NEWS

PROTOMARTYR REISSUE DEBUT ALBUM 'NO PASSION ALL TECHNIQUE'

Protomartyr | 05/03/19

Image: Protomartyr No Passion All Technique packshot

Protomartyr announce reissue of out-of-print debut album

No Passion All Technique out May 3rd via Domino

Watch new video for ‘Jumbo’s’ here

 

Today, Protomartyr finally answer what is probably their most frequently asked question: "When are you going to reissue your first album?" For fans of the band, No Passion All Technique has long been something of a mystery. Not available on streaming services; long out of print (and going for ridiculous prices on Discogs), why was this album so elusive?

On May 3rd, it ceases to be out of reach, as Domino will release a deluxe reissue of No Passion All Technique, along with an expanded digital version that includes four non-album tracks from the same recording session – ‘King Boots’, ‘Bubba Helms’, and ‘Cartier E.G.s’ from the Dreads 85 84 7”, and ‘Whatever Happened To The Saturn Boys?’, which has never before been released. Additionally, today the band shares a video for longtime live staple and fan favorite ‘Jumbo's’, directed by frequent Protomartyr-collaborator Yoonha Park – also responsible for the band's ‘Don’t Go To Anacita’ and ‘Wheel of Fortune’ videos from their past two releases.

 

Stream ‘Jumbo’s’ here.

 

When Protomartyr - vocalist Joe Casey, guitarist Greg Ahee, bassist Scott Davidson, drummer Alex Leonard - stepped into a studio together for the first time, in November of 2011, they didn’t know they were about to record an album. With only four hours of studio time booked and one case of beer between them, their plan was to walk out with enough songs for a seven-inch single. Instead, at the suggestion of engineer Chris Koltay, the newly formed Detroit outfit recorded as much as they possibly could, in what little time they had. 

They left with 21 songs - enough material for two singles and a full-length album that, years later, is still vital listening. 

Sold out and out of print shortly after its original release on Urinal Cake Records in October 2012, No Passion All Technique is a sometimes-messy look at one of rock’s most magnetic bands - and lyricists - just as they were coming to life. Primal, cerebral, heartbreaking, funny - it’s an accidental tour de force that’s also become an unlikely collector’s item. “My memory is shot,” Casey says, “but I appreciate now, looking back, how raw and off-the-cuff it was. There’s tons of mistakes in it and that wasn’t because we planned on it. We still can’t really admit that it’s as good as it is. You never want to say that your first is the best, but I’m happy that the first ended up not being terrible. It gave us doorway to what we’d want to do later. ”


No Passion All Technique deluxe edition tracklisting:

1. In My Sphere

2. Machinist Man

3. Hot Wheel City

4. 3 Swallows

5. Free Supper

6. Jumbo’s

7. Ypsilanti

8. Too Many Jewels

9. (Don’t You) Call Me Out My Name

10. How He Lived After He Died

11. Feral Cats

12. Wine of Ape

13. Principalities

14. King Boots (Bonus Track)

15. Bubba Helms (Bonus Track)

16. Cartier E.G.s (Bonus Track)

17. Whatever Happened to the Saturn Boys? (Bonus Track)

 

No Passion All Technique is available to pre-order on limited pressing starburst vinyl w/ 20-page zine, CD, and digital download. The digital release includes four non-album bonus tracks. Pre-order: Dom Mart | Digital


Protomartyr Online:

Website | Facebook | Twitter


 

CLINIC ANNOUNCE NEW ALBUM 'WHEELTAPPERS AND SHUNTERS'

Clinic | 05/03/19

Image: Clinic launch pic

Hear ye, hear ye! Roll up, roll up! Welcome to Wheeltappers and Shunters! After an unprecedented seven year break, Clinic, Liverpool’s cherished post-punk pop experimentalists return with album number eight, released on May 10th, by Domino. The unusual name is taken from the long-forgotten 1970s ITV variety show The Wheeltappers and Shunters Social Club, compered by Bernard Manning, which recreated the smoky, boozy atmosphere of Northern working men's clubs for a sofa-bound audience.

“It’s been a pisstake thing between us for quite a few years,” reveals Ade Blackburn, Clinic spokesman, of the show that the album title references. “Whenever we’d talk about a song sounding too ‘cabaret’ or too nice, we’d say, ‘That’s a bit Wheeltappers and Shunters’.

This album is neither a celebration nor a denigration of the culture of the era in which Blackburn and his collaborator-in-chief, Hartley, grew up. “It’s a satirical take on British culture - high and low,” explains Blackburn. “It fascinates me that people look back on the 1970s as the glory days. It’s emerged that there was a darker, more perverse side to that time. When you look back on it now it was quite clearly there in mainstream culture.”

The first track to be shared from Wheeltappers and Shunters is ‘Rubber Bullets’, fifties rock’n’roll is the order of the day as Blackburn grunts “Neanderthal” over a twanging rockabilly guitar riff à la Scotty Moore.

Stream ‘Rubber Bullets’ here.

 

The album was recorded last year in founding band member Hartley's Liverpool studio, before they brought in Dilip Harris (King Krule, Sons Of Kemet, Mount Kimbie) to mix it. “We thought it felt right to make a fun, dancefloor album in these dark and conservative times,” Blackburn continues. Fun, sure, but this is Clinic – their brand of fun oozes with menace.

The Great Britain that Clinic are evoking is not that ancient, bucolic past of village green cricket, half a mild and hanky-waving Morris Dancers that many seem so determined that the country should return to, but a rather more sleazy past. Clinic’s reverie is for a time when Blackpool was the pleasure capital of the kingdom and the public was kept entertained by travelling circuses and the dirty glamour of the funfair; tacky end of the pier merriment and enforced fun at Butlins; when bell-ringing town criers bellowed their nonsensical broadsides into the ether.

For most bands about to enter their third decade as an entity the well would be running dry, but eight albums in and Clinic still retain the ability to surprise. Clocking in at just over 28 minutes, Wheeltappers and Shunters is an absolute blast, rich in detail and sonic intrigue, those precious minutes stuffed with ideas. “We’d released albums like clockwork every two years, so it seemed natural to have a break,” Blackburn reveals. “It allowed everyone to do some quite oddball stuff, away from Clinic. I think we all wanted a bit more freedom.”

Additionally, Clinic have announced they will play BBC’s 6 Music Festival in Liverpool later this month.

Tracklisting:

1. Laughing Cavalier

2. Complex

3. Rubber Bullets

4. Tiger

5. Ferryboat of the Mind

6. Mirage

7. D.I.S.C.I.P.L.E

8. Flying Fish

9. Be Yourself/Year of the Sadist

10. Congratulations

11. Rejoice!

12. New Equations at the Copacabana

Upcoming live dates

Sunday 31st March – BBC 6 Music Festival, Liverpool

 

Wheeltappers and Shunters will be available to buy on Dom-Mart exclusive vinyl (opaque red vinyl and 12x12” photographic print), standard vinyl, CD and digitally. Pre-order: Dom Mart | Digital

Clinic Online:

 Facebook | Twitter  | Instagram

 

NERIJA ANNOUNCE SIGNING TO DOMINO + SHARE RE-MIXED AND REMASTERED DEBUT NÉRIJA EP IN FULL

Nérija | 11/02/19

Image: Nérija launch pic

Domino are delighted to formally introduce Nérija; the septet of Nubya Garcia (tenor saxophone), Sheila Maurice-Grey (trumpet), Cassie Kinoshi (alto saxophone), Rosie Turton (trombone), Shirley Tetteh (guitar), Lizy Exell (drums) and Rio Kai (bass).

Their debut NÉRIJA EP – originally composed, recorded and self-released  following their meetings and collaborations via London’s Tomorrow’s Warriors – is today re-released digitally in full, having been re-mixed by kwes and remastered by Chris Potter at Electric.

 

Stream NÉRIJA EP in full on Spotify HERE

Stream NÉRIJA EP in full on Apple Music HERE

Stream NÉRIJA EP in full on YouTube HERE


The EP will also have its first vinyl release on 22nd March 2019. Pre-order on heavyweight 12” vinyl and CD via Domino Mart HERE.


NÉRIJA EP Track List

Pinkham V

Redamancy

The Fisherman

For You

Valleys

Alongside the re-release of the NÉRIJA EP, Nérija have announced a new London headline date at Oslo on Tuesday 26th March. Tickets are on Wednesday 13th February at 10am. The band are also confirmed for this year’s South By South West Festival, as well as being recently announced for this year’s End of the Road Festival.

Nérija Live Dates

Tuesday 26th March 2019 – Oslo, London, UK

March 2019 – SXSW Festival, Austin, Texas, USA

29th August – 1st September – End of the Road Festival, Larmer Tree Gardens, UK

Website | Facebook | Twitter | Instagram


 

JOB OPPORTUNITY: DIGITAL MARKETING COORDINATOR, LONDON

01/02/19

Image: logo domino neon NL

Based in our London office, Domino Recording Company is seeking a full time Digital Marketing Coordinator.

The role of Domino’s Digital Marketing Coordinator is to support the Digital Marketing Team in all aspects of campaign origination and management. Working closely with the Head of Marketing and Digital Marketing Managers in both the UK and US Domino offices, you will coordinate the team’s key functions, book digital advertising, compile reporting and monitor performance across paid and organic initiatives.

 
We are seeking a passionate and organised individual who lives and breathes digital culture. A fast paced and creative group environment, there’s huge scope to learn and grow within the role as you immerse yourself in the label’s digital marketing strategy, attend project planning meetings and interface with Domino’s frontline and international teams
 

Great interpersonal skills, a self-starting attitude and a genuine passion for digital marketing are key to this hire. Two years’ practical experience in a similar role within a music focused environment is preferable, and experience with YouTube channel management will be highly regarded. Outstanding candidates from the field of film, media or TV will also be considered.

Core Responsibilities:

• Booking and management of digital advertising on platforms including Facebook/Instagram, Google Network and Snapchat.

• Daily reporting on performance of our advertising activity to the key team.

• Supporting the Head of Marketing and Digital Marketing Managers across a broad cross-section of department and project specific tasks.

• Assisting with campaign preparation such as social media audits and demographic reports.

• Management of Domino’s YouTube channel and on-platform optimization of our artists channels and videos.

• Shazam tracking, benchmarking and analysis for Domino artists.

• General launch coordination such as creation of smart links via Smart URL.

• Coordination and management of the Domino Recording Co. social media channels and its subsidiary labels' channels.

• Assisting in management of selected artist social schedules as needed.

 

To Apply:

Please send a covering letter stating how you meet the requirements along with your CV to vacancy@dominorecordco.com before February 15th, 2019. 

 

JOB OPPORTUNITY: HEAD OF INTERNATIONAL, LONDON

01/02/19

Image: logo domino neon NL

Domino seeks a Head of International to lead the marketing and promotional strategy of the label internationally and manage our relationships with our third-party partners abroad.

 

This pivotal role will report into the board and is based in our London office.

Core Responsibilities:

• To lead the London International Department and supervise the operations of our offices in Berlin and Paris along and our remote personnel in Australia and Singapore.

• To input to the development of release plans in conjunction with the UK and US marketing teams, including pre-release planning, promotional coordination and digital strategy.

• To oversee the implementation of marketing plans, coordinate sales targets and manage project and departmental budgets.

• To serve as a liaison with artist management providing logistical insight, planning and international market feedback.

• To provide weekly updates on priority projects highlighting sales information, data analysis, market feedback and new developments.

• To evaluate all international deal structures and provide regular assessments of the performance of our third party international partners.

• To develop an overall strategy for and pursue deeper partner relationships in emerging markets.

Requirements:

• 5+ years music industry experience in the international sector.

• Proven experience in leading a team and collaborating across multiple departments and international territories.

• A good working knowledge of the digital landscape, including streaming platform and social media best practices.

• Excellent written and verbal communication skills. 

• Superior organizational skills, attention to detail and ability to prioritize and manage multiple projects and tasks.

• The ability to travel internationally on a regular basis

• Most importantly, a passion for music and understanding of the Domino roster.

To Apply:

Please send a covering letter stating how you meet the requirements along with your CV to Internationalhire@dominorecordco.com before February 22nd, 2019. 

 

BETH GIBBONS SHARES COLLABORATION WITH POLISH NATIONAL RADIO SYMPHONY ORCHESTRA, CONDUCTED BY KRZYSZTOF PENDERECKI

Beth Gibbons | 30/01/19

Image: launch photo

Domino is extremely proud to present Henryk Górecki: Symphony No. 3 (Symphony of Sorrowful Songs) performed by Beth Gibbons and the Polish National Radio Symphony Orchestra, conducted by Krzysztof Penderecki. Both an audio and film recording of the performance will be available on 29th March 2019.

The performance took place at The National Opera Grand Theatre in Warsaw on November 29th 2014, and was part of an evening of programming that also featured Jonny Greenwood's (Radiohead) 48 Responses To Polymorphia and the world premiere of Bryce Dessner's (The National) Réponse Lutosławski.

Following an invitation to collaborate at the concert, Beth Gibbons undertook an intense preparation process, including tackling the challenge of learning the original text (and the emotional weight it carries) without speaking the mother language. Typical to Beth though - the elusive yet iconic frontwoman of one of the most important British bands of the last two decades - the challenge was met and exceeded. Her performance alongside the maestro Penderecki has been hailed as triumphant, as you can see and hear on this release.

The film, was produced by the National Audiovisual Institute, Poland and directed by Michał Merczyński.

--

Beth Gibbons is the vocalist, songwriter, producer and co-founder (together with Geoff Barrow and Adrian Utley) of the band Portishead and a solo artist in her own right. The album marks the first music from Beth Gibbons since 2008.

Henryk Górecki (1933 – 2010) was a Polish composer of contemporary classical music, believed to be the most commercially successful classical composer in recent times, with previous versions of his Third Symphony, Symphony of Sorrowful Songs, having sold over a million copies.

Krzysztof Penderecki has been hailed as Poland’s greatest living composer, and conductor.  His music was introduced to a wider audience through its use soundtracking movies such as The Shining and The Exorcist.

--

Tracklisting:

I. Lento — Sostenuto tranquillo ma cantabile

II. Lento e largo — Tranquillissimo

III. Lento — Cantabile-semplice

 

Pre-order:

Henryk Górecki: Symphony No. 3 (Symphony of Sorrowful Songs) Performed by Beth Gibbons and the Polish National Radio Symphony Orchestra Conducted by Krzysztof Penderecki will be available on deluxe and standard LP + CD plus a DVD, also digitally.

 

Deluxe LP + DVD | CD + DVD | Download

Beth Gibbons online:

Website | Facebook | Twitter | Instagram

 

AVEY TARE ANNOUNCES NEW ALBUM COWS ON HOURGLASS POND; WATCH "SATURDAYS (AGAIN)" VIDEO; ON TOUR THIS SPRING

Avey Tare | 29/01/19

Image: Avey Tare - Cows On Hourglass Pond cover

Avey Tare, a.k.a Dave Portner of Animal Collective, has announced the new album Cows On Hourglass Pond, for release on March 22, 2019. 

Cows On Hourglass Pond was recorded between January - March 2018 by Dave Portner at Laughing Gas in Asheville, NC on a Tascam 48 half-inch reel-to-reel tape machine. The album was mixed by Adam McDaniel and Dave Portner at drop of sun in Asheville, NC. The first song to be released from the forthcoming album is “Saturdays (Again)”. A video, directed by Abby Portner, can be viewed below.

Says Abby Portner, on the video:"For the Saturdays (Again) video I wanted to try and create what it would look like inside Avey Tare's new record cover, if you were to step inside and hang out with Dave and the cows in a surreal, colorful landscape. Since I did parts of the record art and paintings in the press photos, I wanted it to all be included inside this video." 

Cows On Hourglass Pond follows the 2017 release of Avey Tare’s Eucalyptus, and 2018’s audiovisual album Tangerine Reef, a collaboration between Animal Collective and avant-garde coral macro-videographers Coral Morphologic. 

Cows on Hourglass Pond is available to pre-order now from the Domino store on CD and Deluxe LP + 10”. The latter format consists of a single LP pressing of the album available on 180 gram heavyweight vinyl and a limited edition 10” featuring two bonus songs “Tipped in Hugs” b/w “Dog Says Goodbye.”

Avey Tare tour dates:
03-21 Knoxville, TX - Big Ears Festival
03-28 Asheville, NC - The Mothlight
03-29 Baltimore, MD - Ottobar
03-30 Philadelphia, PA - PhilaMOCA
04-01 Brooklyn, NY - Market Hotel
04-02 Burlington, VT - ArtsRiot
04-04 Toronto, ON - Horseshoe Tavern
04-05 Detroit, MI - Deluxx Fluxx
04-06 Chicago, IL - Co Prosperity Sphere
04-07 St. Paul, MN - Amsterdam Bar & Grill
04-11 Seattle, WA - Neumos
04-12 Portland, OR - Holocene
04-13 Arcata, CA - The Miniplex in Richard’s Goat Tavern & Tearoom
04-15 San Francisco, CA - The Chapel
04-16 Los Angeles, CA - The Echo
04-17 Tucson, AZ - 191 Toole
04-19 Dallas, TX - Club Dada
04-20 Austin, TX - Antone’s Nightclub
04-22 New Orleans, LA – Gasa Gasa
04-23 Tallahassee, FL – The Wilbury
04-24 Orlando, FL – Will’s Pub
04-25 Tampa, FL – The Crowbar

 

STEPHEN MALKMUS ANNOUNCES NEW SOLO ALBUM 'GROOVE DENIED'

Stephen Malkmus | 21/01/19

Image: Stephen Malkmus press shot

Stephen Malkmus

Announces new solo album Groove Denied will be released on March 15th via Domino

Shares new song ‘Viktor Borgia’ – watch video here

Confirms US solo tour for May + upcoming Jicks shows in Europe


The rumours are true: the secret electronic album that Stephen Malkmus has been telling everyone about will see the light of day on March 15th, when it’s released on Domino.  But Groove Denied is not a full-blown plunge into EDM or hiptronica.  In fact, there aren’t any purely instrumental tracks on the album.  Every song is precisely that: a song, featuring Malkmus staples like an artfully askew melody and an oblique lyric.  Groove Denied is Stephen playing hooky from his customary way of going about things, jolting himself out of a routine. As Malkmus commented, “It’s fun to mess with things that you’re not supposed to.”

The first taste of Stephen’s new groove can be sampled today, with the release of single ‘Viktor Borgia’, and its accompanying video starring Stephen alone in a dance club.  The title playfully merges the name of the comedian-pianist and the ruthless dynasty of Italo-Spanish nobles. With its stately melody and the almost-English-accented vocal, the coordinates here are early Human League or even Men Without Hats. “I was thinking things like Pete Shelley’s ‘Homosapien’, the Human League, and DIY synth music circa 1982,” says Stephen, adding “and also about how in the New Wave Eighties, these suburban 18-and-over dance clubs were where all the freaks would meet – a sanctuary.”

 

When Stephen Malkmus first arrived on the scene in the early Nineties, as frontman and prime creative force in Pavement, the area of music with which he was associated couldn’t really have been further from the techno-rave sounds of the day. Electronic dance music, then as now, was about posthuman precision, inorganic textures, and hyper-digital clarity. Whereas the lo-fi movement in underground rock championed a messthetic of sloppiness, rough edges, and raw warmth - a hundred exquisitely subtle shades of distortion and abrasion.

Fast forward to the present and here comes Malkmus with Groove Denied – Stephen’s first solo album without his cohorts the Jicks since 2001. Made using Ableton’s Live, and instead of a human-powered rhythm section, Malkmus’s arsenal further included drum machines, along with a host of plug-in FX and “soft synths”. He compares the process of track-construction to the way his kids “used to make these girls on my iPhone - choosing hair colour, dresses, etc. That intuitive swipe and grab thing. Chop and move the waves. Apple computer scroll style of thinking.”

This departure from the tried-and-tested stems back to earlier in this decade, when Malkmus spent a couple of years living in Berlin and was exposed to the city’s vibrant club scene. He made forays into the city’s world-famous all-night party scene and became fascinated by techno, “the music can be great… you can zone out, dance, and focus on music - or just get wasted!”

 

It would not be entirely off-base, or an overly cute rock-historical reference, to describe Groove Denied as Stephen Malkmus’s Low. Although largely recorded in Oregon, the bulk of the album was written while he was living in Berlin. And whilst the methodology behind Groove Denied is absolutely 21st Century, the reference points for the sound-palette hark back to the pre-digital era. “The electronic music side of the album, I wanted it to be sonically pre-Internet,” explains Stephen.

Groove Denied will shake up settled notions of what Malkmus is about and what he’s capable of, repositioning him in the scheme of things. But looking at it from a different angle, his engagement with state-of-art digital tech actually makes perfect sense. After all, Nineties lo-fi – the sound in which he and Pavement were initially vaunted as leaders and pioneers - was nothing if not insistently sonic – it was all about the grain of guitar textures, about gratuitously over-done treatments and ear-grabbing effects. Noise for noise’s sake. As Stephen tweeted recently on the subject of Auto-Tune’s omnipresence in contemporary music-making: “We long 4 transformation....and we humans fucking luv tools.”

Tracklisting:

1. Belziger Faceplant

2. A Bit Wilder

3. Viktor Borgia 

4. Come Get Me 

5. Forget Your Place

6. Rushing The Acid Frat

7. Love The Door

8. Bossviscerate

9. Ocean of Revenge

10. Grown Nothing

 

Groove Denied is available to pre–order on Dom-Mart exclusive clear vinyl (w/ Groove Denied-labelled floppy disc and Stephen Malkmus retro photo print), standard vinyl, CD (w/ poster) and digitally. Pre-order: Dom Mart | Digital

 

Upcoming tour dates:

Jan 23 – Chicago IL @ Metro *

Jan 25 – Brooklyn NY @ Brooklyn Steel *

May 1 – Toronto ON @ The Great Hall ^

May 3 – Somerville MA @ Arts At The Armory ^

May 4 – Ardmore PA @ Ardmore Music Hall ^

May 5 – Washington DC @ Union Stage ^

May 7 – Austin TX @ 3TEN ACL Live ^

May 10 – Portland OR @ Doug Fir Lounge ^

May 11 – Seattle WA @ Columbia City Theater ^

May 14 – San Francisco CA @ Swedish American Hall ^

May 15 – Los Angeles CA @ Lodge Room ^

May 30 – Barcelona ES @ Primavera Festival *

June 14 – Mannheim DE @ Maimarkt-Gelände *

June 19 – Paris FR @ La Gaîté Lyrique *

* denotes w/ The Jicks

^ denotes Malkmus solo

Stephen Malkmus Online:

Website | Facebook | Twitter | Instagram


 

FAT WHITE FAMILY RETURN WITH THEIR THIRD ALBUM ‘SERFS UP!’ AND SHARE FIRST TRACK, ‘FEET’

Fat White Family | 09/01/19

Image: FWF Serfs Up launch shot

Serfs Up! is Fat White Family’s third album and their first for new label Domino. Released on Friday 19th April 2019 it marks the most gratifying and unexpected creative volte face in recent musical history.

The band have today shared the first track to be taken from the album, Feet, a triumphant return which perfectly heralds the overwhelming musical scope and ambition of the album.  

Having released their second album, Songs For Our Mothers in January 2016, core-members Lias and Nathan Saoudi relocated to Sheffield and set about writing the album. Joined by co-conspirator Saul Adamczewski and recorded at their own Champzone studios in the Attercliffe area of the city, Serfs Up! was finished in late autumn 2018 with the help of long-time collaborator, Liam D. May and features a guest appearance from Baxter Dury on Tastes Good With The Money.

The track listing of the 10-track album is as follows:

1.   Feet

2.   I Believe In Something Better

3.   Vagina Dentata

4.   Kim’s Sunsets

5.   Fringe Runner

6.   Oh Sebastian

7.   Tastes Good With The Money

8.   Rock Fishes

9.   When I Leave

10. Bobby’s Boyfriend



Serfs Up! is a lush and masterful work, lascivious and personal. Tropical, sympathetic and monumental. It invites the listener in rather than repel them through wilful abrasion. Fat White Family have broken previous default patterns of behaviour, and as such their third album heralds a new day dawning.

Gregorian chants, jackboot glam beats, string flourishes, sophisticated and lush cocktail exotica, electro funk and the twin spirits of Alan Vega and Afrika Bambaataa punctuate the record at various junctures, while the dramatic production of Feet is as immaculately-rendered as ‘Hounds of Love’-era Kate Bush. The dirt is still there of course, but scrape it away and you’ll find a purring engine, gleaming chrome.

Echoing within the arrangements throughout are traces of blissed-out 60s Tropicalia, Velvets/Bowie sleaze-making and star-gazing, 80s digital dancehall, David Axelrod-style easy listening, joyous Pet Shop Boys synth crescendos, acid house, post-PIL dub, metropolitan murder ballads, doom-disco and mouth-gurning, slow-mo psychedelia so by the time it comes to a close only a fool would deny that Serfs Up! is something very special. No longer is unadulterated music malevolence Fat White Family’s stock in trade; this is cultivated music for the head, the heart. For tomorrow’s unborn children.

Where once they soundtracked a grubby Britain of vape shops, Fray Bentos dinners and blackened tin-foil, a crepuscular comedown realm stalked by Shipman, Goebbels and Mark E. Smith, Fat White Family now inhabit another cosmos entirely. Serfs Up! is the product of a band of outlaws reborn. Few but themselves could have forecast it: Fat White Family survived. Fat White Family got wise. Fat White Family got sophisticated.

Serfs Up! will be available on CD (WIGCD401), standard vinyl (WIGLP401), Dom Mart exclusive vinyl (12” heavyweight transparent red vinyl with fold out poster – WIGLP401XM) and via digital download (WIG401D).  You can pre-order Serfs Up! HERE.

 

SASAMI ANNOUNCES SELF-TITLED DEBUT ALBUM FOR MARCH

SASAMI | 08/01/19

Image: SASAMI album announcement pic

SASAMI announces debut album out March 8th via Domino

Watch the video for new single ‘Jealousy’

Announces North American live dates + upcoming UK/Europe tour


Los Angeles-based artist SASAMI has announced her self-titled debut album with the release of a video for its lead single, Jealousy.  

 

On the video, SASAMI says, The whole ‘Jealousy’ video was born out of inspiration from the scene “Bruce Vs Chocolate Cake” from the 1996 film adaptation of Roald Dahl’s ‘Matilda’. I wanted it to be kind of like a filmed version of a weird play. I am a witch creature and my sidekick, Gobby, and I dance in our painted backdrop lair and plot mischief. Luckily our havoc bears liberating ends as the bewitched are released of their socially-expected, self-imposed obsessions and rituals. I wanted to make something grotesque and creepy and funny, of course.”

 

Stream ‘Jealousy’ here.

 

 

If you've ever drafted an overly long text to someone and decided against sending it, then you'll probably hear something of yourself in SASAMI, out March 8th 2019."It's a mix of a diary and a collection of letters, written but never sent, to people I've been intimately involved with in one way or another," explains Los Angeles songwriter and multi-instrumentalist Sasami Ashworth, aka SASAMI, who wrote the album's ten tautly melodic rock tracks over the course of a year on tour, playing keys and guitar with Cherry Glazerr. "Ok, maybe they're more like over-dramatic drafts of texts that you compose in the Notes section of your iPhone, but either way, they come from a place of getting something off my chest." In an Instagram post announcing the release of ‘Callous’, a haunting ballad chronicling the disintegration of a relationship over wrenching guitar wails, she sums up the inspiration behind her engrossingly confessional debut more bluntly: "Everyone I fucked and who fucked me last year".

 

Originating as a string of demos she recorded straight to her iPad whilst on tour with Cherry Glazerr, the songs poured out of Ashworth in stream-of-consciousness fashion, tracking the thrills, disappointments, and non-starters of a year spent newly single and on the road. In many ways, though, they were the culmination of decades of hard work. After studying piano as a child, she picked up the French horn in middle school, and has been playing music pretty much every day since - first as a long-time conservatory kid with her sights on a career as a classical French horn player, and later as an elementary school music teacher, running around a classroom, making up songs and dances, and directing rag-tag orchestras full of glockenspiels and bongos. "If you can keep like 30 kids with tambourines entertained, [doing it for] a room full of drunk adults at a rock show is nothing”, she says.

 

Just like her notoriously irreverent stage banter, Ashworth notes that her relationship to music, and to playing instruments, "comes from a place of love and playfulness and joy" - and it's something you can hear at every moment of SASAMI. But if SASAMI tells a story, it's one about the surprising ways that one's relationships - with lovers, with friends, with oneself - can shift in a single year.

With only a 2-song 7" under her belt before today’s album announcement, SASAMI has already been hailed as "rock's next big thing" by The FADER and awarded Pitchfork's coveted Best New Track distinction.

 

SASAMI's debut self-titled album is available for pre-order now on limited pressing clear vinyl with an exclusive SASAMI transfer tattoo sheet, CD, and digital download.

 

Tracklisting

1. I Was A Window

2. Not The Time

3. Morning Comes

4. Free

5. Pacify

6. At Hollywood

7. Jealousy

8. Callous

9. Adult Contemporary

10. Turned Out I Was Everyone

 

Pre-order: Dom Mart | Digital

Additionally, SASAMI has announced a 2019 European tour that kicks off next month in Berlin, and a North American tour in the spring. All dates below.

 

Upcoming live dates

Feb 27th – Badehaus, Berlin Tickets

Feb 28th – Aalhaus, Hamburg Tickets

March 2nd – Bakken, Copenhagen Free entry

March 4th - Botanique Witloofbar, Brussels Tickets

March 5th – Paradiso (Upstairs), Amsterdam Tickets

March 6th – Pop-Up Du Label, Paris Tickets

March 8th – The Lexington, London Tickets

April 3rd – The Echo, Los Angeles

April 9th – Rickshaw Stop, San Francisco

April 11th – Doug Fir, Portland

April 12th – Barboza, Seattle

April 13th – Wise Hall, Vancouver

April 15th – Neurolux, Boise, ID

April 17th – Lost Lake, Denver

April 18th – Reverb, Omaha

April 19th – Vaudeville Mews, Des Moines, IA

April 20th – Amsterdam Bar and Hall, St Paul, MN

April 21st – Colectivo (Back Room), Milwaukee

April 23rd – Schubas, Chicago

April 25th – Baby G, Toronto

April 26th – Quai Des Brumes, Montreal

April 27th – Brighton Music Hall, Boston

April 29th – PhilaMOCA, Philadelphia

April 30th – Elsewhere, Brooklyn

May 3rd – DC9, Washington

May 4th – Club Café, Pittsburgh

May 5th – Rumba Café, Columbus

May 6th – The Basement, Nashville

May 8th – Three Links, Dallas

May 9th – Barracuda, Austin


 
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