Art Moore, the supergroup of Boy Scout’s Taylor Vick and Ezra Furman collaborators Sam Durkes and Trevor Brooks have announced their debut album Art Moore, set to be released on August 5th via ANTI-Records. Pre-order here. The announcment also comes alongside the release of “Muscle Memory”, the second single from the album following on from “Snowy” released earlier in the year.
Listen to new single “Muscle Memory” below!
Speaking about the track the band said:
“Muscle Memory was inspired by the many phases of life we go through and the friendships that exist within them that inevitably transform as we continue through life,” Vick explains. “I wanted to write about this experience from a neutral perspective, one with the belief that it’s neither a good or bad thing but simply a given in life. It’s a more fictionalized version of my personal experience which was the kind of writing I gravitated towards most in this band.”
A press release said of the album:
“The ten tracks that comprise the record are deft character studies, zeroing in on restless widows, shy beginners, jilted friends and friendly exes, chronicling minute moments — road trips, casual dates, games of truth or dare — with rich detail and subtle wit. The result is a world of remarkable emotional complexity, an album-length study of loneliness, heartache, and loss that’s sweet but never saccharine, sad but never maudlin. Featuring the inimitable songwriting of beloved Oakland luminary Taylor Vick of Boy Scouts set in sharp relief against lush production from Ezra Furman collaborators Sam Durkes and Trevor Brooks, it’s a quietly wondrous record — a set of songs that sketch out the struggle and beauty of coping with everyday life”
Aught aka Stephen Deehan has today announced their debut single “Oversight” set to be released on April 9th via Relic Records. This is the third release from Relic Records following on from Soba’s And Then They Run and Clifford’s New Turf.
Oversight explores depths of space, vocals echo seeking response; only to find reckless rhythms and beats that respond sharply. A groove being found within the emptiness of connection. With their debut single, Aught establishes themselves as a musician seeking more than driving rhythms; purpose through connection, hope within bond. FFO of Bonobo, Caribou & Four Tet.
In a statement Aught said this about the new single:
“For those who are able to feel liquid through air, Eden is easily understood as a place with an abundance of growth. Skin to light, heat to cell; our bodies thrive here. Our existence is constantly with us and yet we feel a need to discover more.”
Arizona based Folk, drone and experimental artist Karima Walker returns after 4 years with the follow up to 2017’s magical Hands In Our Names. Walker originally began constructing this album in 2019 when she flew to New York to work with The Blow’s Melissa Dyne, however illness forced Walker back home and the pandemic ensured that travel wasn’t possible. Walker then began to finish the album in her makeshift home studio through various “messy Ableton sessions”. The result is an album that shifts and twirls through swaying ambient landscapes, intertwined with folk ballads that allow Walker’s poetry to blossom in the openness and freedom of this album. “Every morning feels like, waking the dreaming body” she sings on title track “Waking The Dreaming Body ” and this feeling of half consciousness is one that can be felt throughout this album.
The sound manipulation and design is perhaps the most revered aspect of this album, pulling together real world sounds and hazy synthesiser sounds to consistently create truly enticing, warming and sometimes uneasy soundscapes that you truly lose yourself in, fading between two worlds. The start of “Window I” opens with some hauntingly beautiful lo-fi piano, that would be a hip-hop artists dream to sample, the crusty layers and grained sound is so comforting and yet longingly distant. Then the latter half of the track perfectly blends the rolling of ambient sounds and wave noises, fused to create a hazy dreamlike surrounding that slowly fades in and out, just when you think the sound is gone it creeps back in for another roll. And on “Horizon, Harbor Resonance” the track diverts through so many layers and levels of different ambient sounds throughout its 13 minute run time that you’re not quite sure where you came from or where you’re going next, but in this fantasy world that Walker creates it somehow makes sense.
The composition of these tracks are created in two worlds, one where everything flows smoothly and the other where the disjointed is the flowing force that shifts these sounds from movement to movement. On “Window II” the harp plucks may not be as flowing or elegant as fellow contemporary ambient artist Mary Lattimore, but they serve as more of an erratic and glitchy surrounding that amplifies the dream like feeling that Walker sings of. Fluttering about the soundscape, being reversed and played forward in ever changing motion. Whereas closer “For Heddi” feels like the breath of fresh air in the early morning, as the dancing synth melody guides the song along, the deep bass swells take you into the real world with their almost meditative feel.
After being forced to stay at home whilst writing this album the real world of Walker’s surroundings began to play their part in the formation of these songs. She intertwines these within the poetry elements of songs like on opener “Reconstellated” she sings “Sonoran sky plays a movie, Draw a line to the stars inside of me, Write it down, tell your friends, I know where I am but I can’t tell where I started” referencing the desert in Arizona. Even through the poetry of these songs Walker is still as mystifying as ever; never giving clear ground to what’s real and what’s figment.
“Sitting still in the movement of not knowing, where you are, where you were and where you’re going” she sings on “Softer” over the gently plucked guitar movements and this statement perhaps sums up the journey this album takes you on. One things for certain however, this blissful journey that Walker sails you through is one of mystique and wonder and once it’s over, like a dream, you try to recall the details but all you can remember is the wonder you felt along the way.
It’s been 3 years since the release of Four Tets last full length album ‘New Energy’ which saw Kieran Hebden become a household favourite for many hardcore and casual electronic fans. With its dense and easily absorbed blends of house, techno and world music it became a staple of any ‘Indie music to chill to’ playlists. It also saw the Four Tet live experience become grander and reach new heights in terms of what an interactive live experience could be through the lighting instalment collaboration with Squidsoup
That doesn’t mean Hebden has been quiet in the studio. Last year he released the three track EP ‘Anna Painting’, a collaboration with painter Anna Liber Lewis in which the music and artwork were an inspiration for each other. A small teaser for what was to come.
On Kieran Hebdens 10th album under the Four Tet name, the club banger is often dropped in favour of a rich exploration of sound, taking elements of the world around him and creating one of his own.
The first quarter of the album is a flow of techno infused, beat heavy cuts that lean towards the more sample based and club orientated sounds that fans have come to know and love from Hebden. Opener ‘School’ clicks into action with the lo-fi beat favourite 808 drum machine, slowly adding layers of melodic synths, ambient textures and arpeggiated keys. It’s a classic Four Tet sound that ends as quickly as it started.
Lead single ‘Baby’, featuring a low-key vocal performance from Ellie Goulding, transitions through various stages, the simple beat and layered vocals that are found on many Four Tet cuts. Then gliding seamlessly into the ambient samples of birdsongs and drawn out synths, eventually grouping back together to fuse into a layered groove of melodies. The layers are taken away on ‘Harpsichord’ as the lead instrument from the tracks title takes centre stage, focusing more on the simple melodies and synth patterns.
The 3 track run of ‘Romantics’, ‘Love Salad’ and ‘Insect Near Piha Beach’ are shining examples of what makes Hebden a renowned producer. A Picasso of sound.
Each track reaches a euphoric high as each sound and movement is carefully picked and placed. A mixture of beats, clicks, samples, synths, disconnected voices and bird songs all flow gently through the air one after another as if racing to see which sounds can take the track in the next direction. ‘Romantics’ and ‘Insect Near Piha Beach’ bring back those bright and elegant dulcimer strings from ‘Two Thousand And Seventeen’ which shine through the mix like the sunlight through the trees of the cover.
The track ‘Something In The Sadness’ serves as the final flurry of techno glory before the album takes a breath and steps back. The glitchy arpeggios, pounding beat and rising synth strings don’t transition and change as much as some of their previous counterparts, keeping with a similar rhythm throughout, but offers a satisfying conclusion to the expeditious sounds of the first portion of the album.
The pounding beats and soft synths are taken away in favour of more ambient and earthly sounds as Hebden shows that he doesn’t need to rely on just the big bass to create a big sound.
Samples of birdsongs and water movements make their way back into the scene on a couple of the ‘transition’ tracks, layered with drawn out chords create a delicate infusion of the natural world and the digital sounds of modern life.
‘This Is For You’ and ‘Mama Teaches Sanskrit’ have a very Brian Eno essence around them as the slow gentle chords reach out into the world around them. It’s the album coming to the end of a journey and settling down after the frantic beats and dancehall grooves of the first few tracks.
In a time where we may all be feeling left very isolated, this album is the company that we all need. Calm, full of hope and full of the world around us. It may have not been intentional but Sixteen Oceans is a reminder there’s beauty out there waiting for us, when we’re ready to return.