"When all the UNKLE partnerships finished, I had to work out where I was in my life and figure out what I was going to do. I've always wanted to make another record. I just thought, this time around, I'm going to do it my way, and I'm going to take some time and find the right people to work with, people with younger energy. I need people that understand the culture of what I'm trying to do and understand the UNKLE universe. I didn't want to make a rock record, an electronic record, a hip-hop record. I just wanted to take the elements of what I think makes an UNKLE record work. I wanted to get back to the basis of the emotional, what it makes me feel like to make music. Everybody that got involved had that same idea." - James Lavelle in an interview with Under The Radar Magazine
"On Sky Is Mine each song approaches, revises, steps back and looks for humanity on a planetary scale. From the shimmering melodies and prodigious power of tracks like ‘Magenta’ and ‘See Power’ to the energy-fuelled psychedelic rock of ‘Houses’ and ‘Yoyo’, the album flows with a dark, beguiling grandeur with the majestic allure of Liela Moss’ crystal vocals. Sky Is Mine looks at harm, control and lack of love but burns through it to find the essential human heart. Talking about the album, front-woman Liela Moss explains: “Sonically, it’s the most tender record we have made, the expansiveness will lift hearts but the rawness will burn through greedy fingers. Lyrically, this is where I stand… With feet cold and wet from standing in the sludge of fear that is the world we tread upon, this album snapshots a palpitating heart that values above all things, life. Half-finished sentences describe nasty bits and pieces, shards of cruelty as they are dissolved by being pissed on from a great height with a stream of golden, glowing benevolence!” - Vents Magazine
"From the band who have been synced in various movie trailers, TV shows, and video games including Girls, Grand Theft Auto V, Lucifer, Now You See Me, and Need For Speed 2015, we bring you their latest EP. Battle Tapes are an LA-based electro-synth pop band who produce super intense, vibey dance music with a dark edge. Their impressive list of syncs makes sense, because this Joywave-esque song (No Good) makes me want to speed down the highway in a really nice car. Josh Boardman (vocals/guitar/synth) talked to Baeble about the song, "'No Good' was one of those songs that kind of came out of nowhere, but showed up exactly when we needed it to. When we started writing for this EP I was dealing with a bout of writers block and as a band we found ourselves wrestling with a bit of creative paralysis. We knew we wanted this EP to have a different perspective than the last album, but weren't sure what that actually looked like. Not a total rethink - just more of a nuanced shift in feel." He continued to tell us how they dealt with the writer's block, "So we decided to head out to Palm Springs to get away from the distractions and noise of LA. We rented a house, set up a couple little workstations and invited a few of our artist friends to come out for a couple of days at a time. After they'd leave we'd digest what we had all come up with. It was in one of those late nights after the house was empty and things were really still and settled after being a buzz with energy all day that I was strumming an acoustic guitar over a simple hypnotic synth loop, and 'No Good' very earnestly revealed itself." - Baeble
Widely praised for their timeless and genre-smashing approach to song craft, The Great Escape is a trio comprised of Kristian Nord (drums, bass, production), Malte Hagemeister (guitars, production) – both originally from Hamburg, Germany and Cambridge-born singer Ingrid Andersson. Their second full-length album - Universe In Bloom, takes the raw energy and stomping confidence of their self-titled debut to the next level with massive, catchy hooks.
"Of the handful of musicians tagged with the derogatory “chillwave” label in the summer of ’09, none has so easily escaped pigeonholing as Toro Y Moi. Chaz Bear (formerly Bundick) has long proven himself as diversely talented as he is musically restless, successfully shifting from cosmic soul (Underneath The Pine) to jangling indie rock (What For?) while producing and collaborating across hip-hop, R&B, and EDM. Even Boo Boo, Bear’s first expressly pop effort and sixth album as Toro Y Moi, arrives this year mere months after another, very different release from the prolific 30-year-old: a psychedelic jazz collaboration with L.A.’s Mattson 2, titled Star Stuff. But for all his restlessness and chameleonic talent, Bear still holds a fascination for the chiming and warbled ’80s synths with which he led a mini-movement some eight years ago, and on Boo Boo they help bring to the fore the latent pop sensibility that’s always been at work in Toro Y Moi’s music. Even mining a familiar aesthetic, Bear is still unearthing new, compelling facets of his ever-evolving project." - A.V. Club
"The Hundred In The Hands, the New York duo of Eleanore Everdell and Jason Friedman, have a new album, called “Love In The Black Stack”, with a bunch of tracks produced by Brooklyn’s house duo Vito & Druzzi, aka The Rapture’s Vito Roccoforte and Gabriel Andruzzi. The 11-track record, described as a “swoony late-night soundtrack to the catastrophic present”, marks the pair’s first release since 2012’s LP “Red Night” on Warp. Our first taste comes in the form of the record’s closing track “I Follow”, a moody, slow burning affair. Give it a spin above, and drive slow." - La.Ga.Sta.
"The 6-track release balances future and melodic bass leanings, glitchy soundscapes, and a few diversions down the underground bass rabbit hole. “Arps of Revolución,” “Was Will Be” with longtime friend and powerful vocalist Mimi Page, and “Horizons” with Dorfex Bos skew towards the beautiful side of the low end spectrum. Ashton has been a fan of G Jones as long as we have, and the Santa Cruz roots run deep as these two reunite on the aptly named “Underground,” which is, as expected, the most adventurous track on the release. Longtime Bassnectar companion Gnar Gnar returns with Born I Music on “I'm Up,” and newcomer Macntaj pairs up on “Infrared” for the two most straightforward songs for bassheads that will get everyone's motor running." - The Untz
“Despite its conception (in the two years since his debut record, Fyfe experienced several personal loss) ‘The Space Between’ is not a sad album, and as it progresses through the passage of life into childhood and adolescence, the tone becomes almost celebrative. These experiences didn’t just teach Fyfe about death and despair, they also taught him about what it means to be alive. They ripped off a layer of self-consciousness –and liberated him to write candidly and use sound freely. He still writes and produces absolutely everything he makes, and found himself exploring the power of rich and well-crafted pop music, conveying his thoughts through the emotive potential of epic instrumentation and bone-shaking choruses.” - Kaltblut Magazine
"For the most part, Booker leaves behind the punk-inspired blues rock of his first LP. Sequels to the snarling “Have You Seen My Son” and the quick-hitting “Violent Shiver” can be found bookending Witness on the opening “Right On You” and less-than-two-minute closing “All Was Well.” But for the most part, Booker trades the yelping for melodic musings, offering a soulful, fearless record that castigates racial and social injustices today. Frequently, Booker seems to search for a reason behind the racism he grew up with in Virginia and Florida. As a brief string introduction hits its vibrato-laden peak in “Believe,” he sings, “I just want to believe in something/I don’t care if it’s right or wrong/I just want to believe in something/How can I make it on my own?” That doubt returns in “Overtime,” as Booker wonders, “When did you become such a faithless man?” But the highpoint of Witness is its title track, in which Booker collaborates with gospel legend Mavis Staples (even dropping the f-bomb in front of her, which is actually a pretty punk-rock move). Each narrative verse returns to the pre-chorus, quote obviously about Trayvon Martin. Booker switches back from his rasping half-rapping to his singing voice and describes, “See we thought that we saw that he had a gun/Thought that it looked like he started to run.” Each time, the maternal Staples interjects, “Am I gonna be a witness?” That line especially serves as a rallying point for the whole album. It’s rhetorical, but also pragmatic—a reminder that our greatest chances for success happen when we grow and change together." - Paste
The most compelling artists have always been able to find their singular truth and channel it for the world to savor, but The Rescues set themselves apart by combining each of their intrepid perspectives into one harmonious voice. The Los Angeles-based threesome have made a name for themselves as a powerful live act thanks to their flawless, transcendent harmonies. They’ve likewise earned a rep for being TV’s go-to soundtrackers with an uncanny ability to underscore drama on shows like One Tree Hill, Private Practice, and Grey’s Anatomy.