Listen To Preacherman’s “Out Of This World”
Luaka Bop’s Forthcoming Reissue, Universal Philosophy: Preacherman Plays T.J. Hustler’s Greatest Hits, Out This Friday
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Category: Electro
Review: Exploded View – Obey
International experimental musicians Exploded View (Annika Henderson hailing from Berlin and Hugo Quezada and Martin Thulin from Mexico City) explore themes of punishment and isolation (physical, mental, social) on their new album Obey.
They open with the instrumental “Lullaby,” which could be the opening theme to a Mario Bava movie, and then slide into the sultry “Open Road,” which could be the opening theme to David Lynch’s next movie. Henderson’s voice hypnotizes you within moments and Quezada and Thulin’s instrumentation ranges from weird lounge jazz to dreamwave. “Dark Stains” brings in krautrock bass and synths while Henderson sings about lost time and a lover’s deceptions.
“What would you do if your love was gone tomorrow and you never found the words to say?” Henderson asks on the haunting synthwave track “Gone Tomorrow,” in which Exploded View implores us to not wait and not to be afraid to find love. The unsettling title track is about obeying not only laws but also the unwritten rules of society (both in the flesh and online) which can get you ostracized if you don’t tow the line. Henderson’s voice seems to be on the outside of the song, like she’s being punished for not conforming. I can’t help but think of another filmmaker when hearing this track – John Carpenter. It seems to flow out of his film They Live.
“Sleepers” is one of the best synthwave tracks of the year, with buzzsaw guitars, sunlight-bright synths, dark bass, and Henderson’s vocals calling out to you through your dreams. “Letting Go of Childhood Dreams” is about the sometimes cold nature of reality. Again, Henderson’s vocals seem distant, almost like she’s fading away as the synths drift into every corner of the room.
The catchy “Raven Raven” is probably being blasted in goth dance clubs across Europe by now. If not, it should be. It’s perfect for dark rooms, make-out sessions, late night Metro rides, and catching the eyes of a raven-haired maiden as she looks at you over a cup of jet black espresso at 2am. “Come On Honey” brings in chaotic guitars and frenetic percussion while Henderson’s vocals keep us and her bandmates grounded (but just barely). The closing track, “Rant,” is appropriately urgent. Henderson implores us one last time to embrace life, love, and beauty. “Life could be so damn simple, if you let it,” she sings.
We’re too busy obeying, however. We’re obeying advertising, 24-hour news cycles, social media, and the expectations and opinions of others and not trusting our own minds, eyes, and hearts.
Stop obeying. Start living. That’s the message of Exploded View’s Obey.
Keep your mind open.
[Wake up and subscribe.]
Review: mmph – Serenade
Sae Heum Han, otherwise known as mmph, has released his second EP of electronic instrumentals – Serenade – and I’m not sure I can describe it better than the official press release for it, which states: “Melodically focused, orchestrally informed and rhythmically driven, each of Serenade’s five songs utilize a different classical trope to create Wagnerian suites in miniature. ‘Minuet’ is a stately dance in triple time (performance), ‘Tragedy’ is a play (death), ‘Elegy’ is a mourning poem (death), and ‘Serenade’ is a courtship song often played in the open air (love).”
“Minuet” is indeed a performance, with big, crashing guitars, percussion, and synths before lush pianos and strings take over the track. The choppy synths on “Tragedy” remind me of a crashing helicopter (or at least the sounds of such an event when seen in action films), which is appropriate for the title. They become almost angelic wails at one point.
The middle track, “Woodlawn,” starts and stops with chopped-up beats that resemble panicked breathing and uncertainty. “Elegy” is the creepy little synth brother to Mussorgsky’s “A Night on Bald Mountain.” The synths become gothic chants and the beats are the flapping of demon wings. The title track’s themes of love and courtship is evident from the first few notes. Synths bloom and burst and chase each other around like giddy lovers.
Serenade is an impressive piece of work. It’s bold and artful, and one of the more interesting electronica albums this year.
Keep your mind open.
[Subscribe, won’t you?]
Jon Hopkins’ new single and video, “Singularity,” is an electro stunner.
Jon Hopkins Shares “The Single Most Epic Video I’ve Ever Had Made” —
Watch The Video For “Singularity,” Directed by Seb Edwards HEREJon Hopkins Currently On Sold Out International Singularity Tour,
Including Pitchfork Live Performance On Tue. Sep. 25
Watch The Video For “Singularity,” Directed by Seb Edwards HEREJon Hopkins Currently On Sold Out International Singularity Tour,
Including Pitchfork Live Performance On Tue. Sep. 25
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Celer’s newest track, “Tetra,” is haunting and meditative.
Celer Announces New Album, Memory Repetitions,
Out Nov. 9th On Smalltown Supersound
Listen To “Tetra”
https://soundcloud.com/
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Miss Red – K.O.
Weighing in at…I have no idea, actually, but she can’t be more than a featherweight, Miss Red has unloaded an album worthy of its title – K.O.
I described Miss Red’s music to a coworker as “Jamaican dancehall by way of Israel and Germany.” He claimed not to understand it, but his head was bobbing and his hips were moving before he realized what was happening.
Collaborating once more with beat master the Bug, Miss Red throws out “Shock Out” like a quick jab testing her opponent’s guard. When it lands at the 43-second mark, it about splits your nose open. Red’s rapping is fast, smooth, sexy, and dangerous. Bug’s beats are like a growling, prowling bear emerging from its den ready to devour anything in its path. “Give me the money and pass me the mic,” Red sings on “One Shot Killer.” “One move wrong and you’re gonna see me bite,” she warns / tempts before her vocals take on a smoky quality that is difficult to describe but wonderful to hear.
She bobs, weaves, and shuffle steps with amazing speed on “Money Machine.” I don’t think she’s keeping up with the Bug’s thumping beats so much as they’re keeping up with her. “Alarm” is a short banger, almost like a blitz of punches that disappears as quickly as it begins, like a set-up for a stronger blow. That stronger blow is “War” – a dub mind-trip that feels as punch-drunk as it sounds. “Come Again” has Red claiming her heavyweight (in terms of skill) title from people who can’t match her game. The synth-bass on it is some of the biggest on the record, too. “Big” has her letting everyone know she’s far bigger than her size would have you believe. She might be small, but Miss Red is a giant throwing lighting bolts from thunderclouds once she grabs the mic.
“Clouds” is another trippy dub track, and the electronic beats on “Dust” bubble into a wicked brew. “Dagga” is the first single off K.O., and it’s a good choice. It highlights Red’s vocal chops and the Bug’s wicked beats well. As good as that is, however, “Slay,” is downright jaw-dropping. It’s an instant floor-filler and one of the hottest club tracks of 2018. I can’t wait to hear this live. Red brings a kinky swagger to her lyrics (more than usual) and the Bug’s beats and breakdowns almost aren’t fair to practicing DJ’s like yours truly. The haunting “Memorial Day” belongs in a modern-day giallo film. Red opts for more singing than rhyming, and the Bug’s beats crackle like a bowl of your favorite cereal. The title track closes the album, and it’s a quick fadeout with Miss Red mostly chanting, “K.O.” throughout it. It’s like having your bell rung and seeing the lights go out as you fall to the mat in blissful stupor.
Miss Red is a fierce opponent. I wouldn’t want to face her in a rap battle, let alone in a street fight. She’d probably seduce you with her agile vocals and then break at least one limb while your guard was down. Still, you’d have a great story to tell afterwards.
Keep your mind open.
[Keep swinging by subscribing.]
Thom Yorke’s “Tomorrow’s Modern Boxes” solo tour starts November 23rd.
Radiohead front man Thom Yorke has announced a bunch of U.S. tour dates this fall to promote and play his solo material. Joining him will be producer (and frequent Radiohead collaborator) Nigel Godrich and visual artist Tarik Barri. Oliver Coates, a London-based cellist, will be the opening act.
The dates are as follows:
November 2018
23rd Electric Factory – Philadelphia, PA
24th Wang Theatre-Boch Center – Boston, MA
26th Kings Theatre – Brooklyn, NY
27th Kings Theatre – Brooklyn, NY
30th John F Kennedy Center For The Performing Arts Concert Hall – Washington, DC
December 2018
1st Keybank State Theatre – Cleveland, OH
2nd Masonic Temple Cathedral Theatre – Detroit, MI
4th Chicago Theatre – Chicago, IL
5th Riverside Theater – Milwaukee, WI
6th Northrop at the University of Minnesota – Minneapolis, MN
8th Stifel Theatre – St. Louis, MO
9th Arvest Bank Theatre at The Midland – Kansas City, MO
11th Paramount Theatre – Denver, CO
13th The Union – Salt Lake City, UT
15th Bill Graham Civic Auditorium – San Francisco, CA
17th The Observatory, North Park – San Diego, CA
19th Orpheum Theatre – Los Angeles, CA
20th Orpheum Theatre – Los Angeles, CA
22nd The Chelsea at The Cosmopolitan of Las Vegas – Las Vegas, NV
Tickets will surely sell out for most, if not all, of these shows. Don’t wait too long to score some.
Keep your mind open.
[Don’t wait too long to subscribe either.]
Luaka Bop to reissue rare Preacherman album on October 12th.
Luaka Bop Announces Preacherman Reissue, Universal Philosophy: Preacherman Plays T.J. Hustler’s Greatest Hits, Out October 12th
Listen To “Feel It”
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Lindstrom’s new single, “Blinded by the LEDs,” is one of the best electro tracks of 2018 so far.
Lindstrøm Presents New Single, “Blinded By The LEDs,”
To Celebrate Oslo’s Henie Onstad Kunstsenter’s 50th Anniversary
Listen HERE
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Steve Hauschildt – Dissolvi
Chicago resident and electronic minimalist musician Steve Hauschildt experiments with introspection on his new record, Dissolvi. Reducing the self leads to viewing the world as it is and not as you wish it to be (the first step in the Eightfold Path). Through this record, Hauschildt tries to do just that and encourages us to do the same.
The title of the opening track, “M Path,” is a play on “empathy” – someone who can sense emotional states. It’s bubbly and curious, perhaps as it might be if one could instinctively tap into another’s emotions. Hauschildt’s synths float around you like jellyfish throughout the track. “Phantox” dials down the curiosity to meditative introspection. The quiet dance floor bass thumps are even restrained as they remind you of an excited pulse. “Saccade” is restful yet seductive, especially with Julianna Barwick‘s guest vocals that snuggle up to you like a cat.
The seven-minute “Alienself” lands in the middle of the record and is an interesting view on Hauschildt’s vision of himself. Don’t we all feel alien at some point(s) in our lives? We feel like we don’t belong or are witnessing things so bizarre that they are hard to fathom. This can happen every day if you watch the news. Thankfully, Hauschildt takes the right approach by embracing this alien within and looking at the world with outsider’s eyes. The song floats along with the same curiosity found on “M Path,” but with a bit of a more playful sound with popping bass and toned down dance synths.
“Aroid” is the soundtrack of replicant dreams, or the ambient music playing on the ship taking you to the off-world colonies. Dance beats take front stage on “Syncope,” and I think it’s impossible to sit still during the song. Not that it’s a floor-filler or a club banger. It’s subtle dance music. That’s probably the best way I can describe it. “Lyngr” is another excellent “subtle dance” track, but with faster beats and synths that pop all around you. The bass on the title track is so fuzzed out that it sounds like the footsteps of an electric giant.
It’s a lovely record, and certainly one of the most upbeat ambient albums of the year (and who even knew there were such things). It will help you dissolve out of whatever doldrums you’re experiencing at the moment and at least bring you into the present long enough to change your outlook.
Keep your mind open.
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