Reflektor

International Music Magazine

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Tame Impala share a new song titled, “Posthumous Forgiveness” 

December 4, 2019

Kevin Parker aka Tame Impala has just come out with the third track for his upcoming album titled “Posthumous Forgiveness”. The Australian’s forthcoming album is set to be released on February 14th, 2020 titled “The Slow Rush”. The previous tracks are the following, “Borderline”, and “It Might Be Time”.

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Kim Gordon has shared a new song titled “Hungry Baby”

October 7, 2019

Kim Gordon (Sonic Youth) has shared a new track called “Hungry Baby”. The artist will be her debut solo LP on October 11th and it is titled “No Home Record”. You can listen to the new song below. Gordon has released 2 tracks previously in support of the upcoming release. The singles are titled “Paprika Pony” and “Don’t Play It”.

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FKA Twigs shares new video for song “home with you” 

October 7, 2019

FKA Twigs has just released a new video for her song “home with you”. Her new album is set to be released on November 8 and will feature collaborations with Future, Skrillex, Jack Antonoff, Oneohtrix Point Never, Cashmere Cat, and benny blanco. The album will be titled MAGDALENE and is the follow up to her 2014 record M3LL155X. FKA Twigs said the following in a press release about the video, “You can take the girl out of the suburbs but you can’t take the suburbs out of the girl,” 

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Chattanooga’s electro-crooner ‘Dirty Blonde’ debuts new video, ‘Hands Off’

Maxwell Denari

February 26, 2019

Tennessee has a lot of history with music and people across the world know it. Nashville is known as “Music City”, Memphis is the birthplace of Rock and Roll and the home of legendary ‘Stax Records’... a label credited with helping popularize the brilliance of Southern Soul and Gospel sounds. Yet, Chattanooga is no outlier… having produced the iconic Soul group, The Impressions, prior to their relocation to Chicago. The sentiment of music heritage is still alive and well in Tennessee… and Chad Caroland contributes to this sentiment in a modern-day sense with Dirty Blonde.

Dirty Blonde comes by way of Chad incorporating Alternative R&B style lyricism and Synthpop influenced production. However; Dirty Blonde comes around with a much more textured and sleeker sound on the new single/music video, “Hands Off”. The production of the music video and the song come along with the help of two fellow Chattanooga Residents, videographer ‘Davy Granberry’ and producer ‘Summer Dregs’.

The new track is from Dirty Blonde’s upcoming EP, “BLUEBLOOD, Vol. 2”, which will be available on all platforms come April 19th. The song itself promotes a gradual shift into a darker, more emotive sound in comparison to Dirty Blonde’s synthy debut project, ‘Chasing Skies’. The music video for “Hands Off” provides a fragile ambiance surrounding the pressures of uncertainty as a young person. The anxieties of self-doubt as a whole. All of these aspects showcase a musician trying to expand their craft sonically whilst developing wholly as an artist.

Be sure to stream “Hands Off” on Friday March 1st on all platforms and check out the music video via the link below. Dirty Blonde’s debut LP ‘Chasing Skies’ is provided below as well.

https://dirtyblondetunes.bandcamp.com

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Photo Gallery: Houndmouth at Motorco in Durham, NC

Madelyn Matthews

February 25, 2018

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Photo Gallery: Deerhoof at Motorco in Durham, NC

Madelyn Matthews

February 25, 2018

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Photo Gallery: John Maus at Cat’s Cradle in Raleigh, NC 

Madelyn Matthews

February 25, 2018

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Cool Boy talks influences, beginnings, his debut EP, and more

January 31, 2018

Photos by William Sheepskin

Zachary Zonomessis has just launched his solo project in which he goes by the name Cool Boy. We previously got to know Zach as one-third of the indie rock band Youth Gallery. This time around he’s Cool Boy and just a few days ago he shared his debut EP ‘Midnight Gentleman’ via Zonosphere Records. The EP features 5 songs that carry catchy pop melodies, dreamy guitar riffs, and a collection of teenage narratives. The project first emerged after Zach made a move from his hometown of Cape Town, South Africa to London, England. We caught up with Zach and talked about the EP, his influences, future plans, and more.

To start off I’d just like to ask, how did the name ‘Cool Boy’ come about for this project?

The name Cool Boy came from a fan, yeah a fan that blows wind haha. About 6 months ago when I came across to London, the place I was staying at had a fan in the room, an old retro one. It was silver and blue and said big on it Cool Boy. So when I started coming across this new sound I had, I just looked at the fan and thought might as well call it Cool Boy. The orange circle came from the London Overground and oranges. I'm trying hard to keep the theme of Cool Boy high so whenever someone sees an orange circle they think of Cool Boy. 

You just recently moved from Cape Town to London, did this project start in London? If so has the move influenced your music?

Yeah, 100%. Cool Boy started in London and the move defiantly brought this new sound out of me. 

Can you tell me a little about the music scene in South Africa and how it differs from the scene in England?

The music scene in South Africa is very small, its much harder to make it and stand out, it's also very clicky. So everyone knows everyone haha. London music is on the next level, so many places to gig and people to meet, also the connections are everywhere, you kind of just need to put yourself out there.

Why is this EP titled Midnight Gentleman? 

I had so many names for this EP,  that I left naming it to the last minute and when it came around to naming it I actually just put all the names I had into a Wu-Tang name generator and got Midnight Gentleman. It fit so perfectly and described the EP as a whole the best way possible. 

Musically who would you say your influences are on this EP, what was the recording process like, and how would you describe your sound?

I take influence from almost every artist I listen to. But I can say that I was listening to some Toro Y Moi, Matt Corby, and Frank Ocean. I try not to listen to that much music leading up to recording, I feel it helps me come up with melodies. I recorded all the demos in my room in London and then did the final recordings in Cape Town. I like to bounce between places, adds some texture haha. Describing the Cool Boy sound is a hard one, Its like a bedroom party with heartbreak and indie hit playlists on in the background haha.

On this EP what inspired you the most lyrically? Are the songs connected in any way in terms of their theme?

I feel like the EP does have a theme throughout it, I refer to some stuff in more than one song. Also when writing, I plan to write an EP or album and then go from there, I’d not really just write one song, I have way more fun building a project.

Can you tell me a little about the video for London Room? How did it come about and what is the idea you had behind it?

I worked with two artists (Albert Riera Galceran & Reuben Beren James) and there production team (Adeo Studios) to do the video. We worked a lot on the theme and idea and made sure there was a story to it. The whole video was based about the song and the lyrics and meaning behind it. I don't really want to give everything away, I really enjoy people finding there own meaning in the song and video.

Where would you like to take this project next? Will there be any upcoming releases, shows?

This is just the start of Cool Boy. There are new releases coming and shows. I can't say when because of all the logistics, but sooner then you think.

Anything else you’d like to mention?  

My band Youth Gallery is also still working on new releases and shows. We have new music and content coming soon. I'm working hard on keeping the two projects separate and making sure they can stand on there own. I get different levels of joy working on different projects. With Cool Boy I do everything, the music is 100% what I want it to be and with Youth Gallery, there are 3 minds working together to make something everyone likes which has its fun in it too. But yeah 2019 is going to be a big year!

Follow Cool Boy on Instagram here

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Cage The Elephant just dropped a new song titled ‘Ready To Let Go’

January 31, 2018

Our favorite Kentucky rockers have just released a new song titled, ‘Ready To Let Go’. Additionally, the band has shared a video directed by frontman Matt Shultz. The band has also announced that their upcoming album will be titled ‘Social Cues’ and will be released on April 19th. The very anticipated record will be the follow-up to their Grammy-winning 2015 album ‘Tell Me I’m Pretty’. One of the tracks on the album titled 'Night Running' will feature Beck. Watch the video and stream the song below. 

Album Artwork

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Interpol release additional tour dates and a new song

January 30, 2018

01-31 Vancouver, British Columbia - Queen Elizabeth Theatre ! 02-01 Portland, OR - Keller Auditorium ! 02-02 Seattle, WA - Moore Theatre ! 02-05 St. Paul, MN - Palace Theatre ! 02-07 Chicago, IL - The Chicago Theatre ! 02-08 Milwaukee, WI - Pabst Theater ! 02-09 St. Louis, MO - The Pageant ! 02-11 Nashville, TN - Marathon Music Works ! 02-12 Athens, GA - 40 Watt Club ! 02-14 Raleigh, NC - The Ritz ! 02-15 Washington, D.C. - The Anthem ! 02-16 New York, NY - Madison Square Garden ^% 03-28 Buenos Aires, Argentina - Teatro Vorterix 03-29 Buenos Aires, Argentina - Lollapalooza 03-30 Santiago, Chile - Lollapalooza 04-02 Asuncion, Paraguay - Asuncionico 04-05 Bogotá, Colombia - Estereo Picnic 04-07 Sao Paulo, Brazil - Lollapalooza 04-09 Lima, Peru - Domos Art 05-01 Morrison, CO - Red Rocks Amphitheatre ! ^ 05-02 Kansas City, MO - Arvest Bank Theatre at The Midland $ 05-04 Atlanta, GA - Shaky Knees Festival 05-05 Charleston, SC - North Charleston PAC 05-07 Jacksonville, FL - Florida Theatre 05-08 St Petersburg, FL - Mahaffey Theater 05-10 Miami, FL - Fillmore at Jackie Gleason Theatre 05-11 Orlando, FL - Hard Rock Live 05-25 London, England - All Points East Festival 05-30 Barcelona, Spain - Primavera Sound 06-01 Kværndrup, Denmark - Heartland Festival 06-02 Hilvarenbeek, Netherlands - Best Kept Secret 06-04 Cologne, Germany - Palladium 06-05 Wiesbaden, Germany - Schlachthof 06-07 Porto, Portugal - NOS Primavera Sound Festival 06-10 Moscow, Russia - Adrenaline Stadium 06-12 Kiev, Ukraine - Green Theatre 06-21 Neuhausen ob Eck, Germany - Southside Festival 06-23 Scheeßel, Germany - Hurricane Festival 06-25 Leeds, England - O2 Academy 06-26 Brighton, England - Brighton Dome 06-30 Marmande, France - Garorock 07-02 Paris, France - L'Olympia 07-04 Belfort, France - Les Eurockeennes de Belfort 07-07 Hérouville-Saint-Clair, France - Beauregard Festival

! with Sunflower Bean ^ with Car Seat Headrest % with Snail Mail $ with Foals

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The Beatles announce a new collaboration with filmmaker Peter Jackson

January 30, 2018

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Cage The Elephant will be back this Thursday with a new single!

January 28, 2018

Kentucky rockers Cage The Elephant will be making their return this Thursday (Jan. 31) with a single titled ‘Ready To Let Go’. This will be the first song off their upcoming album that currently does not have a release date or title. The very anticipated record will be the follow up to their Grammy-winning 2015 album ‘Tell Me I’m Pretty’. Over the last few months, the band has been teasing the album on social media and it looks like we’re finally getting closer to its release! Check out the artwork and the very short teaser the band has shared below. 

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Florence + the Machine share their first 2 tracks of 2018

January 25, 2018

Photo Credit: Lilie Eiger

Florence + the Machine have just released 2 songs, ‘Moderation’, and ‘Haunted House’. This is Florence’s first release since her critically acclaimed album ‘High As Hope’ was shared in June of last year. ‘Moderation’ according to a press release is “another driving force of nature that sees Florence’s new-found confidence ride high when it comes to love and relationships”. In contrast, there is the delicate tune ‘Haunted House’ which is “an open and exposing song that captures Florence’s more intimate vocal style.” You can catch Florence + the Machine on tour in Europe in the months of January and March. The group has also been announced as a headliner for this year's Gov Ball Festival in New York City. Check out the dates here. Listen to the singles below. 

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William Tyler continues to plumb the complexities of the American identity on ‘Goes West’, perhaps his most subtly hopeful release to date 

Kyle Crockett

January 25, 2018

The last time I heard something I felt like I deeply needed to hear, it was the Go-Betweens’ painfully beautiful break-up album, 16 Lovers Lane. Grant McLennan and Robert Forster’s lyrics and perfect musical arrangements paint a more complete picture of love and loss than I have heard on any other pop music release. I remember turning it on for the first time those years ago, at that point at least a year removed from my own heartbreak and still wildly uncertain about the things going on inside me—not to mention how they were manifesting. The Go-Betweens opened my heart’s latch and I hung on each syllable, feeling all of my emotions unfurl before me in real time. It was an intoxication, an exorcism, an awakening, a frenzied release, amplified by the resounding awareness that I was engaging with something that I was always supposed to encounter. The world seemed to have chosen this moment and this music only for me, and when it presented the thing, I latched onto it with obsessive commitment.

How can a wordless album accomplish essentially the same thing?

William Tyler has operated within the mystery of this question for some time now. 2019’s Goes West is the guitarist’s fourth studio release since 2010 and his third with the titans of Merge, and it arrives as a deeply rich, beautifully subdued culmination of the musician’s decade-long contemplative American odyssey. From his debut Behold the Spirit to now, Tyler has offered a complex arc that works to define many of the characteristics of this place and its modern identity; there is an exhilarating freshness everywhere, but behind it is a thick melancholy, an intense longing to identify and protect the beauty of this world from its own shortcomings. He ruminates on this identity through instrumental arrangements driven by shimmering guitars, fingerpicked and thumb-droned to carve out, somehow, one of the most unique voices in modern American music without offering a single word.

Since embarking on his solo career, Tyler has committed himself to holding a mirror up to the face of his neighbors, no matter how far removed from him they are. He understands the interconnectedness of this century and the wild promise it offers. He communicates his faith in that promise through the traditions that have followed its evolution, arming his lush musical style with the structural cornerstones of country and blues, the inescapable progress of work and struggle, the encompassing essence of hope in the ones next to him, and a relentless belief in the one within.

Goes West makes good on this decade of promise. His first record with a full band behind him is surprisingly perhaps Tyler’s quietest release. This song cycle finds the composer engaging deeply with the subtleties of both his medium and his subject. Like much of Ry Cooder’s poetic guitar work, Goes West elaborates on those subtleties with beautiful mastery, a tone poem that whispers its worth into the listener’s ear as if to say, things will be better, look at all the good you and I have already done, listen to it growing, taking the place of dark things whenever it can, search for it every moment you can.

I listened to Goes West before I did anything else today. I drove to work and bathed in the gift of knowing, once again, that the world had chosen a new moment only for me. Wordlessly, William Tyle told me a universe of things that I needed to hear this morning. In “Fail Safe,” a rich guitar flourish opens up to a highway and succumbs to the abandon, the childish wanderdrunk that accompanies the road to a faraway destination. “Call Me When I’m Breathing Again” plays just like sadness that you can’t name, the kind you can only feel and know deeply, the kind that never leaves but only becomes more manageable. The stunning “Rebecca,” very possibly my favorite track of Tyler’s, is a universe of suggestion. Sparse pianos chime like hints of warmth amid frozen memories; Tyler’s guitar plays a melody kindled by longing and accentuated by its own resolve to love, despite things.

William Tyler’s music is one of this century’s greatest treasures. For Americans young and old, his music should come to you as a beacon of genuineness, and a shield against its opposite. Tyler has never been one to force himself on his neighbors; his music quietly knocks at the door, knocks that seem to tell you themselves that a friend is calling. Accept his wordless invitation, open your ears, and enter into one of the most meaningful conversations you can have through modern popular music.

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