GIITTV: NEWS: Tender announce debut album & Share Video

London duo TENDER announce that their hotly-anticipated debut album Modern Addiction is out September 1st through Partisan Records. To celebrate they are sharing the video to lead single ‘Nadir’. watch it below.

After the collapse of a long-term romantic relationship, vocalist and multi-instrumentalist James Cullen, found solace in TENDER and created his most personal work. ‘Nadir’ focuses on the damage done to one’s psyche when staying in a relationship way past its healthy conclusion. Directed by Jack A. Bowden, the video for ‘Nadir’ shows the highs and lows of romantic entanglement through dance. Neale spoke more on the inspiration behind the video saying; “Tender wanted to take the direction of a fragmented and collapsing relationship with this one. I decided to touch on the different dynamics which a relationship can hold. Beyond “happiness” and “sadness”, there are times when two people are just on different paths. No matter the effort they put in, something else is putting them off-kilter and out-of-synch. Call it bad timing, differences, whatever. People also become desensitized to one another, almost reaching slumber, unaware and oblivious to the other’s feelings. The energy of ‘Nadir’ screams dance to me, so I thought it would be interesting to express these dynamics through contemporary dance.”

James Cullen and Dan Cobb’s debut full length, due out September 1st, 2017 out through Partisan Records, explores the phenomenon of ‘comfort and compulsion that is addiction, via a pop record about a relationship. Cullen frames familiar feelings for us to relate to and digest, but simultaneously undermines their presence, leaving the listener holding the same hollow heart that he carried through his addiction. Cobb’s soaring synths and progressive percussion are waxed and shined by the album’s sleek club mix, and the juxtaposition with Cullen’s lyrics is heart-breaking.’

Cullen and Cobb formed TENDER in 2015, as the bedroom project of two flatmates tired of the design-by-committee nature of larger musical groups. Due to their intimate personal geography, Cobb was privy to the ’toxic’ relationship that gestated Cullen’s lyrics, and this record. Gladly enough, in regard to music-making with Cobb, “Nothing seemed like a struggle. We never fought anything,” Cullen remembers. They self-released a few songs and “Armour” wound up on the front page of Reddit a few hours later (with several hundred thousand plays on Soundcloud). Two years and three EPs later, TENDER now have tens of millions of streams across Soundcloud, Spotify and YouTube and have enjoyed Hype Machine’s #1 spot several times with several different tracks.

While Modern Addiction often deals with the bleak realities of a love that’s fading, repeated listens offer a sense of optimism. It’s the relief that comes from getting through to the other side. The second half of the ‘Nadir’ is about “loving someone in a different way,” Cullen says. “Because it isn’t how it was in the beginning, doesn’t mean it’s not real.”

To follow the release of Modern Addiction the band will embark on an Autumn run of dates across both the UK and North America. All dates can be found below.

UK / N. America tour dates:

Aug 29th | Deaf Institute, Manchester, UK
Aug 30th | King Tut’s, Glasgow, UK
Sep 1st | Louisiana, Bristol, UK
Sep 2nd | Bodega, Nottingham, UK
Sep 4th | Sunflower Lounge, Birmingham, UK
Sep 5th | Village Underground, London, UK
Sep 10th | The Echo, Los Angeles, CA
Sep 11th | Constellation Room, Santa Ana, CA
Sep 13th | Rickshaw, San Francisco, CA
Sep 15th | Vera, Seattle, WA
Sep 17th | Cobalt, Vacouver, BC
Sep 19th | Lost Lake, Denver, CO
Sep 21st | Beat Kitchen, Chicago, IL
Sep 22nd | Adelaide Hall, Toronto, ON
Sep 24th | Songbyrd, Washington, DC
Sep 25th | World Cafe, Philadelphia, PA
Sep 27th | Great Scott, Boston, MA
Sep 28th | Baby’s Alright, Brooklyn, NY

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Owen Jones: Labour’s shift has been vindicated. The public is tired of austerity | Owen Jones

Two years ago, Jeremy Corbyn challenged political orthodoxy by not attacking benefits claimants. Now public opinion has aligned with his stance

Do you resign yourself to public opinion as it is now, or do you attempt to change it? That is a question that has long divided Britain’s left and produced two competing strategies. The “centrist” approach is one that amounts to resignation. Voters are where they are, and it is largely futile to campaign to change minds when Labour is in opposition. It will simply render the party out of touch. A longstanding centrist argument was that the public believes austerity is unfortunate but necessary, and so economic credibility is defined by signing up to spending cuts. Labour’s left, on the other hand, refutes this pessimism. Public opinion can change – and dramatically so – if the counter-arguments to rightwing orthodoxy are heard loudly and forcefully.

Related: Dear Andrea Leadsom, shrinking the state is the opposite of patriotism | Polly Toynbee

Related: Clinging to austerity will kill this government – the small-state dream has evaporated | Paul Mason

Continue reading…

GIITTV: Beach House – B Sides and Rarities (Bella Union)

Victoria Legrand and Alex Scally formed the exquisite Beach House back in 2005, and this compilation, the self-explanatorily titled B Sides And Rarities, rounds up every track that the duo have recorded that didn’t make it onto one of their six studio albums.

With the near death of the singles market in recent years and streaming in the ascendency, the concept of a ‘good B-sides band’ is one that is under threat. Just try to contemplate life without those amazing flipsides by The Smiths, The Cure or The Fall. Not a nice thought, is it?

So the good news is that Beach House can now join that esteemed list; the band have explained that they didn’t consider their B-sides to be inferior tracks, just tracks that didn’t quite fit cohesively onto an album, and the quality of material on show here more than bears this out.

‘Equal Mind’ for starters, noticeably has the sound of their arguably career-best album which it was left off (2012’s Bloom), the band explaining that it was too similar to the song ‘Other People’ from the same record. It’s a lovely track, nonetheless.

In 2015, Beach House surprised fans by releasing two albums within six weeks – Depression Cherry and Thank Your Lucky Stars. Two songs from this session appear on the album: ‘Chariot’ is a typically beautiful example of the band’s signature sound, that is Legrand’s other-worldly vocal floating over sublime, blissed out instrumentation, (dream pop if you will), and ‘Baseball Diamond’ is presented in a rougher, home demo-like form.

The oldest song on the record is ‘Rain In Numbers’ which was recorded on an out-of-tune borrowed piano (before the band owned their own) and is the roughest sounding offering here by some distance, but has a definite naive charm. It appeared originally as a secret track on their eponymous debut album.

A real surprise here (unless you happen to own the charity AIDS Research album from which it came) is a cover of Queen‘s ‘Play The Game’, which is comprehensively Beach House-d. Meanwhile, the lush ‘Used To Be’ from 2010’s excellent Teen Dream is presented in its original 2008 single version and is an interesting take – much less polished and more earthy in texture. From the same album there is a ‘Cough Syrup Mix’ of ’10 Mile Stereo’, which has the whole song slowed down from the original recording and is a fascinating alternative to the LP cut.

Two songs from an iTunes session around the time of Teen Dream will be especially interesting to completists – a markedly different version of ‘Norway’ and a song that didn’t make that album at all, ‘White Moon’, which has been remixed as the band wanted to improve on the hastily prepared original session mix.

‘I Do Not Care For The Winter Sun’ was an unmastered internet freebie that is now mastered, while ‘Saturn Song’ apparently includes sounds recorded in deep space yet still has the Beach House trademark aesthetics and is a gently wonderful track.

In B Sides And Rarities, Beach House have offered up an intoxicating glimpse into their alternative universe, which is never less than engaging. If you didn’t like the studio albums, this album won’t win you over, but for fans new and old, it is a treasure trove of Baltimore’s finest’s lesser-known gems.

B Sides And Rarities is released by Bella Union on 30th June 2017.

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GIITTV: Kill West – Gush (Stolen Body Records)

In a post apocalyptic world, somewhere in the hopefully dark and distant future (though the way things are going it looks like it might come sooner than that), Status Quo have now all long since departed, but their souls have been possessed by evil demons who loiter at various locations along the Channel Tunnel, pressing their slowly melting ghoulish faces up against the windows of each carriage as passengers slump fearfully into their seats and cower unsteadily under their tables. This is, in essence, what Kill West sound like initially, at least until the uber-monsters come along, this time an unholy hybrid of Black Rebel Motorcycle Club and Black Sabbath. The Quo spectres (see what I did there, band origin anoraks?) put up a decent fight, but ultimately, nobody messes with Geezer, right?

So it may surprise you to learn that Kill West, the purveyors of this godless racket (and I mean that in a good way, I really do) actually hail from Argentina’s capital city, Buenos Aires. It’s a far cry from Chris De Burgh, it has to be said. This is trance-inducing stuff, often eschewing such throwaway banality of actually having a chorus in favour of swathes of echo and shredded, distorted guitars that may recall the heavy blues of a number of rock’s forefathers, but also cuts a hypnotic swagger that is right up there with The Jesus And Mary Chain. This is a psychedelic drug trip of an album, as though one of US history’s most revered blues musicians (pick one, any will do) has accidentally set foot in an alien lovecraft and spent the evening orbiting the earth creating almighty space jams with his new found extra-terrestrial friends.

There isn’t really much point in me breaking it down into a track by track review, for while the songs certainly don’t all sound alike, there certainly is a lot of common ground between them. So while ‘Faces‘ and ‘This Daze‘ are urgent and brash, by the time we reach the title track and ‘Skull & Bones Blues‘, things have descended into a slowly hip-swinging, rootsy bluster, but, and here’s the key, there is always, ALWAYS, a sense of malignant menace that seems to pervade throughout. But then at the same time, the sound is so invigorating that you just can’t help but find yourself being swept away on the aforementioned spaceship too, ready to experience whatever sordid pleasures await you on the planet Gush.

Oh yes, Kill West might well take no prisoners, but they’ll sure as hell hold you captive, at least for thirty seven minutes, until the finale of the vaguely Stones-y ‘Jungle Mind‘, which, fittingly, you might well find yourself waking up with. Ace.

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GIITTV: Video Of The Week #39: Tom Adams – Time [PREMIERE]

Tom Adams is a Cambridge born and Berlin based singer-composer released his debut album Silence via Kowloon Records last month. Today we premiere a brand new video for ‘Time’ here, filmed in Norway watch above.

Using the studio as an instrument, Adams’ exploratory production techniques left his signature mark on a collection of tracks that’s haunting arrangements and glistening falsetto-led peaks echo the ghost of Jeff Buckley circling the musical orbits of modern innovators like Jon Hopkins, Anohni and Jónsi of Sigur Ros.

Adams started playing the piano as a child but things didn’t fall into place until he bought his first electric guitar as a teenager. He quickly became obsessed with songwriting, finding inspiration in his surroundings, “Living in the countryside is lovely for writing as you can leave so much space in your music – the perfect situation for delicate sounds.” A big turning point for him came during his first visit to Berlin in the summer of 2014 however; “The night I arrived I went to a Nils Frahm show. After his set, he invited a member of the audience to come onstage and play. I got up and the response was amazing.” Frahm’s manager subsequently took him under his wing and went on to introduce him to Kowloon Records. Since relocating to Berlin, he has found himself embracing the idea of noise for the first time, “I have in the past been extremely focused on making things perfect in my music, but now I’ve learnt to accept the noise and embrace imperfection.”


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GIITTV: NEWS: Gordi shares new video

After recently revealing the release date of her debut album Reservoir (out 25th August on Jagjaguwar), Gordi shares a new video for lead single Heaven I Know, directed by James Soldan. Check out the video below.

Discussing the album’s title, Gordi commented “The name Reservoir, it’s that thing that you can’t describe, that space that anxious people would probably live their life in. It’s actually an expression my friend and I use. If I’m really down one day, I’ll say, ‘Oh I’m a bit in the reservoir today’. You’re mulling everything over, and you’re sitting in all these thoughts and feelings. In order to be able to write a song I need to go to that place, but I couldn’t live a functional life if I spent all my time in there.”

Reservoir is written by Gordi, with assistance from Tim Anderson (Solange/Banks), Ali Chant (Perfume Genius/PJ Harvey) and Alex Somers (Sigur Ros). Gordi will perform in London on 6th November at Omeara. For more information visit

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GIITTV: NEWS: Thaiboy Digital shares new single and video

Following 2016’s collaboration with BladeeAvPThaiboy Digital returns with Magic, a slice of cloud rap adorned with his signature auto-tuned vocals. Produced by Yung Lean affiliate Gud, the track comes before the release of S.O.S, out Thursday 29th June.

After being deported from Sweden two years ago, the rapper found  himself back in Thailand, his birth country. Despite his estrangement from his friends and rap crew Drain Gang (featuring Bladee, Yung Sherman, Ecco2k and Whitearmor) back in Sweden, Thaiboy continued to work on new material remotely.

S.O.S comes out 29th June. Check out the video for Magic below.

Photograph: Fredrik Andersson Andersson

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