The Knife manage a few scattered dates around North America, shaking their habitual disgust for being around other people

The Knife manage a few scattered dates around North America, shaking their habitual disgust for being around other people

You guys! Serious Art is fucking HARD.

How hard?

This hard:

04.11.14 - Indio, CA - Coachella Music Festival
04.15.14 - Oakland, CA - Fox Theater
04.18.14 - Indio, CA - Coachella Music Festival
04.21.14 - Denver, CO - Fillmore
04.23.14 - Chicago, IL - Aragon
04.25.14 - Toronto, ON - Kool Haus
04.26.14 - Montreal, QC - Metropolis
04.28.14 - Boston, MA - House of Blues
04.30.14 - New York City, NY - Terminal 5

• The Knife:
• Mute:

[Photo: Ian Pearce]

Hobo Cubes to capture and encase your MIND, readies Apex Ideals LP on Debacle Records

Fabulous scientific breakthroughs are a regular feature of today’s technologically advanced (relative to the past) and advancing society, but in between all of the worthwhile, seemingly altruistic research being done, were you aware of our fully-fleshed capabilities as revivers of historical figures? I don’t mean in a zombie sense — because what would be the benefit of personally chastising Ronald Reagan if he was always trying to catch a gnaw? — but in the completely normal sense, albeit with slightly different motivations now that some time has passed. Francesco De Gallo… wait, they’re telling me that the 18th-century Spanish painter spelled his name slightly differently. Well. This guy’s cool too. C’mooon science.

Acknowledging the accuracy of referring to Apex Ideals as his debut LP, the Montreal-based De Gallo a.k.a. Hobo Cubes has certainly earned the “prolific” adjective over the past five years. At least a dozen cassettes and recorded collaborations, many of which were released through his own Hobo Cult label, have bolstered his musical persona as one of genuine complexity, borrows as he does from a variety of electronic sub-genres. De Gallo’s collaborations elsewhere have sometimes been more blatantly beat-oriented, but the music of Hobo Cubes tasks to envelop in a way that avoids the “ambient” label alone. It’s an abstract style that earned him a spot at Mutek last year, and one that is currently making me salivate. And I’m not even in the mood for salsa.

Apex Ideals comes out February 11. Here’s a neat excerpt reel:

Apex Ideals tracklisting:

01. Structures in Stasis
02. Fluidity
03. Subtle Sleep
04. Escape
05. Infatuation
06. Unit
07. Restless
08. Synchronicity
09. What Seemed to Be Nothing

• Hobo Cubes:
• Debacle:

Kraftwerk announce extensive tour, like some sort of touring man machine

Personal anecdote time. A few months back, I was meeting with Ralf Hütter, who you may know best as one of the founding members of pioneering electronic group Kraftwerk. Me, I know him from a mutual hobby that Ralf has insisted his involvement with stay private. Anyway, we had met in a cafe in Vienna to discuss, well, I really can’t say what we discussed. Halfway through the meal, though, Ralf’s face opened up, revealing a bed of circuits and wiring.

“Hey Ralf,” I ventured. “If you don’t mind me asking, are you some sort of robot?”

“Robot?” he responded. “Eric, that is crazy. You are being crazy. Are you saying that your face does not suddenly detach once-to-twice a day, revealing the circuitry that makes you the man you are? Of the two of us, I think it is you who is the strange one.”


I can’t prove it, but I am fairly sure the members of Kraftwerk are robots. At the very least, they’re some sort of man machine. Just look at these tour dates, as reported by Pitchfork. For men in their 60s, that’s quite a lot of touring. And some of these dates have both early and late shows? No man could perform so much music in one night. But a man machine, one built to perform the music we mere humans are not capable of recreating, could. Oh, how that man machine could play.

Kraftwerk dates:

01.21-23.14 - Stockholm, Sweden - Cirkus
03.13-15.14 - Mexico City, Mexico - El Plaza Condesa
03.18-21.14 - Los Angeles, CA - Walt Disney Concert Hall
03.23-25.14 - Oakland, CA - Fox Theater
03.27.14 - Chicago, IL -Riviera Theatre
03.29.14 - Toronto, ON - Sony Centre
03.30.14 - Montreal, QC - Metropolis
04.24-25.14 - Asheville, NC - Moogfest
05.18.14 - Vienna, Austria - Festwochen
07.10.14 - Tremčín, Slovakia - Pohoda Festival
07.18-20.14 - Salacgriva, Latvia - Positivus Festival
08.02.14 - Rattvik, Sweden - Dalhalla

• Kraftwerk:

Evian Christ announces new EP Waterfall and London launch party details, invites you to come to his house to watch the Winter Olympics in the meantime

Boy, the more I poke around on the internet, the more everyone keeps telling me that the work of Evian Christ (a.k.a. UK producer Joshua Leary) “eludes any sort of easy categorization.” And you know what? Who the hell am I to argue with pretty words like those? I’m just not even going to try to discover or explain shit to you about what he sounds like.

Instead I’m just going to say that the dude (who has apparently recently spent his time working on Kanye’s Yeezus, collaborating with conceptual artist Matthew Barney, and performing around town with peeps like Purity Ring, Actress, and Four Tet) has got a new EP coming out on March 17. It’s his first release since 2012’s Kings and Them mixtape (I know, I know; there’s probably some descriptions of the “sound” of that mixtape in that piece, but just ignore those); and it’s all coming at us via Tri Angle Records as a digital download and limited-edition vinyl. I’ll also tell you that he recorded some of it in his hometown of Ellesmere Port, UK and some of it out in New York, and that it was subsequently mixed by Noah Rubin (Pusha T, Wu-Tang Clan) and mastered by Heba Kedry (The Mars Volta, Liturgy, Fis); but THAT sure as heck doesn’t clear too much up, now does it?

Nope, to truly find out what this guy’s all about, you’ll just have to attend the celebratory “Trance Party” that he’ll be throwing at London’s Oval Space on March 21. Travis Scott, Millie & Andrea (Andy Stott and Miles Whittaker), Lil Silva, Sophie, Powell, and Mssingno will all be doing stuff there. You know some of them, maybe, right? Ooh, isn’t the suspense is just killing you!?

(Okay, fine; I suppose you could grab the first single, “Salt Carousel”, off of iTunes right now, or even just listen to it below and spoil the mystery now and forever. Me? I’m gonna keep this willful ignorance going for a while. It’s fun.)

Waterfall tracklisting:

01. Salt Carousel
02. Fuck Idol
03. Propeller
04. Waterfall

• Evian Christ:
• Tri Angle:

New streaming service Beats Music to launch next week, forever causing a fundamental change in the way music industry paradigm shifts are altered

Are you sitting down, readers? Because, well, it’s like this. You’re gonna want to remember where you were the moment when TMT’s own badass rogue renegade newsman extraordinaire delivered the news — after ever-so-slightly tweaking the content he ganked off of Hypebot — that Beats Music (a.k.a. the streaming music service founded by Interscope’s main man Jimmy Iovine and main money-men like Dr. Dre, Luke Wood, Trent Reznor, and Ian Rogers) will officially be having its non-terrestrial launch on January 21, 2014! Boom. Oh, shit… are you fainting???

…So yeah, welcome back! Good thing your co-worker had those smelling salts on him. Anyway, where was I? Oh yeah: according to a bunch of industry people that I’ve never met or even talked to firsthand, Beats Music will be launching “in a competitive sector as a premium service.” Basically, that means that there is no awesome “free” version like everyone else has, which I guess puts a rather strong emphasis on this thing being for serious pros like Diplo or whoever. Instead, they’ll offer a 30-day free trial, then start juicing $9.99 a month from you. Although there’s also some deals through AT&T where “Beats Music will be available to customers on a multiline account for $14.99 a month for up to five family members across 10 devices,” and for a limited time, “AT&T wireless customers who subscribe to the family offer of Beats Music get the first 90 days free starting January 24,” so that’s cool! Also, Target will reportedly give customers “30-day free trial cards with the purchase of select electronic items and Beats Music gift cards, and a 30-day free trial for all Target Red Card holders,” but who cares about Target, right? You’re an AT&T man, I can tell.

Anyway, let’s see, more details… it’ll be available on iOS, Android, and Windows, and it claims to pay out the same royalty rate to both major and indie labels and artists (unlike certain Spotify-ishly named companies who’s names I won’t mention). It also claims that it’ll “provide a platform for greater fan interaction” (thank gawd!) and include the following features, all of which promise to revolutionize the way music revolutions structure their revolts from here on out:

Just For You: “A personalized selection of albums and playlists delivered at least 4 times a day to each user. Selections are delivered based on users’ musical preferences, time of day, activity, and additional cultural and contextual clues.”
Right Now: “A continuous playlist compiled from users’ answers to four specific questions about their location, their activity, their surroundings, and their musical preference at that moment.”
Highlights: “Beats Music editorial staff-recommend playlists or albums compiled based on time of year, news, cultural milestones, and new releases worth noting.”
Find It: “An enhanced browsing function that lets users seek out playlists [and individual songs] by genre, activity or curator.”

But enough from me on this shit, right? You want to know what fucking TRENT REZNOR has to say about all this, don’t you? I know, I know. Here you go:

“Beats Music is based on the belief that all music has value and this concept was instilled in every step of its development. We want it to be just as meaningful for artists as it is for fans.”
  —Trent Reznor, Beats Music Chief Creative Officer

You heard the man. Sign up now, or you hate music and aren’t a true artist.

• Beats Music:

Shackleton announces three-track 12-inch Freezing Opening Thawing, a rhythmic tale of one man and his grocery store chicken breast

On a personal level, there’s an obligation to write about Shackleton (first name Sam), because few other contemporary artists have had the uncanny ability to literally propel the socks off my feet upon listening their music. Taking a cue from your average magician, I urge you to check my feet for strings and to examine the prints on the opposing wall for their forceful authenticity. How fortunate, that inability to maintain softening footwear, because Music for the Quiet Hour (TMT Review) + much of his output leaves one with a certain desire to embrace the ground beneath, unclothed, as one ritualistically traipses about. It’s been a fair while. How about some motivation to keep us moving?

Next week, on January 20, Freezing Opening Thawing strives to serve as intermediate satisfaction until his (presumed) next LP. Shackleton’s own Woe to the Septic Heart label, who’ll be sponsoring the transitionally-named 12-inch, describes it as “having an involved narrative, poly-rhythmic percussive elements and a psychedelic edge.” Achieving an identical meaning, you could simply say, “it’s a release from Shackleton.” Head over here to listen to a few samples, which I’m guessing don’t do the tracks themselves justice, ultimately. A digital version also awaits.

Freezing Opening Thawing tracklisting:

01. Freezing Opening Thawing
02. White Flower with Silvery Eye
03. Silver Keys

• Woe to the Septic Heart:



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