Music


Alex Chilltown is a one piece band from Croydon, South London.

“At once unusual, confusing and very good.” The Sound Of Confusion.

“like being drunk in the day time. In a good way, when it feels like your own little secret, rather than a worrying concern. What we mean to say is; THIS IS GREAT” Gold Flake Paint.

“Bummed out emo with a lofi pop edge” Weathered Collective



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The name, NIKO IS, is a conceptual idiom symbolizing the many personas and identities one experiences and is reflected through his albums. The name stems from Niko’s belief that a rapper shouldn’t limit himself and his fans to one identity, he must be in constant evolution. The ambitious hippie has managed to create a distinctive sound and style that has gained him recognition as a notable songwriter, witty lyricist, visionary and best freestyler in Orlando. His style and cadence seems effortless and he is surrounded by producers that evolve alongside of him. The fro has visible equity, being able to crossover and rap on a multitude of sounds and he appeals to a wide demographic, from the suburbs to the favelas of Brazil.

NIKO IS inked a deal with Talib Kweli’s label, Javotti Media in March 2014 for the release of the highly anticipated #BrutusLP








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“Luminous, poetic and radical”, C.A.R. Is the new project of Chloé Raunet, singer of former London coldwave band Battant. She now writes, composes and produces on her own.

Her first ep ‘Laika’ (remixed by Timothy J. Fairplay, Krikor and Discodeine) is cosmic pop at its best. She also collaborates: the vocals and lyrics on Gessafelstein’s debut album ‘Aleph’ were hers and she is currently working with Ivan Smagghe on some leftfield dance-ish tracks (Rebolledo has licensed one of these remixes for his forthcoming compilation).

C.A.R’s first album is ready in the wings (preceded by the already cult ‘Idle Eyes’). As a teaser, the Ten Steps Up seven inch is an retro-futurist ode to sixties girl groups. It is backed by a punk Ivan Smagghe edit of the raging “Rotten” and the It’s A Fine Line produced “Spitfire”: an eternal electronic christmas, snow or sun.


“I know for a fact ‘Spitfire’ will be one of my favourite tracks of the year. Bittersweet pop music from the futre haunted by ghosts from the past.” – Andrew Weatherall

With Thor, her partner in crime for the live, she supported Gesaffelstein on his European tour and has also opened for Cat Power at the Paris Olympia. Her music has been picked up by Hermes and the Hyeres Fashion Festival, where she played alongside Jaakko Eino Kalveli & Chloe Howl; Vogue Magazine making a cover-mount cd of their performances. As one half of Latete Atoto, C.A.R. also has a fortnightly show on London’s uber-cool, ICA linked NTS Radio (alongside the likes of Trevor Jackson) & plays records out around London.

Her universe is a red-hot & cold paradox, a battered dodge supercharger finding its way between clair-obscur allegories and the cold sensuality of melancholy. Electronic experiments are backed with ghostly punk bass lines, icy synths balanced on heartbeat drums. As with her almost short story-like lyrics, C.A.R’s music sits on her own edge, between realism and dreams, pure pop and acquired taste.

Not a bad place to be, not a bad place to meet.













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Yesway is the creation of best friends Emily Ritz and Kacey Johansing. In a live setting, their voices melt together and the performances are intimate yet expansive. They are often backed by Vibraphone player Andrew Maguire, who also plays with Will Sprott, Thao, and Mirah. Although their instrumentation is centered around vocal harmonies and two guitars, “folk” seems like a inaccurate description as many of their songs are in odd time signatures and do not follow a traditional song form. The result are songs that are truly celestial, shapeshifting across different moods using their creative styles.

Emily and Kacey first crossed paths in the San Francisco music scene in 2006. They became close friends and admirers of each others’ music from the start. Kacey has a budding solo career while Emily is an active member of the band DRMS. Four years ago, the two began playing music together in the experimental folk ensemble Honeycomb, which initiated their path toward growing and weaving their creative songwriting and soulful expression into a power duo. The name “Yesway” is itself a variation on the country that really sparked their collaboration, Norway. Yesway is also the name of their debut full length album, set for release on June 3rd.

While the Bay Area has proven to become their home after many years in Oakland and San Francisco, city living no longer satisfies. Now the two inhabit sleepy beach towns on the coast north of San Francisco, soaking up the beauty and drawing inspiration directly from their surroundings. Both Emily and Kacey have always felt close to nature, whose colors bleed through into their sound and lyrics. Having grown up in upstate New York and Colorado respectively, the wilderness provides a familiar backdrop and acts as a canvas for their creativity.

With Yesway, their creative process happens as naturally as the ebb and flow of the tide or the growth of the forest. Their sisterly bond and creative intuition make for an exquisite illustration of a rare and powerful connection shared by two potent songwriters.









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First making music at the end of his high school days, 23-year-old Phil Jones began Dog Bite after dropping out of the Savannah College of Art and Design. Influenced by the work of J Dilla, Portishead, Caribou, Panda Bear and The Roots, Jones began self-releasing tracks, followed-by a 7-inch and CD on Young Turks. While later touring as the keyboardist to Washed Out he picked up an acoustic guitar and composed his debut-full length, Velvet Changes, released on Carpark in early 2013. In support of Velvet Changes, Dog Bite embarked on an extensive North American winter tour with labelmate Toro Y Moi. The two marked the occasion with a split 7″. Jones returns with his newest release on Carpark, the LA EP.

In addition to his time with Washed Out, Jones has appeared on a matthewdavid release and produced for Mood Rings and Bosco. As one half of Acid Flashback, he’s crafted tunes for the voice of Karen Jacobs (of Toronto’s Free Kisses). Dog Bite performs live as a four-piece, featuring Jones’ friend Woody Shortridge formerly of defunct Atlanta band Balkans.













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There’s little doubt that Marnie Stern lives up to her reputation as “the lady who shreds,” but for Marnie, shredding is not enough. After putting out three critically-acclaimed albums, Marnie could have gotten away with putting out another album filled with her richly layered sound, singular frenetic finger tapping and almost philosophical lyrics. However, as anyone who has given her last few albums a good listen can tell, Marnie is not one to stand still. Instead she attacks her musical evolution with full frontal bravado, reveling in musical risk instead of relaxing in the comforts of the known. For Marnie, musical possibility drives her ambition.

Her new album, The Chronicles of Marnia, finds Marnie not only working with a new drummer (Oneida’s Kid Millions), but also passionately subtracting from her normally dense song structures to craft a sound that is both familiar and wholly original. “I always gravitate towards interweaving and a more abrasive sound,” Marnie said about working on the new album. “I was working with Nicholas Vernhes from Rare Book Room Recording in Brooklyn, and he was the producer. He wanted my voice clearer and fewer guitar parts. I tried it because I wanted to try something different.”

Her trademark exuberant guitar work is still present, in fact, absent a few layers of grit, it’s even more evident. “We stripped away a lot of the layers and a lot of unnecessary interweaving guitar parts. There’s less clutter and more of staying on a part without adding too much instrumentation.” Through the subtractive production process, Marnie’s voice became more prominent, a fact that kind of concerns Marnie, “I get worried that I am coming across as someone who thinks they are a ‘singer,’ as opposed to my usual mishmash of voices that aren’t always in key,” she said about the album’s more pronounced vocals. “I grapple with that attitude because I think it’s important as a musician to try and be as proficient as possible, or try to put a lot of work into it. I suppose in my own way, I put a ton of time into singing and trying to find interesting melody ideas, I just never think of myself as having a ‘nice’ voice.” It’s an enervating change for an artist who in the past has always skillfully buried her vocals under the guitar and drum tracks.

The musical transformation evident on her new album isn’t entirely unexpected, as fans who have listened to both “For Ash” and “Every Single Line Means Something” in a single sitting know. That same slow progression can be seen between 2010’s self-titled album and the forthcoming The Chronicles of Marnia. Marnie can’t help but laugh when thinking back on her musical evolution. “I’m sure if I went from the first album to this one, I’d have a heart attack. Luckily it’s been gradual enough for me to enjoy the changes.” And there’s little doubt that her fans will too. Even as Marnie evolves from what Pitchfork called her “art-metal math-rock bubblegum pop” genre, fans will still find themselves jumping head first into the album and quickly bonding with the emotionally resonant material, cascading hooks and transcendental guitar riffs. Plus, the album shreds. She is Marnie Stern after all.











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CYNE are more than one emcee, more than two producers, more than their decade-spanning discography, and, with the announcement of their new album, All My Angles Are Right, more than just hip-hop. Cise Star is a conscience for your headphones. Speck and Enoch dig deep so you don’t have to. CYNE rise above their sphere, merging the personal and the political with genre-busting production and silver-tongued rhymes that capture cross-millennia truths.

Their beats have been used by Joey Bada$$, they’ve been remixed by Four Tet, they’ve collaborated with To Rococo Rot, Daedelus, and Nujabes, and, since 2008, they’ve been on Hometapes alongside Bear In Heaven, Megafaun, Matthew E. White, and Medicine-founder Brad Laner. CYNE lights up their full spectrum with All My Angles Are Right, their fifth album out March 2014 – and with this winter’s tell-tale release of the first single “Tears For Uriah.”









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Passenger Peru is the brain child of Justin Stivers (bassist on The Antlers album “Hospice”, Pet Ghost Project) who combines his talents with virtuoso multi-instrumentalist Justin Gonzales to bring you a raw mix of cosmic shape-shifting tunes teetering on the brink of danceability.

Their debut self-titled album was written and recorded over the course of a year in Brooklyn basements and tranquil locations in the foothills of the Alaskan wilderness. The album finds the Brooklyn duo blending the tender and vulnerable song writing of Yo La Tengo with the aural colorings and production of Brian Wilson and the tribal noise freak-outs of early Animal Collective.











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The fact that punk rock could capture the imaginations of young people around Europe and America in the late ’70′s was embodied in the five-year output of Switzerland’sKleenex (later renamed Liliput). The music meant empowerment for many people to take chances and not worry about consequences. This was especially so for women like guitarist Marlene Marder and bassist Klaudia Schiff, the two constants/mainstays of the group.

When punk groups began springing up in Zurich, it was a very small scene with a handful of bands that all knew each other, not many places to play and virtually no support from radio stations or the press there. Marder(originally a saxophonist) had played with a group called the Nasal Boys. Two experimental film-makers, Schiffand drummer Lislot Ha had been bouncing around the idea of forming group before hooking up with the appropriately-named vocalist Regula Sing and a male guitarist who had much more ambitious musician plans. Marder liked what she heard from the band and was glad to step in to replace him. Indeed, the group’s aim was to have fun, more than to become rich and famous. Armed with a repertoire of four-songs and three chords, Kleenexwowed the local crowds with their simple, child-like rock ditties, filled with joyful chants and nonsense words in the tradition of Little Richard’s “Tutti Frutti” but musically more in the noisy, exuberant spirit of their British comradesthe Sex Pistols.

Kleenex had local friends who decided to start up a label (Sunrise) where the band put out their first (self-financed) EP in 1978, which included the same four songs from their live sets (“Beri-Beri,” “Ain’t You,” “Hedi’s Head,” “Nice”). The response was such that the first pressing sold out in weeks. A copy of the EP managed to get toJohn Peel, the famous English DJ, who fell in love with it and played it over and over for his radio listeners. Rough Trade got wind of their strange, wonderful music and signed the group to a record contract. Their first single (“Ain’t You” and “Hedi’s Head” from the EP) made a splash with the UK press and led the label to organize a group of dates around Europe with label-mates Scritti Politti and Red Krayola. Not even a year after their formation, the group was already an international sensation even though, at the time, they still held various clerical jobs back in Zurich.

Coming to England, they were unimaginatively dubbed the ‘Swiss Slits’ by the press and made their next single (“You”/”U”, 1979) with Krayola leader/Rough Trade producer Mayo Thompson. Soon, they were off headlining an English ‘package tourí with local favorites like the Raincoats, Swell Maps, Subway Sect and Spizz Energi.

After the tour ended in late ’79, Sing left the group to be replaced by Chrigle Freund, a recent high school dropout, much younger than the rest of the group. With the loss of their original singer and threats to destroy all their records by the tissue company, which they took their name from, the group rechristened itself as Liliput in 1980, soon adding saxist Angie Barrack to their ranks. This five-piece line up recorded their next single ‘Die Matrosen/Split’ with its famous nonsense cheers/shouts (‘Hotch-potch, Hugger-mugger, Bow-wow, Hara-kiri!’), making a splash on the UK indie/alternative charts.

Despite their success, Ha and Barrack left the group, reducing them to a trio. Their next single, 1981′s politically-motivated ‘Eisiger Wind’ (with its Hugo Ball parody sleeve) caught the attention of noted American rock criticsRobert Christgau and Greil Marcus, who praised the innovative trio. By the time the single was released, the band was in the middle of another personnel crisis with Freund now leaving the group. Marder and Schiff closed ranks and assembled a new band with singer Astrid Spirit, drummer Beat Schlatter and saxist Christoph Herzog. After a successful German tour, the later two left the band (though Schlatter continued to help on drums) and the group was a trio again.

After four years, the group finally released a full-length album (‘Liliput’) for Rough Trade in 1982, leading into another tour. After another single (‘The Jatz’/'You Did It’, 1983), Marder and Schiff were tired, not having fun anymore and ready to quit. Spirit rallied them to do another record with an advance from Rough TradeGermany. Their second album (Some Songs, which Marder thinks is some of their best work), with various guests helping out and Spirit now playing violin, turned out to be their swan song. Spirit decided that she wanted to raise a family instead of being in a band, spelling the end of the group in late ’83. Marder had her own record shop, worked at a jazz club and had a band in the late ’80′s called Danger Mice. Schiff returned to painting, which she had done for many flyers and sleeves for the band.

Ten years later, Marder (now working for the World Wildlife Federation) and the same people behind the originalKleenex releases put out the 2-CD LiLiPut retrospective on the local Off Course label, including all of the material that the band had released. Though it received rave reviews (including a ‘A’ from Christgau and a spot on his year-end top 10 list), it was soon out-of-print. Collectors were paying hundreds of dollars in auctions for this material.


(Source : killrockstars)