Teki Latex and DJ Orgasmic’s online label Sound Pellegrino has announced the launch of a series of collaborative EPs. The first collaboration to take place will be Night Slugs co-owner Bok Bok and Swedish producer Tom Trago.
Jamie XX shouldn’t really need introducing. But just in case you’ve been living in space for the last few years, he rose to fame as the drummer in seminal post-Dubstep indie band The XX before remixing Gil-Scott Heron’s final album ‘I’m New Here’ to what could only be described as critical sycophancy.
Whatever I was expecting when I started listening to Dominick Fernow’s new record was completely shattered the moment the opening track, ‘Many Jewels Surround The Crown’, starts. The second you hear the bloodcurdling scream at the beginning, it becomes obvious this will be unlike anything you’ve ever heard.
If you’re as excited as us about the new Modeselektor LP, you’ll be positively giddy to learn you can hear a track from the new album already. The new album, ‘Monkeytown’, has been a long time coming and is already whipping up a lot of interest across the interwebs.
Whatever kind of music it is that James Blake produces, he’s done some more of it and it’ll be released soon in the form of a six track EP. The new EP, entitled ‘Enough Thunder’, is said to include ‘Fall Creek Boys Choir’, his recent collaboration with Bon Iver which has already made waves on BBC Radio 1.
The new EP also promises a Joni Mitchell cover (‘A Case Of You’) and four other original productions. ‘A Case Of You’ has long been a favourite for his live sets and will no doubt excite fans of his much-celebrated brand of down-tempo electronica.
‘Enough Thunder’ comes out October 10. There isn’t a lot to say besides that, but we’ll keep you updated when we hear more.
In preparation for his new album, California-based Shlohmo has just put out a mix for FACT magazine. As a response to his continued association with the “LA Beatmaker” scene, he’s put together an incredibly diverse mix; Tears For Fears, Three 6 Mafia, Charles Manson and Tom Waits all feature
Bit too much R&B for my tastes but Tears For Fears, Tom Waits and Charlie Manson were a treat, albeit a jarring one. I really like the shaky quality and the track listed simply as “Broken Sinead O’Connor tape” is pretty funny; like a DJ’s very first attempt at scratching.
This is what Shlohmo had to say about his FACT mix: “I listen to a lot of different shit, so it’s kind of all over the place, both in genre and in sound quality. There’s some old shitty 64kpbs mp3s, some found cassettes, some broken cassettes, some music by friends, some Charles Manson, some screwed and chopped, you get it all.”
Download the mix below by clicking on the arrow on the right. It’s only available for three weeks, mind, so grab it now.
Central to this LP’s sound is multi-instrumentalist Chris Ward’s use of the Rhodes keyboard, a piece of equipment traditionally used in Jazz Fusion. Ward’s use of the Rhodes keyboard would certainly explain the rich, almost supernatural air to tracks such as the opener ‘Navajo’. The shimmering echoes emanating from the machine do have an air of familiarity, almost nostalgia, that feels simultaneously warm and cold.
From what the blurb on Planet Mu tells us, Ward is more concerned with channeling his own musical history through new technologies than putting his own spin on any musical trends pervading the airwaves and blogosphere. Instead, his music remains separate, in its own little bubble. It doesn’t care if you like it.
On tracks like ‘Wear Out’ Ward even sounds like a particularly ethereal Wayne Coyne as beautiful laid back vocals drift over sweet little melodies. It’s staggering that this is only his first album; the level of maturity in his approach to composition is comparable to that of a veteran producer, incorporating influences from across years.
I wouldn’t say this album was influenced by or part of any particular style floating around at the moment, but I would say it’s well-timed with the return of Deep House, Techno and abstract electronica. And you can expect to see a lot more of Chris Ward.
Title: Parodia Flare (Planet Mu)
Out September 19 on Planet Mu
David Lynch: Surrealist, filmmaker, writer, director, producer, artist and now musician? Well, that last one shouldn’t come as too much of a surprise given his recent dalliances with electronic musicians and producers over the last few years.
His relationship with music has always been a close one; whether it’s working with Barry Adamson, Angelo Badalamenti and later Trent Reznor on the soundtracks to his films or in nurturing and promoting emerging and underground talents. So it seems only logical that the next step would be to cut out the middle men and create his own music.
Which brings us to this new project. Sunday Best Recordings released his first single ‘Good Day Today’ last year which was widely acclaimed by fans and critics alike. Since then he’s been working on his debut album ‘Crazy Clown Time’, largely alone though it does feature the production talents of Dean Hurley as well as Karen O’s vocals on ‘Pinky’s Dream’.
The record will be released on November 8 via Sunday Best. You can peek at the tracklist after the jump.
IDM wunderkind Axel Willner, aka The Field, has been busy recently putting the finishing touches to his third album, ‘Looping State Of Mind’. The new collection is said to feature seven rather lengthy tracks and was recorded between Willner’s home studio and Kompakt‘s own Dumbo studios in Cologne.
Willner says the following of his upcoming album: “Some of the ideas stretching back to the debut are still there [in the music], but we’ve just made a real attempt to grow the sound.”
The new album is to be released on Kompakt on October 24.
To take on the task of remixing a revered bit of work like 2007′s ‘Shell Of Light’ is nothing short of ambitious – and brave for that matter. The reputation of Burial’s work precedes it; the cultural status of the record has rendered it archetypal Dubstep as well as a precursor for the “post-Dubstep” movement in equal measures.
To improve upon a track like this is no mean feat, but Shlohmo is actually pretty restrained in his approach. Slowing it down to almost half speed, he basically just spreads the sounds out, allowing them to breathe. The haunting vocals are subdued slightly, but the beautiful ethereal quality is left intact; a must for this track.