Posts Tagged ‘new releases’

Haute ‘n scary

June 18, 2008

I’m incredibly bad at chartmaking, as I’m far too self-conscious about this whole I-like-music thing to publicly play favorites. But with Summer Jam Season is upon us, I feel inclined — nay, obligated — to list a few (non-Rihanna) tracks I’m very very seriously feeling right this sweaty second.

1. Ane Brun – “Headphone Silence (Henrik Schwarz Remix / Dixon Edit)” (Objektivity)

That melody. That Rhodes. That restraint. You’ll want to hold your breath, but nine minutes is a damn long time to deprive your drug-addled brain of oxygen.

2. tobias. – “I Can’t Fight the Feeling” (Wagon Repair)

Serato calculates this track’s tempo as 98 BPM, and that just ain’t right at all. Serato obviously has no taste.

3. Syclops – I’ve Got My Eye On You (DFA)

Is Finland really taking the credit for this gorgeously unexpected and deeply weird lost Carl Craig album? Damn you, Finland! (PS: WTF’s with all the awesome artist albums this year?)

4. 808 State – “Pacific State” (Rephlex)

Props indeed to whoever chose right now to reissue the Quadrastate EP, as it’s never truly summer until the synthesized saxophones start wailing.

5. Sety – “Mogane (Guillaume & The Coutu Dumonts Remix)” (Circus Company)

Guillaume could make hold music sound deep and twisted and caveman-funky, but I doubt Sety’s Circus Company would release it. (That’s more Musique Risquee’s thing.)

Osborne’s Osborne and the two Berghain 02 EPs certainly make this list, too, but I’ve already blabbered about the former and everyone else has already blabbered about the latter, so I’ll spare you.


Time is going by really really really really slowly

June 7, 2008

So Hillary’s bid for the presidency, and thus the long, flat, seemingly endless Bataan Death March to the White House (Round 1, le sigh), is dunzo. Things end, things begin again, and the whole process repeats; ’tis the way things go.

It may be a bit of a stretch — okay, it’s a serious stretch, but I’m going with it anyway: my days of internetless, apartment-inbetweenness are dunzo as well, and a new era of blog entries has begun. (Props to Diamond from Time Warner for his excellent installation skills.) I’m not gonna make any promises to you, my dear readers, for my promises about blogging tend not to be kept. But I will say this: my excuses for not blogging, like Ms. Clinton’s excuses for her endless campaigning, are likely to start ringing retarded and desperate.

Among the incredibly overpriced Manhattan Storage boxes which have been hulking over my bedroom for the last week or so, I have discovered a few TRUTHS:

1) Osborne’s self-titled LP for Spectral Sound is the album of the year so far, without question. Todd Osborn, who appears to be Jeff Tweedy’s wayward cousin, makes kitchen-sink house music so not-boilerplate and so utterly appealing that you may feel inclined to throw your laptop off the roof. Like this year’s other big (much, much bigger, really) dance record, Hercules & Love Affair, Osborne mines yesteryear’s dance tropes to create a distinctly 21st-century glamor. But while the former occasionally slips dangerously into hard-on-for-my-favorite-records mode, the latter keeps his dick on lock and his influences deftly internalized. (And is it just me, or is H&LA highlight “Iris” eerily similar to Osborne’s “Suffer” interlude?) Mr. Osborn knows how to pile on the elements — for a release on a label best known for Audion singles, shit is maximal — without getting lazy about the constituents. While by no means “detailed” in the Perlon sound-design sense, each hi-hat and synth pad and clave-hit (mad dankes, sir, for enclosing floorstormer “Outta Sight” herein) finds its funky home. And you’re not likely to hear better basslines this year. Bottom line: I have no idea why motherfuckers outside of Spectral’s usual fanbase aren’t jumping all over this album. But I’d wholeheartedly recommend that you hit the shops before Philip Sherburne pitchforks this and the year-end Top Tens start to pile up. If you only unpack your living room to one record this year, make it this record. That’s what I did, and I’m a better, sweatier man for it.

2) Cops should only take what they can handle.

3) The Wire is the Proust of television, and my after-work life is over. But you already knew that.

Sect-arian violence

April 29, 2008

Something is afoot over at Little White Earbuds, and I’m liking the sound of it.


April 20, 2008

Happy Record Store Day, you conscienceless, lecherous, downloading whores. (I kid, I kid. But seriously: go the record store occasionally. It’s good for you.)

In celebration of a certain, erm, hazy rite of spring many of you slacker college students are probably participants in, I present to you a few items of possible interest:

Everything I’ve read about Bristol-based dub warrior Peverelist has described him as “hotly-tipped” or some derivative thereof. I’ve loved his output on the excellently drrty Punch Drunk label, but it’s this most hotly-tipped of all hotly-tipped Peverelist singles, “Infinity is Now/Junktion” (Tectonic), that really shows him living up to his purported potential. For me, B-side wins (though that’s not at all to fault the epic “Infinity is Now”): playing up dubstep’s inherent debt to Aphex Twin’s sense of sonic detail, “Junktion” coats the darkness in a blanket of reverb and organ before an insistent bassline rips the softness apart. (And big ups for the locked-groove ending… classy.) With Shackleton’s best work now firmly in the 4/4 camp, dance music’s cavernous underworld may have found its new dark lord. DISCOGS/MYSPACE

Kode9 and Badawi go head-to-head on “Den of Drumz” (Roir), and it’s a pretty unrelenting affair: the snares come raining down early, and the low-end is absolutely pulverizing. Yet this may be one of the most sensitive Kode9 productions I’ve heard yet. I’ve been playing it pitched down a bit, and I find that the treatment really brings out the trippy circular bongo line and taudry mids. But however you play, we’ve got ourselves some pretty fantastic headspace here; use wisely. DISCOGS/KODE9 MYSPACE

A few nights ago, Momo brought by a King Tubby reissue he’d snagged at Jammyland (E. 3rd @ 1st Ave., Manhattan) on his way over. We put it on after our rehearsal for tonight’s Mo/rdan tagteam set (2am at Raev ii, by the way… see below) and subsequently decided it was the best music we’ve ever heard. I went by the shop this afternoon, and hells yes: we were absolutely right in our assessment. I admittedly know very little about dub, but on a purely visceral level, Original King Key Dub (Jammyland Distribution, 2001) is an absurdly brilliant piece of studio craft. According to the guy at the shop, this record was made after King Tubby had stopped mixing records; these were productions he’d been coaxed into providing with his magic touch. To my ears, this is absolutely essential listening. Acquire while you still can. DISCOGS

Insane in the brane

April 20, 2008

Last night a, uh, producer saved my life? A Dial producer at that??

I really don’t hate Dial by any means. But as my occasional associate Momo pointed out to me Thursday night, Dial is kind of the West Elm of German techno: clean lines, whiff of easy class, turtleneck-ready. In other words, just a bit stiff, though not at all pejoratively stiff. (In case you think I’m covering up some kinda stanky hatin’, full discloure: I have a couch from West Elm.) Carsten-forenamed producers Jost & Klemann’s “CC01 (Detroit)”, from the label’s new You Are My Mate doublepack, finds their aesthetic loosening its tie a little. Referencing both Morgan Geist and Carl Craig (and potentially MyMy, Klemann’s most famous project), the track sweats without losing its cool entirely and/or starting to sound artificial, and creates some wild tension in the interim. It’s the kind of transition that tells the floor, “Take off your handcrafted shoes and wander further into the forest.” Just not in a creepy way.