Fun Stuff > BAND
Wink Wink 2011 - A bit of a change this year
KvP:
First things first:
Cotton Keys - Archive (?)
Cotton Keys are possibly maybe the best band in my town, which has a nice little homegrown music scene (I guess the closest thing we have to a "breakout" is Candy Claws, who are minor faves of P4k). I work at the local college radio station with their bassist and I've been waiting for them to actually release something for awhile now. Today the guy I know uploaded this to his Facebook. I implore you to check it out, I'm sure it will fit the tastes of many of you more lo-fi indie rock / pop-ish people. I quite enjoy it. The files weren't tagged, so I tagged them myself and bestowed upon them the original name of the .zip as their album title. I also gave it random cover art from their myspace (dude did not put a lot of work into presentation!)
This is their Myspace page.
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Rizzo:
--- Quote from: David_Dovey on 19 Jan 2011, 15:07 ---Fixed track
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Thanks Dovasaurus. Track is banging and sounds even better at full length.
KvP:
And then we're on to Rips! Most (all?) of the rips here, I originally uploaded as digital files. These are straight from the wax, so download them if you prefer the slight variations in sound, or you're new to the releases (natch).
Autechre - Oversteps
Autechre's return to mid-90's form after a long dalliance with hardcore glitch. One of my favorite albums of 2010.
--- Quote from: Tinymixtapes ---Autechre's music is brazenly abstract. I don't use the word "abstract" as a warning, just as an acknowledgment that the unique pleasures offered by albums like Draft 7.30 have an airy and intellectual substance to them. The music behaves according to human tropes: tension and release, obedience and rebellion, the imperfect repetitions of imperfect memories; but it doesn't feel human in any conventional sense. You don't feel the familiar warmth of standard instruments, and you don't feel the comfort of knowing that actual hands and feet are physically producing the sounds you hear. You don't know whether the compositions were charted out in real time or generated automatically by a mysterious piece of software. Sean Booth and Rob Brown have a relationship to technology that is so thoroughly organic that their work can't seem anything less than foreign. Most composers aren't as willing and able to dive so deeply into the soul of computers and produce music that, as metallic and abstract as it is, writhes with vitality.
Autechre's music is brazenly experimental. For at least a few years of their career, "experimental" was best understood as a warning. Starting in the late 90s, but continuing to an even greater degree after the turn of the millennium, Autechre produced tracks that were driven by a restless spirit of improvisation. Their songs would start out sharp and confident, bearing the skeleton of rhythm but lacking the soft flesh of melody, comporting themselves with a clear but distant idea of groove. Then, over the course of several minutes, they would tear themselves to pieces before wandering off into the distance, bewildered with the completeness of inner transformation, stunned in the spirit as if a revolution had just occurred. Autechre's experimentation has been violent, and it was violent for years, contorting sound into shapes that would feel jarring and unwelcome in any other context, including their own early albums. It wasn't until 2008's Quaristice that we saw them back off from those forbidding, 8-minute marathons that deconstructed and reconstructed themselves, learning instead to embrace a manner of improvisation that has remained daring and unique without sounding so ruthless and ascetic.
Sean Booth and Rob Brown have brought melody back. That might be the single most important thing about Oversteps, their newest Autechre album. Its highlights are not, like the explorations on Draft and Untilted, daring pieces of architecture, but pieces whose soft edges and subtle, multilayered melodic contours feel human in a way that may evoke an eerie nostalgia in longtime fans. Their track titles remain stubbornly meaningless, but take note of "known(1)," "d-sho qub," and "st epreo," which all hearken back to the early days of Warp Records, when home-listening electronica was a new idea and the sophisticated compositional edge of acts like Autechre, Polygon Window, and Black Dog was like a little oasis in a world that was preoccupied with overreaching itself and drowning out the past with empty innovations. That isn't to say Autechre's music has suddenly become self-satisfied or backward-looking; their counterpoint may not be as loud and assertive as their beats, but it's every bit as restless and alive, and just as antagonistic toward exact repetitions as high school English teachers are toward plagiarism.
Of course, anything I say about these tracks seeming soft or human might be completely lost on a listener coming to Autechre for the first time. The textures here are soft, but that means a lot more when you are an outfit with something like Gantz Graf lingering in your past. Tracks like "see on see," "O=0," and "redfall" go beatless, letting their overlapping, cascading melodies tell their own complex story of becoming without needing to resort to the blunt trauma of percussion. But peace's flipside is desolation; there are other songs that float by without really living lives of their own, like extras in a film.
Like Quaristice, Oversteps takes its time fading in and out from silence, being bookended by long and uneventful stretches of sound that are as gradual in their development as a sunrise. Autechre have always dealt with a wide scope, from their all-encompassing use of frequencies to their eclectic range of influences to the large-scale formal migrations of their more adventurous compositions. When you combine this love of breadth with an insatiable curiosity for technology, it explains why Booth and Brown always seem to be operating on uncharted territory. This album has its ups and downs, its highlights and dead stretches, but if these guys wanted to sound safe and well-balanced, they should have stopped making albums 15 years ago. Their developments are nothing if not honest, even if the gruff, muffled intimations of hip-hop sound awkward or antagonistic, even if the softness of these pieces evades any conventional sense of emotional directness.
The extroverted and violent streak of Autechre's early last decade is being turned inward. You might not be able to feel the human element in what they are doing, but if you are patient and attentive, it might stop seeming so foreign, a little like your own thought processes, operating freely from the encumbrances posed by the physical world, expressing themselves gradually but vitally, with a little more peace and a little less violence.
01. r ess
02. ilanders
03. known(1)
04. pt2ph8
05. qplay
06. see on see
07. Treale
08. os veix3
09. O=0
10. d-sho qub
11. st epreo
12. redfall
13. krYlon
14. Yuop
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Floating Points Ensemble - Post Suite / Almost In Profile
Kind of a left-field turn for Mr. Points, who up to this point was the premiere slo-house DJ in the UK. As per the title, he plays with an ensemble of live musicians on this 12" and explores jazzier avenues of music. The result is not unlike Bonobo's Black Sands album from last year (also on Ninja Tune), even if it is a lot looser and less dance-y than that album got.
--- Quote from: Boomkat ---Sam Shepherd's Floating Points Ensemble make their highly anticipated recorded debut with two sumptuous tracks for Ninja Tune. Following his stream of hugely acclaimed releases on R2, Planet Mu, and Eglo (which he co-runs with Alex Nut), and now in command of twelve skilled players, Sam has evolved the Floating Points project to a full-blown group. The ensemble have already claimed the coveted 'Best Maida Vale Session' at Gilles Peterson's 'Worldwide Awards' in 2009, and it's quite clear to see why when listening to these tracks. Between the ecstatic symphonic flush of 'Post Suite' and the luxurious character of 'Almost In Profile' this record serves a good chunk of your annual soul quota in one perfectly formed package.
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Gatekeeper - Giza
This was posted not a week ago (by... TheFuriousWombat, was it?) but I thought I'd put up the vinyl rip in case anybody wants it! Yet more indications that mid-80's industrial / darkwave music is back in style.
--- Quote from: Boomkat ---Chicago's Gatekeeper follow last year's debut with a brilliant, and far more substantial, EP for Merok (home to releases from Kingdom, Salem, Teengirl Fantasy). If you've not checked their first 12" or awesome Fact mix, you really should sort it out. 'Giza' expands their style over six tracks, blending traces of Italo, Industrial EBM, and early Chicago house with VHS sci-fi soundtrack signatures and arcade game music. They've got a close contemporary ally for this sound in HIT's White Car and to a certain extent Skam's VHS Head, but Gatekeeper's tracks have an innate cinematic narrative that's quite hard to ignore and more like a cybercylic hallucination of the music they adore, than a rehash or cut-up. From the arcade biker themes of 'Chains', to the menacing Hellraiser vibes of 'Storm Column' , the leather-bound thrust of 'Giza' and the digital hallucinations of 'Mirage' this is a feast for any industrial dancefloor aesthetes. Highly recommended!
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Dro Carey - Venus Knock EP
Ozn Witch House. It's all there - the southern rap influences, the downtuned "spooky" samples, a stylized Triangle glyph stamped on the white label, etc. etc. Luckily nobody's actually trying to rap here!
--- Quote from: Boomkat ---**Dangerously heavy, hand-stamped debut 12" from Dro Carey on Will Bankhead's Trilogy Tapes** The first vinyl release on graphic designer extraordinaire, Will Bankhead's trilogy tapes label (home to cassettes from Kassem Mosse and Ben UFO, a.o), it takes the mutant hypnagogic R&B sensuality of Hype Williams and amps it with frightening velocity, foregrounding actively robust beats (sounding all the better for a heavyweight D&M master and lacquer cut) against an unpredictable moiré of psychosynthual blurts and unhinged, intrepid arrangements. Opener 'Get Rid Of This Guy' sounds like Bok Bok in a lucid dream state, his urbane cool replaced with drool on the keyboard, while the severely unstable title cut oscillates somewhere between munted dubstep rave and lysergic noise with uncompromising style and swerve. Turn it and 'Dead Keys' inverts some poor, sweetened soul cut with horrifically dark intent before 'Glitter Variables' tweaks a twitching rut of ruff-synced loops with gloopy bass shapes and ear-weevilin' synths. Records like this make us incredibly satisfied yet aching to hear more. Hugely recommended!!!
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Lil B - Angel Exodus
Oh you'd better believe it, it's the new (digital-only) album from Lil B. Just went through one listen, but it's a lot more focused and a lot more polished than anything I've heard from him in the past. Based God baby, love him or leave him.
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Bird By Snow - Songbread / Another Ocean
Tempted to get this on vinyl... Only just got it but it's sounding pretty great to me. If you like folkier stuff, check it.
--- Quote from: Boomkat ---Perhaps if all albums were always released with such care and attention devoted to them the recording industry wouldn't be in such a scrape at the moment. Bird By Snow's latest (their third full-length) comes on clear vinyl and CD-R packaged together with a colour lithograph poster-sleeve, a handmade booklet of lyrics and prose, and a second semi-transparent poster of poetry and painting. The music itself is a mixture of folk-inspired songwriting, shambling, rustic multi-instrumental recordings (perhaps comparable on some level with Mount Eerie's spartan recording style), field recordings and tape manipulation, which makes for a slightly confusing if occasionally very rewarding hippy-ish trip - 'My Life Is Easy', for example, proves especially good thanks to its dark, very dramatic lo-fi recordings of cello, piano and spiny electric guitar, all of which conspire to lend the otherwise slightly strange vocal a sense of gravitas. Limited to 550 copies.
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KvP:
George Fitzgerald - Don't You
Scuba pulls remix duties under his techno-oriented moniker on the B, but the A continues Fitzgerald's trajectory into Joy Orbison rave-house-step territory. Exuberant and primed for the dancefloor / your living room.
--- Quote from: Bleep ---Promising London bass teknologist George Fitzgerald lands on Scuba's Hotflush imprint for his debut plate. Maker of sensuous garage/2-step rhythms zoned out by clipped, swirling vox and warm bass tones, Orbison style. What matters is a clear adoration for classic mid 90's vibrations of Todd Terry that he plugs into the bass pleasure centres.
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Ř (Mika Vainio) - Heijastuva
Top-shelf experimentalism, periodically featuring the high-frequency whine of electric feedback but mostly composed of heart-touching ambience. I'd put him up there with Keith Fullerton Whitman or Autechre, with all the eventual reward (and frustration) that entails.
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Codes in the Clouds - As the Spirit Wanes
Hey do you guys remember Explosions in the Sky? These guys sure do. Sonically they don't do much to distinguish themselves from the massive homogeneous blob of cleanly recorded, regal guitars and bombastic drums that is post-rock, but it's not offensive and certainly not unpleasant to listen to.
--- Quote from: Boomkat ---Strong but tender instrumental Post Rock from Dartford, Kent-based quintet Codes In The Clouds. Their third album for Erased Tapes is just as expansive as the first two, confidently melodic and brimming with cinematic positivity.
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Phaeleh - Falling (Kulture Mix)
Kind of like a bridge between the modern-day DnB of Autonomic or NonPlus and the bro-averse roots of dubstep. The cover art's pretty gaudy but the music is actually pretty catchy.
--- Quote from: Boomkat ---Phaeleh steps up to Skreams' Disfigured Dubz with the atmospheric roller 'Falling' b/w a junglist rework from Kulture. Like his celebrated drops for Wheel & Deal and Afterglo, Phaeleh's signature feel for rave-yearning, tranced-out melodic arrangements and cleanly produced dubstep rhythms are fully intact. However, the Kulture remix takes that diva vocal where it really needs to go, arming her with an undercarriage of heavy junglist rollidge. Full colour picture sleeve.
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flaschenpfand:
first try - think i have to give you something back...
john roberts - glass eights, dial records, 2010
techno, deep, soulfull
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hope it works..
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