Disclosure have revealed the track listing for their upcoming sophomore LP, Caracal the follow-up to the highly-successful Settle. Apart from the Gregory Porter feature “Holding On” and the absolute banger of “Bang That”, the new album is set to feature Lorde, Miguel, and even The Weeknd. Check out the track listing below.

Caracal will be released on September 25.


01 Nocturnal [ft. The Weeknd]
02 Omen [ft. Sam Smith]
03 Holding On [ft. Gregory Porter]
04 Hourglass [ft. Lion Babe]
05 Willing & Able [ft. Kwabs]
06 Magnets [ft. Lorde]
07 Jaded
08 Good Intentions [ft. Miguel]
09 Superego [ft. Nao]
10 Echoes
11 Masterpiece [ft. Jordan Rakei]
12 Molecules
13 Moving Mountains [ft. Brendan Riley]
14 Bang That
15 Afterthought
Watch the new video for “Omen”:



Jizz-jazz auteur Mac DeMarco is now streaming his new eight-song “mini LP” Another One on NPR right now. It is scheduled for release on August 7. He’s already shared half the record, releasing “No Other Heart”“The Way You’d Love Her”, “Another One”, and “I’ve Been Waiting For Her”.

Stream the whole thing now on NPR below. (And don’t forget to listen for his address, so that you can go to his place and get a cup of coffee.)

Watch the peculiar video for “Another One”:



One thousand musicians banded together in Italy to perform the Foo Fighters’ “Learn to Fly” all at once in an attempt to coax the band to come play a show for them. That’s right. ONE THOUSAND MUSICIANS.

“The Foo Fighters are not in Romagna since 1997, it’s time to get them back, but we need a crazy idea,” the description on Rockin’ 1000’s website explains. “We have to organize something that kicks ass worldwide and can be seen by Dave Grohl: We will ask one thousand rockers to play one of their songs, all together and at the same time.”

After about a year of hard work and planning, the group pulled it off magnificently. “What we did here is a huge, huge miracle,” the event’s creator Fabio Zaffagnini explained. “One thousand rockers that came from all over the nation at their own expense, and they just did one song — your song. We ask you, the Foo Fighters, to come play for us.”

This is going to be a hard invitation to turn down. No word on Foo Fighters’ reaction yet. Watch the awesome video below!

from the album "The Most Lamentable Tragedy"

“The Most Lamentable Tragedy” Titus Andronicus

Titus Andronicus

The Most Lamentable Tragedy Album Review

Merge Records

Released July 28, 2015

Genre: Indie Rock, Punk Rock, Heartland Rock, Rock N’ Roll

I honestly didn’t think I could finish this album. Being a 93 min punk rock album I was worried that the songs would run dry and my ears and stamina would become exhausted by the righteous onslaught of power chords, catchy hooks, and emphatic lyricism. Knowing I could listen to a long album in one sitting (To Be Kind), I dove into this monster of a record. Titus Andronicus’ music can best be described by a simple metaphor: True Detective. The groundbreaking TV show shocked audiences for delivering much more than a crime drama by offering existential and philosophical themes and overtones amongst the backdrop of the seemingly ordinary crime scenario. What you get is a TV show that is inviting, inquisitive, and one that makes you think. Such is Titus Andronicus’ music: you get the piercing solos, the chugging power chords, the emphatic choruses, and the undeniable energy – basic stuff. However, amongst these trademarks of a great punk rock band are lyrics that ask questions left and right about mental illness and depression. The album is divided into five “acts” and is composed of five instrumental/silent interludes, three covers, a gospel hymn, and twenty-two rock songs – some ranging from forty-nine seconds to almost ten minutes in length. That’s just the surface; once you unravel this record, it’s a monstrous mind-fuck of a concept that demands repeated listens to be understood but only a few to be respected.

TMLT attest to how much punk has changed these years.There aren’t many punk concept albums out there, the one coming close to memory would be Fucked Up’s David Comes To Life, and that in itself has never been replicated. Frontman Patrick Stickles has always given himself through his music, whether it be special interests or ideas. However, TMLT is his true self, interlaced in the wordy songwriting. Admittedly, this is the band’s toughest album yet; it’s tiring and exhausting trying to decipher each lyrical stanza and line. Where The Monitor’s concept was straightforward as hell (credited to the song titles and album art), TMLT is – in a nutshell – about mental health. According to a Reddit post, the album also details “a complex narrative about Patrick Stickles’s manic depression– the story includes the narrator’s mysterious doppleganger, time travel, a race of superhumans, a female character, etc.” So fully understanding this album’s concept is incredibly hard, it’s like trying to understand Mulholland Dr. and Inception in one sitting.  While any of the songs can go one way or the other, this album can be taken differently. Comment below what you think it’s about and generate discussion. Check on Lyric Genius about what the album means because it will take some time to take in. Now, onto the music.

Due to the wordiness of a lot of these songs, many of them sound the same. There are a few bangers such as the Glory Days-esque “Fatal Flaw”, the Born In The USA cut “Come On, Siobhán”, and the pummeling “I Lost My Mind”. Even the dreary “More Perfect Union” draws many grooves and melodies out longer than it should be, but it’s bloody good. The album highlight, and my favorite song of the year, “Dimed Out” is the most exciting this band will ever sound on this album. Stickles’ words literally spill out of his mouth as he can hardly wait to say them at the right moment. It’s a fun empowering song amidst the slew of depressing and manic-centric tunes. Titus Andronicus owe a lot of their style on this album to Springsteen dynamics and string flairs, dueling Thin Lizzy guitars, and Costello-like lyricism. The writing is sharp, witty, and on point. Blending heartland rock with punk rock is novel idea that Titus Andronicus have pulled off with ease.

“No Future Part IV: No Future Triumphant” starts the album out strong with some staccato riffs reminiscent of many of the solos found on The Monitor; however, the song pummels like an Airing of Grievances cut. “Stranded (On My Own)” has Stickles shrieking away while the cleverly titled “Mr. E Mann” is a steady pulse that leads into the equally dynamic “Fired Up”, which leads into the incredible “Dimed Out”. The witty title of (S)HE SAID/(S)HE SAID” gives what it suggest, an interesting discussion between to individuals that Stickles frenetically tells with vigor and power. THe production on here fluctuates between astounding recordings and lo-fi disasters, although I believe they were intentional. Nonetheless, the album is brilliantly paced and, given it’s run time, can be finished by the average listener in 1-2 sittings. Amongst the knotty guitars , Stickles life is here in the flesh and out in the open, a life worth seeing, observing, and living.

Some tracks on here sift through different emotions as well. Such as on “A Pair Of Brown Eyes”,” their cover of The Pogues classic. “Mr. E Mann” can best be compared to ” (I Am The) Electric Man” from Local Business, which was inspired by Stickles grabbing a live mic during a performance. It brings to question the role of electroshock therapy for depressive people, and it instantly turns this song into a weighty topic. The mood shifts in the closer “Stable Boy”, where Stickles repeats and obsesses over “forever” knowing that it’s better to have lived than to not live at all. Just as The Monitor was a metaphor for Stickles’ life, TMLT digs deeper into his psyche and confronts angst, depression, and insanity head on, confronting to problems until empowerment is the only feeling out there. Once the album is over, that’s all you will feel – granted you feel energized enough to begin again. For Titus Andronicus, the future is a vast landspace and they can go anywhere from here.

The Most Lamentable Tragedy is a bold and creative move for the band. It’s rare to find a band with so much to say and saying it with as much time as they can. Stickles doesn’t let the listeners off easy on this one; he wants you to listen carefully and listen well. There’s a cover of “Auld Lang Syne” here and that brings to question: how seriously can we take this thing? Sure it can tye into the narrative, ushering in a universal sign for a new beginning, but there’s a track here called “[ seven seconds]” and I begin to question if this album is supposed to be a comprehensive magnum opus or a wordy rant. I will repeat: THIS ALBUM IS A LOT TO TAKE IN. It’s wordy, massive, and requires patience, time, and careful listening. For sure this  an album that will be analyzed and looked into for years to come. This may be the band’s wordiest and least specific album, but it is also their most universal, a sense of broadness that not many bands have fully reached yet.

It’s amazing that it’s only taken them four albums to reach this point; and that, for any band, is an achievement in its own. Despite some clarity or lack of a straightforward message, Titus Anndronicus have given us an album that should be read as a text, as a manifesto, rather than listened. And yet, here we are at 2015 with a monstrous album that’s basically a long metaphorical  speech that begs the question: who’s more insane? To this day, we don’t know. But discussion – talking about it amongst each other, debating what each song is about, pondering the lyrics – will be sure to clarify any doubts that The Most Lamentable Tragedy has put forward.


FAV TRACKS: No Future Part IV: No Future Triumphant, Stranded (On My Own), Lonely Boy, I Lost My Mind, Fired Up, Dimed Out, More Perfect Union, (S)HE SAID/ (S)HE SAID, Fatal Flaw, Come On, Siobhán, I’m Going Insane (Finish Him), No Future Part V: In Endless Dreaming


SCORE: (8.5/10)




Last week, Wavves’ Nathan Williams sent a series of angry tweets aimed at Warner Bros. Records about various disputes over his new album’s release. Among other things, he wrote, “It’s so obnoxious to work tirelessly on something and then have a bunch of ppl who just see me as a money sign go and fuck it all up.”

Now his new album with Wavves has been announced. It’s titled V and it’s out October 2 via Ghost Ramp/Warner Bros. That’s the album art above; listen to TWO new tracks below along with the track listing.

This follows Wavves’ collaboration with Cloud Nothings.


01 Heavy Metal Detox
02 Way Too Much
03 Pony
04 All The Same
05 My Head Hurts
06 Redlead
07 Heart Attack
08 Flamezesz
09 Wait
10 Tarantula
11 Cry Baby




Courtesy of AbsolutePunk


California black metal act Deafheaven have announced the full-length follow-up to their 2013 smash hit, Sunbather. The new album will be called New Bermuda, set for an October 2 release via Anti- Records.

The album was recorded live to tape in Oakland at 25th Street Recording and Palo Alto at Atomic Garden Recording with longtime producer Jack Shirley.

Deafheaven singer George Clarke explained that the concept of “New Bermuda” describes “a new destination in life, a nebulous point of arrival, and an unknown future where things get swallowed up and dragged into darkness.”

Here is the tracklist for New Bermuda:

New Bermuda:

01 Brought to the Water
02 Luna
03 Baby Blue
04 Come Back
05 Gifts for the Earth

Here is a teaser video.

The cover art is painted by Allison Schulnik.

Read our interview with the band at Spillover Fest 2013


from the album "Currents"

“Currents” Tame Impala

Tame Impala

Currents Album Review

Modular, Universal, Fiction, Interscope Records

Released July 17, 2015

Genre: Psychedelic Pop, Disco, Synth Pop, New Wave, Dream Pop, Neo-Psychedelia

Since their inception in 2007, Tame Impala has slowly transformed from a band to a solo project. With their latest album Currents making waves across the nation, it’s evident that this is front-man Kevin Parker’s most intimate and bare record yet. Lyrically, the band’s first two albums – the decent Innerspeaker, and the adventurous Lonerism – proved that Parker’s personal statements are intertwined at the heart of the band’s songs. Where the prior two albums centered on isolation, regret, and bitterness, Currents mainly focuses on heartbreak. It’s an interesting shift in content, highlighted by the lack of guitars to supply a psychedelic rock groove. To ask whether Currents is better than Innerspeaker and Lonerism is besides the point: they are completely different albums. Currents finds Parker take over the controls on pretty much everything on this record as he delivers one of the best heartbreak records of 2015, accentuated by a new wave/pop sound that holds ear-worm hooks here and there, Tame Impala deliver some of their best material, but also some of their most disappointing material.

Following the success of Lonerism, it’s easy to expect Tame Impala to write a banging rock number a la “Elephant”, where Parker demonstrated himself as a guitar riff AND bass groove auteur. However, the absence of guitars on Currents are substituted for shiny and smooth synths that pulsate under Parker’s infectious rhythms. The opener “Let It Happen” is one of the band’s longest tracks yet it’s hindered by a simple verse-chorus verse structure. Nonetheless, the song goes through many different stylistic odysseys and pathways as it effectively introduces the album’s new sound. It’s an interesting change of pace that initially left me dissapointed but I slowly warmed up to it. The following track “Nangs” is a wonderful musical interlude that features some phasered synths draped along a pulsating drum beat. It’s here that Parker’s production talents come to light.

Keep in mind Parker’s writing pop songs here; and with his psychedelic resume behind him, it’s only a matter of time before the songs turn new wave/dream pop-y. The chugging intro of “The Moment” is comically similar to Tears For Fears’ “Everybody Wants To Rule The World”; Parker’s accompanying falsetto accentuates the atmosphere of these tracks further, bringing these pop songs to greater heights. That isn’t to say there aren’t any other musical gems present on the album; the intoxicating funk of “The Less I Know The Better” is Bad-levels of perfection while “Eventually” is the perfect combination of rock and pop as Parker keeps one foot in Lonerism and another in Currents.

Parker’s themes of isolation and heartbreak are present here, as previously stated, most notably on “Yes I’m Changing” where you can hear his emotion and conviction.It’s a powerful ode to transitioning and moving on and goes well with its steady yet nimble beat. Album highlight ”’Cause I’m A Man” finds Parker in the same league as Father John Misty’s incredible I Love You, Honeybear as he takes a look into masculinity and love in a powerfully emotive song, where the early moments are reminiscent of “Can You Feel The Love Tonight”. Here, Parker demonstrates that he can insert his personal statements on change, growth, isolation, and heartbreak and transform it into something powerful, emotive, and real. However, the album is not without its hangups.

What makes Currents distinctly different from Lonerism and Innerspeaker isn’t so much as gnarly riffs and Hendrix-like solos but song structure and vocal tonage. Tame Impala’s songs grew from being starkly basic to unsuspectingly adventurous in the gap between Innerspeaker and Lonerism. These song structures made Lonerism enjoyable because it kept them from sounding like an acid-baked Beatles cover band and more of something of their own. Yet with the simple structure here on Currents, the band sounds oddly bland amidst the colorful and shiny production. Additionally, Parker’s vocal tonage is 98% falsetto here and it can only go so high before it sounds forced and tired. While his voice accompanies the shiny production here, it doesn’t excuse a lack of depth or variety from a band that could surprise us with every song. Tracks like “Gossip” sound like unfinished and bland filler tracks that are just produced well.

Currents isn’t a bad album, it’s actually a great one. The production is some of Parker’s best work; the drums are crisp, the bass is funky, the synths shine with power, and the melodies are infectious as hell. I don’t mind the more pop direction because its interesting to see Tame Impala change things up a bit. But what’s missing is variety, vocal depth, and spontaneity. Currents is clearly a transitional album, but it’s also a personal one. A statement saying that it’s easy to perfect things in the studio, but nicer to know that outside of the studio, progress works as perfection. Things are changing for Parker, and Tame Impala along with him are changing too.


FAV TRACKS: Let It Happen, Nangs, The Moment, Yes I’m Changing, Eventually, The Less I Know The Better, Disciples, ‘Cause I’m A Man, Reality In Motion, New Person/Same Old Mistakes


SCORE: (9.2/10)



Experimental rock trio Battles will be releasing a new album called La Di Da Di, out via Warp on September 18. It is the follow-up to their critically-acclaimed 2011 release Gloss Drop. That’s the track list below along with some tour dates. Also, that’s the album artwork above. Below, also find a Behind -The- Scenes documentary directed by Ralf Kleinermanns delving into the band’s recording process, live performance, and useage of Ableton and computer software.

La Di Da Di:

01 The Yabba
02 Dot Net
03 FF Bada
04 Summer Simmer
05 Cacio e Pepe
06 Non-Violence
07 Dot Com
08 Tyne Wear
09 Tricentennial
10 Megatouch
11 Flora > Fauna
12 Luu Le


08-07 Sicily, Italy – Ypsigrock Festival
08-20 Brooklyn, NY – Saint Vitus
08-22 Portland, OR – MusicfestNW
08-23 Los Angeles, CA – FYF Festival
09-05 Laois, Ireland – Electric Picnic Festival
09-07 Prague, Czech Republic – STIMUL Festival
09-10 Raleigh, NC – Hopscotch Festival
09-30 Boston, MA – Paradise Rock Club
10-01 Toronto, Ontario – Lee’s Palace
10-02 Chicago, IL – Metro
10-03 Minneapolis, MN – First Ave
10-06 Vancouver, British Columbia – Imperial
10-07 Seattle, WA – Neptune
10-09 San Francisco, CA – Fillmore
10-11 Phoenix, AZ – Crescent Ballroom
10-13 Dallas, TX – Trees
10-14 Austin, TX – Mohawk
10-15 New Orleans, LA – Republic
10-16 Atlanta, GA – Masquerade
10-17 Nashville, TN – Exit In
10-18 Philadelphia, PA – Union Transfer
10-19 Washington, DC – 9:30 Club
10-20 New York, NY – Webster Hall
10-23 Manchester, England – Academy 2
10-24 Bristol, England – Simple Things
10-25 Glasgow, Scotland – O2 ABC Glasgow
10-28 London, England – Electric Ballroom
10-29 Lille, France – Le Grand Mix
10-30 Paris, France – Pitchfork Music Festival Paris
10-31 Frankfurt, Germany – Zoom
11-02 Amsterdam, Netherlands – Melkweg
11-03 Brussels, Belgium – Botanique
11-04 Berlin, Germany – Berghain
11-06 Torino, Italy – Club2Club
11-07 Reykjavik, Iceland – Iceland Airwaves




The two minds behind one of the summer’s hottest jams have delivered a reggae-inspired cover of Frank Ocean’s “Lost” off of his critically acclaimed 2012 release channel ORANGE. Listen below.“free DL for all the lazersquad cuz we love u,” Major Lazer’s Diplo wrote on Twitter.

While I’m on the topic of Frank Ocean, let me ask this: WHERE’S THE ALBUM FRANK?!?! WHERE IS IT?

We’ve been patiently waiting for three long years and still NO album? Sure you did a well-received (but in my opinion, a really disappointing) feature on the new John Mayer album. And you gave us a lof-fi “preview” of a new song.

Also, what’s this? Are you in the studio with THE BASED GOD, HIS HOLINESS himself???


Sourec: Lil’ B’s tumblr

Releasing a snippet of track is fine, but if you’re working with HIS HOLINESS LIL’ B then don’t keep us waiting. Give us Boys Don’t Cry NOW.

Kanye, you’re next.


"Dreams Worth More Than Money" Meek Mill

Meek Mill

Dreams Worth More Than Money Album Review

Maybach/Atlantic/Dream Chasers

Released June 29, 2015

Genre: Pop Rap, Hip-Hop, Brag Rap

Oh lawdy…Meek Mill is CERTAINLY not meek. He’s passionate and not afraid to expose his true thoughts, but he is not meek. From the lavish lifestyle he so thoroughly describes to his showy production to his unmistakably LOUD voice, he is one of the more convictive rappers on the Maybach Music roster. He’s a man of the more; more money, more cars, more volume. Now, he does a good job for most of Dreams Worth More Than Money, but not quite enough to separate himself lyrically from most of his contemporaries.

One thing that does stand out on Meek’s sophomore album is how consistently entertaining the production is. It is relatively trendy, with mostly trap beats, but even the non-trap beats are captivating and radio-ready in the best way. “Classic” sounds like it could’ve been produced in the mid-2000s, but it’s a nice change-up in production style. The opener, “Lord Knows,” samples Mozart beautifully, even though Milly kicks off the album with some unnecessary autotune. The trap beats aren’t drab either, with melodies that are catchy enough to justify using the trap-style percussion.

Meek’s very bold and boisterous delivery compliments these showy beats very well, definitely upping the “hype” factor. He’s convincing with every single word he says because he says everything with the maximum amount of passion; however, what he’s saying may not be anything to write home about. He’s not egregiously boring lyrically, but he’s not saying too much that’s very innovative or thought-provoking. Save the last track, which is quite introspective, most of these songs are just bragging about his current wealth and lavish lifestyle but also remembering his previous struggles. He doesn’t fall into the trap of trying to be the next Lil’ Wayne, inundating the listener with bad puns, but he also doesn’t play around with trying to be very clever with his lyrics, only passionate. There are a few tasty lines like, “front row Fashion Week, looking like I’m in the show,” on the song “Classic,” but these are somewhat sparse. There are also a few lines that…aren’t the best, like “I came, you c**e” on “Pullin Up (Feat. The Weeknd).”

The features on Dreams Worth More Than Money are acceptable for the most part, but not incredible. Drake gets the job done on “R.I.C.O.” and Rick Ross does a surprisingly good job keeping the energy going on “Been That.” Nicki Minaj is on two different tracks, but her contributions aren’t emotionally convincing even though she’s trying to make her love for Meek more tangible (Meek doesn’t really connect either on these tracks).

Despite the usually bland lyrical delivery on this album, Meek Mill keeps the energy and passion at a high and enjoyable level. Be prepared to hear this album bumping in various whips across the nation this fall.

FAV TRACKS:  R.I.C.O., Check, Been That, Cold Hearted

LEAST FAV TRACKS:  Pullin Up, Bad For You

Score: (6.5/10)