Available worldwide in all DSPs from Sub Pop and in Canada through Royal Mountain Records.
Cartel Madras (aka Eboshi and Contra) have shared official video for “Lil Pump Type Beat,” the duo’s hyperkinetic (and cheekily-titled) new single, directed by Asim Overstands and Vince Raquel, and produced by Thotpolice (see Hip Hop DXpremiere September 4th).
Cartel Madras members Eboshi and Contra had this to say of the “Lil Pump Type Beat, “We wanted to make a fun trap song that captures the explosive energy of our live shows. We also wanted to give a nod to type beats and their ubiquity. Our shows often turn into sweaty mosh pits, so the video had to be an extension of that. It was really fun - especially having a ton of shirtless dudes moshing while we dictate the energy in the video from the middle, with the drip.”
The “Lil Pump Type Beat” single was produced by Cartel Madras, Oso Familiar, and Casey Lewis, mixed by Jae Sterling and Lewis at Echo Base Studio in Calgary, and is available now at all DSPs worldwide through Sub Pop with the exception of Canada through Royal Mountain Records. The track is from Age of The Goonda, the duo’s forthcoming EP, out November 1st, 2019.
Cartel Madras Tour Dates
Cartel Madras has scheduled a series of Canadian dates for the remained of 2019, which span September 8th in Winnipeg, Manitoba at Bastid BBQ through November 16th in Oshawa, Ontario at The Music Hall. Along the way, the duo will support Hollerado (November 14th-16th), make appearances at the Bastid BBQ (with DJ Maseo of De La Soul and Lil Brother), Quebec’s LVL Up Festival, and Toronto’s RBC Echo Beach (with Mac DeMarco, Prince Innocence, Dustin Wong & Takako Minekawa). There will be U.S. live dates announced soon.
Sep. 08 - Winnipeg, MB - Bastid’s BBQ (at La Carnita) ^ Sep. 21 - Laval, QC - LVL Up Festival (at Place Bell Esplanade - Outdoor) Sep. 24 - Toronto, ON - RBC Echo Beach # Nov. 14 - Peterborough, ON - Red Dog Tavern* Nov. 15 - London, ON - Rum Runners Music Hall* Nov. 16 - Oshawa, ON - The Music Hall*
* w/ Hollerado ^ w/ Dj Maseo of De La Soul, Brother Ali # w/ with Mac DeMarco, Prince Innocence, Dustin Wong & Takako Minekawa
1. The powerful juxtaposition of a Western term aimed at ghettoizing other cultures and the English colonial name foisted on Chennai, India; 2. A queer, female, Desi act igniting a revolution because they’re sick of this bullshit
“We really want people who come to our shows to feel like they’ve been punched in the face,” says Contra, one-half of rap provocateurs Cartel Madras, of their FOMO-inducing live shows. “It’s like a riot just passed you, and you’re like, ‘What was that? What did I just experience?’” But also, “‘How do I do that again?’”
Cartel Madras also includes Contra’s sibling, Eboshi—both born in Chennai in the Indian state of Tamil Nadu and raised in Calgary, Canada. Like their upbringing, their music is a cultural syncretism, a heady mix of trap with punk, house, and South Indian aesthetics that they’ve anointed “goonda rap.” Their second EP is Age of the Goonda, a sonically expansive successor to their first EP, Trapistan, which boasted the party-down hit “Pork & Leek. A manifesto for the times, Age of the Goonda is an in-your-face call to arms for—immigrants, women of color, the LGBTQ+ community, Desis (a.k.a. Westernized Indians)—those who must resist being treated as underdogs (read more at Sub Pop dotcom).
Updated international tour dates October 23rd -December 13th, 2019.
Montreal’s Corridor will release Junior, their Sub Pop debut, on CD/LP/DL/CS October 18th, 2019 worldwide through Sub Pop with the exception of Canada through Bonsound. With Junior, the group make the most dazzling, immediate and inventive album of their young career: 39 minutes of darting and dodging guitars, spiraling vocal harmonies, and the complicated, goldenrod nostalgia of a Sunday mid-afternoon. The album features the singles “Topographe,” “Grand Cheval,” “Pow,” “Domino” and the title track, and was produced by Emmanuel Éthier, engineered by Samuel Gemme, mixed by Éthier and Gemme in Montreal at ReelRoad Studios, and mastered by Josh Bonati at Bonati Mastering in New York.
You can now watch the new Monty Python-esque animated video for “Topographe,” which stars the band themselves. Corridor’s Jonathan Robert directed the visual and had this to say, “While I’ve explored and mixed many different techniques in my past music videos, it’s the first time that I took the process this far, blending all of them together in one place. It’s a melting pot of stop motion, green screen, illustration, animation, collage, and live video. It’s the visual equivalent of the progression of the song, a simple idea that takes amplitude through repetition.”
Corridor Tour Dates + Ticket Links
Corridor has extended its international tour schedule in support ofJunior, which span October 23rd in Philadelphia at Boot & Saddle and currently end December 13th in Los Angeles at Morrocan Lounge. New highlights for this time frame include: Brooklyn’s Union Pool (October 24th); Nyon, Switzerland at La Parenthese (October 31st); Soy Music Festival in Nantes, France (November 2nd); and Vancouver, BC at Astoria (December 8th). For more information on tickets, visit Corridor’s Sub Pop tour dates page.
Oct. 23 - Philadelphia, PA - Boot & Saddle Oct. 24 - Brooklyn, NY - Union Pool Oct. 25 - Washington, DC - Comet Ping Pong Oct. 29 - Amsterdam, NL - Paradiso (Upstairs) Oct. 31 - Nyon, CH - La Parenthese Nov. 02 - Nantes, FR - Soy Music Festival Nov. 04 - Paris, FR - Point Ephemere Nov. 06 - London, UK - The Waiting Room Nov. 08 - Hamburg, DE - Hafenklang Nov. 09 - Berlin, DE - Westgermany Nov. 10 - Kortrijk, BE - Sonic City Music Festival Nov. 20 - Toronto, ON - The Garrison* Nov. 22 - Montreal, QC - M for Montreal Festival (Le National) * Nov. 28 - Quebec City, QC - l’Anti Dec. 04 - San Francisco, CA - Milk Bar Dec. 07 - Portland, OR - Bunk Bar # Dec. 08 - Vancouver, BC - Astoria ^ Dec. 10 - Seattle, WA - Barboza Dec. 13 - Los Angeles, CA - Moroccan Lounge
* w/ Absolutely Free # w/ The Woolen Man ^ w/ N0V3L
Corridor’s Junior is now available to preorder through Sub Pop Mega Mart. Preorders of the LP through megamart.subpop.com and select independent retailers in North America will receive the limited Loser edition on Soft-Boiled colored vinyl (while supplies last). Meanwhile, LP preorders of Junior throughout the UK and Europe from select independent retailers will receive the limited Loser edition on Egg Yolk colored vinyl (while supplies last).
Junior Tracklisting:
1. Topographe 2. Junior 3. Domino 4. Goldie 5. Agent double 6. Microscopie 7. Grand cheval 8. Milan 9. Pow 10. Bang
About Corridor’s Junior: Corridor are a group from Montreal and their Sub Pop debut, Junior, was made just yesterday. The rock’n’roll band had barely inked their record deal when they surfed into studio, racing against time to make the most dazzling, immediate and inventive album of their young career: 39 minutes of darting and dodging guitars, spiraling vocal harmonies, and the complicated, goldenrod nostalgia of a Sunday mid-afternoon.
This ain’t Corridor’s first rodeo. Junior is the band’s third full-length and their third recorded with their friend, producer (and occasionally roommate) Emmanuel Ethier. However 2015’s Le Voyage Éterneland 2017’s Supermercado were made languorously, their songs taking shape across whole seasons. This time Dominic Berthiaume (vocals/bass), Julian Perreault (guitar), Jonathan Robert (vocals/guitar/synths), and Julien Bakvis (drums) permitted themselves no such indulgence. The band were committed to releasing an album every two years, and for Junior it required a blitz. “If you want to release something this fall, we need the masters by the 10th of May,” the label had warned them. Winter was already in its last throes: on March 1, Corridor went into studio; in mid-April, Corridor came out. They had somehow created Junior and it was, if we may be so bold, spectacular.
Singers, two guitars, bass, drums: the timelessness of the setup underpins the timelessness of the sound, a rock’n’roll borrowing from each of the past six decades—punk and pop, psych and jangle, daydream and swoon. This is music that’s muscular, exciting and full of love, its riffs a kind of medicine. Whereas Corridor’s past work could sometimes seem overstuffed, twenty ideas to the same song, the new work is hypnotic, distilled. “Part of the beauty of the thing is that we didn’t have time to think about it,” says Berthiaume. Six of Junior’s 10 tracks were conceived during a single weekend. The words to “Bang” were written on the eve of the sessions, as Robert began to panic: “Je payerai tôt ou tard,” he sings: I’ll pay, sooner or later. Fewer jams, fewer overdubs—no fortnight in the countryside, secluding themselves in a chalet. Even the artwork came in the nick of time: in spite of other, meticulous, masterpieces, Robert’s “shitty last-minute collage” (of an egg saying hello) was the one his bandmates went for.
That might be Corridor’s best trick—their mixture of seriousness and whimsy. Songs like “Miscroscopie” and the standout “Domino” are purposeful, full of songcraft, even as they let loose, slip their collar. “Topographe“‘s all call and answer, like rival Cupids shooting arrows at each other across a ravine. “Pow” and “Goldie” are like hurtling racecars, or teams of horses, accelerating towards a memory. And Junior’s title track—by turns twitchy and anthemic—is in fact a tribute to Perreault, their “joueur étoile,” star player: in spite of his disappointed parents (“parents déçus”), he’s Corridor’s VIP. Junior’s ten tracks are filled with tributes like this, impressionistic portraits of characters in the band-members’ lives. Their tone is affectionate, the meaning hazy—even if you speak French.
Sub Pop have never before, in their 33-year history, signed a Francophone act. Maybe the band’s magic springs from their ingenious hooks, their topaz-tinted vision. Maybe it’s the panache of Québec’s insurgent underground scene, or the camaraderie of Robert and Berthiaume, who have played together since they were 14. Maybe it’s their name—a hallway crossed with a toreador. Probably it’s all of these, and none of them: Junior is a joy, a hasty miracle, because it’s so much damn fun to listen to. This album is 39 minutes; each day has 24 hours; you can listen 36 times before tomorrow.
[Photo Credit: Dominic Berthiaume of Corridor]
What people are saying about Corridor:
“The Montreal band Corridor knows how to highlight its strengths while getting in and out of a song with maximum efficiency: Sung in French, “Coup d’épée” only needs a little more than two minutes to let its robust guitar sound — a kind of weaponized jangle — fully worm its way in your head.” [“Coup d’épée” / Supermercado] - NPR Music
“Supermercado is the best French record of 2017, 2018, 2019, 2020, 2021, and even 2022 (for all we know, at least, since I doubt the Earth will explode exactly at midnight on January 1, 2022, even if it’s a possibility we shouldn’t ignore).” - Vice
“Their jangly, synth-pop-tinged sound will entrance fans of the genre and post-punk newbies alike. On their latest LP, Supermercado, post-punk fans will gravitate towards their tight, neat percussion and spasmodic guitars while others will get lost in their bright vocals and spellbinding soundscapes.” [Supermercado] - PASTE
“Corridor sing entirely en Français. Don’t let that put you off though: the creativity and abundance of killer tunes found on their acid-baked 2017 album Supermercado breaks through the language barrier. Corridor are even better live, with a real joie de rock that knows no borders — guitars slash, harmonies soar, bodies a constant blur.” [Supermercado] - Brooklyn Vegan
In “Seven Wheel Motion” colossal drums puncture walls of labyrinthine noise sculpted from deranged synthesizers and mutated guitars, yielding an absolute powerhouse of a track. Butler seems to rap in dialogue with himself, detailing a threatening streetscape and shaping the experience into personal realizations.
In the “Seven Wheel Motion” visual, the song soundtracks the fantastical “Twin Queen Tryst” short film. Set in an alien landscape, a queen (played by Rhonda Faison of Shabazz Palaces “Déesse Du Sang” video) sends her royal subject (played by The Palaceer) on a quest for a magical jewel. Along the way, he encounters a mystical being (played by OCnotes) who helps the subject with his quest to return the jewel to the queen. This wild new video also features scene art by Olde Nightrifter and cinematography from Futsum Tsegai.
Knife Knights (The Palaceer aka Ishmael Butler, Erik Blood, OCnotes and Marquetta Miller) have a scheduled performance in Seattle on Wednesday, October 16th at Earshot Jazz Festival (at the Langston Hughes Performing Arts Institute).
[Photo Credit: Justin Henning]
1 Time Mirage is out now on CD/LP/DL/CS worldwide from Sub Pop. The long-player features the highlights the aforementioned “My Dreams Never Sleep” along with “Give You Game,”“Seven Wheel Motion,”“Light Up Ahead (Time Mirage)” and “Low Key,” and was as produced by Ishmael Butler and Erik Blood at Protect and Exalt: A Black Space in Seattle. 1 Time Mirage includes guest appearances from labelmates Shabazz Palaces and Porter Ray, along with Stas THEE Boss, OCnotes, Thaddillac, El Mizell, Marquetta Miller, Gerald Turner, and Darrius Willrich.
1 Time Mirage orders through megamart.subpop.com, select independent retailers and Knife Knights shows will receive the limited Loser edition on blue vinyl (while supplies last). The album cover also features gorgeous artwork from Robert Beatty.
Seattle band Tacocat set off on a European tour starting Saturday, August 24th in support of This Mess Is a Place, their new full-length album. This Mess Is a Place is their first for Sub Pop, and heralds a more pop-driven and ebullient direction in their sound.
Today, they’ve shared a charming new claymation music video for “Crystal Ball” from director Violet Crabtree, premiered via the good music listeners at Clash Magazine. Watch it at Clash, watch it above, or watch it on the band’s YouTube channel. Then see here, a full list of upcoming overseas shows:
Aug 24 - Leeds, UK - This Must Be The Place, Belgrave Music Hall Aug 25 - Glasgow, UK - Broadcast Aug 27 - Manchester, UK - Gullivers Aug 28 - Cardiff, UK - Clwb Ifor Bach Aug 29 - London, UK - Moth Club Aug 30 - Brighton, UK - Hope and Ruin Aug 31 - Paris, FR - Supersonic Sep 01 - Brussels, BE - Botanique Sep 03 - Nijmegen, NL - Merleyn Sep 04 - Groningen, NL - Vera Sep 05 - Amsterdam, NL - Paradiso Sep 06 - Eindoven, NL - Alstadt Sep 07 - Rottderdam, NL - Rotown Sep 09 - Nuremberg, DE - Kantine Sep 10 - Berlin, DE - Marie Antoinette Sep 11 - Hamburg, DE - Goldoner Saloon Sep 13 - Copenhagen, DK - Loppen Sep 14 - Oslo, NO - Revolver Sep 15 - Stockholm, SE - Obaren Oct 31 - Seattle, WA - Neumos
Watch the Animated Video for METZ’s take on Gary Numan’s “M.E.” + Find Details of Newly Announced Fall Shows
On July 12th, Sub Pop released Automat, a collection of METZ non-album singles, B-sides, and rarities dating back to 2009, available on LP for the first time, and including the band’s long out-of-print early (pre-Sub Pop) recordings. It’s a chronological trip through the lesser-known material of METZ, the widely-adored and delightfully noisy 3-piece punk band from Toronto, ON.
The vinyl LP format of Automat included an exclusive bonus 7” single of METZ interpretations of three diverse cover songs, a glimpse of their wide-ranging and excellent taste. And, on Aug. 20 (aka today) these three bonus tracks will be available in digital services everywhere (such as YouTube, Spotify and Apple Music). Rejoice! And then also go listen to: a cover of Sparklehorse’s “Pig,” from a very limited 2012 Record Store Day split single originally released by Toronto’s Sonic Boom record shop; “I’m a Bug,” a cover of the Urinals’ art-punk classic, originally released on YouTube (not an actual record label) in 2014; and METZ’s previously unreleased rendition of Gary Numan’s “M.E.”
You can also watch the mesmerizing video for “M.E.,” featuring a three-headed Pleasure Principle hydra illustrated by Kirin Booth and animated by Martin MacPherson here now, and/or also by clickinghere.
M.E Tracklisting: 1. “I’m a Bug” by the Urinals 2. “Pig” by Sparklehorse 3. “M.E” by Gary Numan
METZ have a handful of upcoming shows before getting to work on their 4th full-length LP which will be released on Sub Pop when we are all damn good and ready.
Sep. 07 - Toronto, ON - Echo Beach (MATTYFEST w Wu Tang Clan) Oct. 10 - Perris, CA - Desert Daze (w The Flaming Lips, Stereolab, Lightning Bolt) Oct. 19 - Queens, NY - Octfest 2019, presented by Pitchfork and October, at Knockdown Center Nov. 01 - London, ON - The Rec Room @ Dec. 02 - Glasgow, UK - The Barrowland Ballroom # Dec. 03 - Glasgow, UK - The Barrowland Ballroom # Dec. 04 - Manchester, UK - Manchester Academy 1 # Dec. 05 - Leeds, UK - O2 Academy Leeds # Dec. 07 - London, UK - Alexandra Palace Theatre #
Clipping has returned with There Existed an Addiction to Blood, the group’s fourth effort and the follow up to Splendor and Misery, their acclaimed album of 2016. There Existed an Addiction to Blood features the singles “Nothing Is Safe,” “Blood of the Fang,” “La Mala Ordina” (Feat. Benny The Butcher, ElCamino, The Rita), and was produced by Clipping, mixed by Steve Kaplan, and mastered by Dave Cooley at Elysium Masters in Los Angeles. The album also features appearances from Ed Balloon, La Chat, Counterfeit Madison, and Pedestrian Deposit. There Existed an Addiction to Blood will be available on 2xLP/Deluxe 2xLP/CD/CS/DL on Friday, October 18th, 2019 worldwide from Sub Pop.
There Existed an Addiction to Blood finds Clipping interpreting another rap splinter sect through their singular lens. This is Clipping’s transmutation of horrorcore, a purposefully absurdist and creatively significant sub-genre that flourished in the mid-90s. If some of its most notable pioneers included Brotha Lynch Hung and Gravediggaz, it also encompasses seminal works from the Geto Boys, Bone Thugs-N-Harmony, and the near-entirety of classic Memphis cassette tape rap.
The most subversive and experimental rap has often presented itself as an “alternative” to conventional sounds, but Clipping respectfully warp them into new constellations. There Existed an Addiction to Blood absorbs the hyper-violent horror tropes of the Murder Dog era, but re-imagines them in a new light: still darkly-tinted and somber, but in a weirder and more vivid hue. If traditional horrorcore was akin to Blacula, the hugely popular blaxploitation flick from the early 70s, Clipping’s latest is analogous to Ganja & Hess, the blood-sipping 1973 cult classic regarded as an unsung landmark of black independent cinema, whose score by Sam Waymon, the band samples on “Blood of the Fang” and inspired the album’s title.
[2xLP Deluxe Limited “Lamestain” Edition]
There Existed an Addiction to Blood is available through Sub Pop Mega Mart. Preorders of the LP through megamart.subpop.com and select independent retailers in North America will receive the limited, deluxe 2xLP “Lamestain” edition on blood-splattered clear vinyl (while supplies last). Meanwhile, LP preorders of There Existed an Addiction to Blood throughout the UK and Europe from select independent retailers will receive the limited Loser edition on opaque silver vinyl (while supplies last).
Clipping
There Existed an Addiction to Blood
Tracklisting: 1. Intro 2. Nothing Is Safe 3. He Dead (feat. Ed Balloon) 4. Haunting (Interlude) 5. La Mala Ordina (feat. The Rita, Benny The Butcher & El Camino) 6. Club Down (feat. Sarah Bernat) 7. Prophecy (Interlude) 8. Run for Your Life (feat. La Chat) 9. The Show 10. Possession (Interlude) 11. All in Your Head (feat.Counterfeit Madison & Robyn Hood) 12. Blood of the Fang 13. Story 7 14. Attunement (feat. Pedestrian Deposit) 15. Piano Burning (composed by Annea Lockwood)
Clipping will perform at the 2019 Adult Swim Festival in Los Angeles on Saturday, November 16th. Additional live performances to be announced soon.
About Clipping’s There Existed an Addiction to Blood: The science-fiction visionary Octavia Butler once declared that “there is nothing new under the sun, but there are new suns.” The aphorism could apply to any art form where the basic contours are fixed, but the appetite for innovation remains infinite. Enter Clipping, flash fiction genre masters in a hip-hop world firmly rooted in memoir. If first-person confessionals historically reign, the mid-city Los Angeles trio of rapper Daveed Diggs and producers William Hutson and Jonathan Snipes have spent the last half-decade terraforming their own patch of soil, replete with conceptual labyrinths and industrial chaos. They have conjured a mutant emanation of the future, built at odd angles atop the hallowed foundation of the past.
Their third album for Sub Pop, There Existed an Addiction to Blood, finds them interpreting another rap splinter sect through their singular lens. This is clipping’s transmutation of horrorcore, a purposefully absurdist and creatively significant sub-genre that flourished in the mid-90s. If some of its most notable pioneers included Brotha Lynch Hung and Gravediggaz, it also encompasses seminal works from the Geto Boys, Bone Thugs-N-Harmony, and Three 6 Mafia and the near-entirety of classic Memphis cassette tape rap.
The most subversive and experimental rap has often presented itself as an “alternative” to conventional sounds, but Clipping respectfully warp them into new constellations. There Existed an Addiction to Blood absorbs the hyper-violent horror tropes of the Murder Dog era, but re-imagines them in a new light: still darkly-tinted and somber, but in a weirder and more vivid hue. If traditional horrorcore was akin to Blacula, the hugely popular blaxploitation flick from the early 70s, Clipping’s latest is analogous to Ganja & Hess, the blood-sipping 1973 cult classic regarded as an unsung landmark of black independent cinema, whose score by Sam Waymon, the band samples on “Blood of the Fang” and inspired the album’s title.
From the opening “Intro,” Clipping summon an unsettling eeriness. Diggs sounds like he’s rapping through a drive-thru speaker about the bottom falling out, bodies hitting the floor, and recurrent ghosts. You hear ambient noises, footsteps and shovels. The hairs on your arms stick up like bayonets. You can practically see the knife’s edge, sharp and luminous.
Each song contains its own premise and conceptual bent. There is “Nothing is Safe,” a reversal of Assault on Precinct 13, where the band create their own version of a John Carpenter-inspired rap beat and the cops are the ones raiding a trap house. Diggs sketches the narrative from the perspective of the victims, full of lurid and visceral details and intricate wordplay. The windows are boarded and sealed, the product simmers on the stove, the bodies sleep fitfully in shifts. Then law enforcement arrives and the bullets start to fly.
“He Dead” turns police officers into werewolves while Diggs flips Kendrick Lamar’s “Riggamortis” into something gravely literal.“All In Your Head” finds Clipping re-contextualizing the pimp talk of Suga Free and Too $hort into a metaphor for an Exorcist-style possession. The album contains interludes featuring hissing recordings of demonic invasions and guest appearances from Griselda Gang’s Benny the Butcher and Hypnotize Minds horror queen La Chat. Other tracks feature contributions from noise music legends The Rita and Pedestrian Deposit. It all ends with “Piano Burning,” a performance of a piece written by the avant-garde composer Annea Lockwood. Yes, it is the sound of a piano burning.
In the hands of the less imaginative or less virtuosic, it could come off as overwrought or pretentious. Instead, Clipping annex new terrain for a sub-genre often left for dead. In its own way, one could compare what they’ve accomplished to Tarantino’s post-modern reworkings of critically overlooked but creatively fertile blaxploitation, horror and spaghetti western cinema.
Everything fits neatly into the broader scope of the band’s career, which has seen them expand from insular experimentalists into globally recognized artists. Since the release of their first album in 2013, Diggs has won a Tony and a Grammy, as well as co-written and starred in 2018’s critically hailed Blindspotting, while Snipes and Hutson have scored numerous films and television shows.
Clipping’s last album, the 2016 afro-futurist dystopian space opusSplendor & Misery was recently named one of Pitchfork’s Best Industrial Albums of All-Time. Commissioned for an episode of This American Life, their 2017 single “The Deep” became the inspiration for a novel of the same name, written by Rivers Solomon and published by Saga Press. But it’s their latest masterwork that embodies what the band had been building towards — a work that finds them without peer. This is experimental hip-hop built to bang in a post-apocalyptic club bursting with radiation. It’s horror-core that soaks up past blood and replants it into a different organism, undead but dangerously alive. It is a new sun, blindingly bright and built to burn your retinas.
