Future Islands' forthcoming 5th full-length The Far Field is one of 2017's most anticipated releases, and, following "Ran," we now have a second single to hold us over until April 7.

"Cave" prowls the deeper, darker side to Future Islands' pulsing synthscapes as Sam Herring growls "I don't believe anymore" with increasing severity. Those lucky enough to have seen the track performed live in recent weeks can attest that it's already a deserving set staple, with its vein-popping SXSW displays readily proving its place alongside "Tin Man" and "Seasons (Waiting On You)."

The accompanying lyric video is unique in that it's conveyed solely through ASL via New York City mayor Bill De Blasio’s fittingly expressive sign language interpreter Jonathan Lamberton. Though not quite to the level of a certain Letterman performance, Lamberton's signing has had its own viral fame.

Listen and watch "Cave" and check out the band's newly expanded touring itinerary below.

The official video for 'Cave' by Future Islands, from new album "The Far Field", out April 7th 2017 on 4AD: http://smarturl.it/The_Far_Field Starring: Jonathan Lamberton Directed by Jay Buim DP - Kyle Repka Editor - Captain & the Fox Producer - Marisa Gesualdi Special thanks to Andria Alefhi Lyrics: CAVE In

A Front-Loaded Collection of Hip-Hop and Pop Beats, Clams Casino's '32 Levels' is a Mixed-Bag

July 21, 2016Music ReviewAndrew MeriwetherComment

Putting out a solo record as a hip-hop beat maker is tricky business. Typically your role as a producer is one of background—serving as a springboard for a rapper or singer. But on your own record, however, you have to strike a balance incorporating intriguing features, while not overshadowing one’s own production chops. In the last few years we’ve seen a number of hip-hop beat makers and producers make a name for themselves outside of the famous artists they work with—Flying Lotus, Knxwledge, SBTRKT, and KAYTRANADA to just name a few—and electronica/beat music seems to only be gaining more credibility as an independent and dynamic genre.

Clams Casino, actual name Michael Volpe, is just one of many hot producers venturing into putting out his own solo record. Having developed a fervent following through his work with artists like Lil B, A$AP Rocky, and The Weekend, along with several well received instrumental mix tapes and EP, Clams’ debut LP 32 Levels was a highly anticipated release hip-hop and beat heads alike. The album features 12 tracks (plus 12 instrumentals of the tracks) featuring some familiar players (A$AP Rocky, Lil B) as well as some unique choices, most notably Sam Herring of Future Islands.

32 Levels has two very distinct A and B sides. Side A is distinctly the rap portion, stacked with A$AP, Vince Stables, and several tracks with Lil B. Clams is very clearly in the zone on this section of the album. His beats are tight and masterfully produced, and possess a polish not heard on his previous work like the Rainforest EP. Long time listeners will appreciate the dark, heavy, and aquatic tones and his delicious composition of vocal samples that have come to define Clams unique sound. He utilizes the flows of Rocky on “Be Somebody," and it obvious that he has a deep rapport with Lil B that allows them to build off one another’s musical styles. Vince Staples is particularly strong on his track “All Nite,” which is a fiery banger with almost industrial, syncopated breakdown.

On Side B, Clams’ enters new territory with more pop features like Kelela and Sam Dew, ending with Herring. Unfortunately, this gives a front-loaded feeling to 32 Levels. Clams Is very clearly out of his element on this section of the record, and the adeptness he exhibits with his features on side A is absent on the second half. Frankly, it just doesn’t seem like Clams knew what to do with these singers. There are certainly moments of promise on the B side: Sam Herring gritty baritone jives well macabre musicality of Clams, Kelela’s voice soars on the chorus of “A Breath Away,” but tracks like “Back to You” and “Into the Fire” smack of Top 40 pop and Clams’ stamp seems washed away. Herring and Kelela make the second half worth listening to, but one could certainly skip some of these tracks without missing much.

Despite fizzling a bit, 32 Levels is indicative of an exciting future for Clams Casino. Clams has refined and focused his sound, and there is not doubt that as a hip-hop producer he demands respect. The question that remains is whether Clams will be able to build off the successful experimentation on this record to find his pop sensibility, or if he will be better served staying in his own wheelhouse.

"Ghost In A Kiss (feat. Samuel T.

Future Islands Side-Project The Snails Makes Playfulness Cool Again on 'Songs From the Shoebox'

February 20, 2016Music ReviewWeston PaganoComment

Though formed as early as 2008, Future Islands side project The Snails had graced us with little more than 2013’s killer Worth The Wait EP before their full-length debut dropped ahead of schedule this week. (Even if you had never heard of them until recently, you may be familiar with the mollusk motif from the adorable smiling snails adorning the envelopes from past ticket giveaways.) Initially tracked back in 2013, Songs from the Shoebox was slowly overdubbed and mixed over the years in between their main band’s tours since.

This slimy supergroup brings members of Future Islands, Lower Dens, Wume, Small Sur, Wing Dam, Nuclear Power Pants, and Showbiz all together within one shell, and is led largely by the FI duo as Snailliam (William Cashion)’s signature rumbling bass grooves lend pulse and platform to Sammy Snail (Samuel Herring)’s delightfully raucous howls as per usual.

For the most, Herring tends to leave his dripping, guttural growls behind for a full showcase of his upper registers with uplifting roars of positivity on “The Tight Side of Life” and beyond, and his ability to shift between brooding poignance to unabashed fun deftly displays the emotional and modal versatility of a man who also doubles as an occasional rapper.

Opening with the sound of a balloon blowing up, Songs from the Shoebox has all the playfulness of the class projects we built in those same containers as we first learned to appreciate the fun of art all those years ago. The energetic collaboration brings the best side projects have to offer with that added bit of flair such freedom allows, as the Baltimore post-punk rockers swap their sultry synth for sweet, sweet sax.

Appropriately decreeing “We’re gonna take it slow / Real slow / Real slow” in the first track, they then transition into the whimsical "Barnacle on a Surfboard (Barnacle Boogie)" that ends with impressively committed snail sound effects, before "Shoebox" opens up cheerfully with the curious “It's a brand new day / Bring me my socks / I want to show you how I play.”

It’s the sign of a truly great musician when each and every song they put forth is of undeniable quality, no matter how obscure it may be (give Future Islands’s loose collection of non-album deep cuts a visit sometime if you haven’t already, and you’ll discover lesser known tunes that pack more punch than many indie staples’ peak singles), and even at their most casual they prove to make no exception, never skimping on earnest heart and movability no matter how silly the vessel for that drive may be.

Ending with the previously-released highlight "Snails Christmas (I Want a New Shell)" we find ourselves with an offering infinitely better than the half-assed holiday repeat covers we’re normally subjected to each winter, however strange it may sound in mid February. It’s also, notably, the first time the words “caviar” and “Roomba” have ever been sung in the same sentence, at least to my knowledge.

For a man usually known for physically beating himself as he figuratively (and through miming, literally) tears his heart out onstage, it’s especially nice that Herring of all people can remind us to sometimes take a step back and just enjoy the music.

Check out where The Snails will be leaving trails during their tour: