Fun Stuff > BAND
Wink Wink 2011 - A bit of a change this year
yop:
Bicep - EP1
--- Quote ---Bicep drop two straight-up debut anthems for the Midas-touched Throne Of Blood label, backed with a humongous Retro/Grade remix by Serge Santiago and Tom Neville. The Belfast duo's original 'Darwin' works a snatch of Caron Wheeler's "feel the melody" lyrics from 'Back To Life' into a sexed-up analogue bubblebath of mid-tempo '80s House beats and deliciously yearning keys, holding the tension and toying it with supreme skill, while their 'Drippin' cut slinks into handsome Mr Fingers mode with luxury square bass and trippy synthline embellishments. Roping in Retro/Grade on the flip results in an epic rebuild of 'Darwin' teasing it out for pure party ecstasies. This is a weapon in the right hands. TIP!
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Bicep - EP2
--- Quote ---It has been a heady few months for Bicep. Since joining Throne of Blood and bursting onto the scene with "Darwin" and "Drippin" off of the critically acclaimed EP1 in late 2010, the boys have been feverishly busy. Having completed remixes for SF disco producer Tal M Klein, TOB labelmates Cosmic Kids, Wolf Music, and Domino Recordings's Blood Orange as well as a forthcoming 12" of edits for the inimitable Mystery Meat label, Bicep are on a roll. Several weeks gigging in NYC led to an acclaimed set on Tim Sweeney's Beats In Space radio program and mounting interest in all things Bicep has led to a slate for summer festival bookings as well. With all this going on, it's a wonder Andy and Matt have had any time to complete their second EP for Throne of Blood, to say nothing of their newly-launched mix series on feelmybicep.com. Yet here it is, EP2 and it is a blinder! Featuring a deeper take on the analog house sound that has become their signature, EP2 represents a step forward for Bicep and provides a brief peek into still more of the classic house music that informs their signature sound. While "Silk" rides a warm bassline reminiscent of classics like Baby Ford's "Ford Trax," it never goes for the jugular. Showing similar restraint, "Purple Sweat" slows the tempo further, providing a mellow slo-mo groove replete with Detroit-inspired atmospheres. On the flip, "Choux" builds an absolute stormer out of a dizzying acid line and some truly inspired piano melodies. Completing the package is a stripped back, dancefloor-oriented take on "Silk" by veteran producer and Buchla synth expert Mark Verbos (DJax Up Beats, Simple Answer, Drop Bass Network, CSM, Memory Boy).
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Mmmm so good ...
Killer deep/disco/house EPs incl. excellent Verbos remix!
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yop:
Fabric 58: Craig Richards presents The Nothing Special
--- Quote ---As fabric's musical director, Craig Richards has not only defined the musical output of the world’s most iconic nightspot, but in doing so has shaped British underground music. Craig has been with fabric since its birth and has revolutionized the concept of a residency. Always allowed complete freedom to invite artists and program them around his own regular weekly performance, his forward-thinking attitude continues to be a guiding light on the musical horizon. fabric 58 allows his versatility to shine through further as he invites his most admired live acts to Saturdays at fabric for an irregular series of obscure affairs featuring the likes of Shackleton, Deadbeat, Pole and more. "After an eleven year residency at fabric I wanted to create a night that required me to play all night around Live acts, setting the scene for each one as the evening progresses. Playing a gentle deep warm up for Moritz Von Oswald, or a twitchy electro set before Dopplereffekt, or a disco set before Emperor Machine, all of which I am capable of because of the variety within my residency." - Craig Richards The Nothing Special reflects the diversity and steadfast nature he is renowned for and echoes his obscure and considered approach to his craft. Starting back in the mid 90s with Andrew Weatherall and Keith Tenniswood's Two Lone Swordsmen guise the mix ebbs and flows in a timeless manner taking in rare cuts from Conscious Minds on his own Tyrant label, Housey Doingz from fellow fabric resident Terry Francis’s Wiggle imprint and an unknown cut from early Chicago legend Gemini, whose work is notoriously difficult to license. With most choices unfamiliar, the mix is typical of Craig’s bold approach and resolute manner and imparts untold rewards after close inspection.
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There are some amazing tracks in this mix packed full of memories for me personally so i'm absolutely loving this!
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Motion Sickness of Time Travel - Luminaries & Synastry
--- Quote ---Rachel Evans left many listeners stunned with her debut album 'Seeping Through The Veil Of The Unconscious', released on tape and vinyl to pretty much universal acclaim at the end of last year. Her follow-up proper, 'Luminaries & Synastry' is a divine, subtly dizzying descent from the heights of that album, catching Rachel cocooned in a feather-like freefall to more pastoral climes without ever actually touching down to solid ground. The simplicity of instinctively layered, ethereal vocals and seemingly infinite arpeggios make for a mesmerising take on pop music, where the atmospheric composition contains far more nitrous oxide in a lower pressure system, and duly everyone floats about dazed in a state of post-rave/orgasmic bliss. This suspended sensation is unmistakable on opener 'Luminaries', those whispered vocals condensing around beads of glinting machine rhythms and convective synth swirls, precipitating the mood of things to come. Following this, 'Synastry' provides a poignant moment of clarity where you can almost make out whole phrases through the pillow of gaseous drones, slowing the systolic rate for the twilight glide of 'Late Day Sun Silhouettes' and the lambent organ glow of 'Ascendant' or 'Athame'. Entering the kosmische vortex of 'Day Glow' and ''Moving Backward Through The Constellations' the mood turns less blissed and more viscerally tactile, where creeping arpeggios envelope Rachel's haloed vocal in a tangle of bittersweet dissonance, before the gaseous glades of 'Eight Nineteen' opens out, eyelids fluttering, to the scenery of 'The Walls Were Dripping With Stars'. The LP features artwork by Hobo Cult's Frank Ouelette, mastering by Brad Rose and a cut by D&M, the first pressing of the last album sold out in less than a week so check in early. Sublime.
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yop:
Portable - This Life Of Illusion / Find Me / Lets Go
--- Quote ---Two tracks of attention grabbing House from Portable aka Bodycode! While his output over the last few years has been meagre to say the least, this notorious producer has outdone himself with the lushly sensuous 'Find Me', an exceptional piece of deepest House soul laden with warmest synth washes, pointed keys and a heavyweight yet tactile bass throb made for the best sound system you can lay your hands. On the flip, 'Find Me' is built with different intentions, laying positive self-help vocals over a prime jackers rhythm with a deep, sprawling, and deadly square bass line. Did you expect anything less? A prime pick for the modern House lovers.
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Just an outstanding modern house bomb. Highly Recommended!
yop:
Stereociti - Kawasaki
--- Quote ---When in 2005 the first sounds of Mojuba were introduced to the world, people quickly realized that there is something very special going on different to the usual House or Techno business … it was something more emotional, more personal, somewhat more deeply rooted! Stereociti aka Ken Sumitani is truly one of Japans finest when it comes to uncompromising underground dance music with heart & soul, whether it is the realm of deep House music or the darker moods of Detroit Techno. You can actually feel that his roots go far back into the early days of electronic club music but never lose sight of the history of Soul, Funk or Dub. His debut Kawasaki, named after his hometown, is delivering the quintessence of what is considered as the Mojuba sound. Being capable of such a musical sense, it was no wonder that the other Mojuba family members Nick Solé, Sven Weisemann and Oracy welcomed Stereociti very warm. So if you are new to the world of Mojuba, please tune in and enjoy the journey! Kawasaki is a timeless piece of music, equipped with everything you need for an outstanding album experience. It will take you by the hand from the very first moments and will be there for you second by second, minute by minute, hour by hour, day by day until you let it go!
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良い旅をする :laugh:
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TheFuriousWombat:
Here are three albums by Seaworthy, originally posted on me blag
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First up is "Codes Adrift." Released in an edition of 100 CD-Rs, placed in hand made envelopes, and sealed with wax by the now tragically defunct Sound&Fury records, "Codes Adrift" is two untitled tracks sprawling out over just under half an hour. The two pieces could almost be one, a quietly pulsing and sublimely peaceful journey comprised entirely of looped and layered guitar tone and feedback. The sensation of listening to this record is of one sitting on a small boat in the middle of an absolutely endless sea but being completely at peace with this fact. A wistfully lulling siren call shifts and lows, an almost organ-like thrum, while Webb picks and plucks his guitar quietly around this softly swirling ebb and flow. Although some new elements creep into the track 2 - bits of static and softly glitchy pulses rattle and whisper, lonely and nostalgic; the volume and intensity picks up - the sonic journey "Codes Adrift" takes listeners on is essentially without interruption. The two pieces feed into one another and, like the tides they seem to draw inspiration from, could pulse inward and outward forever. It's a powerful yet delicate piece of music, decidedly minimal but incredibly deep.
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Next there's "1897," an album recorded entirely in an old ammunition depot from the titular year. Once again Webb's guitar playing is at the fore here although meditative electronic thrum and lovely field recordings of wind, birds, rain, and running water are woven throughout, creating a fully realized sonic world, one that drifts through haunted corners of dusty attics and over rainswept meadows, mournful and brimming with melancholy. One of the most impressive parts of this album is the timbre of Webb's guitar, at times reminiscent of Loren Connors, which picks up a huge amount of natural reverb from the physical space in which the album was recorded. But some tracks are far more electronic heavy than others, eschewing traditional guitar sounds altogether. Sparse, glowering drone pieces crop up amongst the rippling guitar and delicate sigh of wind and rain through leaves. Stark and chilly, this isn't happy listening but it's perhaps Webb's best to date.
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Finally there's "Map in Hand," a rather different album from the last couple but still definitely part of the Seaworthy oeuvre. "Map in Hand" is more hopeful, a warmer and overall more involved production. Electronics play a bigger role, the guitar is less prevalent, at least in it's traditional state. While many songs on "1897" are just Webb improvising on guitar with little to no significant processing, "Map in Hand" is more concerned with creating glowing, densely layered soundscapes. Rather than stark and mournful, these are more transportive, crackling with analog buzz and thrumming with strange energy. The result is soft and languid and beautiful. It's not a very easy album and will bore some but for those with the patience it's wonderful and rewarding, a perfect soundtrack to a late night summer drive through the country, surrounded by dark fields but warm and secure and speeding into the unknown.
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