You could describe the music of Sevendeaths as something very visceral. His sound seems to punch right through you, shaking out your ears in order to reveal itself to you. His latest release Concreté Misery is gripping, dark thirty minutes. It is a combination of cold stone techno with foggy white ambience: it’s an intriguing combination and a thrilling listen. The EP’s opener “Petrograde” serves as the best taste of Sevendeaths and truly is a modern masterpiece. It has a sublimeness to it yet feels absolutely based in the earth: it feels like a vision from the past of the future.
While catching the new LP from Los Angeles’ own house maker Magic Touch, we found that he was collaborating with a Brooklyn artist in the same world, Octa Octa. Both are 100% Silk labelmates so it makes sense that they be together but Octa Octa has a little something extra to him that is quite enveloping. He’s making big open house jams intended for you to walk around and soak yourself in rather than dance in and dance out of. It’s certainly body music but, as he describes it, is ultimately “boring house.” That’s kind of a joke (as his music isn’t boring) but it’s intended to be listened to and to connect with not just tune out on while you bump and grind. The best example of this is “Further Out,” a luscious eight minute example of contemporary house music done right.
I have to admit, Fez was a very frustrating game for me. It started out really fun but then it began to boggle my mind and I couldn’t figure out what to do. Still, it had a kick-ass soundtrack by Disasterpeace, a Berkeley based musician who really helped bring the game to life. I’ve been listening to the soundtrack a lot lately while I design/write, fitting perfectly into the background and not distracting me.
You can listen to the whole thing by clicking that little play button above, or if you have Rdio you can click here and listen to it.
This morning I decided to go for a run (the first time in quite a while) and threw on the new Tycho album Awake to accompany me. It turned out to be a great choice, the songs having this driving quality, like an upbeat soundtrack to your life. Clocking in at around 36 minutes it seems like it almost was made for a morning run.
It’s been a rainy couple of days here in Los Angeles, a rarity for sure, but it certainly creates a nostalgic feeling. It made me think of this oldie from The Rolling Stones called “As Tears Go By”, one of the Stones’ first original songs. It’s a lovely song which is a vast departure from their later material, with gentle vocals and lush strings flowing throughout it. If it happens to be raining where you are, open the windows and put this on repeat, I promise it’s perfect.
Crazy enough, Avey Tare (from Animal Collective), Angel Deradoorian (from Dirty Projectors), and Jeremy Hyman (from Ponytail) got together and started a new little band called Avey Tare’s Slasher Flicks. They posted a song on to the Animal Collective Soundcloud a few weeks back called Little Fang and it’s pretty sweet. Reminds me a lot of Ariel Pink (in a good way).
There is apparently a documentary coming out called I Dream Of Wires about the rise of the modular synthesizer, a musical tool that has helped in the popularization and accessibility of electronic music. The film explains and shares tales from successful musicians like Trent Reznor to Carl Craig in the hopes of explaining the relationship this item had in forming an entire musical movement. The project comes from a special place as it was written and directed by Robert Fantinatto along with co-writer and producer Jason Amm.
Amm’s involvement is quite significant as he is a respected musician working under the name Solvent. Naturally, his involvement has brought out some new music by way of him soundtracking the project. The first taste of the film’s sound is his song “Burn The Tables,” a six minute crisp, crunchy computerized jam.
It’s been six years since The Notwist released their last album and now the German trio is back with a new album that comes out today, titled Close To The Glass. I’ve been listening to a preview of the album on NPR for the past couple weeks and it’s certainly a solid record, a nice blend of guitar driven tracks and electronic melodies. Check out two tracks from the album below, or you can listen to the whole thing on Rdio by clicking here.
PANES are a fairly new London based band that there isn’t much known about yet. But! They must be pretty good if they’ve been able to tap fellow Brit and PAN label dude Lee Gamble for a remix. Gamble is of the current crop of electronic experimenters who are doing fantastic things with sound that bend in both the very abstract and rhythmic directions. 2013’s Dutch Tvashar Plumes is an excellent example of this. His work with PANES sees their otherwise Bass-y, trippy London pop sound scaled back to its bare ghostly center. That means in a very Gamble way removing the original’s vocals, all dynamism, and leaving the song as a minimized hum.
It almost felt inevitable. The reigning American kings of drone decide to team up with one of Norway’s greatest avant-garde bands. Ok, Ulver MAY have been black metal in the 90s, and Sunn O))) MAY be responsible for the current world of drone metal, and they MAY have collaborated 8 years ago as well. But there’s something different and special about this record now in 2014. Allegedly made during overnight sessions in Oslo, this inspired collaboration blends intricate orchestration and with restrained melodies.