I was digging through covers of Radiohead songs on Soundcloud when I came across this gem by Craig McMahon, his version of “Kid A”. It’s all instrumental, a combination of xylophone, oboe, a little bit of drum, and a roaring bit of synths. I like that it maintains the virtue of the original with it’s own unique take. A lovely little late night tune.
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.
You can listen to the whole album over on NPR by clicking here, and if you want to listen to the album on your own run download the NPR Music App.
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.