The electronics on this are vaguely stock, but god dammit, when the lead vocal sample hits… stop toying with my emotions. The new Hard Mix album Defaults will be out March 1st on Dovecote. They are giving it away for free. IDIOTS.
“You Know Your Youth”
Earlier this month, we posted “Tep and the Logic,” a bonus track from James Blake’s self-titled album (TMT Review). And now, thanks to Some Kind of Awesome, we have another bonus track, “You Know Your Youth.” Itching for more? Download his cover of Joni Mitchell’s “A Case of You” at Stereogum.
• James Blake: http://www.myspace.com/jamesblakeproduction
PS I Love You (Feat. Diamond Rings)
In a world full of chillwave, witchhouse, and crabcore, sometimes all I want to hear is a straight-up, good ol’ indie rock song. Well, luckily, PS I Love You has made one for me! With a little help in the vocal department from John O’Regan of Diamond Rings, the Canadian duo have put together a persistent rocker that I just can’t get enough of right now. It walks a fine line with the MOR “major-label indie rock” we hear so much of these days (if they toned it down a hair, it could be a Snow Patrol song), but no worries; they’ve got it under control.
The “Leftovers” single (with two b-sides) will be available digitally from Paper Bag Records on February 22nd, and you can buy a physical copy starting March 28th. Oh, and also, both PS I Love You and Diamond Rings are touring together in a few days, so go see ‘em!
“Do Whatever You Want All The Time” album teaser
We love Ponytail. From now on, every time they’re mentioned, you will be forced to remember that we put them at FUCKING 29 on our decade favorites list. But that was last year. Now we have nearly three minutes of new music from their upcoming album, Do Whatever You Want All The Time, in the form of an “album teaser.” This video is already my favorite album in life. (via Altered Zones and Get Off The Coast)
I love this line from David Morris’ review of Dylan Ettinger’s New Age Outlaws:
Like so much of the new psych, New Age Outlaws is less about imagining than about remembering what it was like to imagine.
It’s true; in the past year or so a lot of time has been spent on memory – personal, collective, societal, distorted, old, new, fabricated memories, displayed abstractly through hazily appropriated retro sound and visual art. The question still remains: will this peering backwards through a skewed looking glass create an unrecognizable future? Or will we just re-frame the past as our present until the difference, musically, between them has lost its meaning?