While the song title may remind us of late-'90s R&B, Holy Ghost!'s new track "Say My Name" is a pure disco ballad. Shimmering piano and synth washes seep through thick basslines and brighten up the softly sung vocals on this poignant dance number from the NY duo. The track is taken from a forthcoming EP for DFA, Static on the Wire, and shares wax space with one other previously unreleased jam and two tracks that have yet to make it onto vinyl. Static also features John MacLean on a mean guitar solo, vocals from Chris Glover, and drumming from the late, great Jerry Fuchs. You can check out the EP's title track along with Holy Ghost!'s remix of the new LCD Soundsystem jam "Drunk Girls" over on the band's website before its all made available May 18. (via Pitchfork.)
One has to expect that a certain amount of imitation will follow the creation of a sound that so perfectly defines a specific genre, so Burial can't be too bent out of shape with Finnish producer Late for borrowing a bit from his playbook. On "Bittersweet," chopped up female vocal samples, rolling percussion-heavy beats, and heavily reverberated synths all come together to make a particularly familiar dubstep track. Late uses these ideas well, regardless, and makes use of all six minutes of "Bittersweet" to create a desolate atmosphere that should fit well into the rest of his forthcoming Phantom Papers EP.
If it wasn't clear enough already that border-crossing, genre-bending, soul-stirring DJ mixes are the present and (likely) future norm of live dance-music performance, London-based polyrhythm-makers D-Bridge & Instra:mental seal the deal on this sonic snapshot from their Club Automatic party machine. Read more »
Following hot on the recent praise for his sophomore album, It All Falls Apart, Rafael Anton Irisarri (a.k.a. The Sight Below) is taking his ambient guitar textures and pattering, minimal electronics on the road for a string of tour dates in North America. The Seattle-based musician will take his ethereal live audio/visual experience throughout the midwest, east coast, and Canada with support from Svarte Greiner on all but three performances. Read more »
As the North American release date for Flying Lotus' third album, Cosmogramma, approaches, fans are being treated to more and more from the long-awaited release. The latest to trickle onto the internet is a stream of the entire record on producer Steven Ellison's MySpace page. Read more »
FlyLo fanatics around the globe are freaking about the appearance of his new Cosmogramma album next week, but folks are seriously sleeping on the fact that he produced several tracks on Blackmagic, the debut album from neo-soul crooner Jose James. While these songs may not be as otherworldly as Flying Lotus' efforts under his own name, "Blackmagic" proves that his jazz- and soul-inflected beats do provide a solid underpinning to James' silky smooth voice. A deluxe version of Blackmagic, which includes additional remixes and a non-album cut called "Visions of Violet" that was also produced by Flying Lotus, is available now.
Weeks before Detroit's 10th annual electronic music festival, Movement, is about to spring into high gear May 29-31, the festival just announced that Ricardo Villalobos will be making an exclusive US appearance. Read more »
Of all the young sprouts in the West Coast's increasingly dense network of blunted bedroom beatmakers, few have seen their named bandied about in 2010 as frequently as Shlohmo. Hounded with incessant "what's next?" interrogations ever since the release of Shlohmoshun Deluxe earlier this year, the young San Francisco producer has just made the My N3ck My B4ck R3mixes EP available for free download through the website of his own Wedidit Collective. The two-track EP features future-blapped reworkings of Montell Jordan's "This Is How We Do It" and Khia's "My Neck My Back." We've posted the latter here, and we're thinking that its trippy Game Boy beats will go a long way toward tiding over Shlohmo nation until he drops the Shohlmoshun Deluxe vinyl next month, followed by a new EP of original material this summer.
Releasing this collaboration between Sam Willis (of Allez-Allez) and Allessio Natalizia (a.k.a. Banjo or Freakout) is an interesting move for Kompakt, as Walls' music straddles the fine line between slow-motion Balearic vibes and something more akin to Boards of Canada or cLOUDDEAD. However, while Walls' sound might not fit into any preconceived notions of Kompakt's sonic roster, there is something strangely suitable about the pairing—after all, this remix takes a sunny, beardo-disco track akin to Meanderthals and transforms it into something more like early White Rainbow, replete with beats, seemingly infinite loops, and soaring vocals. Kompakt has delivered a pleasant surprise here, and one can only hope that it continues along this pathway. Walls' self-titled debut will be released on May 10.
Just as Brooklyn soul-revival impresarios Sharon Jones & The Dap-Kings' live show has progressed from raw funk to Stax-style revue, their recordings have been a process of settling into the ensemble's talent. I Learned the Hard Way is easily the group's best effort yet, an album of classic songwriting and sharp musicianship belying its own complexity. From near-orchestral arrangements ("The Game Gets Old") to playful studio ease (recession anthem "Money"), this is a disc even Isaac Hayes would covet. Read more »
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