2010 has been one of those years where the press likes to revive the notion that bands have made electronic music and dancing cool again... as though electronic music and dancing ever stopped being cool on some grand scale. We're just guessing here, but it's a safe bet that Logan Takahashi and Nick Weiss of Oberlin duo Teengirl Fantasy were never confused about these matters. Read more »
One of London's premiere post-dubstep outfits Mount Kimbie just announced it will release a follow-up to its widely acclaimed debut album, Crooks and Lovers. The Blind Night Errand EP is comprised of four songs from the forward-thinking production duo, including the title track and "Before I Move Off," which are taken from Mount Kimbie's full-length record, a new mix of Maybes cut "William," and a live version of the "Maybes" tune itself, from a performance recorded at Berlin's Berghain club. Read more »
NY-based shoegaze trio Kordan's (pictured above) "Mirror" is a driving dreamscape of guitar fuzz, plinking synths, and hushed vocal delivery. LA-based producer Take's "Mirror" is an equally heavenly production, albeit one driven by the soul of dark synth-funk and Southern California's ever-changing beatscape. The differences between the two versions of the East Coast band's cut—off its debut album, The Longing—are obvious, and yet Take manages to convey the same pensively resilient ethos of the original with a wholly different sound palette.
In the spirit of vintage authenticity, the Italians Do It Better label has repackaged Chromatics' stunning 2007 album, Night Drive, with an analog remastering of its 10 tracks and a small handful of unreleased Johnny Jewel Italo jams. Obviously, the Portland outfit's vintage-sounding instrumentation and production aesthetic drive the sterling "Circled Sun," but it's Ruth Radelet's sublime vocal performance that radiates as the star of the song. Her voice quietly calls out through rolling drum-machine sounds, chilly synth twinkles, and barren guitar strums—providing the song with the only sound more glowing than its analog warmth as she sings, "Circled sun, you are not the only one." (via Gorilla vs. Bear)
We're still getting to know UK producer Huess and his soulful Dilla-referencing beat tunes, but from what we've heard so far, like the title track from his recent Broke EP, we're excited for more. Apparently, he has another EP in the works for the Inaudible Answer imprint, which is preceded by this fresh podcast Huess shared today. Read more »
Berlin beat maestro and Jahcuzzi member Robot Koch has just made yet another splash in 2010 with the release of his brand-new full-length record, Songs for Trees and Cyborgs. The producer's 14-track LP just dropped on the Project: Mooncircle label, and follows the Death Star Droid Remix EP and Listen to Them Fade 12" he released earlier this year on the same imprint. Read more »
We'll excuse the horrible band name if you will. Cool? Okay. Moving forward, the Pacific Northwest duo of Johnny and Ola translate their penchant for analog synths, ethereal vocal sounds, and polyrhythmic drum patterns into something that sounds like the lovechild of Stereolab and a good part of the Thrill Jockey roster. The breakneck drum pattern of Tortoise's "Jetty," the warm swelling tones of vintage Mouse on Mars, and the pared-down aesthetic of The Sea and Cake meet with a lilting coo reminiscent of Lætitia Sadier to form Cock and Swan's "Stash." It's a tasteful combination, to say the least, and certainly excites our interest in what the other songs on the duo's Unrecognize LP hold. You can stream and download the whole thing here.
At this point, how much more can we say about young LA beatmaker Teebs? We like him. Flying Lotus likes him. Pretty much the entire greater Los Angeles area seems to like him. His debut full-length, Ardour, comes out on October 9 via the Brainfeeder label, but those of us who can't wait that long can happily dine on Teebs' half of the recently issued sixth volume of All City's ongoing LA series. (The other half was contributed by Daedelus; check out "Fates Say" for a sample of his contributions to the record.) "Anchor Steam" finds Teebs reaching into his usual bag of tricks by employing varied percussion and washed-out melodies, but the song also sports a Balearic vibe and a sped-up tempo that's more indicative of house and techno than the LA beat scene. Yet he handles the increased bpm deftly; it's always been evident than Teebs' music sounded great in headphones, but "Anchor Steam" leads us to believe that he might also have a future on the dancefloor.
Like most people we now read about and listen to on a regular basis, matthewdavid was experimenting with music and sound well before anyone knew who he was. We're sure most producers wouldn't be the least bit interested in sharing those 'experiments' with their fans, but thankfully, the Leaving Records boss isn't most producers. Read more »
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