Having trouble viewing this? Visit the updates archive |
||
 |
 |
Live at Other Music: Blood on the Wall (Episode #12) -Josh Madell Watch Blood on the Wall "Live at Other Music"» Upcoming Live at Other Music Episodes: Watch earlier episodes of Live at Other Music with Black Lips, Taken By Trees, Toumani Diabate, White Williams, Richard Hawley, Celebration, Vampire Weekend, The Clean, Tinariwen, No Age, and St. Vincent
FREE SONG DOWNLOAD of "Leviathan, Bound," taken from Shearwater's upcoming new album Rook, out on Matador this Tuesday, June 3rd. The Austin-based ensemble are one of the Texas capital's finest music exports, the group's emotionally-charged orchestral pop recalling Scott Walker and later Talk Talk, while remaining far from derivative. Fans of the aforementioned and contemporaries like Antony & the Johnsons and Angels of Light will find much to love.
Matthew Dear's minimal tech-house productions have put him on the map as one of the most sought-after DJs and producers in dance music. His tracks have been featured on excellent compilations such as Fabric, DJ Kicks, and Body Language just to name a few, and his DJ-oriented work as Audion has brought minimal house to a fresh and funky new level. In addition to the stumbling synths and relentless rolling bass lines which have become the trademark of minimal house, Dear infuses his productions with simmering percussion and edgy textures to create a groove that is guaranteed to set the dance floor on fire. Spanning a time period of about 2000 to 2004, this compilation of his early vinyl singles (first time available in download form) documents his rise from a virtually unknown DJ to one of the most in-demand international club-rockers around and includes two previously unreleased cuts from the EP1 and EP2 sessions. With undeniably body-moving tracks such as "Stealing Moves," "Making Out" and "Pinch & Pillage," as well as remixes by Pantytec, John Selway, and David Alvarado, it's hard to pass up this incredible compilation of landmark micro-house singles. Essential for the digital DJ who wants to throw down a sexy and sophisticated yet energetic vibe! -Chris Polcyn
These highly sought after tunes were originally released as limited edition seven-inch singles that are getting harder and harder to find. Respected underground hip-hop producer DJ Spinna pays homage to another great in the field with this two-part tribute to the dearly missed J-Dilla. With "G.O.A.T." Spinna expands on a famous Dilla beat from the past, adding live instrumentation and chopping up the original source material, while on "Dillagence," Phonte of LB contributes sweet, harmony vocals (a la Dwele, John Legend) to the proceedings. Both of the singles' b-sides are neck-snapping true-skool original instrumentals that recall that classic NYC boom-bap, as well as the MPC chop-shop techniques of Dilla, who played the MPC like Bird played the sax. Check for this! -Duane Harriott
It's been about 40 years since we've seen an album from this guitar legend, a hero of the younger generation of acoustic guitar wizards as well as Timothy Leary's onetime music director. He was known for his raga-influenced musings, and that spirit is still alive and well here, as well as a strong flamenco influence. Walker's playing is as nimble and alive as it ever was, all in all a fine return to form.
The first of two singles out this summer from Free Blood, a duo featuring former !!!-er John Pugh and fashion designer Madeline Davy. The a-side is a bizarrely catchy funky mess of elastic bass, four-on-the-floor beats and layers of vocal harmonies, all awash in dubby effects. "Quick and Painful" marries vintage NYC mutant disco with little bits of noisy electronics while Barfly's remix strips "Never Hear Surf Music Again" to its barest rhythm and vocal essentials.
New single from Vampire Weekend, "Oxford Comma" is one of a zillion highlights from their smash debut, and a song that makes the frequently used "Ivy League pop" description so apropos. While it's certainly a great tune, no doubt you own it and have probably played it a thousand times, which is why this Insane mix of "Walcott" is the draw here. Upper West Side Soweto goes Electro? We'll let you make the call!
I'm well giddy on this "band-that-time-forgot"...UK's short-lived and unsung garage gallants, Crushed Butler!! If not intriguing for their name alone, maybe these (un)refined info-bits will interest. This group was one of those "never heard til now" UK bands from the late-'60s/early-'70s. You're perhaps already thinking of another freaky folk or strange psych title, but these guys existed outside of the hippie daydream and felt that working class rage and those urban doldrums before the fancied punk revolution hit the proverbial streets. Crushed Butler was the soul and grit of John Lydon, George Brigman, and the Stooges condensed into one proto-hessian contaminated pill for mod-poppin' consumption! Just a couple of ragged and chunky dudes, and a 17-year-old pinup/teen heart-throb drummer boy (who holds a wicked beat) jamming the same kind of tunes to boot...catchy, hooligan boogie-blues leaving a trail of glam glitter in their shredding path. RPM done ace, dusting off these pogo-rawkin' songs and presenting Uncrushed -- a short yet seminal best of collection from this inspiring power trio. -Mahssa Taghinia
Germany's Goldfish und der Dulz are back on Playhouse with a new single that definitely retains the label's aesthetic while mixing the club-moving feel of artists like Alter Ego with the playful, friendly melodies of Areal. "Love Me Fender" is minimal but still bouncy and bleepy with lots of rave-ups and rave-downs throughout, and the b-side, "Fender My Love," uses a nice tight bass pulse that slowly introduces more energetic parts. These are the kind of tracks that will get people to pull out their baggy cargo pants and visors! -Scott Mou
Trapez LTD brings us a new EP from Bulent Gurler (a/k/a Butch), featuring two long, minimal trance-house cuts that are on the lean and pumping side of things. "Wind" takes its time building up to a sudden loooong, muted, snare-roll filled breakdown that comes in about halfway through the track. The flipside, "Earth," is similar but with more activity in the middle of the cut (dancing xylophone sounds) and some minimal acid stabs. -Scott Mou
|
|
|||||
|
We Also Recommend |
|||||||
|
|||||||
|
|||||||
