Taken from Daedelus' upcoming album, Righteous Fists of Harmony, "Order of the Golden Dawn" is a lovely slice of lounge-y music, featuring bossa nova instrumentation over a chunky hip-hop beat. Featuring the sublimely pure vocals of his wife Laura Darling, the track is perfect for intimate gatherings or a round of passionate afternoon sex, or as the ever-romantic Daedelus might prefer, lovemaking.
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Brooklyn's Light Asylum just might be one of the biggest secrets in electronic music right now, but that is going to change soon. With an unstoppable sound that is as post-punk as it is synth-wave and a fierce live show fronted by !!!-collaborator Shannon Funchess, the duo is set to take the world by storm. With its punk beat, confrontational yet somehow romantic vocals, and crackling synth flourishes, "Knights and Week-ends" sounds like Alan Vega and Martin Rev taking over Joy Division. Playing this slice at a party will definitely get everyone out on the floor, shimmying and stomping like the world is about to end.
The Seven Fields of Aphelion has crafted a perfect album for ambient daydreaming with Periphery, and "Grown" is no exception: it expresses an intense wistfulness, opening with piano lines on top of drones and building to a swirl of piano-synth harmonies. High-frequency sine-wave dapplings and a healthy amount of delay round out the track's gorgeous ache. Though she's a member of Black Moth Super Rainbow, the simple grace of the Seven Fields of Aphelion's music is a most unexpected and welcome reprieve from the sensory overload often caused by that group's aural antics.
The UK's 10-20 cuts straight to the chase on its new track, "majik." Within five seconds, a fully formed beat jumps into the forefront, flanked by ephemeral sonics and swirling bits of electronic soundscape, and doesn't quit, save for a few seconds of intermittent reprieve, until the song's seven minutes are up. "majik" could be mistaken for an early-'00s Autechre cut, or something from maximalist producer Clark's catalog, though it manages to maintain a clustered aesthetic all its own. The track is taken off the forthcoming Mountain EP, the third in 10-20's four-part geographically conceptual Landform series.
Known as one of the founding members of the Shinkoyo music collective as well as a resident at Brooklyn's Paris London West Nile performance space, Zeljko McMullen (pronounced 'zhel-ko') has recently been returning to the dance forms of his youth. But rather than producing dark, hard techno tracks that hurry along at ungodly speeds, McMullen's Wish project has a brighter feeling. "trippelette," for example, is a shimmering number featuring warm bass tones, astoundingly multi-layered synth polyrhythms, and watery, high-frequency tinklings. Like a glass of lemonade on a hot summer day, the piece is bound to make it onto stereo systems as warmer weather approaches. For more information as well as other tracks from the Wish project and Shinkoyo, check out his artist page.
Milwaukee's Kings Go Forth are undoubtedly the contemporary band most deserving of a Tom Moulton mix: the group's powerful soul sound, led by three lead vocalists, recalls the heady days when soul and the new disco sound were often indistinguishable from each other. Tom Moulton stretches "Don't Take My Shadow" in all of the right spots, letting its Philly International stylings breathe—the strings alone are intoxicating in their repetitions. The piece is taken from the group's upcoming record on David Byrne's Luaka Bop label, titled The Outsiders Are Back.
San Francisco's B. Bravo has been keeping busy lately with the recent unveiling of his Computa Love EP for Frite Nite, not to mention his recent acceptance, along with the likes of Appleblim, Clark, Hudson Mohawke, Daedelus, Oneman, and Untold, into the Red Bull Music Academy 2010 in London. Here, he pilfers the hook, along with a few other elements, from '90s R&B jam "Swing My Way" by K.P. & Envyi for his bootleg remix of the same name. Bravo's production slows the tempo down a bit, introduces plenty of swirling synths, and gives the vocals a heavy dose of spacey reverb—transforming the one hit wonder into a future-boogie anthem.
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