Polish electro-acoustic composer Jacaszek is riding a wave of interest in his work, what with his recent Resident Advisor podcast and numerous soundtrack projects under way. "Lament" is exemplary of Jacaszek's work, which shares Henryk Górecki's ponderous movements, Arvo Pärt's neo-classical melodic sensibilities, and dark atmospheric flourishes that wouldn't be out of place on a Burial record. Tonight, Jacaszek will be playing with members of the ACME orchestra at Le Poisson Rouge as part of a showcase of Polish composition, which has been given a special spotlight as part of this year's Unsound Festival, wrappin up this Sunday in New York.
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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.
What starts as a provocative non sequitur reiterated over handclaps and heavy percussion turns into something of a mantra for Femme En Fourrure as their track, "Plump Bisquit," gains momentum and intensity. Classic disco elements give way to a particularly bass-heavy style of minimalistic house that eventually reaches higher and higher with stabbing horns and tense, ascending vocal samples.
Brazil's Edu K gets down on this four-to-the-floor, jackin' slice of house, created exclusively for Bacardi B-LIVE. Though many producers have been incorporating marimbula samples into their tracks in recent years, "Flutesnoot" uses the thumb piano in a most effective way, bringing it in only when it is needed to maintain forward momentum. By coupling the sounds with Indian-seeming flute trills, vocals snippets, and some wonky synths bookending the piece, Edu K is proving to be one of the more exciting young producers from South America.
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.
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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