Building off the success of his recent Fabric47 mix, Fuckpony (a.k.a. Jay Haze) drops Let the Love Flow, a house album built from the ground up by his own playing—there are no samples here. From the drums to the horns, Haze builds a record as much about sounds and performance as it is about memorable tracks. The music is at its best on "I Know It Happened" and "Fall Into Me," as guest vocalists Chela Simone and Laila Tov deliver memorable performances that give focus to Haze’s often minimal arrangements. Read more »
Philly's Pink Skull has just come out with a second full-length, titled Endless Bummer. Featuring an admirable array of different sounds and textures, the album is perhaps best represented by "Oh, Monorail." A slow-motion disco beat, horizon-seeking guitar lines, and some synth swells mark the piece, but it is really Julian S Process' multi-layered vocal harmonies that make it special, as they're not only gorgeous, but complex and original—there are no simple chord progressions here. "Oh, Monorail" simply shimmers with a weirdness and beauty that only Pink Skull can pull off.
Since dropping his punk band and getting his BFA in graphic design, South Carolina native Chaz Bundick (a.k.a. Toro Y Moi) has holed up in his hometown of Columbia, spending his time focused on remixes for artists the likes of Washed Out and Beach House while also crafting his debut full-length, Causers of This. Bundick's new record will hit retailers February 23 on Carpark with a couple of choice tour dates to precede. Check out the album's tracklist and the dates after the jump. Read more »
Buenos Aires cumbia mastermind El Remolón rubs up against a Latin classic, transforming it into a glitchy, delay-driven piece of hallucinogenic dance music. The vocals of Alcides are chopped significantly, and with monstrous bass along with a wobbling squelch approximation of the original's melodic line, the piece is a surefire floor-filler. The slice was taken from the Pibe Cosmo B-Sides album, which drops today and features a collection of new versions, mash-ups, and remixes from the depths of El Remolón's hard drive. The entire album is available now for free download and includes El Remolón's bootleg re-works of artists like Animal Collective, Modeselektor, Matías Aguayo, Daft Punk, and more.
Word on the street these days is that Oliver Ackermann's group, A Place to Bury Strangers, is the loudest band in New York. And one can only assume that that's due to singer/guitarist Ackermann's uniquely fuzzy, noisy ax sounds, which he crafts with his own line of pedals under the company name Death By Audio. We talked tech with the Brooklyn band leader and got the lowdown on how he makes his custom effects boxes. Read more »
It seems about time that a serious acid revival should happen; after all, we've seen disco and early house sounds come back into fashion, so why not acid? Yeah, no one can afford a 303, but even so, Chicago's Thunderous Olympian manages to craft a somewhat squelchy, truly jacking slice on "Jack (The Movie)." Hardfloor meets the builds of "Full Clip" meets mid-career Carl Craig on the track, which is replete with vocal samples, high-frequency synth flourishes, and thunderous kicks. And with Thunderous Olympian being only 22 years old, there's a lot more to look forward to from this young buck.
Sometimes, a vocalist can sound sexy even when singing totally laughable lyrics. Luckily, most disco isn't eloquent about anything except a desire to screw, so Le Le's "Disco Monster" isn't brought down by lines like "I'm a disco monster/A glitter hitter/I hit her, hit her/I'm a glitz dance-mitter". Instead, the track is a Morgan Geist-like run through late-disco synth sounds and a truly fat bass sound. Though the group's sound is most certainly a French thing more appropriate for Kitsuné, it wouldn't be surprising to find the DFA putting out a Le Le record in the future.
Life isn't always easy for pop princesses. Sure, some become international megastars, but legions more simply fade away, or even worse, get stuck in label purgatory. Such was the fate of Annie, which is why it feels like a millenium or two has passed since songs like "Chewing Gum" and "Heartbeat" were being hailed as works of electro-pop genius. Now that her label drama has passed, Annie is back with her sophomore effort. Read more »
Schlachthofbronx: Bavarian jokers throw AutoTune, deutsche schlager, kuduro, and more together for a belly full of bass.
There’s something pleasantly scrappy about the frenetically paced tracks that comprise Munich trio Schlachthofbronx’s self-titled debut. “We’ve got a shitload of unfinished stuff on our hard drives,” says Benedikt, one half of the group's primary production core, and who prefers to go without a last name. Read more »
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