Playlist 11.08.20 : Five Songs for the Weekend

Playlist 11.08.20 : Five Songs for the Weekend
Playlist 11.08.20 : Five Songs for the Weekend
Playlist 11.08.20 : Five Songs for the Weekend

Oneohtrix Point Never, a.k.a. Daniel Lopatin, has released a fantastical new video for “Long Road Home.” The single appears on his upcoming album Magic Oneohtrix Point Never, out October 30th via Warp.

Co-directed by Charlie Fox and Emily Schubert, the clip features a courtship between two demonic creatures who become one in the end — an homage to Georges Schwizgebel‘s 1982 short Le Ravissement de Frank N. Stein. “I don’t know why I don’t wanna transform,” Lopatin sings, backed by Caroline Polachek. “Taking the long road home.”

“It’s a romantic fable about love and transformation, which grew out of a lot of wild philosophical conversations with Dan over the summer,” Fox and Schubert said in a statement. “We wanted to take these supposedly grotesque or demonic creatures and turn them into the weirdly adorable and heartbreaking protagonists of this courtship ritual. For a song that seems to be sung by something mutant and magical in a time when intimacy is craved and feared, it felt like a hot match; it just felt good inside. And all this stuff started oozing out.”

Lopatin released “Long Road Home” last month in a trio of songs titled “Drive Time Suite.” It included the singles “Cross Talk I” and “Auto & Allo.” Magic Oneohtrix Point Never follows 2018’s Age Of and the soundtrack to Uncut Gems.

Read the rest of this article at RollingStone

Mork n Mindy is the first track from Sleaford’s forthcoming new studio album, following their Top 10 hits & rarities collection, All That Glue & phenomenal global live stream from London’s 100 Club. It features acclaimed British singer Billy Nomates and premieres on Seth Myers TV show in US in Oct. Full of incendiary vim, vigour, attitude & observation, it sees Sleaford’s expanding their sonic palette, adding poppy touches courtesy of Nomates vocals and additional textures to their searing electronics.

“Mork n Mindy is the sound of the central heating and the dying smells of Sunday dinner in a house on an estate in 1982. Concrete, dinted garages, nicotine. Where beauty mainly exists in small cracks on the shell of your imagination. Captured perfectly in Ben Wheatley’s video for the song.” – Jason (Sleaford Mods)

Read the rest of this article at Piccadilly Records

There’s an age-old saying which often holds true with certain musical projects: “Too many cooks spoil the broth.” Sometimes, however, when you veer away from a recipe, choosing to experiment with your ingredients, there’s a possibility you’ll be pleasantly surprised by the outcome. In the case of SOL, the long-awaited debut from Sirens of Lesbos, the listener is served a delectable smorgasbord of intoxicating instrumentation with notes of reggae, R&B, funk and pop. Here, flavours are steadily developed, culminating in a well-tempered sonic palette which leaves a lasting impression.

After parting ways with a major label, the Swiss quintet decided to go their own direction to produce a record that showcased an all-encompassing representation of their collective inspirations. Subsequently, SOL seamlessly blends the band’s varied backgrounds and combined musical sensibilities.

From the get-go, opener ‘Tired Introlude’s lush instrumentation, buoyed by densely layered melodies, creates an enticing atmosphere. A huge part of Sirens of Lesbos’ allure across these twelve tracks is their ability to keep audiences on their toes. Who could’ve anticipated the near blinding luminescent piano riff of the yacht-rock infused ‘How Many Miles’ or Connan Mockasin-esque unsettling chillwave closing out the LP to follow the compelling reggaeton undercurrent heard on ‘Birds’? While there’s plenty to enjoy in those aforementioned tracks, ‘Like Some Dream’, featuring American rapper JID, is the undeniable highlight of the record. Echoing notes of Kendrick Lamar’s introspective moments from 2017’s DAMN, often set by Steve Lacy’s guitar playing, Sirens of Lesbos incorporate menacing synth arpeggios with a dreamlike saxophone accompaniment for added textural depth and intrigue.

Read the rest of this article at Loud and Quiet 

Last year, the Baltimore rap expressionist JPEGMAFIA released his frantic, jagged album All My Heroes Are Cornballs. Since then, Peggy has been releasing a steady string of one-off singles that have shifted his sound in a more melodic direction, singing through Auto-Tune without losing his fundamental unpredictable weirdness. In recent months, he’s released tracks like “Cutie Pie!,” “The Bends!,” and the Mariah Carey-flipping “Living Single.” Today, he’s got a new one called “Last Dance!”

On the two minute “Last Dance!,” JPEGMAFIA sing-raps in one long verse, flexing hard and namechecking Dennis Rodman and Mary J. Blige and Mr. Marcus. Musically, it sounds like recent Drake through a prism. It’s pretty and floaty, but it’s also off-center and unsettled. In the video, we see Peggy and a friend silhouetted against a wall of neon signs — one more urgent and low-budget look at an artist who thrives on all things urgent and low-budget.

Read the rest of this article at Stereogum

More than a decade ago, the Indiana rap prospect Freddie Gibbs got dropped from Interscope and went on an underground tear, cranking out mixtape after mixtape and developing a huge critical reputation. After that, Gibbs spent a little while on Jeezy’s CTE imprint. But for most of the time since he lost that Interscope deal, Freddie Gibbs has been an indie-rap monster, one who cranks out new music with a feverish intensity that somehow looks effortless. Earlier this year, for example, Gibbs teamed up with the Alchemist to release Alfredo, one of 2020’s best rap albums. But now Freddie Gibbs has a brand-new major-label deal, and he’s got a new single to celebrate it.

Today, Gibbs and his ESGN label announce their new deal with Warner Bros. For his Warner debut, Gibbs has teamed up with fellow Midwest native Big Sean to release the giddy, triumphant fast-rap single “4 Thangs.” Over a beat from producer Hit-Boy — the very busy beatmaker who has recently overseen entire albums from Big Sean, Nas, and Benny The Butcher — Gibbs and Sean both go in, trading off graceful shit-talk.

In some ways, the song almost seems like an excuse for the video. In director Nick Walker’s clip, Gibbs and Sean are the two best players on a team that’s just won its fourth straight championship. We get to see the locker-room celebration and the post-game press conference. Onscreen chyrons tell us that Gibbs and Sean have both averaged 50 points per game and zero assists, which is pretty amazing. Gibbs has been bringing a laid-back comic energy to his videos for a long time, and he and Sean make a good pair.

Read the rest of this article at Stereogum

P.S. previous PLAYLISTS & more by P.F.M.