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 / Film, Télé et Musique
Under the Radar

Under the Radar Issue 64

Under the Radar is obsessed with music. We're dedicated to breaking new bands and checking-in with our favorite established artists through our in-depth articles and eye-catching original photography. Each issue also contains a ridiculous number of reviews--all the better to help you find your new favorite album, film, TV show, book, comic book or video game.

United States
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4 Numéros


4 min.
letter from the editor

I grew up with jazz. As I’ve written in these pages before, my late father David Redfern was a well-regarded music photographer. And although he photographed most of the classic rock legends of the 1960s and 1970s (he was on the Magical Mystery Tour with The Beatles and took some iconic live photos of Jimi Hendrix, for two examples), his main musical passion was jazz. As I boy I tagged along to jazz festivals in England and France and was generally the only child allowed in London’s famed Ronnie Scott’s Jazz Club. I got to meet legends of the genre, introduced by my dad backstage, at soundcheck, or in the hotel bar to the likes of Dizzy Gillespie, Art Blakey, George Benson, Wynton Marsalis, and others. My father was good…

2 min.
staff’s favorite songs of the moment

Mark Redfern (Publisher/Senior Editor) 1. Kamasi Washington: “Fists of Fury” 2. Christine and the Queens: “Girlfriend” (Feat. Dâm-Funk) 3. Wild Nothing: “Partners in Motion” 4. Natalie Prass: “Hot For the Mountain” 5. Hatchie: “Sleep” 6. Matty: “Déjàvu” 7. Let’s Eat Grandma: “Falling Into Me” 8. LUMP: “Curse of the Contemporary” 9. Still Corners: “Black Lagoon” 10. Gruff Rhys: “Limited Edition Heart” Matt Fink (Hip-Hop Editor/Staff Writer) 1. Mitski: “Nobody” 2. Yoko Ono: “Warzone” 3. Tyler, the Creator and A$AP Rocky: “Potato Salad” 4. Anderson .Paak: “Bubblin” 5. Nathan Bowles: “The Road Reversed” Lily Moayeri (Television Editor/Staff Writer) 1. Gorillaz: “Hollywood” (Feat. Snoop Dogg & Jamie Principle) 2. Johnny Marr: “Hi Hello” 3. Portugal. The Man: “Live in the Moment” 4. Suede: “The Invisibles” 5. Underworld & Iggy Pop: “Get Your Shirt” Chris Davidson (Staff Writer) 1. Hop Along: “How Simple” 2. Preston Lovinggood: “Everything Will Be Okay” 3. Stephen Malkmus & the Jicks: “Middle America” 4. Leon…

2 min.
a digital sampler!

1. LOW “Fly” Double Negative Sub Pop www.subpop.com 2. LUMP “May I Be the Light” LUMP Dead Oceans www.lump.world 3. LET’S EAT GRANDMA “Falling Into Me” I’m All Ears Transgressive www.letseatgrandma.co.uk 4. SHADOWPARTY “Reverse the Curse” ShadowParty Mute smarturl.it/SPCELEBRATE 5. WILD NOTHING “Letting Go” Indigo Captured Tracks www.wildnothing.lnk.to/Indigo 6. HATCHIE “Sleep” Sugar & Spice EP Double Double Whammy www.hatchie.net 7. CAMPDOGZZ “Run Wild” In Rounds 15 Passenger www.15passenger.com/campdogzz 8. MASS GOTHIC “Dark Window” I’ve Tortured You Long Enough Sub Pop megamart.subpop.com/releases/mass_gothic/ive_tortured_you_long_enough 9. NEKO CASE “Bad Luck” Hell-On ANTIwww.nekocase.com 10. THE FLAMING LIPS “Unconsciously Screamin’” In A Priest Driven Ambulance (With Silver Sunshine Stares) Rhino www.rhino.lnk.to/REVinyl 11. JIM JAMES “Throwback” Uniform Distortion ATO www.smarturl.it/JimJames_UD_Pivot 12. CURSE OF LONO “Tell Me About Your Love” As I Fell Submarine Cat www.curseoflonoband.com 13. TRACYANNE & DANNY “It Can’t Be Love Unless It Hurts” Tracyanne & Danny Merge www.smarturl.it/TracyanneAndDanny 14. NATALIE PRASS “Lost” The Future and the Past ATO www.natalieprass.com 15. THE LOVE LANGUAGE “Juiceboxx” Baby Grand Merge www.smarturl.it/BabyGrand To Download, visit: www.undertheradarmag.com/sampler/v64 Enter Code: 6b4x-aug18-tb9k 16. ROLLING BLACKOUTS COASTAL FEVER “Talking Straight” Hope Downs Sub Pop megamart.subpop.com/releases/rolling_blackouts_coastal_fever/hope_downs 17. FLASHER “Who’s Got Time?” Constant Image Domino www.flasher.online 18. DUMB “Party Whip” Seeing Green Mint www.mintrecs.com/artist/dumb 19. BERNICE “Glue” Puff LP: In…

6 min.
christine and the queens

Wendy Lynch Redfern When Héloïse Letissier emerged on the international stage as Christine and the Queens, via a spell-binding dance routine to her breakthrough single “Titled,” she appeared like a pop-star from a bygone-era. Quiet, bookish, and altogether unassuming, the French singer was the sort of artist you could walk past every day and never recognize. The demure persona was not an accident. “The first record was me trying to escape the male gaze, if I could. Very buttoned-up, quite a neutral way of existing,” she says. “But I was failing at it because every comment I was reading under my videos was still ‘would I fuck this girl?’ rather than focusing on what I had to say.” However, on the extensive promotional campaign for her debut, Chaleur Humaine (re-titled simply Christine and…

3 min.
let's eat grandma

Rosa Walton and Jenny Hollingworth remember the moment they became pop songwriters. They were in Los Angeles with highly sought-after producer SOPHIE, playing one of their meticulously constructed demos. Built on a swirling chord sequence that repeated over and over, building anticipation for the vocals, the Norwich duo believed they were creating dramatic tension. SOPHIE made a simple suggestion: just go straight to the hook. “We were like, ‘Oh, no. We need the chords for the intro. People are supposed to get into it,’” Walton recalls. “And she was like, ‘It would be more effective if it just came in immediately.’ After a while, we let go and realized that not every song has to have a really long build up before the vocals come in. Things like that opened…

2 min.

LUMP’s conception barely involved any discussion: Laura Marling and Tunng’s frontman Mike Lindsay met at a Neil Young after party, and, after what Lindsay terms a “simple exchange of words,” LUMP was formed. The collaboration induced an unexpected creative freedom. “We didn’t really know each other very well before we started doing this,” Lindsay explains, “so it was a learning curve—I had no idea what it was going to be like.” A hypnotic mix of flutes, drones, synths, and guitars, LUMP’s self-titled debut shares characteristics with a surreal short film soundtrack at just 32 minutes long (with the credits read out by Marling to close the album in “LUMP is a Product”). Lindsay describes the writing process as dictated by a set of rules: “Each track had to be roughly related…