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Wink Wink 2011 - A bit of a change this year

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Catacombs:

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TheFuriousWombat:

--- Quote from: JD on 10 Aug 2011, 14:31 ---aren't those the guys micheal cera was hanging out with

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He played bass on tour I think. I don't think he plays on the album. It's really just Honus Honus and Nick Diamonds (Nicholas Thorburn) plus some guy from the original Shins lineup.

JD:
Cool I love Diamonds

Here's an EP my friend(in collaboration with another dude) released the other day.

Skeleton Zoo - Busride EP


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Blippity bloopity music reminiscent of The Avalanches and Handsomeboy Technique

yop:
Andras Fox - Your Life EP



Smooth and jazzy house cuts.


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Ayatollah - Fingertips



In the world of instrumental hip-hop, Ayatollah needs no introduction. Since making his name producing tracks for hiphop icons like Mos Def, Pharoahe Monch, Sean Price, Rakim, Ghostface Killah, and Talib Kweli, the New York beatsmith has turned his attention to vocal-less music. Musically, Fingertips reflects the gritty sound the producer has become known for. Horns blare, drums pound, basslines rumble, and vocal snippets drift in and out. It’s raw, it’s cutting edge, and it’s soulful.


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Afrikan Sciences - Means and Ways



After producing some of the most cosmic soul juggling tracks of the last decade Afrikan Sciences has finally woven together a full length. Already receiving early run from likes of Gilles Peterson Means and Ways is a watermark of rhythmic freedom. True to previous Afrikan Sciences escapades rhythmic rules are re-programmed, and tuned to cosmic frequencies. These are sounds that you need not attempt to control. Ease yourself open your mind, and let the imagination take the wheel.


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Shafiq / Om'mas Keith - LA Series 0/10



All City draw a surprise ace from their sleeve with a split platter from Sa-Ra's Shafiq Husayn and Om'Mas Keith. Shafiq drops a fractal blend of beats, frayed vocals and loose electro-jazz vibes on 'DNA - The Splice Mix', for that mad psyched LA sound. Flipside Om'Mas takes it to the club with bubbling future R&B vibes on 'The Girl Is a Player', flipping the typical HipHop player thing on its freshly crimped weave. Slick and very crafty. Includes instrumental and acapella.


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Vondelpark - NYC Things And NYC Bags



Vondelpark's second EP for Belgium's R&S proves this young producer/artist from London is a very talented chap indeed. At its middle a yearning Young Marble Giants/XX minimalism; great wide spaces where guitars roam, keys sparkle and bass fondles. A soulful, romantic record, surely bigger things await.


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Mr Fantasy:

Fela Kuti - Opposite People/Sorrow, Tears & Blood




The two albums included on Opposite People/Tears of Sorrow book-ended the Nigerian army's deadly raid of the Kalakuta Republic, Fela Kuti's self-appointed independent state domicile, and Kuti's hostile feelings toward upper-class Nigeria are prominent on both sessions. Opposite People, recorded between 1976 and 1977, is brave and brassy, beaming with an almost joyful defiance on the title track. This album isn't particularly outspoken, focusing on the celebration of freethinking and only referring to politics through a metaphor about pants (yes, pants). But Tears of Sorrow, the first recording released after the Kalakuta's capture, is fiercer; the band's sound almost seeming to drip blood. Slower and more persistent, the ominous grooves here no longer bother with metaphor, crying out bluntly, "some people lost some bread, someone just died...them leave sorrow, tears, and blood." Alongside Woody Guthrie's Struggle, this is as stirring as musical social protest gets. "Sorrow Tears and Blood" boils over with Fela's singing and the frantic call-response of horns and chorus; the scattering sounds of people fleeing a police-and-army attack. And "Colonial Mentality" calls for a united Africa to stand up against its widespread leftovers of imperialism. The entire collection is chock-full of Kuti's distinctive polyrhythmic orchestra-funk in top form.


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Mr. Projectile - Pug Times



After a confident existence on MP3.com and a few compilation appearances, Minneapolis’ Matthew Arnold finally releases his debut l.p. Pug Times on the celebrated Toytronic label. Based on the
few tracks I’d already heard online, I was generally prepared for greatness from Pug Times but I had no real conception of just how great it would be. For anyone who has pondered the meaning
of the word “dance” in Intelligent Dance Music, I challenge you to listen to Pug Times. First, I must say the production is fantastic, displaying Arnold’s obvious abilities to compose mature, accessible,
and highly enjoyable electronic music. It would be difficult to choose stand-outs here but one that certainly comes to mind is a beautiful remix Matthew did for Astronauts Wife call “Cape Canaveral”,
which was wisely included in this release. This is brilliant electronica, not overly complex or experimental, but full of warm, flowing melodies, sharp, addictive beats, and memorable bass and
synthlines. Each track has its own unique personality; building and expanding upon existing patterns, while signature beats compliment each melodic note. Mr. Projectile will certainly shine as
one of the bright new stars in the current idm scene with the release of this outstanding l.p. and without the stigma of being another Autechre replica. Highly recommended.



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The Blue NIle - Hats




Five long years in the making, the Blue Nile's stellar Hats was well worth the wait; sweeping and majestic, it's a triumph of personal vision over the cold, remote calculations of technology. While created almost solely without benefit of live instruments, it is nevertheless an immensely warm and human album; Paul Buchanan's plaintive vocals and poignant songs are uncommonly moving, and his deployment of lush synth washes and electronic percussion is never gratuitous, each song instead crafted with painterly precision. Impressionistic and shimmering, tracks like "The Downtown Lights" and "From a Late Night Train" are perfectly evocative of their titles: Rich in romantic atmosphere and detail, they conjure a nocturnal fantasy world lit by neon and shrouded in fog, leaving Hats an intensely cinematic experience as well as a masterpiece of musical obsession.


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Blueshift Signal - Seven Natural Scenes




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Pele -Teaching The History Of Teaching Geography




Musically ambitious -and relentlessly productive- members of related bands such as Vermont, Promise Ring, and Collections of Colonies of Bees have drifted in and out of this loose Milwaukee association.

Pele welds a sturdy and poised rhythm section to springy melodic energies typical of banjo and picked guitar, and the expansive possibilities of a full spectrum of synth and oscillator textures.

This, their first (wordless) album, is consistently bright, and its tracks swell again and again with catchy arpeggiated chords and warm, tuneful harmonic slashes. Supremely likeable, it is well-worth having for those at all interested in this broad genre. The UK release on Rosewood Union adds three remixes, including two from the "People Living With Animals. Animals Kill Peolpe" record. Pele also has several subsequent releases, including the albums "Elephant" and "the Nudes"


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Susumu Yokota - Sakura




Multi-talented producer Susumu Yokota returns to the ambient realm with the beautiful and diverse Sakura. When he indulges his fondness for pop hooks with his dancefloor material, Yokota's melodic choices are glossy and extroverted, but his music for home listening is focused, controlled, and deeply internal. His knack for blending traditional instruments like guitar and piano with simple electronics harks back to ambient music's birth in the mid-'70s; at times Sakura recalls the work of pioneers like Brian Eno, Cluster, and Manuel G ttsching. The icy "Saku" sets the meditative tone on Sakura, with gentle, winding guitar lines, relaxed synthesizer oscillations, and plenty of breathing space for the minimal instrumentation. Beats make their first appearance on "Uchiu Tanjyo," as smooth, semi-tribal hand drums blend organically with the repeating keyboard figures. "Genshi" adds house drum programming to the brew, and Yokota's knack for reflective electronic melody on the track rivals the best of Kraftwerk. Both "Azukiior No Kaori" and "Kodomotachi" use vocal samples to haunting effect, bringing to mind the favored techniques of Nobukazu Takemura without direct reference to machine glitches. The flow is marred by a misplaced jazz cutup ("Naminote"), but Sakura possesses an austere beauty and should not be overlooked.


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Michael Tippett - Music for Strings



A composer who came to music relatively late in life, Sir Michael Tippett has come to be regarded as one of the most original and important British composers of the twentieth century. Tippett brought a highly individual interpretation to twentieth century neo-Classicism, writing in all the principal genres. His compositions are characterized by a strong rhythmic vitality and a complexity of the basically tonal harmonic language, and were a vehicle for the articulation of his personal views of philosophical, social, and personal issues.

In 1953, the Edinburgh Festival commissioned Michael Tippett to compose a piece for the tercentenary of the birth of Arcangelo Corelli (1653-1713). Some 12 years earlier, Tippett had completed a Fantasia on a Theme of Handel for piano and orchestra, but the youthful work (youthful, at least in terms of Tippett's career) is less successful than this more mature Fantasia Concertante on a Theme of Corelli. Also, for the Corelli Fantasia, Tippett calls for only strings, forgoing the percussive sound of the piano. Tippett completed the piece in three weeks, shortly after finishing his opera, The Midsummer Marriage. Tippett bases his Fantasia Concertante on two disparate melodic ideas from Corelli's Concerto Grosso in F major, Op. 6/2, taking the Adagio theme and splicing it to a later, Vivace passage. Tippett maintains the divisions that are an important feature of Corelli's Concerto: the concertino, consisting of two violins and cello; the concerto grosso, which is the larger part of the orchestra; and a concerto terzo, representing the part of the sound performed in Corelli's orchestra by the basso continuo.



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