Fun Stuff > BAND
Wink Wink 2011 - A bit of a change this year
yop:
Shangaan Electro - New Wave Dance Music From South Africa
--- Quote ---Ask us about Shangaan Electro a week ago and we'd ask you to speak slower. Ask us this week and we'll rave about one of the most astounding records we've heard this year. The erstwhile and intrepid ears of Honest Jon's Mark Ainley and Hardwax/Basic Channel legend Mark Ernestus have been following this niche style from Soweto, SA, for a hot minute, long enough anyway to pick out twelve extraordinary examples of 180bpm, marimba-laden, afro-dance diamonds hewn from rickety drum machines and keyboards shaped into dazzling fillips of pure dance energy. We almost couldn't believe our ears on first listen, or the tenth. It was perhaps only when we witnessed the accompanying videos on youtube that it started to settle into place, watching liquid hipped Shangaan dancers scuttle and stomp like folk possessed by something untold but completely comprehendible. It's not a large punt to draw distinctions between this and Chicago footwurk or Caribbean Soca styles, from the high tempo velocity to use of basic equipment all deployed with the intention of eliciting faster and more furious dance moves from the participants. Essentially this is a continuation of traditional styles, only plugged in at the studio of Nozinja Music Productions to become utterly electrified and electrifying. But these aren't simply instrumental rhythms, they're also songs with passionate, soul wrenching vocals and head-rushingly sweet synth melodies. Four exemplary contributions from the scene's lynchpin Zinja Hlungwani are worth the entry price alone; from the gripping hypertension of 'Ntombi Ya Mugaza' to the warbling duet of synthesized and human soul in 'Nwa Gezani My Love', or the alien harmonics of 'Nwa Gezani', you're paying to experience a mesmerizing sound that you simply can't hear anywhere outside of Limpopo or low-res youtube clips. Nozinja is responsible for the breakneck speed of Shangaan Electro, responding to public demand for faster rhythms since opening his studio in 2005, even creating "boy bands" like the boiler-suited and clown mask-wearing Tshetsha Boys and producing for the rest of the artists included here. To be fair, this music is still a totally niche prospect, but initial reactions from friends we would never expect to like it have been as immediate as the music itself and there's no denying this will be one of the years most lauded albums among adventurous listeners. This is genuinely some of the most exciting music you'll hear this year, and alongside the Footwork/Juke craze currently taking hold, you'll have heard little like it before. ESSENTIAL PURCHASE!
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Compilation of a new wave of dance music from South Africa , selected by Mark Ainley and Mark Ernestus. One of my favorite records at the moment.
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Tony Allen / Moritz von Oswald - Ole (Moritz von Oswald Mix)
--- Quote ---After Mark Ernestus' mix of Moyege in this series, now his Basic Channel / Rhythm And Sound partner comes to the control tower. Moritz's deep Berlin steppers discloses dubwise traces of our original Lagos recording - the percussion of Yinka Ogunye, the singing of fifties palmwine legend Rolling Dollar, Oscar Olimbi's guitar lick - in with his own Oberheim voicings, additional drumming, and cool-and-deadly rhythm track. It's a tough, masterly dance record in fine Rhythm And Sound style - which during its ten-and-a-half minutes seems to ponder time elapsed and journeys undertaken. Like a stepping razor, but t-u-m-p-i-n. This Reggae Land version is the take-no-prisoners, pared-down dub of Wareika Hill Sounds' rootical rework of Ise Nla. Magnificent trombone and percussion; expert, classical JA mixing. Brings to mind those great dubs of Glen Brown's Black Man Stand Up Pan Foot.
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Stuff you can play while you're chilling in the sun and all that.. :-D
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ptownblazer:
I'm From Barcelona - Forever Today
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Pop Matters - "More bluntly, after hearing I’m From Barcelona’s third proper album Forever Today numerous times, I’m convinced that this is the record that Broken Social Scene was trying to make with Forgiveness Rock Record but, in my humble opinion, failed at: a big, bright poppy collection of songs so cool you gotta wear shades topped with female vocals and expansive brass instrumentation."
Never been into 'em much, but this is really quite good. The BSS comparison makes total sense in my opinion.
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The Helio Sequence - Young Effectuals
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Thought I would add this. I added it in '08 but the thread has been chopped multiple times.
If you haven't heard this, you owe it to yourself. Quite a unique sound. 100% self-produced in the record store where they worked. If you've heard their newer stuff . . . we're still waiting for a proper follow-up.
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While we're at it, here's the debut. Same deal: self-produced at the record store, Cavity Search release (local Portland label). For some reason they lost their balls when they went to sub-pop. If for nothing else, get it for the first track alone. Oh, and a fucking sweet cover of Tomorrow Never Knows.
Com Plex
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yop:
Todd Terje - Ragysh
--- Quote ---Unlike some of his Norwegian pals Todd Terje isn't the most prolific of producers, so when he delivers any new material - original or remix - you know it's time to sit up and take notice. And you should definitely be taking notice of "Ragysh", because it's one of the best club tracks we've had in recent times. You know Todd, he doesn't like anything fussy in his work, just nice simple ideas that rock the floor: here we get some nice kick drum driven house music with a percolating percussion loop lifted from Blondie's "Heart Of Glass" intro (I reckon). A weighty keyboard line slowly filters its way to the front of the track before leading the way to the uplifting synthy breakdown. Remember those hands-in-the-air moments from Italy's Kamasutra? This will bring the bliss back! "Bonysh" strips "Ragysh" back to basics then adds extra cowbell and all sorts of retro sci-fi synth noises. Lastly "Snooze 4 Love" transports us to the land of Balearic house with dreamy synth washes competing for ear-time. DO NOT MISS THIS!
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Bonuyshh
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amok:
Beckwith - The Subway EP
--- Quote from: anjunadeep ---Residing in New York's Brooklyn, rising producer Beckwith caught the ear of many an Anjunadeep fan with his remix of Boom Jinx & Andrew Bayer's 'Fracture' last year. More recently his recent twisting, journey of a track 'N To Brooklyn' was a highlight of Jaytech's 'Anjunadeep:03' CD and now gets its full release alongside the equally inventive 'F To Manhattan'.
Themed around the train journey to which its title alludes, 'N To Brooklyn' begins on glowing melodic cruise, chugs along brilliantly, before hitting a magical peaking bridge on the breakdown. Taking things back underground it hits you with grimy bass, before weaving the melodies back in for a brilliant finish.
With swirling synths, distinctive bleep grooves and impressive arrangements, the second track 'F To Manhattan' offers another melodic mixture of tech and progressive vibes -- all expertly weaved in Beckwith's unique style. An impressive full Anjunadeep debut from a producer with a bright future.
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Jaytech - Paradox / Djembe
--- Quote from: anjunadeep ---Riding high from his sublime Soundprank collaboration ‘Pranktech’ on the recent Anjunadeep 100 EP, Jaytech hits hard with two fresh tracks that show off new sides of his ever-versatile sound.
Teasing us into the summer months perfectly, a side ‘Paradox’ blends elements of nu disco, progressive and electro into a sunshine-shot surge of melodic bliss that will attract fans from all corners.
Taking a chunky funky bassline as its rhythmic bass, ‘Paradox’ adds some 80s-nodding synth lines and uplifting, looped vox to the mix, before building up to a breakdown that captures Jaytech at his melodic best. Kicking back into groove, it’s soon clear that ‘Paradox’ has everything it takes to be an Ibiza anthem for 2011.
Another a side release in its own right, Jaytech doubles up with his high energy house-fused track ‘Djembe’ – showcased on his ‘Anjunadeep:03’ CD. Crossing the genre boundaries with expert ease, Jaytech builds a tightly wrapped groove full of cut-up disco vox, future funk synths and a bubbling b-line.
A unique and cheeky number, ‘Djembe’ then finds another gear with swiping synths, drops easily into sumptuous piano breakdown and then thumps into some brilliant melodic drops that catch you by surprise every time. Two quirky, quality tracks from Jaytech, it's a welcome return from the label mainstay and a hint at what’s to come from him in the rest of 2011.
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Clueless - Torrid Affairs LP
--- Quote from: l2s ---L2S is now 2 years old and has hit release number 50, and the goodness doesn’t stop for a second! The 50th release is our first album! Coming from the mighty Clueless (well known for his distinctive production style) this album has been hotly anticipated by all Future Garage heads, and rightly so! “Torrid Affairs” delivers all you could hope for, and loads more! Clueless’s trademark sound runs throughout the long player with swung out beats and deep lush pads, gut busting basslines and clipped and twisted vocal samples. Clueless has also treated us to some other shades of his output with some almost brockout beats and basslines to keep even the most devout dubstepper happy! This album has too many tracks you will want to put on repeat over and over! 50 releases in and L2S definitely aren’t slacking!
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Keep Shelly In Athens - In Love With Dusk EP
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yop:
Mountains - Air Museum
--- Quote ---Mountains is Brendon Anderegg and Koen Holtkamp, two sonic explorers whose long history, shared philosophies, and love of sculpting sound, has resulted in some of the most densely layered and blissful music crafted in recent memory. The duo is known for obscuring the boundaries between acoustic instrumentation and electronics. Their debut Thrill Jockey release Choral was universally critically acclaimed, sold through three LP pressings, and ended up being one of the label’s best selling releases of 2009, a remarkable achievement.
Air Museum blurs the lines between acoustic and electronic music even more without sacrificing melody or the delicacy of their sound. It is an album of firsts. It was the first album that the acoustic instruments were not processed via a computer. Instead, the processing of the instrumentation (acoustic and electric guitar, cello, accordion, piano, bass etc.) was done using a variety of pedals, modular synths, and other analog techniques. While acoustic instruments were used extensively, the album manifests itself sonically as their most “electronic” record yet. Air Museum is also their first record that was made in a studio. Working in the studio expanded their possibilities, giving more room for experimentation. While much of the album was recorded in real time with minor editing, the band took the opportunity to utilize the studio as an instrument of sorts, investing a great amount of time in customizing their approach to post-production. Air Museum was recorded at Telescope Recording, in Brooklyn, New York, between December 2010 and January 2011, with the exception of “Blue Lanterns On East Oxford” which was recorded in Philadelphia in the spring of 2010 and “Live At The Triple Door”, an edit of a live performance that took place in Seattle at the 2009 Decibel Festival.
Since returning from European and American tours for Choral, Mountains has been concentrating on the assembly of new systems to create and perform without the use of a computer. Air Museum is the first result of these efforts. It is less reliant on long linear crescendos, focusing more on rhythmic interplay and dynamic changes. Like their previous work it retains the energy and the expansiveness born of improvisation.
Mountains is also taking a new approach to their live performance, utilizing many of the techniques they developed while working on Air Museum. For their new live set, Mountains has created a patch that will enable their electronics to sync up at various times, so while the musicians react to one another musically, given the right parameters, the machines can react to one another as well.
Through their multi-textural and subtly shifting approach, Mountains has garnered much praise from audiences and critics alike. “Holtkamp and Anderegg deliver a kind of 21st century folk music - one that's immersed in the aesthetics of modern technology yet retains a very natural, very approachable sound. Absolutely gorgeous music”
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