Listen to the full “four scintillating, seductive songs” of Throwing Shade’s second EP, ‘Fate Xclusive’ now via FACT.
‘Fate Xclusive’ EP is out on Monday through No Pain In Pop. Order the very limited edition 12″ red coloured vinyl HERE.
“You always see loads of hot girls being presented to the viewer in a ‘sexual’ way in music videos, and it’s never the other way around,” Throwing Shade told Dazed. “So I just wanted to make a music video full of hot boys, being presented in what could be interpreted as a ‘sexual’ manner, but not explicitly so. I wanted all the colours and textures to work with the sounds in an evocative way to produce something beautiful and suggestive, without being crass.”
Thanks to Urban Outfitters for their support in producing the video.
Credit: Rosie Harriet Ellis
‘Fate Xclusive’ EP is due 25th May 2015 through No Pain In Pop. Order the very limited edition 12″ red coloured vinyl HERE.
Throwing Shade is a rising London-based producer, DJ and NTS Radio presenter, who Dazed and Confused magazine have hailed her as “London’s new alt-pop hope”, received a 9/10 review from Mixmag for her debut EP 9/10, and charted in The Wire’s top 10 electronic releases of 2014.
Her second EP ‘Fate Xclusive’ effortlessly covers ground between seductive downbeat pop (lead single ’Honeytrap’, vocalled by Emily Bee), pulsing club (‘4eva Fate’) and contemporary leftfield electronic music (‘Mirror’). All bear the rainbow fingerprints of her signature kaleidoscopic production style.
The EP release sees her poised to build on a busy last 18 months and reach a wider audience. October 2013 saw her debut release – ‘Mystic Places’ – on Kassem Mosse’s Ominira imprint. In May 2014 she released the ’19 Jewels’ EP on No Pain In Pop, and followed up with the ‘Chancer / Blanx’ 12” on the dancefloor label Happy Skull. She was commissioned by the Tate Britain gallery in November 2014 to compose a piece of music for the Turner Prize.
Her productions are often described as “cosmic r&b” and “digital soul”. Drawing in iridescent strains of popular music – from African and Asian modes, to the grime-y axis of London’s contemporary sound narrative – Throwing Shade creates a diverse and abstract sound patchwork, intangibly borne in the here-and-now.
Echo Lake‘s second LP – ‘Era’ – is out now. Early reviews below.
“Masterful skill at song construction and mood setting. 8/10″ – All Music
“Marks a major artistic progression. 7/10″ – Drowned In Sound
“Magnificent. A mammoth two years in the making and demonstrably worth the time spent.” – Bearded Magazine
12/3 – ‘Era’ London launch show – Hoxton Bar Kitchen (Tickets)
19/3 – ’Era’ Birmingham hometown launch show – Hare & Hounds (Tickets)
4/4 – Cardiff – Wales Goes Pop! (Tickets)
25/4 – Brighton – The Hope (Tickets)
Era is the second album from London based band Echo Lake. Watch the video for lead single ‘Waves’ below.
Debut album Wild Peace was released in June 2012, after the then five piece had surfaced 18 months prior to a flurry of blog attention. The record is a near-perfect encapsulation of their early sound, with critics calling it “dazzling, hypnotic and deliriously seductive” and “truly magnificent”. However loud the acclaim, the release was inevitably overshadowed by the shock death of drummer Peter Hayes a few days before release.
The band recovered in private. The songwriting pair of guitarist Thom Hill and vocalist Linda Jarvis would spend two years working on the tracks which would form Era in East London’s Holy Mountain Studio, the first time the band had spent in a professional studio. The album is a result of this experience; far maturer, denser and considered than the band’s home recorded debut. Points recall the textures and expansive ambition of Spaceman 3, Neu! and Deerhunter yet the album is never stylistically referential to any particular period or style.
Instead, at seven tracks and 45 minutes length Era is a deep, singular work deserving of full and repeat listening. The album’s defining tracks are ‘Dröm’ and ‘Waves’, both built around hard, totemic rhythm sections and maximal dynamics. By contrast ‘Era’ is a perfect guitar-pop track; submissive, alluring and playful in restraint. The ten minute closer ‘Heavy Dreaming’ leaves the album on a triumphant tone, and ends a near three year silence from one of the UK’s most promising bands.
The band will play two live dates – a London launch, and a hometown Birmingham show – around album release, before embarking on wider touring over the spring and summer.
Jire‘s debut EP ‘Kiowa Polytope’ – “an astonishing emotional warmth” & “one of the most striking debuts we’ve heard in 2014″ – is out now, and available to buy on limited edition 12″ or DL now (link), via iTunes DL, or stream via Spotify.
1 – Kiowa Polytope
2 – Materiality Notion
3 – SSTNSLNC
4 – Kēl
Jire is the project of 18 year old South London composer and producer Nathan Geyer. With a background in classical composition, Geyer creates fluctuating sonic structures imbued with a deep emotional resonance. The ‘Kiowa Polytope’ EP – his first public tracks – is borne from found sounds, acoustic improvisation, contemporary electronic production and minimal classical technique, taking inspiration from across the visual arts and literature. Centrepiece ‘SSTNSLNC’ is based on the samples the producer took from the Sistine Chapel, breathed into life with quaking sub-bass.
Pre-order the limited edition vinyl here.
Directed by Halls himself, ‘Aside’ is the third and final video from second album ‘Love To Give’. The Extended Edition of the record – featuring album outtakes, covers and new material, including an ambient collaboration with producer Richard Formby – is out now on iTunes. The original edition is still available on limited 180gm 12″/CD here.
Featuring on the upcoming reissue of ‘Love To Give’ and premiered today on Dummy, this collaboration between Halls and producer Richard Formby is “all effects, modulations, notes and patterns were created on the spot, one recording, no multi-tracking and no overdubs. It’s a brief snapshot.
“We were on tour and it was the morning after playing a show in Leeds,” says Samuel Howard, aka Halls. “Richard invited us to his studio in the city and we went there, all of us, and played around with his gear. Whilst he was showing the others the recording room, Ian and I started improvising on an old Farfisa keyboard. The keyboard was a bit broken, one of the keys only made white noise. Ian took the left-hand side and started playing an arpeggiated pattern of bass notes, fairly slowly, with his left hand. We added more patterns bit by bit, and by the time both our hands were playing arpeggiated patterns Richard had turned on the Revox – I think it was an A77 or a B77 – and was running effects through the recording too, a panned delay. We didn’t realise he was recording at the time, we only found out after. The improvisation was recorded on some knackered reel of tape, hence the distortions and alternating speeds. We kept playing until we couldn’t go on. It got quite intense in the studio..”