Tag: Mp3s
Promoe lays it out in the first verse. I'm by no means any sort of authority on the subject, but questions concerning the importance of authenticity in hip-hop are of great interest to me. Is it just music or is it much more than that? The cultural importance of the genre cannot be underestimated, but does that mean that it's wrong for a pasty Swede to coop it for his own use? Is there a line that should never be crossed? Who's to say anyway? It's an argument with no answer, but regardless - it's a discussion well worth having. The theme hangs heavy over Promoe's new album "White man's burden" as exemplified by the title track and the song I've posted today ("Eurotrash"). What I do know for sure: European hip-hop must find its own way if it wants to prosper. I also know this: Promoe's new album is hot. Its strength lies in its imperfections - puzzling over impossible questions with no solution is certainly not a tact I'd recommend to anyone, but it needs doing. Confront the ugliness. And though they are the obvious focal point, it's important to note that in the addition to the record's intellectual discourse, the music is really good. It's a solid listen almost the entire way through - only the r&b-flavored "In the morning" flounders. Swedish hip-hop continues to grow and flourish. Part of the excitement is seeing it attempt to overcome these stumbling blocks.
Promoe - Eurotrash (ft. Leeroy)
I'm anticipating that I will be totally exhausted and preoccupied on Tuesday morning since my friends from Kayo Dot are staying over while on tour, so I'm writing this on Monday afternoon. They're not Scandinavian, but I still highly recommend that you check 'em out regardless. They make the kind of progressive music that truly transcends boundries. Radiohead is a mere rockband by comparison. Don't believe me, click on that link and check out their myspace profile. Verses? Choruses? Don't be so narrowminded. In a lot of ways, the music of Sonores reminds me of Kayo Dot. Sonores doesn't really ever get all that heavy, but their chord voicings and unique sonic textures give me the same kinds of chills. It's that sinister undercurrent that does it to me, as well as the fact that their music is both evocative and intellectually stimulating. Kayo Dot is often far more overtly distressing, but the band's softer passages conjure up the same feelings. It's music that's not easily pinned down by tags according to genre though you may find other music with similar emotional attributes. It's a record I feel very strongly about, a no-brainer as a pick for October's album of the month. Seriously, if you don't like this, we may need to reevaluate our friendship.
Buy "Elefanten": [click here]
(Update: the dudes didn't actually sleep here last night, but man am I tired. Staying up 'till 3am gets harder the older I get. Amazing show though. "_____ on limpid form" was a definite highlight.)
Sonores - Jonathan
Does the world really need more 80s revival acts? If they sound as much like Depeche Mode as Hearts of Black Science do, I'm okay with it. As I'm sure you know by now, I like music that's dark and dramatic so HoBS definitely fit the bill, especially with tracks like the one I've posted today. "Empty city lights" (available here) is the more obvious single, but I find the brooding "Revolvers" to be much more satisfying. A bit of slide guitar and a crackly, almost trip-hop beat and a ton of reverb - what more do you need? Oh yeah: an epic, soaring melody. Sure it's retro - just listen to those chimes, but it doesn't come across as self-conscious, at least not to me. Unsigned for now, but you know that won't last. And whaddya know? They're playing Club AC30 in London with Audrey, the same night that the UK IAT DJs are making a guest appearance. Synchronicity!
Hearts of Black Science - Revolvers
Heed my battle cry: "Four more years! Four more years!" Yes, It's a trap! turns four tomorrow, thus making me somewhat of an elder statesman on the music blog scene. As I touched on last Friday, I've come a long way from my humble beginnings of sporadic updates and limited content to daily mp3s and news posts. One band that always got me excited back in those early days was The Soundtrack of Our Lives. It often seems like only the most mediocre acts become successful American imports, TSOOL was definitely an exception. They won over crowds not just with great music on record, but also by touring repeatedly and putting on an amazing show every time. The crowd was on the light side the first time they came through SF, but grew substantially on every return trip, a tribute to their effectiveness. Not only that, but they also brought over some great opening acts too: Caesars and Silverbullit. Not that many people cared besides me and a few expats, but I certainly appreciate the effort. Anyhow, one of my favorite TSOOL songs has always been "Nevermore" from 2001's "Behind the music". I just love that riff so much and the solo break is killer, especially when done live. So how about a new record guys?
The Soundtrack of Our Lives - Nevermore
The Grand Opening's debut full-length "This is nowhere to be found" is a perfect record for the segue into fall. Melancholy and full of yearning and nostalgia, the music evokes the same sort of feelings I associate with the season. The days grow shorter, shadows grow longer and the leaves fall from trees. It's a time of inward reflection as we prepare for winter. As with Sonores (who I posted about recently), this record marks the first steps of an IAT.MP3 netlabel act branching out into the 'real world' with a physical product. I couldn't be more proud - I feel like a father whose children are now grown up and leaving home for the first time on their own and I want them to do well. TGO's record is especially pleasing to me because I knew they had immense potential when I first heard their demo and now they've gone and proved it. The "Location EP" netrelease was pretty damn good I must admit, but "This is nowhere to be found" is miles ahead. Three of the songs make appearances on the new album and the difference between the two versions is astounding. However, you'll have to either visit myspace or buy the record to hear 'em because I've posted a different song today, "Secret view". I love the tone of that bassline as played on Rhodes keyboard (at least I'm fairly sure what they used) combined with a simple drum loop and smattering of overdubbed percussion. The guitar only provides atmosphere and the melody is carried solely by vocals and chimes. So beautiful, so sublime.
Buy the "Don't drop off" 7": [click here]
The Grand Opening - Secret view
Contrarian that I am, I was immediately predisposed to skepticism concerning 120 Days. I can't help it. It happens automatically any time the vast machinery of the Vice hype juggernaut rolls into the effect, especially considering that their name was originally bandied about in conjunction with the vastly overrated Serena Maneesh (though the tides may be turning on them - see yesterday's video review at Pitchfork for proof). Truth be told, I want the hype to be true. I hold out hope that a new record will come along and change my life. Did 120 Days accomplish this? No, my hardened heart prevented it and let's face facts: bands that amazing don't come around too often. However, it was certainly good enough for me to not write it off from the get-go, so I've been listening regularly the last couple weeks and it's been growing on me ever since. No surprise really considering that their sound fits in quite well with a lot of the other stuff I've been recommending recently such as 1999 and The Kid - well enough that I threw a track into my most recent podcast mix. Steady, mechanical beats topped with dark and droning, blissed-out melodies; a balance of goth and Krautrock. Silverbullit still remains the best band in this field, but 120 Days is pretty darn good too, maybe even great. We'll have to see how the record holds up a few months from now. At the very least, I won't be disappointed if they catch on with the masses.
120 Days - Get away
Low Frequency in Stereo is a Norwegian band that's been slowly gathering a bit of a buzz over the last six months or so since the release of their most recent album "The last temptation of" in March. They kind of got that thick and fuzzy sound associated with what folks are calling a shoegazer revival, but we all know that lots of effects pedals does not necessarily equal shoegaze. LFIS has way too much boogie-woogie going on for that. It's way more Deep Purple than Jesus and Mary Chain. They do get a bit self-indulgent, spaced-out and droney on the ten-minute title track, but it's the exception, not the rule. Aside from the closer, not a single other track exceeds four minutes. It's still not in ye traditional verse-chorus pop formula, but again - that's the 70s rock influence shining through. Worthy of buzz? Eh, I don't love the record, but they've got promise. It'll be interesting to see how it plays out.
The Low Frequency in Stereo - 21
I have very conflicted feelings about Hellsongs. On one hand, I can't help but love their stripped-down, loungified takes on metal classics. But on the other hand, I hate it when people think that metal is only approachable from an ironic standpoint. Dammit people, there is no shame is liking metal. Metal rules, okay? We all know that Manowar is silly, but they are still awesome. Either you get it or you don't. Now I'm not exactly sure what the motivation is for the folks behind Hellsongs, but I suppose I should assume them to be pure-hearted unless proven otherwise. Their lazy, organ-driven take on Metallica's "Seek & destroy" is just too good to think otherwise. Please! Don't let me be wrong! Forget about Mark Kozelek and his lame acoustic AC/DC covers - that stuff was pure novelty and the charm wore off after a few listens. When the original songs are good, it doesn't take much to make them work sans distortion. Being said, some of the selections from Hellsongs' "Lounge" EP work better than others. Iron Maiden ("Run to the hills"), Black Sabbath ("Paranoid") and the aforementioned Metallica track (posted today for your enjoyment) are all top quality. Motörhead ("Orgasmatron") and Judas Priest ("Breaking the law") are a tad less good, but still decent. My wife comments: "They don't sound like they could break the law, they sound like they can barely get off the couch." As for Van Halen's "Jump"? Hmmmm, no thanks. Diamond Dave is the only reason the original is any good at all and without him, there's little left that's appealing. All in all, a fun EP - as for the future, a little Hellsongs goes a long way, so let's hope that they don't overdo it.
Hellsongs - Seek & destroy
Not only is it Friday, but it's also the fall equinox and the Jewish New Year. The end of the summer and the end of the year, but the start of many new things. Hard to believe that It's a trap! will be four years old next week. When I look back, I'm amazed at how much I've accomplished over the years. I've gone from irregularly posting quips whenever I found some factoid I thought was interesting enough to share to daily news updates with mp3 posts and a weekly newsletter. Somewhere in there I also decided that it would be a good idea to start a record label (one of the very first music blogs to do so, I might add) and now have four releases to my name with more to come. The band that started it off: KVLR. It started off so innocently - all I did was ask them for an interview and before I knew it, I was booking them a week-long tour to get them to SXSW and back. Things went so well between us, I ended up doing the US release of their next album. However, the album that drew me to the band was 2003's "The great collapse", still one of my favorite records to this day. It achieves the perfect balance of melody, dissonance and heaviness - huge interweaving guitar lines set against a pounding rhythm section. The band is pretty much just a studio project these days, but there is new material on the way, so I'm excited. They might even play a hometown gig in Umeå, you never know! I'll be sure to keep you informed.
KVLR - Capitol city child
As much as I was looking forward to the new Britta Persson album "Top quality bones and a little terrorist", I'm a little iffy on the final result, but I suspect that's at least partially due to me not spending enough time with it. I fully planned on listening to it thoroughly during the long drives on my recent vacation, I just never felt inspired to put it on. There's certainly a few standout tracks such as "Winter tour" (the first single), "You are not my boyfriend" (the song I've posted today and the second single) and, one of my personal favorites, the sour and downkey "Oh how wrong". The raw emotion and sparse arrangement makes that one a winner in my book. So it's not as if I don't like the record at all, I guess I just don't like it as much as I expected to, or at least not yet. Britta is certainly a strong songwriter and she possesses a charming lilt to her voice. The work she's done with fellow Swedish singer/songwriter Kristofer Åström has been amazing (including the song they sing together on the new record). So you see, there's a lot to like despite my grumpy naysaying. I strongly suspect it will grow on me. Of course, you don't have to listen to me repeatedly contradict myself to form an opinion - download the song and listen for yourself.
Britta Persson - You are not my boyfriend
Sidestepping from yesterday's post on the damaged no-wave of Knife and Ape, today I bring you the damaged new-wave of BLLTPRF CPD (nee Bulletproof Cupid). When you hear this stuff, the punk-influence claims of other new-wavish acts like The Sounds or Surferosa will seem laughable. They just sound so damn tame in comparison to the furious energy of these dudes. The track I've posted today is much, much more guitar-heavy than a lot of the other, more keyboard driven songs on the record, so my "new-wave" label might seem a bit misleading at first. The band probably does have more in common with the noiserock of old Boner Records bands like Steel Pole Bath Tub or Star Pimp than, say Blondie, but whatever - gotta start somewhere. Besides, don't synths usually equal new-wave? Anyhow, if any of the other Trewetha bands such as I Love You Baby! or The State of Floral Beings piqued your interest, you'll definitely be into this as well. It's in a similar vein, but still with a unique sound of their own. Dig it.
Buy "Halo of flies": [click here]
BLLTPRF CPD - Esoteric fraud
Knife and Ape - noise or art? A little of both if you ask me. The track I've posted today isn't especially challenging, but there's plenty of other songs from the new album "Hex!" that could be considered difficult. Steady, dancefloor-friendly beats matched up with discordant, atonal melodies and shrill vocals. What's not to like, right? Like Liars, 'cept far more proficient with electronics and with better composition skills. Not to disparage Liars, who I like a lot, but Knife and Ape got their shit together in a way that Liars only aspire towards. Safe? No, this pushes serious boundaries. Disturbed? Yes, but in all the right ways.
Buy "Hex!": [click here]
Knife and Ape - Strawberry tongue
Why is it that I always come back from vacation much more exhausted than when I started? Share in my misery with a track from MZ.412! It starts with a woman's piercing scream and descends into heavier and heavier brutality from there. The beat churns and throbs as they assault you with waves of sizzling feedback and gurgling German-language samples. There's a short semi-ambient reprieve, but once again it's back to the throb and horror as they turn back up the screams (male this time) and distortion. Why subject yourself to such uneasy listening? I don't know if I can really explain the appeal, but I know I like it. Harsh noise can be meditative in a way that ambient electronica can never achieve. From between the layers of crackle and spit comes a different kind of beauty, one that reflects the modern urban world. It can be pretty damn awful out there and sometimes I need a soundtrack that befits it. MZ.412's newest album "Infernal affairs" doesn't rank quite as highly as the recent album from Cold Meat Industry labelmates Raison D'être, but it is quite good. I'd even say it might be their best work yet.
MZ.412 - Point of presence
Spotty Internet access here in the Silicon Valley (who woulda thought?) means no Thursday post. But I'm still on vacation, so you should be happy that you get anything at all. Moving on to close out the week: IAT.MP3 netlabel artists Sonores and The Grand Opening both have new full-length albums. Both of course, are excellent. You'll have to wait a little while for TGO's record, but Sonores' "Elefanten" is out now. Download a new album track from the mp3 playlist and read an interview with mainman Jonas Odhner right here: [click here]
Sonores - That wish!
If you're reading this now, then today must be Wednesday and I'm somewhere in San Jose. Today I am talking with Ola Håkansson of C.Aarmé:
I think that "Vita" is one of 2006's best records. Why hasn't the rest of the world recognized your genius?
In time. But seriously, Epitaph!? What's up with record companies!?!? Fuck that shit. We're gonna start up our own label and fool some old rich man to send some money our way. Any other good ideas?
C.Aarmé - We are the world