I'm talking inspiration with Alan Palomo, the 21-year-old Brooklyn-/Austin-based artist behind the psychedelic synth-pop outfit Neon Indian, when he offers up his earliest musical obsession. "It all started when I discovered [New Order's] "Bizarre Love Triangle," he says. "It summarized every blissful feeling of infatuation I've had since birth in those six minutes." Read more »
Thomas Koch, better known as DJ T. and the founder of Groove magazine, is the latest DJ-producer to craft a mix for the illustrious Fabric mix series. A true veteran of the dance music world, DJ T. has been spinning since 1989, but his mix features the freshest sounds from all over the dance spectrum, from the dark percussive beats of Bodycode to the throwback New York house of Azari & III. According to Koch himself, he's never "whipped up a mix with so many vocals," so those worried about accessibility can rest assured that the mix will bring all sorts to the floor. Tracklisting after the jump! Read more »
In a brief series of concert dates which kick off Feb 12 at the Unsound Festival in New York, one of Berlin's kings of dub-tech and founders of the ˜scape label, Stefan Betke (a.k.a. pole), will be returning to the US and Canada for live performances along with ˜scape co-founder, DJ Barbara Preisinger. Read more »
Newcomer Krystal Klear may keep his identity secret, but we certainly know he loves boogie. The thick washes of synth overlaying a propulsive low-end melody and shuffling dance beat scream early-'80s R&B, although Klear's production remains focused on the future. By the time his debut 12" gets released in April on All City, we'll surely learn a few more things about this exciting producer.
The song "Water" sounds something like a nursery rhyme penned by Three 6 Mafia or Lil Wayne, but performed instead by malfunctioning androids. In reality, the track comes courtesy of now LA-based duo Pit Er Pat, who recorded the song as the kick-off of their new album, The Flexible Entertainer. It's strange to say the least, but the elastic basslines, looped strings, and herky-jerky drum-machine beats somehow join forces to create a wonky cut that just might be the Top 40 of the future.
In comparison to the noisy rock sounds propagated by contemporaries such as HEALTH, Ganglians, and Liars, Dinowalrus is a far more unhinged outfit whose heavily reverberated atmospheres, herky-jerky basslines, and warped soundscapes bring to mind earlier days of post-punk. Read more »
The recordings for Jamie Lidell's forthcoming third album, Compass, started down in Los Angeles while he was working with Beck on the artist's Record Club project (essentially a group of musicians coming together for an impromptu covering of classic albums). After things began to take off in Beck's home studio, Lidell moved the sessions all around between studios in LA, New York, and Canada, making time to catch contributions from Feist, Beck, and members of Grizzly Bear and Wilco. Read more »
This video for "La Mara Tomaza" by El Hijo de la Cumbia (which translates to Cumbia's Son) was shot entirely in Mexico throughout the NY-based DJ/producer's recent tour, though the song itself was released back in 2008 on Bersa Discos. Read more »
The New Orleans genre known as bounce, which came into being in the late '90s, is being documented and celebrated in an upcoming exhibit at New York's Abrons Art Center. Titled "Where They At," the exhibition is casting a special spotlight on the sissy bounce genre, whose practitioners are among the most outspoken queer and transgendered performers in all of hip-hop. Read more »
These Are Powers has been crafting claustrophobic, paranoid dance music for a while now, but it is with the group's next release on RVNG that the sonic assault really comes to its apex. "World Class Peoples" features a stomping house beat, rumbling bass, Middle Eastern war synths, and truly menacing multi-layered vocals. The sound is something like the perfect mix of the confrontational sexuality of mid-period Gang Gang Dance, the leftfield house aesthetics of Excepter, and a healthy dose of mid-'90s European electro. In fact, one of the track's main synth lines has the feel of a weird reconfiguring of Robin S.'s "Show Me Love." Sweaty basement dance parties will be blaring this for months to come.
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