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Nick Waterhouse releases a new visualizer for the single "Late In The Garden" which he describes "This came out quickly, on a gut string Gibson guitar I’d grabbed propped up against a baffle in the studio in Valdosta, Georgia. This is the kind of tune that starts life as a poem in the notebook and as the sessions unfolded and my fingers unconsciously found the rhythmic pocket all of it made as much sense as the epiphany unfolding in the words."
To continue teasing his forthcoming debut album WORK due March 10th, London multidisciplinary artist Rarelyalways shares the new single "REVIEW." With a twinkling synth-laced, bass heavy beat complementing Rarely's strategic and cheeky lyrics, "REVIEW" continues to showcase the chameleonic qualities of the artist.
Rarely explains the meaning behind "REVIEW," stating, "I believe water is only one of many of the Divine creator’s inventions. In the chorus I disclose my action plan confirming 'water, hand on my waist before they wither away, rejuvenate.' I honestly felt that 'REVIEW' brought more life back into the hip-hop culture."
"REVIEW" follows the previous WORK offerings "URGENT," a haunting and surreal track, the playful lead single "LET'S," and the jazzy b-side "Voice note 0142," all of which arrived paired with videos directed by frequent collaborator MadeInEden.
WORK will follow Rarelyalways' collaborative Manic EP with Hanni El Khatib, featuring the stand out single "Lamenting" as well as his 2020 EP Baby Buffalo. His debut EP was described by The FADER as, “a concise exhibition of his minimalist swagger," with Pitchfork adding, "though Rarelyalways comes out of the London jazz scene, his music has its own distinct flavor."
Rarelyalways learned from a young age that music had functions beyond entertainment. Born in London to a West African family, he was raised by his single father, a drummer who played mainly gospel tunes during hours-long services and would bring Rarely along for afternoons in practice spaces where the young musician learned the power of playing for playing's sake. Rarelyalways went on to attend The BRIT School and eventually entered the South London gig circuit where he would play trip hop and heavy rock in the orbit of artists like King Krule, Henry Wu and the Tomorrow's Warriors jazz collective. With his music often taking on a dark, mysterious tone, Rarely is able to roam freely outside the prescribed structures of hip hop, jazz or anything else, by creating a conversational abstract style that can mold according to a song's message.
"Dutch band Iguana Death Cult's rip-roaring melodies are built to jettison far beyond their homebase of Rotterdam." - FADER
"Frenetic, intense sonic assaults, they turn psych punk into astonishingly concise three-dimensional documents." - CLASH
"Jangly, angular guitars fight for space in the track with a bobbing bassline holding it all in together...This jam would fit on your playlists with Parquet Courts, Ty Segall or Television and is a catchy starting point to get a feel for their well-executed blend of rock and roll fringe." - KCRW
"With a carousel of outlandish and frisky guitar tones, Iguana Death Cult curate something absurd and sportive, yet illuminating."- Paste
About the single, the band explains:
After the pandemic hit, and the people of the world suddenly grew wary and suspicious of one another, Iguana Death Cult, one of Europe’s most exciting rock exports, became more than just a band to its members—it became therapy. “I think for the first ten times we went to jam,” says guitarist/vocalist Tobias Opschoor, speaking about the process of making the new album Echo Palace, “we just drank wine and talked about it, and just kept on talking for hours—and then were like, ‘OK, I have to go because I have to work tomorrow.’”
Taking place at frontman Jeroen Reek’s apartment in the Dutch city of Rotterdam, these gatherings slowly shifted from talking about this surreal chapter of their lives—the days of quiet streets and cramped buildings—to making music about it. “I was living in a really crappy, leaky, ready-for-demolition apartment,” explains Reek, “with just one heat source—like a really old-school, gas stove kind of thing.” Working on cold nights, they had to gather around that heater together—a cozy approach that ultimately got their creative flow going, fast.
Armed with the talents of Justin Boer on bass and Arjen van Opstal on drums, and tapping the keys work Jimmy de Kok for the first time on album, the band took their trademark melodic garage-rock style and expanded it out to make it vibier and looser, with each member contributing ideas to develop the sound palette in full. “We all get into this sort of blender and then everybody gives a little bit of a flavor to it,” says Opschoor.
The sounds they started to make tapped into the band’s acerbic bite established on their first two LPs, 2017’s The First Stirrings of Hideous Insect Life and 2019’s Nude Casino—albums that sometimes felt like Parquet Courts colliding with Super Furry Animals. (Paste described Nude Casino as evoking “the colorful mischief of nights out where even a humdrum accountant can feel like a Clint Eastwood desperado.”) Their explosive performances of these records turned them into a cult live act among psych fans, who have thrashed to the band everywhere from Amsterdam to Austin. (It was during a particularly bananas set at SXSW that the band won over Innovative Leisure.) But working on this new album, huddled together as the world split apart, everything began to flutter like Remain in Light.
Echo Palace may be the Iguana Death Cult music that’s most overtly about the strange cause and effect of groupthink, but the theme has been lurking there since the very beginning, when the band was first formed by childhood friends Reek and Opschoor over ten years ago. The name of Iguana Death Cult is a partial nod to Reek’s fascination with cults in general—and the “Iguana” part is a nod to Iggy Pop, whose first band was the Iguanas. Watching the pandemic paranoia and conspiracy theories steeping across their country, Reek wrote lyrics reflecting the scene in front of him: “Purple, veiny soccer mommies,” he sings in a deep, foreboding voice on the song “Echo Palace,” “Sharpening their guillotines.” It’s a cut so infectious that it betrays the density of its lyrics, which were adapted from a poem Reek wrote about the repercussions of “shutting yourself off from everyone outside of your own ideology.”
When it came time to record the full set, the band headed to PAF Studio in Rotterdam, and then had the self-produced album subsequently mixed by Joo-Joo Ashworth (Sasami, Dummy) at Studio 22 in Los Angeles and mastered by Dave Cooley (Tame Impala, Yves Tumor). As the instruments swirl and trade solos on “I Just a Want House,” a funky millennial nihilist anthem, you can practically hear the growth of a group that’s been pushing itself further and further with every tour and every Belgian-stove fuelled jam session. The album is a big swing, stretching Iguana Death Cult beyond its garage rock origins and taking them to a new realm. It’s the type of project that warranted having legendary Dutch saxophonist Benjamin Herman stop by to add to the squall on tracks like “Oh No” and “Sensory Overload,” heady thrashers that morph into calculated freakouts; that warranted Reek and Opschoor knowing when screaming their guts out on tracks like “Pushermen,” and Boer and van Opstal knowing when to bring the rhythm section to a jazzy simmer on tracks like “Paper Straws.”
The end result of Echo Palace is an appropriately worldly album from a group breaking past the confines of its home country. That’s not to say that Iguana Death Cult aren’t proudly Dutch; the group takes from the trademark hard work ethic of their Rotterdam base and applies it to their approach with music. But it’s 2022, and we’re less defined by our borders than ever before. “When we play in other countries, for me that gives the same amount of pleasure—or even more—than when we play in the Netherlands,” says Opschoor.
“We’re not just little countries anymore, everything is global,” adds Reek, speaking about society at large—but he might as well be speaking about Iguana Death Cult itself. “We’re turning into a global thing.”
Nick Waterhouse releases new heartbreak soul single "Play To Win" off his forthcoming album The Fooler out April 1 on Innovative Leisure / PRES. The Fooler is an immaculate record that offers up new riches and fresh perspectives with every spin. The record is partly a farewell to and reclamation of a version of Waterhouse’s past existence framed by a city that is part dream, part reality and part potential - a tale of city haunted by song - a place filled with 45s produced by people like Bert Berns or released on Scepter, Wand, Atlantic and Verve and heard on the jukeboxes in iconic San Francisco institutions like Tosca, Specs and Trieste in North Beach.
The acclaimed singer-songwriter releases new album single and visualizer for "Play To Win,” which Waterhouse says is "a heartbreak type of tune with co-writer Doc playing the piano and producer Mark Neill both taking me to a place I have never been in my career before. This is about what it’s like in the din and chatter of city apartment parties, bars, sitting rooms, and loneliness from the seat one’s sitting in looking at the insouciant world around." Last month the artist shared album singles/videos for “Hide And Seek" and "The Fooler." "Hide And Seek" puts you in the city of dreams that The Fooler unfolds in - and the sound is the place. And title track "The Fooler" is about how your own heart and your memories can betray you in really nice ways. Waterhouse also created another way fans can tune in to the music. As depicted in the "Hide and Seek" music video, people can dial into his The Fooler radio show on KFLR and request the three new songs. Lines are open at (833)777-KFLR.
Tim Hill releases his new album Giant on Innovative Leisure / Calico Discos, a collection of cowboy tunes and Americana ballads that feel forged out of the embers of a desert campfire and steeped in affection for artists like Randy Newman, Warren Zevon, and Neil Young.
On “Candlestick,” Tim takes his graceful chords and melody and applies them to a poem written by his friend, the artist Ry Welch who also directed the video.