For the last few days I’ve been listening to this great mixtape which highlights the last 15 years of Ghostly Records. It was put together by Nachtschade, a Belgian duo who’ve woven together tracks from Ghostly’s massive roster of artists such as Tycho, Shigeto, Gold Panda, Michna, and a ton more. It’s got a really mellow vibe overall which has been nice to listen to while driving around or while I’m at my desk working.
Discovered this new mix over the weekend from BAIO, the DJ name of
ex-Vampire Weekend bassist Chris Baio who now goes around making great jams. Overall the mix has this really bright, vibrant sound to it which in my opinion is a perfect way to start the week out. Welcome Monday!
Editor’s Note: My bad, I swear I read that Ezra Koenig left the band, thus ending it. Seems I was crazy.
Alexander Chen, a Creative Director at Google Creative Lab and all around talented guy, has created an interesting web app called Piano Phase.
This site is based on the first section from Steve Reich’s 1967 piece “Piano Phase”. Two pianists repeat the same twelve note sequence, but one gradually speeds up. Here, the musical patterns are visualized by drawing two lines, one following each pianist.
It’s fascinating to see something complex like Steve Reich’s work visualized. Doing it graphically and using only code is so mesmerizing, and although it’s only 12 notes repeated over and over, the phasing effect is intriguing. Check out the video below for a preview.
Denver-based band Tennis released a new single not too long ago which is off of their upcoming album Ritual in Repeat, due to be released September 9th. The track is titled “Never Work For Free”, a credence any creative should hold true. If you love this be sure to check out “Mean Streets”, one of my favorite songs of last year.
Future Classic casts a wide net of sounds, certainly. While we can say they’re purveyors of contemporary dance music, they seem to also get into Australia’s burgeoning synth pop / rock scene. This draws from a lot of different resources – shimmering electro-pop, gritty grungy roots, and that inevitable influence of the sun reflecting off the ocean. No music (or art, for that matter), exists outside its influences or environment, and Jarrah McCleary’s project, Panama, synthesizes the sea and sky into a digital backdrop. McCleary emerged from Darwin, Australia, moved to Perth and then then Sydney. Somehow he found himself starting Panama in Los Angeles. ‘Always’ is their second EP, recorded in San Francisco, a glimpse into their growing indie electronic career.
Comprised of three tracks and three remixes the EP could feel like a truncated examination or even incomplete. The title track, light, airy and breezy, will be the backdrop of so many summer make-outs and road trips. The lyrics betray someone being forced outside of their shell, “Deep down you said I’m a coward when it comes to love / Deep down your words changed my mold.” The second track, “How We Feel,” remains upbeat with that now-classic Australian indie house sound. “Destroyer” fits in the classic 80s synth pop update, moody and pulsating. The EP ends with 3 remixes, “Always” getting treatment by Classix and Wave Runner while “Destroyer” getting touched up by Cosmos. But for me? That remix by Classix is unreal, funkify-ing an already intoxicating rhythm. It’s my early favorite for the 2014 epic mixtapes (including my own) and that-song-you-want-to-give-your-lover. Panama may be a young project but it’s the product of adventure and travel, captivating like the road and the ephemeral moments on it.
It’s been four long years since electronic musician Caribou released a new album. Thankfully come October 7th he’ll be releasing Our Love, a 10 song affair which features the likes of Jessy Lanza and Owen Pallett. Yesterday he released the first single from the album “Can’t Do Without You” which fits the title of the album so appropriately. This track is a little more dance-y and sample heavy than what we heard on Swim, his last album, but it still feels distinctly Caribou. Really looking forward to this one.
Maybe it’s the fact that cultural imports only take seconds to receive, or that you don’t need to go through customs for digital transactions, but the amount of music coming out of Australia right now has been awe-inspiring. This to some extent has a lot to do with the record label Future Classics. Started in 2004 in New South Wales, this alternative disco/house/electronic label is most certainly responsible for the wide variety of sounds that make up the popular music of 2014. For the month of May I’ll be profiling some of the future classics of Future Classics, starting this week with Chet Faker’s LP, Built on Glass.
Ted Feighan, better known as Monster Rally, is an unstoppable musician and artist who’s creativity knows no end. Last month he released yet another EP titled Sunflower which I’ve been listening to a lot lately.
The Sunflower EP was inspired by an old vinyl audio travel guide to visiting Japan. Various physical spaces during inhabit each of the four tracks, intending to evoke wandering on the street, listening to musicians, having some drinks at a hidden jazz club, walking in a beautiful garden, and drifting into a blissful dream.