Friday, December 23, 2011

Year End List, Top 10 of 2011

10) Shannon and the Clams - Sleep Talk
(1,2,3,4, Go!)
Preview Buy

9) Sleep Over - Forever (Hippos in Tanks) Preview Buy

8) Cough Cool - Lately (Bathetic )

7) Peaking Lights - 936 (Not Not Fun)

6) Pure X - Pleasure (Acephale )

5) Casino Gardens - S/T (Beer on the Rug) Bandcamp

4) Troller - S/T (S/R )

3) Ryan Garbes - Sweet Hassel (Woodsist)
Preview Buy

2) Ducktails III - Arcade Dynamics (Woodsist) Preview Buy

1) Dirty Beaches - Badlands (Zoo Music) Preview Buy

Wednesday, December 21, 2011

Sky Stadium - South Sea (S/R 2011)

Thursday, December 15, 2011

Avontuur TG Gondard - S/T (Not Not Fun 2011)

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"Wayward Belgium electronics’ would require several volumes of a radical music encyclopedia to even loosely engage the topic, and part of that reason is the endless river of new names that keeps cascading up from the cobblestoned sewers. Thibault Gondard floated on to our music map early this summer with a self-released LP of overdriven keyboard muscle, echo-warped skrewed-down drum machines, lulling air raid sirens, stained glass synth tonal pools, and alien soul vocal manipulations, and Avontuur is his freshest (and best) batch of tracks, which also functions as a debut of sorts. The opening cut, "Avontuur," is as hybridized and electrifying as any he’s crafted thus far, slicing through the speakers with a stuttering codeine cassette-ready beat peppered with reverb handclaps and minimal keyboard riffs jacked through junk shop speaker cabinets. He’s just embarked on a two week European tour with ‘glue-wave’ post-punkers The Dreams so go huff his fumes live if he crosses yr flight path. Pro-dubbed and imprinted tapes in cases with J-cards designed by MB Brown."- Not Not Fun

Wednesday, December 14, 2011

James Ferraro - BEBE T U N E S – I H A L E C (S/R 2011)

Free Album!

Fader Interview

Originally you picked Max Brenner: Chocolate by the Bald Man as the place you wanted to meet. Instead we’re at a Cosi. Does it serve the same purpose? To me almost every restaurant or any chain has this weird global vibe. All the decoration all the food…this kind of weird mixture of seemingly unrelated objects.

It seems like they’re designed to have as little character as possible. It’s strange. It’s this very ambiguous mixture of almost every culture in the world.

You grew up in New York, right? Yeah. I also have mad family in Rochester, upstate New York. I was there a lot, and definitely spent time in the weird suburban utopia zone. I find it really strange because a lot of people will listen to Far Side Virtual and be like, Oh this is so LA, and I’m like, Actually man, it’s super New York. I was just walking around St. Marks earlier—that whole area, the lower east side, it’s pretty amazing. It’s pretty out there. It’s interesting to see how the city can change?

Do you feel like it has changed from when you were growing up? Not really. Kind of. It has the same energy I think. It’s like the next generation adopts it, and then they have their own version of it. Even Melrose Place in California, its super surf bohemian arty zone is still there, but it’s 21st-century style. A little more slick and glossy.

St. Marks used to be pretty shady and gross, and it still is, but now it feels like the people that hang out there go there because they know it’s a gross destination. It’s like an imitation of what it was, but you go there for what it was now. It’s a copy of a copy, yeah. I think a lot of people flock to destinations all over the world based on things they learned from movies or books. It’s like how Nubia took over Egypt and they fully embraced their whole culture and it became this second-wave Egyptian civilization.

Now you live in LA. Why’d you decide to move there? I visited there many times, and actually my dad moved to San Diego. There’s a way of life in Southern California specifically—I mean, everything that’s in the record is happening there in complete real time, there’s still real over-exaggeration. But it’s also—we were talking about St. Marks—it’s just totally a hyper-real place.

With your last record, Nightdolls With Hairspray, you made your own version of a pretty straightforward rock album. I remember reading that you were going to do more records like that, but Far Side Virtual is completely different. Did you abandon that idea because you moved to LA? It’s definitely likely to pop back up later. I really relate to impressionism, so I feel like a lot of my records have always been straight up impressions of things I’ve experienced. Before Last American Hero, I mean. I was visiting my grandparents in Florida, and they’re just so trapped in their stucco, dated, table-ready utopia, you know? And that sort of birthed [Last American Hero]. Night Dolls was different because it was actually, in a lot of ways, a fiction that I was creating. They’re all sort of like that, but this one was definitely a sort of Less Than Zero zone of heavy MTV generation burn out TV clones. The idea is a basic working premise that I had for [Far Side Virtual]. It actually wasn’t this huge conscious shift in fidelity or change in style, but this particular record and what it was about yielded that because it was based off modern phenomenon, and that really filtered into my own style.

Your records are all very concept heavy. Do you often come up with the concept before writing the songs? Oh yeah. Far Side Virtual has been an album concept floating in my head for the last five years. I finally just did it.

Have you ever recorded anything without a concept in mind? Yeah. A lot of my more unofficial CD-R releases are definitely more like jams assembled into a certain context.

Now that you’re getting more attention, is it weird to have so much material out there? I feel like people are starting to come back to those CD-Rs and maybe that wasn’t your intention. I find them relevant to my entire body of work, but to be honest, certain things just weren’t considered. I mean, this is like 2006, 2007, 2008 and things are just a bit different…a bit underground. It wasn’t really presented as, Here’s my official studio record,” it was more just cranking out material…just creating things. It was mainly based on touring or a smaller online mail-order distribution. I think if people can return back to certain releases, I’m really excited about that. Some are a little less important in my eyes, but they’re interesting in their own way. Some things aren’t necessarily in conversation with things I’m doing now.

The way you record is very much about forward movement. Like, here’s a concept and you’ve examined it and now you’re onto the next one, so I was surprised to see some of your work getting reissued. It’s sort of strange sometimes when you find the two things, the newer product and the older one, having to compete. There is limited space with the way people consume material, like online or in record stores. That aspect is interesting. As far as people wanting [reissue my work], I’m fine with it, but I think I would like, from now into the future, to sort of hold off on that kind of stuff. Certain releases I’m fine with being unearthed and reissued and given to my newer audience, but they’re the ones that are in conversation with things now.

When I heard about you, before I’d heard any of your music, it was because a lot of artists were telling me they were influenced by you. I assumed you were some old dude that I just didn’t know about. Do you feel like you’re an influence on your peers? No. I mean, I think that certain things perhaps people have picked up on and done, but in all honesty, I feel like I was just doing what I was doing, and I’ve had a lot friends making music…I think I was influenced by others. It’s such a hard question to answer because I don’t really look at it in that way. I think it just becomes part of the language of music and those things become infused in other people’s work, and it becomes the language people adopt. It’s hard to really pinpoint where these things actually originated from. I think my music is a product of that as well as the stuff that came before me.

It seems like for the first time in…maybe ever, it’s okay for a band to sound like another band that came before it. It used to be the ultimate offense, but it’s tipping positive. I think that in the past there are very obvious changes in music and that’s always been parallel to the technology that was being created at the time. I feel like the way our technology is growing…it’s becoming more augmented and, in a way, it’s not as baroque and it’s not as harsh as older technology in contrast to humanity. I feel like there’s this impressionism that’s happening and through digital recording there’s this clarity that’s being created. I think sonically these things ultimately sound different because they’re recorded digitally. I think the difference is more subtle. The changes in music these days are more subtle and they’re not as crazy, you know what I mean? Like [in the past] a certain drum machine changed the entire landscape of music, whereas what’s happening now is fidelity is changing and clarity is becoming more important. I’ve definitely found inspiration from older stuff, most specifically, Night Dolls and Hairspray is super B-movie, really strange, demented ’80s-’90s cable mania. In a sense, that is retrocentric in its own right, but there is this filter that is working there. I would never start a rock band and try to jam Van Halen covers. There’s a more hyperized zone happening, kinda post-Ariel Pink, post-everything where bands are just…being Van Halen.

Monday, December 12, 2011

Floral Shoppe - Macintosh Plus (Beer on the Rug 2011)

Boy Snacks - S/T (Beer on the Rug 2011)

Wednesday, December 7, 2011

Inner Worlds

The Holy Mountain by INNER WORLDS
Fear of Tigers-The Adventures of Pippi Longstrump (INNER WORLDS Remix) by INNER WORLDS A$AP Rocky - Wassup (INNER WORLDS Remix) ASAP by INNER WORLDS

Tinariwen - Tassili (Anti 2011)

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Tinariwen are often associated with just one image: that of Touareg rebels leading the charge, machine gun in hand and electric guitar slung over the shoulder. The band ditch this cliché on their fifth album ‘Tassili’ and it’s for the best. The founding members abandoned their weapons long ago and on this new album they have engineered a minor aesthetic revolution by setting the electric guitar – the instrument which became their mascot and made them famous – to one side and giving pride of place to acoustic sounds, recorded right in the heart of the desert, which is the landscape of their existence, the cradle of their culture and the source of their inspiration.- Anti

Photos taken from their recent appearance at Fun Fun Fun Fest 2011

Troller - S/T ( S/R 2011)


Highly Recommended!! Do not pass this up!!!

Tuesday, December 6, 2011

Bleached - Searching Through The Past 7'' (Suicide Squeeze 2011)

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Sisters of the moon, Jennifer and Jessica Clavin make up the Los Angeles band, Bleached. The songwriting-duo return with the follow-up to their Carter 7-inch, holding the rare soul of rock and roll for all to witness. The two new songs “Searching Through The Past” & “Electric Chair,” burn clear with energy and sly beauty. They embody the mutinous spirit of The Misfits or early Stones, married to the style of Stevie Nicks. Nothing wasted, and nothing else wanted. The a-side, especially, plays like something you’ve never heard before – impossibly catchy – it walks off with a sly smile, straight out of the aftermath of some social whirl. -Suicide Squeeze

Monday, December 5, 2011

Review: Co La - Daydream Repeater

Review written by Mauricio Gudiño Jr.

"If that's your thing, then go for it" is the phrase I catch myself throwing around when listening to Matthew Papich's first release under the title "Co La". The title of the album is "Daydream Repeater" and it works as a perfect tool for figuring out what you'll be delving into, the album being repetitiously dream spirited. The almost perfect sounding synthetic cloud-like landscapes he collages lend themselves to the type of transcendence you'd fiend for if you were stuck in the best parts of the 80's. It nicely exhibits the grandiose qualities of the early mainstream electronic; the qualities that would drive people to mimic the diamond and play all weekend long. But it's not just floaty electronic collage. Papich also utilizes the earthiness of the reggae aesthetic ,from sampled guitars/vocals to as far as what you would imagine you would hear if you found yourself in deep in Jamaican terrain, to really let the listener travel to this half-sheen half-green scenery that works beautifully if let play in the background of daily life. Don't take all this to heart, though. Even though he does build a nice aesthetic vocabulary, it does seem to play better/easier as background music, hence the preface like sentence to this review: "If that's your thing, then go for it".

Co La: Daydream Repeater by alteredzones

Saturday, December 3, 2011

Ghostandthesong / Chris Rehm - Unscharfe/ Shimmer (DZ Tapes 2011)

Tuesday, November 22, 2011

Fang Wizard - Pure Hex (Teenbeat 2011)

Reedbeds - Swells on HIgh (Hooker Vision 2011)

Preview Buy

via Microphones in the Trees

"Longtime fans of Reedbeds’ particular brand of hazy good vibes will instantly recognize this subtle masterpiece as a perfect wintry addition to an already extensive discography. New listeners will be equally rewarded as they sit back and allow the soft washes of guitar to smooth out any worries of the day."- Hooker Vision

Bleeding Knees Club - Virginity (Oh You 2011)

Preview Buy

Tuesday, November 15, 2011

Shitty Cop Videos In Honor Occupy Raid

Black Lips - "Raw Meat" from Urban Outfitters on Vimeo.

John Maus - Cop Killer from George Tanasie on Vimeo.

Crystal Stilts - Radiant Door EP (Sacred Bones 2011)

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"Radiant Door reflects the band’s experiments with specific ideas in the studio and what they’ve been excited about and listening to, including Blue Orchids, Sanford Clark, and many more. Opening track “Dark Eyes” may be their strongest song to date, unshackling them from their fuzzy reputation, which, even at its heaviest, could never obscure one from this bands dexterous song-craft."-Sacred Bones

Psychic Dancehall - Dreamers LP (Art Fag 2011)

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"With every relationship comes the creation of a brand new world. When Psychic Dancehall’s Dorian Wartime and Sylvia Innocent took an apartment in a run-down section of San Diego during the rainiest period in the city’s history and set about creating their world together, they’d no idea that fate and the weather would conspire to make that world worth sharing. Their apartment was adjacent to a drag bar where Innocent and Wartime would go every night. Trapped in their little house all day, venturing down to the bar, as well as to the Red Wing, the lesbian bar down the street, was really their only escape. The two felt safe and welcomed by the communities there and related vignettes of their nocturnal adventures back to one another when they went home. These experiences began to transform themselves into songs. Both being musicians, tinkering away with samples and keyboards was the most natural way for the couple to share their moments together and make them into something whole. “A Love that Kills,” a slightly sinister toe-tapper with a Serge Gainsbourg twinge and a reverb-heavy, breathy chorus, is a play between dark and light. “White City” was born from a fortunate mistake—the couple’s next-door neighbor Lexus was locked out of her apartment one night, and came over while waiting to get her keys. Lexus was famous for her karaoke skill, and together the three wrote the song’s hook. Dreamers is timelessly emotional, akin to the experimentation of Arthur Russell or Scott Walker, and like those artists, Psychic Dancehall could have come from any era. It’s music that translates feeling into sound, takes away the particulars of experience so one can make sense of the many parts of life." - Midheaven

Wolf Tapes - Bad Dream TV (S/R 2011)


Gnod - Chaudelande Volume 1 (Tamed 2011)

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"Formed in 2006, mancunians GNOD started their last European tour to date by spending a couple of days in the Studio Chaudelande, a small house made of bricks and passion, somewhere in the Normandy countryside (France). They recorded new songs that are now released as a two volumes LP serie on Tamed Records. "Chaudelande Volume I" contains three songs which demonstrated the multi-faceted universe of GNOD. From the heaviest spacerock parts they ever recorded to meditative neo-folk influenced moments of calmness and introspection, this new recording marks a new step in GNOD cosmic procession. "Chaudelande Volume I" is the first release on Tamed Records schedulded for october the 20th and we're happy to start the adventure with such a great record !"- Tamed Records

Fun Fun Fun Fest Photo Recap 2011

Co La "Vanity Plate"


Possibly Sonic Youth's Last Show

Monday, November 7, 2011

Na Hawa Doumbia - La Grande Cantatrice Malienne Vol.3 (Awesome Tapes From Africa 2011)

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This is the first release from Awesome Tapes From Africa, a blog that has now become a label. We are super excited about this and we are anxiously awaiting their next release

Wednesday, November 2, 2011

U.S Girls on Kraak (Kraak 2011)

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"When we first heard the seductive sounds of Meghan Remy\'s U.S. Girls in 08, we immediately fell in love with both the music and the persona. For her third full length \"U.S. Girls on Kraak\", this astonishing muse of modern pop music extends her old lo-fi aesthetics into what is her most melodic and radio friendly output so far. Remy\'s vocal abilities get a major stress on this record, clearly laying bare her sixties girl band and nineties R\'nB influences, without losing touch with her early roughness en experimentalism. In barely thirty minutes Remy moves from the hit parade flavoured \'Island Song\', over her sublime cover of Brandy & Monica\'s \'The Boy Is Mine\', to an actual classic country song. This is all intertwined with her usual talent for shortsong-writing and raw esoteric scapes. \"U.S. Girls on KRAAK\" is probably Remy\'s most accesible work to date, and a highlight in her oeuvre that might mark the end of her \'early years\'." - Kraak