Search Results for:

MELT-BANANA

Melt-Banana

Fetch - 2024 Repress

    Received a 7.8 rating from Pitchfork. From the whip-like crack of Yako’s signature staccato vocals and impossible- to-memorize lyrics to the relentless overdrive tempo of their oneof- a-kind prog-core, Melt-Banana have long resided in a cybertopia of their own devising where the limits of technology and human capability are old-world concerns as quaint and cumbersome as bartering with a blacksmith. The demos for Fetch, their first studio album since the severely fried pop-punk of 1997’s Bambi’s Dilemma, were completed in March 2011, but the Fukushima earthquake changed everything, including their ability to concentrate on recording. Which stopped completely. Once they felt ready to return to their music, they decided to approach the songs on a sound-by-sound basis, choosing each tone with meticulous attention to detail, affirming their personal connections, being themselves naturally and openly.

    Fetch scrapes glam shimmers off punk’s outermost fringes and forges them into a rather intensely technical Deanscape packed with fantastical hybrids. Agata’s guitar riffs, seemingly composed in tandem with skipping CD players, are more bad-ass than ever, bright and fractured like the soundtrack for a CC-Hennix-scored biker flick. The album is juiced with electronics and post-rock production, tempering what could easily be a tiresome and predictable frenzy, yielding unexpected associations: Kate Bush climaxing on Walter White’s blue meth; demos of late-period Wire playing metal run through Wasp synthesizers and Autotune; unripe wild lychees keeping time on an Ankgor Wat tin roof during a monsoon.

    They’ve been performing live as a duo since summer 2012, and will do the same for their “2 do what 2 fetch” tour in support of the album. After nearly 20 years of playing with a live rhythm section, their use of a PC, while opening possibilities for a variety of drum and synth voicings, does not signal a move away from the traditional live band sound, as heard, for example, via the future transmissions from downtown Noiseapolis on 2009’s Lite Live: Ver. 0.0. Yako and Agata say they need to feel real band sounds onstage as much as someone in the audience. This is a group that routinely excels at several kinds of impossible simultaneously, so of course any new challenge they come up with for themselves is sure to blow the doors off your Mini Cooper. 

    TRACK LISTING

    1. Candy Gun
    2. The Hive
    3. Vertigo Game
    4. Left Dog (Run, Caper, Run)
    5. Infection Defective
    6. My Missing Link
    7. Zero+
    8. Schemes Of The Tails
    9. Lie Lied Lies
    10. Red Data, Red Stage
    11. Then Red Eyed
    12. Zero

    Anenon

    Moons Melt Milk Light

      Anenon returns with a highly anticipated new album ‘Moons Melt Milk Light’, bearing his most personal, expressive, and arresting works to date. Anenon is the ongoing solo studio and live project of Brian Allen Simon, whom since 2010 has released multiple albums and EPs to critical acclaim, including the highly revered ‘Tongue’ (2018) and ‘Petrol’ (2016).

      ‘Moons Melt Milk Light’ is direct, efficient, and unwavering in its immediacy. Anenon departs from the electronics of previous works, and embarks on a reductive, almost entirely acoustic approach consisting of piano, tenor saxophone, bass clarinet, and field recordings. All of the music was improvised with everything recorded as either a first or second take with no edits. Any layering happened fast and in the moment, and yet the sonic architecture of the whole feels both planned and refined.

      Melt Plastic Group

      Hooh

        Next up on Feral Child sees an absolute beast of a full length; the debut wax outing for the whacked out, psych sounds of MELT PLASTIC GROUP. A uniquely fresh take on mind melting psych grooves and kraut jams, hugely ambitious and constantly inventive and evolving….

        In the bands’ own words, they describe themselves and the album as “channelled onto wax via three humans from Brighton and Hove; inspired by the uniquely warped vision of former Sunlight Service Group frontman Willy Robinson, who lives in Hove but opts to inhabit a universe where tentacled aliens hang out with talking vegetables against a backdrop of brutalist 1970s concrete”.

        On “Hooh”, Willy, Jess and Gax have summoned a collection of darkly spaced-out, hypnotic, jazzy jams, where sprinkles of flute and harmonica frolic around a maypole of juicy guitar fuzz. Although there are nods towards the likes of Black Sabbath and Can, the album's unique flavour deftly swerves the cliches of the psych genre. It's their finest work to date.

        Denzel Curry

        Melt My Eyez See Your Future

          'Melt My Eyez See Your Future' arrives as Denzel Curry’s most mature and ambitious album to date. Recorded over the course of the pandemic, Denzel shows his growth as both an artist and person. Born from a wealth of influences, the tracks highlight his versality and broad tastes, taking in everything from drum’n’bass to trap. To support this vision and show the breadth of his artistry, Denzel has enlisted a wide range of collaborators and firmly plants his flag in the ground as one of the most groundbreaking rappers in the game.

          She & Him

          Melt Away: A Tribute To Brian Wilson

            She & Him, the acclaimed twosome of M.Ward and Zooey Deschanel are known for the stylish arrangements, sophisticated interpretations, and sharply drawn originals they have perfected across their exceedingly fruitful six-album, 14-year collaboration. Now, with Melt Away: A Tribute to Brian Wilson, their seventh full-length release (and first for Fantasy), the duo has crafted a love letter to 60’s-era Southern California-inspired pop that stands on its own as a defining musical achievement.

            Produced by M.Ward and mixed by Tom Schick (Wilco, Norah Jones, Iron and Wine), Melt Away: A Tribute to Brian Wilson is the pair’s first in six years and features an abundance of smartly chosen Wilson/Beach Boys compositions, some universally beloved and others a little less familiar. All of them though, whether ingrained in your soul or hearing for the first time, share a flair for the dramatic. Ward and Deschanel bring their uncanny communal musical instincts to these pop-noir confections and re-imagine them for these times.

            The inviting, twangy album opener, Brian Wilson and Mike Love’s “Darlin’,” (from the Beach Boys 1967 album Wild Honey) sets a high bar that She & Him meets throughout. The duo’s devoted take on “Wouldn’t It Be Nice” is especially revealing. Most wouldn’t consider touching the stone-cold classic, yet they lean into it with unabashed joy. Elsewhere, the band’s sublime version of Wilson’s mournful “Til I Die” is a three-minute and 22 second marvel. Deschanel’s spectacular vocal turn on the criminally overlooked Wilson solo cut “Melt Away” transforms the original’s lush, string-heavy treatment into a post-modern folk-pop gem. Other highlights include the surf-rock throwback “Do It Again,” featuring vocals from Brian Wilson himself (!) and the graceful “Please Let Me Wonder,” a long-treasured Wilson album cut. Finally, the Beach Boy’s timeless “Don’t Worry Baby” might be the album’s centerpiece and most affecting track. M.Ward’s earthy, laconic lead vocal layered over an exquisite arrangement feels organic and completely new – just like this album, a stunner in every way.

            Genre: Indie Pop, Classic Rock, Covers, Twee Pop, 60’s Rock

            Mood Descriptions: Summer Vibes, Upbeat, Beach, Feel Good, Roadtrip, Cloudgazing

            STAFF COMMENTS

            Barry says: She & Him (Zooey Deschanel & M Ward) bring their considerable talents to a beautiful tribute to Brian Wilson, one of the greatest songwriters of our time. Expect those woozy lounge-soul vocals from Deschanel and Ward's distinctive guitar style. A fittingly lovely endeavour.

            TRACK LISTING

            1. “Darlin’” – (Wilson-Love) - From The Beach Boys 1967 LP Wild Honey
            2. “Wouldn’t It Be Nice” – (Wilson-Asher-Love) - From The Beach Boys 1966 LP Pet Sounds
            3. “Til I Die” – (Brian Wilson) – From The Beach Boys 1971 LP Surf’s Up
            4. “Deidre” – (Johnson-Wilson) – From The Beach Boys 1970 LP Sunflower
            5. “Melt Away” – (Brian Wilson) – From Brian Wilson’s 1988 Self-titled Solo LP
            6. “Good To My Baby” – (Wilson-Love) – From The 1965 LP The Beach Boys Today!
            7. “Don’t Talk (Put Your Head On My Shoulder)” – (Wilson-Asher) - From The 1966 LP Pet Sounds
            8. “Don’t Worry Baby” – (Wilson-Christian) – From The Beach Boys 1964 LP Shut Down Volume 2
            9. “This Whole World” – (Wilson) – From The Beach Boys 1970 LP Sunflower
            10. “Kiss Me, Baby” – (Wilson-Love) – From The 1965 LP The Beach Boys Today!
            11. “Do It Again” Featuring Brian Wilson – (Wilson-Love) – From The Beach Boys 1968 LP Friends
            12. "Heads You Win, Tails I Lose" – (Wilson-Usher) - From The Beach Boys 1962 LP Surfin’ Safari
            13. “Please Let Me Wonder” – (Wilson-Love) - From 1965 LP The Beach Boys Today!
            14. “Meant For You” – (Wilson-Love) - From The Beach Boys 1968 LP Friends

            .Com Truise

            Galactic Melt (10th Anniversary)

              A decade ago, the static signal of “Terminal” booting-up sounded and Galactic Melt launched into the atmosphere for the first time; Seth Haley’s Com Truise project arrived in full. A graphic designer based in New Jersey at the time, Haley found a sound on his synthesizers that sparked an immediate nostalgia response, tapping into classic sci-fi and proto-electro in a way that felt early ‘80s in scope, but also remarkably weird — stutter-step proggy and intoxicatingly psychedelic. Unknowingly he had stepped into a genre prism; suppose we know it now as synth-wave though the tag never landed squarely. To Haley, this was a space to explore and a story to tell, which he’d do across a saga of releases that would resonate with a legion of fans and send the producer touring the world in perpetual orbit. His full-length debut on Ghostly International, Galactic Melt delivered on the promise of Haley’s Cyanide Sisters EP as well as high-profile remixes for Twin Shadow, Neon Indian, and Daft Punk. Bold, imaginative, and unapologetically cosmic, the set occupies a beloved coordinate in the Com Truise catalog, considered the gateway for many. To celebrate its 10th anniversary, Haley and Ghostly have repressed the long-sold out 2xLP and added five unreleased tracks to the expanded digital edition, giving this classic its due treatment as it passes the milestone.

              From the keyed-up, skyscraping machine love of “VHS Sex” and “Cathode Girls” to pulsing cuts like “Air Cal” and “Ether Drift,” the music on Galactic Melt is mathy, forlorn, funky, and mighty in technical ambition. That they’re all noticeably cinematic is, of course, by design. Haley envisioned Galactic Melt as a “sort of film score...from the mind,” chronicling the life and death of Com Truise, the world’s first synthetic/robotic astronaut, from his creation and time on earth to his subsequent mission to a newly discovered galaxy called Wave 1 (released in 2014).


              TRACK LISTING

              A1. Terminal
              A2. VHS Sex
              A3. Cathode Girls
              B1. Air Cal
              B2. Flightwave
              B3. Hyperlips
              C1. Brokendate
              C2. Glawio
              C3. Ether Drift
              D1. Futureworld
              D2. Galactic Melt

              Melt Yourself Down

              Pray For Me I Don't Fit In

                Lauded London 6-piece Melt Yourself Down are back armed with a new approach for their fourth studio album Pray For Me I Don’t Fit In. Created for misfits, by misfits, Pray For Me I Don’t Fit In sees Melt Yourself Down embrace a celebratory punk agenda. Having realised they are never going to fit the mould, the group deliberately draw on their myriad influences, speaking all languages musically and lyrically. Led by the potent sounds of Sax pioneer Pete Wareham, the punchy sax hooks pay homage to the traditional horn sections of late 60’s early 70’s era of Jazz, Soul and Rock n Roll, while showcasing African pentatonic scales and dance-inducing rhythms with raw 70’s rock and punk. This album sees vocalist Kushal Gaya celebrate his diversity - tonally, texturally, and emotionally while embracing lyrical depth. Recorded and produced by band favourite Ben Hillier (Blur, Depeche Mode & Nadine Shah), delivering his distinct musical depth, resonance, and dark drive so essential to Melt Yourself Down’s sound. This album is the band’s most cohesive work to date.

                TRACK LISTING

                Pray For Me I Don’t Fit In
                Boots Of Leather
                For Real
                Nightsiren
                All We Have
                Fun Fun Fun
                Balance
                Sunset Flip
                Ghost On The Run
                I Got Time

                James White And The Blacks

                Melt Yourself Down - 2022 Reissue

                  Manic No Wave sax frenzy! James White tore up the city blueprints and charted his own map through the sonic sprawl of New York, perfecting a jittery, manic attack on sax and vocals and adopting the persona of a lounge singer in the waiting room of Hell - A maelstrom of chaotic transformations of funk, jazz (et al ) with equal parts James Brown and James White originals that rank among the most incendiary in his repertoire.

                  TRACK LISTING

                  1. Super Bad (James Brown) 
                  2. Melt Yourself Down 
                  3. Boulevard Of Broken Dreams (Standard) 
                  4. Hot Voodoo (Standard) 
                  5. Cold Sweat (James Brown) 
                  6. These Foolish Things (Standard) 
                  7. Hell On Earth

                  Sam Evian

                  Time To Melt

                    Sam Evian knew he wanted to leave New York City almost as soon as he arrived, more than a decade ago. An upstart songwriter and producer, he, of course, loved its creative wellspring—the ideas, the instrumentalists, the energy. But he’d grown up in the woods of upstate New York and, later, along the coast on the rather empty eastern end of North Carolina. The city was expensive, anxious, and unsettling, however inspiring it could be.

                    So in the Summer of 2017, he and his band decamped to a rented house upstate to cut his second album, the magnetic You, Forever. He then realized he could no longer resist the urge; two years ago, Sam and his partner, Hannah Cohen, split from the city, building their refuge in the quiet of a Catskills town. That reflective, relaxing environment inexorably shaped Time to Melt, his third LP and debut for Fat Possum. A glowing set of soulfully psychedelic pop gems, Time to Melt is a testimonial to the life and wisdom to be found when you give yourself the mercy of space.

                    During the last decade, Sam has become a preeminent collaborator, producing and engineering records for the likes of Big Thief, Cass McCombs, and Widowspeak as Sam Owens, his given name. In their new home, he and Hannah hosted bands like house guests as he helmed their sessions. The coronavirus, though, clamped down on those interactions, largely sealing the couple from their longtime scene.

                    So Sam tried something new: He sorted through more than 60 instrumental demos he’d recorded in the last two years and began shaping the most enticing of them into songs with help from Hannah and a cadre of long-distance friends—Spencer Tweedy, Chris Bear, Jon Natchez, even strangers who sent him voice memos via Instagram. He took the unexpected time at home to dig deeper into his world of sounds and ideas than ever before, calmly considering our moment of prevailing chaos through a lens of newfound distance.

                    But the last few years have been purely happy for mostly no one, Sam included. Time to Melt reckons with the weight of our time, even when it sounds largely weightless. Inspired by John Coltrane’s mixture of grace and gravitas and Marvin Gaye’s uncanny ability to turn social issues into personal anthems, Sam strove to give these otherwise-beguiling instrumentals the thoughtfulness and depth these days demand.

                    With its rubbery bassline and sweeping strings, “Freezee Pops” unfurls like a Summer breeze. It reads, though, like poetic testimony on police brutality, an innocent kid’s life plundered for prison-system profits. And “Knock Knock” taps Sam’s memories of race-andclass violence in the small-town South and his subsequent reckoning with our crumbling American façade, where “we tell ourselves almost anything but the truth.” The song is ultimately a tribute to the perseverance of the vulnerable, who find community and joy in spite of the way centuries of miscreants try to deny it.

                    There are also songs of utter celebration on Time to Melt, paeans to whatever joy it is we find in life or love. Buttressed by bold baritone sax, lifted by exuberant trumpet, and washed in fluorescent guitars, “Easy to Love” is an exultant ode to finding a new paradise outside of the city, an idyllic setting where you can plant love and literally watch it bloom. “Lonely Days” blows in with a muted brooding, but it’s a feint for Sam’s sweet hymn to a blissful partnership of shared solitude, a true blessing for a year when so many have been alone. “Lonely days are gone,” he repeats, his rhythm shifting just enough in the middle of the sentence to tease dejection and surprise with delight. Sam is so content in the Catskills that the lovely but warped “Sunshine” finds him imagining how heartache must feel, as though it were only ever a hypothetical muse. He sublimates a sense of seasick sadness into a compulsively funky oddity.

                    At home now near the Ashokan Reservoir with their new rescue dog, Jan, Sam and Hannah mostly listen to music while they cook dinner. That’s the kind of record Sam wanted to make —an album of sounds so pleasant and compelling that you put it on and follow the slipstream. He succeeded; Time to Melt is a waking dream, its intoxicating rhythms and timbral webs as settling, even seductive as an evening glass of wine. But making dinner, or whatever your ritual at day’s end may be, isn’t some idle exercise. It’s a place to unpack the pain and wonder, the suffering and promise of the moment, to reflect on where you have been and what might come next. In 40 striking minutes, or the time it may take you to make that meal, Time to Melt sorts through a year of a life spent in rage and hope, lockdown and love.

                    TRACK LISTING

                    1. Freezee Pops
                    2. Dream Free
                    3. Time To Melt
                    4. Knock Knock
                    5. Arnold's Place
                    6. Sunshine
                    7. Never Know
                    8. Lonely Days
                    9. Easy To Love
                    10. 9.99 Free
                    11. Around It Goes

                    Crumb

                    Ice Melt

                      Crumb’s second album, Ice Melt, takes its name from the coarse blend of salts that you can buy from your local hardware store for $9.99. When sprinkled on your wintry steps, this mixture absorbs water and gives off heat, transforming the ice into a viscous, briney slush and, eventually, nothing at all. Beginning with the dynamic chaos of “Up & Down,” and ending with Crumb’s closest thing to a lullaby, Ice Melt’ s ten tracks combine, like ice sculptures melting into a glistening puddle.

                      From the start, the group knew that cohesion was best achieved through plumbing their individual strengths— frontwoman Lila Ramani’s earliest songwriting, which catalyzed the group’s first two EPs; Bri Aronow’s knack for building (dis)affecting soundscapes; the hypnotic grounding of Jonathan Gilad’s drums, a Crumb mainstay; and Jesse Brotter’s distinctive bass playing, which subtly traces Ramani’s vocal melodies while providing an unrelenting pulse. These collective skills make Crumb a project of independent self-discovery, four creative minds converging around an idea that is always shifting and reforming.

                      Convening in Los Angeles to work with producer Jonathan Rado, Crumb tapped into atmosphere-creation like never before, building experimental compositions that are at turns head-nodding and surrealist, energetic and euphoric. Ramani characterizes the album as a “return back down to earth,” a deeply felt examination of “real substances and beings that live on this planet.” It is also the cultivation of road-worn musicians exploring brand-new sounds and thematic concepts, pushing themselves into territory they could never have anticipated five years ago. 


                      STAFF COMMENTS

                      Barry says: All analogies aside, there's a lot to be said for the warming haze of Crumb's meandering mixture of downbeat, indie and psychedelic rock. It's a wonderfully emotive and hypnotic outing, superbly balanced and would be perfectly at home on the stereo or soundtracking a particularly poignant movie moment.

                      TRACK LISTING

                      SIDE A
                      1. Up & Down
                      2. BNR
                      3. Seeds
                      4. L.A.
                      5. Gone

                      SIDE B
                      6. Retreat!
                      7. Trophy
                      8. Balloon
                      9. Tunnel (all That You Had)
                      10. Ice Melt

                      Melt Yourself Down

                      Born In The Manor

                        THIS IS A RECORD STORE DAY 2020 RELEASE AVAILABLE ONLINE ONLY AS PART OF THE AUGUST 29TH DROP DAY AT 6PM.
                        LIMITED TO ONE PER PERSON.


                        A limited edition 7" from the jazz-influenced party-punk band Melt Yourself Down.Featuring their upcoming single 'Born In The Manor' and the IDLES remix of their single 'It Is What It Is'

                        Cut Copy

                        Freeze, Melt

                          As you could possibly guess from the title, 'Freeze, Melt' is a more restrained affair than recent Cut Copy releases. You could never accuse the Melbourne outfit of resting on their stylistic laurels, covering New Order-esque melancholic pop, hazy summer synth jams, filtered funk, acid house and stadium bangers across their five previous long players. After relocating to Copenhagen, removed from his studio, safe space and record collection, Dan Whitford took inspiration from the minimalism and cool of his Scandinavian surroundings, as well as the immersive sparsity of Four Tet, Floating Points and Terry Riley. Despite this detour into the ambient realm, this remains a Cut Copy LP, so there are still hooks, grooves and playful motifs shimmering amid the restraint - the 'Melt' to the 'Freeze' I guess.

                          STAFF COMMENTS

                          Barry says: Freeze, Melt is every bit the Cut Copy LP you'd expect, with huge synths and melodic vocals leading the way through a perfectly sequenced set of downbeat percussives, huge melodies and soulful grooves.

                          TRACK LISTING

                          1. Cold Water
                          2. Like Breaking Glass
                          3. Love Is All We Share
                          4. Stop, Horizon
                          5. Running In The Grass
                          6. A Perfect Day
                          7. Rain
                          8. In Transit

                          Melt Yourself Down

                          100% YES!

                            After a few years out to perfect their jaw-dropping new album 100% YES,  Melt Yourself Down are back. Thanks to collaborations with production legends Youth and Ben Hillier, the band have reimagined themselves and  created a bruising re-up of their signature sound with added synths, lyrics, anthems and epic joyrides. They took their sweet time crafting this new sound and it was worth it - 100% YES is the band at their finest.

                            Melt Yourself Down

                            Last Evenings On Earth

                              “We never stop reading, although every book comes to an end, just as we never stop living, although death is certain” - Roberto Bolaño, Last Evenings On Earth

                              Question: it’s the end of the world, how are you going to spend it?

                              Last Evenings On Earth is the apocalyptic second album by Melt Yourself Down, evangelical hawkers of DNA-rearranging post-punk exotica. Snatch your passport and let this hydra-headed serpent take you for a dizzying, continent-hopping voyage around a globe spinning ever more rapidly off its axis.

                              If MYD’s self-titled debut was a series of feverish nocturnal visions beamed from a sub-Saharan desert, where voodoo spirits were raised from dusty catacombs, then this is an even headier trip. Here the rhythm has migrated to the city to merge with the pulses and dark currents that run through it.

                              Capturing the raw energy and wild-eyed intensity of the MYD live show, this is music that speaks in tongues. In both sound and aesthetic, Melt Yourself Down have celebrated migration since day one. Theirs is musical unity through movement and sound.

                              If this is the end of the world, the Last Evening On Earth... bring it.

                              Melt Yourself Down are Kushal Gaya (vocals), Ruth Goller (bass), Shabaka Hutchings (saxophone), Satin Singh (percussion), Tom Skinner (drums) and Pete Wareham (saxophone), with Leafcutter John (electronics/production).

                              Melt Yourself Down

                              Live At The New Empowering Church

                                THIS IS A RECORD STORE DAY 2014 EXCLUSIVE, LIMITED TO ONE PER PERSON.

                                Finally! The horn-wailing, mic-swinging, percussion-overloaded, call-and-response explosiveness of the Melt Yourself Down experience is captured on plastic in all its sweat-drenched fury
                                This Record Store Day exclusive LP was recorded at MYD’s sold out show at The New Empowering Church in east London late last year: “the house band from hell” in the house of GodA raw and ragged document of sweet sonic violence in a small room, it’s a strobelit snapshot, warts and all, captured for you

                                MYD twist jazz, punk, funk and afro-beat into strange and brilliant new shapes
                                They’ve kept raising their game since the release of their self-titled debut album in June 2013 (appearing on Later… and hitting the album of the year charts in Rough Trade, Time Out and more), and will appear on festival stages throughout the land this summer. The campaign begins with shows at SXSW and in New York in March, and club nights with MYDJs will follow ahead of the festivals - all confirmed dates below. Strictly limited edition Record Store Day vinyl LP (900 copies for the world) also includes a download of the live album. The LP is packaged in a new, dayglo variant on the already iconic album artwork. MYD have already started work on their second album. Don’t take your eyes off them



                                Melt Yourself Down

                                Melt Yourself Down

                                  Melt Yourself Down’s self-titled debut album is the sound of Cairo 1957, Cologne 1972, New York 1978, and London 2013.

                                  The group is the brainchild of Pete Wareham (Acoustic Ladyland, Polar Bear), who’s roped in a distinguished crew of brilliant musicians, including Kushal Gaya (Zun Zun Egui), Shabaka Hutchings (Sons Of Kemet, Heliocentrics), Tom Skinner (Hello Skinny, Mulatu Astatke), Ruth Goller (Acoustic Ladyland, Rokia Traoré), and Satin Singh (Fela!)

                                  Together they make a primal, tribal stew of horns and drums and unhinged vocals that bring to mind the Bristol-based punk-jazz craziness of Rip, Rig & Panic, Pig Pag etc. The group's singles ‘We Are Enough’, ‘Fix My Life’ and ‘Release!’ (all featured on this long player, accompanied by brand new tracks) have been tearing up dancefloors and radio playlists since late 2012, with massive support from BBC 6 Music in particular.

                                  “A bazaar sax smackdown that has an iron in every furnace of global psychedelia, smelted into a structure of tungsten strength” - Pitchfork.

                                  “A lurching machine rhythm and lashings of synth squiggles and white noise, re-framing all that modal skronk in electro-industrial terms: it’s Addis Ababa meets Detroit in the year 3013” - Spin.

                                  “A scalp-frazzling chunk of psychedelic funk” - Time Out.


                                  Melt Yourself Down

                                  Release / Fix My Life - Inc. The Subliminal Kid Remix

                                    Melt Yourself Down are twelve hands, six mouths and six hearts. Beating and blowing, shouting and shaking in perfect symbiosis. The third single, ‘Release!’ is an electro-riot of bass throbs and clarion calls, manic horns and pulse beats. This is future funk, the spirit of punk. This is modal jazz detonated by rhythms to rearrange the DNA.

                                    On the flipside: a head-spinning 11-minute remix of previous single ‘Fix My Life’ by Sweden’s The Subliminal Kid (aka Peder Mannerfelt of Roll The Dice). Spin magazine described it as “A lurching machine rhythm and lashings of synth squiggles and white noise, re-framing all that modal skronk in electro-industrial terms: it’s Addis Ababa meets Detroit in the year 3013.”

                                    Although now firmly settled in New York City, Young Magic’s three members came together through equal helpings of openness and fortuity. In 2010, singer and producer Isaac Emmanuel had left his home continent of Australia to travel across Europe, over to New York, and down through Mexico, all the while creating and recording music with whatever instruments he found along the way. While in Mexico, Emmanuel kept a tight correspondence with fellow Australian expat Michael Italia, who for months had been similarly traveling across Europe and South America with portable recording gear in tow. They decided to meet up in New York, where their good friend from a few years prior, Indonesian-born vocalist Melati Malay, had been living and making her own recordings. In early 2011 the three friends, who had initially bonded over their broad musical palettes, began recording together and contributing songs to the record, culling influences and finding their own footing among them.

                                    The immediately fruitful collaboration brought forth singles “Sparkly”, “You With Air” and “Night In The Ocean”, all of which were fitting indicators of the band’s chameleonic sound, heavily informed by West African rhythms, Brainfeeder hip-hop, UK bass, and 60s psychedelic soul. Young Magic’s full-length debut, "Melt", comprises both of these tracks - as well as their B-sides - and expands on their varied aesthetic, at once electronically sequenced and completely organic. Containing recordings from 10 different countries, the album flaunts new facets at each turn, letting - as on “Watch For Our Lights” - rough samples from distant lands coalesce with drum machines and distorted synths. “Night In The Ocean” and “Jam Karet” put soaring synth pads around the higher frequencies while deep kicks keep the songs grounded, allowing Isaac and Melati’s vocals to float in synchronicity between. And with its shifting rhythm, open structure, and layers of echoed vocals, closer and highlight, “Drawing Down The Moon”, hints at crystalline take on UK garage: a last dance from a collection of short stories from around the world.

                                    With a sonic mélange of vibes on a debut that remains cohesive and distinctly their own, it will be exciting to see where the trio’s tastes will guide them next.


                                    TRACK LISTING

                                    1. Sparkly
                                    2. Slip Time
                                    3. You With Air
                                    4. Yalam
                                    5. Jam Karet
                                    6. Night In The Ocean
                                    7. Watch For Our Lights
                                    8. The Dancer
                                    9. Cavalry
                                    10. Sanctuary
                                    11. Drawing Down The Moon

                                    Yellow6

                                    Melt Inside

                                      While retaining the melodic, enveloping guitar soundscapes of previous releases, "Melt Inside" is different in one key element. On this occasion, Jon's mesmerising, minimalist, guitar-based arrangements are enhanced by the divine vocals of Ally Todd. The album features nine tracks, composed and recorded between Lund, Sweden and Leicestershire, UK during 2004-5. But it is more than simply a collection of songs. These are vibrant, emotional stories of love and loathing, of mystery and intrigue, of despair and elation.


                                      Just In

                                      123 NEW ITEMS

                                      Latest Pre-Sales

                                      155 NEW ITEMS

                                      E-newsletter —
                                      Sign up
                                      Back to top