Another new weekly segment coming atcha! Music so seductive, so beautiful in its sexual majesty that you will have family members disowning you as a result of the things you do while listening to it. Geared towards music for the dance floor, Forgive Me Father! Fridays! is in favor of kicking on those boogie shoes and getting hot and heavy on a Friday night.
Strange Talk is an Indie music outfit from the beautiful Gold Coast, Australia. Like all Australians they are very happy to be living in Australia, and their music reflects the fact that Australia is really awesome. Cause their music is really awesome. They've released a four track, self titled EP (called Strange Talk, for those of you who don't know what self-titled means) and you guys should all go check it out. Its hip, its different, and its fun. What more could you want for a beautiful spring afternoon, hand in hand with your love...praying for that first kiss.
Hey there folks! Once again we're back with 142 BPM Mondays, highlighting the best and brightest in Dubstep. It doesn't get much fresher then this, so hold onto your nutsack's (literal or otherwise) and prepare to be the coolest kid in school.
Sundays are great days. You wake up at noon and spend the rest of the day nursing a hangover, doing homework, whatever it may be. It's a time that calls for quiet music and soft noises. Thats why we at MUT are creating a new segment focused on beautiful, sleep inducing songs to spend your Sunday daydreaming to.
Solid hard rock has gone missing.In part, I understand – there is an unfortunate stigma revolved around a lot of psyche and grunge rock these days (which I believe radio is to blame for), and with the rise of incredibly hyped dub and electronic fads of the past few years, it is easy to sweep more classic, melodious guitar drones and richer rock bass and drums under the rug.Sometimes, though, I do really worry that a lot of us have lost appreciation for – in the simplest of terms – good, hard rock.My current favorite is D.C. originated band Dead Meadow.
I’d classify this band as more of a bluesy, psychedelic breed, with some of the most beautiful distortions I’ve heard since my front row Sonic Youth experience.Their self-title debut album is dynamic, sassy as hell, and honestly feels like a blunt to the face (totally serious).Turn up Sleepy Silver Door in your headphones and close your eyes.I’m so addicted to the crazy cymbals and bass bubbles that make the hypnotizing guitars feel like they’re crawling down my spine.Indian Bones and Rocky Mountain High are lovely follow-ups, full of boiling energy and stunning, sweaty sex – picture a White Stripes/70’s Stooges lovechild.Dragonfly and Beyond the Fields We Know are a slower set, but some of the romantic songs of their kind.I won’t talk too much about Feathers, the bands fifth album, because it’s my least favorite (although still unbelievable as a whole) – much less hard and head-nod-able, but don’t get it twisted, kids – Heaven and Let It All Pass are tracks off this record that I could listen to until my ears bleed.
Old Growth is their newest album and an absolute joy.Beautifully written and excessively fun.Enjoy.
Liz Harris, alias Grouper. The Portland based singer-songwriter has been around for awhile. 2008's "Dragging a Dead Dear Up a Hill", the most recent Grouper album, was beautiful and sleep inducing, haunting and tiring at the same time. Harris's music can be characterized by song titles the likes of "We've All Gone to Sleep" and "Heavy Water /I'd Rather Be Sleeping". Its soft and slow, frequently bordering on ambient. Yet there's something beautiful and accessible to Groupers music that most ambient lacks. It feels like its coming from the bed of an ocean or the deepest recesses of your bed, its enchanting and inviting, it makes you feel safe and unnerved at the same time, as it can be quite creepy.
The latest Grouper output is the distant "AIA: Alien Observer", which has Harris going back to her roots pre "Dragging a Dead...". Her voice is more layered and obscured by various sounds. Where her previous LP took away a lot of the fuzz that shrouds Grouper tracks, "Alien Observer", brings it back, though admittingly to a more sparing degree then some older albums. Highlights of the album are the title track, unusually short for a Grouper track at less then four minutes, it has Harris floating above the song, rather then controlling it. Her voice adds to the haunting atmosphere and indeed serves largely as a setting rather then a director of the music.
What makes Harris's story tragic is the fact that she will never come to obvious prominence in the music community. While her albums have attracted attention and a good set of followers (myself included), her music is slow and requires an attention span far surpassing that of the average music listener (ya I'm a snob, so what?).
Buy Groupers music, support those artists that test the patience of listeners. Or I'll get you. Or something, whatever.
These days, we’re all looking forward to a happy spring pick-me-up, aren’t we?I would argue that the darker days of Sigh No More, the King of Limbs, and Teen Dream, while all hypnotic and some of my own recent favorites, should be left in the slushy, grey days of winter.I’ve gotten sick of walking around to my favorite Bon Iver’s (new EP in June, brace yo’selves), I’ve become bored of No Age and Local Natives and all these bands that fit my winter fancy.I’ve even grown bored of those filthy dubstep groans we all hold so close to our tired little teenage hearts.This is why, in the first warm, perfectly breezed, pollen-filled days of spring, I feel the desperate need to spread the word about one of my new favorites, not only appropriate for spring, but hopefully for the duration of my last few months before heading off to college – no, not Helplessness Blues ("Sunlight over me no matter what I do!") – Saratoga Springs based band Phantogram.
I have a love/hate relationship with pretty much all chick singers.I left the Beach House concert early this year because, frankly, I don’t care too much for Victoria Legrand’s ‘earthiness’ (feel free to judge me).Florence Welch’s singing, after frequent listening, has become less pleasant and more whale-like.Grace Potter’s sex-filled rasp get’s old. I will even admit, after years of denial, that Regine Chassange (when left alone) leaves much to be desired (…come on, you know it’s true).However, upon first shuffling through Phantogram’s debut album Eyelid Movements, I found myself with quite literally no complaints.Not to mention the duo has previously opened for Metric and Yeasayer.What more could trendy little hipster scums want?
Sarah Barthel is ballsy, specifically for a young, sexy female who (I’m sure) had every opportunity to slut away her talents on some sub-par pop album off some big, fancy label.Her voice, often times in company with guitarist Josh Carter, is subtle, but arguably as sassy and powerful as current chart-topper Adele.Her voice on Eyelid Movements is dynamic on each track – mysteriously muted while equally strident, easy on the ears while curiously impossible to replicate (my shower head can vouch for me).My favorite track off this album is Mouthful of Diamonds, which features some of the sparkliest guitars I have ever heard.Yes, sparkly. You’ll have to hear it to believe it (see below).“Wake up, you’re getting high on your own supply”Next, I’d recommend When I’m Small, another favorite.This track is equally as psych-poppy and catchy, but arguably darker and beautifully eery.“I’d rather die than to be with you”Turn it Off and Running From The Cops are also big hitters in my book.
There’s something about this part of the year that begs for unfortunately catchy pop singles, troubled MC’s and love songs.What Phantogram so artfully supplies is a fresh sound that echoes gorgeously articulated ruminations on unrequited love, royally fucking up, caustic criticisms of close friends, and big fat “FUCK YOU” ‘s to unsuspecting individuals.There’s nothing like a good pop album that sends shivers down your spine and pumps out solid modern funk at the same time.I don’t know about you, but this is what I’ll be clumsily dancing to for the next few weeks or so.
Props to Daryl for letting me in on this hip endeavor.I feel fucking special. TBX out.
Every now and then I come across something truly special. There are lots of great albums with hype built up for months before the release. They come pre-packedged with billboards, Rolling Stone articles, and David Letterman performances. Much rarer are those left field hits that take you by surprise in a genuine way free of staged publicity and sex scandals.
The new mixtape "House of Balloons" from Canadian group the Weeknd is a great example of something occupying a sonic territory so specific and haunting that its hard not to pay attention. Originally anonymous, the Weeknd is the project of Toronto based R&B singer Abel Tesfaye and several producers from around the area. Its music for night owls. Sexy, scary, and sad, the Weeknd occupies a sonic territory thats characterized by drugs and loneliness. They don't live in the ideal world but there's something romantically alluring about it. The only comparison in terms of sex appeal and sadness I can conjure is the xx's self titled debut in 2009.
"Codeine cups paint a picture so vivid Fakes try to mimic get girls timid But behind closed doors they get oh so rigid"
These lines appear on one of the albums high points, the sad, pseudo-triumphant "The Morning". The world of girls, drugs, and forgotten nights seems to be taking their tole on The Weeknd, who never seem satisfied or happy with where they're at.
This review is to short to really merit a rating, its enough to say that "House of Ballons" is a gem, always sexy and inviting, yet never content.
10 followers! I feel like the prettiest girl at the dance.
I know this completely contradicts my last segment, but I'm a sucker for some heavy tunes without the explanation. Here are some nice bangers for your ear cavity's.
We Don't Eat (Adventure Club Remix) - James Vincent McMorrow
I haven't written to much this last week. Part of that has been due to sheer busyness (a ton of preparations for summer, going home after six months of treatment, etc) but the bulk of it is that I just didn't know what to write about. Its been a struggle to think of creative fodder for the blog while also distancing it from the "post a song, write a sentence", blog stereotype.
Which is why I've decided to have a little conversation (mostly with myself, I only have nine followers after all) about the nature of blogging and why it can be such a polarizing force in music (Odd Future's Tyler the Creator pulls no punches in repeatedly insulting the blogosphere) while also serving as an influential force (the same group of guys Tyler rags on are the chief reason he's as well known as he is today).
Blogging is an inherently narcissistic endeavor. To start a blog one needs to be confident in the content of the blog as well as their ability as a writer. You also have the impression that people might be interested in what you have to say. Blogging is not for the self-conscious, the internet is a cesspool of ridicule and if you listen to every negative thing hurled your way it will cripple you. While I'm focusing on music blogs, this is true across the board, whether you have a Wordpress, Blogspot, or god forbid, your own website. The idea of people listening to what you have to say and liking the things you tell them they should like is an appealing idea, not so much as a power grab but as a general community service/ pat on the back.
The problem with most blogs is the lack of substance. I'm active on The Hype Machine (hypem.com), a website devoted to compiling music from a library of blogs. Its a great resource for getting new music and observing what the community is favoring as a whole. The blogs themselves aren't great. An average post consists of a few sentences describing the artist, maybe a clever one liner somewhere, then a few tracks. Its boring an un-inventive. It speaks of a community of bloggers who value the self fulfillment of a large audience and a heavy stream of posts above substance.
This is because the job of blogs isn't to be well spoken or interesting. Its the passing on of music to the masses, and the promotion of various up and coming groups. There aren't many good articles on Odd Future in blogs but their music can be found in just about every single one. At this point in time blogs best use is providing hits for songs, albums, artists, etc. Its not a trajectory I see changing anytime soon and the common consensus seems to be that if you want to be an art @#!*% and write, go get a job from Pitchfork. Blogs are meant to be quick and dirty blips of music, no more and no less.
What I'd like to see is a blogosphere dominated by substance over output. It offers those who see blogs as musical bibles an opportunity to really become knowledgeable on the music their listening to, and thats a powerful sentiment. I'm not arguing for an army of pretentious music snobs, the "her musics a bit obtuse, frankly" type. A musically informed public renders more accountable artists and record labels. Would people shelling fifty plus bucks to go see Ke$ha if they knew the amount of production tricks that go into making her sound decent? They probably would, there are certain things you just can't change. Still, it would bring more awareness to what goes on in front and behind the scenes in making music, in marketing music, in consuming music.
Here's hoping for a new age is blogging. After all, where would music be without us, the lonely narcissists. Certainly a lot more Barry Manilow.
Here are some eclectic bangers for your listening pleasure. It just wouldn't feel right without them.
I'll Take Care of You (Jamie xx Remix) - Gil Scott Heron
The English. Something about them and their style of music guarantees a "British Invasion" every year. We had Rock in the 60's, Punk in the 70's, New Wave in the 80's, Brit-Pop in the 90's, and Dubstep in the last six years or so.
There's something infectious and uniquely British about Dubstep. Thats not to say the North American guys don't have their own sweet brand of it, I'm a big fan of Zed's Dead and 12th Planet. The general grimness that pervades all of the original South London Producers (Burial, King Midas Sound, Zomby, etc) comes from a grim London scenery populated by lots of low budget clubs, all of where these guys got their start.
Joker is one of these originals, the difference being that his music has been geared for dance-halls from day one. His synths are organic and deep, almost replicating bass in its depth of sound. His remix's are usually of fellow Englishmen, his remix's of Simian Mobile Disco's "Cruel Intentions" and Professor Greens "Just Be Good to Green" are both definitive versions of the artists songs.
Here are some sweet Joker tracks. I'm just to tired to write anymore, treatments really taking its tole on me.
Just Be Good to Green (Joker Remix) - Professor Green
Its that time of the week again! Lots of fun Dubstep tracks, old and new, to titillate your ears and massage your soul.
There's this new expression going around called "womping". Its related to dubstep and is meant to imply partying, dancing, going crazy to it. I really hate this expression. All this is is new terminology being used by crossover Dub fans, those who picked it up a few months ago and can't wait to find a new way to bring it into the mainstream. Jerking crossovers, scene kids, all these groups can gravitate towards the new hip form of music that Dubstep has become. I'm a bit of a purist and certainly a snob, so I can't abide this kind of bullshit.
Happy listening, friends. Remember, don't ever use the words womping or womp! I will find you and gut you and yes that is a written threat.
Ah, Cold Cave. What a depressing looking bunch! Not since the eighty's has the independent music scene seen such a somber set of individuals.
Not surprisingly, Cold Cave owe's much of their sound to their 80's new wave spiritual brethren. Their latest album, ironically named "Cherish the Light Years", brings to mind bands like the Cure, Joy Division and the Smiths, not just in terms of sound but also in terms of lyrics. "I feel guilty being alive, when so many beautiful people have died," front-man Wesley Eisold croons on "Confetti", arguably the best song on the album. Doomed romance, bleak despair, all of these things are recurring issues for Eisold, who can't seem to get a grip on where he's going, or who hes looking for. "I don't think we're meant for this world", the opening track "The Great Pan is Dead" laments. The theme of isolation is the most prevalent throughout the album, as it was for Cold Cave's influences.
As for the music itself, it veers slightly more towards the newer electro pop side then bands like Joy Division would have been comfortable with. The sound is melancholy, the synths jumpy and the guitar low pitched and quick. So how do they shake the obvious Joy Division comparison? Simply a more modern sounding group, just as depressing but not quick as grounded in post-punk. Cold Cave is immediately catchy, a lot of Joy Division isn't. In "Cherish the Light Years", Eisold hits a little quicker, comes at the listener more directly then Ian Curtis did.
The album isn't without blunders. "Alchemy and You" is to blunt and to loud for the sound Cold Cave is going for. Indeed, the entire album is mastered very strangely. It's far louder then it should be, and while the music itself is intimate and begging for companionship, the volume of the record can repel the gentle, lonely listener. These mistakes can be forgiven, as "Cherish the Light Years", is a very good album, full of the pain and angst that drives so many adolescents to go to liberal arts colleges and only calling their parents once a month to ask for money.
Brothers Skepta and JME, two frequent Dubstep/Grime collaborators.
This is a somewhat obviously titled post, everyone knows how closely Grime and Dubstep resemble each other, the later spawning in part from the former. Both are aggressive, bass driven genres of music and both are distinctly English. I love the Englishman flow and it fits well with the intense, in your face vibe most Dubstep generates. The nature of the pairing is relatively unknown to American audiences, who embrace the meshing of the two genres but don't seem to understand the close proximity of the two, both musical and physical (both genre's come out of East London).
I nearly wet myself when I saw this. Burial, the reclusive English producer has just released a three track EP titled "Street Halo" and like all of Burial's releases it sprung out of nowhere, no hype, nothing. Burials ghostly dubstep sends chills through me every time I listen to it.
Here are all three tracks from the EP. I'd review it, but I need a little time to dry my eyes.
Everybody loves James Blake, myself included. Something about a classic English singer-songwriter turned Post-Dubstep figurehead is just irresistible. Also, a guy who call do Joni Mitchell covers and Lil Wayne reworks is not only talented but has a solid sense of the ridiculous, and you know I love that.
What really defines Blake (which also is what makes him a rare talent) is his musical intelligence, his gift for meshing seemingly un-meshable sounds and textures to make songs that not only brim with "heart on your sleeve singer-songwriter" emotions, but a rare combination of that and incredibly complex, brilliant musicianship. This isn't an album review so I won't go into to much description of Blake's self titled debut. I'll just say that it brim's with a talent for songwriting, all of it, that is increasingly rare in a musical era dominated by singles and outside producers.
It was only a matter of time until singing and Dubstep were incorporated by somebody. One could argue its already been done with guys like Darkstar, but not in the way Blake does it. To call Blake's music Dubstep would be underselling it, like so many great artists he defies classification. The consensus of Blake from the music community is overwhelming excitement, and its easy to see why. He represents a bright future for pop music, electronic music, music in general. I know I'm on the bandwagon.
Childish Gambino is the alias of one Donald Glover, a Georgia born NYU graduate with a degree in Dramatic Writing. Doesn't sound like the average start of a rap career does it? To make things even more unlikely, Glover originally came to prominence as a member of the sketch team Derrick Comedy, famous for videos like "Bro Rape" and "Memory Loss" (a skit in which Glover, suffering from amnesia, repeatedly blows his male friend). So he doesn't come with a huge amount of street cred. But in a world where Drake, the half white, half Jewish, Canadian Teen Soap star can make it big, I'd like to believe anything is possible.
What makes it even better is that Glover is good. In fact hes damn good. Childish Gambino explores an area covered by guys like Atmosphere, one plagued by troubled romances, suicidal thoughts, and drug and alcohol abuse. Self esteem issues are the new "Fuck the Police", so I predict a pretty solid future for Childish Gambino, who's only begun to come into his own.
THIS IS THE 21st CENTURY FOLKS. There are no more rules of legitimacy and I suggest you embrace it. Things are way cooler without a bunch of OG's lurking behind a corner waiting to blow the "sellout", "poser", etc, whistle.
Here are some sweet Gambino tracks, fo free (I usually charge $10 a track, I know, I'm benevolent).
A new weekly post focusuing on Dubstep tracks! Some old, some new, some borrowed, some blue... If you don't like these you have no taste, stop reading this immediatly.
By the way, hope everyone enjoys the new layout redux, I'm no good with HTML but I think its pretty swell.
No explanation needed, just listen, love, download, send me money.
As part of my segment on woman in dubstep, this serves a mini-review of a sweet female EP.
Kito is a producer from Perth, Australia. Unlike the two woman covered in yesterdays article, Kito gears her music largely towards the dancefloor, with upbeat tempos and lovely female vocals a regular. Sweet Talk, her new EP featuring fellow Aussie, vocalist Reija Lee, is no exception. The EP's centerfold is definitely the huge "Sweet Talk", a club banger with Joker like synths and a rumbling bass. Its catchy, its simple, and its a fantastic tune. The rest of the album feels even more house influenced, to the point where the line between it and Dubstep are blurred. Its more synths and less bass then the title track, but it still manages to maintain a positive, funky feel throughout.
Sweet Talk serves as a great reminder that female produced music really does offer something different. The basic beat, the bass, is all typical dubstep fodder, but the lyrics, the entire vibe of the album is decidedly female.
7.5 out of 10 Unicorn Horns.
Here are a few Kido tracks, one original and one remix, both intensely awesome.
Dubstep is a male dominated genre, no way around it. The guttural bass, the juttering synths, theres something undeniably masculine about the entire genre, and thats without taking into account lyrics. With songs like Borgore's "Act Like a Hoe" ("Act like a hoe, but first do the dishes!"), Rusko's "Cockney Thug", and most of Skream's first self titled LP even the subject matter (if there is any) finds itself in a very masculine, aggressive realm.
Given all these things its not overly surprising that their are so few female Dubstep artists getting any sort of publicity. In some ways it feels the stereotypical "female" elements of electronic music, catch based melody, upbeat tempo, etc are missing in the genre.
Ikonika
Introducing two of Dubsteps finest (and only) producers, Vaccine and Ikonika. Vaccine is the moniker of Christine Clemens, a Los Angeles native. Ikonika is the moniker of Sara Abdel-Hamid, a native of the UK. Both are making impressions in a male dominated scene, and both have very different styles.
Vaccine's music draws a lot of comparisons to the "cleaner", more melody driven faction of Dubstep that includes artists like Clubroot, Eleven Tigers, and Burial. Her breakbeat's aren't drowned out by bass and her tracks are characterized by ghostlike synths, giving them a haunting, organic feel. Its certainly not as rave ready as some of her genre counterparts, but Vaccine's music is earthy and emotional, evoking a lot of sounds and feelings forgotten by the bro-steppers of the world.
Ikonika has been a big name for awhile. She's signed to Dubsteps most famous label, Hyperdub, and her sound displays a lot of similar traits to that of fellow Hyperdub artists Kode9, Zomby, and Joker. What I mean by this is its old school, 120 bpm, slow, dark, almost evil in its sound. In fact Ikonika's sound could be confused for quite a number of UK producers.
Both woman aren't particularly dance floor oriented. There music should be listened to in the dark, on a late night drive, etc. Its beautiful, dark, and has a distinct style of its own.
Woman are making there way out of the woodworks and into the public conscious. Rock, Punk, there are tons of genre's that started out as purely male. Its only a matter of time until it gets infiltrated by some rad females.
