Archive for the “IDM” Category
Aug
07
2010
White Car – “The Ingrahm” (Soundcloud)Posted by Christian Carey in File Under?, IDM, Sound Cloud, electronica, streamMy newest IDM passion, courtesy of Altered Zones, is the duo White Car. They’ve got some terrific tracks up on Soundcloud, including the one below.
Jun
13
2009
Early OutputPosted by Christian Carey in CD Review, File Under?, IDM, Indie, Temporary Residence, Uncategorized, electronicaFridge Early Output: 1996-1998 Temporary Residence CD TRR139 Kieran Hebdan, Adem Ilhan, and Sam Jeffers were just teenagers when they signed to Trevor Jackson’s Output Recordings. But the sides they recorded for the imprint are anything but the sonic analog to gawky high school yearbook photos. Judging from the material collected on Early Output, while their technique was still rough around the edges, the trio’s creativity and musical chemistry proved abundant from the start. Fridge’s first single, “Lojen,” is a marvelous diamond in the rough. Jeffers creates off-kilter, varied skittering patterns that seem quasi-improvised yet simultaneously organic; intrinsic to the arrangement. Meanwhile Adem lays down a robot-funk bass line. The bass-drums groove on “Anglepoised” is heady stuff too: a bedrock of post-rock over which Hebden layers swaths of playfully exploratory, ebbing and swelling synth chords. “Swerve and Spin” is a “take no prisoners” space rock anthem, with propulsive rhythms and a juggernaut riff. “Astrozero” contains a wonderful counterpoint between ostinato guitar filigrees from Hebden and strummed bass chords from Adem while Jeffers sets up syncopated unequal threes in the background. “A Slow” creates a more relaxed, slowly evolving ambience; but it still presents some intriguing metric swerves and a multifaceted thematic scheme. Lest one think that this release is a rehash of 1998′s Sevens and Twelves collection, the CD includes cuts from the early LPs as well as a previously unreleased song and several similarly unreleased fragments. True, one might feel a bit deprived that many of these ‘new’ tracks are snippets under a minute in length; but they actually prove to be fascinating bagatelles of sonic inquiry. The one full length cut, “Triumphant Homecoming,” more than compensates for the others’ brevity: it’s a richly varied arrangement, veering close to IDM in places only to confuse the rhythm with quick changes of pacing and overlaid synth polyphony. Would that all trips down memory lane were so pleasant!
Jun
10
2009
Wolfgang … Amadeus … Phoenix!?!Posted by Christian Carey in Alternative, CD, CD Review, File Under?, IDM, Indie, Uncategorized, classical, classical crossover, composer, electronica, pop
Wolfgang Amadeus Phoenix Phoenix Glassnote
Phoenix has been creating music since the mid-nineties and made their debut recording in 2000; but Wolfgang Amadeus Phoenix, their fourth LP, displays them at their best to date. The release’s powerful, intricate modern pop may not resemble either of the classical composers it references – Mozart in its title and Liszt on the song “Lisztomania;” the video for the latter was even filmed at Bayreuth! But the audacity and exuberance of these gestures to such luminous predecessors, in their own way, ring true.
Certainly, synth pop signatures remain a fixture of Phoenix’s sound, as is abundantly evident on songs like the aforementioned “Lisztomania” and “1901;” “Rome” is even more New Wave-inflected than is their usual wont. But on “Love Like a Sunset, Pt. 1,” the group strays into solidly art rock territory, creating a memorable, occasionally prog-influenced, instrumental. The piece is a synthetic tone poem that is considerably attractive. When its short coda, “Love Like a Sunset, Pt. 2,” reintroduces Thomas Mars’ vocals, the effect is dislocating; the music seems to have traveled so far away from the single-ready fare one’s already heard him sing.
Range, subtlety, memorable tunes, and name-dropping Franz and Wolfie in Richard’s playground; what’s not to like?
May
17
2009
Kid's latest Shout OutPosted by Christian Carey in File Under?, IDM, Uncategorized, electronicaKid 606 While much of the fare is suitable for raves, its big, pulsating beats don’t prevent it from retaining a sense of humor; nor a sense of complexity. The humor is abundant in whimsical track names – “Underwear Everywhere,” “Baltimorrow’s Parties,” “Be Monophobic with Me,” “Malcontinental,” “American’s Next Top Modwheel,” – and wryly witty spoken-word samples. The latter are best displayed and boisterously employed in a faux-revival on “The Church of 606 is Now Open for Business;” one imagines its congregants dancing in the aisles! A disturbing phone call from the police populates “Mr. Wobble’s Nightmare;” after a purely spoken intro, the music flirts with glitch and scratching before yielding to the thrumming call of a darkly appointed dance floor; loops and synths are interspersed with voice snippets.
The underlying pulse is frequently apparent in Kid 606′s material, but it’s also blurred with deft incorporation of overlaid syncopations and polyrhythms. This is particularly explicit in the Frankensteinian mixture of “Monsters” and the Reich-like phasing of “Getränke Nasty.” Even the album closer, “Good Times,” is wrapped in enigma; it supplies buoyant reggae rhythms but offsets them with a quirkily chromatic bass line and more complex, skittering background material. Shout at the Dõner trusts the Kid’s devotees to follow him further out. One hopes they will, as the CD is an excellent addition to his catalogue.
May
16
2009
St. Vincent makes all the Actors CryPosted by Christian Carey in 4 AD, CD Review, File Under?, IDM, Indie, Uncategorized, classical crossover, electronica, pop, singer-songwriter
St. Vincent Brooklynite Annie Clark, who now performs as St. Vincent, had a varied early musical career. It included a range of stints as a supporting musician, for Sufjan Stevens, Glenn Branca’s guitar orchestra, and even the robe-clad indie collective Polyphonic Spree. In like fashion, her second LP as a solo artist, Actor, has classification-hunters stumped.
Despite her nuanced musical approach, St. Vincent has captured mainstream media and even pop culture attention. A recent article in the NY Times ran with the headline, “Friendly, and Just a bit Creepy.” The latter description is doubtless due in no small part to the video for Actor’s leadoff single “Actor out of Work” (watch here, courtesy of YouTube). Under St. Vincent’s enigmatic, piercing stare, a succession of auditioning actors is reduced to tears. While the visuals are arresting, the music, which combines a Sixties-era “Wall of Sound” pop chorus, including layers of Vandellas-esque vocals, with a postmodern electro-pop aesthetic, is most engaging. The lyric content on Actor doesn’t eschew provocation either; once again, juxtapositions abound. This is front and center on “Laughing with a Mouth of Blood;” an overtly visceral image is belied by the loveliness of the song and its rendition. A fully fleshed-out synthetic arrangement is wonderfully juxtaposed with Clark’s acoustic guitar solo introduction and breaks. The CD closes with a gently articulated ballad, “The Sequel,” that features Actor’s assembled chamber orchestra, highlighting a beautiful solo from Adkinson. Clark channels jazz singer stylings in her breezy, lilting delivery; the song clocks in at just under two minutes – an all too fleeting, but eminently lustrous, miniature. One hopes a sequel to Actor will be fast forthcoming.
Apr
16
2009
Record Store Day in the SouthwestPosted by Christian Carey in File Under?, IDM, Indie, Uncategorized, myspace, record store day Sporting a severe-looking Mohawk, Ryan Breen’s pliant dance music with a twang belies its creator’s gruff exterior. Billed as “new wave for the 21st Century,” his group Back Ted N-Ted has an EP for sale on ITunes; an LP is slated to drop this summer.
In celebration of Record Store Day, Back Ted N-Ted will be appearing at 4:00 PM at Stink Weeds in Phoenix Arizona. Bring your dancing shoes.
Apr
07
2009
Deacon: Bromst, TourPosted by Christian Carey in Alternative, CD Review, File Under?, IDM, Indie, Uncategorized, electronicaDan Deacon Dan Deacon is the latest in a series of recent indie artists whose music pits self-recorded laptop electronica against a panoply of live instruments, with stirring results. Unlike his previous work, which consists entirely of electronics, Bromst is a much more collaborative affair. In fact, Deacon is bringing fourteen musicians on tour with him to realize its material in live settings (concert information below).
One listen to Bromst, and it’s easy to see why Deacon’s bringing along reinforcements; the artist is willing to let things get busy – even occasionally to clutter the soundscape. Arcade-game whirrings and buzzes infiltrate “Red F” and “Get Older,” while the expansive indie rock “Of The Mountains” builds layer upon layer of synths, drums, and guitars into a flurry-filled, delightful aural feast. Meanwhile, “Wet Wings” employs a host of overdubs of Jean Ritchie singing rustic folksong “The Day is Past and Gone” in goose bump-raising canonic overlaps. The LP’s stylistic range is impressive: “Woof woof” plays with dance-electronica and varied vocal samples in energetically buoyant fashion, while “Surprise Stephani” displays its electronica opposite: lushly multi-textured, slowly evolving IDM. Deacon might consider a live recording of the Bromst tour: it’d be fascinating to hear how the songs evolve.
 Tour announcement (Forcefield PR) Dan Deacon’s live ensemble for this tour: Benny Boeldt: keyboard, sampler, synthesizer DAN DEACON 04/03 Philadelphia, PA First Unitarian Church
Mar
13
2009
Honeysuckle remixesPosted by Christian Carey in Alternative, CD Review, File Under?, IDM, Indie, Uncategorized, electronicaSubmarines – Honeysuckle Remixes Released as two digital EPs, Honeysuckle Remixes are deft reworkings of material from Honeysuckle Weeks, the Submarines last LP. Remixers include other indie sensations, such as Ra Ra Riot and Alaska in Winter, as well as producer/mixologist Amplive. The latter provides a big-beats, downtempo version of “1940,” countered by a chamber electronica, string-laden remix of the same track with the Section Quartet on EP 2. This type of double coverage continues for much of the EP, and creates some additional interesting juxtapositions. Ra Ra Riot’s version of “Submarine Symphonika” features undulating polyrhythms and suave pizzicato accompaniments; the corresponding remix by “Wallpaper” makes the song ripe for the dancehall, with synth slides and a suavely peppy beat structure. “You, Me, & the Bourgeoisie” is given a Euro-funky rendition, a lá Hooverphonic and replete with vocal echos, by Tonetiger; Alaska in Winter here prefer IDM clubbing; undergirding the song with an ostinato subwoofer bass thud. The only remix to not have a complement is Styrofoam’s “Xavia;” it’s easy to see why, as this is given a full-on, everything and the kitchen sink arrangement; busy, thickly scored, yet instantly catchy!
Feb
27
2009
Dear JohnPosted by Christian Carey in Alternative, CD Review, File Under?, IDM, Indie, Sweden, Uncategorized, electronicaLoney Dear Dear John
Loney Dear’s second LP serves as a reminder that, despite myriad ups and downs, synth pop remains a vital genre. Dear John combines crisp, effervescent arrangements with lyrical hooks. The synthesized oscillations and punchy bass lines of “Airport Surroundings” and “Violent” are both well-crafted and headily visceral. The high level of clarity and production values belies the notion that home-recording necessitates a ‘lo-fi’ aesthetic.
While Loney Dear (Emil Svanängen) capably evokes melancholy inflections – as on the affecting “Harsh Words” – this is hardly downtempo IDM. Instead, he has created an all too rare synergy between sophisticated electronica and the concision and appealing sweep of good pop singles. Even songs such as the title track and “Harm,” where the atmosphere is more spacious and the textures more varied, still keep the continuity of the vocal lines, and their achingly delicate traversal of poignantly spun elegies, as the foremost concern.
Jan
11
2009
Random Bests of ’08, Part 2: Best Euro-pop ChanteusePosted by Christian Carey in Alternative, CD Review, File Under?, IDM, Iceland, Indie, Uncategorized, electronica, folkEmiliana Torrini Me and Armini Her latest CD, Me and Armini, reintroduces a vigorous mixture of electronic elements and robust rhythms; materials she downplayed in her previous album, the stripped-down Fisherman’s Woman. But her voice more often serves as a calming force buffeted by these walls of sound – witness her captivating, understatedly cool delivery amidst the rocking accompaniment of “Gun.” The title track employs zesty reggae rhythms alongside a sultry vocal. Torrini returns to a primarily acoustic palette for “Big Jumps,” a catchy alt-pop single with a vocalize hook that dares you to not sing along.
|
Powered by WordPress, Mandigo theme by tom.
Entries (RSS)
and Comments (RSS).
