Norway's Great News are a total sensory experience.

Music laced with colour and delivered with impeccable taste, the band's debut album 'Wonderfault' is set to be one of October's most flamboyant releases.

Clash have been advocating for your attention to fall on this group for some time, and we're delighted to share new cut 'Never Get My Love'.

A bass-led charmer that matches psychedelic tendencies to outlandish tropical textures, it's an irresistible return that brushes away those Autumnal wearies.

Great News tell Clash: "When you´re feeling down and isolated, there's this voice, like the Devil on your shoulder, telling you to go out and get numb. I am telling him that, sure, we can play around and waste away, but you can not touch the once I love or get too deep inside my soul. He will never get my love, and he won´t take my love a way from those who are closest to me."

Tune in now.

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Hailing from the suburbs of Vienna, Austria, Hunger are a band that are au fait with the pop-rock template. Fully immersed within the modern electronic scene, they're not afraid of a big build or a huge pop chorus. 

The band dish out some shimmering pop rock in the form of 'Bubbles', a work that builds and builds, worming its way into your brain with ease. Check out the premiere below, taken from their forthcoming EP, 'Amused'. 

About the track, Hunger say: “‘Bubbles' is our love anthem about the thin red line in between pain and pleasure.” Take a listen, exclusively, below.

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You may not yet have heard of I'm With Her, but the trio is made up of three independently successful artists all deserving of your attention in their own right: Sara Watkins from Nickel Creek, Aoife O’Donovan from Crooked Still, and the double Grammy Award-winning Sarah Jarosz.

The three formally announced their union earlier this year with their first original song, ‘Little Lies’, and are now following that up with their second single, a gorgeous interpretation of Adele’s ‘Send My Love (To Your New Lover)’, taken from the world-conquering chanteuse’s 2015 album, ‘25’.

Recorded at the end of summer at the Taft Theater in Cincincatti during the American Acoustic tour, the song strips the contemporary thump of the original in favour of a simple bass accompaniment to melodious, countrified vocal harmonies, enhancing the song’s defiant and liberating message.

Released today and available on all streaming and download services, proceeds from the sales of the single will go towards Nashville-based enterprise Thistle Farms, a programme dedicated to supporting and empowering marginalised women.

A worthy cause, and an exceptional cover – listen now:
 

I'm With Her arrive in London for a headline show at Bush Hall on Tuesday 30th January. Tickets will on sale Monday 2nd October.

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PEAKES are fresh blood worth paying attention to. The accomplished trio, comprised of Molly Puckering (vocals), Maxwell Shirley (keyboard) and Pete Redshaw (drums), formed at uni in Leeds and now create rushing pop with stadium ambitions and a distinctly trip-hop undercurrent.

We're premiering 'Waves', the first track from their debut 'Space EP', which is arriving on new London label Circadian Rhythms. 

They've said of the track: "It's about the realisation that everything you've been doing isn't real or beneficial to you. Nothing you've really wanted has taken effect and you've been wasting your time. But it's the thought process of wanting to turn that around." Take a listen below.

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PEAKES play Servants Jazz Quarters on November 2nd and Oporto, Leeds on November 12th.

Emerging Sydney singer-songwriter Jack Grace is a unique talent. One part James Blake-style electronic fragility, another part melancholic vocals, the classically trained artist's gift has been noted and snapped up by fellow Aus label Of Leisure.

New cut 'BE4UGO' is the perfect introduction to Grace's spacious placement of sounds – firmly marking him out as one to watch – and it's just received a visual accompaniment that explores the tactile nature of the elements.

He's said: "BE4UGO is about being in love and full of doubt. It’s less pessimism and more desperation. When you feel every time someone walks out the door it’s the last time. As I was writing I let the form mimic the way a typical shallow thought cycles through my head on repeat, it resulted in less “song,” and more “idea"."

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The ascension of The National to rock music’s highest tier has been all the more noticeable of late. Last time around they took to the stage of London’s O2 Arena, no mean feat for a band without a chart topping record or particularly mainstream singles. Three years later and the Ohio-quintet, this time triumphant, UK No.1 in arm (for the excellent ‘Sleep Well Beast’) and with four nights sold out, this time at one of London’s more historic venues, the Hammersmith Apollo.

As a live spectacle The National have evolved in to a tour-de-force. Across their all-conquering two hour set the band seamlessly blended the intimacy of Berninger’s lyrics with the layered epic rock sound, as the Dessner brothers take it in turns to alternate between electric guitar and piano. Berninger himself cuts an intense yet crowd-pleasing shape as he prowls across stage, loosely steering the ship at the centre of it all whilst grappling with his microphone stand, stopping only for the more quieter songs and to just about audibly mumble his gratitude for everyone turning up.

The band kicked off with a smattering of tracks from the new record, a theme that saw them perform four from ‘Sleep Well Beast’ over the duration of the evening. Previously released singles ‘The System Only Dreams In Total Darkness’ with it’s biting guitar solo and the more electronically-tinged ‘Guilty Party’ in particular getting an excited reception, with the former setting off the first major sing along of the evening. It’s the sign of a band with a fervent set of fans when they can chop and change their setlist to such an extent over the the tour, with only a few songs a certainty that they would indeed play (even Mr November was cut on Tuesday night). Tonight however they chose to delve into their previous album, ‘Trouble Will Find Me’ with ‘I Should Live in Salt’ seeing Berninger lead the exalted cries of the song’s chorus with the excitable audience, followed swiftly by the anthemic ‘Don’t Swallow The Cap’.

Plastic cups were sent flying for the raucous punk-edged ‘Turtleneck’, notably from Berninger himself who propelled numerous plastic receptacles into the crowd (many of which were half full) with smug glee as he stalked his way around the stage embodying the menace of the Stooges-like track which has already become a live favourite of the band. Subsequent track, ‘I Need My Girl’ quietened the tone and saw the theatre descend into silence as the crowd awed of Berninger’s weary yet immersive vocals.

The songs came thick and fast as the band treated the audience to a selection of their older songs including the brilliantly bittersweet ‘All the Wine’ from 2005’s ‘Alligator’, the folky ‘Slow Show’ and crowd-pleasing ‘Conversation 16’ before the all-conquering might of frenzy-inducing ‘Bloodbuzz Ohio’. A permanent fixture in the band’s sets and one of the highlights of the evening as Berninger stopped to let the crowd sing the song’s chorus.

The one-two of ‘Fake Empire’ and ‘Mr November’ make up the finale of the main body of the set in particularly crowd-pleasing style. The emphatic piano-led balladry of ‘Fake Empire’ allows for Berninger to excellently showcase his nasally baritone before the entrance of the uplifting brass section. Whilst ‘Mr November’ sees the singer at his chaotic best as he dives into the crowd and performs the large majority of the song from the back of the venue, with only the panicked security trying to extend his mic cable and the sea of smartphones cameras held aloft giving any sign as to the whereabouts of Berninger.

The encore saw the band cover Cat Power’s ‘Maybe Not’, an interesting choice given the depth of their own back-catalogue but one that worked well and began the start of the end of the night’s proceedings with a more introspective moment before the joyous cheers that greeted the opening piano chords of fan-favourite ‘Pink Rabbits’. The rabble-rousing ‘Terrible Love’ gave Berninger further opportunity to be mobbed by the crowd, as both the crowd and band drank in the atmosphere of a magnificent night. A band at the top of their game and showing no sign of slowing down.

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Words: Rory Marcham

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Five acts from this year’s 5th anniversary of The Social festival (September 29th – 30th in Maidstone, Kent) recall their worst DJ nightmares…

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Sante and Sidney Charles

Sidney – I don’t know whether Philipp remembers this but I think about two years ago we had a gig in Paris…

Sante – Haha oh shit! I know exactly what gig you’re talking about already. I had completely blocked it out of my memory!

Sidney – We played all night long at this club neither of us had been to before, and it was hell. We were surrounded in the booth by people who were so drunk they were falling about on top of us, spilling drinks everywhere etc.. But there was one guy in particular who had this weird thing where he wanted to high five me when I dropped every track, I mean EVERY track, and if I weren’t up for it he got super pissed and started shouting, by the end he was threatening to punch us!

Sante – It’s true! This crazy guy was funny in the beginning, but then when we stopped giving him high fives about three hours in, he got really, really mad. At one point he just took Sidney’s USB stick out of the CDJ because he didn’t want to high five him anymore, so the music just went off!

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Emanuel Satie
So the following story happened during an Australia weekend that I played with some of my favorite DJs Hot Since 82, Butch and Cristoph. I was supposed to play four shows in three days all over Australia, so we booked a flight that made me arrive comfortably one day before my first gig, so I could settle in and get comfortable with the jet lag etc. The tour started in style by the airline overbooking the flight and not letting me on the plane. A shouting match with officials at the airport in Berlin endured, which didn’t amount to anything, but me having to take a much later flight. I still don’t understand how airlines are allowed to do this. Anyways, instead of arriving a day earlier, now I arrived only a couple hours before my set in Melbourne, leaving no time to rest.

The daytime festival was amazing and so was the afterparty I also played. After these two gigs though, the jetlag, exhaustion from the 24h travel and the sips of alcohol throughout the whole day took to effect and I was knocked out on my feet in the backstage asking a friend to get my bag from the booth and drive me to the hotel. We did exactly that, only that arriving at my hotel I noticed that my friend took the wrong bag.

The club was closed by that time so every effort to get back my bag was fruitless. The problem was that my wallet, credit card, usb sticks, headphones were all in this bag. To make things worse I overslept the next morning and when I woke up and hastely stormed out of the hotel, my driver was already gone. I jumped into a cab advising the driver to drive to the airport as fast as he could, remembering on half of the way that I have absolutely nothing to pay him with. No cash, no credit card, nothing.

So I had to convince the good man to drive me to the airport for free and promise to transfer him the money later on. Five minutes before reaching the airport, and being on time for my flight, we got stuck into the worst traffic you can imagine, which made me loose my next flight from Melbourne to Sydney. Sleep deprived, hungover and jetlagged I somehow made it possible to buy another flight, with just a picture of my credit card and lots of begging.

The next problem was having no headphones and no sticks anymore, I didn’t have time to buy those because I had to play straight after arrival in Sydney. I called the driver from Sydney asking him to buy me a USB stick on the way to pick me up from the airport. I finally got lucky and a super motivated, young driver answered: “Of course mate, I always have a spare USB stick with me in case the DJs lose theirs the night before. I even have one with music ready in case the DJ loses his laptop and music collection too.”

If a driver always has USB sticks prepared in case his DJ clients lose theirs, it means I can’t be the only one this happens to. Thank you colleagues. Lucky to say that the rest of the weekend was a breeze and I really enjoyed it.

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BUTCH
My worst gig? Man, that was a real treat. I’d flown out to the Ukraine and was picked up from the airport in this totally broken car, it couldn’t even shift gears. So, we bumped and jolted along this terrible road, I was feeling horribly sick, and it took six hours to get to the venue (even lthough we had been told it would only be an hour and a half from the airport).

So, I finally start playing and while the first track is on the police come and shut down the entire party. Turns out that the local police chief was on holiday where we were and wanted to have a quiet night. So I assumed that was that, and inquired into how I could get back to the airport.

As luck would have it, the same guy who had driven me to the venue offered to drive me back to the airport, but because the car was so wrecked I missed my flight and had to spend the fee that I had earned that night on a new flight back home. Good times.

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William Djoko

My disastrous DJ story takes us back to 2011 when I played at Kazantip Festival back when Crimea was still part of Ukraine and the Republic of Kazantip took over the seaside area for a monthlong 24hrs a day debauchery. It's set right by the sea and temperatures were a solid 30 degrees Celsius during the day.

It was a tuesday when I left on one of my first ever trips playing a show that far away from home. I had everything ready and was set to play on wednesday morning. The show went a treat as the sun rose out of above the sea and the crowd was loving it. I was loving it. So as it goes we went on a full day chill afterwards playing 4 more hours, drinking loads and getting on it. I ended up alone in my hotelroom by the end of the day. Happy I made it through the whole day and still buzzing.

Buzzing so much I could not sleep get to sleep. At one point I found myself in conversation talking to someone, only realising after a minute I was talking to my own reflection in the mirror. Naked. This freaked me out so I went back out there to catch the sunset and grab a decent bite to eat and simmer down with a friend that was still out there. All ends well I get back to bed and fall asleep.

The next morning the promoter comes to my door where we thank each other, he hands me my fee and tells me my cab's there to bring me to the airport. As we are five minutes away from Simferopol Airport I panic. Fuck, I left my passport at the hotel! I quickly got the promoter to send a cab after me with my passport, but helas. Missed my flight. Such a rookie mistake. I was incredibly lucky the guys offered to buy me a new ticket since there was another flight going to Moscow in two hours and I could still make my transfer back home to Amsterdam.

After a reasonably short flight I arrive at Moscow and quickly try to rush to my gate where I find all the other passengers to Amsterdam waiting. There's a delay so no need to rush. I figure I have time for a coffee and a snack and possibly even time to open my laptop and check some mails since I was offline for three days. Looking on my laptop clock I see I still have plenty of time, open up Skype and get to business.

Some time passes before I compare my laptop clock to the one hanging in the terminal. There is an hour difference. You know that feeling you get when you feel the blood rushing, your heart trying to escape through your throat for air choking you in the process there and then as you gasp for air and feel the world is crumbling beneath you? Yeah that feeling was me, as I look over to my gate to find that everyone had long boarded and I was stranded in Moscow. Rookie mistake number two, mega fail, what an idiot! Missed my second flight of the day, I thought I was going to be sick.

Needless to say I called my agent and spoke to my then girlfriend endlessly in despair. The calls and new flights (via Riga the next morning) cost me a small fortune, let alone my dignity. I spend the night curled up on a small restaurant bench, with all of my live equipment and bags tied together listening to loud Russian "Schlager" music blasting from the speakers on the ceiling. Afraid to sleep and miss flight number three. That morning I go to the gate extra early, drank three energy drinks and got my flight to Riga afterwhich I made it to my flight home in time.

Completely overwhelmed at the arrival gate I see my girlfriend and two other friends. What a great surprise! Then it hit me. I was to play Sonne Mond Sterne Festival in the south eastern part of Germany. I was not going home, they were there to pick me up for a dashing eight hour roadtrip!

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They join acts like Carl Cox, Nina Kraviz, Jackmaster and Helena Hauff on the bill for the 5th edition of The Social (September 29th – 30th).

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The idea of genre can be perceived as a creative restriction, generating work that at best resembles ‘authenticity’ and at worst is pastiche. Hence the enduring reluctance for artists to define their sound, keeping music writers employed in that very task. As musicians widen their output, further blurring boundaries and incurring ever-more imaginative adjectives, it becomes rare to find acts that engender originality within the concept of genre, rather than running away from it. With the R&B and soul stylings of Rebecca Phillips, aka Omahrose, though, genre refuses to become generic.

Raised in London on Motown classics, ‘70s rock LPs, and ‘90s neo-soul and hip-hop, Omahrose’s sound is one of depth and complexity. Top-line melody is bolstered by luscious harmony, layered instrumentation and the subtle addition of nocturnal electronics to create a whole that is instantly infectious and yet unidentifiably unique.

“I’ve always wanted to be a singer”, Omahrose explains, “it’s a vocation to me”. Starting out with vocal harmony playground performances which were admittedly “probably quite bad”, Omahrose soon developed a conflicting relationship with performance. “I used to find performance pretty scary, it was like an endurance test since I would freeze before I went on stage”, and yet overcoming this fear became an enticing challenge in itself, one that is now enjoyable.

With a string of sold out performances now under her belt, Omahrose has just released her debut EP, ‘Edge’. As its title suggests, the body of work is one that explores the notion of being on a precipice; emotionally, creatively, and personally. “Writing is a constant for me”, Omahrose states, and yet she is inspired not just by personal experience but by “abstractions, whether that’s something visual, verbal, or even others’ experiences”.

Despite this creative distancing, narrative still prevails: “when I look back at the songs, they’re always indirectly tied to me”, Omahrose explains, “I’ve ended up speaking about myself since it’s impossible to remove yourself from the creative process.” On Edge, then, listeners encounter emotionally relatable, character-driven narratives, from the eerie slow-jam sensibility of ‘Hostel’ to the aggressive defiance of ‘Bad Mouth’ and ‘You Left Me’, all of which position themselves on the threshold of genre and self-expression.

Latest single ‘You Left Me’ is accompanied by a stark video of bold colours and movement. “The director, Mark Arrigo, and I didn’t want there to be a specific story behind the video”, Omahrose explains, “instead we wanted the images to express an emotional state. The song is about a woman in a club, trying to hold onto her rage after having been wronged by a man, she’s trying to contain herself and dancing is her escapism. So, employing those colours and movement was a means of taking yourself out of that dark mindset”.

Railing against stereotypes of female passivity and that sense of emotional darkness is a constant theme in Omahrose’s music. “There’s always pressure to present myself a certain way”, she states, “but I’m pretty tough in life anyway, so I do what I want, regardless of whether I feel like or am a minority”.

While the tide may be turning in the R&B world with artists like Erykah Badu, Solange and Syd presenting female sexuality in a three-dimensional sense, refusing to pander to the conventions of predatory male romance, Omahrose still believes “the genre is predominantly tropic. If it’s to change, artists need to talk about these tropes of romance and sexualised subjects in a different way, not just from the perspective of a woman entertaining a man but by having agency instead”.

It is this agency that ties together the creative vision of 'Edge'. Subverting generic tropes while operating within their bounds, using the downbeat parameter as creative impetus rather than restriction, Omahrose presents a work that is defiant, if nothing else. With Part Two of the EP due in early 2018, listeners should stay tuned, as it seems there is plenty more to be said. 

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Words: Ammar Kalia

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Dutch electronic artist Binkbeats seems to specialise in breaking forms down, and then building them up in his own image.

An inquisitive, exploratory production talent, his work veers from left field hip-hop to Warp style IDM, all united by a certain emotional touch.

New single 'In Dust / In Us' is an emphatic return, a highly creative document that underlines some of the producer's recurring motifs.

Fractured beats, crystalline electronics and hushed combine, with Binkbeats digging for emotional truth.

He explains: "'In Dust / In Us' deals with the things that are pushed away for so long, you forget about them. Then when something triggers those memories, it can break you". 

Rogier Van Der Zwaag directs the visuals – tune in below.

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Run The Jewels have shared new song 'Mean Demeanor' – tune in now.

Killer Mike and El-P went into the studio recently, agreeing to record something new for the soundtrack of EA Sports’ FIFA ’18.

Out shortly, the duo have decided to unveil new song 'Mean Demeanor', with the track featuring in TV advertising for the game.

Run The Jewels commented: "Huge thanks to the folks at EA for including us in this iconic game. When we asked what they wanted they told us to just be us, which worked out nicely since we aren't good at much else. We tried to make something we could imagine playing in a stadium and getting everyone amped for the game."

It's certainly an emphatic statement – dark, bruising production underpins some typically dexterous wordplay, proving that Run The Jewels don't really do throwaway material.

Tune in now.

For tickets to the latest Run The Jewels shows click HERE.

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