Thursday, 06 November 2008
*SUPER LIMITED TO JUST 100 COPIES FOR THE UK* Lifted from their impressively left-of-centre full-length, Entanglements, 'A Song For Ellie Greenwich' finds Portland ensemble Parenthetical Girls aping Burt Bacharach's '(They Long To Be) Close To You' and making a surreal, symphonic racket while they're about it. Flip over and you'll find the slightly more level-headed - and arguably superior B-side 'Afterwords', which comes across as a touch more eloquent and lyrical, without cutting down on the bombastic arrangement. Ace.
Tuesday, 04 November 2008
Originally released as a single-sided 12" in a limited edition of 150 copies, Magnifiecent Speech Funk doubles in length, adding a further remix into the bargain, complementing the Laurent Garnier edit that appeared on the original format. Garnier's version features a bassline progression tailored to the 'doom-dat' vocal referenced by the title. It fits together rather beautifully, although designing an entire production around a bit of glorified mumbling is a fairly extravagant measure. The 'Kabale und Liebe Has The Blues Remix' cuts into the vocal for a bit of hiccup house, turning the voice into a more percussive element.
Monday, 03 November 2008
Dubstep rave tracks from DJG for NarcoHz with two melodic and mellow yet effective dance movers with thick subs and rave friendly frequencies...
Thursday, 30 October 2008
Benga's latest for Tempa opens with a far more developed, matured and dare we say, sensual sound than the outright ravers of previous releases on 'Pleasure'. Perhaps cutting for a deeper vein, 'Pleasure' licks up tempered rave chords over a slinky and sinuous rhythm with a menacing intent. But fear not, the malevolent Benga we all love begins to show through on 'Go Tell Them' with a thick electro synth driven mover punctuated by darkside stabs. 'Loose Synths' takes a sideways look at the Funky styles of Apple or Hardhouse Banton with tricky percussive syncopations driving a display of Detroit versus Saaf… Read more
Brooklyn duo High Places have a sound that's all their own, and although you could probably make legitimate comparisons to a whole heap of contemporary US indie experimenters, no one else is quite like them. You'll hear shades of Animal Collective's experimental pop, elements of Growing or Black Dice's mangled digital exotica and a decent helping of no wave-influenced primordial beat craft. Keeping this surreal electronic collage firmly anchored in pop music is the sweetened vocal delivery of Mary Pearson, who guides these scrambled narratives to shore on abstract jaunts like the sublime 'Fro… Read more
A crafty platter of dubstep and left-funked bassline from Westernsynthetics for the cool Sub Continental Dub label. 'Engine no.999' and 'Contumacious in kind' follow a similar fomula of stripped and flexible dubstep , but the longcut B-side opts for a charged 4/4 drive with offset snares and a funk/bassline flavour augmented by an off centre ethnic feel. Cool gear!
Tuesday, 28 October 2008
Innasekt, Lewis Hunter, Yapsta, and Chav & Dave all feature on the first compilation from dubstep hybrid imprint Frijsfo Beats. Innasekt's 'Static' is built for big scary warehouse spaces with a hardcore dubstep cut closely aligned with the older sound of Vex'd or Destructive records. Lewis Hunter proves some intricate production talent on 'Cut from the wreckage' with a dynamic display of electro-dubstep manipulations similar to Boxcutter or a steppy Chris Clark, Yapsta takes some cues from the Bassline scene but adds some electrified flavour to the mix, and the terribly na… Read more
Wednesday, 22 October 2008
The first solo album released by Robert Wyatt after his time with Soft Machine, Rock Bottom met with great critical acclaim upon its release in 1974. The writing for the album began in Venice while Wyatt's soon-to-be wife Alfreda Benge was working as assistant editor on Nicolas Roeg's Don't Look Now (a suitably eerie and mystical point of reference for the album itself) although preparation of the material was only finished during Wyatt's stay in hospital following his spine-damaging fall from a five-storey window, only serving to make the finished product even more remarkable.… Read more
*One-time, 500 edition LP pressing* The Great Orthochromatic Wheel is The Blithe Sons first full-length release since 2004. In the years since the California duo of Loren Chasse and Glenn Donaldson may have traversed poppy fields and swam to aqua cities though mostly they've remained active with their Jewelled Antler offshoots: Ov, Of, and Child Readers (Chasse ) or Skygreen Leopards and Flying Canon (Donaldson) and both in Thuja. These five songs combine nature's melodic pull and minimalist songs forms summoned by a miniature orchestra of eclectic instruments. Each LP … Read more
Tuesday, 21 October 2008
Following on from a brilliant mini album (last year's The Early Learnings Of Eugene McGuiness) released via Domino offshoot Double Six, the much hyperbolised over songwriter returns with a proper full-length, and this time he's backed up by a band's worth of additional musicians, lending a snarky rock & roll aesthetic to 'Fonz' and 'Nightshift' whilst adapting nicely to more contemplative fare such as 'Wendy Wonders' with its languid violins and eloquent sentimentality. Taking that expanded, ballad-accommodating sound to its logical conclusion, 'Those Old Black And White Movies' s… Read more
Friday, 17 October 2008
Taken from his !K7 debut, 'Remember The Good Things' is a prime example of how refined Michael Milosh's soulful, ultra glossy electronic song craft has become, all reinforced with tricky, elaborate beat constructions. The Daedelus remix puts a very different angle on the song, whilst maintaining the vocal and structure. The whole track sounds that little bit dirtier, and suddenly the pristine electronics of the original are substituted with crunched up samples. Next comes a 4/4 revision by Lanark, who reshapes the song into a melancholy techno production. Finally, album opener 'Awful … Read more
Thursday, 16 October 2008
Fairly evil acid techno-dubstep hybrids from Nevamis, allowing himself three tracks and two sides of vinyl to experiment with this much underrated and surprisingly unexplored niche territory.
Recorded live in Edinburgh in partnership with the BBC, this latest Bonnie 'Prince' Billy album arrives at the tail end of a prolific year for the alt. Americana icon. He's surprised us with lo-fi acoustic demo releases, live recordings and a proper new album (the impressive, yet plainly recorded Lie Down In The Light) and now comes a document from Will Oldham's 2006 tour, in which accompaniment comes from drummer Alex Neilson and Scottish folk collective Harem Scarem, who provide vocal harmonies, fiddle, flute, accordion and banjo to a variety of Old… Read more
Wednesday, 15 October 2008
State of the art disco pop from DFA's Mock & Toof, who coarse through 'Underwater' like a collaboration between Hot Chip and Giorgio Moroder, fronted by slightly funkier Guy Garvey. The alternate mix clocks up an extra couple of minutes and opts for a Latin house feel, while a demo version strips the song to its barest components: acoustic guitar, vocals and electric piano.
Jona Bechtolt makes his way over to DFA for three tracks, all of which find him tailoring his endearing electronic pop squiggles into a far more serious sounding James Murphy-friendly setup, complete with robust live kit sounds, disco drum patterns and tough no-wave basslines. Both 'Summer Song' and 'I'm In Love With A Ripper' sound like perfect DFA fodder, with their slouchy rhythms and slick organic styling, but 'It's Boring/You Can Live Anywhere You Want' is a little more connected to indiedom - at least in its first half, before the saturated synth soloing gets hold of the track. Smashing.
Tuesday, 14 October 2008
Party steppers from San Francisco's DJG for Subway. The original version is a breaks debted dubstep romp, but the L.D. remix tightens this into a diamond cut dubstep/breakstep style version with deep cut bass and flashing edits recommended to smash your dance with. Lots of support coming from Hatcha, The Others, Chef, Marlow and more.
**SHIPS FRIDAY** Masterful riddims from N.Y bassed imprint Low Motion, with Sub Swara's stunning 'Koli Stance' ruling the A-side with a richly percussive production utilising swirling tablas and unique subbass tones for a track that has caught the attention of everyone from Mary-Anne Hobbs to Blackdown. Sharmaji & DJ Boo provide the less adventurous but no less effective 'Skank Ethics' on the flipside, with a nagging dub riff and tough dubstep patterns devolving into subbass soup to feed your soundsystem.
Thursday, 09 October 2008
Various Production hook up with Manc grime heroes Virus Syndicate for a couple of biographical bangers on Planet Mu. 'Apollo' sees the Various crew concocting a slick grime riddim with shifting bottom end manoeuvres, sparse enough for the crew to spit some personal tales of where they came from "...listening to Hysteria packs back in the day..." and generally infect the track with their passionate flow. 'Neva Argue' on the flip is a much altered beast, with leaden metal guitar chops and a fierce attitude from the crew almost reminding of a gutter John McCrirrick in parts but just blazing with aggressive energy. Wild.
Crafty dubstep rave gear from Threnody for Urban Graffiti with two tracks of tumbling breakage edits on 'No Sound Of Any Kind' and 'So Many tears' both benefitting from his queer melodic sense, and final track 'Trend' cut for the dubstep hardcore with a solid halfstep smacker.
Reduced dubstep meditations from F-One for Dubsteppers recording with two smoky skankers for the dubstep DJ dem...
'Fermented Condiments' introduces Duncan Murphy and a list of guest artists with the piquant strings and tumbling piano lines of 'Triplehorn' before introducing treated drum breaks and skilled manipulations to call to mind Tunng jamming with Daedelus. 'Retract' is a blatant Autechre homage, albeit with some seriously lush string treatments, but the beat is pure Ae and all the better for it. 'Folic Abandon' continues the theme of skilled orchestrations given a thick gloss of digitalism, while 'Colloidal Silver' sounds like an introspective John Fahey composition meeting Tangerine Drea… Read more
VINYL NOW AVAILABLE. An intriguing techno long player from Chilean Alejandra Iglesias for Vakant records. With a background in dance and a fully stamped passport behind her, Iglesias has proceeded to melt her influences from listening to classic German techno and DJ residencies at clubs in New York into an inviting and irresistably lush set entitled 'May Be later'. The sub heavy slink of opener 'Mi Amor' immediately reminds of that other techno Chilean, Herr Villalobos and is a comparison not to be taken lightly with Iglesias coating her rhythms with similarly snaky and loose limbed melodies. The … Read more
NOW AVAILABLE ON VINYL. In a world where the poor old White Stripes don't even have the one bass player, Dianogah are stockpiling them. A trio composed of two bassists and a drummer, this lot are essentially a glorified rhythm section, but they certainly make excellent use of their surplus low-end arsenal, linking up instruments in that ever-popular mathsy fashion on intricate, interwoven pieces like opener 'Oneone' and 'Puma', whist laying down more easily digested, fuzzed-up, heavy rock via the crunchtone riffing of 'Snowpants' and 'Qhnnnl'. Andrew Bird shows up with his violin, helping flesh out… Read more
Wednesday, 08 October 2008
Ballistic ragga techno bashers from Sasquatch for the determined Senseless Records. Senseless records just don't let up with the mean attitude, as forged by crew members Jack Sparrow, Sarantis and Sasquatch, who probably holds the title of the meanest of the lot. 'Hangman' is just brutal, a dubstep riddim built with syncopated techno kicks and darkside ragga attitude desgned for nasty dances, and 'Slayer' on the other side, a halfstep warrior track built for big dancefloor impact.
Thursday, 02 October 2008
Marcus Worgull gets stuck into this new track by DFA favourite The Juan Maclean, who's currently piecing together a sophomore album, entitled The Future Will Come. This remix manages to keep everything moving with a sense of purpose right across the nine-and-a-half minute duration, building up to a synth-string soaked peak populated by vocal refrains banging on about "oblivion". It's all that little bit more epic, and emotionally charged than most modern disco tends to be, but that can only be a good thing.
The Present is the new music project of legendary New York musician and producer Rusty Santos (Panda Bear Person Pitch, Born Ruffians Red Yellow & Blue, Animal Collective Sung Tongs). Described by one band who worked with him as a hyper boy genius, Rusty has always fixed his attention on producing music that is experimentally rich whilst remaining accessible. By attempting to create music that arises unconsciously through improvisation, The Presents debut album 'World I See' hauls this ethos over its shoulders as it tramples on musical boundaries and preconceptions, whilst leaving an… Read more
The first installment of 'freaky bitches' is a downright modern electro classic and probably the finest track to appear on Touchin' Bass, but Ms Parker has called for reinforcements with a second outing featuring remixes from Eggfooyung, Clatterbox, Justin Maxwell, LCEDP, and Mira Calix in collaboaration with Oliver Coates. The first side is cut for the electro faithful with Eggfooyung and Clatterbox providing the expected 808 action with Clatterbox knocking out a fierce club rocker. The B-side features Justin Maxwell transforming '...bitches' into … Read more
Hawnay Troof is the recording persona of Vice Cooler, which itself doesn't sound any more convincing as the name of an actual real-life human being. This strange but rather charming lo-fi hip hop outing finds Mr. Cooler teaming up with a roll call of indie stars, including Xiu Xiu, No Age's Randy Randall (now that's a good name for someone to have), Carla Bozulich and members of bands including The Curtains, Erase Errara, Stereo Total and High Places. The Hawnay Troof sound isn't entirely unlike the sort of indietronic rap spouted by Tigerbeat6-er Cex, sounding at once like a spirited ret… Read more
Rude rolling Big Beat Breaks from Black Canvas for Tayo's Cool & Deadly imprint destined to get first year students up and down the country dancing badly . The only saving grace here is the formidable TRG remix, which tightens up the flimsy breaks version with a taut 2-step motion and reinforced sub pressure for a tough ragga bashment vibe.