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TEEN

Teen Daze

The Inner Mansions

    The Inner Mansions is the second full length record from Teen Daze, and also his second of 2012. The album is a collection of songs that were written between the months of May and June 2012, and they are his most introspective and moving to date.

    Where his debut, All Of Us, Together, evoked feelings of a futuristic, electronic utopia, The Inner Mansions focuses inward, both thematically and sonically. This is an album of spiritualand musical journey, and features some of Teen Daze's most captivating songs.

    The album also features collaborations with Frankie Rose and Hrishikesh Hirway (The One AM Radio).

    Imperial Teen

    Now We Are Timeless

      Imperial Teen includes members of Faith No More (Roddy Bottum), The Dicks (Lynn Perko Truell), Hey Willpower (Will Schwartz) & The Wrecks (Jone Stebbins). Imperial Teen’s releases over the past 20+ years have been pointed and specific diaries of musical celebration, windows into the hypersensitive personal drama of relationships within the band, individual conquests and failures, and collective, aspirational hopes, dreams, and perspectives. Roddy Bottum, Will Schwartz, Jone Stebbins, and Lynn Perko Truell—who they’ve become, how they are dealing, and what their lives are in 2019—all of this is on Imperial Teen’s forthcoming release Now We Are Timeless. The band wrote and recorded the new album in the cities the individual members have geographically gravitated to: New York City, the Bay Area, Denver, and Los Angeles.

      Themes of time and movement, averting and succumbing to crisis, dealing with loss and pain are all represented on the record, but what rings triumphant is the undeniable joy and catharsis that come from the band’s spontaneous and improvisational approach to making music together. The juxtaposition of the title and the imagery of the cover of Now We Are Timeless takes us immediately to the heart of what Imperial Teen does best. By focusing on an element in the collective here and now—an iceberg in the midst of ecological crisis, clearly sinking, melting, disappearing, the absolute antithesis of timelessness—they pose the question of hope and beauty in the wake of age, a fading icon shining brightest in the final phase of its demise, exuding light and glory as the world falls apart.

      Now We Are Timeless indeed. In strict keeping with the band’s roots of creating seemingly clean, pop presentations as a springboard for dramatic themes of loneliness, triumph, suicide, success, and failure, Now We Are Timeless moves us into a realm of inevitability for the band. While Seasick, the band’s first release, thematically touched on the queasiness of pop and beach and sun and glare and the optimism that lies beneath, the new release serves as a bookend of sorts in its portrayal of a world in crisis, a frostbitten but melting iceberg, monolithic and stationary yet impermanent and resonant. What has remained constant over the years is Imperial Teen’s indisputable knack for writing profound hooks as a framework for their musical memories. Their songs exhibit the realness, joy, and energy that only good friends can conjure. 

      FORMAT INFORMATION

      Coloured LP Info: Indies-only Clear & Translucent blue swirled vinyl.

      Coloured LP includes MP3 Download Code.

      If TEEN’s 2016 album Love Yes was a bursting, harmony-infused synthpop thesis on embracing love, then its follow-up, the even more joyous and melodic Good Fruit, is its opposite, a look at what happens after love fades. The Lieberson sisters—Teeny, Lizzie, and Katherine—have, with their fourth album, crafted a dynamic, hook-stuffed take on the oft-trodden breakup album; as on prior releases, there are frequent meditations on death, capitalism, and womanhood.

      The sisters—and Boshra AlSaadi, a longtime TEEN member who left a year into songwriting to focus on her own music—spun together Good Fruit in a few places, over roughly a year, as they aimed to break free of the notorious write-record-tour cycle. At a week-long session in Montreal in February 2017, they began working on “Radar,” a Lizzie-penned ballad that explores a previously unmentioned formative trauma. Another Montreal week in April 2017 birthed a large chunk of Good Fruit, and a five-day expedition in upstate New York led to “Putney,” a slinky, bassy bop that deals with how projected ideals and personal fantasy play into sex and misogyny.

      “Runner” came last, arising from an environment where the sisters surely feel the most comfortable: New York, the city where they’ve lived for over a decade. Perhaps the album’s most bursting, beatific, synth-driven track, “Runner,” which reflects on fleeing a relationship as a partner wants to become closer, jelled just before the album was completed, in an NYC home studio belonging to TEEN collaborator Miles Francis.

      While recording Good Fruit, the sisters employed a self-described “reductive approach,” strove to create space within their songs, and, for their first time, self-produced the album (save a few co-productions from Francis, who also played on some songs). These techniques explode the glistening, sprinting glamour of “Only Water,” a deceptively upbeat number about death and the loss of a loved one. They inform Good Fruit’s handful of ballads too, including “Pretend,” which rings with a vast, unsettling static fuzz even as Lizzie beautifully recounts the disappointment of realizing a partner wasn’t all she’d built them up to be.

      When love fades, TEEN soars. “A lot of what ties Good Fruit in...is forging new paths for ourselves and letting go of old ways of doing things,” Teeny says. The band’s intentional amendments to its longtime formula have resulted in its most mature, nuanced, and exhilarating statement yet.


      STAFF COMMENTS

      Barry says: The synth gods have been good to us this week not only delivering the psychedelic sounds of Pond, but gracing us with the off-kilter funk and shimmering synthetic soul of 'Good Fruit' from the ever-superb 'Teen', comprising of Lieberson sisters Kristina, Katherine and Lizzy. Shining sidechained synths, driving percussion and swooping melodies all topped with beautifully harmonised athletic vocal lines.

      FORMAT INFORMATION

      Coloured LP Info: Limited Orange creamsicle vinyl.

      Coloured LP includes MP3 Download Code.

      CD includes MP3 Download Code.

      Hologram Teen

      Marsangst

        Hologram Teen is releasing a 2-track single on 7" vinyl via London's Happy Robots Records. This is the solo electronic motorik disco project of Morgane Lhote, former long-term keyboard player of Stereolab. Originally from Paris, Morgane moved to London when she was 20 and spent 12 years there. Then she moved to NYC and, nine years later, moved to Los Angeles. Her name is known to many for her work as keyboard player in the seminal indie kosmische act Stereolab, having recorded and performed with the band during their imperial phase between 1995 and 2001, when they released a series of career defining albums including ‘Emperor Tomato Ketchup’ and ‘Dots and Loops’. Fans of Common will also be able to find Morgane on the Sgt Pepper inspired sleeve for his Electric Circus album. She followed her time in Stereolab with a stint in The Projects and, from 2005, played in Garden with members of Simian Mobile Disco before starting the Hologram Teen project.

        FOR LOVERS OF: French house, Etienne de Crecy, Deadmaus5, ESG, Umberto, Yello, Add N to X, Death in Vegas, Stereolab, Ghostbox Records, Goblin and Italian Zombie Horror Soundtracks.




        TEEN’s new album, Love Yes, explores the disharmony and empowerment that both sexuality and spirituality can create within the modern woman’s psyche. Universal ideas of loyalty, pleasure, purity, power, aging, and love are confronted with a knowable specificity. There is a quality of wholesomeness, but also an edge—a kind of wise anger and electricity.

        After extensive touring following their breakthrough release The Way and Color (2014), the band had to keep traveling to find Love Yes. The group first went to Woodstock in the dead of winter to write new material. Here, keyboardist and singer Lizzie Lieberson created the stunning, autobiographical “Please.” But the band, and especially lead singer and multi-instrumentalist Teeny Lieberson, felt a crushing lack of creative energy. Recognizing the need to recharge, they took some time off. Teeny moved to a small lakeside cabin in Morehead, Kentucky. Surrounded by rolling hills, sparked with sudden thunderstorms, and inspired by the musical joy of uninhibited late-night bluegrass jams and barn parties, Teeny immediately began writing again. Here she felt a new freedom in her songwriting; drawing on themes important to her identity as a woman, and exploring love, sexuality, and the tension between desire and the construct of desire that can exist within oneself, in relationship, and within society.

        After three weeks in Morehead, Teeny returned to New York to workshop with rest of the band, including drummer Katherine Lieberson and bassist Boshra Al-Saadi. Acknowledging the benefits of being creative in a cocoon like the lakeside Kentucky country, the band decided to record at the Old Confidence Lodge, in secluded Riverport, Nova Scotia. Leaving the noise and relentless energy of the city behind, TEEN retreated into the nurturing stillness of Nova Scotia, the Lieberson sisters’ childhood home. Situated on the La Have River, the studio was hidden in a perpetual mist while the band recorded day and night. Fueled by new material, a change of place, and creative collaboration, the lull of the winter lifted and the band came together in a new way. Teaming up once again with producer Daniel Schlett, TEEN wanted to capture the energy of full band recording. Rather than multi-tracking, Schlett worked with the band as they played the songs relentlessly, waiting to achieve the right energy and take as a group.

        The result is a beautiful, detailed album about womanhood and the embodiment of the sensual, played by a group fully in step with one another. Love Yes bursts into the static air with a vibrancy recognized by its confidence and power.

        On the album cover, the quartet is bejeweled in crystals and bathed in Venusian red. This red is the colour of vitality and pulsing life — unmistakable traits of Love Yes. It is the iconic red of Dorothy’s slippers and Eve’s apple — potent with society’s tales and notions of innocence lost. In Love Yes, something else more mysterious and tender is gained.

        In 2010, Jamison, the person behind Teen Daze, had no idea what Four More Years would bring. That debut EP, a collection of blissful home recordings, was the work of a carefree 24 year-old. By 2012, things had changed, as they tend to do: relationships dissolved, illness affected his family, windows for outward communication were closing. The gravity of it all made for constant output; he reached for futuristic utopia with All Of Us, Together, found a devotional sanctuary inside The Inner Mansions, and embraced hibernation on Glacier. In hindsight, this was an artist coping through various forms of introverted escapism.

        While proud of the material, Jamison sought to break this cycle when approaching the next record. He knew it would take a few leaps of faith, most directly: out of his bedroom… out of his comfort zone. For the first time, he gave up some control, inviting the input of others. Bearing over 30 demos, Jamison joined one of his musical heroes John Vanderslice at Tiny Telephone, his all-analog studio in San Francisco. Beyond the immediate sonic advantages of recording to tape, the sessions with Vanderslice and co-producer Simon Bridgefoot encouraged a new positivity and confidence to his craft.

        The result is Morning World, eleven fully built, balanced, and expressed songs, the most vulnerable and honest Teen Daze LP to date. Thematically, Jamison paints a familiar picture: a Garden of Eden, a place of transcendent, painfree beauty, but with one key distinction... it’s not real and time there is finite. With vocals boldly up front—surrounded by strings, piano, guitar, and live percussion—he details a realm that, for the first time, has room for more than one. “Where does life go when it’s done,” he poses in the closing moments of “Post Storm”, before lending an answer that evokes the omnipresent wisdom of All Things Must Pass: “a moon replaces morning sun.

        FORMAT INFORMATION

        LP Info: Limited blue vinyl pressing.

        LP includes MP3 Download Code.

        Teen Men is the self-titled debut album from this Delaware-based four piece audio/visual group. The album was recorded at The Garden Center and Paper Lab Recording studios in Delaware and engineered, mixed and produced by band member Nick Krill.

        Teen Men comprises two musicians Nick Krill and Joe Hobson (members of The Spinto Band) and two visual artists Albert Birney (creator of the Simply Sylvio series on Vine) and artist Catharine Maloney (who has exhibited internationally and has a Master of Fine Arts from Yale University).

        The resultant music is an ambitious blending of tunefully trippy melodies delivered via guitars, synthesizers, and vocals, with impertinent samples and haunting, atmospheric ambient electronics. These performances are audio/visual experiments; innovative, individualistic and concise, reflecting a love of the pop thrill and a dedication to classic song craft.

        The members of Teen Men didn’t start working together with the conscious goal of “making a band." Long time friends, Nick, Joe and Albert decided to collaborate on a quick and spontaneous one-off project involving music and video. The idea was an attempt to reawaken and become inspired after completing especially intense projects in their respective fields (a Spinto Band recording for Nick and Joe and a feature film entitled The Beast Pageant for Albert). After viewing what they created they decided to make more and invited friends to come participate. Catharine started showing up at sessions and then was assimilated into the project. After a few months, the four realized they’d created a body of work and that’s when the project was christened "Teen Men”. The term, taken from an advertisement in a 1960s Playboy, is a state of mind, which anyone can imbibe in. To be a Teen Man involves taking risks, irrational self-confidence, and the search for new experiences.

        At the core of the Teen Men’s artistic identity is their unique style of creative interplay, the contrast between how the musicians responded to artistic inspirations and challenges as opposed to the visual artists and the ingenious ways they’d combine them. The results were often beyond what any of them would have imagined left to their own devices. Fundamental was their desire to translate visual elements into music, though the opposite process was constantly occurring as well.

        In concert Teen Men perform along to a homemade interactive video that is synchronized to the music. The video provides an interactive platform for the band members and audience.

        Drop Out Venus

        Elastic Teen Rent / I Kill Foxes

        Drop Out Venus reside in Deptford, South East London, where they write and record music in their one-bedroom flat. Originally hailing from Bulgaria, Iva Moskovich, Chris Moskovich and Ursula Russell formed the band after discovering they all share a form of synaesthesia, which has led to a wildly sensual approach to playing music, their musical education being most deeply felt somewhere between the whisky drenched piano of Thelonious Monk and the crazy hazy kisses of the Flat Duo Jets.

        They are best experienced live – the last six months has seen them bring their intense and sometimes chaotic act to several venues across London and the South East, including the Roundhouse, Great Escape and Somerset House. Their shows incorporate the raw energy of New York in the late 70s and the honesty of the sawdust strewn floors of jazz era bars, all channeled through an eastern European ruggedness and mysticism.

        Their first single, the double A side ‘Elastic Teen Rent/I Kill Foxes’ released September 24th on Dirty Bingo Records, follows a prolific six months for the band, with their first track 'Love In Vein' capturing many ears online and on radio (Zane Lowe/John Kennedy/Mary Anne-Hobbs), and a self-released cassette packing a medley of over thirty tracks within thirty minutes. Recent support slots with the likes of Charlotte Gainsbourg and Connan Moccasin prove that they are ready to take their unpredictable ‘Junk Jazz’ to much bigger stages and audiences

        Po Po

        Bummer Summer / Teen Dreamz

        Shoaib and Zeb of Po Po zero in on a sound that combines live instrumentation with electronic programming cranked out on an old tower PC. This single gives a perfect look into the crosshairs of that Po Po world with two very different tracks. "Bummer Summer" is a no brainer of radical weirdness, one of Po Po’s poppiest and prettiest tracks, despite the title and lyrics that may or may not say 'I’ll watch you die.' It’s one of those feel good feeling bad songs that sounds best soaked in 97 degree humidity… Or looking at the sky from a prone position on the roof of a car… Or zoning the hell out somewhere for no good reason. And what’s more, it sounds like a lost demo gem from The Jesus And Mary Chain’s "Darklands" / "Automatic" period. The intro to "Teen Dreamz" on the flip sounds like a duet between the Hammer of Thor in Hell and a 5000 watt call-to-prayer minaret speaker that’s been screwed down to negative speed. It was called “Epic Intro Song” for a while for a reason; stick around for the drop. After a minute, the uniquely heavy "Teen Dreamz" falls into a mind numbing half time beat while Zeb’s falsetto vocals roll around with the drones from the intro, and the whole thing makes you feel like you just ate a pound of mushrooms while listening to The Stranglers’ "Meninblack" album. This might not even be a 'dance' record, but you’ll just have to work that out for yourself.


        FORMAT INFORMATION

        7" Info: Numbered limited edition of 300 in hand silkscreened jackets.

        Beach House return in January 2010 with “Teen Dream”, their third - and first classic - album, on Bella Union records.
        The Beach House you’re about to meet isn’t the same as the one you’ll remember from before. Lives have been shuffled, tangled and re-aligned. When Victoria Legrand and Alex Scally returned home to their hometown of Baltimore last winter, they were worn out from touring and travel. But deep inside them hot energies were incubating, ideas they had been whispering back and forth in the wake of their sophomore full-length, 2008’s “Devotion”. By spring they began handing themselves over completely to these impulses, holing themselves up and exchanging ideas in a new, secluded practice space for dangerously long periods of time. As the songs that would become “Teen Dream” began to live, breathe and take shape, the duo were compelled to leave much of their personal lives behind them. “We were forced to let go of people and things we were holding onto as individuals” Legrand muses. “We were dropped into a wilderness, but we had more clarity than we’ve ever had before”.
        Still driven to avoid distraction, the two marched further into isolation, deciding to bottle all those wild visions away from home. They packed up their lives and settled into a converted church in upstate New York with producer Chris Coady. For a month they continued the birthing process, sweating and pushing out sounds inside a cocoon of their very own weaving.
        “Teen Dream” is the sound of a band bursting at its creative seams. It is without question more expansive and moving than anything they have shared before.

        STAFF COMMENTS

        Martin says: Alex Scally's crystalline wandering guitar lines spin a wistful web over Victoria Legrand's haunted, opaque vocals. A thing of bewitching melodic beauty.

        From Vancouver Canada comes the debut full-length from amazing new band, Bossanova. Kurt Dahle from the New Pornographers and Josh Wells from Black Mountain join singer, guitarist, genius Chris Storrow. Echoes of Ian Curtis and New Order, with the psyche-delicism of Velvet Underground or even Donna Summer(!)

        Teen Idols

        Nothing To Prove

        Third full length from these well known US punkers. They're on tour with Less Than Jake in Europe to support this brand new album. These Southern punk rockers are gonna have the fans of power pop punk begging for more, pogo-ing until they can pogo no more.

        Various Artists

        Wintertime Blue

        When you get a line-up of guitar bands like this at one benefit concert then it is self evident that they would all try to out solo each other. This is a phenomenal 2CD set of Gov't Mule, Cry of Love, Derek Trucks Band and others on top form at the 11th Annual Warren Haynes Christmas Jam in North Carolina Dec 22, 1999. Allen Woody's last show before he died.


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