Following outstanding critical acclaim for Destroyer’s latest album Poison Season, we are happy to share the remix for “Forces From Above” by DJ email@example.com (a member of Destroyer and The New Pornographers).
Read DJ firstname.lastname@example.org’s statement on the remix
DJ email@example.com has heard of dubstep. DJ firstname.lastname@example.org is sickened by the organic, human nature of the album version of “Forces From Above” and of the Poison Season feel in general, when the words are so often about mechanised abuse at a societal level. It makes no sense. However, DJ email@example.com understands malaise and being lost in the simple maze (a couple of squiggly lines) of one’s dreary thoughts. DJ firstname.lastname@example.org knows for a fact that “Forces From Above” is about CAMPS, like internment camps and concentration camps.
DJ email@example.com heard this from Bejar himself, muttered once or twice, in his bunk. DJ firstname.lastname@example.org mixes are not interested in release; they are exercises in tension that go nowhere, much like a life. DJ email@example.com dabbles in queer theory. DJ firstname.lastname@example.org mixes on an iPhone; too bad
DJ email@example.com says, “Destroyer’s sadness is no match for mine. Mine cannot be contained. It never has been able to be.” Extemporaneous night is something DJ firstname.lastname@example.org is working on. DJ email@example.com mourns the undanceability of his mixes, but it won’t always be this way.
DJ firstname.lastname@example.org does not believe techno music to be a suitable medium for songwriters.
DJ email@example.com created this mix as a response to the challenge of making an unmasterable WAV file.
Destroyer’s European tour kicks off late this month, including a now sold out date at Islington Assembly Hall on 30th October.
Destroyer on tour: (more info and tix here)
Oct 30 London, UK – Islington Assembly Hall (SOLD OUT)
Oct 31 Brighton, UK – The Haunt
Oct 29 – 31st Pitchfork Festival Paris
Nov 01 Leeds, UK – Brudenell Social Club
Nov 02 Bristol, UK – The Lantern
Nov 04 Brussels, BE – Botanique
Nov 06 – Festival Musiques Volantes – Metz
Nov 07 Bologna, IT – Covo
Nov 08 Milan, IT – Biko
Nov 09 Luzern, CH – Sudpol
Nov 10 Lausanne, CH – Le Romandie
Nov 11 St. Gallen, CH – Palace
Nov 12 Vienna, AT – Sczene
Nov 13 Munich, DE – Kammerspiele
Nov 14 Cologne, DE – Luxor
Nov 15 Berlin, DE – Lido
Nov 17 Bergen, NO – Hulen
Nov 18 Oslo, NO – Parktheatret
Nov 19 Stockholm, SE – Kagelbanan
Nov 20 Copenhagen, DK – Pumpehuset
Nov 21 Utrecht, NL – Le Guess Who? Festival
Marlon Williams grew up in New Zealand signing in the Christchurch cathedral choir before his father, a Maori punk singer, turned him onto country music in his teens. He founded The Unfaithful Ways at 17 with his high school friends and their science teacher, and quickly gained national attention, playing Big Day Out, touring with Justin Townes Earle, and picking up a Critics Choice award nomination at the 2011 New Zealand Music Awards. That same year, Williams met acclaimed country singer Delaney Davidson, and the pair began performing as a duo. Over two years they released three volumes of the series Sad But True: The Secret History Of Country Music Songwriting, garnering the New Zealand Country Song and Country Album of the Year Awards in 2013.
Williams began performing the odd solo show in late 2012, and relocated to Melbourne to perform as Marlon Williams in mid-2013. He quickly grew a local cult following, which soon grew into a passionate national fan base. 2014 found Williams playing major festivals and making television appearances leading to sold out tours of Australia and New Zealand before heading into the studio to record his debut solo album. Released in his home continent this past spring, Marlon Williams received widespread acclaim, debuting at #4 on the New Zealand charts, and has received nominations at every major awards in Australia and New Zealand this year. In response to a recent show in Sydney, the Sydney Morning Herald glowed “what a terrific show. Fun and funny, sad and blue, it had flashes of modernity amid vast swathes of history and offered up the promise of a future completely unpredictable and completely watchable.” Now it’s time for Marlon Williams to make his mark on the rest of the world.
To understand the captivating essence of Marlon Williams, watch his powerful performance of Screamin’ Jay Hawkins’ “Portrait of a Man” from a performance at the Theatre Royal in Christchurch, and the official video “Strange Things,” a harmonically and thematically twisted tune o where the protagonist is driven mad with grief over his lost wife and loneliness. And to best understand what makes Marlon Williams such a compelling performer and songwriter, experience him live at CMJ next month!
Wed. Oct. 1 – Napier, NZ @ St. John’s Cathedral
Fri. Oct. 2 – Tauranga, NZ @ Holy Trinity Anglican Church
Sat. Oct. 3 – Auckland, NZ @ Holy Trinity
Sun. Oct. 4 – Auckland, NZ @ St. Mary’s at Holy Trinity
Mon. Oct. 5 – Wellington, NZ @ Old St. Paul’s
Tue. Oct. 6 – Wellington, NZ @ Old St. Paul’s
Thu. Oct. 8 – Christchurch, NZ @ St. Michael All Angels
Fri. Oct. 9 – Christchurch, NZ @ The Cardboard Cathedral
Sat. Oct. 10 – Dunedin, UK @ Knox Church
Mon. Oct. 12 – Los Angeles, CA @ Bardot [School Night]
Tue. Oct. 13 – Brooklyn, NY @ Baby’s All Right [NZ Music Commission, 7pm]
Tue. Oct. 13 – Brooklyn, NY @ Rockwood Stage 2 [Communion, 9pm]
Wed. Oct. 14 – New York, NY @ Mercury Lounge [CAA, 7pm]
Thu. Oct. 15 – New York, NY @ Pianos [Atypical Beasts, 12:30pm]
Thu. Oct. 15 – New York, NY @ Living Room [School Night, 6:15pm]
Thu. Oct. 15 – New York, NY @ Productive Studios [Sofar, 9:15pm]
Fri. Oct. 16 – New York, NY @ Elvis Guesthouse [Secretly Group Showcase, 8:15pm]
Mon. Oct. 19 – London, UK @ The Lexington
Tue. Oct. 20 – Bristol, UK @ The Gallimaufry
Wed. Oct. 21 – Manchester, UK @ Eagle Inn
Fri. Oct. 23 – Dublin, IE @ Academy 2
Sat. Oct. 24 – Belfast, IE @ McHugh’s Bar
Sun. Oct. 25 – Edinburgh, UK @ Sneaky Pete’s
Mon. Oct. 26 – Leeds, UK @ Brudenell Social Club
Wed. Oct. 28 – Paris, FR @ La Mecanique Ondulatoire
Thu. Oct. 29 – Gent, BE @ Trefpunt
Fri. Oct. 30 – Amsterdam, NL @ Paradiso – London Calling Festival
Sat. Oct. 31 – Hamburg, DE @ Mojo Jazz Café
Sun. Nov. 1 – Berlin, DE @ Gruener Salon
Thu. Nov. 5 – Perth, AU @ Four 5 Nine
Fri. Nov. 6 – Bunbury, AU @ Prince of Wales
Sat. Nov. 7 – Fremantle, AU @ Fly By Night
Sat. Nov. 8 – Dunsborough, AU @ Clancy’s Fish Pub
Thu. Nov. 12 – Maroochydore, AU @ Sol Bar
Fri. Nov. 13 – Currumbin, AU @ Solid Lounge
Sat. Nov. 14 – Brisbane, AU @ Woolly Mammoth
Sun. Nov. 15 – Byron Bay, AU @ Byron Theare
Mon. Nov. 16 – Bellingen, AU @ St Margaret’s Hall
Fri. Nov. 20 – Newcastle, AU @ The Small Ballroom
Sun. Nov. 22 – Milton, New South Wales @ Milton Theatre
Tue. Nov. 24 – Wollongong, New South Wales @ Rad Bar
Sat. Nov. 21 – Sydney, AU @ Oxford Arts Factory
Wed. Nov. 25 – Canberra, AU @ Transit Bar
Fri. Nov. 27 – Melbourne, AU @ Prince Bandroom
Sat. Nov. 28 – Hunter Valley, New South Wales @ A Day on the Green, Hunter Valley NSW #
Sun. Nov. 29 – Mount Cotton, Queensland @ A Day on the Green
Sun. Dec. 6 – Yarra Valley, VIC @ A Day on the Green #
Thu. Dec. 3 – Adelaide, AU @ The Gov
Fri. Dec. 4 – Darwin, AU @ Railway Club
Thu. Dec. 10 – Geelong, VIC @ The Workers Club
Fri. Dec. 11 – Newport, VIC @ The Substation
Sat. Dec. 12 – Barossa Valley, AU @ A Day on the Green #
Sun. Dec. 13 – Kings Park, AU @ A Day on the Green #
# w/ Paul Kelly, Lucinda Williams + Kasey Chambers
We are happy to announce Mark McGuire’sBeyond Belief, his second full-length via Dead Oceans. Stereogum gave us the first taste of the album, premiering track “Earth: 2015“ and noting, “If the word “ambient” makes you think of incomparably placid chill-out music, this one will surprise you. The title is on-point: “Earth: 2015″ is as chaotic and unsettling as life on this planet in these modern times, conjuring such a frantic jumble of guitar and keyboard sounds that at first I wondered if multiple browser tabs were playing music at the same time. Eventually it all coheres into a dark, dramatic, ’80s-inspired electronic instrumental that keeps unfolding for 10 minutes.”
Mark McGuire’s albums are, amongst many other things, strong arguments for the album and for the stereo system. They’re not just music; they’re statements, and they demand to be experienced by the best sonic means available. They’re throwbacks, not in style, but intent and effect. Put another way — they don’t make them like this anymore.
McGuire’s albums have beautiful and carefully selected cover art. McGuire’s own liner notes for his breakthrough Dead Oceans debut, Along The Way (2013), are an experience unto themselves — a detailed explication of an artist’s “journey towards the beginning” — a new spiritual manifesto you won’t find on Spotify. The wall of sounds contained therein constitute a degree of ambition uncommon since the 70s heyday of McGuire’s forebears — Göttsching, Eno, Fripp. This is not laptop music.
Beyond Belief, his second full-length for Dead Oceans, finds McGuire now well on the way of his own trip. Fantastical liner note tales written to accompany and set the stage for his mostly-wordless songs delight and confound. Throughout nine tracks we find an unrelenting drive to refine, build upon, focus and maximize the effect of an already remarkably prolific body of work. Though deservedly known for his virtuosic multitracked guitar playing, McGuire in fact plays every bass / synth / piano note, and every beat on the album himself, his vocals more prominent than ever before. 26 months in the making, the passion going into Beyond Belief is self-evident, and the effect is overwhelming.
McGuire, of course, first came to prominence with Emeralds, a Cleveland trio who seem, in retrospect, one of the most pivotal bands to come out of the 21st century noise scene, progressively moving as they did towards sounds more melodic, engaged, directed, and also more hopeful. Like many before him, McGuire isn’t entirely comfortable with the critically-bestowed New Age tag, but the resonance is there particularly in McGuire’s prose, and it’s not unreasonable that he appeared alongside venerated new age masters Iasos and Laraaji in The New York Times’ appraisal of the new age music renaissance.
With Living With Yourself, his first major full-length solo in 2010, McGuire emerged from the underground with a clear reluctance to fulfill expectation or live inside any critical boxes. That album, with its sampled recordings from McGuire’s childhood and track titles like “The Vast Structure of Recollection“, is unabashedly sentimental, and seems to operate as a disclaimer — a manifesto of sorts against cynicism. Since then, his work has only grown in ambition and emotional complexity. The last few years have seen him working with Dustin Wong, releasing an R&B influenced tape as The Road Chief, expanding into visual art and video work, recording with the Afghan Whigs, and honoring his roots through his work with the annual Voice of the Valley Noise Rally in West Virginia.
Running nearly 80 minutes, the bold and fearless Beyond Belief is McGuire’s magnum opus to date, but in truth, there is no end in sight for McGuire’s vision, making any such assessment wholly premature.
Each pre-order package will include the Beyond Belief (Chopped & Chief’d) cassette, featuring chopped & screwed versions of selections from Beyond Belief.