Posts filed under 'Electronic'
Various
Hefty 10 Digest (2CD)
Rating: 9.2
[Hefty; 2006; Electronic]
Whether you know it already or not, you like Hefty Records. A lot. You haven’t heard of them? You have heard of Telefon Tel Aviv, Savath + Savalas and Prefuse 73 right? Or possibly Slicker, Bill Ding and the man who started it all in his dorm room a decade ago, John Hughes? Well, if those kind of electronics mixed with organic components, jazz influences and scarcely a danceable beat is your kind of electronic music, Hefty is your kind of label.
This digest is a cross-section of Hefty’s quality and consistency over quantity approach to releasing music. In no defined chronological or categorical order, over 2 hours of material indicative of the label’s sound is put forth to acquaint, or reacquaint, fans and prepare for a heavy release year. Good news all around.
The first disc starts with the glitchy yet danceable title track from Telefon Tel Aviv’s debut, Fahrenheit Far Enough, and flows in waves of mellow and jazzy moments from Savath + Savalas, Bill Ding’s fantastic, grungy “Bucket of Strawberries”, the jazzy groove of Phil Ranelin and the impending darkness of Hughes’ “Nightmare”, through to my now favorite dance song (and I don’t like dance music), Telefon Tel Aviv’s “My Week Beats Your Year”.
And the “bonus” disc as it’s being called, is worth the sticker price alone. The Prefuse 73 mixtape stylings compress a gold mine of material into an hour session spanning the Hefty roster including remixes and unreleased material. Slicker’s electro-hop slides into choppy remixes and down-tempo trances. Ranelin’s heavy drums morph into Some Water And Sun’s blippy but spacey flow. All the while, Euphone’s lulling folktronica, Ilium’s lo-fi, instrumental post-rock-ishness and an intimate acoustic version of Slicker’s “Village Dub Plate” underscores the diverse, yet centrally cohesive label sound.
Another essential 06 release and possibly a formal introduction to your new favorite label, this is the beginning of a busy year for Hefty. Also due out in April is a 2 volume series of new Hefty artists and collaboration compilations entitled History Is Bunk. To celebrate their first 10 years in true cutting edge style, they release new artist previews instead of a greatest hit record. Nice!
Download Nightmare by John Hughes and a bunch of samples at Hefty Records.
Buy it now:
Hefty Records
Amazon
March 27th, 2006
Hassle Hound
Limelight Cordial
Rating: 9.1
[Staubgold; 2006; Electronica]
Let me just first say, anything coming from Staubgold has high expectations from me. Schwabinggrad Ballett blew my mind. If you don’t have that one, get it now. That’s the last time I’m going to say that… well, probably not. But regardless, as high as my expectations are of this cutting edge experimental label from Berlin, they have yet to disappoint. And Hassle Hound is no exception. From beginning to end, this sample-tastic, playfully jaunting collection of folktronica-ish collage mastery really doesn’t stop.
From it’s strange phone call sample beginning, “Anvil Stamping Stallion” leads a bizarre dance amidst percussion of horse galloping and naighing samples as an introduction to sonic theatre. Images are painted throughout. Hot tropical nights on the exotic sounding “Tahitian Sideshow”, complete with ukulele strings, thick bass line and chirping samples. Discos and opium dens on “Poppy Bush” - without saying a word. *At first I took that to mean W’s daddy Poppy Bush, or now I see it as actually a Poppy plant. hmm?* Dreamy visions of the characters from Where The Wild Things Are sneaking about on the densely layered sounds of “Monsters Are Due On Maple Street”. “Hazel” builds garage (or garbage can) percussion, upright bass and other strings with sultry vocals for a loungy groove that should be tagged as psychetronica. And if that sub-genre doesn’t really exist, this record should go into the wikipedia definition as required listening for “psychetronica” even though they could never be pinned down specifically.
Oddly enough, when I wrote about Schwabinggrad Ballett, I described it in visual terms too. Until now, that was the only record that expressed such an incredible amount of imagery through sound design. It was also the only other record that I can think of that had what would normally be an excrutiating number of sounds layered upon each other, but was executed masterfully. Never sounding forced or unintentional, it is engaging and requires multiple listens to notice the intricate details, details that are well worth paying attention to.
Download Monsters Are Due On Maple Street
Buy it now:
Staubgold
Forced Exposure
Amazon
March 14th, 2006
Organic Electronica? Isn’t that an oxymoron? I guess it is, but it does describe a certain type of music that has a heavy construction of organic instruments, but is combined with electronic elements. It plays in a way that is more similar to modern, almost ambient sounds than traditionally arranged songs. At least that’s what it means to me, and looking at the release dates of these, 2004 was a good year for it. Here are some of my favorites that I’ve pulled out to make sure you’ve heard of them. Enjoy…
Thomas Wydler & Toby Dammit
Morphosa Harmonia
[Hit Thing; 2004]
Not what one would expect a collaboration of two drummers to sound like for sure, Wydler (drummer of Nick Cave & The Bad Seeds and Die Haut) and Dammit (drummer of Bertrand Burgalat, Iggy Pop and Swans) have undoubtedly retained a strong basis of percussion, but expanded with dazzling synths and choral vocals. A dreamlike image is painted throughout with elements of world music drumming, post-rockish soaring, mellow electro-pop looping and psychedelic effects.
Download Lady Of The Gongs and Mr. Knock Up
Buy it now:
Hit Thing
Amazon
Lori Scacco
Circles
[Eastern Developments; 2004]
Lori Scacco’s Circles plays in a minimalistic jazz arena awash in lush, warm piano and delicate, graceful acoustic guitar. Okay, so there’s been no mention of the “electronica” in this one. Forgive me, it’s not apparent if even present, but these tracks do play with a floating, ambient atmosphere that could just as easily be digital if you weren’t paying close attention. So call it instrumental, call it jazz… or just call it quality music. It’s background music that soothes but doesn’t disappear.
Download some sample tracks Here (45 second samples)
Buy it now:
Eastern Developments
Amazon
Marz
Wir Sind Hier
[Karaoke Kalk; 2004]
Wir Sind Hier is a beautiful collage of sounds and influences. At times there is barely perceptible scuffles and scratches which suddenly, and without much warning, build into folktronica reminiscent of their label mates Poto & Cabengo, electro-pop that points (and laughs) at The Postal Service, the occassional dance-ish track is thrown into the mix (but never a pounding dance beat), but for the most part, it’s acoustic folk with an electronic infusion. It’s probably what the Akron / Family boys listens to when they try to go to sleep at night.
Download The River
Buy it now:
Karaoke Kalk
Amazon
Nylon Rhythm Machine
Chimera EP
[Cat Skills; 2004]
Nylon Rhythm Machine is the most electrified record of today’s picks. While the others pointed more towards folk, these tracks have a more hip-hop vibe with the only organic sounds being bits of drums. Except for the highlight track, that is. The final track of the 4 song EP is constructed of layers of plucked and strummed guitars, soft piano licks and various organic percussion over a tasteful hip-hop-ish beat. Very nice.
Listen to the tracks Here
Buy it now:
Cat Skills
Okay. That wraps up the second installment of “Catching Up”, so we’ll keep this up for maybe the rest of the week before we get back to normal. And after that, we’ll throw another one in from time to time.alabama loan real alabama boat estatecar loan america titlehome down 0 loans mortgage20 loan 125 michigan equity home184 home lenders loan28 chicago loan 19 paydayadjustable georgia loanloan american online application mortgage home1 hybrid va loan 3payday fax loan 1000 noamature sexy photoshare porn amatuer homemade videobisexual ameteurporno ameteursex amatuer galleriesmovie sex amatueradhd add teenagersthe great alexander sex scene Map
February 28th, 2006
Various Artists
Futurism Ain’t Shit To Me 2
Rating: 8.7
[Kitty Yo; 2006; Electronica, Hip-Hop, Electro-Hop]
Kitty Yo’s back with another edition of Futurism Ain’t Shit To Me. Maybe futurism ain’t, but this is the shit! 17 slammin’ tracks from abstract electronic and cutting edge hip-hop mainstays as well as a handful of newcomers you should do yourself a favor and get acquainted with.
Soul Funk kicks it all off with a chaotic collage of noises and a choppy composition under the rhymes that is starkly contrasted by Forss’ follow up track of jazzy bass grooves, snare heavy beats and twinkling keys. The Tape vs. Infinite Livez’s “The Return of the Menstruating Man” is a grimey, electrified Dizzee Rascal-esque brit hop bouncer while Sole flows in signature style over a spastic, pounding rhythm and synthed out sections. After about a minute, the casios are abandoned for a chanting, dance punk approach (highlight). NQ’s “Disthant” approachs ambient territory followed by Quasimoto’s “Come On Feet”, which has a slow, funky beat and weird samples around his lackadaisical flow. The stomping beat and moderately rapid fire delivery of Slum Village are opposed by the trip-hop-ish and repetitive looping of Malcom Kipe’s “Common Like Baseball Cards”. (Skip 8-bit’s “I-Deez”, fuck, that’s bad!) Jackson And His Computer Band’s “Rock On” is a old school, sliced and diced dancefloor flooder while Stacs of Stamina’s title track from their full length, Trivoli, combines bouncy, euro beats, new wave-ish synths and alternating vocals and tempo changes for one of the most unique sounds I’ve heard in a while. Otto von Schirach’s “Earjuice Synthesis” is an undescribeably weird track with distorted beats and filtered vocals with rusty robotic delivery and silly samples and Dabrye’s remix of Bus’ “Keep Life Right” is unsurprisingly dope… but a bit repititious. Pedestrian is next representin’ Anticon and finally, General Electrics ending the comp in an appropriately disjointed manner full of tuba-like bass, funky undertones, staticy eruptions, growling samples (of a wild cat maybe?), screams and Indian influenced hornlike elements.
As if you couldn’t gather from that, the styles of these guys are all over the place, but they all share common roots in electronica and hip-hop. It’s like a one hour crash course in the various directions hip-hop has evolved, where it’s at and where it’s going.
Download Missing by Daedelus and listen to samples at Kitty Yo
Buy it now:
Kitty Yo
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February 22nd, 2006
Alif Tree
French Cuisine
Rating: 8.4
[Compost; 2005; Nu Jazz]
Alif Tree’s new record is the cure to what ails me after a days work… leaving the office only to join in the rush hour traffic. It’s the kind of electronica that soothes the soul and calms the nerves. It’s more organic than digital. Heavy on the jazz, it makes you close your eyes instead of get up and dance. The swaying grooves, trip-hop beats and world rhythm mix with a touch of urban hustle into a hazy flow like ice cold water drizzled over organic sugar cubes into a fine absinthe. Which isn’t exactly the culinary recommendations given by Alif with each song… and yes, there are suggestions next to each track. Hence, French Cuisine.
In terms of a sound you’re familiar with, imagine jazz classics remixed with a Zero7 flavor. With vocals supplied by the likes of Shirley Horn, Anna Karina, Nina Simone, David Linx, Ana Carril and Maurice el Medioni over backdrops that shuffle along at a mellow, down-tempo pace, this is not your punk-ass kid neighbor’s electronica.
Download Deadly Species and check out samples here
Buy it now:
Compost Records
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February 8th, 2006
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