Sigur Rós made a live and studio return in 2012 with Valtari, and clearly they wasted no time in following that up. Kveikur is the name of the new record, and the now-three piece has stated that this album sports a more "aggressive" sound for the band. This is definitely represented on the first track to drop from the record "Brennisteinn", which is also the opening track. The band starts everything off with a bang, forgoing the crescendo for throbbing bass, pounding drums, and a genuinely dire and dramatic atmosphere that surrounds the entire 7-minute affair. However frontman Jón Þór "Jónsi" Birgisson sneaks in his trademark falsetto in a cool down in the middle of the track, and still finds a way to make it fit beautifully.
In a way this track is everything Valtari wasn't; loud, climactic, and in the band's own special way, "aggressive". I very much liked their last record but the band seems to be bringing together a huge change of pace here, and that change is very much welcome. Check out the track below accompanied by one of the most beautifully shot music videos I've seen so far in 2013, and look out for Kveikur when it drops on June 17 internationally and June 18 in the U.S.
(Be sure to follow Robby on Twitter @ClydeNut for more music ramblings and commentary!)
One of the most eccentric emcees to blow up in 2011 was Detriot's own Danny Brown who, with his 2011 album XXX, left his mark on abstract, weirdo, slightly satirical hip-hop. The album was weird, funny, disturbing, horrifying, and in the end slightly tragic. But Danny has maintained his popularity since then while his fans wait on a new album which is tentatively entitled Old, and set for release this year. Danny finally gave the album's first drop, assuming it's going to be on Old, in the form of "Kush Coma". Just a look at that title gives you the sense that Danny hasn't quite given up drugs as a songwriting topic. But thankfully this track doesn't feel old at all, and Danny is smart to choose a beat that's abstract, unique, and sort of atmospheric from SKYWLKR, who produced a good deal of the joints on XXX. Danny keeps his odd persona, maintains a high standard for spitting, and stays just as entertaining as ever. In short, this track is a win, and has me even more ecstatic to hear what he has in store for the remainder of his new LP.
Stream "Kush Coma" below via SoundCloud.
(Don't keep yourself in a kush coma and be sure to follow Robby on Twitter @ClydeNut for more music musings)
Recommended by Danny Spiteri.
U.K. producer Stephen Wilkinson as Bibio has been on a two-year clock with releasing new albums, with spring 2011 bringing us his previous LP, Mind Bokeh, and June 2009 seeing the release of its predecessor, Ambivalence Avenue. Wilkinson is continuing this cycle with Silver Wilkinson, another full-length which is set for a May 14 release via Warp Records. Below, stream the lead single from the record, "À tout à l'heure."
Before his previous two albums, Bibio's discography was relatively one-dimensional; he stuck to a fairly simple sound which paired the warped synthesizer sound popularized by Boards of Canada with densely layered acoustic guitars. It yielded consistently pleasant music, but Bibio's potential began to truly blossom with what seemed to be a creative explosion on Ambivalence Avenue. There, the producer incorporated the wistful, folk-influenced sound of his early work with detailed electronic beats and light, agreeable, vocals. Its followup, Mind Bokeh, traveled further down the path of variety, presenting a series of fantastic songs, though also suffering somewhat from its inconsistency. "À tout à l'heure" seems to be Bibio refining his sound in the aftermath of Mind Bokeh, though not to the point of sterility. Rather, it feels like an effective summary of Ambivalence Avenue: the evocative acoustic guitar lines, funk-influenced bass lines, breezy vocals, and groove-driven percussion are all in check. Bibio's versatility is one of his best assets, but "À tout à l'heure" is a reminder that it works best alongside discipline.
British artist James Blake, who doubles as a singer-songwriter and electronic producer, has turned quite a few heads throughout the past few years, most notably with a trio of excellent EPs in 2010, and a promising self-titled debut LP in 2011. He had a relatively quiet year in 2012, but the young talent is back with a new single and an album announcement. The former is titled "Retrograde," and will appear on Blake's sophomore record, Overgrown, which will see its release on April 8. Below, watch the disastrous video for the aforementioned single.
James Blake has already released a wealth of fantastic material, but perhaps his most fascinating aspect is that his music still sounds as if it has more to figure out about itself, indicating that a more developed future is in line. The CMYK, Klavierwerke, and, to a slightly lesser extent, The Bells Sketch EPs that came out in 2010 represented fully realized visions of a future garage producer, one who had his own distinct and rewarding take on the genre, but ultimately was still working within its confines. James Blake marked a major shift for the artist, bringing the vocal contributions which colored Klavierwerke to the forefront, and incorporating a heavy piano-driven singer-songwriter element, but all without abandoning the prominent electronic influence. It was a refreshing sound that came with many high payoffs, but also some undercooked moments which implied that Blake hadn't yet reached his apex. The album's most successful moments were those which saw him singing well-written songs over linearly building electronic production, such as "I Never Learnt to Share" or James Litherland cover "The Wilhelm Scream." Hopes for more tracks of this format were fulfilled with the release of "Retrograde," the lead single from Blake's next full-length offering. The singer delivers one of his most soulful performances yet, carrying out his lyrically minimal yet impacting lines with an earnest air. The vocals work in tight cohesion with the production; at possibly the track's most emotionally resonant moment, when Blake sings "suddenly I'm hit," the instrumentation explodes with a euphoric blast of buzzing synthesizers. These synths build steadily as the song progresses, lending it the sense of movement that marks his best material. It is among the finest demonstrations of the success Blake can reach when he channels each of his most noteworthy skills.
Recommended by Danny Spiteri.
Before I begin, I'd like to communicate just how much Flying Lotus's music means to me. My introduction to him came about via late night television block Adult Swim, who often uses his music as the soundtrack to the bumpers they air between shows and commercials. It was 2008, shortly after his Los Angeles LP was released, and at fourteen years old, I was but a budding music nerd, ignorant to the wider world of independent music outside of a small handful of artists to whom I devoted my fanaticism. The existence of the blogosphere was completely unbeknownst to me, so I relied on a limited set of sources to discover music, one of the most pivotal being Adult Swim. My foray into their repertoire, which was aided heavily by this website's extensive archival, opened me up to a wide array of electronic and hip hop artists, spanning the rosters of a handful of established independent labels. The most notable of which was Warp Records, home to electronic music pioneers such as Boards of Canada, Aphex Twin, Autechre, Squarepusher, Prefuse 73, Clark, and of course, Flying Lotus. My newfound fascination with these artists marked two landmark changes I made in my listening habits: expanding my focus to a wide variety of artists rather than obsessing over a few, and allowing independent electronic music to become my genre of choice. And yet, in spite of my enlarged attention span, I found it difficult not to obsess over Flying Lotus, the artist most responsible for sparking this transition in me. His strikingly original and experimental yet emotionally relatable approach to electronic music made a profound impact on me then, and it continues to resonate with me today. He is my favorite artist of all time, and accordingly, there will be an inevitable strain of bias running throughout this review.
Steven Ellison has been releasing full-length albums as Flying Lotus on a two year clock since 2006, birth year of his debut for Plug Research, 1983. Comparatively to the albums that would follow, 1983 was somewhat embryonic. Not quite as distinctive or sonically dense as the producer's definitive work, it also is currently his shortest and most disjointed LP, often feeling like a canvas for him to toy with his influences without fully developing his ideas. Despite that, 1983 is still a great record, housing some of Flying Lotus's most captivating songs, such as the melodically potent title track and the Tito Puente-sampling "Unexpected Delight," which features the vocal talents of common FlyLo guest Laura Darlington, and laying the foundation for what would evolve into a more multifaceted, unparalleled sound.
It was Flying Lotus's next full-length excursion, Los Angeles, that catapulted him to transcendent levels. With its astonishingly intricate layering, top-notch production, stimulating off-kilter rhythms, imaginative sampling, emotionally affecting composition, and cohesive presentation, Los Angeles is nothing short of a masterpiece in my own eyes. From the shimmering synthesizers that open with "Brainfeeder" to the heated percussive exercise of "Melt!," from the upbeat and danceable "Parisian Goldfish" to the gorgeously minimal beauty of closer and Laura Darlington feature "Auntie's Lock/Infinitum," and throughout everything in between, Los Angeles gracefully exhibits a wide range in creative perspective, nailing a wealth of brilliant ideas with staggering precision. Although I don't deny the possibility of FlyLo releasing something that removes it from this perch, it now stands firmly as my favorite release in the Flying Lotus discography.
Whereas Los Angeles was Flying Lotus's breakthrough record, 2010's Cosmogramma is his most popular. Arguably more ambitious than its predecessor, Cosmogramma marked the introduction of FlyLo's incorporation of heavy influences from the world of jazz. His addition of Stephen Bruner, a.k.a. Thundercat, as a frequent collaborator factored in highly melodic bass lines, which worked in conjunction with the chords Flying Lotus was borrowing from jazz. The electronic nature of his music was still at its core, however, often taking on an even more maximalistic form than his previous work, such as with tracks like the abrupt opener "Clock Catcher" and the cinematic "Galaxy in Janaki." I find Cosmogramma to be slightly less consistent than Los Angeles, but it also reaches highs that are among the highest Flying Lotus has ever achieved, including the somewhat celebratory "Computer Face // Pure Being," the danceable "Do the Astral Plane" and the thrilling build its string and horn section help execute, the continuation of winning Laura Darlington contributions in "Table Tennis," and the euphoric finish of the aforementioned "Galaxy in Janaki."
Until the Quiet Comes is only Flying Lotus's fourth LP, but considering the multitude of EPs, demos, bootlegs, and mixes he has under his belt, it's far from being his fourth statement. His earliest demos, such as July Heat and Demo 06, were not particularly challenging, and yet despite not doing much to distinguish themselves from other post-J Dilla instrumental hip hop, they were still among the most interesting of such peers. 2007's Reset EP was a moderately moody, wonderful precursor to Los Angeles that packaged some of his most powerful work, particularly the breathtaking "Massage Situation." The L.A. EP trilogy that followed Los Angeles featured both original material that functioned as an excellent afterthought to the LP and remixes from other artists that offered it refreshing new perspectives. Between the first and second of those EPs came Shhh!, a collection of six reinterpretations of songs ranging from Madvillain's "Shadows of Tomorrow" to Nelly Furtado and Timbaland's "Promiscuous." The Pattern+Grid World EP that followed Cosmogramma is FlyLo's most frantic release yet, producing some of his most stimulating moments with highlights like the 8-bit exploration "Kill Your Co-Workers" and the driving "Physics for Everyone!" This is all in addition to a wealth of other singles, demos, and unofficially released material that rest under FlyLo's belt, most of which range from solid to incredible, and almost always carrying the sonic qualities that make his music so distinguishable.
After a quiet 2011, Flying Lotus has returned with Until the Quiet Comes, the full-length successor to Cosmogramma. Following such an album is a difficult task for a number reasons. Of course, the overwhelmingly positive reception of Cosmogramma creates heightened expectations around subsequent material, which places even more importance on the display of progression between releases. Considering the voluminous form that record took on, it seems that FlyLo's only choice in making his next move was to head in a more subdued direction. Until the Quiet Comes is still denser than much contemporary electronic music, but unlike with past material, its sonic focus is centered less around barrages of sound and more around smooth, pretty textures. Paring back volume doesn't come at a cost of personality, fortunately, for Flying Lotus's penchant for exploration keeps the album feeling like new ground for the artist. Although atmosphere has always been a crucial element of FlyLo's music, taking a relatively soft approach allows him to bring forth his often latent ambient side, at times surpassing the standards set by most of his previous flirtations with predominantly atmosphere-driven work. The brief yet stunningly beautiful "Until the Colours Come," for example, could be compared to Los Angeles cut "Orbit 405" or perhaps Cosmogramma piece "Intro / A Cosmic Drama" in their similar track lengths and absence of percussion, but the former, though it does function well as an interlude, also succeeds not only as a standalone track, but as one of the most affecting on the LP as well.
This emphasis on space carries over into most of the percussive songs, but although the sounds are consistently magnificent, the songs themselves produce somewhat mixed results. Structurally speaking, a portion of these tracks plateau early, shifting different components without a particularly strong sense of direction. Both "All the Secrets" and opener "All In" hold impressive shares of interesting ideas, but they also meander in a way that prevents their potential from being fully realized. Lack of clear aim in such tracks is a minor issue when considering that the bulk of the record was constructed to act primarily as a series of mood pieces, though the few "bangers" that appear also suffer slightly from underwhelming form. The most notable example is "The Nightcaller," which both in vibe and placement on the album's timeline recall Los Angeles's "Parisian Goldfish" and Cosmogramma's "Do the Astral Plane" without approaching the jubilant emotional heights of either. The other two relatively urgent tracks, "Sultan's Request" and "Putty Boy Strut," are more successful, the former on the strength of its thick bass and immediate melodies, and the latter by way of its infectious vocal samples, though they do feel just slightly undercooked. This less defined manner of arrangement bothers me less as I become more comfortable accepting that Until the Quiet Comes isn't a linear extension of preceding Flying Lotus material, but I still can't help but feel that a handful of these songs could use more developed structures.
A few of the lead melodies are alienating as well, particularly those contributed by certain guest vocalists. Thom Yorke feature "Electric Candyman" is one of the most cerebral songs Until the Quiet Comes has to offer, and in contrast to his appearance on Cosmogramma's "...And the World Laughs With You," places his vocals in a comparatively obscure place. While his ghostly voice and the treatment Flying Lotus applies to it works especially well with the song's creeping aura, the notes he sings don't add up to anything markedly striking. Similarly abstract is the first half of the following track, the Niki Randa collaboration "Hunger," which could benefit from a sharpened melody, though it ultimately does succeed on the strength of the mind-bending soundscape it creates. The only real pothole on the record is "See Thru to U," which gives Erykah Badu the spotlight as lead vocalist. Although I appreciate Erykah Badu for her understated yet passionate delivery, I find her melodies on that track to be almost completely inconsequential. Backed by appealing organic percussion that drowns at the hand of a messy instrumental, "See Thru to U," though not remotely offensive, feels like a sacrificed opportunity at what could have been an exceptional pairing. Moments like these are far from destroying the album, but they do show that occasionally, FlyLo's music could profit from more grounded songwriting.
Despite sometimes being too abstract for its own good, Flying Lotus's adventurous composition ends up being one of the most admirable aspects of Until the Quiet Comes. As his music continues to inspire an increasingly large generation of copycats, FlyLo seems to venture further into experimentation with unusual chord progressions and melodies, which is one of the main facets of his music that keeps him standing out from his contemporaries. It may not always connect emotionally on this LP, but it does so more often than not, frequently with astonishing results. The superb "Heave(n)" excels by way of its alluring vocal sample and blissful aesthetic, and the following "Tiny Tortures" effectively juxtaposes calming instrumentation against an uncommonly heavy kick drum. "Only if You Wanna" begins as one of the most straightforward examples of beat music on the record, providing one of its most physically engaging moments before descending into a brief jazz exercise that foreshadows the run of more dreamlike songs that comes afterward. Undoubtedly one of the album's most prime examples of compositional success is the second half of the previously mentioned "Hunger," a piece set in 7/8 that builds airy vocals and strings upon an arresting duet between bass guitar and something that vaguely resembles an electronically manipulated acoustic guitar. Moments like these go to show that when FlyLo's music utilizes the right amount of discipline, the result can be stimulating on a number of levels.
Aforementioned missteps aside, the guest spots on Until the Quiet Comes are generally efficacious as well. Renewing his role on Cosmogramma, Thundercat does double duty as both bassist and occasional vocalist. His flavorful, melodic bass lines are an essential cornerstone of a bulk of the LP, even going as far as to be the primary driving force behind songs like the standout title track. His sole vocal feature, "DMT Song," accurately represents its subject matter with a dreamy state that makes most current dream pop feel plastic in comparison, an effect that is achieved largely by his soft, boyish voice. Additionally, newcomer Niki Randa delivers two strong performances, especially on the haunting "Getting There." Laura Darlington excels as usual, contributing an eerie melody that works effectively alongside the song's mysterious aura. Each guest musician adds a significant element to the album without ruining its cohesion or causing it to feel like anything but FlyLo's own statement, which serves as a testament to his nearly impeccable taste in collaborators. Until the Quiet Comes reaches its peak as it approaches its final few minutes with "Me Yesterday // Corded." As its title suggests, the song is divided into two halves, which are linked smoothly despite being distinctly different; the second strikes me as being clearly the strongest, though the first half also offers a fair share of quality. Wistful playing from what sounds like slightly muffled keyboards open the track, and soon after are joined by a somewhat sparse beat and altered vocals that remind me faintly of parts of the Nicolas Jaar EP that came out last year. The second half kicks off just after the two-minute mark with a relatively straightforward yet still off-kilter beat, simple yet well-chosen chord progression, and minimal yet powerful plinking melody. Over the course of the next two and a half minutes, Flying Lotus builds the piece into a cathartic powerhouse, introducing characteristically melodic bass lines from Thundercat, complementary vocal samples, and his signature "laser" sounds, all in addition to a variety of other sonic ornaments. In a way, this song is a culmination of the album's assets, showcasing both the experimental and emotional sides of his composition, representing both his electronic and organic sides at their finest, and utilizing his mass of typically intriguing sounds to create one of his most gripping sonic landscapes yet. FlyLo has a history of choosing strong closers (see "Auntie's Lock / Infinitum," "Galaxy in Janaki"), and although "Me Yesterday // Corded" technically isn't one, it feels properly conclusive. This is not to neglect "Dream to Me," however, a short yet delightful piece that feels appropriately reflective, concluding with finesse the colorful journey the record takes throughout its 48 minutes.
The context of my life has certainly changed drastically since I first became a Flying Lotus fan. I am no longer struggling to find sources of new music, nor am I as wide-eyed and naive in regards to the music world, and my sensibilities as a music fan have extended far beyond my then almost exclusive diet of independent electronic music. Flying Lotus's music has changed discernibly as well, and yet throughout the arc it has made, it has retained the originality and devotion to pushing boundaries that drew me to it in the first place. Until the Quiet Comes may not always strike an emotional chord with me, but it's loyalty to these qualities renders it a consistently enthralling experience nevertheless, and as previous FlyLo albums have, it feels like a singular phenomenon that never veers too closely to the already established ideas of others. In many ways, Flying Lotus is at the head of his generation, transcending waves of faceless imitators with his own pronounced personality traits, and eluding the confines of in-the-moment trends by setting his own. He is my favorite artist of all time, and bias accounted for, I'd be hard pressed to name many others who have as many truly substantial things to say.
Score: Decent to Strong 8 (Do you appreciate Flying Lotus as much as I do? More? Not even close? I've all but abandoned my Twitter, but feel free to let me know on Tumblr!)
To say that Death Grips have had a busy 2012 would be the grossest understatement I've heard, at least all day. If you're one of the 2 1/2 people reading this who have no clue who this band is or who is in them, please consult our many, many posts on them, for your health. The saga of Death Grips' 2012 include, but are not limited to, signing to a major label and announcing two albums for this year, releasing The Money Store to greatcriticalacclaim, planning a tour, cancelling that tour, creating an entire alternative reality game around this very album, and culminating (so far) with bypassing their record label's decision to not release this album until next year by releasing the album themselves for free via SoundCloud, YouTube, and various filesharing sites. All the while building one of the most devoted followings a "buzz band" has seen in recent years. But now that I have that out of the way (I really couldn't do a review without going over some of that), let's get busy with what's at the eye of this cluttered storm, what the point of it all really should be: the album.
If you go into this one expecting "Death Grips as usual" (if there is such a thing)or a repeat of any of the sounds and vibes they've been working with, you'd be sorely mistaken and surprised. "Come up and get me" sets the stage for No Love Deep Web; it's a cold, minimal, paranoid, and lumbering piece of music with Stefan Burnett's MC Ride persona really taking center stage here. He gives one of his most impassioned, angry, loud, and even anguished performances yet on this track. He's eight stories high and ponders whether or not he should "nosedive to the next life in seconds" and if you think that's the only reference to suicide throughout this album, you'd be wrong.
In fact it's the element of anguish along with the depressive, cold electronics that separate this album the most from its predecessors. Throughout this album the character Ride has been playing for the entirety of Death Grips' trajectory has found himself in a rock bottom place; he's lived his life is such abuse and excess that there's nothing left for him anymore. The darkness on this album makes Exmilitary and The Money Store look like summer albums in comparison. While those albums definitely didn't glorify the behaviors discussed, they were definitely the high compared to NO LOVE DEEP WEB's low, low, lows.
As I relayed earlier, the music here is certainly darker, but Death Grips said in the official announcement of this album that "the material is cold , bass heavy , minimal , rock & roll influenced and could simultaneously fit into a rave or dance club context". Pay attention to that last part, because there is a huge element of club music on the production of this album; you could maybe even hear "Lil Boy", "Black Dice" and more at your local dance club.....er, if that dance club is located in Purgatory, that is. But in all seriousness, coldness, darkness, and minimalism are really the names of the game when it comes to the sound on this thing. While some of the tracks here are just massive ("No Love" in particular), the electronics here are nowhere near as intricately detailed as in previous Death Grips releases, and that was an intentional move. As well as the album being not nearly as hook-oriented as Death Grips were before; explosive hooks akin to tracks like "Hacker", "The Fever", "Guillotine", or "Get Got" won't be found here. In fact when the album does get hooky, it's on tracks like "Hunger games" and "Stockton", where the hooks are so awkwardly timed and have such strange rhythms that I think it's just as alienating as the rest of the album.
Where this album succeeds, to me, in a way that this group's previous full lengths haven't to this level, is in the narrative. More than either of the band's other albums, this album flows like a story, like a grimy pulp novel. We're witnessing the lowest days of MC Ride's character, and with vivid, vivid detail. Even if it's something ridiculous and seemingly nonsensical, like him being "the coat hanger in your man's vagina", there's still something so disturbingly poetic about it. The final track, "Artificial death in the west" has the most subdued, depressing, and mournful tone of any track on this album, or any Death Grips track for that matter. The refrain, "where you running now" is repeated often, and it shows MC Ride's character at an end, not knowing where to go anymore. You can see where this is going.
In this humble reviewer's opinion, NO LOVE DEEP WEB is Death Grips' most cohesive, thematic, and fully realized work yet, and while it doesn't have the immediacy or accessibility of The Money Store, it's just as much of a rewarding listen, if not more so. It seems like this is a band that just keeps getting better, and for me, this is their crowning achievement.
Score: decent-strong 9
(Where you running now? Well hopefully to Robby's Twitter account @ClydeNut! ;D)
(HEAVY FRIENDS is a segment where Robby geeks out on the latest and greatest in new heavy music. This time, we have a doozy...)
Converge is a band with an enormous reputation behind them; they've built that reputation by crafting some of the most fearsome, relentless, creative, and inventive music in hardcore, metalcore, or mathcore, period. Albums like You Fail Me, No Heroes, and what rightfully is considered their magnum opus Jane Doe, are all the proof you need to say that Converge may be the most important hardcore act of the last 15 years. Whenever Converge puts out a new record its always an event for the hardcore community, and if any band is capable to consistently meet up to that expectation time after time, Converge has once again proven that they are that band.
All We Love We Leave Behind jumps right out of the gate with "Aimless Arrow" which has the sheer unstoppable force that is familiar to longtime listeners of Converge, as well as the complex guitar patterns of Kurt Ballou. But where this track brings a bit of a surprise is in frontman Jacob Bannon's vocals, which vary in style but more often than not are performed in a screamed style (a very unique one at that). On this opening track you can say Bannon sings cleanly, but without a clear melody and in such an anguished style it couldn't be a conventionally accessible vocal by any means. This vocal performance adds great, devastating humanity to the track, and that's the first show of a great theme of this record: humanity.
"Sadness Comes Home" begins in such a style that if it had a fuzzier, beefier guitar tone it might have passed for a sludge metal track. But it ain't long until Converge's hardcore punk ferocity bursts through the gate, and Kurt's guitar work is especially notable here. "Sparrow's Fall" is one of the most unrelenting tracks on the album, and it brings the band to such a raw, primal state the hardcore nuts won't be able to get over it.
After some very overwhelming numbers, we find the first real change of speed and mood; while Converge are known for their faster, hardcore punk style music, they really know how to make slow burners, with tracks like "Jane Doe", "Plagues", "You Fail Me", and "Worms Will Feed" to show for it. "A Glacial Pace" has a sense of doom all around it; the busy drumming in the beginning and whispered vocals indicate something to come, and as the track does get going you can just feel Jacob Bannon's continued anguish in his vocals. When the song builds up to a destructive, monstrous climax, if the hair on the back of your neck isn't raised, it means the song has annihilated you first.
The height of intensity on this album has to come between the tracks "Coral Blue" and the following "Shame in the Way". The former is likely the doomiest track on the whole album, with a sludgy riff starting it off followed by some more whispered vocals from Bannon. It's just impeccable how well this band can build tension and be, well, intense, whether they're being fast or slow. At the track's quietest moment, at 2 and a half minutes, Ballou just plays a guitar interlude, and it finds its own way to be suspenseful and intense. The buildup afterward is just too good for words. The way the track transitions into the next, "Shame in the Way", is just amazing; the rising drums followed by the pummeling guitar chords, I just can't get enough of it.
I've gone through what alot of this album has to offer, and basically if you've loved the album up to this point, you're gonna love the rest of it. A problem some might have with this record is that, in some ways, Converge really hasn't changed up their formula too much. This record doesn't have near the level of experimentation and left hooks that Axe to Fall has, and maybe some would call this record "Converge as usual", besides a couple of the slower tunes. If that opinion is yours, then that's fine, and understandable; but to me the way Converge writes and performs their material makes it so fresh and creative in my mind that I don't care if they've been down this road before. From where I'm standing, no matter how long they've been kicking Converge still put their own stamp on this hardcore style and show all the imitators who's boss. Even through this record's miniscule flaws, that's damn well good enough for me.
Score: strong 8/light 9
(Robby clearly hates oatmeal. Find out more on Twitter @ClydeNut. Thanks for reading!
The upcoming major label-debut from Kendrick Lamar entitled good kid, m.A.A.d. city has been one of my most highly anticipated albums almost all year, with great tracks released in that time such as "Swimming Pools (Drank)", "The Art of Peer Pressure", and Lamar's collaboration with Dr. Dre, "The Recipe". Unfortunately, aside from the deluxe edition, the latter track did not appear on the album's recently released tracklist; but fear not, because Dre will appear on the album's closing track, aptly named "Compton", released yesterday via an "official leak" by Lamar himself. This is without a doubt the most grandiose out of all the tracks released thus far leading up to the album. The beat by Just Blaze (which has apparently been kicking around for around 3 years) is gigantic, lush, and gorgeous; it reminds me of the kinds of beats Kanye West produced on albums like Late Registration. Couple that with Kendrick and Dre ripping fire with their flows while paying tribute to their city, and we have a classic album closer at hand.
In the hectic musical month of October, with new albums from Death Grips, Godspeed You! Black Emperor, and more, I hope good kid, m.A.A.d. city finds a place in your playlist when it drops on the 23rd. I know it definitely will be on mine.
(Follow Robby on Twitter @ClydeNut for more music news)
Recommended by Danny Spiteri.
One of the most recent signees on Flying Lotus's Brainfeeder imprint is Lapalux, a U.K. producer who made his debut with the label earlier this year with the enjoyable When You're Gone EP. Lapalux has another EP on the way, titled Some Other Time, that is looking at an October 16 release date. "Forgetting and Learning Again," which features vocalist Kerry Leatham, is the first single from the EP, and can be streamed and downloaded for free via the Bandcamp widget below.
Although "Forgetting and Learning Again" doesn't bring a drastic change in Lapalux's sound, it does strike me as being a step forward for him. His thick, detailed production style feels more focused here, translating into an instrumental that is both well-developed and emotionally resonant. What truly rounds out the song, however, is Kerry Leatham's subtly soulful vocal delivery. Her verses that lead the first half of the track establish an appropriately intimate vibe, but the true payoff begins at its halfway point. First pulling back for a quiet interlude, the song then unfolds into an explosive climax. It is exhilarating enough on its own, but the true euphoria ensues when Kerry's refrain of "so I guess I'll have another" begins repeating, pairing up beautifully with the steady rise of the instrumentation. In just over four minutes, "Forgetting and Learning Again" display's Lapalux's ability to craft music that is stunning in both sound and emotional weight; it's a powerful skill for an electronic producer to have, and one that will hopefully continue to present itself in his work.
For some time now Kingston, Pennsylvania's Title Fight have been bringing us a passionate take on the sounds of melodic hardcore, and even some pop punk. But this band is really blindsiding me with "Head In The Ceiling Fan" from their new album Floral Green. While I definitely expect most of the record to retain the band's punk style that they paraded on 2011's Shed, this new track is a lush, heavenly, slow burner. It's reminding me alot of the brand of slowcore and dream pop that bands like Low and Galaxie 500 used to play so effectively.
The band emulates this style very lovingly, and it brings forth the kind of emotional experience of standing atop a mountain and gazing upon the beautiful landscapes around you. The song has a nostalgic beauty as well, perfectly complimented by its lo-fi, VHS filmed music video which you can find below.
I'm curious to see how this track fits in with Title Fight's new record, but for now I'm absolutely loving it. Floral Green is out on September 18th on SideOneDummy Records.
Recommended by Danny Spiteri.
It is difficult not to admire Phil Elverum's long-standing consistency. Over a decade has passed since the inception of the Washington-based singer/songwriter's breakthrough project, The Microphones, yet his track record has suffered few missteps, and not due to the absence of risks. Sure, Phil's signature brand of gloomy, analog-recorded indie folk has remained at the base of his music throughout these years, but his openness to the influence of normally unassociated genres has lent it a dynamic level of uniqueness.
This acceptance began clearly manifesting itself on The Microphones' first widely noted album, It Was Hot, We Stayed in the Water, which was the first to advance the project's former lo-fi noise pop formula in favor of a more distinctive sound. The release saw Phil integrating grainy folk styling into the fuzzy guitar rock and tape experiments of his previous albums, allowing acoustic sounds to take the front seat. The Glow Pt. 2, The Microphones' 2001 LP, is understandably considered by many to be the pinnacle of Phil's work, developing the aesthetic introduced on It Was Hot, We Stayed in the Water into a sprawling, dense opus. Its followup, 2003's Mount Eerie, was a departing statement of sorts for The Microphones. By way of five songs varying from average lengths to one that exceeds seventeen minutes, Phil crafted a story depicting his own death and subsequent encounter with the Universe, resulting in an ambitious epic that supplied proper closure to his roles both as the band's protagonist and its creative mastermind. With the exception of one live release, Mount Eerie was the final album to be released under the The Microphones moniker, signifying the transition into the project's next incarnation, Mount Eerie.
By no means did Mount Eerie abandon The Microphones' sound completely, but it nonetheless took the project's penchant for exploration into new corners. Whether he was collaborating with former Eric's Trip member Julie Doiron on Lost Wisdom, employing the use of old school electronic percussion on Eleven Old Songs, tapping into his louder side on the punk-influenced Black Wooden Ceiling Opening EP, or taking on an even more abrasive form with Wind's Poem's flirtations with black metal, Phil stayed true to one trait: an unwavering resistance to formulaic trappings. It is this open-mindedness which has helped Phil to maintain his appeal over the many years he has been releasing music, and what keeps him interesting throughout both of this year's new Mount Eerie offerings, Clear Moon and Ocean Roar.
It is clear from the start of Clear Moon that many of Phil's distinguishing qualities, such as the creatively panned acoustic guitars, soft-spoken singing, nature-oriented lyrics, and emotionally resonant songwriting, are far from absent. Opener "Through the Trees Pt. 2" executes each of these with especially delicate finesse, offering some of the album's most potent melodies, and allowing them to build alongside rising instrumentation and gorgeous female background vocals over slow, subtle percussion. "The Place Lives" takes the brooding nature of this song into a heavier extreme with its wall of acoustic guitar strums, lumbering drums, thick, distorted electric guitar, and buried vocals. Its softer successor is the similarly titled "The Place I Live," which joins together a hanging synthesizer pad, Phil's expectedly understated voice, and a set of carefully woven female vocal parts.
By this point, the record's sonic themes seem to be established: droning atmosphere, a balance of acoustic and distorted guitar, slow-paced drums, and intimately sung vocals. Other influences begin manifesting themselves, however, on the first "(something)" - it's a name Phil often uses for interludes - a short ambient piece. Album highlight "Lone Bell" features a particularly memorable horn line, and its comparably strong followup "House Shape" exhibits a notable Krautrock influence in its semi-Motorik beat and minimalistic structure. The most prominent use of drone follows with the relatively abrasive "Over Dark Water," in which hymn-like female vocals and Phil's hauntingly quiet voice are laid upon a bed of low-end guitar, eventually unfolding into an explosive flurry of drum noise. The second "(something)" functions as a similar yet shorter version of the first, providing a brief yet satisfactory moment of respite. The long, patient title track comes next, spreading sparsely arranged instrumentation over a minimalistic form. Phil even Auto-Tunes some of his vocals, which, despite my usually not-so-bright view of the effect as a stylistic choice, adds a fresh angle to his sound. However, despite some interesting ideas, it doesn't quite justify its position as the longest track on the LP. Without greatly affecting melodies or captivating sounds to carry all of its weight, slogging through the seven minutes the song exceeds can feel like a bit of a chore. Though not an extreme misstep, it is the only spot on Clear Moon that truly felt like a pothole. Fortunately, the pace picks back up with the penultimate track, the somewhat stripped down but beautiful "Yawning Sky," before closing with another pleasurable lone synthesizer feature, the appropriately titled "(synthesizer)."
A few months later, we arrived at Ocean Roar, Mount Eerie's second release of 2012. It was reportedly recorded during the same sessions as Clear Moon, but was separated into its own record due to its significantly darker character. This grimmer personality is clear immediately within the opening seconds of "Pale Lights," the tremendous, 10-minute long first track. Sinister organ chords set the stage before a set of distorted drones and pummeling drums make a powerful entrance, introducing an eerily hypnotic groove. In a somewhat unusual yet interesting move, the instrumentation fades to a nearly inaudible volume near the middle of the track, allowing a chilling vocal passage from Phil to take the forefront. The band eventually regains its volume, carrying the rest of the song out with a trance-inducing flair. With its now full-on Motorik rhythms and emphasized repetition, the song successfully both capitalizes on the references Clear Moon standout "House Shape" made to Krautrock and takes that album's drone influence into more extreme territory.
The LP follows with the title track, another collaboration between Phil and a female vocalist, which turns out to be one of its mellowest and most conventionally beautiful moments. The sparse "Ancient Times" comes next, featuring only Phil's voice, spacious piano, field recordings, and what sounds like airy, toneless guitar noise; it doesn't offer a great deal on its own, but it provides a nice break in dynamic before a return to abrasion. The instrumental that follows wields a sense of foreboding dread, building on a creeping 6/8 rhythm with suspenseful guitar drones, trudging piano notes, and a mysterious, high-pitched melody. If it truly is foreshadowing some impending doom, it's "Waves," a relentless onslaught of black metal-reminiscent guitars and crushing percussion that is broken up only by brief verse that Phil delivers at about the halfway point. The heaviness continues on "Engel Der Luft," a cover of a piece from Krautrock/New Age band Popol Vuh's score to Werner Herzog's Fitzcarraldo. Contrasting the serene nature of the original, Mount Eerie maintains its approach to distorted guitar and rough percussion, creating an intense and significantly harsher reinterpretation. Afterward, the reflective "I Walked Home Beholding" marks Ocean Roar's momentary return to its more sensitive side, in which Phil's tender, observational narrative takes the listener inside the imagery of his world a final time before one last wordless song closes the album. This instrumental turns out to be one of the LP's strongest tracks; in addition to offering some of the most compelling guitar drones on the record, the reintroduction of Krautrock-style drumming produces an element of spellbinding repetition similar to that of "Pale Lights," bringing the album and its eclectic array of influences full circle.
Although both records stand tall as some of the finest works in Phil's discography, Clear Moon edges out Ocean Roar in my own book. The latter comes nowhere near being devoid of substance, but the songwriting on most of Clear Moon carries a level of emotional resonance that Ocean Roar doesn't quite reach. Though I can recognize that Ocean Roar's loud sections are built to evoke different feelings than the others, even the quieter, more introspective songs (e.g. "Ocean Roar," "I Walked Home Beholding) aren't quite as gripping as the bulk of Clear Moon. Its large reliance on repetitive instrumentals also leaves it feeling less fleshed out than it could be. However, it also possesses positive facets that are absent in Clear Moon, most considerably the stimulating effect of its noisy, consuming disposition, and its deeper experimentation with Krautrock and drone influences.
Above all, Clear Moon and Ocean Roar represent a fascinating new chapter in Phil's career. His ever-evolving sound has once again taken intriguing new turns, yet his core talent is as present as ever: an invaluable ability to make ambitious and challenging music that is never too difficult, but rather is endearingly human, relatable, and consistently striking. Clear Moon Score: Light 9 Ocean Roar Score: Light 8 (Do you prefer being serenaded by Clear Moon or pummeled by Ocean Roar? Let me know on Twitter.)
(HEAVY FRIENDS is the segment where -- oh fuck this, new Converge. Now.)
I'll try to deliver this in the most professional manner I possibly can: ERMAHGERD NEW CONVERGE NEW CONVERGE NEW FUCKING CONVERGE!
Yeah, that didn't turn out so well.
We've had small details on a new Converge album for a good while now, at least from the latter half of last year we had a possible -- but now confirmed -- title of the record, All We Love We Leave Behind, but little else. We now know that the record is completely finished, set for an October 9th release, and as of today artwork and a first taste of the album in the form of "Aimless Arrow".
"Aimless Arrow" will be the first track on the album, and as per usual Converge fashion it begins the album with an explosion. A lot of Converge trademarks are here, like Ben Koller's pummeling drumming, Kurt Ballou's heavy and technical but melodic guitar playing. But what switches things up, for this track at least, is frontman Jacob Bannon's vocals; here Bannon forgoes the scream we're used to hearing from him and trades it in for an impassioned, desperate yell. While I wouldn't say Converge is going down this route, it's reminding me of the kind of emotive hardcore vocals that Deathwish bands like Touché Amoré and Loma Prieta lead their music with. It's a change some fans might not like, but Converge has a knack for shifting their sound while remaining brutal as all hell, so if there's one thing we can expect from All We Love We Leave Behind, it's at least that.
Check out the chaotic Max Moore-directed music video for "Aimless Arrow" below, and be on the lookout for the album on Epitaph and Jacob Bannon's own Deathwish Inc.
(For more hardcore musings, follow Robby on Twitter @ClydeNut)
When it comes to twee pop, you usually think of sweet and sugary songs that make you see rainbows and unicorns. While Love Cuts offer up some of this sentiment, they deliver in a way that is about as rough around the edges as you'll find any modern day twee pop.
Throughout the 5 songs of this release, the all female trio are incredibly messy. It almost seems like some of these songs could fall apart at the seams at any moment. Slap some atonal female vocals that border on screaming at times and it doesn't seem like you should have something desirable to listen to at all. But rather than a messy mess, Love Cuts manage to come off as more of a beautiful mess. If you're a fan of twee pop at all, I don't think you'll be able to shake the infectious nature of these songs very quickly at all. Sometimes you just need to be cheered up and I think these ladies can do a fine job of it with their music.
So if you're looking for something quick, fun and dirty then have a listen to Love Cuts. You can stream their self-titled EP down below and on their bandcamp.
(HEAVY FRIENDS is the segment where Robby highlights the latest and greatest in the worlds of underground and sometimes/sorta mainstream worlds of heavy music.)
It's been a minute since I've done this segment, but what better way to make a comeback than with the release of a new Cloudkicker record?! If you're unfortunately not too familiar with the band, it is the musical project coming from the insanely creative mind of Columbus, Ohio's Ben Sharp, playing guitars and bass while accompanied by drummer Adam Castle. They play a style of instrumental progressive metal that never gets dull, monotonous or boring like some other acts in the technical side of metal can get. Albums like Beacons and The Discovery are consistently interesting onslaughts of progressive metal music that I just can't get enough of.
After going in a more subdued, ambient direction with last year's double release of Let Yourself Be Huge and Loop, Sharp is back at a relatively more heavy direction on his newest release, Fade. But what separates this from Cloudkicker's other heavier outings is that this is decidedly more mid-paced and introspective, not hitting you over the head with technicality from every single direction. In fact I see a much stronger influence from the worlds of post-rock and post-metal, I even heard someone describe this as a "proggy version of old Isis", and I can definitely see the comparison. If any of this peaks your interest, then stream the entire album below as well as the rest of Cloudkicker's discography via Bandcamp!
(For more metalhead fanboyisms, be sure to hit up Robby on Twitter @ClydeNut)
I've made it a wee bit clear before that I really really really like Mono. Well the Japanese instrumental rock band gave us all a gift in the form of a new song from their upcoming double album For My Parents.
Some fans of the band's louder, more climactic pieces may be underwhelmed by this one, but I don't see any reason to, because this has just about everything I love about Mono. Somber piano parts, emotional dual guitar playing from Takaakira Goto and Yoda, subtle crescendos, and maybe the best thing this track has to offer, the gorgeous arrangements. Mono has worked with orchestras of some kind for their past two records, and on this one they will be joined by the Wordless Music Orchestra, who accompanied the band on a fantastic live album they released in 2010.
Revel in the beauty of this track below, and expect For My Parents on September 4th on good ol' Temporary Residence Ltd!
(Robby loves the Japanese post-rock, and is unashamed of it. Follow him on Twitter @ClydeNut for more music ramblings.)
Isn't it remarkable when a band that you completely love releases a record that positively knocks your socks off and then proceed to immediately release even more fantastic material? Well Tigercats, the London-based indie pop extraordinaires that brought you the magnificent Isle of Dogs, have done just that with their new song "Cats Run Free."
While the track's phenomenal sense of fun, stellar songwriting, and melodies that you'll be humming to your grave are to be expected from the project, two things really struck this humble music blogger about this new song. First off, the confidence in which keyboardist/vocalist Laura K. sings on this song is just terrific. She was great on Isle of Dogs (especially on the closer "Jonny") but the sincerity in her delivery makes this my favorite vocal performance of hers. Secondly, the snappy drums on this track work so perfectly for Tigercats. They're like candy to the ears while providing the necessary energy to let the others members of the band shine.
You can purchase the double A-side single through the Fika Recordings website and while you're there, pick up Isle of Dogs if you haven't already.
Portland, Oregon's Menomena has been one of my favorite experimental rock bands for quite a while; albums like Friend and Foe and I Am the Fun Blame Monster are must-listens in my book. But the band took a pretty huge blow last year when one of its core members Brett Knopf left the group. The collaborative nature of the band guaranteed that there would be changes on the horizon with only 2 members left, and there was speculation on whether or not the band would even continue.
Thankfully the band decided to pull a Battles and carry on, with a new album on the horizon entitled Moms, and we finally have the first taste of this new album via "Heavy Is as Heavy Does".
The band recently said in an interview with Pitchfork that the album would center around themes of family, but the opening line of this tune, "Heavy are the branches hanging from my fucked up family tree" brings this concept into a much darker context than I expected. There is a darkness, almost a brooding nature to this track's minor key piano, and when the song explodes into a flurry of instrumentation and noise and distortion, it further drives the point home.
I'm loving the music on this one, but I'm loving the lyrics equally as much. It remains to be seen how the full album will fare compared to the band's back catalog, but it seems as if Moms will take the band on a more personal route. Stream "Heavy Is as Heavy Does" here and look out for Moms on September 18th via Barsuk.
(Robby loves moms. To find out more, follow him on Twitter @ClydeNut)
Recommended by Danny Spiteri
Classically influenced ambient music is nowhere near being a novel idea (just look at the nearly 20-year career of Stars of the Lid), but occasionally, an artist comes along and makes it feel fresh. Bersarin Quartett, a.k.a. the solo project of Germany's Thomas Bücker, is one such artist. Unlike the excess of artists who take an overly safe and risk-devoid approach to ambient music, Bücker packs an ample amount of substance into his music that lends it a memorable impact. His sophomore LP, ii, not only wears the influences of contemporary classical and chamber music, but also even takes nods from jazz. The subtle percussion in the album's final track, "Jedem Zauber wohnt ein Ende inne," as well as the chords it begins utilizing just after its two-minute mark, call to mind the genre in a manner that feels refreshing yet not a bit out of place.
Moments like the song "Im Lichte des Anderen," on the other hand, would soundtrack devastating loss more appropriately than wistful daydreams. The rising strings which gradually progress in intensity create a rush of somewhat overwhelming emotion, especially when coupled with the airy noise that builds with it. The melody buried behind the resulting wall of sound is what completes the picture, however, adding just the touch necessary for the piece's effect to be more than a fleeting joy.
Head over to Grooveshark to stream the whole album, and feel free to follow this link to purchase it.
(HEAVY FRIENDS is the segment where Robby pumps up new metal and hardcore music into YPOIW. Prepare for the stampede.)
Gaza are one of my favorite modern hardcore bands, maybe because they go off the deep end more than most would dare to. Take the most brutal death metal you could find and I don't think that would touch the brutality and violence that Gaza display track after track. They have a new album, No Absolutes in Human Suffering, and to make up for not covering their first released track "Mostly Hair and Bones Now", I figured I should have the common courtesy to expose y'all to their newly released sludgebomb of a track, "The Truth Weighs Nothing".
This thing is a demolition derby in a minute and 43 seconds, which a very interesting target: Tim Tebow. Here are the lyrics below so you can better understand this situation.
It sure was nice of Jesus to take time away from ignoring
Ethnic cleansing genocide and famine bloated children.
Or regrowing limbs for landmine victims
To help you score that touchdown
To help you find your keys
To help you land that promotion.
Is it that he can’t? Or is it that he won’t?
Wake up. Wake the fuck up.
The truth weighs nothing. Travel light. Be unburdened.
Yep. They ain't kind. Stream the track here via Decibel magazine's website, and look out for No Absolutes in Human Suffering out on July 31st on Black Market Activities.
(To hear Robby's opinions on football and Jesus freaks (or not) follow him on Twitter @ClydeNut)
Recommended by Danny Spiteri
Los Angeles beat producer The Gaslamp Killer is gearing up to release a new album via Brainfeeder on September 18. Titled Breakthrough, it is his first release since 2010's Death Gate EP. Below, you can stream the first track to drop from the LP, "Flange Face."
By no means is The Gaslamp Killer new to strange, distorted beats, but there's something that feels especially exciting about this one. Perhaps it is the well-placed string arrangements that color the track, adding a somewhat cinematic angle. It should come as no surprise that they come courtesy of Flying Lotus collaborator Miguel Atwood-Ferguson, because they often feel reminiscent of the strings that appeared on his latest full-length effort Cosmogramma. Pair those with the brooding drones, thick bass, and pounding drums that comprise the track's foundation, and the result is nothing short of sinister. Note: There seem to be some sound quality issues with the YouTube stream below, so feel free to head here for a better listen.
