Kuvatud on postitused sildiga Electronic pop. Kuva kõik postitused
Kuvatud on postitused sildiga Electronic pop. Kuva kõik postitused
2/10/2011
2/04/2011
Minisystem Live Above Ground (Basic_sounds)
This set of 4 notches reveals the sublime disposition of shuffling beats and warm fronts of melodic progressions around it, more exactly, setting the tone on the bubbling and tinny synth cadences/electro-inflected synth pop, IDM-esque wraiths, propulsive pop techno paces sometimes reminding of the workouts of Solvent. Similarly to Jason Amm, Jeff Lee aka Minisystem hails from Toronto, using an array of vintage keyboards and drum machines. Indeed, one of the biggest virtues of Live Above Ground is its lush analogue sound, which is used not to be common among the electronic music producers nowadays. Indeed, though I hint at Solvent above, Jeff Lee samples once Mira Calix (Goldenrod) and his sound can be placed between new and old, reminiscent of 70`s electro pop/synth music and its effects of outgrowing and departure from the full-electronic krautrock movement as well. Altogether, love it in the way as it loves you.
Listen to it here
9.1
1/31/2011
The KVB Beko_73 (Beko DSL)
Behind The KVB is a man named as Klaus Von Barrel who comes from Southampton, England. He is previously known as a guitarist in the line-up of the gothic/post-punk band Suicide Party. His 3-track EP under Beko DSL is essentially rock and roll music even by nowadays variety and omnipotence. Imagine a kind of New Order which is line-upped with Ian Curtis and his murky seethings and introspective wraiths. Or like Bauhaus with a more synthetic approach. In a more concrete way, the concept is focused upon an impressive mix of throbbing synthezised rhythms, drilling acid-filled sonic coats, dark-hued synth clouds, impassive sense of vocal manner, rattle and brusque guitar massives, and whistling feedback which purposefully come forth to flutter again and again.The whole is here to be destroyed by itself and thereafter to be re-created for itself. A forceful destroyer and reminder simultaneously, indeed.
Listen to it here
9.7
1/29/2011
[Compilation] VV.AA. - Rock Against Mommies vol. I: Attack Of The Space Mommies (Kill Mommy)
Don`t be afraid of the Sicily-based label Kill Mommy Records` slogan which suggests that this is a label for homemade rock`n`roll for amateurs. In fact, this so-called amateur-ish music has its powerful output and subtle sense of feeling which often overweights lots of examples regarding so-called established (indie) music. Here are 25 tracks represented showcasing a retrospective cut about the label`s active period during the last 2 years including such artists like Vanny Zero, Nowhere Boy Simon, The Last Merendina, The Big Wireman, Thee Undead Big Blues Shit, With Bubble In The Jungle, Dead Bugs, Ryan Patrick, Cafè Bakunin, Stereo Moon, The Brazierlights In The Window, Johnny Hoodoo, Vaqueros Paganos, Quint Baker, Jim Guittard, Ana Threat, My Pal Dragon, Plakonik Projekt, Thedirtycoast, Therese De Genova, Jon E. Erkkila, Sbirros, Gone Fishing, Mumble Mumble Mumble, and Billcarson. In a more concrete way, here can be heard such kind of music which veers from crackly blues and rockabilly madness to sophisticated alt-folk/folk indie/weird folk experiments and catchy indietronic jams, from psychedelic garage shootings and schizoid strummings to new wave and austere, roots-influenced string music from straightforward grrl riot punk to rough, even exorcized bass gears of psych-rock. The geographical range is also ultramundane: from Italy to USA, from Canada to Scotland, from Argentina to France, from Brazil to New Zealand, from Austria to Denmark. One cover can also be found from here:Nancy & Frank Sinatra`s Something Stupid by Vaqueros Paganos.
Listen to it here
1/17/2011
1/15/2011
[Compilation] Various Artists - 23 Evergreens Vol.2 (23 Seconds)
The Gothenburg-based label 23 Seconds has been a crisscrosser of different indie styles or at least strongly indie-infused electronic pop genres for some years. Here represented 23 tracks released inbetween 2008-2010 do offer a proper overview about the backbone of the label. No doubt, the selection compiled by H Johan Lundin and Jesper Larsson is decent enough reflecting upon some exceptions as well - hip-hop (Dynamo 414; Conspiracy of Mind) and trance-induced bubblegum rave (Clone DJ) and post-metal (The Big Sleep In Search Of Hades). The other artists include Henrik Josè, Azoora, Jenifer Avila, Shampoo Tears, Azeda Booth, Adam & Alma, Ixtlan, Danish Daycare, Cosmic Spring, The Womb, Azoora, Can`t Stop The Daggers, and Emerald Park.
Listen to it here
1/01/2011
Hong Kong In The 60s Places (Bandcamp)
Hong Kong In The 60s is a London-based trio, lined up by Mei Yau Kan (vocal, guitar, keys), Christopher Greenberg (vocal, guitar, keys), and Tim Scullion (vocals, guitars, keys). Their 8-track sophomore Places EP - the follow-up to the Willow Pattern Songs EP (2009, Proper Songs) is full of mesmerizing, chillout/easy listening-soaked shards, dominantly loaded with the space age pop and exotica pop sensibility. Indeed, they are deeply get involved in mighty psychedelic grooves to draw upon kinds of moods and shades popularized by Jean-Jacques Perrey, Gershon Kingsley, Mort Garson, and the Barrons approximately 4 decades ago. As you have figured out yet, indeed, a set of simplistic and robust yet catchy, a bit dreadful, altogether full-blown, synth-based melodies-harmonies and burbling cadences can be expected for. Almostly, though. One of the two exceptions is A Bad Night Out which is into the exploiting of vintage-looking, downbeat-drenched Latin rhythms (of course, mingling it with electronic effects). The second feature is Disintegration The Advisory Circle Reshape, as the title admits, it is not their own creative output, playing out a notch of contemporary indie electronica/indietronica/poptronica/glo-fi. By the way, the release name of this Sean O`Hagan-afforded group is obviously used to be a hint at their vast scale of their nowadays and previous residing places/countries (The UK, Hong Kong, Brazil, Japan, Spain, Africa). In a nutshell, without some exceptions, as it is noticed above, it is an excellent quasi-retrospective/retrogard-ish outlook.
Listen to it here
9.8
Atlas Sound Bedroom Databank Vol. 2 (Atlas Sound)
This release is my personal favorite exemplar of the 4-part Bedroom Databank series. 16 tracks do show up a crafty balance between strumming, guitar-relied pop and computer-processed electronic experiments, or thirdly, a mix of both which, more detailly, reminds on its fluctuant approach of Deerhunter`s Weird Era Cont. (2007, Kranky). No doubt, Bradford Cox is a hero between so-called established, commercial music and free webaudio world. Moreover, his special juxtaposition to those realms does not even make so much sense as much of his workouts under the moniker Atlas Sound and Deerhunter-related deeds which can be considered as one of the most essential hallmarks on contemporary indie music. Obviously his later profilic approach occurred in letting out music from his old tapes might closely be related to his health condition. By having managed to push down more musical fingerprints over into the present, past, and forthcoming future, by this point of view, his action may have a metaphysical and religious background. As I noticed above the album is a fluctuant integration of both electronics and natural strings realized off into a warble, merry-go-round-alike whole, being at times folk-ish, the second time blues-infected, on the other hand, the last track Here Come The Trains is an embarassing cosmic blues-y, krautrock-heeled notch.
Listen to it here
9.2
12/27/2010
A Sunny Day in Glasgow Autumn, Again (ASDIG)
Ben Daniels-headed Philadelphian sextet released the third album, as a total sum, having the longitude of 33 minutes on 11 tracks. Vis à vis with their previous, shoegaze-meets-doo wop album Ashes Grammar (2009) it is used to be a bit more straightforward shoegaze/atmospheric/electronic pop release, though, in principle, the basic elements for manipulating to get involved in new patterns are previously the same ones, featuring catchy harmonic walls, burbling keyboard surfaces, blissful, female-based vocal oozings, fuzz-infused guitars, and lo-fi-inflected, synth-driven, rough-formatted cadences at times. Aside 100/0 (Snowdays forever), which sounds as a shoddily nude tribute to Stereolab and Laetitia Sadier, it might be watched upon it as a possible go-ahead, even rock-ish format for the English-French combo. Yet, nowadays, when Stereolab might be considered as an ensemble without its proper place and time, reflecting via retrodelic memories upon the past time cliches only while ASDIG has much more to add for, because of having incorporated the influences by the poptronica/chillwave movement and vital shoegaze hooks as well.
Listen to it here
8.7
12/21/2010
Crookram Through Windows (Budabeats/Bankrupt)
Yesterday as a whole day was quite nervous, nothwithstanding (or because of) I had crammed up lots of guitar-based and machine-created releases into and overhead my head. On the other side, at the very ending of the day Crookram`s sophomore issue being recorded after 2008`s 19/76 (in the meantime, the joint EP Escape by Crookram and Sagesse was issued as well) offered vital change at a different point of view. 19 tracks of less than 53-minute duration by the Netherlands-based musician are crisscrossed via cinematic samples obviously derived from the Mediterranean culture room, more concretely, reminiscent the workouts by the likes of Caravelli, Mauriat, and Morricone, being finely accomplished by funky fusion-infused bass lines, hip-hop echoes, which, sometimes, will turn into Stereolab-alike electronic indie tunes via nailon-stringed bass gears, subtly overfloating orchestrated proceedings and vibraphone-embellished frames. Moreover, it is an idiosyncratic chilled out electronic pop where, for instance, ukulele`s (sample-approved) appearance can be happened in the same picture with sampledelic electronic hoverings and otherworldly charged chants. The album Through Windows, one of the favouritest of 2010, is released on the records Budabeats and Bankrupt, respectively.
Listen to it here
9.4
12/17/2010
Raindeer Raindeer EP (Bandcamp)
Raindeer does consist of three lads - Charlie Hughes (vocals, synth), Devin Byrnes (synth), and Beau Cole (guitar, bass) - coming from Baltimore, Maryland, a town being once home for Animal Collective. Vis à vis with Collective, besides the trio`s aesthetical heritage originating from similar (post-)psychedelic breeds and DIY-based conceptions and lo-fi-infused common ground their start, however, is not a less impressive opening at all compared to the very launch by Avey Tare-Panda Bear circa 10 years ago, more concretely, being soaked in a rousing mix of electronics and indie pop and subtly nudging at their boundaries and zones. Yet, those 6 tracks of the debut issue are remarkably more extrovert and pop-oriented encompassed by broad yet intelligent postures and caustic keyboard (under)currents, the kind of reminiscent of those played up by the English innovative pop group Space in the last years of the Britpop-era (the track The Green Lights), and MGMT as well. Of course, there can be found out some similarities with the later-era Animal Collective, which drove some obduarate Collective`s fans to despair (Dark Place). On the other side, fortunately, Raindeer is able to avoid this kind of ostentatious artistical shelves cranking out of emotions being anchored at a subject`s genuine sensitiveness. No doubt, the trio is able to master crafty pop numbers, for instance, the ending This Is My Last Transmission which at the outset is intentionally restrained to come off into a catchy even hysterical explosion.
A solid debut, indeed.
Listen to it here
9.2
12/16/2010
12/14/2010
I Have A Box Bunnies (Fwonk)
This 6-track set of a debut album consists of a subtle net of indietronica/poptronica, caustic electronic pop, fusion, downtempo and post-rock as well, having its roots apparently set in the synthetic approach of obscure bands in the 70`s, of kosmische musik, more detailly, drifting between rock-esque sensitivity and ambient music, respectively. So it is placed between soothing and dynamic, between static and trippy, having mainly based upon extended guitar chords, unarticulated but epic vocal segments, cluster-laid rhythm sections (sometimes march-angled) and airy or shimmering synth wisps coiling up into the upper dimensions at times. In a kind of weird way, it can be considered either austere or lush at the same time. In a nutshell, if you are used to be a sympathizer of GY!BE, Air, Monokle, or God Is An Astronaut, this album is up here to be directed for you.
Listen t it here
9.2
Tellimine:
Postitused (Atom)