The Brooklyn-based trio has made a very ’80s splash on their debut album “Introduction, Presence,” with many songs not out of place if they were on “The Breakfast Club” soundtrack. And yet it also sounds utterly fresh.
There are clear echoes on the excellent 10-track collection of New Wave icons like New Order, Depeche Mode, Erasure, The The, Yazoo and Pet Shop Boys, but also more than a hint of The National.
Nation of Language is made up of vocalist Ian Devaney, his keyboardist-wife Aidan Devaney and bassist Michael Sui-Poi. They combine to create spare song architectures and smartly avoid the silly flourishes that made some ’80s-era music dated.
The National has released a cover of the INXS hit “Never Tear Us Apart,” recorded for an upcoming charity album benefiting the ongoing Australia bushfire relief efforts.
Titled Songs for Australia, the compilation was curated by Julia Stone, one half of the Australia indie folk duo Angus & Julia Stone.
Després de dos mesos de silenci degut al trasllat dels estudis de Ràdio Ciutat Vella tornem amb nou horari i amb més ganes. Cada dijous de 10 a 11 de la nit i cada dissabte d’1 a 2 sintonitza el 100.5FM Barcelona.
Divus Julius Bonasera ens parlarà del Primavera Sound i repassarem els nous disc de The National, Vampire Weekend i Local Natives; punxarem també el més nou de Tame Impala Bon Iver, Kaiser Chiefs i Noel Gallagher i us presentarem a The Wants, CARLA o Africa Express.
Aquesta nit a les 10!! Torna el millor programa indie!
Ville à Dômat: Sound Bites
Life is what goes on between one Bon Iver album and another. Or, at least, this is what happens to Justin Vernon. His increasingly complicated relationship with fame and his ego have pushed the author of For Emma, Forever Ago towards unexplored terrains like those of Volcano Choir, The Shouting Matches and now Big Red Machine, a project that actually began years ago when doing a collaboration for a charity compilation together with his brother from another mother, Aaron Dessner from The National. Together they organise utopic festivals (Eaux Claires), create alternative models for the industry (the streaming portal PEOPLE) and they also write music, of course. They are surrounded by so many artist friends that it is surprising that the result of Big Red Machine, the album, is so spot on. It’s a dream crossover, a perfect fit of Dessner’s intimate epic and Bon Iver’s melancholic evocations, of Justin’s experimental laments and Aaron’s astounding progressions. Music as an excuse, as a way and as a purpose.
The second day of Primavera Sound 2018 at the Parc del Fòrum is just as full and amazing as the first. Established and adored American indie rock band The National, with the voice and presence of frontman Matt Berninger, take the stage with their seventh album, ‘Sleep Well Beast’ (2017); then you can opt for something completely different with the Barcelona debut of the best-selling hip hop superstar trio from Georgia (USA), Migos, with their latest effort, ‘Culture II’ (2018), which entered the US Billboard charts at No 1; also from the States, it’s Californian MC Tyler, the Creator, who’s back at Primavera Sound to present his fourth album, ‘Flower Boy’ (2017); the trio of sisters Haim also return to the festival with a new album, ‘Something to Tell You’ (2017), under their usual influence of ’70s and ’80s pop and rock; the return we’ve all been waiting for with French actor and singer Charlotte Gainsbourg – daughter, if you didn’t know, of Jane Birkin (who’s also performing in the festival) and the legendary Serge Gainsbourg – presenting her album ‘Rest’ (2017); guru of American pop folk of these turbulent times, Josh Tillman, also known as Father John Misty, who’s promised a new album in 2018, even though ‘Pure Comedy’ (2017) is still hot in our hands; the unclassifiable sounds of musician and producer Arca; a session at the decks from former Beastie Boy Mike D; favourites from Scotland Mogwai; big guitar sounds from The Breeders; mellow tunes from Cigarettes After Sex; experimental pop from Panda Bear; and a bit of unexpected madness from John Maus.