The physical disc of Deerhunter's third full-length, Microcastle, is still slated for a release date of October 28 in North America and October 27 throughout the rest of the world, but due to internet leak drama earlier this year, most fans have already heard and made a call on the band's latest offering. Few would argue it’s not a straightforward indie rock affair, heavily influenced by Bradford Cox’s Atlas Sound side project, which has occupied much of his time of late. The gauzy arpeggios and effects-laden guitar chords on this track remind of 2008’s Let the Blind Lead Those Who See but Cannot Feel, while the wistfully repeated chorus, “to get older still”, is, in typical Cox fashion, as moving as it is cryptic. Photo by Kasey Price.
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Deadbeat’s Scott Monteith, a life-long Canadian and recent Berlin transplant, has been releasing his minimal dub and house juice for labels such as Cynosure, Musique Risquee, ~scape, and Spectral, among others, since 2000. “Night Stepping” is a minimal dub number off his most recent offering, Roots and Wires. The song ripples warmly with low-key vibes and a comfortable tempo punctuated by muted blips of cheery synth, intricate clicking and reverberated clacking. Deadbeat’s grooves are alive and kicking. Words by Lulu McAllister. Photo by Lars Borges.
The original version of this track says much in favor of the argument that Nottingham, U.K.-based outfit Late of the Pier isn't just another dance-rock foursome to be written off in the blink of an eye. In fact, the track is less dance-rock than it is experimental pop that explores the possibilities of both guitars and laptop-generated sound on an equal level, and it's fun too. Andy Meecham (a.k.a. the Emperor Machine) chose to focus on the more electronic side of things for this remix (hardly a surprise), stripping the vocals, upping the snares, slowing the tempo, and letting the whole thing ride to a grinding halt at the end. It's a much more haunting affair than something you'd throw on at an afternoon house party, but nonetheless shows off the band's versatility when it comes to the remixes. Photo by Jon Bergman.
When winter hits Indiana, there isn't much to do besides drive around the slush-covered, four-lane roads and attempt to not freeze. Or, if you're David Adamson, you release an album that's as off-kilter and bizarrely enchanting as the state the he hails from. Ropechain marks his second full-length for Adamson under his Grampall Jookabox moniker, and his first for Asthmatic Kitty. A high-energy amalgamation of hip-hop and rock, with a distinct bluesy flavor (albeit, a really twisted kind of blues) the album's frantic pace makes you wonder if the man behind its production hasn't gone a little off his rocker, as evidenced here. Photo by Craig McCormick.
For their recently released second full-length, Cities of Glass, the members of AIDS Wolf, are “de-anchoring compositions,” as the Canadian noise-rocking outfit states in its official list of principles. This involves ditching the bass guitar, to focus on rhythm, and employing the creative use of silence to offset the band’s trademark near-abuse of guitars. Exemplifying this aesthetic, their disturbed single track, “Tied Up in Paper,” is flurry of screeching brutality with lead singer Chloe Lum’s demented moans leaving one to wonder whether she is being tortured or pleasured by the instrumental mess surrounding her. The song throbs, building climactically, then finally drops out abruptly, leaving the listener with a painful aural hard on. Lulu McAllister
Despite all the ink and blog posts devoted to baile funk in recent years, relatively few Brazilian artists and DJs have been able to make the trek to the United States and deliver their sounds directly to gringo audiences. Hopefully, Cabide DJ can reverse that trend, as tonight, the man known as "Brazil's #1 Sampler" is kicking off a month-long U.S. tour. A veteran DJ who has been playing Rio de Janeiro's favelas since the late 1980s, Cabide puts his insane MPC skills to work on this bootleg remix of Cassie's "Me & U." Infusing the original R&B track with Miami bass beats, Cabide's version is a rollercoaster of stops, starts, and tempo changes that reflect funk carioca's DIY spirit and devotion to the dancefloor. Cop the track and get yourself to one of these shows. Unfortunately customs won't let Cabide DJ bring his famous fire-breathing sampler along for the tour, but we suspect these clubs will be hopping nonetheless. Shawn Reynaldo Dates 10/17 Boston, MA - Club Lido 10/18 Queens, NY - Made in Brazil 10/19 Danbury, CT - Tuxedo Junction 10/23 Boston, MA - "Bass Invaders" at Milky Way 10/24 Framingham, MA - Old Station Steakhouse 10/25 Hyannis, MA - Pufferbellies 10/26 Boston, MA - Rumor 10/30 Philadelphia, PA - Medusa 11/03 Philadelphia, PA - "Jang House" at The Barbary 11/06 Baltimore, MD - "Bananas" at Bedrock 11/08 New York, NY - "Batida do Funk" at S.O.B.'s 11/13 Baltimore, MD - Sonar w/Diplo, Boy 8-Bit, Blaqstarr
The number of disparate sounds and rhythms used here would spell disaster for some bands. Yet Pit Er Pat manages to exercise control over the myriad of musical instruments and influences that crop up in the trio's latest album, High Time, which will drop next week via Thrill Jockey. Apparently the band holed up in the studio with everything from guitars to kalimbas, and if "Evacuation Days" is any indication, the entire release is likely a cross between free-form jazz and art-rock that required some serious musical mastery to pull off. Maverick Newberry. Photo by Melanie Schiff.
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