TRANSVERSO

- A culture magazine reaching terminal verbosity -

New Music

Sylvan Esso Drop New Single, "Radio," Have Second Album on the Way

New Music, Music NewsAndrew MeriwetherComment

Grab your dancing shoes and thinking caps, folks, the Durham Duo is at it again. After successful splash onto to scene with their self-titled debut in 2014, Sylvan Esso is back with a new single. “Radio” which will leave their fans tingling with excitement for the sophomore album, which is set to release sometime in 2017.

The track certainly feels like a continuation rather than a departure (the bouncy bass lines and high hat sounds will be all to familiar), but producer Nick Sanborn (Megafaun, Made of Oak) has also added new textures, synths, and patches creating a fresh sonic landscape. Singer Amelia Meath (Mountain Man) is also in excellent form lyrically, maintaining catchy hooks alongside incisive commentary. “Radio” cuts, rather ironically given its own presumably hit single intentions, the pop-music-machine at the knees:

"Now don't you look good sucking american dick
You're so surprised they like you
You're so cute and so quick
Singin' I've got the moves of a TV queen
Faux girl hero in a magazine
Faking the truth in a new pop song
Don't you wanna sing along"

The single will be released on a 12” along with “Kick Jump Twist,” a song that has cropped up occasionally in their live sets, on 11/18.  In the mean time, the band has announced a Fall US tour, likely featuring new music along the way. So keep your ears open, there are sure to be some more groovy tracks coming your way soon enough.

"Radio / Kick Jump Twist" 12" single available 11/18 via Loma Vista Recordings.

Read our interview with Nick Sanborn here.

STRFKR Finally Announce New LP 'Being No One, Going Nowhere,' Drop Second Single

Music News, New MusicWeston PaganoComment

Over half a year ago, STRFKR (née Starfucker) dropped a single titled "Never Ever" without any news of an album to come. Because of this, we took the leap in assuming it was a one-off, before STRFKR themselves corrected us on Twitter, providing the first hint that a follow-up to 2013's Miracle Mile was on the way.

Then, radio silence. Despite this delay, "Never Ever"'s "What would I lie for?" outro rings true today as the Portlandian trio has appeared again with new track "Tape Machine" and an album announcement for the grimly named Being No One, Going Nowhere due out November 4th via Polyvinyl.

"Tape Machine" is an excitingly groovy and psychedelic first taste of Being No One, Going Nowhere fitting of its delightfully starry cover art, but actually wasn't originally intended for the band. Frontman Joshua Hodges told Billboard,

Tape Machine’ was written with two Dutch friends while I was in Amsterdam visiting my girlfriend and trying to find inspiration. Those two friends and I wrote about six songs together and this was one they thought was too poppy for the project, so I asked if I could use it for this STRFKR record.

Click play and stare at space below.

"Tape Machine" is taken from our new album, Being No One, Going Nowhere, out 11/4. Order here: http://plyvnyl.co/beingnoone

Bon Iver Debuts Tempestuous New Single, "33 'GOD,'" off '22, A Million'

New MusicSean McHughComment

Justin Vernon has released another single to precede Bon Iver’s highly anticipated September 30th release, 22, A Million, out on Jagjaguwar, conspicuously titled “33 ‘GOD.'” Arguably the most tamely titled track on an otherwise baffling slate of album tracks, “33 ‘GOD'” is magnificently nebulous in its genre depiction of this newest iteration of Bon Iver.

Where For Emma Forever Ago presented a solitary Vernon coming to terms with myriad personal crises (and creating never ending apocrypha of “the cabin”) and Bon Iver, Bon Iver offered a more musically magnanimous version of Bon Iver (and continued to challenge perceptions of “Bonny Bear”), “33 ‘GOD'” combines both.

The track almost comes off as a combative confluence of Bon Iver new and old - seemingly more expansive (a la Bon Iver, Bon Iver) in its warping musicality, all the while seeming more and more enclosed within Vernon’s personal narratives (For Emma), but being something wholly foreign to previous Bon Iver efforts as well.

Musically, the song is all over the place, but in the most ethereal of compositions – the track opens with soulful piano and heavily distorted samples of Paolo Nutini’s “Iron Sky,” along with Lonnie Holley’s “All Rendered Truth.” Sampling is new territory for Bon Iver, but not Vernon, as his famous collaborations with Kanye West have undoubtedly exposed the Eau Claire native to the act quite a bit.

When Vernon’s trademark Bon Iver falsetto comes in, its familiar, but with a more Kanye-esque auto tune timbre, which warps into a brooding howl at certain points as the heavily modded percussion rumbles toward spiritually pitched breaks that recall a less tempestuous Bon Iver; a Bon Iver far less realized than the one “33 ‘GOD'” present.

It should be noted that lyrically, the song features what is arguably Vernon’s most tangible allusion to personal experience – the Ace Hotel. But even with such a fact, The Ace Hotel is a chain, featuring 9 different locations, so insight into what personal allusion the reference holds in Vernon’s journey is still entirely shrouded – as Vernon undoubtedly would prefer it to stay.

It seems unlikely that Vernon will release any more tracks from 22, A Million considering there have already been three singles released prior to the album’s release, and “33 ‘GOD'” just so happened to release on the evening of the same day 22, A Million had its first substantial leak.

That being said, 22, A Million appears to be shaping up as a titan of the 2016 release schedule, and a certifiable top-5 album of 2016 contender.

http://smarturl.it/BI_22AM 22, A Million Out September 30 on Jagjaguwar Created/Produced/Directed by Aaron Anderson & Eric Timothy Carlson Artwork by Eric Timothy Carlson Source Video by Kyle Frenette

Hear Hamilton Leithauser + Rostam's New Single, "When The Truth Is..."

New MusicWeston PaganoComment

Hamilton Leithauser + Rostam's forthcoming collaborative LP, I Had A Dream That You Were Mine, is shaping up to be one of our favorite records of the year and we're only three tracks deep.

The latest taste of the album due out September 23 via Glassnote is "When The Truth Is...", a swanky blend of bottle slide guitar, steady piano plinks, and a jarringly splendid marriage of Leithauser's pipes with those of a saxophone. Listen below.

Watch Frank Ocean's Provocative New Music Video, "Nikes"

New MusicEzra CarpenterComment

Apple's Music's promise of new Frank Ocean material is coming to fruition as the streaming service released the music video for a new song entitled "Nikes" just one day after Frank Ocean's visual album Endless dropped on the same platform, featuring contributions from Radiohead's Johnny Greenwood, James Blake, Sampha Jazmine Sullivan, and electronic producer Arca.

"Nikes"'s music video begins with images of young people shot with various qualities of cameras before transitioning into a shot of Ocean (a car fanatic) sitting alone surrounded by cars and drinking from a styrofoam cup. From that point onward there are tributes to Trayvon Martin, A$AP Yams, and Pimp C, before descending into a sensory overload of provocative images of nude women covered in glitter, Ocean being lit on fire, and at one point even a dog mouthing the lyrics. See the (NSFW) video below and find Endless on Apple Music.

First Impressions: Notes on Frank Ocean's Visual Album 'Endless'

Music News, New MusicEzra CarpenterComment

Four years of anticipation came, at least in part, to an end yesterday night as Frank Ocean released his visual album Endless through Apple Music - the apparent precursor to an LP proper to come later this weekend. The video, set in the same white-washed warehouse where Frank Ocean broadcasted his website's livestream last week, is roughly 45-minutes long and plays new material behind black-and-white visuals of Ocean constructing a staircase. Transverso took to pen and pad to record some initial thoughts on Endless: 

"Device Control"

  • We return to the warehouse seen in Frank Ocean's live stream; an imposing, stoic voice speaks.

"At Your Best (You Are Love) (Isley Brothers cover)"

  • Two impressions of Frank Ocean work away on workbenches, cutting wood on saws.  
  • The song playing seems to be the studio version of the Isley Brothers/Aaliyah cover Frank Ocean released the day after Aaliyah's birthday last year. 
  • A third Frank Ocean figure emerges.
  • The traditional R&B lyrics of the song, paired with the images of Frank Ocean working construction, convey "love" as industrious.

"Alabama"

  • Descending piano melody plays as Frank opens with quasi-rap verses. 
  • Vocals come in split between the left and right channels, creating an overlapping and disorienting spatial effect. 
  • Distortion on the closing vocals evokes iLoveMakonnen. 

"Mine"

  • Transition between songs is quite unclear. 
  • "Mine" may be an interlude or a song beginning with the forthcoming rap vocals. 

"U-N-I-T-Y"

  • General note: wardrobe changes have occurred with each song.
  • Rap vocals demonstrate a strong improvement in Ocean's rap delivery; his cadence is more carefully paced and restrained compared to rap verses he previously released through his Tumblr. 
  • Rapping style is most kin to that of Earl Sweatshirt's slowest moments on "Doris."

"Ambience 001: 'In a Certain Way'"

  • Interlude plays a record sample of dialogue (seemingly from a film). 

"Commes Des Garcons"

  • Eclectic vocal delivery early on. 
  • Deftly layered synths, vocals, and drum kits.
  • Tempo increase after chorus leads to instrumental based on chamber drums, faint synths, and artificial snares.

"Ambience 002: 'Honeybaby'" 

  • Another brief interlude features the scorching wails of a soul singer crying "Honeybaby."

"Wither"

  • Noise from construction can be heard quite noticeably; one of few times, if not the first, this has happened in the video.  
  • Instrumental is a widely spaced chord progression on a Rhodes. 
  • Frank Ocean's vocal style and signature vocal registers seem unchanged. 
  • Jazz bass-backing is faintly reminiscent of Thundercat. 

"Hublots"

  • Another interlude whose beginning and end cannot be precisely determined without reference.

"In Here Somewhere"

  • Non-vocalist quasi-rap into.
  • Vocal layering compliments sparse synth instrumental. 
  • Varying vocals may be a pitch-altered Ocean, another artist, or  a sample.

"Slide on Me"

  • Slow guitar arpeggios form the foundation for this instrumental. 
  • Instrumental layered with synth-bass backing and hissing and fluttering drum kit accents. 
  • Vocal reemploy split-channel spatial effects.
  • Ocean appears to be spray-painting rectangular boxes black; this is one of the last visuals featured on Ocean's live stream. The boxes are transferred from an aerosol protected paint room to the main warehouse. 
  • Synth outro has a very ethereal aesthetic. 

"Sideways"

  • Another rap verse from Frank. 
  • Instrumental sputters in and out in a tremolo-style break. 
  • Ocean stacks the boxes by sliding one end over a standing metal rod, forming what seems to be a staircase. 
  • The steps increase in color from bottom to top; from a natural wood grain to black.

"Florida"

  • Interlude featuring chorus vocals accented by layers of harmonies sung by Ocean. 

"Deathwish (ASR)"

  • Instrumental features distant, distorted, high-register vocals.
  • Waning synths are layered with trap-style percussion. 
  • General note: Album is highly contemporary. It incorporates elements of contemporary hip-hop (Young Thug, iLoveMakonnen) without seeming fadish or gimmicky. 

"Rushes"

  • Elongated strums on electric guitar form the base of this widely spaced instrumental. 
  • The staircase is now approximately 7 feet tall. 
  • Song features a female vocal contribution. 
  • Latter end of the song features an increasing distortion on Frank's vocals. 
    • Sounds like what Kanye wished the vocals on My Beautiful Dark Twisted Fantasy sounded like. 

"Rushes/Rushes To"

  • The electric guitar instrumental of "Rushes" carries over in greater distortion.
  • High-tempo, bass-heavy spattering percussion.
  • Electronic track serves as either the outro to "Rushes" or the intro to "Rushes To."

"Rushes To"

  • Acoustic guitar instrumental.
  • Song is the most minimal of the album. 
  • Moments of double-tracked vocals. 
  • The closing vocals feature Ocean at his most passionate; it is at the song's end that he strains his voice the most. 

"Higgs" 

  • Dancing instrumental of what sounds like an electronic steel drum. 
  • Slow rap vocal delivery.
  • Some would consider the instrumental to be trip hop. 
  • Shot closes in on Franks lower legs as he climbs the stairs. 
  • The scene then cuts to the visuals featured at the beginning of the video. 

Outro

  • The stoic voice featured at the introduction continues its dialogue. 
  • Dialogue breaks into an avant garde garage house track. 

Notably Missing from Endless

  • New songs performed on Ocean's California Live, You're Not Dead Tour (2013). 

Upon first listen, the extent to which Ocean has broadened his range of musical influences and output is truly impressive. Considering his admiration for Radiohead, the electronic palate of the new material draws a (dare I say) warranted comparison to the magnitude of growth Radiohead demonstrated between Ok Computer (1997) and Kid A (2000). Yet with all that we have been given to savor from this visual album, an additional release is reported to still be due this weekend.

Phantogram Makes Our "Cruel World" a Little Better With Third 'Three' Single

New MusicWeston PaganoComment

Phantogram premiered their third Three single, "Cruel World," on Beats 1 today. Featuring a drum machine sonic collage reminiscent of "Don't Move," the sharp, two and a half minute long track seems primed for car commercial levels of ubiquity, but would be one we wouldn't mind hearing around for a while.

Complete with the nice subtle touch of the warm fuzz of a vinyl spin like we first heard on "When I'm Small," the full recorded version of "Cruel World" with all its production tricks more than meets the expectations set when the duo debuted it at their Lollapalooza aftershow almost three weeks ago.

Three, which also includes previous singles "You Don't Get Me High Anymore" and "Run Run Blood," has had its release date pushed back and is now due out October 7th via Republic.

After Five Years Bon Iver Announces New Album, '22, A Million,' Releases Two New Tracks

New Music, Music NewsSean McHughComment

Hold onto your high and tight fades you hipster hopefuls, Justin Vernon has returned from the proverbial woods to bestow yet another (seemingly) immaculate album via Bon Iver (or “Bonny Bear,” if you have only a casual predilection), entitled 22, A Million.

This might seem like yet another “surprise” release in a year that has been saturated with irrefutably tiresome “event” music cycle, but in true Vernon fashion, promotion for the new record has been under operation in plain site for months (even years). The first indication is the conception of Vernon’s passion project, Eaux Claires Music and Arts Festival - which Vernon co-founded with The National’s Aaron Dessner. A festival, which was indicated as an annual event in which Vernon would be able to premiere various Bon Iver and non-Bon Iver, related works.

The second indication came more recently, as promotional efforts ramped up with a mysterious YouTube video released on July 22nd featuring the title “#22days” and a tune that we now know as album single “22 (OVER S∞∞N).” Then, in early August, the Bon Iver socials began to tease artwork, and eventually, a “pedestrian” (really just an industry plant) happened upon a street mural featuring similar art to the 22, A Million album cover.

22, A Million cover art

After the under-our-noses vague promotion, we now know the full, ephemerally wonderful scope of Bon Iver and JV’s shenanigans – 22, A Million is due out on September 30th, via long time Bon Iver label, Jagjaguwar. Vernon and co. premiered the entire 10-track record at Eaux Claires, fully realizing the festival’s purpose, and released two singles from the record immediately following the band’s headlining set.

Between the two singles, it's obvious that the Teenage Engineering OP-1 that Vernon had casually mentioned in a handful of interviews to promote Eaux Claire’s inaugural year in 2015 played a far more substantial role in JV and Bon Iver’s creative process for 22, A Million than anyone could have imagined. “22 (OVER S∞∞N)” and “10 d E A T h b R E a s T ⊠ ⊠” both feature every iteration of Bon Iver channeled through OP-1 production styles and effects. Conceivably, Justin Vernon has managed to do the impossible by not only maintaining Bon Iver tenants of musicality, composition, and lyricism, but progressing the entity itself without any repercussions from such growth.

Outside of the two singles, which include the classic lyrical cryptic messaging and phraseology, not much else is known about 22, A Million, and it's likely little else will be revealed until the album’s 9/30 release date. That being said, for the uninitiated that desire to find out more, it should be noted that the number 22 has played an immeasurably substantial role in Vernon’s life, via a press release for the album:

22 stands for Justin Vernon. The number's recurrence in his life has become a meaningful pattern through encounter and recognition. A mile marker, a jersey number, a bill total. The reflection of '2' is his identity bound up in duality: the relationship he has with himself and the relationship he has with the rest of the world. A Million is the rest of that world: the millions of people who we will never know, the infinite and the endless, everything outside one's self that makes you who you are. The other side of Justin's duality is the thing that completes him and what he searches for. 22, A Million is thus part love letter, part final resting place of two decades of searching for self-understanding like a religion. And the inner-resolution of maybe never finding that understanding. When Justin sings, "I'm still standing in the need of prayer" he begs the question of what's worth worshipping, or rather, what is possible to worship. If music is a sacred form of discovering, knowing and being, then Bon Iver's albums are totems to that faith.

Seeing as the album is set to release in early Fall, a 2016 tour announcement seems unlikely, but do not be surprised if Bon Iver hits the road in early 2017, as by that point, 22, A Million will have likely achieved indie-immortality that demands JV and Bon Iver’s presence once more.

Listen to “22 (OVER S∞∞N)” and “10 d E A T h b R E a s T ⊠ ⊠” and see the full tracklist below:

http://smarturl.it/BI_22AM 22, A Million Out September 30 on Jagjaguwar Created/Produced/Directed by Aaron Anderson & Eric Timothy Carlson Artwork by Eric Timothy Carlson Photograph by Cameron Wittig & Crystal Quinn No Justins were harmed in the making of this lyric video

http://smarturl.it/BI_22AM 22, A Million Out September 30 on Jagjaguwar Created/Produced/Directed by Aaron Anderson & Eric Timothy Carlson Artwork by Eric Timothy Carlson

22, A Million

  1. 22 (OVER S∞∞N)
  2. 10 d E A T h b R E a s T ⊠ ⊠
  3. 715 - CRΣΣKS
  4. 33 “GOD”
  5. 29 #Strafford APTS
  6. 666 ʇ
  7. 21 M♢♢N WATER
  8. 8 (circle)
  9. _45__
  10. 00000 Million

Hamilton Leithauser + Rostam Announce New Album Details, Release "In a Black Out" Single

New Music, Music NewsWeston PaganoComment

Now that we've listened to the first taste of ex-Vampire Weekender Rostam and The Walkmen's Hamilton Leithauser collaboration "A 1000 Times," the duo have filled in the details of their upcoming album and given us a second single to listen to as well.

"This is probably my favorite recording I've done in the last few years," Rostam said of "In a Black Out" on Twitter, and it's understandable why. Though much of peak Walkmen-era Leithauser vocals are delightfully thrown against a clash of reverb and electric guitar we have them gently laid over a bed of acoustic here, while a most likely Rostam-procured "Step"-esque choir combines to beautifully fill the space.

A 10 song LP titled I Had A Dream That You Were Mine is due out September 23 via Glassnote Records, the closing track of which features Angel Deradoorian, formerly of Dirty Projectors. Check out "In a Black Out," as well as the tracklist and album art, below.

Download "In A Blackout" and preorder the album I Had A Dream That You Were Mine: https://hamiltonrostam.lnk.to/IHadADream http://www.facebook.com/hamiltonrostam http://www.twitter.com/hamiltonrostam http://www.instagram.com/hamiltonrostam http://www.hamiltonrostam.com Music video by Hamilton Leithauser + Rostam performing In a Black Out. (C) 2016 Glassnote Entertainment Group LLC http://vevo.ly/AU5Exf

I Had A Dream That You Were Mine:

  1. A 1000 Times
  2. Sick as a Dog
  3. Rough Going (I Don't Let Up)
  4. In a Black Out
  5. Peaceful Morning
  6. When The Truth Is...
  7. You Ain't That Young Kid
  8. The Bride's Dad
  9. The Morning Stars
  10. 1959 [ft. Angel Deradoorian]

Hear Phantogram's New Single "Run Run Blood" Featuring The Antlers

New MusicWeston PaganoComment

Last month Phantogram treated us to "You Don't Get Me High Anymore," the first single from their forthcoming third LP, Three. The second track, "Run Run Blood," was revealed today, and it's an equally confident and powerful sounding glimpse of what's to come.

Following their Big Boi Big Grams collab, the duo again call on some friends for help, this time in the form of some "creepy horns" contributed by none other than The Antlers. Those horns are a highlight of the mix that also includes Sarah Barthel and Josh Carter trading vocals through various effects and a continuance of their increasingly industrial leanings. In a statement to Stereogum, Carter explains it's "about the sad state of the world we live in today. It feels like the blind leading the blind sometimes.”

"Run Run Blood" will likely be given its live debut at Phantogram's sold out Lollapalooza aftershow tomorrow, while Three is out 9/16 via Republic. Listen and see the rest of the tour dates below:

Run Run Blood (Official Audio) Available on the new album THREE Download here: http://republicrec.co/PhantogramThree See all Phantogram tour dates at: http://republicrec.co/PhantogramTour Follow Phantogram on: Facebook: http://bit.ly/PhantoFacebook Twitter: http://bit.ly/PhantoTwitter Instagram: http://bit.ly/PhantoInstagram Spotify: http://bit.ly/PhantoSpotify YouTube: http://bit.ly/PhantoYouTube SoundCloud: http://bit.ly/PhantoSoundcloud Tumblr: http://bit.ly/PhantoTumblr Music video by Phantogram performing Run Run Blood.