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

Julianna Barwick: "Pacing"

2013-02-09 20:18:00 (читать в оригинале)

"e;Pacing"e; is a unique track from vocal abstractionist Julianna Barwick; while the gorgeously tangled compositions found on 2009's fine Florine and 2011's quite excellent The Magic Place almost exclusively featured looped layers of her sampled voice, this new song, taken from a forthcoming 7"e; on Suicide Squeeze, features elegiac piano that gradually fades away, as Barwick's voice glows and pushes against the track's soft framework. The 7"e; is out March 5, and a proper follow-up to The Magic Place is currently in the works.

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Maxmillion Dunbar: "Loving the Drift"

2013-02-09 20:18:00 (читать в оригинале)

When Washington D.C.'s Andrew Field-Pickering isn't crafting lustrous house tracks as half of Beautiful Swimmers, he gets even more billowy as Maxmillion Dunbar. While his debut album, Cool Water, favored boxy boogie and go-go beats of his predecessors, he's drifted towards the elegant and gossamer ever since. Take for example last year's expansive "e;Polo"e; single, which foregrounded the track's underlying New Age tones to sublime effect. A similarly soothing wash opens "e;Loving the Drift,"e; the second single off his forthcoming full-length House of Woo. Ever so slowly, that ambience recedes like the tide, revealing sharp hi-hats and a crisp drum pattern. And even when the track picks up with some acid and early 90's house moves, the synth lines gurgle and becalm just beneath the beat, a deft mix of precision and waft.

[from House of Woo; out 02/18/13 in the UK and 02/19/13 in the U.S. via RVNG]

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Batillus: "Concrete"

2013-02-09 20:18:00 (читать в оригинале)

At the risk of sounding sensationalist, the lead track from Concrete Sustain, the second album by Brooklyn quartet Batillus, is best summarized by one unlikely phrase: funky doom. It must have been tempting for drummer Geoff Summers to play this one straight, to pound slowly and steadily behind the crew's thick gray washes of guitar, bass and synthesizer. Instead, he chops the space like he’s in a wildly different group, cracking his snare in a loop of syncopation. You’ll need to reconsider that slow, simple headbang. That's not the only strange and fortunate choice Batillus makes here, either. Frontman Fade Kainer samples and resamples his voice, for instance, turning his throat-damage into a galley of demons and a wellspring of noise. Concrete Sustain was co-produced by the ever-busy Sanford Parker, who shows his studio hand by aiding and abetting smart tweaks to songs that otherwise might sound like standard mid-to-low-tempo marches.

[from Concrete Sustain; out 03/19/13 via Seventh Rule]

At the risk of sounding sensationalist, the lead track from Concrete Sustain, the second album by Brooklyn quartet Batillus, is best summarized by one unlikely phrase: funky doom. It must have been tempting for drummer Geoff Summers to play this one straight, to pound slowly and steadily behind the crew's thick gray washes of guitar, bass and synthesizer. Instead, he chops the space like he’s in a wildly different group, cracking his snare in a loop of syncopation. You’ll need to reconsider that slow, simple headbang. That's not the only strange and fortunate choice Batillus makes here, either. Frontman Fade Kainer samples and resamples his voice, for instance, turning his throat-damage into a galley of demons and a wellspring of noise. Concrete Sustain was co-produced by the ever-busy Sanford Parker, who shows his studio hand by aiding and abetting smart tweaks to songs that otherwise might sound like standard mid-to-low-tempo marches.

Batillus: "e;Concrete"e;

[from Concrete Sustain; out 03/19/13 via Seventh Rule]

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Velour: "Dial"

2013-02-09 20:18:00 (читать в оригинале)

At the top of last month, Velour-- the production super-duo of Julio Bashmore and Hyetal-- dropped a radiant, house-y new tune, "e;Speedway"e;. At the time, I wondered if the tune meant there was more material from Velour on the way, and lo and behold, "e;Speedway"e; was the A-side to a new single from the duo. The B-side, "e;Dial"e;, is a little less hyped-up than its counterpart, but the crackly vocal samples and buzzing synths make for a smooth time regardless. "e;Speedway"e; b/w "e;Dial"e; is out March 4 via Bashmore's label, Broadwalk, and a press release assures that there's more to come from Velour.

Velour: "e;Dial"e; on SoundCloud.

At the top of last month, Velour-- the production super-duo of Julio Bashmore and Hyetal-- dropped a radiant, house-y new tune, "e;Speedway"e;. At the time, I wondered if the tune meant there was more material from Velour on the way, and lo and behold, "e;Speedway"e; was the A-side to a new single from the duo. The B-side, "e;Dial"e;, is a little less hyped-up than its counterpart, but the crackly vocal samples and buzzing synths make for a smooth time regardless. "e;Speedway"e; b/w "e;Dial"e; is out March 4 via Bashmore's label, Broadwalk, and a press release assures that there's more to come from Velour.

Velour: "e;Dial"e; (via SoundCloud)

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Destruction Unit: "Evil Man"

2013-02-09 20:18:00 (читать в оригинале)

Plenty of rock bands evoke a sense of geography or place, whether the industrial grit of urban compression or the lush texture of something pastoral. As of late, the burnt feeling of a sprawling desert has been more rare. Destruction Unit, a heavy psych five-piece from Tempe, Ariz. that once counted the late Jay Reatard as a member, fill the gap with "e;Evil Man"e; off their aptly titled upcoming Void LP. Their last, 2011's scorched Sonoran, was also named after the desert from which they've emerged after starting up ten years ago.

Skull-crushing repetition, piles of noise, and feedback wah'd to the sky all mark the power-kraut "e;Evil"e;, carried by a mild melodic structure from singer Ryan Rousseau's deep, gothic voice. For all the raw power it still feels focused, an artful bent that's to be expected from affiliates of the exceedingly intriguing Ascetic House collective, a group in Arizona that releases experimental music, writings, and film, likening themselves to the radical Panic Movement or Sonic Arts Union.

[From Void out February 19 via Jolly Dream]

Plenty of rock bands evoke a sense of geography or place, whether the industrial grit of urban compression or the lush texture of something pastoral. As of late, the burnt feeling of a sprawling desert has been more rare. Destruction Unit, a heavy psych five-piece from Tempe, Ariz. that once counted the late Jay Reatard as a member, fill the gap with "e;Evil Man"e; off their aptly titled upcoming Void LP. Their last, 2011's scorched Sonoran, was also named after the desert from which they've emerged after starting up ten years ago.

Skull-crushing repetition, piles of noise, and feedback wah'd to the sky all mark the power-kraut "e;Evil"e;, carried by a mild melodic structure from singer Ryan Rousseau's deep, gothic voice. For all the raw power it still feels focused, an artful bent that's to be expected from affiliates of the exceedingly intriguing Ascetic House collective, a group in Arizona that releases experimental music, writings, and film, likening themselves to the radical Panic Movement or Sonic Arts Union.

Destruction Unit: "e;Evil Man"e; (via SoundCloud)

[From Void out February 19 via Jolly Dream]