Thursday, September 29, 2011
Wednesday, September 28, 2011
"High Places is Rob Barber and Mary Pearson. The two create danceable pop music that is both artistic and refined. While very much involved in the music scene of New York and later migrating to Los Angeles, High Places has always been on its own unique musical path. The consistent dialog between the duo over the span of three albums is always through rhythmic and melodic ambient space. The two mix their particular internal rhythms with a long-standing love of UK and US dance sensibilities such as that of UK garage, drum and bass, Chicago/NYC house, Detroit techno, dub reggae, and electro dancehall. The early influence of visceral live experiences of NYC/Philly hip hop of the late ‘80s and early ‘90s is evidenced in the band’s massive sound system. With Original Colors, they are at once pushing forward with much heavier and more complex beats, but also returning to their more gritty, electro-acoustic roots.
Recorded in the band’s home studios in Los Angeles, Original Colors dives headlong into driving bass pulses and dynamic rhythms. Rob and Mary’s singular visions are built upon a foundation of syncopated beats, while still adhering to their layered, collaborative style of writing. From the four-on-the-floor dance rhythms of album opener “Year Off” to the more extended and darker phrases of tracks like “Sophia”, the end result is more forceful than ever. Throughout their nearly five years of existence, the band has traveled extensively and performed in a multitude of environments. Whether it’s at the Guggenheim Museum in Manhattan or in an industrial warehouse in Santiago, Chile, their travels are reflected in Original Colors. The album is dotted with sun-drenched references to Australia’s inimitable foliage, the expansive desert of Northern Mexico, and the crystal, blue waters of the Indian Ocean. Such allusions are presented over a bed of swirling stereo rhythms and infectious melodies that are the band’s signature. Each track possesses a specific texture and emotion that serve to create a variegated yet unified album that is held together by the binding force of Mary’s mezzosoprano vocals. The air of naïveté has been peeled away since the first album, and her voice is pushed to the fore; liberated from the dense sonic waves of previous work, and blossoming into a truly melodic instrument."-Thrill Jockey
Zola Jesus is not a singer, she is a musician. Zola Jesus is not a band, it is a solo project. That is not to say the people who have helped her along the way were not deeply important. Her irreplaceable live band (whose drummer Nick Johnson lends a hand on several tracks here) and her friend Brian Foote (who co-produced this album), in addition to the live string players who contribute here (Sean McCann, Ryan York), were all crucial in the process. Still, Nika is a woman who can command a room — any room — without needing a band, a stage, or even a microphone. Her voice is unmistakable; it cuts right to the core.
Conatus is a huge leap forward in production, instrumentation and song structure. The definition of the title says it all: the will to keep on, to move forward. From thumping ballads to electronic glitch, no sound goes unexplored on her new record. It is an icy exploration in refined chaos and controlled madness, an effort to break through capability and access a sonic world that crumbles as it shines."-Sacred Bones
Tuesday, September 27, 2011
Monday, September 26, 2011
Saturday, September 24, 2011
Thursday, September 22, 2011
Wednesday, September 21, 2011
Tuesday, September 20, 2011
Monday, September 19, 2011
Thursday, September 15, 2011
Psychic Ills - Mind Daze by sacred bones
Tuesday, September 13, 2011
Monday, September 12, 2011
Friday, September 9, 2011
Thursday, September 8, 2011
"Conceived and recorded as a sort of therapy to help cope with adjusting to life post-college, an insuing break-up and geographic isolation Mikal Cronin steps momentarily away from the rhythm section of Orange County surf-punk bashers The Moonhearts with his debut solo LP. Fans can take heart, this isn’t a “vanity project” or half-baked endeavor - Mikal’s solo debut is fully realized, cohesive and beautiful, with themes that are as personal as they are universal; questioning your future, accepting your past and living in the moment." -Trouble in Mind
Wednesday, September 7, 2011
Tape One: It's all flickering lights, ocean swells and the buzzing of dawn. Ever expanding codes of serpent instincts...an ecstatic array of echoing constants.
Tape Two: A collection of skull drillers and post-meltdown pileups, dystopian landfills of flickering mechanized parts. The final act becomes a hymn that reluctantly emerges from the maelstrom of escapist drones." - Goldtimers Tapes
Tuesday, September 6, 2011
Saturday, September 3, 2011
"Lost in the Glare is Barn Owl’s second album for Thrill Jockey, and follows quickly on the heels of their acclaimed 12” EP Shadowland. Like Shadowland the album was recorded to tape by Phil Manley in San Francisco's Lucky Cat Studios. Lost in the Glare is made up of material composed over the course of a year and recorded in sessions throughout the winter of 2011. At the heart of the album's sound is the dual guitar interaction between Caminiti and Porras, a spiraling web of interlocking gestures that give way to bone rattling, monolithic progressions and dusty drifts. The mostly finger picked guitars weave in and out of each other in precise movements that recall the hypnotic influence of American minimalists.
The harmonium that was prevalent on previous recordings has been replaced on Lost in the Glare with the undulations of a Farfisa organ. The songs here are deep, cosmic excursions. Rich in dynamics, the record possesses a transcendental tone through both a densely layered combination of electric and acoustic instruments and walls of melting amplifiers and feedback alchemy. The lines between strict structure and ordered chaos blur as third-eye opening e-bowed drones explode like beams of light and corrode into crumbling distortion, baking tones that sizzle like brittle bones left in the desert sun." - Thrill Jockey