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The M/F Thread 2009: The Quickening

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Metope:
Loney, Dear - Loney, Noir




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--- Quote from: AMG ---Invigorating as a blast of Scandinavian air, Loney, Dear (otherwise known as Emil Svanängen) makes his Sub Pop debut with Loney, Noir. This is power pop mellowed by chamber pop sensibilities, but Svanängen shouldn't be confused with other indie multi-instrumentalists. In opposition to the typical "more is more" attitude of American indie acts like Sufjan Stevens (the artist to whom Svanängen will probably be likened, for better or worse), the throaty flutes and clarinets, optimistic handclaps, and tambourines embroider these songs rather than dominate them. As with other like-minded Swedes (Timo Raisanen, Jens Lekman, and Hello Saferide, just to name a few), Svanängen is a hook-builder, and his sophomore effort is built on breezy, straightforward pop rather than Stevens-esque orchestral noodling. Svanängen, like Raisanen, is blessed with an unbelievably high falsetto, especially apparent on "Saturday Waits." He also possesses a peculiar, rasping voice (when he isn't singing falsetto) and an apparent love of Brian Wilson, as demonstrated by the tight, soaring harmonies. The best moments on Loney, Noir are glowing, rushing, and immediately infectious. The album's first single, "I Am John," encapsulates this with its ebullient drums and breathless, surging vocals. It's the kind of song that becomes the soundtrack for an entire summer. Loney, Noir is an adolescent album, not because Svanängen hasn't yet reached his full potential as a songwriter, but because these songs are deeply interested in adolescent experience ("I'm a teenager, I'm anxious"). More than anything, Loney, Noir is almost ridiculously sweet, and this is by no means a bad thing.
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Loney, Dear - Dear John




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--- Quote from:  AMG ---Since his debut in 2007, Emil Svanängen (the man behind Loney, Dear) has managed to evade easy categorization. It's simply not enough to say that he sounds like Jens Lekman, seeing how the main draw of Svanängen's work has less to do with his lyrics and more to do with mood. He's more like pop-oriented multi-instrumentalists like Tobias Fröberg and Sufjan Stevens; Loney, Dear is a quirky, bittersweet master of atmosphere. Svanängen sophomore effort, 2009's Dear John, picks up where his first album left off; like Loney, Noir, Dear John is chock-full of luminous instrumental textures and heartfelt lyrics. That said, Dear John is clearly more adult than its predecessor; the production is sleeker, the arrangements are more studied. Thankfully, Dear John's maturity doesn't mean that it lacks the fun stuff that made Svanängen's first album shine. Dear John's upbeat moments, ranging from the chic synth flourishes of "Airport Surroundings" to the joyful whistling on "I Was Only Going Out," are simply a delight. Similar to Svanängen's debut, Dear John is strongest when it strikes a balance between mournfulness and optimism. The album only sags when Svanängen lets things get a mite too plodding and somber; "Harm/Slow," perhaps sentencing itself to sogginess by borrowing its tune from Tomaso Albinoni's "Adagio," is simply not the most engaging moment on the album. That said, this is the disc's only real stumble, and overall Svanängen seems to have learned a lesson or two about pacing since Loney, Noir. Dear John shows that Svanängen has really gotten his act together; it makes good on all the tremulous, tender, wistful promise of his debut.
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KvP:

Distance - Repercussions / Chestplate

--- Quote from: Allmusic ---On Greg Sanders' sophomore effort, the dubstep titan begins exploring the gritty borderlands between his normal territory and industrial music. It's a hugely promising fusion, and if the results are sometimes just a bit conceptually thin the music is still very enjoyable all the way through. The two genres blend most fruitfully on tracks like "Koncrete," with its grinding guitar pulses, and the sharp but cool "Skeleton Grin." "Loosen My Grip" is great for the first minute or two but doesn't develop enough new material to justify its length, and the same is true of "Mirror Tell" and the title track. However, "Sending Chills" employs a nifty flute loop that contrasts nicely with the track's overall dark, spare ambience.
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part 1

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part 2

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Luke Vibert - Chicago, Detroit, Redruth

--- Quote from: TinyMixTapes ---Luke Vibert began his rude-ass tinkering ways in hip-hop with a Beasties-like group in the late ’80s, before refocusing his efforts as a bedroom producer. In the early ’90s, the developing influences on his solo efforts quickly filled his artistic mug, spilling into multiple expressions of electronica. Consequently, Vibert began adopting pseudonyms to cope with all the variety. The first Wagon Christ album appeared in ’94 as an outlet for Vibert’s more ambient-based work, while his first drum & bass ego, Plug, popped up a couple years later. By ’99, he had begun collecting personalities like most of us collect STDs: "Kerrier District" handled his mutant disco house, "Amen Andrew" uses the Amen Break for all his drum ’n’ bass, "Spac Hand Luke" covered grime, and recently "Ace Of Clubs" became a pure acid outlet. Despite the multiple personalities, Vibert also released music under his own name, which dealt with more hip-hop- and acid-oriented flows. So, where does that leave his second eponymous album for Planet Mu?

Judging from the hodgepodge of styles and sounds within, Chicago, Detroit, Redruth seems to be a home for Vibert’s newer tracks that aren’t easily classifiable. With Ace Of Club’s debut taking care of his acid-hop itch earlier this year, it now appears that aimless variety is the order of the day, with Vibert’s incredibly bright, creative guiding light holding the center of attention. Drawing on all his various styles, “Comfycozy” blends some ambient organica with his Plug-style drum ‘n’ bass, while “Brain Rave,” “Radio Savalas,” and “Argument Fly” bring all the 303 acid you can handle. “Breakbeat Metal Music” channels deep house through speak-and-spell hell, with “God” pimping Enigma doing huge bass trip-hop madness and “Rotting Flesh Bags” covering straight-up space hip-hop territory. Acid sounds and Luke’s trademark warm, analog beats are the eye of the aural storm, where anything and everything else goes.

Now, I don’t believe Chicago, Detroit, Redruth is Vibert’s best work to date – that definitely falls to personal preference – but newbies have to start somewhere. Chicago, Detroit, Redruth is just as good a place as anywhere else, made more so by the unique electronic jumble it has to offer. Once you’re in, though, prepare to hunt down a lot of back catalog. There’s a lotta gold in them thar hills.
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Luke Vibert - Lover's Acid

--- Quote from: Pitchfork ---Lotta acid in 2005. Apparently the long elliptical orbit of music fashion has brought the squelchy buzz of the 303 back into view. It's just the tip of the iceberg, I'm sure, but in the last couple months I've sifted through all the AFX Analord releases, digested Uwe Schmidt's faux comp Acid Evolution 1988-2003, Soul Jazz's Chicago acid house disc, and this, Luke Vibert's collection of three acid-themed 12-inches put out by Planet Mu. Of the newly recorded material, this is the best of that lot.

I've never been a huge Vibert fan in any of his various guises (Plug, Wagon Christ, etc). His music has always seemed workmanlike and consistently listenable, but I was never able to tease out much in the way of personality. Lover's Acid, though, reveals Vibert as a producer with a keen sense of musical humor and an abiding interest in funkiness. "Funky Acid Stuff" from the "'95-'99" 12-inch is an excellent opener-- a James Brown bassline sample combined with big, splashy drums, which drives an wonderfully obnoxious acid line through the center of the thing. The breaks on "Acid2000" also draw rhythmic inspiration from hip-hop, with a simple piano progression serves as a delicious contrast to the busy electronics. On these tracks it's enjoyable to hear Vibert's instrumental hip-hop Ninja Tune aesthetic with the lead 303 way out front.

The pure machine tracks are slightly less interesting but still good. "Lover's Acid" is a spacey mid-tempo number that's basically just dinky analog drum programming behind a lead squiggle, and the late-90s track "Analord" has a vintage palette quite similar to the recent AFX project of the same name. Vibert's take on the sound is simpler and more pop, with regular hints of sing-songy new wave in the melody. "Come on Chaos", a rougher electro track out of a sci-fi film chase scene, loses some energy with clichŽd "C-c-c-c come on!" vocal samples. Two tracks, the Mo' Wax-style trip-hop "Prick Tat" and the faux-exotica "Gwithian", forego the acid theme entirely, and both come across as the same sort of solid but unexceptional material Vibert has been making for a long time.

All told Lover's Acid is a lot of fun despite a few dull patches. These dozen tracks recorded over the course of eight or nine years show little reference for any particular genre, and seem to grab from whatever's handy and might provide a laugh. Where the AFX Analord records followed the gurgle of the 303 straight into the guts of the machine to mediate on the physics of vintage electronics, Vibert uses the essential ridiculousness of the sound as a foundation on which to build effective party music.
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E. Spaceman:




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A guy from a Krautrock band decides to goof around with a guitar, a drum machine and some synth, invente modern electronic dance music. This album is from 1981 and it still sounds contemporary.

Nicky Thrice:
Dan Deacon - Bromst LEEEEEEAAAAAAAAAK
Pt. 1

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Pt. 2

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kaelling:
Joanna Newsom - The Milk-Eyed Mender





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--- Quote ---Classically trained harpist Joanna Newsom uses her appreciation of Appalachian folk and bluegrass for an oddly alluring set of indie rock melodies. Milk-Eyed Mender, which follows her homemade EP releases Walnut Whales and Yarn and Glue, is rich in harvest colors. Newsom's childlike voice brings an unstudied grace to an innocent setting of songs, and such quirkiness is hard to find among most guitar-driven indie acts. From the more whimsical moments of "Peach, Plum, Pear" and "Inflammatory Writ" to the dovelike ballad "This Side of the Blue," Newsom welcomes the listener to sink into its imagination. Delicate harp arrangements are nicely sprinkled among specks of pianos, organs, and a harpsichord, only adding to the fascination that is Milk-Eyed Mender. Some may find the album to be overly sweet in spots due to Newsom's girlish voice; however, the fairytale-like appeal of Milk-Eyed Mender is far too intriguing to dismiss. Newsom exists in several musical spheres, one being a member of the Pleased, while not forgetting how wonderful it is to live in a warm place that leaves you bright-eyed and hopeful for only what is good in life.

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From AMG

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