St. Jerome’s Laneway Festival 2012

Indie fans in East Asia now can expect a bigger and better festival that can make them go crazy of their favourite bands. Next year’s St. Jerome’s Laneway Festival is already being set to hit Singapore’s own Fort Canning Park on February 12th.

The Line up will feature many variety music from dance to electronic, from rock to indie pop, such as The Drums, M83, Laura Marling, Toro Y Moi, Yuck, etc.

Chugg Entertainment as the promoter said that the venue’s layout itself haven’t be fix yet, different than this year’s layout, there will be two stages provided and they also will improve the quality of the event’s atmosphere itself. Bellow are we summarise things you need to know about the performer:

Anna Calvi ’s self titled debut album, is about lust and love, devils, and a new take on David Lynchian dramatic surrealism… uh, actually, stop right there. Another thing about this disarmingly sweet blonde girl is that she’s better at defining what she does than anyone else. Anna is justly proud of her first album, and picks out two songs where she feels she’s got close to what she ultimately wants to achieve. ‘I’m very microscopic about detail. And there’s a lot of sound-painting in Love Won’t Be Leaving. I see music very visually. And I want the music itself to express the story as much, if not more, than the lyrics. I think I achieved that on Love Won’t Be Leaving. I’m happy with The Devil, which I recorded in France. It’s a good example of how I wanted to make the guitar sound like another instrument. I wanted the middle-section to sound like the strings on a Hitchcock soundtrack. It crescendos towards an explosion, but in a real and honest way. It’s not about bravado.’

But before the album, the first release. Anna has embarked on a one-woman mission to reclaim the ancient and noble idea of the debut single that stands alone from an album she views as a complete work. Hence Jezebel. ‘It was written by Wayne Shanklin. But it was the Edith Piaf version that I heard. It just really had an effect on me. I love Edith Piaf. I love how much emotion and guts she puts into her singing. Its something I try to do in my music….be as open and passionate as possible. Jezebel just seemed like the right thing to put out first. The album is such an entity in itself. It’s a story and a journey. So I didn’t want to take anything out of the album before it was released. I wanted people to hear the album as a complete thing.’

Cults ‘s story is really one of chance meetings, chances so fortuitous you may wonder if something stronger – something more like fate – was at work. How else to explain the fact that Madeline happened to be in San Diego, Brian’s hometown, and the two happened to be in attendance at the same concert with a mutual friend. How else to explain the fact that, for some unknown reason, Madeline had left half her belongings in San Francisco, prompting Brian to offer to drive the round trip to collect them, during which the pair would cement their relationship by bonding over each other’s iPod collection (from Lesley Gore and Jay-Z to Justin Timberlake). And how else to explain the fact that Madeline and Brian both happened to be embarking on a imminent move to New York to study film, ensuring that they spend endless hours of time together and Brian got the chance to hear Madeline singing over the first songs he’d ever written.

After a few standout performances last fall at the 2010 CMJ Festival in which music’s elite praised the duos’ simplistic pop charm, Cults decided their next move would be to put a full album out with a bigger label and signed to the newly-created Sony imprint ITNO. The band’s self-titled release is – like the original demos – self-produced, although engineer Shane Stoneback (Sleigh Bells, Vampire Weekend) was brought on board to tighten things up. A love of hip hop is also evident in their use of repetition: “We wanted the melody to be the thing that breaks the music out of its monotony,” says Brian. “In that sense some of our songs aren’t far off from early Wu Tang stuff where they’d sample soul records.”

M83 or Anthony Gonzalez, a french electronic dream-pop artist has announced the release of his highly anticipated and epic new double album, ‘Hurry Up, We’re Dreaming’, this last October 14 on Pod through Inertia wich  marks Gonzalez’s return after his fifth release, 2008’s critically acclaimed ‘Saturdays = Youth’, which saw M83 invited to tour alongside Kings of Leon in the UK, The Killers in America, Depeche Mode throughout Europe and Midnight Juggernauts here in Australia. The group returned to our shores in again in 2009, playing across the country as part of V Festival whilst treating fans to some headline sideshows along the East Coast.

“Mine is the story of any artist,” reckons Gonzalez. “I have more experience now, I’m more mature and I have more confidence in my music. This is the first time in my career when, if I have an idea in my head, I can create it in music. It’s something I was never able to do before. I’m a big romantic, especially about music,” he adds. “There’s nothing more beautiful than something well recorded that you can listen to on a good sound system.” Something meaningful – and massive – he might well add.

The Pains of Being Pure At Heart may get well known from the opening explosions of electric guitar on “Belong” (“We don’t”) and the sumptuously synthetic dance pop perfection of “The Body” to the prom-in-heaven chorus of “Even in Dreams” and the closing moments of the uncommonly sincere and affecting “Strange” (“…and dreams can still come true”) the answer is an unqualified, resounding (and damn good sounding) “Yes.”

The album’s strength is the quality of the songwriting and each songs ability to sound distinct from one another while still holding together as a unified record from start to finish. Some, like the fuzz-mad “Heaven’s Gonna Happen Now,” “Girl of 1,000 Dreams” and statuesque “Too Tough” wouldn’t sound out of place on their first LP, taking their cues from Berman’s plaintive voice and liberal use of fuzz guitar. Others, like “The Body” and “My Terrible Friend” derive their power from drummer Kurt

Toro Y Moi may started off his career in 2010, which would prove to be Toro’s flagship year, by releasing his debut, Causers of This, in February. He toured extensively in support of the album, adding two more members—a bassist and drummer—to his live show, and steadily accrued more supporters and acclaim. Summer saw the release of the “Leave Everywhere” 7”, and in fall he issued a 12” single under his house music moniker, Les Sins.  Always a prolific creator, Chaz used the sparse downtime between tours to prepare and record his sophomore album.

Having spent the year listening to film composers like Françoise de Roubaix and Ennio Morricone, Chaz returned to his parents’ home in Columbia, the birthplace of many Toro tracks of yore, to bring his new ideas to fruition. The result of these sessions is Underneath the Pine, a deeply personal album that sees him putting down the samples and electronics and relying completely on live instrumentation. Out on February 22, Underneath the Pine is a record evocative of R. Stevie Moore’s homespun ruminations, David Axelrod’s sonic scope, the spacey disco of Mandre, and the pervasive funk of his first record. It’s a new phase for an artist whose diverse curiosities make his music difficult to classify.

Chairlift formed initially as a project between Aaron Pfenning and Caroline Polachek at the University of Colorado in October 2005, long with bassist Kyle McCabe, Chairlift recorded the beginning of Daylight Savings EP at New Monkey Studio in Los Angeles, California in April 2006. Chairlift relocated to Williamsburg, Brooklyn in August 2006 and signed to Kanine Records in June 2007. Patrick Wimberly joined the group in early 2007. They released their first full-length album, Does You Inspire You, in 2008. The single “Evident Utensil” was nominated for an award in the “Breakthrough Video” category at the 2009 MTV Video Music Awards. Pfenning left Chairlift in 2010 to pursue his solo career in Rewards.

Polachek was featured in the Chillwave band Washed Out’s Single “You And I” (2010), in Acrylics’ “Sparrow Song”, in Flosstradamus’ single “Big Bills”, and Holy Ghost!’s “I Know, I Hear” and in In 2011 Wimberly produced the American rap group Das Racist’s album Relax, the same year on Sept 7th they released the video to their first single “Amanaemonesia” of their upcoming third album.

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So what are you waiting for? better booked your ticket and accommodation starting from now on, cause as they’ve said, its moving steadily bigger and more exciting!

Direct Sistic booking Link 
FUll line-up / Dates / Times / Ticketing Info here