It’s been over 35+ years since punk and a year a half on from the riots throughout England. Yet this island still seems obsessed with jubilees, Thatcher and generally going backwards. Looming Scottish independence has cast a shadow over what the definition it means to be ‘British’ is and if that concept has even existed.
PoP Campaign’s new album, “Britain Isn’t Working” is a reflection on the modern U.K of Gary Neville, Thatcher obsession and the death of an empire. Influenced heavily by “Seventeen Seconds” and “Neu 2″, it’s a half hour of concise focus. Rough and ready but expertly thought out.
Papertwin began as an experimental recording project started by the mind of artist and songwriter Max Decker (vocals, gtr., synths), and was soon joined by friend Francis Cardinale (drums, programming). Decker had been painting and drawing since childhood and the musical collaboration started off as a casual exchange between friends. After some time apart, both living in Brooklyn, they reunited and experimented with electronic music and melodic structures that became the foundation of Papertwin, still, there was a need for real time instruments and immediate sound. Meeting each other as students at a New York audio engineering school, Francis met piano technician Nick Shopa who eagerly brought his musical sensibilities to the band through playing synthesizers. Completing the four-piece circle, music producer and former Berklee College of Music student Justin Miller came and provided the bass the band needed.
The influences behind the sounds have become more apparent after songs are finished and there is an evidently common ground when it comes to the musical sensibilities of the band members. Papertwin continues to record and perform and is looking forward while taking cues from the past.
1. Sleeptalk DOWNLOAD (save as)
2. Coma DOWNLOAD
5. Also Aquatic
Art vs. Science Returns To U.S. For
Summer Tour, Shares New Remix!
Magic Fountain EP Out Now! Download the Thieves of Aon (New Wave Acid
Remix) of “Magic Fountain” HERE!
Art vs. Science U.S. Tour Dates
08/11 Miami, FL – Electric Pickle
08/12 New York, NY – Bowery Ballroom
08/13 Chicago, IL – North Halsted Market Days
08/14 Chicago, IL – Empty Bottle
08/18 Tucson, AZ – Club Congress
08/19 Phoenix, AZ – Brick
08/20 Mexico City, Mexico – Voila Acoustique
08/21 Vancouver, BC – Fortune Sound Club
08/23 Portland, OR – Doug Fir
08/24 San Francisco, CA – Bottom Of The Hill
08/25 Sonoma, CA – Ampitheatre
08/26 San Diego, CA – Casbah
08/27 Los Angeles, CA – Sunset Junction
(w/ The Hundred Days, Art Brut, Butthole Surfers, Melvins)
08/28 Tacoma, WA – Grit City Fest
Australia’s Art vs. Science made waves here in the U.S. when they came over for SXSW and a subsequent tour earlier this year, and now the experimental dance punks are back with a tour that sees them traversing the States coast-to-coast. The band will play several festivals along the way, with several big club dates rounding out the tour.
In celebration of their return, the band is sharing Thieves of Aon’s New Wave Acid remix of their track, “Magic Fountain.” Thieves of Aon is the DJ moniker of rising stars and fellow countrymen Strange Talk, definitely give it a spin!
Art vs. Science has built a huge following in their native country off the back of two independently released EPs (one Gold, one Platinum) thanks to their off-the-wall live show that has seen them ascend to almost-headline status at festivals around their native country.
The band makes dance music made for Marshall stacks. Imagine AC/DC throwing robots in a drum shop. The songs that comprise the EP are huge, off the wall, unrelenting dance tunes that sound like hypercolor jams forged from sleepless nights and ADD (partly because they are).
Labrador Records set to release PALLERS widely anticipated debut LP “Sea of Memories” (September 27, 2011)
After three years spent in apartments, basements, villas and cabins in Pallers, La mar, Stockholm, Miami and Cape Town the duo has completed their debut album ”The Sea of Memories” (out Sept. 27). The massive single ”Come Rain, Come Sunshine” is released on July 26. Free MP3 below, enjoy!
MP3:Download ‘Come Rain, Come Sunshine’
“The pair continue to display a preternatural gift for electronic pop, and while they may prefer to remain ensconced in the studio and avoid the limelight, the expansive ‘Come Rain, Come Sunshine’ stands as a sky-scrapingly grand gesture.” NME
On Exactly four minutes “Come Rain, Come Sunshine” changes from weird, stripped down electro to grandiose dance epos with thumping percussion, massive choirs and monumental choruses.
Title: Come Rain, Come Sunshine
Single Release date: July 26th
Album Release date: September 27th
When talking about the music of Com Truise (one of the many pseudonyms of New Jersey designer/musician Seth Haley), the nostalgia bit inevitably comes up, so let’s get that out of the way. Yes, his songs tap classic sci-fi and proto-electro in a way that is distinctly early eighties in scope. But they’re also remarkably weird—stutter-step proggy and intoxicatingly psychedelic, like those classic touchstones got drunk on lava lamp juice inside a pinball machine. After his well-received Cyanide Sisters EP, a grip of remixes for artists like Twin Shadow, Neon Indian, and, uh, Daft Punk, and a few floating MP3s, Truise’s first LP, Galactic Melt, will finally enter brainspaces this summer.
And what an appropriate title it bears. For a brief moment, opener “Terminal” subsumes you in warm, starry-eyed synth arpeggios, and then down the rabbit hole you go—from the keyed up, skyscraping machine love of “VHS Sex” and “Cathode Girls” to opuses like “Air Cal” and “Ether Drift” that sound like Doogie Howser’s idea of the perfect prom song—mathy, forlorn, funky, and mighty in technical ambition. That they’re all noticeably cinematic is, of course, by design—Haley envisioned Galactic Melt as a “sort of film score…from the mind,” chronicling the lift and death of Com Truise, the world’s first synthetic/robotic astronaut, from his creation and life on earth to his subsequent mission to a newly discovered galaxy called “Wave 1.” Eventually, Truise becomes one with his newfound cosmos, like Pinocchio becoming a real boy, but in the nether regions of imaginary space.
Haley says knowing when and how to complete such an opus was the hardest part of making the record, nevermind all the carefully synth programmed patches on his Sequential Circuits Split-8 or the three years of real life that transpired during its genesis. It’s a world unto itself, a sci-fi bildungsroman of sorts, and most importantly, an awesome escape from the corporeal.