This genre may or may not be a joke but despite this, it somehow passes an acceptable level of plausibility. At least for this blog anyway. As always it is a playlist so don't expect fancy mixing.
Tracklist
Tracklist:
1) Nicolas Jaar - Materials
2) Innergaze - Way of Life
3) Octo Octa - High Reflection
4) SFV Acid - Library
5) Walls - Heat Haze
6) Ital - Only For Tonight (Original Instrumental Mix)
7) Art Department - Without You (Jamie Jones On The Fly Rework)
8) Factory Floor - Two Different Ways
9) The Miracles Club - Church Song
10) Blondes - Pleasure
11) Lana Del Ray - Blue Jeans (Penguin Prison Remix)
12) CFCF - Come Closer (Azari & III Remix)
13) Ital - First Wave
14) CFCF - Exercise 3
Regarding her second album, the eminent The Reminder, there are songs that make me love Leslie Feist, namely I Feel It All and My Moon My Man and there are songs that make me want to use the record as a Frisbee, the kind that gets chewed to shreds by your dog. Ok, maybe it’s not her fault that 1,2,3,4 is synonymous with about ten advertisements as it undoubtedly aided in her popularity, reaching a demographic from indie kids to middle-aged housewives i.e. Question Time and Corrie viewers alike. I am of course being overly abrasive to make the point that I hope her latest album consists of songs of the same caliber as The Limit To Your Love and is vacant of tracks in the same vein as “that song from that advert”. However, the question is, how will this affect its popularity with the masses when it comes to a middle-class dinner party?
I first call to the stand the single from the album, How Come You Never Go There?, which indeed is the most similar to 1,2,3,4 in terms of its potential as an obvious hit. However this would be an overstatement as in honesty, there are few parallels to be drawn between the two. In fact, the whole album seems like it has been recorded far from commercial TV and indeed civilization itself, possibly in a Canadian Forest with surrounding Centaurs. There are no hints that Feist is trying to please her current following, it appears as more of an album for her own consumption. Her approach is refreshing even in a world not lacking in female vocalists that can be described by referencing Billie Holliday, moreover its lack-of-influences originality exudes modernity. This is odd considering the album is more lo-fi and rough around the edges than its predecessor.
The singles title rhetoric followed by the line “How come I’m so alone there”, describes the morose tone of the album. The song is jerky and has a strange time signature compared to its flowing, upbeat forerunner. Undiscovered First sounds like a Robert Plant country song that was conceived around a campfire. It is probably the most uplifting song on the album but so is the case with country music, there is still a thread of Macabre. By the end of the song, it has progressed into a head-banging loud stomp where Feist flourishes out of subtlety and really lets loose. It is remarkable how much different she sounds without the jazz kookiness. Feist is also a lot louder on Comfort Me where she explores her vocal range. A Commotion is pretty much a garage rock tune that meets shabby chic (Black Keys Vs Cath Kidston?) that turns out as another welcome addition to the already multi-faceted album. There are a few songs that are just a bit too subtle and indistinct from each other so that you can play each one back to back and you won’t notice the change.
To conclude I think that if Feist tried to recreate the pop songs of The Reminder, it would have seemed like a bit of a carry on. Her back-to-nature where the charts don’t exist attitude was definitely the right decision and she has turned out an exceptional album.
Set the scene, the grand former Victorian theatre, with stalls rammed and the circles lined with people and taking centre stage is a menacing figure lurching vigorously as if conducting some demoniac ritual. Daedelus looks like he’s from the same era as the venue, dressed in a tatty three-piece suit complete with muttonchops. In front of him, at his mercy, is a medley of complex control interfaces which have backlit buttons arranged in a grid that flash like a 2001 space odyssey computer. He systematically toggles the appropriate buttons, which adds a new sample to the already manic ensemble. This occurs in rapid succession and each time he does it, he gesticulates like an orchestral conductor and pulls an ominous facial expression, similar to Jack Nicolson in The Shining. Behind him are stacks of convex mirrors which move independently, reflecting the projected light behind Daedelus, silhouetting him. The music is a mash-up of the highest complexity, chopping and changing every other bar. Although it is hard to say, I would describe it as having a constant up-tempo minimal tech undercurrent with massive dubstep-esque synths, hip-hop breaks along with Daedelus’ own brand of glitch. Clearly his technical production abilities translate well into an intricate and diverse live show. However, he definitely geared the set up to be filthier and more danceable but not necessarily more accessible. I’m not saying he was playing to the crowd at all, it was still abstract, but his album material is more down-tempo and atmospheric. Oh and it was a lot, lot louder. It looked as though Deadelus thoroughly enjoyed rattling everyone’s innards almost to the point of vomiting. On the contrary, everyone including myself enjoyed his set and if you get a chance, make sure you go and see him.
Not the country silly, although what an interesting article that would make, no, the extremely inventive, abstract video production company from Barcelona. You can spot their style a mile off, identifiable by numerous short cuts of surreal footage, none of which seem to follow the same theme. A man shooting the head off a toy panda bear, women licking pine-cones, roller skates, lamps, flowers and doorknobs. Half of it does seem heavily influenced by the sexploitation films of the 70’s. Clearly, most of it is too strange to describe with any degree of credibility. Although it sounds like pretentious, overly arty for the sake of being overly arty rubbish, a lot of it is actually very clever. The composition of the shots is genius, as well thought out as a piece of fine art (As the camera is usually still and the length of each is clip is so short). I would love to be at their meeting brainstorming ideas for the next video, as I have no idea where they get it from or what drugs they are doing. You’d have to ask them about what the overall theme or meaning of each video is but I’m sure there is one. I think a lot of it is to do with just being aesthetically pleasing, each video is just so sexy. Also, I’m a big fan of the landscapes they use in combination with whatever camera and filter they have which give it that nostalgic tinge. The latest video was released a few weeks ago for Holy Ghost by White Lies. Check out this and CANADA’s other videos and then you can see what I mean by all of the above.
Neon Indian is a pioneer in that infectious, poorly named genre called Chillwave that swept the indie world in synchrony with the likes of Washed Out and Toro Y Moi. Although retro is as popular as ever, it is remarkable how such a mushy, drowned out, synth heavy sound ever made it out alive. Its nostalgia inducing tone evokes emotions that are as vague and as blurry as the dreamy music videos. Allow yourself to get lost in that pensive, slightly melancholy sound: It’s self-indulgent music for self-indulgent people. I think due to the prolific rise, we all expected an imminent and not very dramtic fizzling out. However, haters think again. This summer Washed Out released his first LP and both Toro Y Moi and Memory Tapes released their second, so it seems against the odds Chillwave is still making, err, waves.
Whereas all three of the aforementioned have kept it terminally chill, Neon Indian has gone for a tighter sound on his new album Era Extraña. Yes, you still have massive synths, layer upon layer with strange space noises to accompany, but it seems more intricate and accomplished than Psychic Chasms. The song Polish Girl is far more danceable than anything on the previous album and is quite poppy. There are of course the down-tempo numbers, namely the title track, where all the various synths blend into something that has a lot of atmosphere with the power to entrance. I think that this latest release shows that Chillwave has credibility and should continue to be pursued. Although the change is subtle, it may be a step towards the evolvement of Chillwave into the next sub genre. I think they called it blue wave or something stupid. The album is available to buy now.
Mehdi Favéris-Essadi is “Somebody, somebody, somebody” as his lyrics repeat in one of his singles. Much to the dismay of the whole of the hip-hop world, the electronic music world and indeed all those who knew him, Mehdi was fatally injured in a tragic accident at his home in Paris last night. The artist bridged hip-hop and disco, which seems an awkward combination but he made it appear seamless. It pains me to write in the past tense, but such are the regrettable circumstances, so I must continue. He was an integral member in that Parisian-discotheque-come-dirty-electro-club movement that was made popular in the mid 00’s by Justice, Simian Mobile Disco, Chromeo and SebastiAn among others. The Ed Banger culture (Ed Banger Records is the label that supported the most of the aforementioned artists including Mehdi) swept the electro clubs of the world and Paris was seen as the epicenter of dance. A new fashion was spawned, it accelerated the rise of electro and yet it was different from your usual grimy dance music scene. It was light-hearted, jovial and it had a retro feel such has been developed by Breakbot. Please note I am not continuing to write in the past tense because this culture is over with Mehdi’s death, as I am sure it will carry on, but I am doing so merely out of respect.
I personally was excited to hear the fruits of Mehdi’s and DJ Riton’s collaboration as Carte Blanche. The initial release from which sounded very promising, especially the filthy banger Gare Du Nord. It turns out that the party where the accident occurred was in celebration of Riton’s birthday. I also had the pleasure of seeing Mehdi perform a few times, once solo and once collectively with friends Cassius, Busy P and Xavier de Rosnay (From Justice) who called themselves Club 75. Both nights we’re spectacular, displaying Mehdi’s profound DJing ability which he enjoyed so much.
The freak accident was caused by the collapse of a plexiglass mezzanine floor at Mehdi’s house, fatally wounding him and sending three of his friends to hospital for treatment. Mehdi was aged 34. Rest in peace.
I will leave you with some Tweets from fellow musicians:
“We lost our brother. No Words.” – Chromeo
“R.I.P. Dj MEHDI. The void he has left behind is unbearable. Love you, Sir Bob Cornelius Rifo” – Bob Cornelius of the Bloody Beetroots
“Rest in peace to my brother forever here and in the after life djmehdi. i love u and miss u.” – Steve Aoki
So, I was sent this via e-mail the other day by French collective NOIR CŒUR which to my understanding translates to "Black Heart". No way did I expect it to sound anything as good as this. If anyone else would like to send me stuff up to this standard then seriously, I don't mind. The video is super rad aswell. Hot on the heels of Toro Y Moi, these guys are ones to watch for their debut EP later this year.
A haunting, morose lo-fi song from a Twinsistermoon, the side project of Mehdi Ameziane, 1/2 of Natural Snow Buildings. Tripped out folk that borders on post-rock, which has a tinge of macabre throughout. Most of the album is instrumental, unusually for folk, save Mehdi's ghostly wailings. Check it out if you're suffering from mild depression.
Here's a quick 12 minute mix of a few tracks I've been diggin' recently. Like always on InsideOutsider, the mixing quality is poor but maybe in serendipitous kinda way. Or maybe not.
Tracklist:
Hercules & Love Affair - Leonora
Ford & Lopatin - New Planet
Com Truise - Futureworld
Brian Eno & The Words of Rick Holland - Glitch
SBTRKT - Sanctuary
VGA Forest - Malinowski
Aphex Twin, Autechre, Flying Lotus, Squarepusher and Roxy Music..?? Doesn't sound quiet right really. But then again Eno probably influenced a lot of the Warp entourage and is also a master of ambient music, see The Pearl by Brian Eno and Harold Budd. In fact Eno has had a hand in so many genres, pioneering technically brilliant music (My Life in the Bush of Ghosts), that it is fair to say he could choose whatever record label he likes. Eno made his debut on Warp last year with Small Craft on a Milk Sea and released Drums Between the Bells earlier this month.
It features the words of poet Rick Holland which are read by various speakers. Perhaps it's my distinct lack of intellect but I just can't get along with it. If I want to listen to the music, I'm distracted by the storytelling prose, Dreambirds or the 1984-esque nationalist chantings of Sound Alien being spoken over it. If I want to listen to the great words of the poet, I cannot focus on the imagery or meaning because of the music. I am sure that the two are meant to co-exist and complement each other but like I said, maybe I'm not clever enough. It is however VERY Brian Eno, almost to a satirical level, exactly the kind of album I'd expect him to release just because he's always trying to be so, forgive my French, fucking clever.
I do particularly like the song Glitch where Eno demonstrates that he is down with the kids on the same record label. You could even probably hold a small, well organised, intellectual rave to the synth breakdown. Bless the Space shows the technical brilliance of the Eno of yesteryear and also it sounds like a Death In Vegas number with it's screeching guitar solo. There is no doubting the music is great and the words of Rick are even better, but together it's awkward and too demanding.
First discovered this cat on the awesome Hands Together Vol. 1 compilation and checked his Soundcloud out. Found this rmx of two songs by Canadian Skweee pioneer Motëm that have been fused. Therefore, there is considerable variation in that it is just one song plonked immediately after the other. It starts off extremely glitch and then turns ambient but somehow fits. The second thing of note is that the final drop is absolutely sublime.
She is the coolest cat around, too much cool for InsideOutsider to handle whilst watching camp cross-dressing future 90's electro outfit Hercules & Love Affair. The moves, the cutesy voice, her multi-coloured disco leggings and the tattoos. Raised in Hawaii, moved to SF and then to NY where she met Andy Butler, Mr. Intl., becoming close friends, DJing and making music together. Seeing Hercules & Love Affair at Glasto was an interesting one for sure. It felt like guilty pleasure, gay disco with two gay cross dressers prancing about gay style with Andy gaylording it at the back. But the music was just so good, I couldn't help but dance gay style aswell, it felt right. With such a petit, candid appearance Kim makes a big noise whilst it seeming effortless. Effortless cool, thats Kim, half-arsed dancing with the occational roly poly. You'll have to go and see Hercules & Love Affair yourself to see what I mean.
In an attempt to catch up with technology, this month is actually a continuous mix and is available to download for free. Some of it might be a bit dodgey in parts because using Virtual DJ without a controller isn't ideal (OK I know automatic beat matching means I don't have any excuse). Atleast listen to the first song, its insane.
C Powers - French Alex
Pure X - Twisted Mirror
Durutti Column - Vino Della Casa Bianco
Beaumont - Midnight
Arthur Russell - Wax the Van
Sun Araw - Crete
Master Musicians Of Bukkake - Prophecy of the White Camel
Islet - Jasmine
The Coathangers - Trailer Park Boneyard
Julian Lynch - Ground
Brian Eno & Harold Budd - A Stream With Bright Fish
The atmospheric, fairytale-esque, rising chorus of looped vocals of Juliana Barwick are as captivating as ever on this recording from an installment at the White Columns Gallery, NY. RVGN Intl. curated the project as part of the FRKWYS series with Ikue Mori. Some of the sessions took place with Julianna and Ikue in seperate cubicles in the gallery and the other, from which the video is taken, shows the pair opposite each other. Julianna's angelic voice contrasted with the electronic chimes and bleeps envelops you in the kind of place that her LP The Magic Place takes you to.
Islet are a band shrouded in such mystery, who do not actively pursue extensive means of promotion or engage in any activity that does not agree with the bands ethos: 'to act in a way that people we admire do, to be true to ourselves, our ideals and beliefs. Which are mainly to enjoy being in a band!'. Considering this, Islet have managed to attract a lot of attention through eccentric live performances and sporadic releases of EPs, earning them a spot at Primevera Sound festival in Barcelona.
Their gig at undertone on Monday was the third I have seen, each with different levels of manic. The first time was the last act of Swn festival and was by far the most manic, with the floor of the Model Inn feeling like it was going to cave and the members of Islet climbing on the speakers and banging their sticks on the roof. The second was at Clwb Ifor Bach and was the least manic as their was a metaphorical barrier between audience and band maybe due to the bigger venue. In response to this, a gig and the gritty, sweaty, cramped setting of Undertone was anticipated to be very manic.
There is no ignoring Islets stage presence: somewhere between fear, respect and intrigue are my feelings as they beat the drum rims in a primeval manner whilst bouncing around the room (How they bounce so high I'm not sure). The band switches instruments when they fancy which shows their free flowing approach to music and it gives the impression that everything happens by chance and luckily, by chance, its bloody good. Sometimes the guy with the handlebar mustache comes bounding into the crowd chanting their tribal song, head banging and knocking peoples drinks all over the place. The crowds reaction to this is interesting, some find it amusing and some are just plain frightened. Unfortunately everyone was too nervous to start bouncing around with Islet and generally going mental, like Islet. It's not the standard of music wasn't good enough, just people we're intimidated by their unusual approach to live music. In terms of the actual performance, it was spectacular and I can't wait to see them again.
Broken Bells was one of my favorite albums from last year which was both due to the fact that I was hankering after new Shins material and because Mercer and Brian Burton aka Danger Mouse proved to be a formidable duo. Burton's torrent of creativity has not ceased to carve its path through various genres and will no-doubt influence many to come.
The first song, The Theme of Rome sets the tone for the album but its got about as much to do with the city as Clint Eastwood as it sounds like a Spaghetti Western Soundtrack. In fact the original choir from The Good the Bad and the Ugly have been resurrected for the backing vocals. However don't let this make you think its another variation of the 60's revival.
Given Burton's visionary approach to his musical endeavors, it makes sense that any guests on the album should be of similar prolificacy. Jack White, a man of equal ambition and who, like Burton seems to have endless talent, features on three of the songs. As the album is decidedly bluesy, White's delicate voice translates well. Also his theatrical nature fits the peculiar, psychedelic tone of the album. You will have heard first single Two Against One where Jack White sings about battling with the mind over struggles with self-loathing and insecurity. I particularly like the use of harpsichord contrasted with the themed Mexican feel.
Norah Jones similarly bluesy but more provocative voice has been used as a romantic counterpart for Jack White in this paritcular Spaghetti Western. Her country influence sits well with the imagery of ol' towns in the Sanatana Susana Pass in Ventura county, California.
A favorite of mine is The Gambling Priest which reminds me of music from the time of the vietnamese war. It also demonstrates, along with many other songs particularly the interludes, the influence of composer Daniele Luppi as they have the feel of a movie soundtrack. This is not to detriemntal effect but merely removes another boundary in that film scores are highly accomplished pieces of music and who says that style can't be incorporated into a chart album.
Burton takes on music from all eras and genres which can include at any time, Spaghetti Western, Baroque and blues rock. This combined with eery vocals does make the album have a deranged feel and makes it impossible to pigeon hole. But I guess that is Danger Mouse's game; pushing past genre boundaries, soaring above the squabbles over which music is what and creating something completely new.
