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Press Releases For July: Here Are The Artists

press releases for July
Genesis Owusu is among these press releases for July

Fur Trade, Kit Major, MIDNIGHTCHOIR, Iguana Death Cult, Beverly Glenn-Copeland, FORAGER, Genesis Owusu are the artists among these press releases for July.

Fur Trade – “Make it to the Morning”: A hot dancefloor with sensual vocals and a mix of electronic and psychedelic. The project of Hot Hot Heat frontman Steve Bays and the Gay Nineties’ Parker Bossley recorded the music for their debut album at Bays’ Tugboat PI studio, with Bossley playing guitar and bass, Bays on drums and keyboards, and the pair splitting vocal duties. The duo’s knack for hooks in directions was influenced by yacht rock, and after teasing with the single “Kids These Days,” the full-length “Don’t Get Heavy” was released in 2013. Now, Fur Trade is back with their first new music in just about a decade —earlier this year, the band kicked things off with the release of their first single, “LOL Trash,” and now, they’re keeping things going with this new track, “Make it to the Morning,” alongside accompanying a music video, directed by the band. Stay tuned for more new music, coming via Light Organ Records.

Kit Major – “Break Up Again”: A charismatic presence for layers of alt-pop attitude, a touch of punk, and big pop hooks borrowing from diverse aesthetics and influences. With the other single “I Wish U Didn’t Hate Me So Much” we witness the start of what Kit Major is calling the “Love. Sick. Major.” Era. Speaking on the double singles and video, Kit wrote: “The video is the first introduction to my next era, titled ‘Love. Sick. Major.’ It was a dream of a music video to make and put together; it’s very Beatlesque. I’ve been performing with my band since November and it’s so exciting to have our first video all together. It was directed by Adrian Vega Albela Osorio, who has been a long-time friend and collaborator. ‘IWUDHMSM’ is funny to me because it’s such a long title. I tried every option, but nothing fit as well as just saying the full sentence! Saying, ‘I wish you didn’t hate me’ is so intense. You can hate me…I just wish you didn’t hate me SO much.” Stay tuned for more coming soon from Kit Major.

MIDNIGHTCHOIR – “Molotov”: A dark electronic number with goth Bauhaus-like vocals by New York-born and raised electronic producer Patrick Bobilin… well the B-side is a cover of “Bela Lugosi’s Dead.” On “Molotov,” Bobilin wrote: “After seeing how the sausage is made running for office in New York City and being arrested during the 2020 racial justice protests, there’s no hope in my mind that we can change the system from within. ‘Molotov’ was written with the spirit of protest and frustration with the decades of empty promises made by leaders. I learned first-hand that the only thing that motivates elected officials, from judges to city council members to federal elected officials, is fear. Whether it’s fear of their stock prices going down, their campaign accounts drying up, or losing the next election, it’s the one thing that unites them all. With an eye on the lost art of ‘dangerous music,’ I decided to write ‘Molotov’ from the perspective of the 99%. Maybe they need to fear us a little more than they do.” MIDNIGHTCHOIR has confirmed the forthcoming release of their second album, “Loverboy Molotov,” a follow-up to 2016’s “THE CROWN,” to be released on July 14. The accompanying music video was directed and edited by lead vocalist and songwriter Patrick Bobilin.

Iguana Death Cult – “I Just Want A House”: Loud synth, rebounding percussion, and manic guitar riffs for a punk song inspired by something you could compare to Devo at times (especially the vocals) or ‘70s post-punk and garage rock. On the track, the Dutch rock band wrote: “O the trouble we’ve found ourselves in! Young people are struggling to find a decent place to live, summers have gotten so hot that vast areas of land are turning into scorched earth, not only is there a patch of plastic in the ocean the size of Texas, but apparently we swallow a credit card’s worths of microplastic per person every week. Human greed has pushed us to the limits of existence. But since we wrote this groovy dancing song about it, we’re probably not even close to being scared enough.” Continuing on the track’s accompanying video, they wrote: “Because we were playing shows in the UK, we weren’t able to work on this video ourselves, so we gave Hache complete freedom to make what he wanted. He joined forces with his actor friend Nol Klis and artist Helia Rafi, who made the 3D render. ‘The idea for the video was about somebody trying to run away from the city and decided to live in the forest by himself. But you can’t run away from yourself!’ says Hache. I think it covers the song’s message very well since it’s about having trouble keeping up in a rapidly changing world and the desire to have a place of your own.” Alongside the single, the band additionally shares a music video for the record’s focus track, “I Just Want A House,” described as a “funky millennial nihilist anthem.” “Echo Palace” is out via Innovative Leisure

Beverly Glenn-Copeland – “Africa Calling”: An all-percussive start for an African polyrhythmic song, beautifully layering up and honoring Glenn-Copeland’s West African heritage. Commenting on the track Glenn-Copeland says: “In the ‘80s I had the honor of performing with an incredible artist named Dido, a master of the drums indigenous to West Africa. The beauty of this drumming tradition is explored in ‘Africa Calling’. Over the years, in many conversations, I have come to understand that I share an undefinable, unnamed feeling — a calling — with many other members of the African diaspora, a bone-deep need to explore and express our heritage. Alongside the grief, there is a longing to know our roots, hidden from us as family lines were torn apart in the terrible days of the trans-Atlantic slave trade. In a world still caught in the ties of colonialism, I know I am not alone in needing to heed the call of this generations-old longing.” Beverly Glenn-Copeland has announced his long-awaited new album, “The Ones Ahead,” due out July 28th via Transgressive. This is his first studio LP in almost 20 years and the first since the extraordinary career renaissance triggered by the rediscovery of his now-classic Keyboard Fantasies album. The album was recorded in collaboration with producer John Herbermann and Indigo Rising (Bianca Palmer, Jeremy Costello, Nick Dourado, Carlie Howell, and Kurt Inder), the band that accompanied him on his inaugural European tour, adding a cinematic richness to these intricately textured electroacoustic arrangements. The album was recorded in a remote studio in Nova Scotia in late 2021, then finished in 2022, with Herbermann recording live from the floor, capturing the dynamic interplay among the group.

FORAGER – “Fuji or a Trek”: A light pop track with vaporous vocals, jazzy to funky arrangements, and unexpected sonic detours. The band wrote: “First, a spontaneous bike ride to Coney Island, then a chance encounter with your high school English teacher at a rave. These two events inspired the sentiment behind “Fuji or a Trek”: things that used to make you feel youthful suddenly seem to do the opposite. That theme is underscored by a dramatic musical gesture—halfway through the song the uptempo drum and bass beat swerves into a slow, heavy funk groove. The song morphed into its final form over a year’s worth of rehearsing and performing the song live.” Even more than any of their past five singles, “Fuji or a Trek” captures the core of FORAGER: high musicianship infused with kaleidoscopic pop energy. “Fuji or a Trek” is written and performed by Shyamala (vocals), Jack Broza (guitars, keys, bass), and Colum Enrique (drums), was mixed by Jack Broza, and mastered by Jamie Lawrence.

Genesis Owusu – “ Leaving the Light”: A pulsing tempo running behind Genesis’s breathless vocals delivered with an anxious urgency for a genre-defying and captivating song. The track is a fervent anthem about survival and perseverance with feverish verses and echoed shouts, including a jolting mix of poetic punk and melodic catharsis, exploring form and rhythm and accompanied by a sci-fi music video. The ARIA award-winning Ghanaian-Australian artist, born Kofi Owusu-Ansah, has announced his highly anticipated sophomore album, “STRUGGLER,” out on August 18 via OURNESS / AWAL. “THE STRUGGLER RUNS THROUGH AN ABSURD WORLD WITH NO ‘WHERE’ OR ‘WHY’ AT HAND. JUST AN INSTINCTUAL INNER RHYTHM, YELLING AT THEM TO SURVIVE THE PESTILENCE AND LIGHTING BOLTS COMING FROM ABOVE. A ROACH JUST KEEPS ROACHING,” wrote Genesis Owusu in all caps. After launching onto the global map with his critically acclaimed debut album, 2021’s “Smiling with No Teeth,” Owusu takes his next steps forward with “STRUGGLER,” an imminent exploration of the chaos and absurdity of life, and our ability to endure. Where “Smiling With No Teeth” uncovered the battle against depression and racism, “STRUGGLER” is about how to get through it. The album takes inspiration from a close friend hitting the brink and coming through the other side, in conjunction with prompted questions of life and beauty that Owusu found himself contemplating during readings of Samuel Beckett’s “Waiting for Godot” and Franz Kafka’s “Metamorphosis.” Recorded between the US and Australia, the album’s producers traverse musical genres; from Jason Evigan (RUFUS DU SOL, SZA), to Mikey Freedom Hart (Jon Batiste’s 2021 Grammy of the Year Album, We Are), Sol Was (Beyoncé’s Renaissance), and original producers, Andrew Klippel and Dave Hammer. Additionally, Owusu has collaborated with Lisa Reihana on “STRUGGLER”’s complete visual identity. Having been showcased in elite institutions throughout the US and EU including the Venice Biennale for her critically acclaimed video installation, In Pursuit of Venus [Infected], Reihana’s work spans a diverse range of mediums. From film to costume and body adornment, plus video installation, Reihana has rightfully earned a reputation as a world-renowned artist and producer, engaging in thought-provoking dialogues around the concept of culture.


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