bol3 Голосов: 1 Адрес блога: http://muzik-best.blogspot.com/ Добавлен: 2013-02-09 20:21:30

KH: "The Track I've Been Playing That People Keep Asking About and That Joy Used in His RA Mix and Daphni Played on Boiler Room"

2013-02-09 20:19:00 (читать в оригинале)

A comp of his four dizzying 12” singles from last year, a mix for the esteemed Fabric series, a sneak release of his earliest solo music made between 1997-2001, a collaboration with Burial and Thom Yorke, and hectic gigging schedule the world over: Four Tet's Kieran Hebden has stayed rather busy in the years since his last studio release, 2010’s There Is Love in You. The only commonality to this music is that it’s kept the dancefloor close in mind. So it makes a certain kind of sense that Hebden’s latest single, released only under his initials KH, bears that twenty-four word title you see above, since Four Tet’s music always bears a sense of contemplation.

There’s a Spartan looseness to this cut, though. Little more than a stomping rhythm, clacking sticks, and a breathless pant looped into its own rhythm serves as the track’s foundation, that breath turning into an unhinged tribal African chant. It’s coarse rather than polished, and the texture is ideal for adventurous DJ types. The single's appearance on Joy Orbison’s RA mix and Daphni's Boiler Room turn means that its notoriety has been earned solely via glimpses on the internet-- then again, when Four Tet played Cielo in New York City last year, there was a distinct memory of this stark, feral, audacious track being dropped mid-set. I ran to the booth immediately to ask what the hell it was.

A comp of his four dizzying 12” singles from last year, a mix for the esteemed Fabric series, a sneak release of his earliest solo music made between 1997-2001, a collaboration with Burial and Thom Yorke, and hectic gigging schedule the world over: Four Tet's Kieran Hebden has stayed rather busy in the years since his last studio release, 2010’s There Is Love in You. The only commonality to this music is that it’s kept the dancefloor close in mind. So it makes a certain kind of sense that Hebden’s latest single, released only under his initials KH, bears that twenty-four word title you see above, since Four Tet’s music always bears a sense of contemplation.

There’s a Spartan looseness to this cut, though. Little more than a stomping rhythm, clacking sticks, and a breathless pant looped into its own rhythm serves as the track’s foundation, that breath turning into an unhinged tribal African chant. It’s coarse rather than polished, and the texture is ideal for adventurous DJ types. The single's appearance on Joy Orbison’s RA mix and Daphni's Boiler Room turn means that its notoriety has been earned solely via glimpses on the internet-- then again, when Four Tet played Cielo in New York City last year, there was a distinct memory of this stark, feral, audacious track being dropped mid-set. I ran to the booth immediately to ask what the hell it was.

KH: "e;The Track I've Been Playing That People Keep Asking About and That Joy Used in His RA Mix and Daphni Played on Boiler Room"e;

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Rhye: "The Fall (Maurice Fulton Alt Mix)"

2013-02-09 20:19:00 (читать в оригинале)

Last year, nascent LA soul outfit Rhye got recognition on the strength of their elegant, string and piano-laced single "e;The Fall"e;, earning comparisons to Sade, Air, and the xx along the way. The duo-- consisting of Mike Milosh and Robin Hannibal-- are smooth, perhaps to the point of pablum. That thin, vanilla, affect-averse sound, though, gets fixed in this remix from Maurice Fulton. The Sheffield-based, outerspace-minded producer with roots in Baltimore club music has no problem injecting dank interplanetary funk into the most melanin-depleted of acts (see his handiwork for Telex and Chateau Flight).

If anything, Fulton's remix of "e;The Fall"e; stems from his delirious deep-house reworking of Alice Smith’s "e;Love Endeavor"e;. Gone is the frail piano line and lounge trappings, replaced by congas and crash cymbals, with a synthline as funky as Stevie Wonder’s left hand on the ARP, the bass tones as round as a biosphere. And while Milosh’s pillow talk originally went, "e;Make love to me/ One more time/ Before you go away,"e; Fulton only keeps the cooed command of the first line, adding heat and sultriness for the dancefloor otherwise wholly absent in the original.

[from Rhye's The Fall EP; out now via Innovative Leisure/Seven Four/Polydor]

Last year, nascent LA soul outfit Rhye got recognition on the strength of their elegant, string and piano-laced single "e;The Fall"e;, earning comparisons to Sade, Air, and the xx along the way. The duo-- consisting of Mike Milosh and Robin Hannibal-- are smooth, perhaps to the point of pablum. That thin, vanilla, affect-averse sound, though, gets fixed in this remix from Maurice Fulton. The Sheffield-based, outerspace-minded producer with roots in Baltimore club music has no problem injecting dank interplanetary funk into the most melanin-depleted of acts (see his handiwork for Telex and Chateau Flight).

If anything, Fulton's remix of "e;The Fall"e; stems from his delirious deep-house reworking of Alice Smith’s "e;Love Endeavor"e;. Gone is the frail piano line and lounge trappings, replaced by congas and crash cymbals, with a synthline as funky as Stevie Wonder’s left hand on the ARP, the bass tones as round as a biosphere. And while Milosh’s pillow talk originally went, "e;Make love to me/ One more time/ Before you go away,"e; Fulton only keeps the cooed command of the first line, adding heat and sultriness for the dancefloor otherwise wholly absent in the original.

Rhye: "e;The Fall (Maurice Fulton Alt Mix)"e; (via SoundCloud)

[from Rhye's The Fall EP; out now via Innovative Leisure/Seven Four/Polydor]

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Chvrches: "Recover"

2013-02-09 20:19:00 (читать в оригинале)

Chvrches have a knack for ambitious electro-pop familiar to fans of the Knife-- it's no coincidence one of their songs is named "e;The Mother We Share"e;-- and the Scottish outfit's latest single, "e;Recover"e;, is another prime example of how far they can launch off of a standard verse-blown-out chorus-verse template. Dramatic two-part melodies billow over a beat that gallops and shimmers like a unicorn as singer Lauren Mayberry asks with piercing earnestness, "e;If I recover, will you be my comfort?"e; But damsel in distress she's not. A few lines later, she challenges her savior, "e;I'll give you one more chance"e; as synthesizers build to a lustrous ultimatum.

Chvrches: "e;Recover"e; on SoundCloud.

[from the Recover EP; out 03/25/13 in the UK via Virgin/Goodbye and 03/26/13 in the U.S. via Glassnote]

Chvrches have a knack for ambitious electro-pop familiar to fans of the Knife-- it's no coincidence one of their songs is named "e;The Mother We Share"e;-- and the Scottish outfit's latest single, "e;Recover"e;, is another prime example of how far they can launch off of a standard verse-blown-out chorus-verse template. Dramatic two-part melodies billow over a beat that gallops and shimmers like a unicorn as singer Lauren Mayberry asks with piercing earnestness, "e;If I recover, will you be my comfort?"e; But damsel in distress she's not. A few lines later, she challenges her savior, "e;I'll give you one more chance"e; as synthesizers build to a lustrous ultimatum.

Chvrches: "e;Recover"e; (via SoundCloud)

[from the Recover EP; out 03/25/13 in the UK via Virgin/Goodbye and 03/26/13 in the U.S. via Glassnote]

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DJ Koze: "Track ID Anyone?" [ft. Caribou]

2013-02-09 20:19:00 (читать в оригинале)

No, that header above is not an open question asking what, exactly, this song is titled-- this single from German vet DJ Koze's first album in eight years, Amygdala, is actually called "e;Track ID Anyone?"e;, a title resembling the cries of many a mix-head desperately pleading in a Soundcloud comments section. The cut features vocals from Caribou's Dan Snaith, and sure enough, the song itself resembles Caribou's dancier material, with janky percussive touches, liquidy soundscapes, and Snaith's wavering vocal atop it all. Amygdala sees release on March 26 in the U.S. via Koze's label, Pampa; along with Snaith, the record features appearances from Apparat, Matthew Dear, and Milosh, aka one-half of R&B deconstructionists Rhye.

DJ Koze: "e;Track ID Anyone?"e; [ft. Caribou] on SoundCloud.

No, that header above is not an open question asking what, exactly, this song is titled-- this single from German vet DJ Koze's first album in eight years, Amygdala, is actually called "e;Track ID Anyone?"e;, a title resembling the cries of many a mix-head desperately pleading in a Soundcloud comments section. The cut features vocals from Caribou's Dan Snaith, and sure enough, the song itself resembles Caribou's dancier material, with janky percussive touches, liquidy soundscapes, and Snaith's wavering vocal atop it all. Amygdala sees release on March 26 in the U.S. via Koze's label, Pampa; along with Snaith, the record features appearances from Apparat, Matthew Dear, and Milosh, aka one-half of R&B deconstructionists Rhye.

DJ Koze: "e;Track ID Anyone?"e; [ft. Caribou] (via SoundCloud)

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Old Wounds: "New Fortunes"

2013-02-09 20:19:00 (читать в оригинале)

Oh, they're pissed. That's the ultimate takeaway from "e;New Fortunes,"e; an ironically named burst from New Jersey crossover aggressors Old Wounds that's actually about being so heartbroken you set the world on fire. The trio emerges irate here, lashing ahead at a furious hardcore clip alongside screams about tears and disappointment, selfishness and heartlessness. The curveball comes about a minute in, when the band quotes Elvis' "e;Love Me Tender"e;, drops the tempo and blankets the breakdown with shrieks of feedback. Kevin Iavaroni's enormous bass part sounds like self-flagellation, fists of disappointment pounded against the body. "e;New Fortunes"e; pairs the maudlin pages of high school diaries with a grown-ass band's concision and power. Old Wounds, then, bruise with teenage teardrops.

[from From Where We Came Is Where We'll Rest; out 02/26/13 via Glory Kid, Ltd.]

Oh, they're pissed. That's the ultimate takeaway from "e;New Fortunes,"e; an ironically named burst from New Jersey crossover aggressors Old Wounds that's actually about being so heartbroken you set the world on fire. The trio emerges irate here, lashing ahead at a furious hardcore clip alongside screams about tears and disappointment, selfishness and heartlessness. The curveball comes about a minute in, when the band quotes Elvis' "e;Love Me Tender"e;, drops the tempo and blankets the breakdown with shrieks of feedback. Kevin Iavaroni's enormous bass part sounds like self-flagellation, fists of disappointment pounded against the body. "e;New Fortunes"e; pairs the maudlin pages of high school diaries with a grown-ass band's concision and power. Old Wounds, then, bruise with teenage teardrops.

Old Wounds: "e;New Fortunes"e;

[from From Where We Came Is Where We'll Rest; out 02/26/13 via Glory Kid, Ltd.]