What's New(s)?

Real Estate announces new album

Since releasing their sophomore album Days in 2011, New Jersey-based indie pop band Real Estate has been relatively quiet. Even the past few months were subdued, the silence only broken by the occasional album tease that never materialized.

Last night that silence was shattered with the announcement of their third LP, entitled Atlas. And in addition to unveiling the album, the group has debuted a new track called "Talking Backwards". With ringing guitars, Martin Courtney's distanced vocals, and restrained drumming, the song furthers the band's bid for jangle-pop royalty. You can find a Charles Poekel filmed video for the lush single below along with dates for a North American tour starting in late February. Look for Atlas to arrive March 4 in the U.S. via Domino.

Tour:

2/28 San Francisco, CA - The Independent 3/1 San Francisco, CA - The Independent
3/3 Portland, OR - Wonder Ballroom
3/4 Vancouver, British Columbia - Rickshaw Theatre
3/6 Seattle, WA - Neumos
3/8 Salt Lake City, UT - Urban Lounge
3/9 Boulder, CO - Fox Theatre
3/11 Los Angeles, CA - Fonda Theatre
3/19 Cambridge, MA - The Sinclair
3/20 Cambridge, MA - The Sinclair
3/21 South Burlington, VT - Higher Ground Ballroom
3/22 Montreal, Quebec - II Motore
3/23 Toronto, Ontario - The Opera House
3/25 Madison, WI - Majestic Theatre
3/26 Minneapolis, MN - Fine Line
3/27 Chicago, IL - Metro
3/28 St Louis, MO - Firebird
3/29 Nashville, TN - Exit/In
3/31 Atlanta, GA - Terminal West
4/1 Charlottesville, VA - Jefferson Theater
4/2 Washington, DC - 9:30 Club
4/3 Philadelphia, PA - Union Transfer
4/5 New York, NY - Webster Hall

The National film Mistaken for Strangers receiving a theatrical release

The National haven't been accused of being comedic, but the band will be unloosening their asphyxiating ties just a bit for the theatrical release of Mistaken for Strangers. Out March 28 in theaters and on iTunes, the documentary filmed by frontman Matt Berninger's brother Tom will follow the exploits of the band while on tour for their 2010 High Violet. As Matt Berninger jokes about is brother in the trailer, "he's more of a metalhead, he think's indie rock is pretentious bulls***." Much of the tension and drama of the film stems from this outsider-view of the indie-rock world, a world where "shredding" is alien, and Tom's struggle to relate to his far-more famous brother.

Mistaken for Strangers is being released through Starz Digital Media and Abramorama. You can preview the film below with the official trailer.

Hear Ty Segall's Fuzz cover the Kinks

The impossibly prolific Ty Segall is something of a garage-rock hero at this point, so it makes sense the San Fran rocker would take to a cover of the Kinks "Till the End of the Day" like a duck to water. The original Dave Davies work was already speeding on high-octane energy, but in the hands of the frenetic Segall the song goes into overdrive. The loveable Britpop harmonies are obscured by Segall's manic wailing and the power-chord fed solos drop like a ton of bricks in this heavyweight setting. In Segall's hand, the song's refrain "we do as we please," comes close to mantra.

The cover is part of an ongoing split 7" series by the Brooklyn label Famous Class, called "Less Artists, More Condos." Segall's contribution is the 10th in the series and will be backed by CCR Headcleaner's "Free the Freaks" on the B-side. The split drops January 21 and all proceeds go to the Ariel Panero Memorial through VH1's "Save the Music" campaign.

Check back in tomorrow for more of the newest in new(s) and follow @AllFreshSounds on Twitter for updates throughout the day.

"The Man Man"- Ty Segall

Few things are certain in this world, but we can know with absolute certainty: we're all born, we all die, and San Francisco garage-rocker Ty Segall will continue his superhuman output until his dying breath. On his own, he's issued six LPs since 2009 and that's not even accounting for EPs or collaborative efforts. And while he relentlessly tinkered from release to release, twisting sunny day recollections into menacing garage rave-ups, he never quite developed a pill to encapsulate his chameleonic nature, though this year's Sleeper (released in August) comes close.

The prolific Segall's modus operandi on Sleeper is simple, barren acoustic tracks coat catchy melodies in an amniotic sheen. Segall's vocals mutate into a folksy, nasally croon capturing decaying relationships (familial and otherwise). Segall referred to the LP as a "purge" and few attempt to shed weight quite like the midnight rambler "The Man Man". In its subdued state, Sleeper is unquestionably a nocturnal album and "The Man Man" records the crossover from dream to nightmare. Segall's ragged acoustic guitar part spins its wheel, perpetually grasping for someone out of reach. His nasal whine documents a traveling figure (not unlike himself) wandering under waterslides and into caves, akin to the Who's "The Seeker". That fabled character was searching for answers, but Segall's lead is aiming to escape, saying "so long" as quick as he can. The figure's departure is hastened by a well-placed guitar solo near the song's end. Segall's pain is feebly concealed while the electric intruder rages. In dream speak, it's the moment in the nightmare when you're surrounded and all you can do is swing wildly and pray it pays off. The dream world is a disparate place; so it’s no wonder the restless Segall adeptly captures all of its ebbs and flows. 
 
The video for "The Man Man" is out now and features a car full of masked figures skulking through dark streets in search of Segall.