We live in uncertain times, and Newcastle-born three-piece KYOTI have produced the dystopian party tune to match our collective anxiety. Melding elements of synth-pop, dance, and jazz, and with an unmistakable hook, ‘Restart The World’ looks to a future where humanity is given a second chance without the shackles of our post-industrial and technology-obsessed world.
Speaking about the track, the band said:
“Restart The World is about feeling powerless in a quickly changing world. We are slowly losing our humanity and giving it over to machines. Our collective memory is being eroded, falling in to the endless sea. We need to start again.”
Discussing the concept behind the dance moves in the video Nuri Moseinco directed video, choreographer Katy Higgins added:
“I took influence from the lyrics and created movement that represented the overall concept of ‘Restart the World’. During the verses the movement is strict and rigid to emphasise the idea that humanity is being given over to machines. The chorus introduces more expansive and erratic movements, a representation of humans overthrowing the power that machines hold over us. The pattern of the jackets the dancers are wearing continually change, but at the end of the track they are wearing matching pale pink blazers to signify a fresh restarting of the world.”
Following up on a couple of my favourite tracks of 2018, Carousel and Rumours, Max Rad is back with a new release to get you over hump day with his new single ‘Flesh & Blood’.
Written and produced in just a single day, the track is a soulful exploration of grief and loneliness, with Rad’s soft words harmonised over scattered R&B rhythms and his trademark rich synth sounds.
Commenting on the track, rad says “Flesh & Blood was written in Devon last Winter. I was walking and had a split second hallucination, thinking I saw someone that I couldn’t have walking along the shoreline. I got home and the song poured out.”
Max Rad Live
25th April – Camden Assembly, London
4th May – Live at Leeds
Kid Koala ft. Trixie Whitley - Hera's Song (Official Audio) - YouTube
A little late I know after early two weeks into the new year, but I’m back in the swing of things and have some new music for you all to enjoy.
Kid Koala has long been a favourite of mine, with his Your Mom’s Favorite DJ EP one of my most loved records back in 2006, but his latest cut with Trixie Whitley is a long way away from that upbeat storytelling and jazz-infused hip hop scratches. Now, the Montréal-based turntablist and producer has made something much dark and more ominous with ‘Hera’s Song’.
Taking its title from the “malevolent and all-powerful” Queen of the Gods in Greek mythology the track is menacing and talks of seething rage and revenge, with the Whitley singing she “won’t sleep until you’re ruined too”. A soundtrack to the mistrust and animus of our times.
There’s plenty on the album that stands out and we’re lucky enough to have the video premiere of my favourite cut from the record – ‘Life Through Closed Eyes’. It’s a slow and atmospheric track that gives Fisher’s rich and soulful voice the room to glisten with intimate forgiveness over ephemeral synths and rolling drums.
Max Rad‘s debut single Carousel made quite the impression at Walrus towers. And after backing that up with a phenomenal debut live show at Thousand Island a couple of weeks ago, the London-based artist is back with a new video for his next single ‘Rumours’.
The track is hypnotic and uplifting, and inspired choreographer Megan Westpfel to tell her story as a raw portrayal of herself and fellow dancers’ (Kikz Katika & Ellie Harulow) early life adversities. It’s a beautiful video of dancers battling against the world, and an interpretation Rad described as a “perfect” capture of the sentiment of his song.
On Wednesday this week (10/10) we’ve got the latest Walrus-curated live show at London’s The Finsbury where we are thrilled to be putting on two of our favourite acts of the last year – Lokki and Strange Boy.
Back in January this year we featured ‘I Catch You’, the contemplative and timeless debut single from Lokki, the solo project from Glass Animal’s Drew MacFarlane. Since then, he has wowed us with the delicate and beautiful ‘Breathe a Breath of Me’ and a similarly impressive debut EP ‘Cirrhi’.
Following up the the much-praised ‘Sink in the Water’ and ‘Circus’, Cocoa Futures are back with more emotive vocal-led synth-pop and were kind enough to give us first listen.
Recorded at Manchester’s Low Four Complex in the old Granada TV studios and produced by Brendan Williams (Dutch Uncles, GoGo Penguin), ‘Big Time’ sees the Scotland-born songwriter and frontman Greg Sanderson sing of self-belief triumphantly pushing aside feelings of doubt, before the song transcends into a Prince-esque guitar solo.
To celebrate the release of their fantastic sophomore album ‘Landscape‘ on Frenchkiss Records on 14 September, Brooklyn-based Future Generations were kind enough to put together a playlist of some of their biggest influences.
Sylvan Esso – The Glow
Sylvan Esso is such a big influence for us in terms of their production techniques and songwriting choices. The sounds they choose and when they choose to use them are so utterly interesting and this song epitomizes everything we love about the group. It’s a seemingly simple song but packs so many different movements and changes in texture. It’s something we try to do in our own way in our songs. Plus that snare sound at around 1:40 ;)
Hippo Campus – Buttercup
This song is super intricate and represents everything we love about this band. The vocal melody is super unique, combined with an even more interesting rhythm section. The guitar tones are phenomenal and every member of the band just shines through in this song. Particularly a fan of the “Big” moments in this songs. They just hit really hard.
Phoenix – Lisztomania
An All-Time influence here with Phoenix. Their attitude towards songwriting is one that we admire quite a bit. This song might seem like an obvious influence, but the specific part we drew influence from here is the bridge. Landscape’s bridge is our version of a Phoenix Bridge. But honestly everything from the synths to the drum sounds, to the vocals and those shiny guitars are what we love in a song.
Rostam – Bike Dream
This whole album was simply fantastic and perfectly fit the mood of the season it came out. We love to use weird sounds to make pop songs, whether they come from samples or synths. Rostam does this thing in his production that we really like. He either uses a conventional instrument in a unconventional way, or he uses an unconventional instrument in a conventional way. It’s such a nice balance that makes his songs accessible but still extremely intriguing to listen to.
Tame Impala – Powerlines
Tame Impala is to us (and probably a whole lot of other people) the gold standard for mixing. His drums punch like none other. His synths are somehow brighter and warmer than anyone else’s at the same time. His guitars cut effortlessly. And they all combine to make some really great songs. Attention to detail is probably the biggest influence we get from Tame Impala.
Future Islands – A Dream of You and Me
Sometimes we just love a song that has a steady, pounding rhythm that just won’t stop. This song is such a great example of a song you just don’t want to end. We approached Take Me There with that mindset. It’s a song, like this one, we think is best enjoyed on repeat.
Frank Ocean – Nights
This song and its corresponding album really made a mark on our rhythm section. Of course the groove is fantastic and has its own transformation through the song, but the part that really impressed us is the variations and harmonizing of the same chords. It almost makes the song seem like an improvisation, but it contributes so much to the mood of the song.
Vampire Weekend – Step
Vampire Weekend has always been such an influence with their pop sensibility and their playful production style. We’ve always hooked onto their drums sounds, their vocal effects, and their instrument choices. Most of the time this has led to our VW influenced songs being more upbeat and happy, but on a song like I Never Knew I Was Lonely we mimicked their drum sampling, vocal techniques, and even put a harpsichord in the second verse. But this time we used these influences in a song that isn’t upbeat or playful.
Bahamas – All The Time
Bahamas always has a way of executing their songs in the perfect way. Their songs seem like they wouldn’t be that hard to learn or to play, yet no one can play them like they can. It’s also something that we try and pay attention to. Not just the part that is being played, but how it’s being played. That’s why sometimes the first take is the best take, because nothing else feels the same or WILL feel the same. Also, the ‘Ahhs’ in this chorus influenced the ‘Ahhs’ in Stranger’s chorus.
Salami Rose Joe Lewis – I Miss You So
Mike listened to this song every single day we were in the studio on his way to get tomato basil soup from the deli down the block. Firstly, it perfectly encapsulates the feeling of fall which we were smack dab in the middle of while recording. Secondly, it also represents our new love in the Roland SP303 that made a large impact on the sound of this record. The lo-fi sound of the drums, synths and guitars in this song can be heard sprinkled throughout the record especially on songs like Out Loud and Stranger.
Future Generations on Tour:
6/9 Jammin Java – Vienna, VA
6/10 Laurelive Festival – Cleveland, OH
6/11 MOTR Pub – Cincinnati, OH *
6/12 The Basement – Columbus, OH *
6/14 Founders Brewing – Grand Rapids, MI *
6/15 Yacht Club – Iowa City, IA *
6/16 Record Bar – Kansas City, MO *
6/19 The Cooperage – Milwaukee, WI *
6/20 Mac’s Bar – Lansing, MI *
6/21 Marble Bar – Detroit, MI *
6/22 Rivoli’s – Toronto, ON *
6/23 The Funhouse at Mr. Small’s – Pittsburgh, PA *