He’s also revealed a new song, “The Knower,” a minimalist pop song with intriguing production. Propulsion is mostly provided by electronics that sound like ’80s toys on the fritz, but these are balanced by a splashy drum beat and horns that show up halfway through. Meanwhile, Powers’ voice has only gotten higher and more ethereal, painting him as the male heir to Kate Bush’s odd empire.
We’ve been dying to hear the new Tame Impala album, Currents, since hearing about its release in the Spring. The album is coming out this week, hitting stores Friday, July 17, and you can listen to the album now via NPR.
Our first impressions are very strong. It’s a synth-heavy affair compared with the band’s previous two albums, Lonerism and Innerspeaker, but still just as psychedelic, as songs like opener “Let It Happen,” which takes its time to move from a pensive, proggish uphill chug to a silky disco beat. While we’ve enjoyed singles “Eventually” and “’Cause I’m a Man,” the album’s other songs are proving just as strong, especially synth-soul ballad “Yes I’m Changing” and crystalline psych-funk jam “The Less I Know the Better.”
If you needed any convincing that Beach House is one of the best bands on the planet, their new song "Sparks" is a strong argument. Ever since their first of two masterpieces was released, 2010's Teen Dream, every new song and album by the Baltimore duo feels like an event. After announcing weeks ago that Depression Cherry, their fifth album and first since 2012's Bloom, would be released Aug. 28 on Sub Pop, we've been waiting with bated breath to hear a new song, and now we've finally got it. "Sparks" first premiered first on a Spanish radio show RTVE and has now been made available to stream via YouTube:
I keep listening to it over and over again to figure out what the hell is going on. That first blast of heavily saturated guitar and Victoria Legrand's layered vocals portend something special, which is just what we get with this gorgeous track. Legrand's organ and voice drone in perfect unison over a corroded digital beat, while Alex Scally's guitar's lay back and add small bits of texture, unleashing that volcanic noise again at select moments. Legrand's voice is more restrained than on previous singles, heavily breathy like My Bloody Valentine's Bilinda Butcher but with her same unmistakable husky tone, which comes through more clearly as the song progresses.The chorus is subtle but lovely, like Neil Young by way of Broadcast, but the best bits are the details—that skip in the beat right before the chorus, those high sliding guitar notes that sound like reverb-drenched shooting stars. It's somewhat long and amorphous but never outstays its welcome. You could listen for days and find new things to like about it.
Beach House’s fifth album, the follow-up to 2012’s Bloom, was recorded and produced by band members Victoria Legrand and Alex Scaly with Chris Coady at Bogalusa, Louisiana's Studio in the Country, according to Pitchfork. Also, the album sleeve will be made from red velvet (!).
The album sounds as though it will be a return to the more stripped-down sound of early albums such as their self-titled debut and second album, Devotion, with more electronic drums than live ones, according to a statement from the band:
“In general, this record shows a return to simplicity, with songs structured around a melody and a few instruments, with live drums playing a far lesser role. With the growing success of Teen Dream and Bloom, the larger stages and bigger rooms naturally drove us towards a louder, more aggressive place; a place farther from our natural tendencies. Here, we continue to let ourselves evolve while fully ignoring the commercial context in which we exist.”
Out Feb. 17
A Place to Bury Strangers are known for their high-volume shoegaze played with custom-built guitar pedals, but new album Transfixation is said to be more experimental. The first single, “Straight,” sounds a little like Spacemen 3 jamming with Battles, with a frantic beat and strange noises rounded out by Oliver Ackermann’s cool delivery. We’re so down.