Erasure (Andy Bell and Vince Clarke) have been teasing their new album The Violet Flame since May and yesterday began streaming their 16th studio album in full over at USA Today.
Last week saw the release of the Tom Oxley-directed video for the duo's latest single "Elevation", which follows a group of clubbers out of the nightclub to the beach and finally to a precipice high above the water to watch the sun rise.
Erasure's Andy Bell and Vince Clarke have announced the arrival of their next album The Violet Flame, produced by Richard X, will arrive on September 23, and have released a trailer previewing the sound of the new music. Erasure fans will not be disappointed.
Richard X has produced singles for Annie, Kelis, Liberty X, and Sugababes, to name a few.
Erasure's Andy Bell and Vince Blarke team up with stop-motion animatior Martin Meunier (Coraline, James and the Giant Peach) for their take on a Latin carol. The track is the first from their upcoming album Snow Globe.
Usually, I'd dedicate this space to one new release for a more in-depth evaluation, but this week — for the first time in a long time — there were actually so many new albums coming out that I could talk about, I didn't feel like choosing only one. So instead, here's a list of Three Albums You Would Absolutely Not Be Wasting Your Money On — all of which are in stores today:
WHO: Legendary synthpop pioneers celebrate 25 years and 25 million records sold with their fourteenth album.
WHY: Even with producer Frankmusik behind the boards, the inimitable Erasure blueprint is alive and well and arguably better. Vince Clarke's musical vision — which draws from classic pop, soul, and teutonic techno — appears here in a sharp, refined model, while Andy Bell's influence on the current generation of music-makers is frighteningly obvious from the start of album opener "Be With You": If it reminds you of recent hits from Rihanna or Katy Perry, it's because there'd be no Stargate without The Innocents.
WHO: Quite possibly the most successful eccentric musician to ever make music by recording the sound of stepping on glass returns with her ninth album.
WHY: The beauty of a new Björk album often lies in the sheer unexpectedness of it and Biophilia continues this tradition by reinventing what it means to be a full-length album. As if the music — in which she literally invented new musical instruments to compose with — wasn't enough, there is also an iOS app designed to accompany each song. But don't let that scare you: Even without the apps, Biophilia returns to the emotionally resonant and celestially-inspired mood that propelled Vespertine while charting an entirely modern course.
WHO: An Australian singer-songwriter deploys on American shores with the debut album that went platinum back home.
WHY: There aren't a lot of freshman records that arrive with this much complex self-awareness, but Washington's debut — a joyful pop record that flirts with jazz, soul, indie, and Broadway panache in equal measures — is a difficult-to-pigeonhole and satisfyingly idiosyncratic statement from an artist that's only scratched the surface. It's the kind of album that makes critics just inarticulate enough to say things like, Hey. This is f**king awesome.
SPIN ran a special report on homophobia in indie rock this week, while also celebrating the genre's uncommonly queer visibility: "This sphere has more out figures than virtually any other major art form, except possibly theater: Stephin Merrit, Beth Ditto, Antony Hegarty, Mark Eitzel, Tegan & Sara, Bloc Party's Kele Okereke, Grizzly Bear's Ed Droste, Le Tigre's JD Samson, Sigur Rós' Jonsi Birgisson, Wild Flag's Carrie Brownstein, Patrick Wolf, Ani DiFranco, Owen Pallett, the Hidden Cameras' Joel Gibb, and Bob Mould, who is comfortable enough to detail his 45th birthday present to himself — a male escort — in his recently published memoir."
The Feeling's out frontman Dan Gillespie Sells has shown up on fashion shoots before, but this collaboration is somewhat groundbreaking: Burberry will be releasing his band's new single, "Rosé," becoming the first-ever designer label to do so.
Kylie Minogue can add a new title to her already-impressive CV: This week, the pop singer was presented with an honorary Doctorate of Health Sciences from Anglia Ruskin University in Essex for her work promoting breast cancer awareness following her own bout with the disease.
This week in essential streams: Before his work with M.I.A., Major Lazer, and Beyoncé, Switch was better known for making fidgety house records and running the esteemed Dubsided record label. This week, he resurrects both projects with "I Still Love You," featuring Andrea Martin. Kate Bush's forthcoming album, 50 Words for Snow, features guest turns by Elton John and Stephen Fry; this week, she released the lead single "Wild Man." And finally, Justice's Audio, Video, Disco doesn't drop for another two weeks, but two more tracks have leaked: Check out "Canon" and "Newlands" — both of which attest to the classic hard rock influence that the duo have threatened us with in the press.
A new film documenting the rise of Phoenix and their universally lauded fourth album, Wolfgang Amadeus Phoenix, now has a trailer. From a Mess to the Masses premieres on European TV later this week.
Best known for his soundtrack work, Jon Brion is also a celebrated producer for the likes of Fiona Apple, Rufus Wainwright, and Kanye West. This week, it was announced that Brion has signed on to produce the next full-length album by Best Coast.
DOWNLOAD | Body Language — "Falling Out" (Honey Soundsytem Remix) [OM Records]
Brooklyn's Body Language release their debut album, Social Studies, next week — an organic blast of nu-disco funk and vintage R&B swagger — but this week, we're giving you a free download: The Honey Soundsystem remix of "Falling Out" runs on the kind of ethereal deep house aesthetic that put San Francisco house on the map and irretrievably added psychedelia to the city's house lexicon. If you've ever danced outdoors to Doc Martin or Dubtribe, you definitely know what I'm saying.
SOUND & VISION:
When Saints Go Machine — "Parix"
"Parix" is one of a handful of songs that I was actually obsessed with this year — a near-perfect crystallization of Antony-styled falsetto and low-slung R&B beat-making, Scandinavian avant-garde and recursive pop hooks. It sounds impossible on paper largely because no one else sounds like this band.
Florence & The Machine — "Shake It Out"
The second single from the forthcoming Ceremonials — out October 28 — gets a neo-gothic clip that doesn't reflect Florence's darker tone as much as it helps in producing it. There's either a party or a possession going on, but "Shake It Out" most likely sets out to blur the distinction.
Junior Boys — "Banana Ripple"
The epic nine-minute climax of this year's It's All True, "Banana Ripple" is like the realization of a New Order 12" on Germany's Kompakt label. The video — which basically marvels over the nature of ice — is somewhat more confounding.
Icona Pop — "Nights Like This"
Sweden may never have another Robyn, but Icona Pop's newest single is a worthy successor to her electropop canon. The video is more grindhouse than house party, and the song itself is genuinely irrepressible, suggesting that this duo are more than the sum parts of their Pro Tools rig — as if the Knife took off their masks and decided to have some fun.
Frankmusik launched his second album firmly on the defense. "It's got bit of an American twang to it because, f*ck it, I'm in America," he said in an interview this past April. "So when people are gonna say it isn't me, 'Frankmusik sold out,' I'll just say, 'No, Frankmusik got more concise,' and they can suck a d*ck." Well, OK then!
Historically, of course, great records have rarely been initiated with the self-awareness that there may be something disingenuous about them, and in the case of Do It In The AM, that self-conscious decision-making is nearly audible on songs like "No I.D." — the spiritual cousin to Rebecca Black's "Friday" and Murray Head's "One Night In Bangkok," if you can imagine that — and the commercial-radio-by-the-numbers title track which, as Frankmusik attests, sounds painstakingly American. Like he was trying. Fortunately, once you get past these ill-fated attempts at having the next Pitbull-assisted radio hit (sans Pitbull, thankfully), there is an album: Opener "We Collide" flirts with the kind of pleasurable, but edgy electropop that Stuart Price pioneered with recent albums for Take That and The Killers, while "Wrecking Ball" sounds like it could have emerged from Frankmusik's successful album sessions with Ellie Goulding. In fact, by the time you get to Track 10 — the simply brilliant "Struck by Lightning" — it becomes increasingly hard to believe that the lows on Do It In The AM are so damn low. Because the highs are simply transcendent.
The point Frankmusik seems to have missed in his preemptive strike is that this has less to do with "selling out" as it does with knowing what makes you unique and developing that to its greatest potential. When he speaks in his own voice, Do It In The AM is delightful. But the detours are disastrous.
Frankmusik's new album may be touch and go, but I've got high hopes for his work with Erasure: A complete stream of Tomorrow's World and track-by-track commentary by the band is online now.
Experimental pop and disco pioneer — and queer icon — Arthur Russell changed the face of the dancefloor with "Let's Go Swimming." This week, Audika Records reissues the single with a dub mix from disco legend Walter Gibbons and a previously unreleased version of "Make 1, 2 (Gem Spa Dub)" that clocks in at eleven minutes long.
Scissor Sisters mainman Jake Shears isn't penning your average collaborator dream-list: At the top of the heap is Queens of the Stone Age singer Josh Homme. "I really, really want to sing on the next QOTSA album," says Shears. "I think that he's a genius, a genuine rock hero living among us."
New music you'll want to stream: Beni's forthcoming House of Beni promises to do for runway house what Frankie Knuckles did for whistles. "Someone Just Like You" is the latest track to surface and features The Rapture's Mattie Safer on vocals. Also, MGMT have curated the latest edition of the Late Night Tales series, out next week, and the band covers Bauhaus' "All We Ever Wanted Was Everything" for the occasion. Neo-psychadelic goth, then? It actually works.
Björk talks with New Scientist about the technological and scientific inspirations and intersections on her forthcoming album, Biophilia: "If you write a song with acoustic guitar, is there [automatically] soul in it? I've heard tons of guitar songs with no soul at all. If music created with electronics or a computer has no soul, it's because nobody put it there."
R.E.M. announced their break-up after thirty-plus years as a band, but they won't go out quietly: Their final release is called Part Lies, Part Heart, Part Truth, Part Garbage: 1982–2011, and it will be a two-disc, 40-song retrospective of the band's inimitable career — also featuring three new tracks.
SOUND & VISION:
Kele — "What Did I Do?" (featuring Lucy Taylor)
Bloc Party's out frontman is kind of worried that he's been kicked out of his band, but not enough to halt the release of his upcoming The Hunter EP on October 31. "What Did I Do?" is the lead single, and introduces a bunch of firsts: Guest singer Lucy Taylor, a new dubstep-tinged direction, and a newly muscled and shirtless physique he wasn't exactly touting on the Silent Alarm tour.
Washington — "Holy Moses"
I know very little about Washington outside of this video, and sometimes, that's the best way to evaluate something: The costuming might recall Lady Gaga and Tori Amos, but the song itself is one of those effortlessly ebullient tracks that are basically impossible to contrive. Washington's vocal, meanwhile, is strong, seductive, and best of all, perceptibly sincere.
Sneaky Sound System — "Big"
I'm starting to really look forward to the third album from Sydney–based Sneaky Sound System. Due out on October 7, From Here To Anywhere has already spawned a pretty fantastic lead single in "We Love," but single number-two connects the band with a more emotional tenor: "Big" comes from the Robyn school of slightly-melancholy-but-ultimately-uplifting arpeggiated pop. This is much harder to pull off than you'd think.
Death Cab For Cutie — "Stay Young, Go Dancing"
The latest by Death Cab is something like The Notebook of indie rock videos: You're kind of expecting Ryan Gosling to jump out and win someone's heart. But it's actually more sweet — and realistic — than that. "Stay Young, Go Dancing" is an anthem of aging in love.