Fun Stuff > BAND
The "wink wink" Thread 2010: This Time It's Personal
Vuk:
--- Quote from: Harun on 29 Aug 2010, 21:40 ---My Sick Uncle - (500) Days of Weezy
Seriously the best mashup I've heard since Jadiohead. The music from the 500 Days of Summer doesn't seem like it would work with Lil Wayne's (and other rapper's) rapping, but it works surprisingly well. This is definitely not super party mashup a la Girl Talk. It is definitely more mellow and easier to listen to the whole way through (probably due to the 500 DoS sampling). If you are a fan of the music from 500 DoS, or Weezy, or both, or just want to listen to new and good interesting music check this out.
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You can listen to it all here too.
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This is actually fantastic. Kind of reminds me of that the XX/Biggie mashup.
KvP:
Vinyl ripz. Mostly experimental / neo-kosmische stuff.
Raven Chacon - At the Point Where the Rivers Crossed, We Drew Our Knives
--- Quote from: Boomkat ---*Dark and harrowing drones and location recordings from this mysterious American avant-garde/noise composer - limited to 200 copies for the world* Following on from his incredible collaboration with William Fowler Collins under the 'Mesa Ritual moniker, Raven Chacon returns with this super-rare vinyl outing after a string of releases on tape and CDR. The first side on this album is dominated by 'The Totem of the Total Siren', a harrowing piece using resonating snare rattle, bone whistle and nylon stringed guitar. The recording gradually builds on the snare's nervous shudder, gradually turning into a swarm of subdued noise, coalescing with a low-pitched whistle placing us directly in the eye of a swirling storm. 'La'ts'aadah' is more intimate, a primitive piece for solo violin recorded close to the performer (Mark Menzies) with a worn-down microphone sounding like a dramatic, ancient middle eastern lament for a grandmother on her deathbed. Finally, a chamber piece for the Mary Washington Wind Ensemble entitled 'Hasta'aadah' layers sombre melodies into a thick drone, offering an eerily detailed composition, almost like Edward Williams score for 'Life On Earth' but with a far more sinister and chaotic arrangement scored for unconscious creatures. Limited to 200 copies only for the world and housed in a screen-printed cover by Jaycee Beyale - do not miss.
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CV313 - Subtraktive (King Midas Sound / The Sight Below Mixes)
--- Quote from: Boomkat ---**Clear Vinyl** Heavyweight remix package from Echospace, pitting the ethereal space-pressure of Steve Hitchell and Rod Modell's CV313 against the claustraphobic dub menace of Kevin Martin's King Midas Sound and the layered ambience of Rafael Anton Irisarri's 'The Sight Below'. Its the King Midas version that pretty much owns this record though, more or less completely re-structuring and re-working the original into a noxious burner complete with the signature deadpan narration of Roger Robinson and the far-flung, almost detached vocal delivery of Hitomi pitted against a compacted tangle of deeply unnerving low-end rumbles and a mesh of effects and midnight drones worthy of Martin's involvement with Experimental Audio Research all those years ago. Remixes are rarely this ambitious - and it's a credit to all parties involved that the end result is a substantial contribution not only to the Echospace discography but to the King Midas Sound canon - small and perfectly formed as it is. The Sight Below, meanwhile, keep much more closely to the original's genetic code, unwinding hazy dub chords around a padded 4/4 with subliminal washes of melody that have become something of an Irisarri signature over the last couple of years. Ending off the twelve, Modell and Htchell reserve the flipside for themselves with an extended live mix that lifts the track into a more defined warehouse environment, with shuffling percussion and fathoms-deep bassline intact. Limited copies - highly recommended.
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The KMS remix is quite excellent.
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Suum Cuique - Midden
--- Quote from: Boomkat ---*Immense, dark and unbelievably heavy analogue productions somewhere between Eleh, Pan Sonic and Eliane Radigue on this limited edition vinyl pressing. It doesn't really matter when this music was made or by whom, all you need to know is that only 400 copies have been made for the world, housed in a suitably anonymous white-on-white embossed sleeve* Suum Cuique (pronouned Soom Kwi-Kwe, Latin for "To Each His Own") follows the remit of Young Americans to explore uncharted, experimental, and personal synthscapes, guided by the hand of intuition with an entirely analogue array of machines. There's a confidence and ability to these productions which elevates them above the masses of lo-fi synth meanderings currently murmuring in the underground, occupying the tantalising space between Eliane Radigue and James Ferraro, or Thomas Köner and Daphne Oram, creating a dialogue between their shared and opposing aesthetics to give an emotional response with deeply chilling and engrossing results. In 'Lithic Reduction' concrète textures grind like a millstone to release powdery clouds of analog dust, settling only to be dispersed by gusts of blackened distortion, whereas 'Red Binary' is distinctly electronic, revolving around muted radar bleeps like the resonance from SAW II soundtracking a speckly pill experience that's starting to go west. The album's centrepiece, the aptly titled 'Entropy' nods to the sublimely stoic work of Eleh, radiating microtonal bass shifts while a bitter northerly wind builds in intensity. Brilliantly out of place, 'Cyclic Redundancy' opens the flipside with a majestically submerged slab of completely obliterated and submerged 4/4, like an unholy collusion between Mika Vainio, Sandwell and Bernard Parmegiani soundtracking a trade union rave in the 1950's, before 'Even In Death...' conjures imagery of a eulogy given by a Mongolian throat singer with crows circling overhead. Strictly limited copies, catch it while you can.
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Jam City - Ecstacy Refix
--- Quote from: Boomkat ---The Night Slugs juggernaut continues apace, with another limited white-label pressing and the long-awaited vinyl debut of hugely tipped London producer Jam City. To many he first came into view when Fact magazine hailed him as the most exciting prospect for bass music in years, and after devouring his by now classic mixes for Lower End Spasm and Fact itself we really couldn't possibly argue - despite the fact that he's had no releases of his own to speak of until now. So all of this is just to say that there are people clamouring for this twelve, and a few minutes in the company of the opening track will bend you into submission if you had any resistance left in you, 'Ecstacy Refix' is just one of those anthemic wonders that defies easy categorisation, employing distinctive Grime signatures but with an almost euphoric color palette that takes in rave stabs and distant percussive hits, proper hands-in-the-air styles for peaktime summer jams. Over on the flipside "Let me Bang Refix" does a similar thing with a different trajectory, borrowing bouncy booty bass structures and reducing them to a gooey mess of layered strings and fluoro synths, while Shut The Lights Off (Devil Refix) gives off an Eski vibe but with the urban angst replaced with a late-night-drive scene that's just owning it for us right now. Crazy times - this is just too good.
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I initially fucked up by ripping at 33 RPM (as I often do) but I've kept those copies and added them as a "bonus". The screwed versions of "Ecstacy (Refix)" and "Let Me Bang (Refix)" are just as good as the originals.
I'm trying to figure out if the sound is off on the 45 RPM version of the title track. If somebody could get me feedback on that, I'd appreciate it.
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Plus a super-limited cassette rip of Keith Fullerton Whitman's procedurally generated synthwork. Pretty awesome stuff.
Keith Fullerton Whitman - Generator
--- Quote from: Boomkat ---Following his incredible 7" transmission 'For Oud & Synthesizer', Keith Fullerton Whitman presents a set of mindblowing compositions recorded late 2009 for Root Strata. Frustrated by the restrictions of performing computer music in public settings and keen to involve a larger element of risk into his music, Keith follows his obsession with "the tenets of Process music & Systems music" to investigate "the unpredictable entropies & slight signal degradation inherent to Analog instrument design", resulting in a set of infinitely morphing and self-modulating sequences subtly guided by a hand and mind that perceives the possibilities of music like very few others we can think of. For the tech-heads this involves sending three voltage streams from two LFO's to different modules... and that's where we'll stop, because it's all noted in the lovely heavy card sleeve anyway! He's basically creating every sound you hear in-the-moment, on-the-jog, weaving sine waves into florid patterns which can range from alien acidic permutations like the frankly incredible 23-minute 'Generator 2', to lushly psychotropic sequences such as 'Generator 1', both of which were left untouched meaning you're simply listening to the modular synths organising themselves into stunningly "musical" arrangements. We can hear the merest hint of human involvement in the audible patching and slightly mismatched levels, but to be totally honest we wouldn't have noticed this if KFW didn't point it out. The tracks just seem to have a hugely varied, constantly mutating life of their own, expanding with the vivid pattern arrangements of a DMT trip to immerse us head to toe in tactile waves of pure electronic pulse, panned, pitched and pushed into timelessly chaotic yet controlled motifs. In a way, this tape puts swathes of kosmische imitators and synth obsessives to shame, being both eminently listenable, and completely original. A late night listening session with this has just left us gobsmacked and it's a crying shame that there's only 200 copies for the world because far more people need to hear it. So good.
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gospel:
Considering this is openly linked on this guy's blog, I figure it's open to the public:
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JD:
Punch - Push Pull[2010]
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Ze Myspace
rednightmare:
Time to share again. Aaron English's new album will be out soon so now is a good time to share his back catalog. His music is a throwback to the world music sound of musicians like Sting and Peter Gabriel. The first album is more folk oriented and the second one is a more straightforward rock approach and also has an interesting cover of Message in a Bottle.
Aaron English - All The Waters of This World
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Aaron English - The Marriage of the Sun and Moon
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