#indieheads ama

[boonesfarmsangria]

📣JUST ANNOUNCED 📣

AMA with FOALS

This Thursday, June 16th @ 10am ET/3pm BST!

#FOALS #ama #indieheads ama #indieheads #life is yours #yannis philippakis #jack bevan #jimmy smith

[daily-will-toledo]

day 117: u/notcarseatheadrest indieheads ama august 14 2020

#car seat headrest #csh #daily will toledo #cshr #dwt #will toledo #1 trait danger #one trait danger #trait #1td

[whiteshipnightjar]

british comedian james acaster did an ama on r/indieheads a few days ago and he said Only Skin is his favorite Joanna song :)

The right answer! Comedians and artists in general loving Joanna and her work is just a sign of good taste and understanding.

#thank you for sharing this with me 🥰🥰 #i love people loving joanna!! #q and a #anonymous #joanna newsom #james acaster

[djosource]

JUST ANNOUNCED: Joe and his musical partner Adam will be doing an AMA this Friday on indieheads reddit, September 16th at 1pm ET/10am PT!

#djo #djosource #joe keery #decide

[j-acaster-updates]

- james will be doing an AMA on r/indieheads on may 23rd at 5pm GMT!

subreddit link here

#james acaster #james acaster update #temps #temps update

[taminoamirfouad]

Fabulous Belgian-Egyptian musician Tamino had just released his sophomore album, Sahar, via Communion Music, the follow-up to his 2018 debut album Amir. This new album has Tamino collaborating with Radiohead bassist Colin Greenwood, Belgian producer PJ Maertens and drummer Ruben Vanhoutte, and features singles "The First Disciple," "Fascination," and "You Don't Own Me." Tamino will join us on Tuesday, September 27th at 2pm ET/7pm BST/8pm CEST for an AMA!

He'll be joining us from his US tour--he plays Minneapolis tonight and will hit cities all over the country, including Austin for Austin City Limits. He recorded in Brooklyn, NY that will be livestreamed on October 20 for everyone across the world, and then heads to the UK and Europe for more shows!

Stream or purchase Sahar, check out his tour dates here, and swing back here to r/indieheads on Tuesday to ask Tamino anything!

#guess it's finally time to log back in to my reddit account #mark your calendars people & don't miss this opportunity! #thank you sophaeros for sharing this with me! #tamino

[floatalongfillyourlungs]

Murl is currently doing a Reddit AMA on r/indieheads

#the murlocs

[blueberry-beanie]

Raw Data Feel. The first record made entirely under our own steam, with Alex producing. An experiment lyrically and visually in the world of AI, most of the songs are concerned with healing and starting anew, as well as the trepidation that comes with that.

Thank you to every single person involved, and for everyone who has bought or streamed any of the music. Raw Data Feel is out now. We are so proud of it and we hope you love it too.

Alex, Jonathan, Michael, Jeremy

Everything Everything x

[x] [x] [x] Selected bits of EE album promo: Jeremy and Mike present RDF vinyl, CD and Tape “Fresh out the oven“ Jeremy promotes Caps Lock On book Jennifer choir “Jez modelling some Raw Data Feel merch” “Hello we are headlining Neighbourhood festival” buy RDF memes “wool or raw data feel, your choice” Q&A + Interviews Tim’s Twitter Listening Party

Q&A at Rough Trade Bristol (video)

Reddit r/indieheads AMA with Jonathan and Alex

Jonathan on the Keith Law show (podcast)

Jonathan on Face Culture (video)

Jonathan for Under The Radar Magazine

Alex for WhyNow

Jeremy on Hide and Speak (podcast)

#i'm sure i missed out some important bits but there was so much going on #anyway my attempt on collecting info about ee in one place #everything everything #ee #raw data feel #jonathan #alex #mike #jeremy

[chvrch-of-mayberry]

Lauren is having an AMA on Reddit to celebrate the release of "Change Shapes" on Friday.

Friday, March 8th at 1pm ET/6pm GMT

reddit /r/indieheads

#lauren mayberry #laurenmayberry #lauren eve mayberry #chvrches #synthpop #queen #alt music #music #lauren mayberry chvrches #synth queen #new single #new music

[glassanimalsarchive]

August 12, 2020

one of my favourite 3d artists, marco mori (@macomoroni), used all of your 3d head scans to make an animated video for Tangerine - i love it. see yourself in it right now, its on the youtube. thank you marco and thank you @trio for the tech. so cool.

PS our first @reddit AMA ever 7pm UK/2pm ET TODAY

on @r/indieheads!! ie in like an hour! comeee, we'll all be there

#glass animals #instagram

[erin-bo-berin]

Where are his AMAs?

I’m not sure about the 2020 one, but here’s the one from September.

https://www.reddit.com/r/indieheads/comments/xfv9z1/djo_decide_ama/

[qualitypuppycat]

Reddit's r/indieheads is so much more than fan AMAs https://ift.tt/moHAaPh

[j-acaster-updates]

- james's r/indieheads AMA has been moved to 9pm today!

subreddit link here

reddit post link

#james acaster #james acaster update #temps #temps update

[luuurien]

Hatchie - Giving the World Away

(Alternative Dance, Dream Pop, Baggy)

Harriette Pilbeam's sophomore album as Hatchie sends her into the rabbit hole of pop revivalism, turning out some of the most genuine and delightful albums in recent years. Worshiping 90s alt-dance and psychedelic baggy, Giving the World Away is a crash course in how to play off older genre's fundamentals while inserting enough of yourself into it to make the music memorable and distinct.

☆☆☆☆½

It's a challenge, unraveling an album so overtly indebted to its influences. While every artist has their inspirations, albums whose direct goal is to channel the sounds of the past add the extra task of trying to decide where the line between that old sound and an artist's own unique sound lies, and doing that often reveals many holes within the music. Balancing that love with an individualistic artist's touch is one of the trickiest and most rewarding things they can do, and when things are all in order, it's impossible for it to not succeed.  For Australian singer/songwriter Hatchie, she makes it all seem effortless with her sophomore album Giving the World Away, a mountain-sized step forward from her chillier, less extroverted debut Keepsake that takes hold of both pop sentimentality and the blissful moods of alternative dance and dream pop and weaves them into a neon thread of pure magic. It's an album that is simplistic by design, but like many of the best pop albums, that passion and calculated eye for detail within these more established frameworks is what makes Giving the World Away such a rapturous success. Using the eternal youth pop promises to explore feelings of disillusionment, meaning, and desire, Pilbeam's escape to the 90s is so much more than what's on the surface. The meat of the album is in its fantastic mix of genres and Pilbeam's ear for good hooks: with help from star producers Dan Nigro and Jorge Elbretch alongside Beach House drummer James Barone, all twelve of Giving the World Away's songs are huge, emotive, and ebullient. Barones' drumming is the beating hear of the album, the hypnotizing syncopated grooves of 90s baggy found in the magnetic lead single This Enchanted among washes of shoegaze guitars and blubbering synthesizers before taking a lighter presence on the following Chapterhouse indebted Twin, jangly guitars and a yearning hook from Pilbeam making this one of the most romantic and starry-eyed tracks the album has to offer. But Pilbeam's got more than a few tricks up her sleeve, too: naming influences from Screamadelica to Ray of Light to even Slowdive's 2017 self-titled in a recent r/indieheads AMA reveals just how well Pilbeam knows her craft. You can feel that Screamadelica influence in the tropical swirl of dub she throws into B-side opener Thinking Of, electronic hoots and fluffy acoustic guitars showing the revealing the heart ofGiving the World Away, the darker side of New Order's discography in the soul-baring synthpop centerpiece Quicksand; she even plays a bit of a trick in the starting section of This Enchanted with flowery Europop pianos that imply a bubblegum pop tune before thrusting you into a dream pop fantasy. Even if you aren't one for the linear structures pop relies on, there's no way to listen to Giving the World Away and not fall under Pilbeam's spell. What makes Giving the World Away so special, though, is that it uses all this sweetness to confront the toughest questions Pilbeam has asked in her music yet. Keepsake, despite how wonderful the majority of its production and performances were, leaned so heavily on cliches - finding "the one," staying true to your heart, one song is so on the nose being titled Kiss the Stars it's not even funny - that it often felt like the lyrics weren't speaking to anything deeper within Pilbeam and were largely there for her to, with an undeniably beautiful voice, sing without having to commit to any deeper songwriting themes. But as it also went for many other artists, the screeching halt of the pandemic unearthed questions she'd been avoiding until then, contemplating her place within music as a whole and having to interact with long-held anxieties and fears. With all this in mind, Giving the World Away is both a celebratory admission of her beginning to tackle those feelings and a way for her to begin working through them, perhaps a bit too definitive in her conclusions, but always a joy nonetheless. The writing is undoubtedly heavy handed at times: the cheery piano pop tune Take My Hand is absolutely gorgeous but doesn't leave much up to the imagination in a way that holds back some of the reward that comes with beginning to approach your fears head on and The Key nears triteness in the first verse's much too static imagery ("Lost sight of who I'm supposed to be / But within the chaos I can see, I'm not me"), but it's Pilbeam's loving spirit and heart-on-sleeve optimism that keeps it all from falling apart. In its best moments, the songwriting underneath these fully-stuffed mixes makes these already halcyon songs glow even brighter, the fleeting romance on Twin where Pilbeam's partner doesn't see her near fondly enough, the saccharine final line of the chorus able to break through that barrier and become incredibly heartbreaking as she uses usual pop imagery to speak of loss in a highly creative way. It doesn't have to be anything more than this when it all works so well for these kinds of songs, writing that is easy to grasp and always ready for whatever Pilbeam needs to make Giving the World Away unforgettable. It's the final three tracks that really cement the pure euphoria Giving the World Away delivers. Starting with the swelling synthpop marvel Don't Leave Me In the Rain, the gummy synth hits and walloping guitars make this urgent plea for self-understanding and acceptance that much more spine-chillingly, Pilbeam embodying the 90s pop anthem with so much investment and honesty that nothing else matters but watching her rule the world. Sunday Song conversely feels like staring into Pilbeam's eyes and watching a film reel of her most sentimental memories, it's where the album finally breathes after the onslaught of enveloping guitar distortion and massive synthesizers, where the dream pop side of her sound comes out the most as warm backing chords simmer under tender acoustic guitars and angelic vocal harmonies, a pastel penultimate track that lets Pilbeam dig deeper into herself than anywhere else. "All the things you wish you hadn't said / Sick of waiting for something heaven sent / Can't you see all that I see in you?" she sings in the prechorus, and the swirl of instrumentation that follows is indelible. But then there's the finale, Til We Run Out of Air, and the future of Pilbeam's music is cemented in this one legendary track. If there was ever a song to define the future of pop, I pray that it's this one, full of atmosphere and grit in its distorted guitar progression and bubbling synth arpeggios that marinate to a honey glaze as her most visionary writing comes out in full force ("It's not too late, scars can fade / Nothing blooms from sill to sky / Count the ways to kiss your face / Open the curtains and let in the light"), and the release of that chorus the first time you hear it is like nothing else. As Pilbeam continues to build up a reserve of that potent ecstasy with added textural layers and a constant built, she proves that there's absolutely nobody else like her right now. By not trying to constantly test the boundaries of her sound and instead inviting a dictionary-sized book of guests into her music, Pilbeam makes Giving the World Away one of the most rewarding and unimpeachable albums this year, such a constant source of revelry that even conceptualizing an album that could do it better than this is quite the task. Pilbeam is learning how to let the entirety of herself exist within her music, every worry and whim finding a place in her world of pop exuberance, and Giving the World Away is a sensational new beginning for her.

#hatchie #giving the world away #secretly canadian #alternative dance #alternative rock #baggy #dance #dance pop #dream pop #electronic #electropop #indie pop #indie rock #neo-psychedelia #pop #psychedelic pop #rock #shoegaze #2022 #9/10 #jangle pop

[sinceileftyoublog]

Owen AMA Preview: Reddit, 6/24

Photo by Chris Strong

BY JORDAN MAINZER

Today at 2 PM CST, Owen’s Mike Kinsella is doing a Reddit AMA on r/indieheads (his Reddit username is @_mikekinsella). I imagine that many of the questions will be about his just-released new album The Avalanche, his first proper Owen record since 2016′s The King of Whys. As the last few years have seen Kinsella preoccupied with beloved band projects like American Football, Cap’n Jazz, and Joan of Arc, a new Owen album is a welcome respite. After all, it’s always been the project where Kinsella’s best able to add a layer of lushness and delicacy to otherwise complex arrangements, and on The Avalanche, such instrumentation and composition is coupled with stark and heavy lyrics about self-worth. Fading and whirring production courtesy of Bon Iver’s Sean Carey proves to be a great match, as do guest vocals from Now, Now’s KC Dalager, but Kinsella’s truly at the center with words equally funny and cringe-inducing. He waxes mostly on his shortcomings--as a person, as a partner and a family and band member--with pristine self-awareness. “Dear Lord / Let me be anything / But bored or in love,” he sings on opener “A New Muse”, as if there’s any other state. On upbeat strummer “On With The Show”, he facetiously sings, “So on with the show / I’ve got a reputation of fucking up to uphold,” the best embrace of imperfection this side of Sarah Shook. On “I Should’ve Known”, his vocals are upfront in the mix over twangy, circular, open-tuned guitars, as he begins the song by making a lewd joke and immediately apologizing.

There’s plenty on The Avalanche, though, that’s straightforwardly devastating. “Dead For Days” and “Mom and Dead” both seem to reference the death of his father and a hard parental relationship: “The only thing I learned form that man / Is I’d rather be estranged than next of kin,” he sings on the former. Both songs’ cascading arpeggios and the latter’s prominent Dalager feature and yearning pedal steel provide an atmosphere of solemn reflection. Perhaps most balanced in its earnestness are “The Contours” and “Wanting And Willing”. The former is remarkably relatable to anybody who has ever been in therapy (“Turns out all the answers are just questions for next week’s sessions,” Kinsella quips), while the latter’s a humble plea that avoids self-aggrandizement: “I’m begging you to bet on this losing horse.” They both preview closer “I Go, Ego”, which allows the most space between the words, as if to let them linger. The imagery in the song--bottles, dried blood on the floor--supports the album’s closing sentiment, a “cheers” “to lovers unexplored.” That pedal steel returns, a harbinger of feeling, a symbol of the limits of written and oral communication, of the infinite possibilities of musical connection.

The Avalanche by Owen

#owen #live picks #polyvinyl #kc dalager #the avalanche #reddit #ama #chris strong #mike kinsella #r/indieheads #@_mikekinsella #_mikekinsella #the king of whys #american football #cap'n jazz #joan of arc #bon iver #sean carey #s. carey #now now #sarah shook