It seems like I lift every third entry from Salad Fork these days, but when you post something as good as Our Husband’s “Villages”, you got to know that it’s going to get passed around the blogosphere faster than funny gifs.
Anyways, the Aussie duo of Nathaniel Morse and Freya Adele make some of the best smooth-sailing bedroom pop songs around. Like similar emerging artists Cults and Tennis, Our Husband has only a handful of tracks presently available for consumption (three, infact), however with a sound as intriguing as theirs, I expect much bigger things to come from them in the near future. Until then, feel free to listen to “Villages” below over-and-over until your heart’s content!
Even though I’m currently on vacation (again?!), this track Cecil just passed along to me is just too great to pass up posting about immediately. As expected with any Gobble Gobble track, there is a lot going on with the song — electronic flurries, spidery bloops & bleeps, an insane xylophone line, etc… — but somehow the wheels never come off completely. The listener is bombarded with sound, but somehow remains standing (most likely sweat drenched) when all is said and done.
You can check out the track below and, while your at it, head on over to Gobble Gobble’s tumblr for more material. Also, odds are you can catch Cecil & Co. on tour at some point in time since he just scheduled 161 consecutive summer/autumn tour dates.
It seems like my favorite of Adam Anderson’s two projects — the reverb-rich Rraaiillss and the electro-infused Incubator — changes depending on what I’m listening to at the moment. Taking the lead this week is the latter, chiefly because a brand new track called “Blanket Fort” has been making the roundsin the blogosphere as of late. Filled with those dreamy digital melodies that we’ve grown to love, the song is full of slow-moving, subtle changes which keeps the listener’s interest even when the track fades into black at the six-minute mark.
If the “Demo” label under the “Album” field is to be believed, then “Blanket Fort” might still be a work-in-progress (amazing considering how complete it already feels). Similarly, every track of Rraaiillss is marked the same, begging the question: can somebody please sign this guy already?!? You can check out an mp3 of the track below and head on over to Anderson’s bandcamp page for two more Incubator downloads.
As any music blogger can probably attest to, it sometimes takes days — even weeks — to get through all the music submissions that show up in our inboxes. That’s why sometimes when I get bogged down with reading e-mails, I rely on label newsletters to give me a shortcut straight to good music. Case in point, this recent Hozac Records July update where I stumbled across the Aussie garage-pop duo of Super Wild Horses.
Striking a perfect balance between harsh and harmonic, Amy and Haley (no last names given on the myspace) are about as good of a catchy, fuzzed out group as you can get, which, being in an era of catchy, fuzzed out groups, is important if you want to make a name for yourself. If you sign up for Hozac Records Hookup Klub, you’ll get a copy of the group’s 7”. Also, there is an LP in the works (cover art shown above), entitled Fifteen, which you’ll be able to cop in the near future from the label. Until then, enjoy the hazy, sun-soaked video the group recorded for their track “Golden Town” as well as an mp3 of the track:
A lot has been said about New Jersey natives Real Estate (and arguably the best was written by Lou over at Salad Fork), and if the quartet of Martin Courtney, Matthew Mondanile, Alex Bleeker, and Etienne Pierre Duguay keeps doing what they’ve been doing the past year-and-a-half, a lot more will be said. I have to say that I’ve never shelled out twenty-five bucks for a vinyl EP consisting of six crudely recorded tracks, but when I stumbled across a first pressing of their Mexican Summer release at my local record store, I was more giddy than apprehensive about the purchase. That’s how good this band is.
Before continuing, I must confess something: I hate the beach. I hate everything about it. I easily get sunburned, so I don’t particular enjoy sprawling out on the coarse sand and feeling three different types of UV radiation do a blitzkrieg on my skin. I also loathe swimming, so much so that it was the last required merit badge I got before getting my Eagle Scout (I was the lone 16 year-old in a class of early middle schoolers). For me, the entrance to the 7th circle of hell would be Satan handing me a beach towel and saying, with a smirk on his face, “enjoy.” So when people — mind you, most of which sit at the computer 16 hours of the day — talk about how Real Estate produces quintessential beach jams, I don’t particularly view it as a positive.
Somehow though, Real Estate’s music rises above my disdain for the shore so much that I can’t help but call them my favorite band of the moment. Although evidently clear that this was one of their first releases together (background hiss on the recording, a little bit of inconsistency on the tempo, etc…), there is something endearing about listening in at such an early stage. With a solid S/T LP to come later, Reality seems more like a bedroom practice session, giving the listener an intimate look at the inspiration and song writing process of the group. Take for instance the opener “Motorbikes”: a two-minute instrumental jam featuring enough guitar tinkerings that it seems more improv than polished piece. Bleaker gives the group a solid foundation on the bass while Mondanile and Courtney shimmer in and out with whatever rip they feel like playing. Musical discovery at its inception.
Much of the album continues in the same fashion, with half of the tracks on Reality never appearing on any of the groups later releases — and none making the cut for their critically acclaimed S/T LP. For newcomers to the group, Reality is probably not the best starting point, however, die hard fans should really get hold of a copy. Thankfully, Mexican Summer has made it easier by repressed the album, so you can cop one right now at the discounted price of $19.98. To whet your appetite, check out my two favorite tracks from the vinyl as well as a video of the group from one of their performances at SXSW ‘09:
Denton, Texas based experimental electronic group FUR is the brainchild of former film student Bryce Isbell. For the track “Black Castles”, off the Waaga Records Witches LP that was released this past February, Isbell enlisted the help of Neon Indian’s Alan Palomo to help create lush soundscapes through sharply textured layers. No doubt I’m a little latewith singing the praises of Isbell, but with his music, I’d certainly rather be late than never.
If you dig what you hear from the mp3 of the track, you can download the full release off of iTunes here and, while you’re at it, check out Polybreak, the most recent digital 7” he put out, and the first with new member Gray St. Germain Gideon contributing. You can hear the title track below as well:
I’m always uneasy when new genre names are coined (re: chillwave), however, the term “witch house” to describe the molasses-moving, symbol-drenched signees to the all-too-appropriately-named Tri Angle Records is incredibly apropos. When I first heard that a collection of these slow-mo, “drag” artists were set to unveil a six-track mixtape paying tribute to the fallen starlet Lindsay Lohan, ironically entitled Let Me Shine For You, I was more than surprised. I was dumbfounded.
Maybe it’s the bizarreness of the project coupled with the adventurous nature of “witch house” music, but somehow this mixtape works incredibly well. Bookended by the dischordant, haunting efforts of Babe Rainbow and Oneohtrix Point Never, Let Me Shine For You is filled with 22 minutes of Lohan tracks raised and reassembled in the most unlikely of ways. No doubt, the highlight for me is PT-Music favorite Stalker’s dismantling of “Disconnected”, creating a post-apocalyptic theme song that is Road-ready.
In a completely unrelated move, NY artist Blissed Out created a “Lindsay Lohan Fuck U Edit” to Pink Priest’s track “Sleep Ranger”. I think he gives this shadowy reworking the best description possible:
the +lindsay lohan fuck u edit+ is a combination of those sounds and the thoughts of the darkness of success. it was recorded to be heard in suvs across the galaxy, with the bass all the way turnt up, while girls dressed entirely in the black summon spirits with a ouiji board.
You can check out both the Stalker remix as well as the Blissed Out track below. If you want to download Let Me Shine For You in its entirely, head here to do it.
“Relatively new” video for Girls guitarist Ryan Lynch’s side-project Dominant Legs. It’s been a while since I heard a peep from the group, however, from the looks of things, they are slated to have a pretty busy August. The absence of “Just Silly Ones” from their upcoming Young at Love and Life EP tells me that this Lefse-released record is going to be really, really good.
I’ve been so wrapped up in electronic-driven music lately, it was refreshing to get an mp3 from the Minneapolis duo (and cousins) The Chord and the Fawn. If a picture is indeed worth all those words, then the above photograph should be able to tell you everything you need to know about Dani Lewis and Angie Krube’s music: lighthearted, whimsical, and just all-around fun.
All these adjectives are apparent in their track “Right As Rain” from their 2008 This Has To Be Meant To Be EP which is getting a re-release as half of a split 12” by the good folks at Edible Onion (the other half is filled up with tracks from blog-favorites Br’er). A chirpy ukulele line and periodic chimes from a bell kit are the only instrumentation on this two-and-a-half minute sprightly track. For most vocalists, singing alongside such sparse arrangements would give them nightmares, however Lewis, with her sweet angelic voice, could easily entrance an entire audience a cappella — it’s that beautiful.
You can check out the track below and if you like what you hear, head over to Edible Onion’s store to purchase the record.
Although not included in the Mind Ctrl: Psychic Chasms Possessed bonus remix CD for Neon Indian’s Psychic Chasms UK release (and, surprisingly, neither is the White Hinterland version of “6669 (I Don’t Know If You Know)”), this cover of “Mind, Drips” by fellow Texan Jesse Woods is too good to just be left in the shadows of the internet collecting e-dust. Gone are the hyperactive 80s video game sounds of the original as Woods opts to focus more on the lyrical content while simultaneously replacing the glitzy glo-fi with austere acoustic guitar. Pretty straightforward, but an incredibly effective cover. You can check out both the remake and the original below as well as a video of Jesse performing in an attic during SXSW ‘09:
