On ”Contemporary”, a mildly sawish synth lead expands and contracts over an otherwise simplistic setting framed by a deep submerged bass and a basic drum pattern; a style widely practiced by mid-00 electronic music producers Booka Shade, DJ T., Ellen Allien and Berlin labels Get Physical and BPitch Control. So while “Contemporary” might be a poorly chosen name and doesn’t score high marks for innovation, it’s no easy task to turn a single synth lead into a dynamic, epochal groove of heroic magnitude. Yet, Dreamtrak does exactly that and shapes the sweet sound of nostalgia into a mesmeric physical monster. And while “Mandarine Girl” may well be its most obvious specter, “Contemporary” actually comes off as rather fresh sounding with all the poorly mimicked Disclosure sound-alikes flooding current dance music.
Today, Terror Pigeon releases their new album Live It up Before You Die It Up! on Stay Magic and is – as expected – a joyous, charming rollercoaster ride of infectious hooks and erratic sounds. Album closer “BYOYOLO” follows “Girl!” and “Forget Everything That Makes You Want To Not Be This Band” as another catharsis seeking indie pop track that demands nothing less than to get you in the best mood possible.
Order your copy of Live It up Before You Die It Up! here.
“Pluto Bounce” is a psychedelic hip hop cut from Australian duo Milwaukee Banks. I can’t say I’ve heard these guys before, but am glad the needle drop pointed me in their direction. The hazy, purple colored video brilliantly enhances the tracks anodyne codeine-fumed vibe, and the synth pads are just sublime. The duo has a full EP streaming here.
Manchester producer Andy Stott returns with a schizophrenic new single that alternates between eerie minimalism and abrasive synth noise. “Violence” makes a good case for it title, and its unorthodox structure and experimental synth leads makes it some of the most interesting electronic music I’ve heard all year.
Andy Stott’s new album is titled Faith In Strangers and is out November 17 via Modern Love.
Even though they risk alienating every single soul who picked up a copy of New Brigade, Iceage keeps – track after track after track – challenging ideas of what they’re about with unflinching determination. It’s remarkable to hear this still very young band changing by leaps with each new album; and I believe both “How Many” and “Glassy Eyed, Dormant And Veiled” perfectly illustrates why ‘gifted musicians’ wins over “abrasive punksters” when trying to chronicle Iceage in 2014. Especially “How Many” shows the bands two conflicting sides battling out underneath Elias Bender Rønnenfelt’s claustrophobic lyrics; “Trapped inside a abody that doesn’t act on thought”. This is a very suitable new costume for a band I’ve always felt way too cramped by the ‘punk’ label.
Plowing Into the Fields of Love is out October 7 in the U.S. and October 6 worldwide via Matador.
Since Familiars seems massively absent from conversations, I believe The Antlers chose the wrong month to release their beautiful fourth album; summer could never be the best time to release a record for a band most of us associate with guilt, agony, anger, abuse and heart-ripping break-up songs. Shame, since The Antlers have pulled off one of the most beautiful albums of the year; and although not as tormented and intimate as Hospice or as floating as Burst Apart, Familiars connects all loose ends with their most coherent and luxuriously orchestrated work yet. As we move to frostier and darker seasons, I hope this will change and Familiars get the recognition it so justly deserves.
ANONYMOUS ASKED: Thoughts on pitchfork review?
“It really hurt to read if I can be totally honest. it came at the end of what was the worst date on our tour where some of the craziest things happened; finding out a family member had been in a head-on car collision, someone in our van having a mental breakdown, the show in Austin getting cancelled due to weather, Owen Pallett’s drummer throwing out his back and having to sit the show out. Some of these things are far worse than others and I feel like a piece of shit for talking about in the same breath as music criticism but reading it after all those things came up yesterday made it feel a lot more devastating that it should have.
Mark my words, following Chief Keef and Chance The Rapper, Mick Jenkins will be the next big thing to come out of Chicago. He holds within his repertoire the ability to vocally sound like Keef’s twisted drill scene and Chance’s bright jazz-fusion at the same time, adding a sense of cohesion to his entire work. His latest release, The Water[s], revolved around the theme of water, not just lyrically but sonically as well, with mellowed grooves and drowning bass that resembled a sense-reducing fall into the abyss. His newest track ‘Rain’ carries on this same theme. Utilizing Ann Peebles’ ‘I Can’t Stand The Rain’ as the foundation, mimicking its style and chorus, Mick effortlessly glides over his two verses detailing the people in his city succumbing to the rain. No one cries in the South Side, for if they do they’ll blame it on the rain. Kaytranada’s production, complete with added drums and gleaming flutes, parades across the track, with humble beginnings in the quiet riff of Peebles’ song. Jenkins’ latest single adds to the allure of his persona, a man obsessed over water, Hip-Hop’s cleansing savior that they all choose to ignore.