Hey Destroyer fans, it’s Poison Season. Vancouver’s Dan Bejar returns with a new full-length and world tour. Poison Season opens swathed in Hunky Dory strings as Bejar channels a dashboard Bowie surveying four wracked characters – Jesus, Jacob, Judy, Jack – simultaneously Biblical and musical theatre. This Bittersweet, Times Square-set fanfare is reprised twice more on the record – first as swaying saxophone-stoked “street-rock” and then finally as a curtain-closing reverie. Check out lead single “Dream Lover” above.
“The first and last songs are actually one song tracked live with quintet. I even sang with the band. That song always swung between super austere and super mid-’70s Springsteen/Bowie street-rock. In the end, I decided I wanted both. Couldn’t really figure out a way to sequence the orchestral version within the record, so I decided to carve it up as a book-ending motif, with the rock version squarely in the middle.” – Dan Bejar
In addition, Destroyer will concurrently release a two-song 12-inch as a companion to the new album. It includes a remix of “Forces From Above” along with the orchestral “Times Square, Poison Season,” a song that gave rise to several tracks on the new album, as detailed below. Pre-order HERE
Destroyer will be hitting the road in September for a world tour. Full dates after the jump
Night Beds, the musical project of 26-year old Winston Yellen, is excited to unveil the highly anticipated sophomore album, Ivywild, out August 7th on Dead Oceans. The follow up to the much acclaimed 2013 debut, Country Sleep, Ivywild is a mesmerizing collection of melancholic, neon-tinged R&B.
The second Night Beds album draws on Yellen’s original love of Bill Evans through to J Dilla and is made up of what Yellen calls “sad sex jams.” It was inspired by a long-term love and a break-up which looms large throughout the album’s veiled lyrics (See previously released track “Me Liquor and God”). Its genesis can be found in the stoned night in Nashville when Yellen first heard Yeezus.
Ivywild is a truly collaborative effort with a makeshift team of 25 musicians, notably Abe Yellen, younger brother and closest friend. Additional vocals come from Heather Hibbard, a singer from Maine who features on over half of the album, and was contacted by the gregarious Yellen through YouTube, after he found a video of her covering one of his songs. Setting himself up as curator as well as creator, the record shows off Yellen’s natural flair for plucking people out of obscurity and bringing their talents to the table.
To coincide with the announcement of Ivywild, Night Beds is sharing a beautiful, new Dan Huiting-directed video for “Tide Teeth” today. Watch above or on Night BedsYouTube page. Album art and track listing after the jump.
Today marks the worldwide release day for Bill Fay’s acclaimed Who Is The Sender?, the followup to 2012’s Life Is People. Recorded at Ray Davies‘ Konk Studios in North London, the 13 tracks demonstrate the immense talent of the living folk legend. Listen to lead single ‘War Machine’above or on YouTube / SoundCloud page and purchase the album below.
Who Is The Sender? Tracklisting:
1. The Geese Are Flying Westward
2. War Machine
3. How Little?
4. Underneath The Sun
5. Something Else Ahead
6. Order Of The Day
7. Who Is The Sender?
8. Freedom To Read
9. Bring It On Lord
10. A Page Incomplete
11. A Frail And Broken One
12. World Of Life
13. I Hear You Calling (Studio Reunion)
We’d like to welcome to the world the first of many Greylag videos. The Portland trio enlisted director Ben Fee to construct a video to match the intensity of single “Yours to Shake” from their debut album Greylag. Watch the trippy video above or at NPR Music.
“Often times, people are after things that they are just instinctively drawn towards. Whether or not those things are good for them, doesn’t matter too much. And those things also blind those people in the process—making them bypass, misuse, under appreciate some really magical things in the journey. Even when they fly so close to their goal, and they can see it could be the end of them, the folks still go further. This doom, and perspective, and instinct, we wanted to paint in a visually poetic way, so as to give a strong feeling, instead of beating a message into the viewers heads with an obvious ABC narrative.” – Ben Fee, Director