Body [album stream]
Much like this geezer, Darling Farah’s debut is likely to be described as “one for the headz(zzzzzzzz).” Pffff whatever, it’s just great music. Just listen to the third track, “Fortune.” The use of reverb (I cant quite tell whether its a convolution or algorithmic module) and clever automation gives a bewildering sense of space. And it’s so well compressed; I’d love to know what type of VST he uses, as well as his attack times, ratio settings, and send levels. And the synth modulation is something else. I must know whether its granular, subtractive, or additive. And I wonder what DAW he uses, sounds like an Ableton 8.1 to me. Just darn great music.
“Vh1 Drunk” [preview]
Just saying, [Miami] Angels USA [in America] is the modern embodiment of rock ‘n’ roll. Not saying they’re the only, but they get theirs. Maybe they’re Americans self-cast into Germany/Euro-zones. Maybe their Twitter page is a constant reminder of how they live a life you don’t. And now the Eye-talons got ‘em at Hundebiss Records way hard. I’m hoping the VH1 Drunk cassette is pure misery. If there’s one thing I like in art, it’s world-building. [Miami] Angels USA [in America] is great about establishing grounds for their world and then completely stripping it to splinters. SPLINTERS!
You want pop music? Okay. But here is some straight crust. Also, looks like Hundebiss Records got a few other goodies not usually found by the human eye. Scope out the site and the new cassette. You’ll wet yourself with something and then let it dry. #tears #urine #buttgew #dickgew #vaggew #snot
There’s a certain degree of guesswork involved with every new track from Dean Blunt and Inga Copeland (known live, nowadays, as Hype Williams). Last time around, I made up some bullshit narrative about their “Stalker” videos, but this time I’ve actually done my homework! What we know for sure is that the track in question, “Flaxen,” comes from The Narcissist III, presumably a forthcoming follow-up to Blunt’s brilliant The Narcissist II solo mixtape released earlier this year. We also know that it’s indeed Blunt on harp, as he played the instrument for nearly five years at the Jacobs School of Music of Indiana University. And on the vocals? Yep, it’s Inga Copeland, who studied voice at the Conservatoire de Paris. Because of these facts, we also know that we can safely call this High Art.
Get cultured here:
“See the World Given to a One Love Entity (Part 1)”
Guardian Alien’s leader is Greg Fox, who has lent his percussive force to the likes of Teeth Mountain, Dan Deacon, and Liturgy. As diverse as those respective musical camps may be, there’s one common denominator: blast beats. Their Thrill Jockey debut, See the World Given to a One Love Entity, is described as a “forty-minute musical meditation,” in which pummeling percussion and ragga riffs transport the listener into a drone-y paradise. The sound is undeniably heavy, but some meandering Kraut tempos lend this almost ceremonial jam a strangely laidback feel — like Sunday Service at the church of Can.
Oneohtrix Point Never
“Meet Your Creator”
Who’s up for some FLYING ROBOTS?? On June 21, the Saatchi & Saatchi New Directors’ Showcase was held once again at the Cannes Lions International Festival of Creativity in Paris, and this year’s installment saw “a troupe of 16 quadrotors (flying robots) dance to and manipulate sound and light.” The concept for the showcase was created by Jonathan Santana & Xander Smith, directed by Marshmallow Laser Feast, and designed/developed by KMel Robotics, but the coolest part? The whole shebang featured sound design by Oneohtrix… Point… Never!! [record scratch] AHHH!!!
Lopatin himself (swoon!) posted the music he made via SoundCloud, which you can listen to right here:
And check out the flying robots in action right here:
• Oneohtrix Point Never: http://pointnever.com
• Saatchi & Saatchi: http://www.saatchi.com/new_directors_showcase
• Marshmallow Laser Feast: http://www.marshmallowlaserfeast.com
• KMel Robotics: http://kmelrobotics.com
• Cannes Lions: http://www.canneslions.com
Breaking Up With Music [album stream]
Mashups. You guys like ‘em? I can’t decide. I thought I hated them, but I happen to really enjoy the work of Brooklyn’s Jon Shina, a guy who makes music “for the love of it, and not for anything else.” Admirable. He’s got a few releases on his Bandcamp (all of which are free for download, by the way), and for some reason I end up really grooving with them. Most of this has to do with the fact that it seems like we have similar tastes in music, or at least the tastes we had when we were both five or ten years younger. Maybe the title of the album, Breaking Up With Music, is interesting in this way: is this our last real hurrah with the music that appears in these mixes? Is it finally time to start moving on? Or have we already moved on? These are questions that Shina is proposing to me here by sending in this little record — heartbreakingly sad questions I’m not sure I’m ready to deal with. But here we are. And, of course, it’s probably not even as personal as I’m describing. I wonder if a lot of you might feel the same way after listening.
So these tracks combine music from the likes of Radiohead, The Books, The Microphones, The Rolling Stones, MF DOOM, Jaques Dutronc, Dr. Octagon, and others. Sometimes the samples are cut and warped just enough to be slightly out of neuron-recognition reach but still at the very least familiar. I know I’ve heard that piano refrain in “For Josh,” but from where? Of course, trying to figure things like this out is half the fun of making your way through Breaking Up With Music. I don’t really want to spend too much time defending why Breaking up with Music is great. It’s just great. Nostalgia and stuff. Whatever. This just feels good. It makes me miss the music that I already forgot that I missed.
• John Shina: http://jonshina.bandcamp.com