Domino are proud to announce Solide Mirage, the fourth studio album from Frànçois & The Atlas Mountains. An album of strength, beauty, ups and downs, Solide Mirage is the group’s most outspoken and deep-rooted work to date, and is set for release on March 3rd 2017.
Alongside the announcement of Solide Mirage, Frànçois & The Atlas Mountains have shared the album’s first single, ‘Grand Dereglement’, plus a video directed by Jack Barraclough and Frànçois himself. The video is a collaboration between Frànçois and Palestinian Dabké dancer Mohamed Okal, who fled with his family from the conflicts in Gaza, where he used to work as an ambulance driver. The two met in a volunteer refugee space in Brussels where Okal taught Dabké. On the video Frànçois says: “The lyrics of the song are about the great changes in the world that move populations, and force the weaker to adapt to an intense and strenuous lifestyle. Filming Dabké dancing inside one the most emblematic buildings of the Capital of Europe (Palais de Justice) is a way of showing the positive side of civilisation shifts.”
In the time since 2014’s Piano Ombre, Frànçois Marry rediscovered his adolescent passion for the power of grunge. This energy he “lost on the way”, in his own words, resurfaced on two occasions. A collaboration with Hedi Slimane, who allowed him to immerse himself in the punk and grunge scene of L.A. - with bands like Wand and Sunflower Bean in particular - revived his passion for this electricity. Secondly, and especially, as the band performed live dates in the Middle East, they found themselves playing to a youth still feverish after its Arab Spring. “We played in Istanbul, Lebanon, Alexandria and Cairo in 2015”, explains Frànçois. “We discovered a youth eager for music, in particular the Egyptian youth, who had made the revolution two years earlier.”
As a man and as an artist, it felt necessary to have that grunge-ful spite, that healthy anger, to survive the horrors of 2015 and the chaos of the world, referred to in “Grand Dérèglement”, the introduction of Solide Mirage. Attacks, wars, the migrant crisis, generalised fear, the pre-apocalyptic atmosphere: a dark year for all and one which incited profound questions in Frànçois Marry. “We questioned ourselves a lot. It’s delicate to speak about politics in songs, but inevitable when you write in moments like these. I have a natural attraction to abstract poetry but I realised that it had become a head-in-the-sand technique. I do not understand why musicians do not ask themselves more questions about the responsibility of their words. And considering the realities of life in the year 2015, I had to think about what we wanted to say”
Solide Mirage - like an imperceptible dream, a fantasy where reality shifts as one approaches it – is a perfect definition for this protean, changeable-yet-direct album which reveals new facets and new territories in every listen. Sometimes soft (on 1982, Apocalypse à Ipsos, Pepétuel été, 100.000.000), sometimes tough (Bête Morcelée and its rush of pure grunge, Grand Dérèglement and the roughness and splinters of Jamais Deux Pareils), sometimes crazy (the digitized trance ofÂpres Après), but always highly political, whether direct or reading between the lines.
The album was recorded in Jet Studios in Brussels and produced by Ash Workman, who also worked on Piano Ombre and who has worked with Metronomy and Christine & The Queens, with strings performed by Owen Pallett.
To celebrate the release of Solide Mirage, Frànçois will be playing a string of live dates across the UK at the end of March 2017.
It’s been eight years since Scott Kannberg, aka Spiral Stairs (founding member of Pavement and Preston School of Industry), released any new music. He knows that. The years just have a habit of slipping away sometimes.
You can’t hurry genius – not even the genial, unforced and unpretentious genius that has long been Scott’s forte. Today, Spiral Stairs announces news of his second album Doris and The Daggers – to be released on March 24ththrough Domino - and shares the first track from it, the album opener ‘Dance (Cry Wolf)’. Its Roxy Music meets Wire slink and stompable groove is a “positive, dance-away-the-pain thing” says Scott whilst the video features Jason Lytle from Grandaddy.
Doris and The Daggers is worth the wait, it showcases the most personal and emotional music Kannberg has ever written, reflecting the life changes that occurred over those eight years. During that stretch, Scott weathered the loss of friends, treasured the joys of fatherhood, lived life as an Australian and even ate haggis meat – experiences that inform these warm, sweetly melodic and soundly honest songs.
The first Spiral Stairs record The Real Feel came in 2009, just as Pavement were announcing a hugely successful burst of reunion shows. After that, Scott and his wife moved to Brisbane, Australia, started a family and life simply got in the way.
Having moved back to Los Angeles, the original concept for the album was to go to Seattle’s Orbit Studios and “record the whole thing in a week, like the old days.” Then, a month before the trip, Scott awoke to heart-breaking news: Darius Minwalla, who had drummed with Preston School of Industry and on The Real Feel, and was scheduled to play on the mooted Seattle sessions, died suddenly in his sleep.
Scott was deep-sixed by the news, and it would be another three months before he was ready to return to the studio. By that time, the album had changed – the songs had grown in the interim, become longer, more emotional. Following Darius’ death, Scott went to spend time with his friend, singer-songwriter Kelley Stoltz, up in San Francisco, where they bounced ideas off each other. “His influence made me turn the record in an entirely different direction.”
Instead of a week-long blitz, Doris and The Daggers was recorded over a more civilised, considered batch of short sessions at Exactamundo studios in Eagle Rock, California. Long-time low-end foil Matt Harris returned on bass duties, while the drum-stool was adopted by Broken Social Scene’sJustin Peroff. The trio cut 30 songs in all, while a number of Scott’s close musical friends stepped in to make some key contributions. Peroff’s Broken Social Scene cohort Kevin Drew sang on ‘Emoshuns’, Kelley Stoltz lent guitar to the summery chime of ‘AWM’, and The National’s Matt Berninger lends vocals to the bittersweet, zephyr-light ‘Exiled Tonight’.
“I guess I’ve been writing songs for a while now,” reflects Kannberg on his second album. “I like hearing echoes of things I love in the music that I make. Writing music doesn’t come easy to me – it’s hard to write a song that’s good. But our memories slowly escape us as we get older, and in songs you kind of relive those moments, the things that matter.” And that’s part of the key to Doris and The Daggers’ charm, along with the lyrical wit and Scott’s unerring knack for tuneage as embraceably familiar as a beloved sweater; these songs are full of life, stories engagingly told, and a sense of affection for everything that happens within them. You’ll keep returning to them again and again, and hope that Scott doesn’t wait so long to cut his next batch.
Dance (Cry Wolf)
Trams (Stole My Love)
Doris and The Daggers
Doris and The Daggers is available to pre-order now on deluxe vinyl with bonus tracks, standard vinyl, CD and digital download.
Domino is proud to celebrate the 40th anniversary of the release of Buzzcocks’ groundbreaking ‘Spiral Scratch’ EP with its reissue on the 27th of January 2017. ‘Time’s Up’, the 1976 demos recorded with founder & singer Howard Devoto and originally released as a bootleg, will be reissued on the 10th of March, alongside the Buzzcocks (mk.1) Box , containing vinyl and CD of both ‘Spiral Scratch’ and ‘Times Up’ alongside rare reprinted ephemera of the time. Watch ‘Breakdown’, filmed at Manchester’s Lesser Free Trade Hall shows in 1976 HERE.
‘It’s the Buzz, Cock’.
Howard Devoto read this headline from a January 1976 Time Out review of ‘Rock Follies’, the 1970s TV musical drama following the ups and downs of the fictional female rock group, ‘Little Ladies’.
Adapting and appropriating it as the name for his new band that he had just formed with Pete Shelley having realised what a Sex Pistol was before anyone else.
Buzzcocks formed having witnessed firsthand the white-heat of the early Sex Pistols. Howard and Pete went about organising the now infamous 1976 Lesser Free Trade Hall gigs that brought punk to the provinces and galvanized the new Manchester music revolution. The plan was to simply play support to the Pistols and then see what happened next…
Featuring the original line-up of Howard Devoto (vocals & songwriter), Pete Shelley (guitar & songwriter), Steve Diggle (bass guitar) and John Maher (drums), ‘Time’s Up’ was recorded at Revolution Studios, Bramhall Lane Stockport on the 18th of October 1976. The session, recording Buzzcocks’ live set at the time, cost £45 and was engineered by Andy MacPherson.
In December of the same year, the band recorded the four track ‘Spiral Scratch’ EP with a minimum of fuss in ‘downtime’ at Indigo Studios, with Martin Hannett (then going under the pseudonym of Martin Zero) producing. The band inexplicably took it upon themselves to release the EP themselves, somehow finding the monies necessary to press up 1000 copied on 7” vinyl, on their own New Hormones label. The EP sold for £1 a copy. Within days of the initial release, with typical punk chaos and sweet disregard for any cohesive business strategy, Howard Devoto revealed that he was quitting the band. The ‘Spiral Scratch’ EP quickly sold out its initial 1000 pressing, went on to sell 16,000 copies over the next six months and is now recognised as one of, if not the, most important records of the punk explosion – the first self-released record of its time, with the band responsible for everything, from sleeve design to distribution.
‘Spiral Scratch’ is testament to the power of punk’s possibilities and is an object lesson in how to debunk and demystify any hurdles presented by the establishment. The impact of this incredible seven inches of vinyl that kick-started the whole D.I.Y. culturegoes on, and on, and on, and on, and on…
‘Spiral Scratch’ will be available on 7” vinyl and digitally + a limited edition 7” with an insert including the original press release via Dom Mart. Stream ‘Spiral Scratch’ HERE
Buzzcocks (mk.1) Box contains 7” vinyl and CD of ‘Spiral Scratch’, LP vinyl and CD of ‘Time’s Up’ and audio & video download codes, plus reprinted ephemera of the time, including assorted 10” x 8” photographs, 1976 gig flyers and posters, pin badges, the ‘Spiral Scratch’ story and a new re-imagined edition of Manchester fanzine, ‘Shy Talk’ with original contributions from those who were there at the time. You can pre-order the box set HERE.
Double Six Rights Management is recruiting for a Repertoire Assistant.
Double Six Rights Management
Double Six Rights is Domino Music Group’s agency dedicated to the worldwide collection of Neighbouring Rights income for a rapidly-expanding roster of performers and record labels. We’ve significantly increased collections for this client base since our inception in 2011 and are now looking to add to our close-knit team.
The Repertoire Assistant will report to the Co-ordinators for Label and Performer Repertoire, assisting in the day-to-day operation of the business with a particular focus on our clients’ metadata. Duties will include:
registering – and auditing registrations of – catalogue at collecting societies worldwide
collating, sourcing and managing metadata
gathering supporting evidence/artwork
society unclaimed and dispute processes
Candidates should possess a keen eye for detail, above average numeracy and be comfortable working with large volumes of data. Some familiarity with database systems or royalty/accounting software would also be an asset. Experience with Excel is essential.
How to apply
To apply, please email a CV and covering letter stating how you meet the requirements to firstname.lastname@example.org before Friday 20th January, 2017.
Domino is proud to launch Documents, an irregular new series of live studio recordings designed to capture the ever-evolving arrangements of our artists and their bands in high fidelity. Taking its inspiration from classic BBC sessions, each Documents release will be recorded in no more than a day or two at a world class studio in London. Or at least that’s the plan.
The first official Documents release is In The Same Room by Julia Holter, although Domino count Villagers’ Where Have You Been All My Life? as the honorary inaugural Document in all but name.
In The Same Room – to be released March 31st 2017 – is named after a song from Holter’s 2012 album Ekstasis, andthis new career-spanning collection is the fruit of two days recording by Julia and her tremendous band (Corey Fogel – drums/vocals; Dina Maccabee - viola/vocals and Devin Hoff - stand-up bass) at RAK Studios in the days after their main stage performance at Green Man Festival in Wales.
Listen to ‘So Lillies’, a re-working of the track from her debut album Tragedy (2011)that highlights Julia’s constant progression and the breadth of her capabilities.
Comprised of new arrangements of songs from three of her previous studio releases (Tragedy, Loud City Song and 2015's breakthrough Have You In My Wilderness), Holter's Domino Documents is an essential release for anyone who has witnessed her brilliant, beguiling band on tour around the world in the last five years as well as the perfect introduction to a truly important and innovative young artist.
In the 15 months since Have You In My Wilderness, Julia has gone from strength to strength, including playing the biggest headline show of her career in the UK last month – at London’s Shepherd’s Bush Empire – and scoring the soundtrack for the new Miles Teller film Bleed For This.
In The Same Room Tracklisting:
Horns Surrounding Me (Live at RAK)
So Lillies (Live at RAK)
Silhouette (Live at RAK)
How Long (Live at RAK)
Feel You (Live at RAK)
Lucette Stranded on the Island (Live at RAK)
In The Green Wild (Live at RAK)
City Appearing (Live at RAK)
Vasquez (Live at RAK)
Betsy on the Roof (Live at RAK)
Sea Calls Me Home (Live at RAK)
In The Same Room is available to pre-order now on limited edition deluxe coloured vinyl with exclusive Polaroid photographs from the RAK session, standard vinyl, CD and digital download.
‘Anyone with a nose for genuine rock & roll already knows that Fat White Family are plainly the most exciting, influential and talked about band to come out of this country in the last few years. We are delighted, if slightly nervous, at the prospect of taking them to the next level.’ – Laurence Bell, Domino
Domino is thrilled to announce that Fat White Family have signed to the label. The band, fresh from a UK tour which culminated with their sold out, headline show at Brixton Academy, are currently working on new material.
Austra, the recording project led by Canadian vocalist and producer Katie Stelmanis, is pleased to announce Future Politics, the third full length in their discography. Future Politics will be out on January 20th 2017.
Accompanying today’s announcement is a video for first single ‘Utopia’. Directed by THAT GO (Chairlift, Lapsley, Father John Misty), the video stars Stelmanis held hostage in an icy, modern apartment by an insidiously sinister device.
Says THAT GO on the video: "Katie came into the video project with a lot of ideas about the future. We discussed everything from food trends to Star Trek: The Next Generation. The video is more near-future than distant-future, with recognizable technology and modern protein sources.”
Future Politics, Austra’s third, and most ambitious album to date, calls for radical hope: “a commitment to replace the approaching dystopia,”says Katie Stelmanis, who leads Austra with the support of Maya Postepski (Princess Century, TR/ST), Dorian Wolf, and Ryan Wonsiak.“Not just hope in the future, but the idea that everyone is required to help write it, and the boundaries of what it can look like are both fascinating andendless. It’s not about ‘being political,’ it’s about reaching beyond boundaries, in every single field.”
Future Politics is a collection of urgent, disciplined anthems for dancefloors and headphones alike, that asks each of us to remember that apocalypse is not an inevitability, but the product of human decision-making.It aims for a world without borders, where human compassion and curiosity drive technological innovation rather than profit, where the necessity of labour is replaced with time for creativity and personal growth, and the terror and destruction wrought by colonialism and white supremacy is recognized as a dark age in human history. The album is radicalism distilled: to galvanic beats, gorgeous, kinetic melodies, and the vulnerable majesty of Stelmanis’s voice.
Inspired by her time living in two cities – Montreal and Mexico City – and propelled by economic and philosophical texts she was reading throughout the album’s creation, Stelmanis was driven to face the world’s ailments with positivity, purpose, and engagement, rather than detachment or despair. Inspiration also came from European club culture - Objekt, Peter Van Hoesen, Lena Willikens as well as the likes of Massive Attack; in all, artists who understand the dancefloor as a source of radical ideas and radical joy.
Change, Rebecca Solnit (author, activist, environmentalist and editor at Harper’s Magazine) writes, comes from “writers, scholars, public intellectuals, social activists, and participants in social media”. Stelmanis adds “artists, club scenes, parties, teenagers, ghettoes” to that list - “every single person’s idea about the future is valid and relevant, especially the freaks and the queers and the outsiders.”
Future Politics tracklisting:
We Were Alive
I’m A Monster
I Love You More Than You Love Yourself
Angel In Your Eye
Beyond A Mortal
Future Politics is available to pre-order now on limited edition deluxe colored vinyl with exclusive signed art print, CD, and digital download.
The Last Shadow Puppets release ‘The Dream Synopsis’ EP on Friday, the 2nd of December 2016. The EP was recorded live in one day at Future-Past Studios, Hudson NY and features new versions of album favourites ‘Aviation’ and ‘The Dream Synopsis’ alongside a selection of cover versions, first heard live during The Last Shadow Puppets’ summer touring. Watch their cover of Leonard Cohen’s ‘Is This What You Wanted’, directed by Focus Creeps below.
Les Cactus - original by Jacques Dutronc
Totally Wired – original by The Fall
This Is Your Life – original by Glaxo Babies
Is This What You Wanted – original by Leonard Cohen