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Press Releases For September: Here Are The Artists

press releases for September
Blake Mills is among these press releases for September

Kris Baha & GHOSTS IN THE MACHIИE, Misterwives, Trevor Hall, Blake Mills, Hallie Spoor, Population II, POSTDATA are the artists among these press releases for September.

Kris Baha & GHOSTS IN THE MACHIИE – “Flesh & Code”: A brutal industrial track with harsh beats, sonic strobes, and a futuristic hostile soundscape. This is how the band described the intriguing piece: “Delving into the concept of being trapped in a world that’s governed by code jacked in via trans-humanist machine interfaces automated by AI systems. Our flesh and code are trapped in networks encrypting our ghosts. The merging of our consciousness within the digital realm. The majority of our minds remain as streams of 0’s and 1’s aligned with AI systems rather than the other way around. The coded realm now exists within them, dividing and destroying their physical and digital self although an awakening has occurred for some. There is a haunting presence of another realm, hinting at a past where humans had autonomy and control over themselves. Metaphorically, the track represents the desire to break free from societal constructs, experiencing alienation, doubts, and glitches that plague one’s existence. It conveys a sense of not belonging and the search for a place where one truly belongs. Sonically, the song traverses the cyber waves of the net experiencing glitched swells of drum and bass, dreamy vocals that morph to screams in pain, in code, in the industrial hyper punk madness of the cyber ether.” Kris Baha, a fixture in Berlin’s Industrial EBM & club scene, has built a loyal fanbase of followers in the electronic music scene over the last 13 years from Australia to Berlin. He will release a new album later this year via Fleisch Records.

Misterwives – “Dagger”: An aggressive track exploding in many directions with vicious hooks, punchy heavy guitars, pulsating synths, and confident vocals. This is a song from Misterwives’ fourth studio album, Nosebleeds” released this summer. One of the last songs recorded for the album, “Dagger” emerged when the album deadline had passed and just the right amount of pressure, lack of sleep and studio fever had set in. In the midst of hardship, “Dagger” provides a space to heal, to forgive, and to move forward. Lead singer Mandy Lee explains, “The track captures the duality of forgiving hard times while not rushing your healing.” Referencing a lyric from the track that kept resurfacing in the last few years, Lee says, ‘When it all goes wrong maybe it’s right’ became a little mantra while in the trenches that would help reframe moments that felt like a loss and trusting I was gaining space for something better.” “Nosebleeds” propels the group into all new territory, this time, equipped with bravery, confidence, and strength. Through a decade-long career, of tremendous highs and lows, the forthcoming project meets the band at their most evolved as they turn their pain into power. Over ten compelling tracks, the band digs deeper than they ever have before, capturing the nuances of life’s highs and lows and redefining what it means to succeed and to fail. Unafraid to fall apart, the album observes the band piece themselves back together, better than ever before. Now with a new MisterWives era here, Mandy Lee says, “‘Nosebleeds’ reclaims the vastness of our full emotional experience without censoring the gruesome truth of feeling beat down and kept high up from where you want to be. A liberating unlearning of silver linings that leans into the messy middle.” Alongside a fresh sound, unflinching vulnerability, and palpable confidence, Lee continues, “The album is a homecoming to truth and freedom of self-expression, and in doing so, we find ourselves in the new territory both sonically and lyrically that unlocked our most raw, dynamic and empowering music yet.”

Trevor Hall – “shake it out”: Raucous vocals over disjointed beats, bumpy synths, and weird sonic effects for a rather joyful result. “’shake it out’ is about moving energy, releasing anything that doesn’t serve our highest good, and tapping into that creative power that’s within us all, and CELEBRATING IT!” says Trevor.  “Trevor Hall and The Great In-Between” marks the start of a new era for musician Trevor Hall. Releasing September 15th, 2023 on Hall’s own 3 Rivers Label, the highly-anticipated record delivers a future-folk masterpiece anchored in Hall’s beloved style, while simultaneously bringing a refreshing new sound to the forefront. Created solely within the confines of a barn-turned-studio in his own backyard, this record marks the first of Hall’s career where he helmed every aspect of the production process. Penned without external influence and from a purely creative and explorative space, “Trevor Hall and the Great In-Between” unveils raw and unfiltered facets of Hall that remain undiscovered. Hailing from a small island in South Carolina, Hall was raised in a musical family and began formally studying classical guitar in high school at Idyllwild Arts Academy. Quickly thrust into the world of major labels, Hall signed a record deal at the young age of sixteen. After realizing the restrictive nature of such deals, he decided to pave his own way and reclaim his artistic freedom. Starting in 2017, he began releasing music independently. Since then, Hall has sold hundreds of thousands of albums and amassed billions of streams, leaving an indelible mark on the lives of countless listeners. His memorable live performances have graced venues around the world, including multiple sold-out headline shows at the historic Red Rocks Amphitheater.

Blake Mills – “Press My Luck”: A very personal folk song simply executed on guitar with plenty of creative and avant-garde background sounds fleshing out the song with a rare inventiveness. This is a song from Grammy-winning producer, composer, guitarist, and songwriter Blake Mills’ solo album, “Jelly Road,” co-written and co-produced by Chris Weisman and released on New Deal / Verve. Mills learned of Weisman through a friend while making the acclaimed album “Notes With Attachments” with bassist Pino Palladino. Mills reached out and the two quickly began collaborating on material via email, starting with songs for Amazon Prime’s lauded limited series Daisy Jones and the Six, for which Mills worked as the Executive Music Producer and chief songwriter, writing and producing all the original songs from the show and its accompanying record Aurora, while working closely with the singer and guitarist Weisman, among others. Together, the pair wrote the entirety of Jelly Road which was recorded and co-mixed by engineer and frequent Mills collaborator Joseph Lorge (Bob Dylan, Phoebe Bridgers, Feist). The duo is coming off a run of sold-out dates around Mills’ performance with Joni Mitchell at Washington’s The Gorge Amphitheater. The Blake Mills Featuring Chris Weisman Tour took them to select cities on the West Coast, where they played music from Jelly Road as well as select songs from throughout their varied careers. Grammy Award winner and two-time Grammy Award Producer of the Year nominee, Blake Mills has released four acclaimed solo albums and produced, played, and recorded with artists such as Fiona Apple, Alabama Shakes, Phoebe Bridgers, Perfume Genius, Moses Sumney, Bob Dylan, Laura Marling, Cass McCombs, Jay-Z, Weyes Blood, and Randy Newman, among others. Most recently, Mills contributed to Feist’s latest album, “Multitudes,” which was released this spring. Chris Weisman (b. 1975) is a songwriter living in Brattleboro, Vermont. His dozens of homespun, self-released solo albums are a kaleidoscope of vaulting melodies, wild poetry, overload harmony, melting bridges, and jazz solos. He is the author of “Nonmusical Patterns and their Musical Uses (for Guitar in Standard Tuning),” the inventor of “Inverted Tuning,” and an active member of Intangible Shirt Company: an extemporizing crush of New England Transcendentalist hippie types.

Hallie Spoor – “Diamond Ring”: Touches of Americana, a Joni Mitchell vibe in the vocals for a beautiful folk song landing between upbeat tone and melancholia. This is the lead single from Hallie Spoor’s forthcoming EP “Heart Like Thunder” due on October 17. Spoor elaborates on what the track means to her and how it came to be: “Each verse of “Diamond Ring” is a different love story in my life with the central question of why I was not “the one”. Why was I not good enough to wear your mama’s “Diamond Ring”? In verse one, I am lying on the couch, listening to Neil Young’s “Heart Of Gold” on vinyl while the rain is pouring down with my partner. Next, we’re having a screaming match in the West Village. And by the last verse, I am back with my first love, stargazing in an abandoned horse racing track in Nashville, TN. Lyrically, the story takes us to the acceptance and peace of knowing none of these were meant to be, but that in another life we could be friends. I aspire to have that level of acceptance in my songs because it’s so hard to do this in real life with all the baggage and pain I carry with me. Like the ending of “Annie Hall” when Alvy runs into Annie and they have lunch in a sunny diner. He parts ways with his former love remembering how great she is, and how happy he is to have known her. He says, “You know, we’re always trying to get things to come out perfect in art because it’s so difficult in life.” Sonically, there are a lot of special jewels in “Diamond Ring.” First, the drums by JT Bates. We actually had to re-record the drums for most of the album because the tempos evolved so much from when I first recorded, but we could not let go of the gorgeous drums that JT did on “Diamond Ring ” and “Shenandoah”. The drums have this train-chugging shuffle that is haunting and rich, they feel so natural and live to me. The second thing that is notable about this song’s arrangement is the beautiful bridge that producers Stephen Chen and Ted Young helped me bring to life. The song takes on this slow, longing build with the strings rising and rising, and vocals creating the swirling “Oh’s” echo effect. This section moves the story into a new world, and I just love it.”

Population II – “Beau baptême”: A trippy psychedelic piece with fuzzy outbursts of guitar distortion in contrast with the general softness of the vocals (in French) despite an occasional emotional primal scream. This is a song from Population II’s long-awaited LP, “Électrons libres du québec,” due October 6th via Bonsound (marking the 100th album to be released by the Montreal-based label). “Électrons libres du québec,” Population II’s sophomore album, is more straightforward than “À la Ô Terre, its predecessor” released on Castle Face Records back in 2020. On this new effort (produced by Emmanuel Éthier) the three-piece band — made up of singer/drummer Pierre-Luc Gratton, guitarist/keyboardist Tristan Lacombe, and bassist Sébastien Provençal — delivers a heavy, psychedelic rock-infused sound with feverish funk rhythms, a hint of jazz philosophy, a burst of early punk energy, and a love of minor scales that harkens back to the roots of heavy metal. With Électrons libres du québec, Population II once again showcases their sharp sense of songcraft and undeniable expertise of their instruments. This is an album that effortlessly maintains a balance between challenging compositions and creating instantly memorable melodies. Expressing an author’s psychological journey towards a task to be completed, this track is inspired by the genesis of ideas, the way they are born, and the opinions we form from them. “Si toi aussi t’as quelque chose dans tête / Calme-toi pis va l’chercher,” shouts drummer/vocalist/lyricist Pierre-Luc Gratton, referring to the fact that some writings come spontaneously and easily, while others require a long and deep reflection.

POSTDATA – “Try”: A familiar guitar strumming, laidback vocals for a bouncy and catchy pop tune, a single from POSTDATA’s upcoming LP, “Run Wild,” due on September 22 via Paper Bag Records. As a follow-up to the record’s first single, “Try” by POSTDATA — the solo music project of Wintersleep lead singer and songwriter, Paul Murphy — finds Murphy wrestling with the Sisyphean struggle of working as a musician, the sweetness and the bitterness that swap places each day. “Try, try another road, drive until you break down/Try, try, weather all the storms, drive into the eye now,” he urges on the chorus. As Murphy wrote of the track: “I think this is about following your passion wherever it leads…there’s a sense of humor I think to it and a sense of lightness and darkness and desperation too..essentially, they are the same lyrics in verse 1 and 2 with a slight twist in perspective or that’s what I’m trying to arrive at.” “Run Wild” is a brilliant, technicolor indie rock odyssey. There is a palpable sense of magic and possibility and light to the record, even in its heavier moments. With this collection of 10 songs, Paul Murphy has crystallized the elements he’s played with for decades: pop melodics and structure, prog and indie-rock arrangements, avant-folk intimacy and quirk. Murphy plays the mad alchemist, precisely combining these pieces to create a record that feels like a thick, sprawling, sun-soaked magic garden, where listeners can sprint and jump and scream and laugh, and feel whatever it is they need to feel. “I felt like it was time to take POSTDATA someplace new, and be a little more free with what it is,” he says. “I was trying to go all-out stylistically, and trying to flesh out all the different places that it could actually take it. I wanted to give it more space, allow it to go wherever it needed to.” Run Wild, from its encouraging, bright-eyed title right through Murphy’s lyrics and prose, brings vibrations of self-discovery and growth. Murphy explains that a lot of the songs ended up being about trusting yourself and coming into your own, two processes that often go hand in hand. “At its best, songwriting is a place where you can feel yourself transitioning to new heights and lows,” he says. To bring Run Wild to life, Murphy and co-producer Joe Chiccarelli (The Shins, The Strokes, Morrissey) met at Tragically Hip’s renowned Bathouse studio in Ontario, Canada for a five-day stretch of 15-hour work days. Murphy initially planned to work on a record of heavier material, but Chiccarelli listened to a batch of 40 demos and narrowed it down to a well-curated, diverse grouping, encouraging Murphy to take the album to more provocative and innovative new places. Drummer Jordan Murphy and bassist Keith Doiron (Walrus) tracked the record with them, then Murphy recorded all the vocals from his home in Halifax. Nyles Spencer (The Tragically Hip, Kevin Drew, July Talk) engineered the record, and Matty Green (U2, Dua Lipa) mixed it.


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