For fans of - Grimes, Kero Kero Bonito, Coucou Chloe, Bjork, SOPHIE, and Perfume Genius.

“After solidifying her sound through a collection of releases, yeule has become an idea and experience. Her music feels like entering an echoing, uncharted territory driven by veins of noise and a nomadic upbringing. By further developing and drifting into yeule’s identity, Ćmiel carves out her own lane of electronic music.” MILK Magazine // Yeule is the manifested reflection of Nat Cmiel. An ongoing project since 2012, yeule's music is as ethereal as it dynamic, reflective of her nomadic upbringing. Though she grew up and attended school in Singapore for most of her life, her family travelled often, developing emotional connections with places far from home that left her searching, unmoored. Obsessed with tinkering and discovery, she began building her own synths. There is a complex, intuitive, and deeply personal nature to her music making. With a launchpad, keyboard and microphone she morphs her original cinematic classical compositions into electronica. More clues to her process can be found in her other mediums. As a practicing visual artist, her paintings emanate her deep connection to the process of mark making, both visually and sonically. Her first full length, Serotonin II, is the fully realized result of this process, resonating with her 'mutable self expression.' She describes this as "the stifling psychological haze turned into perfume." 

TRACK LISTING

01. Your Shadow
02. Poison Arrow
03. Eva
04. See You Space Cowboy
05. Pixel Affection
06. Nuclear War Post IV
07. Pocky Boy
08. Pretty Bones
09. Reverie
10. Blue Butterfuly
11. An Angel Held Me Like A Child
12. Veil Of Darkness

Nat Ćmiel is a non-binary, London-based, Singaporean multi-disciplinary artist and cyborg entity. “Glitch Princess” opens a channel to the in-between spaces: error messages and broken computer code where soothing un-melodies rest comfortably among the jagged edges of feedback loops. Ćmiel’s experiences with sobriety resulted in a flood of emotions and “Glitch Princess” is an undiluted excerpt of this downpour. Video game scores, experimental shoegaze sounds, & ethereal whispers come together to build an underworld with the occasional erratic dance beat to guide users deeper into the fever dream. yeule invites us to transcend into a post-human world where expression is no longer bound by identity, but rather we are free to assemble ourselves along lines of affinity.

TRACK LISTING

01. My Name Is Nat Cmiel
02. Electric
03. Flowers Are Dead
04. Eyes
05. Perfect Blue
06. Don't Be So Hard On Your Own Beauty
07. Fragments
08. Too Dead Inside
09. Bites On My Neck
10. I <3 U
11. Friendly Machine
12. Mandy

The album features guest vocals by Gavin Mays aka Cities Aviv and Rachel Goswell of legendary band Slowdive. Recorded at multiple studios across New York City, a cabin in upstate New York, and Los Angeles (including the home studio of Jonathan Rado of Foxygen.) Known for their energetic live show, the band have played notable festivals such as Primavera, FYF, SXSW and Bonnaroo.

The long-awaited return of Brooklyn’s Beach Fossils, Somersault showcases a band in bloom. Charting into new musical territory with a refined song writing style, it's an album that captures flashes of life in New York grounded in personal experience.

The band’s self-titled 2010 debut established a sound that was both minimal and enveloping. With Somersault, the group’s first release since 2013’s Clash the Truth, Beach Fossils have channelled years of experimentation into expansion and reinvention. Augmented with more complex instrumentation, including string arrangements, piano, harpsichord, flute, and sax, the new songs offer multi-layered pop guided by sharp, poignant, and honest lyrics.

As the band’s first release on Dustin Payseur’s new label Bayonet Records, which he co-owns with wife Kate Garcia—the group made the most of their newfound independence, investing ample time in expanding its range both musically and lyrically. While Payseur handled the bulk of the song writing duties in the past, Somersault is a true collaboration between the founding member and bandmates, Jack Doyle Smith and Tommy Davidson. The new songs speak to a more fluid, eclectic sound, filled with lush compositions formed by studio experiments and sampling of the band’s own recordings.
Orchestral pop gem “Saint Ivy” shines with plucked strings, buoyant basslines and a propulsive, wayward, guitar. “Tangerine," a driving, tightly wound melody, rushes forward and briefly leaves the ground due to the gossamer guest vocals of Slowdive’s Rachel Goswell. The effervescent “Rise," which hinges on the spoken word of Gavin Mays (Cities Aviv) discussing a failed relationship, hangs, like many recent breakups, in a sense of suspension. The cloudy, wistful “Social Jetlag,” bustling with samples of crowded streets, features the type of candid, off-the-cuff lyrics that make the entire effort immediately illuminating.

Recorded at multiple studios across New York City, a cabin in upstate New York, and even Los Angeles (including the home studio of Jonathan Rado of Foxygen, who helped engineer part of the album), Somersault turns the newfound chemistry between the trio into a sonic tapestry. Due to the variety of sessions and recording locations, the album was a Frankenstein-like series of reworking and reimagining songs. As the group pieced together different parts in a cycle of creation and cooption, and built out more elaborate songs track by track, the process became more reminiscent of a record created via sampling and arranging than one built by simply grinding out riffs. The long-simmering album, filled with breezy music both melancholic and uplifting, sees the band channeling their voices and honing their craft. Flowing between shimmering compositions and immersive soundscapes, Somersault evokes the laid-back mood of a warm, breezy city night, the air crackling with humidity and excitement. These songs pulse and pull, capturing a blend of promise and heartache. It’s beautiful and layered, a refined, sweeping creation that threads together numerous styles, textures, and themes into a refreshing, singular vision.

STAFF COMMENTS

Mine says: Worried I wouldn't be able to do it justice with my review, I was trying to come up with an all-encompassing adjective that best describes this jewel of an album and all I could think of was: 'nice'. Yes. Nice. Sounds boring? Let me elaborate. ‘Somersault’ is the first album Dustin Payseur's Beach Fossils recorded in 4 years and while they haven't exactly reinvented their sound, ‘Somersault’ sees them digress slightly from their lo-fi bedroom jangles to hook-laden and captivating baroque inspired pop. Jazz flutes, harpsichords and strings make regular appearances and even a sampled hip hop beat is cleverly introduced without distracting from what essentially is a jangly guitar pop album. Melancholy yet uplifting, dreamy yet catchy, nostalgic yet inspiring, the summery ‘Somersault’ will still be on heavy rotation come rain and snow and it might possibly be the nicest thing you will hear this year. Yes, I'm using the word nice again. Because sometimes nice is just what you need.

TRACK LISTING

1. This Year
2. Tangerine (feat. Rachel Goswell)
3. Saint Ivy
4. May 1st
5. Rise (feat. Cities Aviv)
6. Sugar
7. Closer Everywhere
8. Social Jetlag
9. Down The Line
10. Be Nothing
11. That’s All For Now

Warehouse is a five piece band from Atlanta, GA. The band formed while many of its members were attending school for various useless degrees. Taking inspiration from the 1980's Athens, GA scene (Pylon, R.E.M., The B-52's) and having a mutual taste for bands like Stereolab and Abstract Expressionist visual art, they quickly took on a post-punk style characterized by the spidery and interlocking guitar riffs of Alex Bailey and Ben Jackson, filled by the effortless drums of Doug Bleichner and the agile racing bass riffs of Josh Hughes. The full and textural sound provides a unique body for vocals, added by Elaine Edenfield, whose lyrics can be described as sidewinding and oblique, oscillating quickly between melodicism and contrary roughness, using vocals as more of a physical tool of expression than as a glossy harmony to the sound. Warehouse can be described as breathlessly fast-paced, conveying a deep sense of desired intensity and emotionality. Warehouse's first album Tesseract was self-released in 2014 and later re-released under Bayonet Records. Their new album super low is more concise continuation of Tesseract, while still carrying the prior album's organic and wildly sprawling nature. Largely written in a notorious punk house that was torn down to build a parking garage, the album was finished in a new environment: across from a food mart called super low. The title connotes stark change, but it also hints at the additional psychological undertones of the album's meaning, to move down into more darkly subconscious and deeply endogenous areas of yourself in order to work through them and out. Also contrastingly literal, it denotes Warehouse's self-evident, uncontrived and rough-around-the-edges nature. 

TRACK LISTING

01 Oscillator
02. Exit Only
03. Simultaneous Contrasts
04. Arbitrarium V
05. Super Low
06 Reservoir
07. Long Exposure
08 Modifier Analog
09 Audrey Horne
10. Garden Walls