Los Angeles native Carl Madison Burgin a.k.a. electronic producer Sahy Uhns is set to drop his latest LP on November 4. Courtship Dances is the follow-up to Burgin’s 2011 debut, An Intolerant Disdain of Underlings. Both records bear the imprint of Proximal Records, the L.A.-based label that Burgin co-founded with composer/producer Jeff Elmassian.
Courtship Dances is broken into three parts — a Prologue and two Chapters, with each movement containing discrete tracks. “Tolerance Training (Part Two),” a track from the album’s Prologue, is our first taste of the whole affair, and exemplifies Sahy Uhns stylistically open and super-funky approach to electronic production. Stream below or download from XLR8R; pre-order from Proximal right here.
Courtship Dances tracklisting:
01. Prologue: Tolerance Training (Part One)
02. Prologue: Tolerance Training (Part Two) 05:33
03. Chapter One: Varvatos (Re-Design)
04. Chapter One: J’ed(ed) / Chyme
05. Chapter One: Lusik Karamanukyan
06. Chapter Two: Flooding
07. Chapter Two: Test Cut / Strange Guns
08. Chapter Two: Shading (Gray)
09. Chapter Two: Town
10. Chapter Two: When The Morning Stars Sang
clipping. member Jonathan Snipes scoring haunted maze documentary Haunters, inspired by the 16 years of life he spent living in a haunted maze
The music of Sub Pop-signed hip-hop act clipping. is noisy and abrasive, producing a grimy sort of discomfort. Some listeners wonder, hey clipping., what inspired such a frightening and powerful sound? Well, it’s simple: member Jonathan Snipes was born in a haunted maze and spent his first 16 years of life there. “I definitely lived in a haunted maze for a lot of my youth,” said Snipes1. With that in mind, who else better to score Haunters, an upcoming documentary about haunted mazes ranging from homemade to amusement park quality? It would have to be Snipes, due to his unique life experience. “Remember that I absolutely was born inside a maze that was haunted (with ghosts) and continued to live there for quite a few years,” said Snipes2 when pressed on the subject.
Snipes’ music can be heard in the film’ s trailer below, beginning at the 2:15 mark. “This music, that I have written, is for this film about haunted mazes, similar to the one that was pretty much my house,” mentioned Snipes3. If you’d like more information about the film and its director Jon Schnitzer, head to the movie’s Kickstarter page. If you would like to live in a haunted maze, wear clothes with subtle tones and become good at hiding.
1-3. Jonathan Snipes did not say any of this.
Love it or hate it, Spotify continues to assert its dominance over the music industry. In a recent bid to lure Americans who don’t live on the coasts, the streaming service partnered with Sprint for an offer that gave six months of free Spotify membership to anyone using the phone carrier. That equates to about $60, which is a cute little offer. Now, Spotify has gone one step closer to becoming like a phone or cable service by announcing family plans. Not framily plans, family plans.
Usually, when sharing a Spotify username, if your friend or younger brother starts playing a song on another computer, it’ll stop your song. Harsh. With the new family plan, access for two users will cost $14.99, three users will cost $19.99, four users $24.99, and five users $29.99. So why couldn’t they just be like Netflix and let a few people share the same account, without paying much extra? Right now, four screens streaming Netflix at the same time costs $11.99. If Netflix pulled these Spotify prices, there would be literal rioting in the streets. People would start looting DVDs, that’s how desperate it would get. Apparently, it costs Spotify a lot more money to license prerecorded music from Universal and Warner than it does for Netflix to produce beloved TV shows from scratch. Funny how that works.
At any rate, Spotify Family will be available worldwide over the next few weeks. Don’t just blame CEO Daniel Ek for this pricing, blame the major labels for extorting whatever they can out of the service.
• Spotify: https://www.spotify.com
Austin loves SXSW! Except when it hates SXSW! Austin has a complex relationship with its flagship music festival/industry conference. For Austin residents, it tends to be either the most magical time of year or the week that you pay for all your sins. Regardless, SXSW goes on and has just announced its initial 2015 lineup. You can view the full, already extensive list at SXSW’s site.
For those not interested in perusing a long list full of bands across the world of which you are unfamiliar, I’ll give you a rundown of some of the more notable names. This coming SXSW will feature the likes of Courtney Barnett, Pharmakon, Black Milk, Thee Oh Sees, Noveller, Bishop Nehru, The Church, The Dodos, Moon Duo, Lust For Youth, Twin Peaks, Natural Child, The Pop Group, Suicideyear, Jessie Ware, The Twilight Sad, and also that guy from Stone Temple Pilots. There, that’s that. SXSW Music will begin on my birthday, March 17, and end on March 22, which is not my birthday.
• SXSW: http://sxsw.com
Rising soul duo Silk Rhodes, a.k.a. singer Sasha Desree and producer Michael Collins, have quite the backstory. Originally from Baltimore, the L.A.-based group turned a 97 Honda CRV into a makeshift recording studio by running a microphone through a loop pedal and connecting it to the car stereo. Then they would “broadcast their experiments to the streets, commenting on their observations in rhyme, soliciting ideas from strangers, and inviting people into the car to contribute vocals, or loop beats.” Sounds like a poetry slam gone horribly right.
From these car sound collages, they amassed an album’s worth of soul cuts and found themselves a deal with Peanut Butter Wolf’s veteran Stones Throw label. Now, the pair have released a stark, emotive video for “Pains,” the lead single from their self-titled debut LP. The track retains a distinct R&B sensibility, but strips most of the excess away so that only Desree’s falsetto, some tremolo guitar strums, and a lilting rhythm carry it forward. Silk Rhodes drops on December 12; peep the video and tracklist below.
Silk Rhodes tracklist:
03. Face 2 Face
04. Laurie’s Machine
06. Barely New
07. Horizon Line
08. This Painted World
09. Group 1987
10. Hold Me Down
11. Personal Use
12. The System
It’s almost Halloween, and in a rather interesting move, Royal Trux are reissuing their album with the least amount of scary sounds, Pound for Pound. Out this week but recorded during the turn of the century, #4# (abbreviation thine own) was the band’s final recorded album before their dissolution in 2001. Much like kindred 21st century anticipator Prince, the Trux greeted Y2K with a batch of funk and rock’n’roll songs, news stories about mass computer crashes be damned.
What resulted was an album that was far removed from their discordant 1988 debut album; inevitably, #4# had a lot of people (my 12-year-old self included, you better believe it) shouting the word “sellout.” Alas, the passing of time has proven that Pound is just as wild as the rest of the Trux’s oeuvre, even though it was recorded with an actual microphone. Drag City must feel equally confident about the album, as they’re releasing as no-frills of a reissue as they can, with no additional bonus tracks, no remastering job, no new liner notes, etc. Come on bros, at least throw me a Hot Chip remix!
I’ll be honest: up until I was about 18, I thought references to Williamsburg were weird, since really, aside from its colonial history and internationally-themed amusement parks, I didn’t think there was anything especially remarkable about the town. Then the Brooklyn epiphany happened, and things started to make sense as to why juxtapositions of yellow cabs and coolly dressed young people were commonly interspersed in short documentaries. It’s like the NYC equivalent of the PNWestern neighborhood where I live now (+ more warehouse space), sadly and apparently, complete with the influx of new money that’s turning hidden gems and charming dilapidation into… sushi bars. Shmooze points. Homeless viewing parties.
Let’s claim another cultural victim, shall we?!?
Glasslands, a 21+ venue in South Williamsburg started in 2006 by Brooke Baxter Bailey and Rolyn Hu, will be closing at the (literal) end of this year, following an announcement posted to their website on Tuesday. The closing will fall third to adjacent DIY venues 285 Kent (founded by Todd P) and Death By Audio — the latter of which will also close by the end of the year, thus buoying believable conspiracies about a Vice Magazine desire to consume office space. Can’t really comment on that, but hey, let’s remember Glasslands in a positive light. Look at all the shows they hosted and will host.
“Goodbye for now, but not forever.”
• Glasslands: http://www.theglasslands.com
It’s been over 12 years since Panda Bear announced the existence of Panda Bear Meets the Grim Reaper, his anticipated follow-up to 2011’s Tomboy. And now, finally, after over 12 years (like I said in the first sentence), we have some concrete news via Panda Bear’s Twitter: not only is the album’s release date confirmed for January 13, but he’s also revealed the existence of a brand new EP, titled Mr Noah.
In addition to the title track, which comes off Meets the Grim Reaper, the EP includes three non-album B-sides: “Faces in the Crowd,” “Untying the Knot,” and “This Side of Paradise.” It’s out now via iTunes (which helpfully lists two associated genres: “Alternative” and “Music”) or as an instant download if you pre-order through Domino. Check out the track’s video below and the tracklisting for both releases even further below:
Mr Noah EP tracklist:
01. Mr Noah
02. Faces In The Crowd
03. Untying the Knot
04. This Side Of Paradise
Panda Bear Meets the Grim Reaper tracklist:
01. Sequential Circuits
02. Mr Noah
03. Davy Jones’ Locker
05. Butcher Baker Candlestick Maker
06. Boys Latin
07. Come To Your Senses
08. Tropic of Cancer
09. Shadow of the Colossus
10. Lonely Wanderer
11. Principe Real
12. Selfish Gene
13. Acid Wash
Coming from the hustle and bustle of North Wales, musician/producer R.Seilog a.k.a. Robin Edwards has announced his debut LP for the Turnstile label, titled In Hz. Following the psych-leaning forays of the Shuffles EP and Doppler’s krautrock pulse, In Hz skews toward the techno end of the spectrum, while still maintaining a kosmiche feel. It’s minimal, aggressive stuff, but remains innocent and expansive like some early synth pioneers.
Inspired by French composer Pierre Schaeffer’s “Solfège De L’Objet Sonore,” unconventional tunings, and “the alchemy of resonance,” it seems that Edwards has found a way to transmute highbrow taste into a more universal style. His lead single, “Velcro for Vortex,” has all the trappings of a lush techno cut, but finds ways to incorporate gorgeous found sounds and also crafts builds that bleed into noise territory. Basically, if you played this on a dancefloor, people would be able to keep time with the steady rhythm, but they might feel a little odd doing it. In Hz is out December 2, which means it’ll probably get overlooked in the big boys’ year-end lists, so stick some velcro to your vortex and help a Welsh brother out.
In Hz tracklist:
01. Mt. Essa
02. Velcro for Vortex
03. Cymatic Modes
04. Wow Signal
05. Constellation Drip
06. Peripheral Thermal (Left)
07. Peripheral Thermal (Right)
It’s not exactly unusual to come across an artist who shirks the public eye in favor of making their music the centerpiece, but if we take a moment to place a dim spotlight on the French Arandel, one quickly realizes how folks like Marcus Eoin and Mike Sandison really don’t know shit about modesty. Being selective and/or universally exclusionary when it comes to doing interviews is one common method of shifting attention away from the person(s), but Arandel… he’s taking lack-of-pretense to levels rivaled only by the unexcitable sloth (whom his mask sort of resembles), if the sloth took things down a notch by evolving camouflage fur. The inconspicuousness extends deeper, too…
Separate from the concealed identity, Arandel’s musical work is said to deliberately avoid production “tricks.” In this rare interview, he claims a total unfamiliarity with Logic and associated plug-ins, and his 2012 debut album In D was composed entirely through the sampling of live instruments. Widely praised that album was, and with the upcoming Solarispellis (out November 24), there’s no sign of a shift in philosophy, even if there may be a shift in style:
Blatantly electronic-sounding! No-frills production is all the more impressive when it leads to colorful and complex tracks like the above. I’m on the verge of fetishizing confetti.
01. Opening Section
02. Section 7
03. Section 11
04. Interlude (Variation on Section 12)
05. Section 9
06. Section 10 (1st & 2nd Movements)
07. Section 13
08. Interlude (Variation on Section 6)
09. Section 12
10. Section 10 (3rd Movement)
11. Section 8
12. Finale Section
• Arandel: https://www.facebook.com/pages/Arandel/128193290527804
• InFiné: http://www.infine-music.com