terça-feira, 31 de março de 2009
domingo, 29 de março de 2009
Kris Menace
"Kris Menace is set to release a three-disc set of his work in April. Entitled Idiosyncrasies, the collection will feature 37 Menace productions, including his 2005 hit "Discopolis" the track that propelled him to fame after it got picked up by UK label Defected. Menace's previous collaborations with Alan Braxe, Lifelike and Fred Kris Falke are all included on the first CD, in addition to new material from his sessions with Felix Da Housecat, and UK breakbeat acts Spooky and Hexstatic, while disc two is generally more relaxed in tone, with Menace experimenting with atmospheric electronica and warm, blissful ambience. As if that wasn't enough, you get an extra CD which compiles eleven of Menace's major label remixes, including re-rubs of The Presets, Metronomy, LCD Soundsystem and Underworld. Compuphonic/New State Music will release Idiosyncrasies in April 2009."
quinta-feira, 26 de março de 2009
Crystal Antlers
Crystal Antlers "Andrew"
"Crystal Antlers were once a band of chimneysweeps-doing door-to-door hustle with broom and top hat all across the same California suburbs responsible for Saccharine Trust and the Middle Class, and after a long day up on the roof they'd return to write songs that went spiraling into space. (Early favorites like "Parting Song For The Torn Sky" and "Until The Sun Dies, Part 2"-even then, they were always looking up!) They covered Mose Allison and Chocolate Watchband, had their van stolen and then returned because of their sheer karmic purity, and grew from a viciously untamed bar band to fringe-psych explorers of the first order. Their first full-length Tentacles presents their permanent line-up-singer/bassist Jonny Bell, guitarist Andrew King, drummer Kevin Stuart, organist Victor Rodriguez, percussionist Damian Edwards and original guitarist Errol Davis back for reinforcement-in full roar.
By now, they've played almost everywhere: shows at the shuttered Mondo Video-home of various outré porn shoots, where photos of band members' vitals were reportedly displayed on the wall-and at biker (leather kind, not spandex kind) fests in Vegas and metal fests in Reno and hill-top tee-pees in Los Angeles and even aboard a supercharged speedboat cutting messy diagonals in the Pacific with Crystal Antlers planted resolutely between the amplifiers and the mini-fridge. Their veggie-powered national schoolbus tour this summer burned in their road credentials, but they have their sea legs, too. (In fact, Bell is a certified Sea Scout-the amphibious division of the Boy Scouts.) By the time their self-titled EP (produced by the Mars Volta's keyboardist Ikey Owens) was re-released on Touch and Go-and by the time it got an 8.5 rating on Pitchfork that predicted a "triumphant full-length"-they'd already sold five thousand copies by word-of-mouth. By the time you read this, that full-length will be finished.
Tentacles finds the Antlers exploding through the unclaimed space between .60s garage toughs like the Music Machine and the Misunderstood, red-eyed noiseniks like Guru Guru and Les Rallizes Denudes (whose ever-present turbine whine serves as the sound of the Crystal Antlers' circulatory system) and the mechanized motor-soul of Osmium-era Parliament. Raw want meets raw power on songs like the title track and "Until The Sun Dies Part 1," which push "Black To Comm" break-outs into "What's Goin' On?" sentiments while the trademark Antlers organ howls at lights on the horizon. Between the screamers come the scenery-the Pharoah Sanders-style sax snippets that confetti the end of "Sun Dies," the gentle oceanic drone-poem "Vapor Trail," the album intro that sounds like Blue Cheer chasing Terry Riley's "Rainbow In Curved Air." It's an album that functions as an organism-it breathes, it sleeps, it wakes up hungry and ready to chase something down."
@http://www.touchandgorecords.com/bands/band.php?id=113
"Crystal Antlers were once a band of chimneysweeps-doing door-to-door hustle with broom and top hat all across the same California suburbs responsible for Saccharine Trust and the Middle Class, and after a long day up on the roof they'd return to write songs that went spiraling into space. (Early favorites like "Parting Song For The Torn Sky" and "Until The Sun Dies, Part 2"-even then, they were always looking up!) They covered Mose Allison and Chocolate Watchband, had their van stolen and then returned because of their sheer karmic purity, and grew from a viciously untamed bar band to fringe-psych explorers of the first order. Their first full-length Tentacles presents their permanent line-up-singer/bassist Jonny Bell, guitarist Andrew King, drummer Kevin Stuart, organist Victor Rodriguez, percussionist Damian Edwards and original guitarist Errol Davis back for reinforcement-in full roar.
By now, they've played almost everywhere: shows at the shuttered Mondo Video-home of various outré porn shoots, where photos of band members' vitals were reportedly displayed on the wall-and at biker (leather kind, not spandex kind) fests in Vegas and metal fests in Reno and hill-top tee-pees in Los Angeles and even aboard a supercharged speedboat cutting messy diagonals in the Pacific with Crystal Antlers planted resolutely between the amplifiers and the mini-fridge. Their veggie-powered national schoolbus tour this summer burned in their road credentials, but they have their sea legs, too. (In fact, Bell is a certified Sea Scout-the amphibious division of the Boy Scouts.) By the time their self-titled EP (produced by the Mars Volta's keyboardist Ikey Owens) was re-released on Touch and Go-and by the time it got an 8.5 rating on Pitchfork that predicted a "triumphant full-length"-they'd already sold five thousand copies by word-of-mouth. By the time you read this, that full-length will be finished.
Tentacles finds the Antlers exploding through the unclaimed space between .60s garage toughs like the Music Machine and the Misunderstood, red-eyed noiseniks like Guru Guru and Les Rallizes Denudes (whose ever-present turbine whine serves as the sound of the Crystal Antlers' circulatory system) and the mechanized motor-soul of Osmium-era Parliament. Raw want meets raw power on songs like the title track and "Until The Sun Dies Part 1," which push "Black To Comm" break-outs into "What's Goin' On?" sentiments while the trademark Antlers organ howls at lights on the horizon. Between the screamers come the scenery-the Pharoah Sanders-style sax snippets that confetti the end of "Sun Dies," the gentle oceanic drone-poem "Vapor Trail," the album intro that sounds like Blue Cheer chasing Terry Riley's "Rainbow In Curved Air." It's an album that functions as an organism-it breathes, it sleeps, it wakes up hungry and ready to chase something down."
@http://www.touchandgorecords.com/bands/band.php?id=113
Passion Pit
"Passion Pit’s first EP, a flawed yet charming little electronica ditty, seems too personal and inside-joke laden to get a fair critical take. Chunk of Change was Michael Angelakos’ belated Valentine’s Day gift for his girlfriend, but it was made public by Frenchkiss, the dudes who brought us Les Savy Fav and the Hold Steady. Chunk of Change almost certainly works better as a mixtape for Angelakos’ sweetheart than for a larger audience, but there’s still plenty of intrigue and promise to be found mixed in among the more-than-occasional annoyance.
Some see Chunk of Change closer/first single “Sleepyhead” as the standout, but that track doesn't do it for me. "Sleepyhead" simply seems like a late-'90s pop-hip-hop song minus the rap. The song that most grabbed my attention was opener “I’ve Got Your Number,” maybe the first one I’ve ever heard that I’d willingly describe as “electro-twee” and certainly the first one close to that style that I liked. It's the only time on the album that Passion Pit was able to draw some genuine pathos that extended beyond in-joke material. The other promising tracks are either bogged down by vague self-righteousness (the funky “Cuddle Fuddle”) or have all their power destroyed by poaching (the chorus of “Smile Upon Me” was stolen directly from “All My Friends”).
Despite Chunk of Change's flaws, Angelakos shows real promise as an innovative electronic-song weaver. Promise is, of course, what EPs are supposed to show, not immediate brilliance. Even still, Passion Pit’s style feels dated by a few years. Angelakos certainly has the tools to carve his niche, but he may have to whittle his niche a little differently in the longer term."
http://www.prefixmag.com/reviews/passion-pit/chunk-of-change/21300/
Band: http://www.myspace.com/passionpitjams
Label: http://frenchkissrecords.com
Have you seen me cry
tears like diamonds?
Down and down they fly,
Faster and faster
Like the speed of our love
Batting a thousand
But a home run crack at love
This is where I tell you that
I know love's what I need to work at
Some see Chunk of Change closer/first single “Sleepyhead” as the standout, but that track doesn't do it for me. "Sleepyhead" simply seems like a late-'90s pop-hip-hop song minus the rap. The song that most grabbed my attention was opener “I’ve Got Your Number,” maybe the first one I’ve ever heard that I’d willingly describe as “electro-twee” and certainly the first one close to that style that I liked. It's the only time on the album that Passion Pit was able to draw some genuine pathos that extended beyond in-joke material. The other promising tracks are either bogged down by vague self-righteousness (the funky “Cuddle Fuddle”) or have all their power destroyed by poaching (the chorus of “Smile Upon Me” was stolen directly from “All My Friends”).
Despite Chunk of Change's flaws, Angelakos shows real promise as an innovative electronic-song weaver. Promise is, of course, what EPs are supposed to show, not immediate brilliance. Even still, Passion Pit’s style feels dated by a few years. Angelakos certainly has the tools to carve his niche, but he may have to whittle his niche a little differently in the longer term."
http://www.prefixmag.com/reviews/passion-pit/chunk-of-change/21300/
Band: http://www.myspace.com/passionpitjams
Label: http://frenchkissrecords.com
Have you seen me cry
tears like diamonds?
Down and down they fly,
Faster and faster
Like the speed of our love
Batting a thousand
But a home run crack at love
This is where I tell you that
I know love's what I need to work at
Magic Wands
WHITE LIGHT MY TIME HAS COME...
"The story behind the formation of The Magic Wands, AKA Chris and Dexy Valentine, is like the plotline of some lost American literary classic. The first time the two of them met was for five minutes outside a gig in Hollywood in 2006 when Chris was visiting Los Angeles for the weekend. A year later and back in Nashville Chris found a song on MySpace that he listened to repeatedly called ‘Teenage Love’. When he discovered it was a song by Dexy he sent her a message."
There is a crescent key
that locks a hole in the door
into the pit of your heart
the future is the reward
white light my time has come
all night out on the run from black magic
"The story behind the formation of The Magic Wands, AKA Chris and Dexy Valentine, is like the plotline of some lost American literary classic. The first time the two of them met was for five minutes outside a gig in Hollywood in 2006 when Chris was visiting Los Angeles for the weekend. A year later and back in Nashville Chris found a song on MySpace that he listened to repeatedly called ‘Teenage Love’. When he discovered it was a song by Dexy he sent her a message."
There is a crescent key
that locks a hole in the door
into the pit of your heart
the future is the reward
white light my time has come
all night out on the run from black magic
Bat For Lashes - Two Suns
I FOUND A HOME IN YOUR EYES
"Bat for Lashes second album sees Brighton's Natasha Khan introducing some special guests, notably Scott Walker and Yeasayer, and, more bizarrely, her alter-ego, Pearl, described by the press release as "a destructive, self-absorbed, blonde, femme fatale of a persona who acts as a direct foil to Khan's more mystical, desert-born spiritual self."
The bombastic release goes on to explain that the follow-up to Mercury Music Prize nominated Fur and Gold is "a record of modern-day fables exploring dualities on a number of levels – two lovers, two planets, two sides of a personality," with Khan meditating on "the philosophy of the self and duality, examining the need for both chaos and balance, for both love and pain, in addition to touching on metaphysical ideas concerning the connections between all existence."
Daniel, when I first saw you
I knew that you had a flame in your heart
And under wild blue skies
Marlboro ruby skies
I found a home in your eyes
And we'd never be apart
"Bat for Lashes second album sees Brighton's Natasha Khan introducing some special guests, notably Scott Walker and Yeasayer, and, more bizarrely, her alter-ego, Pearl, described by the press release as "a destructive, self-absorbed, blonde, femme fatale of a persona who acts as a direct foil to Khan's more mystical, desert-born spiritual self."
The bombastic release goes on to explain that the follow-up to Mercury Music Prize nominated Fur and Gold is "a record of modern-day fables exploring dualities on a number of levels – two lovers, two planets, two sides of a personality," with Khan meditating on "the philosophy of the self and duality, examining the need for both chaos and balance, for both love and pain, in addition to touching on metaphysical ideas concerning the connections between all existence."
Daniel, when I first saw you
I knew that you had a flame in your heart
And under wild blue skies
Marlboro ruby skies
I found a home in your eyes
And we'd never be apart
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