the struggle of communication, time difference, distance. like the two sides of a coin. two sides close together that can’t be separated, even though they seem to be completely different.
Like “Riding Solo,” “Good Bad Times” suggests Hinds will indeed sound pretty different this time around. It’s basically a straight-up pop song, a noticeable shift even after “Riding Solo” — it’s all gooey synths and yearning vocals that capture that feeling of distance between people that inspired the track. “Good Bad Times” comes with a characteristically playful video, depicting the band as superheroes and directed by Jean LaFleur.
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North London’s Sorry have today announced their hotly-anticipated debut record 925 will be released on 27 March. The band have also revealed the album’s tracklist, featuring recent single “Right Round The Clock” (A Listed by BBC Radio 6 Music in late 2019) and new single “More” – out today, accompanied by a typically feverish visual by Sorry figurehead Asha Lorenz and frequent collaborator Jasper Cable-Alexander.
Sorry have also announced new live dates across the country, in Europe and in North America for 2020, including their biggest hometown show to date at Village Underground on 7 May and first headline shows in New York and Los Angeles. Full listings and tickets are available below.
Together with co-producer James Dring (Gorillaz, Jamie T, Nilüfer Yanya), best friends Lorenz and Louis O’Bryen have woven 925 like a dreamscape in which idyllic and hellish scenes intermingle, forcing the question of what is real and what is make believe. Inspired by everything from Hermann Hesse to Aphex Twin and old-school crooner Tony Bennett, their experimental and holistic approach marks them out as a thoroughly 21st century band; from their open-minded approach to genre to their creativity allowing them to self-produce the music and direct accompanying videos.
Joined by drummer Lincoln Barrett and Campbell Baum on bass, Sorry emerged from a thriving scene of bands in London, and though 925 is their debut album, it is by no means their first statement. It follows a series of mixtapes, released sporadically and used as a way to experiment with the disparate influences and sounds that give 925 its distinctively modern and apocalyptic sound.
Where previous singles and mixtapes earned the band their status as one of the most vital and relentlessly creative new British bands of the moment, 925 is a record which will undoubtedly cement their status as true originals and cross-genre innovators in 2020 and beyond.
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