Boston's Many Mansions exist somewhere between the tropicalia of Tanlines and the spaced-out synth trips of Experimental Audio Research. On "Frontier Gnosis," the group utilizes a swirling synth drones, high-frequency tinklings, and a propulsive beat to create the feeling of being completely unmoored—and loving every minute of it. With incomprehensible but nicely delayed vocal lines coming in and out of the mix, the piece could fit nicely next to Animal Collective, or even something a bit more subdued. Taken from the group's upcoming split 12" with Truman Peyote, which is available for pre-orders here.
Poirier's latest release is a collaboration with Spanish-speaking MC and fellow Montreal resident Boogat, and the EP is packed full of throbbing remixes from the likes of Uproot Andy, El Remolón, and Douster. Here, the reggaeton-inspired track gets the treatment from Argentina's Lagartijeando, who keeps the original's dancehall stems but pumps up the bass and adds some seriously jamming secondary synth harmonies. Take these tweaks and pair them with an explosive loop-based peak and you have dancefloor gold. Poirier's Las Americas V.1 EP drops tomorrow.
Yeasayer's 2007 debut, All Hour Cymbals, was the closest thing indie rock had come to world music since the Talking Heads released Fear of Music 20 years ago—a jittery blend of religious folk, West African polyrhythms, and synthesized experimentation. With Odd Blood, the Brooklyn trio has left behind its most obvious ethnic influences—and its environmental anxiety—for a tighter, more polished sound. Gone, too, is much of their debut's organic instrumentation. Read more »
Following the 2008 release of his debut album, Glider, the reclusive artist known as The Sight Below (a.k.a. Rafael Anton Irisarri) will release his follow up full-length of sullen guitar-based ambient sounds, the pessimistically titled It All Falls Apart. Read more »
Last time we checked in with San Francisco producer Eprom, he was hanging out with people like the Glitch Mob and contributing to crunked-up, heavy bass remixes of Lil Wayne that practically blew up our website. Now that 2010 has rolled around, it appears that Eprom has done a bit of growing up, as he's not only got a split 12" with Eskmo slated for release on Warp, but he's given us "Never," a mature slice of post-garage wonkiness that wobbles, skitters, and pulses its way through more than five minutes of genre-bending magic. The song appears on the about-to-be-released Never EP, the debut release on the Surefire Sound imprint, and also features a remix from New Yorker and XLR8R fave FaltyDL.
Shackleton, eclectic producer and co-founder of Skull Disco, will embark on several North American tour dates in late February and early March. Culminating in San Francisco, the tour will find bass-loving Shackleton sharing stages with Eskmo, EPROM, and Kush Arora, guaranteeing many nights of sweaty, bass-throbbing abandon. Read more »
You've got to imagine Damon Riddick (a.k.a. Dâm-Funk) to be the kind of guy who walks into a room and immediately sits down to play any instrument around him. That's just about the vibe you get when watching this video of an unplugged live performance of Dâm's Toeachizown track "I Wanna Thank U (4 Steppin' Into My Life)." Read more »
With ten years of music-making as Epstein under his belt, not to mention recent collaborations with Prefuse 73 and last year's full-length under his Helado Negro alias, Roberto Lange's latest album continues nicely along the aural pathway he has set for himself. "A Lost Animal" is indicative of this sound, featuring chattering vinyl samples, fuzzy syncopated synth lines, and complicated rhythms as influenced by hip-hop as they are by South American folk music. And with the soaring vocals of School of Seven Bells floating over much of the track, "A Lost Animal" is the perfect ear candy for a lazy afternoon.
The disco-punk aesthetics of former DFA associate Tim Goldsworthy are all over Archie Bronson Outfit's first single from their forthcoming third album, Coconut. With its bouncing disco bass riding over deep kicks and dry snares, the angular guitar melodies and pulsing synths of "Shark's Tooth" are given a lovely dancefloor energy, and the track's wistful vocals make it a certain indie-dance night floor-filler.
This 20-year-old Japanese trio's greatest liability is the psych baggage they're saddled with. On a major label in their own country, the band's previous releases were put out Stateside by Mesh-Key, a label run by Invisible Conga People's Justin Simon; Hollow Me/Beautiful finds the band on DFA for one of the label's most uncharacteristic releases. Their tenth album blasts off with smooth jazz saxophone rather than mega-fuzz guitar, and "Dekinai"'s two-note tremolo riff only sounds familiar in comparison—like someone dropped The Fall into an episode of H.R. Pufnstuf. Read more »
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