The risque clip to IS TROPICAL‘s recent single, ‘Dancing Anymore’, what we pre-emptively labelled “video of the year”, has racked up a whopping 800k views on Vimeo, having been banned from Youtube within a hour of its initial uploading. Compare this to the 74,359 listens on Soundcloud, under 10% of its Megaforce-directed treatment, and the London trio could be slated as shock over substance.

But as ever with the French film team’s work (MIA, Yeah Yeah Yeahs et al), they sure know how to pick ‘em, their stamp of approval becoming almost synonymous with forward-thinking dance-pop. And the new record from IS TROPICAL, I’m Leaving out on Kitsune come Monday (20 May), is no different. Combining elements of noise-rock, tribal beat, 70s psych and Parisian-inspired electro, the ten tracks are just as striking as the image of a teenager imagining fellatio from a mermaid.

Listen to the album in full below, exclusively on Best Fit, and pre-order it now. IS TROPICAL are playing The Great Escape (Thursday at 9PM at Komedia) and will host album launch show at Hoxton Gallery on Thursday 23 May.

From making his name busking on the New York subway to an arresting Jools Holland appearance via collaborations with Grizzly Bear, TV On The Radio and Bat For Lashes, Marques Toliver has seen more of life than most commuters on the L-Train would dare to dream exists.

Though a gifted violin player and vocalist first and foremost, Toliver is clearly a man unwilling to be pigeonholed.  His debut album Land of CanAan, released on May 14th via Bella Union, ranges in scope from luscious, Van Dyke Parks style string arrangements (‘Repetition’) to a combination of shit kicking pop (‘Stay’) and sultry RnB balladry (‘Weather Man’) that confirms he’s spent as much time obsessing over Beyonce as he has any of his hip, indie mates – precisely what makes this worth a listen.

Stream Ireland’s charming electro-pop duo Young Wonder’s EP Show Your Teeth, out today on Feel Good Lost Records.

Producer Ian Ring and singer Rachel Koeman’s second collection of electronic fueled pop tracks invites listeners to delve into a more developed and refined take on Young Wonder’s infectious sound. Blending pitch-shifts and vocal snippets with influences ranging from dubstep and house to R&B and dreamy, Young Wonder combine traditional Irish roots with a love of creating the perfect soundtrack to your Friday night house party.

Chopping up samples and live vocals, Young Wonder’s Show Your Teeth is a whirlwind of layered percussion, harmonies and beats drawing you into their poptastic fantasyland, where dreams really do come true.

Frontman with Swedish pop heavyweights Miike Snow, Andrew Wyatt is set to release his debut solo album, Descender, through Downtown Records on 6 May. Ahead of its release, stream the album in full below – exclusively at The Line Of Best Fit.

A richly orchestrated 30 minutes, Descender acts as the perfect showcase for Wyatt’s octave defying vocals – a bold and immersive foray into chamber pop that’s a world away from the electronic sheen and commercial viability of Miike Snow.

Featuring guest turns from Anthony Rossomando of The Libertines, Brad Truax formerly of Interpol and John Herndon of Tortoise all appearing alongside Prague’s 75-piece Philharmonic Orchestra, Descender is a highly impressive first outing from this most talented of vocalists.

Pre-order Descender via iTunes here.

On their second album, Wolf People amplify the healthy appreciation of English and Scottish folk song traditions (as interpreted by the late ’60s British folk-rock movement) that has bubbled under their prog-fuelled fuzz-rock templates on past releases.

Recorded during ceaseless rains in an isolated house on the Yorkshire Dales, Fain‘s bleak beauty resembles the surroundings it was created in. Remoteness from modern-day concerns infuses the eight songs.

Read the full Best Fit review of Fain here and enjoy the album in its entirety below, streaming exclusively at Best Fit.

Fain is released via Jagjaguwar on April 30.

Catch Wolf People on tour in the UK and Europe throughout the spring and early summer at the following dates:

May
Fri 3 – Sound City, Liverpool, UK
Thu 9 – Hare & Hounds 2, Birmingham, UK
Fri 10 – Sound Control, Manchester, UK
Sat 11 – The Exchange, Bristol, UK
Sun 12 – Blind Tiger, Brighton, UK
Thu 16 – Holy Trinity Church, Leeds, UK
Fri 17 – Think Tank, Newcastle, UK
Sat 18 – Stag And Dagger Festival, Glasgow, UK
Sun 19 – Portland Arms, Cambridge, UK
Thu 23 – PIAS Nite at La Fleche D’Or, Paris, France
Fri 24 – Zurich Kinski Klub, Switzerland
Sat 25 – Brussels VK, Belgium
Mon 27 – Gebäude 9, Cologne, Germany
Tue 28 – White Trash, Berlin, Germany
Wed 29 – Molotow, Hamburg, Germany
Thu 30 – Doornroosje, Nijmegen, Netherlands
Fri 31 – Paradiso, Amsterdam, Netherlands

June
Sat 1 – Trix, Antwerp, Belgium
Mon 3 – Hoxton Bar & Kitchen, London, UK

July
Sat 5 – Hop Farm Festival

For nearly a decade, the Mystery Jets have consistently been one of the finest live acts the UK has to offer.

Renowned for their heady mix of fun-time indie pop and off-kilter hooks, the Eel Pie Island based sextet never fail to impress, with each of their studio albums a constant shift in dynamics and artistic direction.

Released exclusively for Record Store Day on limited edition gold vinyl, Live At The Royal Festival Hall is a tour de force through the group’s greatest hits – captured during Mystery Jets’ show at the legendary venue back in November of last year.

With guest turns from Laura Marling (‘Young Love’ and ‘Flakes’) and Tribes‘ Johnny Lloyd on ‘Sister Everett’, the fifteen track long album showcases the MJ’s at the height of their powers.

Stream the album in its entirety below, exclusively at Best Fit. More information on the vinyl release can be found over at the Transgressive Records website.

Just two weeks ago, Montreal based duo Valleys leaked ‘Hounds’ – an intriguing taster of their sprawling new album Are You Going To Stand There and Talk Weird All Night. Today, they return with an exclusive stream of said album which is due to drop via Kanine Records on 29 April.

An adventure in dark cinematic undertones and brooding melancholy, Valleys operate in a world that sits them somewhere between the autobiographical torch songs of The National and the gaunt, electronic textures of Chromatics. Throughout the 45 minute run time, the duo finely balance haunting soundscapes with enchanting dreampop. The sound of a serene dream interrupted by a nagging demon, leaving a constant trail of unease throughout.

Listen to the album in full below, exclusive to Best Fit. Head over to Kanine Records to pick up a copy.

With intuitive layers of manufactured sounds and sultry, melancholic subtext Tropics has found complete comfort and assurance in the laid-back chill-wave pop he is championing.

In a field that can feel saturated, Southampton’s Chris Ward stands-out; creating dreamy waves of sound that implement careful vocal samples, like those in the late-night ‘Don’t You Know’, alongside his own melodies, the four-track EP is a wonderful example of lush lounge.

One of the most striking features of Home & Consonance, out Monday (29 April) via Five Easy Pieces, is the quality of Ward’s vocal. The eponymous track, as well as ‘Courage’, shrouded in the equally impressive tones of Gavin Turek, offers a melody with all the romance of Rhye before dancing rhythms add energy and excitement to the passion.

Lay back and immerse yourself in the sumptuous instrumentation of Tropics, streaming as a Best Fit Premiere below.

Tropics support Say Lou Lou at Madame JoJo’s on 30th April – tickets and information here. He’s also set to appear at the Land Of Kings all-dayer in London on Sunday 5 May. More info on that can be found here.

One of Los Angeles’ most forward thinking dance music outlets, Young Adults introduces the world to their vision for 2013 with their body throbbing new compilation House Slippers.

Stacked with a plethora of artists to keep on your radar this year, from Permanent Vacation and their remix of Suzanne Kraft’s ‘Maybe Snakes’ to Ghostly International’s Mark E, and our personal favorites, production duo, Grown Folk, this compilation was designed to take you mood by mood, through a night spent anywhere but in.

Because we love you, we’ve included Grownfolk’s standout, ‘Just Wear It’, a smooth burner of vintage synths, building beats and sexy vocals perfect for those late night dancefloor moments, as well as with a stream of the entire mix for you below. This is one compilation you don’t want to miss.

Track listing:
1. The Socialites ft. Tesla Boy – “Only This Moment (Sasha Anastasov Remix)”
2. Closed Paradise – “The Daulphin”
3. Suzanne Kraft – “Maybe Snakes (Permanent Vacation Remix)”
4. Chamboche – “Into The Murk”
5. Mark E – “Fake Bitches”
6. NYCPARTYINFO – “Mr. Everything”
7. Ben La Desh – “Let Us Down”
8. Grown Folk – “Just Wear It”

The House Slippers LP is out today as a 2×12″ or digitally via Young Adults.

Today sees the release of aBest Fit-curated Record Day exclusive 10″ vinyl, produced by Music Finland, showcasing the very best in emerging Finnish indie and electro.

The release includes tracks from K-X-P, Sin Cos Tan and Phantom as well as new material from LCMDF, Husky Rescue and Millennium – the new band from Ville Haimala (of Helsinki/Berlin based house group Renaissance Man).

1,500 copies of ‘Music Finland with The Line of Best Fit – The Limited Record Store Day Edition 2013′ are being given out for free to customers at all participating Record Store Day shops across the UK and Ireland as well as selected stores in Paris, Germany and Japan.

You can listen to a selection of the tracks below – and if you like what you hear then get down to your local record store and you might just be in time to pick up one of the amazing free vinyls.

Brooklyn’s hottest talent, singer SZA unveils her latest effort, a delicate entanglement of eight new tracks, all part of her S EP.

Sultry innocence meets RnB on the soul-kissed verses of SZA. Conjuring up an Imogen Heap auto-tune aesthetic from whatever darkened bed she is has been lying in, while turning painful real life experiences into an exercise in sexy, with sweeping, SWV-style haunting melodies, SZA takes you deeper with every note. Wispy, playful production  marries chanting loops and crackling, crystalline words with an earnestness you can’t help but fall in love with.

Back at the end of March, Brighton band Phoria impressed us with ‘Red’, a track from their debut Bloodworks EP and now, with a full stream, they’re set to do it all over again.

The gentle crispness of the aforementioned single is present throughout and while that remains a standout, there’s plenty more to see here. From the broody, shuffling opener ‘Posture’ to the sweeping pop of ‘Scopes’, a track that rises steadily before fragile synth laded choruses gush out.

While those tracks soar with emotional energy, the five-piece also show their capability for the restrained with ‘Once Again’ all the while maintaining their earthy atmospheric aesthetic.

Stream the EP in full below.

The band play live at The Old Blue Last on 18 April while Bloodworks is out via Akira Records on 28 April.

“I was writing a lot of songs about the sea and thought it was a good idea to make a concept album and call it ‘Ships’,” says Cardiff-based indie crooner Sweet Baboo about the inspiration behind his brilliant new record entitled, indeed, Ships. “Somewhere along the way the concept got a bit confused so now I like to call it a brass based pop album inspired by girls, the north Wales Coast and mostly the sea”.

With the loose-lipped lyrical dexterity not seen since The Magnetic Fields‘ Stephin Merritt, psych-pop sensibilities that seem commonplace in some parts of Wales and bittersweet melodies reminiscent of Belle and Sebastian, North Walian-born Stephen Black weaves together not only his most concise and comprehensive record to date but perhaps the best indie-pop album of the year thus far.

You can take an exclusive listen to the LP below before it comes out on Moshi Moshi next Monday (22 April), with a track-by-track rundown from Black himself beneath it.

If I Died…

This was the last song from my last album ‘I’m a Dancer/ Songs About Sleepin’. I like songs appearing on more than one album. It’s my reference to Weezer.

Lyrically it’s not the happiest and the version on I’m a dancer is not the happiest either. When we ( the band ) started promoting the record we decided to give it a super indie overhaul.

That’s the version that opens ‘Ships’. Accidentally, It’s quite an appropriate opener as I consciously wanted to make a more upbeat album than the previous one.

The Morse Code for Love is Beep Beep, Beep Beep, The Binary Code Is One One

This song was written while I was stranded in New York when the ash cloud struck, about 3 years ago. I went to see Apples in Stereo at the Bowery ballroom and misheard one of their lyrics and wrote it down.

Musically I wanted it to sound like Paul McCartney’s song ‘Let them in’. Rob Jones (producer) and I had already recorded it a year or so before when we started a short lived side project. We re-recorded it for the album for continuity purposes.

The other version is on the Internet somewhere I think. At the time I was particularly proud of the line ‘ If I had a drum, and you have a slightly more high pitched drum, and we pound the shit out of these drums and fill our hearts with love.’ Not sure why.

Let’s Go Swimming Wild

A ballad for the love of librarians and the bbc4 programme and activity, wild swimming. It probably embodies best what the rest of the album is all about.

“The sea, girls and brass.” There’s a reference to one of my favourite Bill Callaghan songs on it. There’s no reason I should be singing that high. At the time I think I thought I was Curtis Mayfield.

C’Mon Let’s Mosh!

The last song I wrote for the album. It’s a fun and dare I say it, a sexy song about love. Well it’s not a heartbreak song, that’s what
I mean.

The title is a vague reference to the band ‘The Make Up’ who had a song called C’Mon Let’s Spawn. I’ve used the same reference a couple of times in the past too. (C’Mon Beef and C’Mon Let’s Permoose!)

Twelve Carrots of Love

Another song from my and Rob Jones’s unsuccessful side project. It’s essentially a love song by someone who’s listened to far too much Neutral Milk Hotel. My mum said I’ve stolen the melody from Bob Dylan but can’t remember which tune so that’s ok.

Musically I’m trying to solo like Yo La Tengo.

Chubby Cheeks

This is the only song recorded at a different time to the rest of the album, the only song to have a guitar solo some backwards cymbal and double tracked guitar. It’s alsothe only song not to include any brass.

All very boring facts. It’s also under two minutes long.

8 Bit Monsters

Lyrically, the verse is stolen from a song I wrote earlier in the year which mentioned the 8 Bit Monsters of Menai Bridge. The chorus is a reference/rip off of a) the Beatles ‘With a Little Help From My Friends’ and the Beach Boys song ‘Cease to Exist’.

‘Cease to Exist’ was actually written by Charles Manson, which has no relevance to why I used some of the lyrics.

Hopefully neither party will notice and sue.

You Are A Wave

Another song about the sea. I’m quite proud of the chorus, especially the reference to gulper eels, octopus, and my great Uncle (Captain) Tom Black. Actually I’m quite proud of the lyrics in general. It’s a nice sentiment.

My house mate, on the other hand, says this is her least favourite song as I followed her around the house for two months repeating the line

I’ve always loved the phrase.

The Sea Life Is The Life For Me (Mermaid Cutie)

This is a song about finding a mermaid on the coast of Anglesey and getting married. Musically I wanted it to sound like stereo lab and spy music.

Build You A Butterfly

Our nod to the Monkees, especially the song ‘she’. It also sounds a bit like Less than Jake.

Cate’s Song

I wrote this song about my friend Cate and some of stuff we’ve got up to over the years. From meeting in Aberystwyth, swapping shoes, playing on the dance mat, listening to Michael Jackson, seeing Paul Daniels and Debbie MgGee to getting blind drunk, roller skating and
eating. All very mundane stuff.

It’s an upbeat song about the joys of friendship and I think it’s a good way to close the album.

Sweet Baboo plays the following live dates. Pre-order the record here.

April
22 – The Cookie Club, Leicester
23 – The Lexington, London **SOLD OUT**
24 – Academy 2, Oxford
25 – The Prince Albert, Stroud
26 – The Lamplighter, Northampton
27 – Chameleon, Nottingham
28 – The Yardbird, Birmingham
29 – The Basement, York
30 – Telfords Warehouse, Chester

May
1 – Fruit, Hull
3 – The Doghouse, Halifax
4 – Live at Leeds, Leeds
7 – King Tuts, Glasgow
8 – Heartattack & Vine, Newcastle
11 – Clwb Ifor Bach, Cardiff
17 – Royal Function Rooms, Rochester

June
1 – Bangor (Bangor Railway Institude & Club)
2 – Bristol (Looking Glass Cafe)
3 – London (St. Pancras Old Church)
4 – Falmouth (Toast) [FREE]
5 – Tywardreth (The New Inn)
6 – St. Agnes (The Taphouse)
7 – Truro (B-side Bunters)
8 – Penzance (Studio Bar)
9 – Totnes (Studio Lounge)

After impressing with the sultry late night lonesome waltz around the dancefloor on ‘Holograms’ last month, Berlin based newcomer Butterclock today releases a full stream of debut EP First Prom.

Out now via FANTASYmusic, the five tracks delve into a world of misguided love and stolen glances that come drenched over a canvas of glitchy beats and Laura Clock’s echoing, seductive vocals. Electronic music with a very human touch:  perhaps best described as the soundtrack to a John Hughes movie that’s never been made.

Stream First Prom in its entirety below.

After releasing his fantastic Diaries EP last month, Dublin, Ireland’s production boy wonder, MMOTHS’ releases his Diaries Remix EP starring some of electronic music’s best new talent.

Each act takes a turn at adding their unique take on Jack Tatum’s music, with Max Cooper lending wistful atmospheric notes, Tuff Sherm going grimey and dense, while Los Angeles rising producer, Dreams takes us on an ethereal ride into the future and Regal Safari keeps the mood light and carefree. With the most dramatic reworks coming from producers’ Unknown and Dublin’s own CLU, this EP is an exploratory look at electronic music from a kaleidoscopic vantage point.

Download MMOTHS’ Diaries Remix EP for free from his website.

Tracklisting:
1. For Her (Unknown remix)
2. Losing You (Tuff Sherm remix)
3. For Her (Dreams remix)
4. All These Things (Regal Safari remix)
5. For Her (Max Cooper remix)
6. For Her (Clu remix)

It was just a month ago that we gave you the first glimpse into the technicolor world of London via Italy based Antonio Elia Forte – aka Echopark – with the first taster of debut album Trees in the shape of lead track ‘Teleportation’.

Ahead of its April 15 release, we’re thrilled to bring you a full stream of Trees – instantly endearing, enjoy the eleven slices of kaleidoscopic home-made pop below.

Finding a home on German contemporary label Erased Tapes, Ukraine’s Lubomyr Melnyk (above, left) has hooked up with Peter Broderick (above, right) on production duties for new record Corollaries.

The innovative, moving collection showcases the unique direction taken by the composer and pianist, characterised by a mastery of ‘continuous piano music’. Melynk has been active since the early 70s and is also regarded one of the world’s fastest concert pianists with a focus on his instrument that borders on obsessive: he’s as interested in the way a piano sounds as much as how to play it.

Find out what we thought of Corollaries, which is released next week, and listen to the full album right here, below.

Following the leak of Tyler the Creator‘s new record, the Odd Future frontman has put a stream of the full album up on the band’s tumblr.

Listen below to the record, which is officially released on 2 April.

Over the course of six years, and with nothing but a guitar and a backpack full of delay pedals, C. R. Matheny – the brainchild behind Emperor X – collected dozens of scratchy lo-fi recordings of an American adventure to create Nineteen Live Recordings – an album that takes the oft over wrought concept of a ‘live’ album and actually makes for a genuinely thrilling experience – albeit one of hushed intimacy.

The performances on the album – available to stream exclusively in full here at Best Fit – reflect the live show Emperor X will bring to Europe. Solo guitar, solo voice, hallucinatory lyrics, and a stereo field of echo and improvised crowd interaction.

For the full list of upcoming tour dates, hit up the official Emperor X website.

We’ve been carefully watching brother/sister duo Wild Belle with eagle eyes these past few months as they’ve slowly seduced the masses with their infectious blend of dub, reggae and pop.  Thankfully, flawless singles ‘Keep You’ and ‘It’s Too Late’ are proven to be just a mere hint of what this pair are capable of as Isles, the debut album, proves with an understated effortlessness.

Out via Columbia on 11 March, stream Isles in its entirety below - exclusive to Best Fit one week before release. Directly below the stream, read through the duo’s own thoughts and inspirations behind each track.

Keep You
Keep You was the first single that we released and it served as a mission statement for the band. We put out a 12” on our own label, Sandhill Sound, and that was what got the ball rolling for us. The song has a reaching melody, and a longing lyric, so we tried to capture some of that emotion with the sweeping strings and synths. The saxophone sound became one of the things that we kept going back to as we finished the record. We tried to make it sound like it was exploding.

It’s Too Late
This song was inspired by a Sound Dimension track, and also a man who doesn’t know when to call it quits. It’s simple, melodic bass line is the foundation, and from there, we layered the song up with a Linn Drum, Hammond Organs, and some electric kalimba loops that come in under the saxophone melody.

Shine
Shine started off as another of Natalie’s Garageband opuses. The beat is straight out of the box, but we couldn’t beat it, so we kept it! We were listening to Marvin Gaye’s Got To Give It Up at the time, and we loved the energy of the track. All of the percussion and layers of party vibe make it such an amazing recording. We can’t claim to come close to that level of classic, but we did our best with cowbells, handclaps, and of course, saxophone. It’s the only track on the record where I play tenor instead of the usual baritone.

Twisted
Another song about a man who’s getting it all wrong, and thinks that money can buy him some love. Natalie sings from the perspective of the man “what’s the definition of love if it isn’t material things?” and to me, it echoes Joni Mitchell singing from the perspective of the record executive in “Free Man in Paris.” This tune has a plucky high-life inspired guitar pattern. We really love the Hallelujah Chicken Run Band, and some of their guitar work rubbed off on this song in particular.

Backslider
Backslider was the last song that we recorded for the record. It’s about a person that keeps slipping back into old habits and revisiting old flames. It came together in a couple of days in the summer, and then we shot the video for it right after that. Our brother was home from college in California, and he hung up a sheet in the back yard, and we projected images from our mom’s slide collection on the sheet with Natalie dancing in front of it. It was a simple idea, but something about those old slides really captured our imagination.

Happy Home
Happy Home started with a Casio beat and a repeating bass line. This was one of the first songs that we really dug into in the studio and it took us a while to find the “magic button.” Erik plays an explosive guitar part that takes the song into a different place than most of the songs on the record. It’s a slow jam, but it’s really fun to play live.

Another Girl
Another Girl is one of the most bluesy songs on the record. It’s another song that pulls inspiration from the Motown catalog and Mr. Marvin Gaye in particular. Natalie’s backing vocals pull a bit of vibe from the “I heard it through grapevine not much longer would you be my baybee” chorus, and provide a nice bed for the lead to plead “didn’t I treat you right?”

Love Like This
We wrote this song while we were mixing Keep You. There was a beautiful Hammond B3 at the studio, and sometimes, when you sit down at a great instrument, songs just sort of pop out of them. The organ part was the start of this song, and then we coupled that with a great little drum machine called the Electro Harmonix DRM 16. It has a “Reggae” preset in it, and somehow, the combination of those two things set us off in the right direction. This is one of the songs on the record that takes a more hopeful glance at love.

When It’s Over
This is the song on the record that I take the lead on, and Natalie penned this one for me right after I got out of a long-term relationship. It bops along until the end when our friend Justin Walter plays some floating synth lines on his EVI, (electronic valve instrument) which is an analog synthesizer that’s controlled by a trumpet type device. Look out for his solo record coming out on Kranky in the next few months.

June
June is a song that is about our mother. It’s full of memories of her, and it’s another side of losing love…She was an inspiration to both of us growing up, and a very prolific artist and writer. We ended up using one of her paintings from the 70s for our album artwork.

Take Me Away
Take Me Away was the B-side on our first 12” single, and we thought that it served as a nice bookend for the record. It’s got all of the Wild Belle signature sounds tied up in a nice little pop song. Natalie plays some mean autoharp, chamberlain strings, minimoog, and we even manage to get some saxophone and electric kalimba in there.

As the founder of Church, one of London’s hottest monthly parties, Seb Wildblood knows a thing or two about how to get a crowd going. As a producer, Seb builds these dark pulsating rhythms intertwining fluid vocal arrangements, sexy claps and hollowed out clinks that dance along the pitch shift spectrum.

Racing reverberations, echoing drops and a desire to make the bodies on the dancefloor throb, Seb Wildblood knew exactly what mood he was going for when crafting this release. Showcasing a unique brand of tech-hosue music that is hot with a capital “H”, Seb Wildblood’s Töreki EP is a gem you need in your collection.

Seb Wildblood’s four track, Töreki EP, which includes remixes by Artifact and Thefft, is out 25th March via MadTech Records.

Casimir appear to be further proof that there’s something in the water over in Bristol these days. The four-piece are another standout in a recent line of West Country guitar bands alongside the likes of IDLES and Empty Pools.

Their debut EP Not Mathematics reveals its signature early on in the intro-like opener ‘Balancing Act’; a steady swelling of drums, cymbals and guitars rising into a sound barrier touching audio assault. The clue is in the name after all since various Latin, Slavic and French definitions of ‘casimir’ lean towards destruction.

From there the song structures throughout  become layered, more complex and charming but still, almost brutally loud, like a hurricane of instruments colliding with each other,  particularly evidenced in the EP’s high-watermark ‘Like Whistles’.

Not Mathematics is out via Fear Of Fiction Records today. Stream below in full.

Ann Arbor, Michigan’s production boy wonder and moonlighting drummer for the band Stepdad, Jeremy Malvin aka Chrome Sparks released his fantastic Sparks EP today. Listeners first got a taste of what the young producer had been up to with his release of the single, ‘Marijuana’, not long after his track, ‘Bring The Pain’ premiered on Pitchfork, and last week our favorite song off the EP, ‘Luna Luxor’ appeared on Ryan Hemsworth’s FADER Mix.

Featuring Malvin’s own lovely vocals and live drumming, Sparks does a brilliant job of introducing listeners to his niche sound, while venturing out into new territory showing his growth as an artist since his 2011 debut release, My <3.

The EP as a whole is an aqueous, ethereal experience melding signature vintage video game sounds with delicate layers of soft pulsing light, tiny twinkling bells and swirling quirks of synthesizer effects to create this underwater treasure trove filled with sparkling, musical gems. The deeper you explore, the greater the discovery.

You can pre-order Chrome Sparks limited edition white 12″ vinyl of Sparks, shipping April 30th from his bandcamp.

We’re pleased to be able to offer out this exclusive stream of Elbow Of Capture, the debut EP from Oxford-based composer Rhosyn.

Due for release via Blessing Force on 4 March, the five tracks here hint at an artist with great vision and incredible versatility. Layered vocals and aching cello lead the sparse but delicate musings, echoing the spirit of the late Arthur Russell with its experimental yet accessible nature.

Having featured on fellow Blessing Force alumni Chad Valley’s debut album with the track ‘Now That I’m Real (How Does It Feel)’, Rhosyn steps out of the shadows to offer a remarkably impressive first offering.

Our reviewer Andrew Hannah was effusive in his praise for the new record from Sweden’s The Embassy.

“It’s an album about reconnecting with music and with the band’s audience; it’s about re-discovering identity and kinship and it’s about love and the love for the process of making music,” he wrote this week.

“Above all, it’s a wonderful album, a joy to behold and all these words simply don’t do it justice.”

Listen to the album in full below.

Somewhat unexpected given his initial blog-orientated sound, Tourist‘s new short-player sees the producer take a stab at club culture and succeed.

Teased in by the deep repetitiveness of its title track and the equally ambient ‘I Have No Fear‘, this four track EP moves up through the gears like a well thought-out evening. With hooks that wouldn’t sound out of place in the early hours of a European club, ‘Don’t Stop’ and ‘Heartbeats’ plunge deeply towards house, whilst maintaining an accessibility and easiness on the ear. The former of these two, particularly, is filled with intricate crescendos, neat drops and vocal samples enough to lure you onto the dance floor.

Stream ‘Tonight’ below and whatever your plans, diverse and building, this massively impressive EP is sure to fit the mood.

Jim James shouldn’t be a stranger to anybody ’round these parts. Frontman of My Morning Jacket and nu-Americana supergroup Monsters Of Folk (just think: ‘Crosby, Stills, Nash & Young of alt-folk’), James has decided to venture alone for a little while with this upcoming solo release.

His first lone effort to date, if you ignore his George Harrison covers EP under the oh-so-cryptic moniker of ‘Yim Yames’, the record is hardly a huge leaps from all that has come before. It is, however, James boiled down to his core, a restless mind laid bare.

Listen in full:

Regions of Light and Sound of God drops 4 February (UK)/5 February (U.S).

Kitty Pryde, or just ‘Kitty’ as she likes to be called nowadays, has streamed her new EP online and shows just how far she’s progressed over the last few months.

“I exist in the real world now,” she told Rolling Stone. “It’s going to be nice because people won’t be able to just say that I’m a meme anymore.”

That’s the very least they’ll be saying, we thinks. Listen to D.A.I.S.Y. Rage in full below.

UPDATE: Kitty Pryde has now “done a Radiohead” and put her EP up for “name your price” download, or, ahem, free?

Nostalgic undertones conjuring up early MTV sentiments, you know, when rock was still rock, Austin’s Black Books blend the dreamiest of melodic guitar riffs and unhindered, grunge-flecked vocals with big, woozy orchestral sounds making an audience out of the endless Texas sky above.

Wiping your heart on your sleeve in one dramatic gesture, a psychedelic softness of melting harmonies and liquidy, textural effects brush the hair from your face and envelop you in this psychedelic incubator of an afterglow.

My Morning Jacket and Grandaddy comparisons can take up pages in every other post, but this one belongs to Black Books and their wildly inventive and exceptionally charming take on psych rock.

Black Books Aquarena EP is out today in the US and 11th February in the UK, on Believe Recordings.

To those of you with an appetite for thorough, well thought out musical criticism (or, in my case, baroque, abstract descriptions that desperately try to translate what I am hearing into what you are reading), please allow me a brief aside to directly address those for whom the simplest description is not only acceptable, but perhaps even desired: Do you enjoy Rihanna, but wish she would embrace a slightly more dissociative air? Then please, listen to the opening cut of Elliphant‘s self titled EP, ‘Down On Life’, and then proceed upon your merry way. (For those of you who do not need your music in easily swallowed gel caps or simply hate the taste of Suboxone, we will now elaborate upon the entire record.)

The most striking aspect of this EP is Elli’s voice; it is both thin and rounded, a wine glass, eschewing–like Rihanna–melisma, armed with an arresting accent, so that “juicy” sounds like “joozy,” and capable of a variety of textures, from the deceptively mellifluous singer found on the aforementioned ‘Down On Life’ to the battering, brassy Queen-Hell of the Dance Floor found chanting and rapping across the EP’s other tracks; aside from the opener, Elli frequents a kind of phencyclidine world music miasma, one which combines dance hall sensibilities and rhythms with more experimental sounds.

The vintage video game opener that segues into what a bombardment of plastic fighter planes would sound like–this provides a certain dystopian vibe, although whether it is amusing or unsettling is up for debate–makes ‘TeKKno Scene’ one of the more aurally ambitious productions of the bunch, and its strange sound is never again quite matched, with the intensity of Elli’s battering vocals reach a climax here, as well.

In comparison, ‘Make It Juicy’ stutters, shuffles, wobbles, and wails, while Elli provides the steady drive. ‘In The Jungle’ is powered by rough, round synths that roil and bleat, while the sneering ‘Ciant Hear It’ evokes images of an Uffie who may actually pop the Glock.

Kudos must be given for the inclusion of ‘Ciant Hear It (Jungle Remix)’; not only is it bold and dramatic in its re-imaging of one of the EP’s strongest cuts, and thereby deserving of its place, it directly addresses the heavy Caribbean vibe the laces the album–although, ironically enough, not so much so on “Ciant”–by steering into the spin. There is a lush, warming sensation to be had in the remix, a stark contrast to the cold, heather urban snow of its surroundings, with up beat synths piercing like sunshine and framing the caustic frolicsomeness of the original in new light.

A raw sexuality permeates the album, a feeling–to borrow an image from Cat Marnell–of “fur coats over lacy leotards,” a uniform for smoking cigarettes out of the window, a scene to which I would add voodoo dolls and a steel drum filled with rum and blood, within which bobs maraschino cherries, with the whole thing lit by votive candles that reflect little Jovian pools on the snow outside the window beneath the smoke. The sweeping, nihilistic cool of ‘Down On Life’ (which is perhaps the best song on the entire record, a potentially dangerous thing with it being the outlier and all), the pulsing, quivering synths of the other tracks, the dance evoking syncopations, all are a touch alluring and a tad dirty, which is, of course, where their allure comes from.

When Santigold proclaimed herself the savior of popular music and went on to release a decidedly banal M.I.A. album, Elliphant is most likely what she heard in her mind. There is a Janus like quality to Elliphant, the angel dust pop of ‘Down on Life’ almost completely removed from the seething energy of the rest of the EP, but that is a concern–in the interest sense, not the disquieting sense–best put off for another day. Better to enjoy it now than to worry if it is a beautiful aberration, and, even if that should prove to be the case, the world could do worse than to have another salacious, dance demanding, beguilingly voiced artist within it.

In a modern world where electronic music is largely the vogue, it’s easy to forget how much there is to continue to be excited by in terms of traditional instrumentation. Even ol’ Jimmy Page has spoken of his reservations in what there is left for him to discover on the humble guitar. Good thing, then, that bands like Flamingods come along every so often to remind us how much there still remains to delve into.

Combining elements of afro-beat, post-rock, as well as more electro-leaning psych and drone, the London-via-Bahrain fivepiece blend world music with pop tinges in a confident and coherent fashion. Their debut album, available to stream below, is as much of an education as it is a thing of bewildered enjoyment. I mean, we had no clue a “Taishōgoto” was a sort of Japanese harp until the band went and named a song after it.

You can listen to Sun, their first full-length set to be released on DIY imprint Art Is Hard Records, for yourself below:

The band play the following live dates:

January
17 – Green Door Store, Brighton
18 – Shacklewell Arms, London (free album release party)
19 – Gwdihw, Cardiff
21 -Wahlbar, Manchester

Sun comes out next Monday (21 January). Pre-order it here.

Released today, we’re pleased to be able to offer an exclusive stream of Youth, the debut album by the massively impressive Nashville based duo Wild Cub.

Injecting boundless adrenaline deep into the veins of the record’s 14 tracks, Youth relentlessly offers up huge pop songs delivered with sheer gusto and intelligence. A technicolour burst of sunshine to counteract these dull and drab winter months. A fine debut indeed.

Listen to the album in full below – including bonus UK track ‘Lies’. Head to Wild Cub’s official website for more info.

Many eyebrows were raised, tears shed and tweets sent when ex-Girls frontman Christopher Owens left the San Fran group back in July of last year. It seemed quite a baffling decision for a band whose previous album, their second full-length in just as many years, was heralded by everyone from the blogs to the broadsheets.

Luckily, however, after laying low for a couple of months (and modelling for fashion house Yves Saint Laurent), Owens announced his return with Lysandre, his first solo effort and LP. Reasons for his previous outfit’s split also emerged and were far more amicable than many first thought, with Owens claiming that the band “never came together conceptually” and that bassist JR was more interested in producing.

Either way, Owens seems to be flourishing from the newly-found freedom of being a solo artist. Lysandre gives the musician, forever an idealist in his work despite his oft-laidback posturings, the opportunity to produce what he has always been aiming for: a single, self-contained piece of art.

The 11-track record has been described by the creator himself as a “narrative album”, tied together by its opening track ‘Lysandre’s Theme’, a dream-like arrangement of flute and delicate guitar plucks that works as a motif during the album’s playback, returning frequently throughout like recurring memories.

In Lysandre, a record written about a single relationship, Owens allows his key strength to come to the fore. His masterfully understated songwriting, truthful and telling, yet simplistic and universal, is on display like it had previously only sporadically been when in Girls. ‘A Broken Heart’ and ‘Everywhere I Know’ are songs that perfectly capture“That time it was us against the world / Just you and I”, while ‘Here We Go’ and its sister track, ‘Here We Go Again’ coming later, conjure that get-up-and-go stirrings of any new whirlwind romance.

Such is the emotive power of Owens’ classic songwriting technique and pop sensibility that even songs like ‘Love Is In The Ear Of The Listener’ and the record’s title-track, which includes the line “Kissing and a-hugging is the air that I breathe” in its chorus, come across as charming and infectious rather than kitsch and cringeworthy.

“What if I’m just a bad songwriter, and everything I say has been said before?” the singer begins the latter track, before concluding:“Well, everything to say has been said before, and that’s not what makes or breaks a song.” And indeed, this truly sums up Owens as a musician, as a songwriter and the entire album as a whole. Lysandre is a record written for the singer himself, and maybe the love that inspired it, and it’s the unabashed honesty and universality within which allows us all to love it too.

Listen below, and pre-order the record here - out 14 January (UK)/15 January (U.S).

Released in the States last year, Callers‘ third album Reviver finally gets a UK release today courtesy of Partisan Records.

A bold step forward since previous album Life Of Love, the New Orleans duo made up of Sara Lucas and Ryan Seaton seamlessly merge an entire tapestry of genres into one fluid and massively listenable record.

Earlier this week, we named enviably young, enviably handsome and oh so enviably talented Sydney producer Flume as among our ‘Ones To Watch’ for 2013. But it seems like you won’t have to wait that long to fall smitten with him and his jagged-edged modern house, as his upcoming LP is currently being aired online right now.

Take a listen to his self-titled debut below:

Flume’s debut album was released by Future Classic earlier this month and will see a UK outing come 18 February via Transgressive.

New Jersey musician and cassette nostalgist, Memory Tapes is streaming his upcoming new album online. While only six tracks in length, do not fear, they are some pretty sprawling pieces.

Have a listen before the album comes out 3 December.

Twinkling percussion jingles, muted glitchy breaks and rhythmic, airy basslines lend to an album that is like one breezy, lovely dream.

Illicting a worldy sound based on Australian producer Leigh’s obsession with Ethnomusicology, this full length from The Townhouses is a dreamlike adventure of  fragile soundscapes that flutter and sway against a breeze of whispy vocals from guest collaborators Giorgio Tuma, Guerre, Wintercoats, Rainbow Chan and Felix Weatherbourne.

The Townhouses‘ Diaspora is out now via Yes Please Records.

Experimental grime-pop maestro and member of Atari Teenage Riot, Rowdy Superstar releases his debut solo record this week – a meandering collage of old school hip-hop and floor-shaking electronics, equipped with a twisted pop coating.

Released on Monday via Matthew Herbert‘s Accidental Records, you can stream the album on Best Fit now – if you haven’t managed to grab a copy already.

Rowdy Superstar plays The Waiting Room in London on Wednesday 12 December.

Battery is out now. You can buy it via iTunes.

With the glittering eighties explosion of The New Division’s ‘Night Escape’ that featured as a Best Fit Song Of The Day last month still reeling through our bones, we’re thrilled to be able to offer the band’s debut EP – also called Night Escape – as an exclusive stream.

Released today via the band’s own Division 87 Records, the EP recalls the more emotive moments of the much acclaimed Drive Soundtrack; visions of neon flecked city streets are conjured whilst slow burning bursts of epic synth fuelled nostalgia push and tweak the senses in all the right places. The title track being the centre piece, with one of the most memorable guitar phrases of the year and backed by Keep Shelly In Athens, ‘Night Escape’ could quite easily go down as one of the year’s best guitar / electro cross-overs.

Described as “laptop sex music played by two white dudes”, the latest signing to Full Time Hobby are Omega Male, the new musical vehicle comprising David Best of Fujiya & Miyagi and Sammy from Project Jenny Project Jan. The self-titled debut drops this coming Monday (12 November) but we’ve got an exclusive pre-release stream to tickle your ear lobes. The duo also give a brief track-by-track guide to the record below.

Omega Male
We took our name from this song rather than the other way around. I like the farfisa in it and overall it reminds me a bit of a disco not disco feel. The words describe the attributes of a typical omega male, who feel it’s safer to not attempt tasks for fear of failure.

Testosterone
My favourite part of this song is the sound of a bowling ball hitting the skittles toward the end. The rhythm has quite a Bollywood thing going on. When we wrote it we had a dance that went along with it, which was a digging motion manoeuvre. You’d dig, crouch down, then throw whatever imaginary thing that was on the spade over your head. Then do it again. I always picture the dance when I listen to the song.

Uh-pol-uh-jet-ik
This song is one of the passive aggressive ones. It’s a bit whiny. It was one of the very first songs we wrote together. I think the first two were this and ‘no’, which is another moan-up. I like how the title looks with the syllables split up.

You Bore Me To Tears
This started off just with the piano. I wanted us to write a slow soul ballad type song. I think it turned out more like a cross between early Dexys midnight runners and Serge Gainsbourg, which is obviously no bad thing. The brass was arranged by sammy and played by Ed and Eric.
It might be my favourite on the record.

Wax and Glue
Lyrically this song is about making a voodoo doll of someone you dislike then sticking pins in it.

Blue Narcissus
This reminds me of a chain gang song.
It’s about people who strategically voted for the liberal democrats in the last general election to make sure the conservatives didn’t get in. Obviously this backfired when the liberal democrats and Tories joined forces.

No
This song is really negative. Its another passive aggressive number.
Musically it has a slight rnb feel to it.

Rotten Fruit
This has a bassline done on a 101 which I like a lot. I was pleased that I rhymed Baudelaire with yeah. There are some nice idioms going on too.This is one of the ones where the backing vocals were influenced by christo redentor, which I mentioned earlier.

X
This is probably the most unhinged song in the record. The backing vocals sound like rabid banshees. I wanted to write some words about the game hangman, with constructing the gallows and guessing letters and so forth. It has a bit of a Steve Reich middle section where it sounds like I’m saying eggs eggs eggs eggs eggs.
It has synth guitar on it towards the end of the song.

Buildings Like Symphonies
Sammy came up with the arpeggio which runs through the whole song. Lyrically it’s about all the things you could have accomplished if you just tried. It’s kind of nostalgic but could also be construed as being positive about the future. It’s the opposite of songs like no or uh-pol-uh-jet-ik, and I think it’s a good, optimistic way to finish the record.

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Omega Male live dates:

November
13 – London, White Heat @ Madame Jojo’s (Album Launch)
16 – Manchester Soup Kitchen w/ Plank! and K-X-P
17 – Bristol, Start The Bus
20 – Brighton, Blind Tiger Club

El Perro Del Mar drops her eagerly awaited new album Pale Fire this coming Monday (12 November) via Memphis Industries. An artist whose sound has consistently developed over the course of four albums, Pale Fire sees Sarah Assbring take full control over production and direction – revealing an album of incredible depth, integrity and grace. A natural successor to the darkened tones of 2009′s Love Is Not Pop, Pale Fire revels in the nineties; with flourishes of Blue Lines-era Massive Attack and Madonna, circa Blonde Ambition. From the rousing new single ‘Hold Off The Dawn’ to the heart-breaking ‘I Was A Boy’ and epic ‘To The Beat Of The Dying World’ – Pale Fire is no doubt a career best and further cements Sarah Assbring as one of the most important players in Swedish music.

The Line Of Best Fit hosts two El Perro Del Mar shows this coming week. Saturday, 10 November sees her make an appearance on the Best Fit Stage at the Fear Of Fiction Festival in Bristol alongside Syron, Chad Valley and Glass Animals (tickets). She’ll then perform at London’s Village Underground alongside Saint Lou Lou on Monday 12 November (tickets).

Released via our signature label Best Fit Recordings this coming Monday (November 5), we’re thrilled to offer you a full stream of the spell-binding debut EP from Brookyln based siren Eddi Front. Made up of three original songs and a heart-breaking cover of Nick Cave’s ‘Into My Arms’, the self-titled EP is as perfect an introduction to Eddi’s guarded world as one could ever wish for.

There’s an unmistakably noirish quality to Eddi’s exquisitely poised ballads and her words, backed simply with shivering piano and guitar, are full of sweet menace. But her voice – breathy and beguiling – belies the force, and sometimes filth, of her lyrics. As an old-fashioned purist when it comes to building and recording a track, it means her songs are haunted with a creaking, dusty, old music hall quality.

It took a long time for Eddi to even be persuaded by her musician friends into a studio. Having been so devoted to simply recording the song in the moment on her four-track, anything more high-tech, she says, “felt like cheating.” The resulting studio recordings that shape her self-titled debut EP have lost none of the charm of those humble introductory demos, retaining that hazy, dreamlike quality.

Eddi Front makes her live debut performance on Thursday November 8 in the beautiful surroundings of St Pancras Old Church in London. Only a handful of tickets remain, priced at £7 each in advance via the Communion website.

Pre-order a 10″ vinyl edition of the Eddi Front EP, featuring beautiful hand-written lyrics, via Rough Trade.

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If you aren’t already won over by Chad Valley‘s brand of swoony electro-pop, then you’re sure to be by the list of collaborators on his new record. Featuring the likes of Glasser, Active Child, Fixers‘ Jack Goldstein and El Perro Del Mar, it’s like the most alt Google+ hangout ever.

Stream Young Hunger in full below:

Young Hunger is out 30 October (U.S)/19 November (UK) on Cascine/Loose Lips.

“These songs span eight years, three relationships, living in two different places, drinking then not drinking,” Death Cab frontman Ben Gibbard says of his new solo album, Former Lives. “They’re a side story, not a new chapter.”

Stream the record in full below:

Former Lives is out 12 November.

Titus Andronicus‘ last album, 2010′s The Monitor, was one of our favourite albums to get drunk to, and while it might be a bit too early in the day and week to do likewise just yet, their new effort Local Business looks to be shaping up similarly.

Rejoice and check it out in full below, via NPR:

The record’s out on Monday (22 October) via XL.

Set to embark on a full UK tour from this coming Thursday, Bat For Lashes is streaming her new record online. The album, entitled The Haunted Man, was released yesterday, but if you haven’t had the chance to pop to the shops just yet then treat yourself to a taster listen below via NPR.

Read our Best Fit interview with Natasha Khan here.

The Haunted Man is out now on Parlophone / EMI.

Following on from the stunning headphone candy of lead single ‘Regalia’, Savoir Adore are all about set to release their impressive new album Our Nature next Monday (22 October) via Popular. A huge step up from their 2009 debut In The Wooded Forest, the duo’s exquisite song craft and ear for a great pop hook is never more apparent than on the following twelve tracks.

“I remember we were sitting there with our beers wondering what the fuck was happening.” Rudy Tambala, one-half of the seminal shoegaze pioneers A.R. Kane, recounts the band’s signing to 4AD in 1987. “How could we actually be on this label because we wanted to be? We had no background, we were hardly even musicians! It was really cool. They were a fantastic, fantastic label to be with at the time. They were really at their peak.”

Oft described as one of the most under-recognised bands of their era, A.R. Kane’s intoxicating blend of reverb drenched feedback and woozy dream-like melodies was underpinned by an undeniable dub influence. Releasing their first single ‘When You’re Sad’ on One Little Indian in 1986, its follow-up ‘Lollita’ was released by indie giant 4AD before the duo signed an album deal with Rough Trade. With constant playful experimentation over three albums they continually evolved through rock, indie, pop, dub, hip-hop and many other styles well into the 90s. One Little Indian are set to release The Complete Singles Collection compilation which spans A.R.Kane’s entire career including the Robin Guthrie produced ‘Lollita’ which you can stream in full below.

The Complete Singles Collection is available through the One Little Indian store now and comes complete with in-depth liner notes and commentary from the duo. An excerpt of which features below, with Rudy Tambala recounting Robin Guthrie’s involvement with the recordings.

We went to Robin and he was the other kind of producer, the kind who has a sound and is going to give you that sound and who knows better than you what your songs are about. It was hard to take that but we trusted him wholeheartedly and he was like a genius at the time. He was out there. No one else sounded like him, no one else even knew how to make a song sound the way that he made it sound. This big kind of spacey thing and it was perfect for that song. It had really quite gentle bits and then an explosion of noise and then it could be really quiet, gentle and soft.

He had the sound but also, he was a really good musician and he made us perform in a way that we had never had to perform before. He made us play in time properly and really work. He’d say “No, that’s not good enough, do it again” over and over until you’re almost crying and your fingers are bleeding until you got that solo, or that little riff bang on. He’s a perfectionist. That’s hard but when you listen to their music and you listen to all these other kind of shoegazing, dreampop bands that are out now and you listen to the Cocteau Twins – oh my god! – its worlds apart. A completely different world, a different order. They can’t aspire to that because they don’t have the same level of perfection. So that’s what he brought to the table. A level of professionalism and a sound that no one else had.

Photo by Amanda Charchian

“In making this record, I hoped to transcend the mundane world, by living in a new one of my own creation,” says California’s Tamaryn.

Tender New Signs follows on from where 2010 debut The Waves took off, with long time collaborator Rex John Shelverton fusing lush melodies with sultry vocals, and blissful sonic landscapes with heart-wrenching hooks and lyrics. Mirroring the West Coast lifestyle that the pair now lead, the new record is a gorgeous and inspired collection of songs, created to help the lovers love and the daydreamers dream.

Tender New Signs is released through Mexican Summer on 15 October. Pre-order the album here and catch the pair live at the following dates:

13 Oct – Glasgow, Scotland @ Mono
14 Oct – Manchester, UK @ Soup Kitchen
15 Oct – London, UK @ The Lexington

Having entranced us all with their 2011 release Too Beautiful to Work, Montreal quartet The Luyas are readying themselves for a return with their third album, Animator.

A sumptuously elegant collection of songs, the album was heavily influenced by heartbreak, the sudden loss of a good friend and the track of realisation down which this event led the band.

The Luyas have unveiled this teaser collection for their new album a week ahead of its official release, so have a listen to five of the album’s delicate and masterful, moody and graceful tracks here.

Animator will be released through Dead Oceans on 15 October. Pre-order the album here, and catch the band when they head to Europe in November to play the following dates:

25 Nov – Brussels, BE – Botanique
27 Nov – Malmo, SE – w/ Destroyer
28 Nov – Copenhagen, DK – Vega w/ Destroyer
29 Nov – Berlin, DE – Lido w/ Destroyer
02 Dec – Utrecht, NL – Le Guess Who? Festival
04 Dec – Paris, FR – Point Ephemere
05 Dec – Bordeaux, FR – Saint Ex
07 Dec – Metz, FR – Les Trinitaires
09 Dec – London, UK – Birthdays