Gah, sometimes I just feel so damn out of it. Have any of you folks ever heard of this Moulinex character? He's from Germany, he remixes, and he just released a very, very good in its own right Cut Copy remix of "Lights & Music," but ... I never even knew he existed! Caught totally unawares.
Moulinex is part of Discotexas ... whatever the heck that is. I'm just showing you the trail of breadcrumbs -- go off an discover the inner workings of Germany's underground Justice-hailing electronic scene.
In all honesty, the Cut Copy remix is great, though. It's spacier than the original, more stoic and steely-eyed (if it was a person). I'm having a rough morning, so my apologies for funny/uninteresting/confusing descriptors. This remix ought to be on a soundtrack for a Leiji Matsumoto sci-fi anime ... Galaxy Express 999 or something. Helpful? Just download the friggin' thing and grab the Turboweekend remix as a little bonus. (What's that? Hate Turboweekend as well!? Yeah, well this remix is actually pretty redeeming, so give it a listen, anyway.)
And by LP, we really mean long-player. From the Valley to the Stars is lengthy! Sixteen tracks!
BBBD predicts that -- with "heavy hitter," "indie divas" like Feist, Jenny Lewis, and Joanna Newsom in between albums -- 2008 will be the year that Swedish singer/songwriters make it big. Lykke Li, with her stripped-down soul/R&B tunes is already proving this to be the case, and El Perro del Mar (MySpace) is only showing this to be much more than a passing trend.
El Perro del Mar's follow-up to her eponymous U.S. debut is quite the stunning record. More refined and varied but still just as focused on the Gothenburg native's angelic, floaty vocals talents, From the Valley to the Stars will warm your heart and put you in a good place; a humble, if not mildly depressing spot. Here's what she's got to say on it:
I wanted to make something as unfashionable as an album in the classic sense of the word - in terms of its composition and the idea of a theme. The theme itself was initially something as simple yet complex as heaven and it led me into a wide and seemingly endless search for a means, a language in which to express myself. Although during this time I was, even though I mostly didn't realize it, following a certain train of thought - that of love, grief and loss, solace and hope, deepest despair and wildest childish euphoria - to the lowest and the highest of heights.
Morningside Records' I Am Bones (MySpace) released a new record in late 2007, The Greater Good. Somehow I've missed it until now, February 11. Damn.
It's a good sophomore effort, though. The Greater Good is more energetic much more energetic and bombastic. It's right up in your face from front to end, never pulling back, never coming up for a breath of air, never letting up. Which is actually a good thing. I Am Bones consistently and persistently churns out boss hooks, jangling guitar-pop melodies, and jovial arrangements, enhanced by clean and clear production qualities and Johannes Gammelby's raspy, Pixies-esque vocals and spirit.
Keep in mind that Gammelby is essential the only member of I Am Bones. He write the songs, arranges them, and all that jazz. This record was more of a group effort than the last, but don't think he's let up any of his creative control: The Greater Good is dripping with Gammelby's unique sound and ambiance.
I'm calling this speed grunge. It's got the soul of grunge -- gritty, abrasive, tattered and torn, but literally sped up. The Danish super-sweet pop topping makes it less "grungy," I guess, but still ... what do you think?
Before I kick this one off, keep in mind that the below song is a demo, and therefore, I believe, not fully reflective of how great this artist can be.
Alice {Musics} is a a U.K. singer/songwriter backed by a few instrumentalists. It seems to be her project, though. On first listen, a few things'll pop out at you in particular. One, she slips piano lines into nearly every bar of every song. Two, she has a pretty great voice, right? Strong and uniquely mystical and style. I like it a lot when she harmonizes, too. Three, the non-piano and non-vocal lines are especially sparse, but when they do incorporate into a tune, they're much welcomed. Like an extra bonus, a surprise ... sporadic bass lines save these songs in some cases and congeal the ideas into true "songs" as opposed to vocal sketches.
I'm enjoy the EP, and am especially curious to hear what Alice {Musics} has to offer in the future. She's being received well in the U.K. and has some good songs under her belt and a digestibility and creativity to her that's greatly sought after. Fingers crossed ...
Cocosuma (MySpace) is a Parisian trio that plays psych-lo-fi-pop or Charles Gainsbourg-meets-the Beach Boys-styled ballad-y pop tunes. They're quite a lot of fun, but you might already know that since I wrote about them a year ago!
Anyway -- since it's in vogue right now to get remixed by BBBD's favorite spazzy group/happy hardcore outfit/alien life form, Bitchee Bitchee Ya Ya Ya, Cocosuma did it, too ... with pretty solid results, actually. Contrary to what normally happens when BBYYY get their hands on a song for remixing, they didn't complete destroy and turn inside out the original song. In fact, the BBYYY remix of "Charlotte's On Fire" is actually ... pretty! BBYYY added distorted, heavy drums, a few synthetic flutters, and added reverb, but in the end, they didn't skew things too severely and gave the song a bright new spin that's great.
The pairing of the Teenagers and Poney Poney was ... inevitable. Both bands are from France, both are trios, both are in the rock/pop vein, both get you movin', both are pretty friggin' cool. We just wonder why there didn't get together earlier!
The below song is a Poney Poney remix of the Teenagers' forthcoming single, "Love No." Sounds like the original will be great, judging by this remix which is a relaxed, lounge-y, and atmospheric rendition of the the original. Those harmonies are super rad, right? And the piano? The remix sort of ... classes the whole Teenagers' image and style up a notch or two, don't you think? Really solid.
Hey readers -- do I really need to stop writing about so many Swedish bands? Do you want more news from this side of the Atlantic? Is it really necessary? Because if it's not, I'll keep trumpeting the wonderful music that consistently is churned out by our European brothers ... and go a little [too] light on the stuff from home. I love American music, but to stand out in the blog world, I've gotta keep writing about people you don't know! Enjoy!
Today, I've got a new Series Two Records artist, Robert Church & the Holy Community. I like this band a lot. They've that clean and crisp guitar-pop style that the Swedes have branded their own, but incorporated into the mix is a meticulous sort of folk/pop that's unique and really, really catchy. This stuff might be a little too mellow for me, but it also reminds me too much of the Unicorns or Alden Penner's stuff and old PB & J stuff. So I can't refuse.
If you thought I'm From Barcelona was too cutesy and the Unicorns weren't structured and concise enough, Robert Church & the Holy Community is for you. The new LP, Le Rouge, can be purchase here if you live in Japan. Better just wire 13 USD to seriestworecords@gmail.com with your address and tell them you want the record ...
The European label, Monsterk7, was formed for pretty ... unorthodox reasons. The "first aim is to restore into favor the audio tape, this phonographic medium sacrificed on the altar of modernity and supplanted by the almost dead CD." Bizarre, right?
I've not actually seen any of the company's tape releases, but I'm sure they're great. For the most part, they release digital compilations, the most recent of which is called Face A/Face B (like a tape -- get it?) "Side A" is all electronic while "Side B" is all folk. Monsterk7 obviously subscribes to a pretty broad definition of "electronic" and "folk": the electronic tracks are all indeed synthetic in nature, but some of them err more towards the IDM side of things while others sound like clips from an all-night rave. I'm more of a "Side A" fan ... the "folk" songs are easy-going, light, and very enjoyable. The best tune is Orouni's "Dead Cat (Milk & Fruit Juice Cover)." It's endearing, simple, and just makes ya feel good.
But enough of my yackin' -- grab the high-quality compilation here and check out the Orouni song from "Side A" below!
I'd not heard of the delightful Filthy Little Angels label until today, which is really a shame since it's a great record company!
The label is a great example of the C86/D.I.Y. aesthetic that's being applied to today's indie scene. The website features a plethora of label- and artist-curated mixes, a pile of free downloads, and plenty of modest, personality-driven commentary. I love it and feel compelled to explore the archives for hours on end ... maybe tomorrow.
Anyway, F.L.A. has a new 7" coming out on February 11 -- a split featuring two songs by Scotland's Projekt A-Ko (MySpace) and Horowitz (MySpace), another U.K. group. Pre-order the thing here. There're only going to be 200 copies, all of which are bound to sell, so pick one up now!
I really like Projekt A-Ko. They represent a world of contradictions: distortion-filled, gritty garage rock plus My Bloody Valentine-esque atmospheric soundscapes plus twee boy/girl singing and poppy harmonies. They rock hard, but with an earnestness and sweetness that's been long forgotten. Horowitz, on the other hand, sounds like your prototypical Swedish pop group. Clean, crisp, light guitar riffs, summery hooks and melodies, modest, heavy-on-the-high-hat drumming. They're charming and I love 'em, so keep an eye on them!
BBBD's favorite underappreciated Japanese indie group of the moment -- and for the past several months now! -- Greengate, is out with a new song, "Jumbotron (1:20)" ... it is, as expected, very much worth your time to check out!
Greengate dazzled me with "Home," a invigorating, shoegaze-infused track a la the Stone Roses circa 1989 ... or maybe Primal Scream from that same era or something. "Jumbotron (1:20)" picks up where they left off -- they're still hot on the Madchester/early-90s British rock tack -- but with an added dash of electronic/synthetic grit and bump. It's still just as clean and crisp as "Home," but more energetic, more vital, and perhaps more confident.
Check the tune out below! Support these two -- they rock hard.
(A) BBBD already wrote about Sweden's darling Lykke Li (MySpace) like ... eight months ago. Take that, hype machines around the world! You heard it here first!
(B) Ms. Li has only gotten better (way better, actually) since we wrote of here. I'm sorry, but I must share this with you all. Her debut album, Youth Novels, is just too damn good. Really, really good. (How many ways can I say, "really good"?) You must check out some of the newer, mastered songs ... and BUY IT!
Object of the British/Australian Hype Machine's fascination, Operator Please (MySpace) just released their debut LP, Yes Yes Vindictive, in Australia and New Zealand (coming on March 17 in the U.K.), and, as is to be expected, slapped a bunch of remixes and b-sides on the accompanying singles.
One of these singles -- for "Get What You Want" -- was remixed by BBBD favorite Sportsday Megaphone. In typical Sportsday Megaphone fashion, the remix is hyperactive, spastic, and refuses to calm down until it's just short of the three-minute mark and then, poof -- it's gone.
I'm sure you can all find the CD and singles if you really want (the Teenagers did a remix, too), but since it's only out in Austrlia and the U.K., I'm not going to bother with that stuff. Just dig the track, okay?
Initially, I was skeptical about last night's show: HEALTH (MySpace), an integral member of the Smell's current "lineup" (Mika Miko, No Age), playing at ... the El Rey!? I shouldn't've been so cynical, though -- HEALTH filled every corner of the cavernous, rectangular venue and seemed just as alive, if not more so, on stage as ever. Whatever it is that John -- one of the guitarists, singers, and all around multi-instrumentalist -- does up on stage is absolutely mesmerizing, almost poetic. He jumps and hops and skips and shimmies around stage in complete unison with the music; clearly, he's feelin' the connection.
But, more importantly, in terms of actual music, the show was stunning. One good thing about being in a spacious concert hall is that your acoustics get better almost immediately. Your sound just get meatier, thicker, denser, and the audience can actually see, hear, and feel all the elements that comprise the songs as opposed to just being immersed in the wall-of-noise that little shoe box venues (like the Smell) subject you to. Nothing wrong with that, though. Last night was enlightening because of the improved acoustics ... and the improved skills and stage presence of the group.
About ten minutes into the set, I figured it out: HEALTH isn't just a noise band. They're not fitting into that classification as conveniently as I'd thought they would've. If you pop in the HEALTH album expecting Lightning Bolt (or whatever), don't be surprised to hear something totally the opposite. HEALTH, I think, is more aptly described as industrial noise. They've the precise speed drumming of a metal group, but it's got this mechanization feel -- super precision always does -- that lends to an "industrial" vibe. HEALTH's continual sound processing, voice filtering, and noise distortion make them sound even more industrial ... like Cabaret Voltaire or Throbbing Gristle at times. The guitars sound, at times, pre-programed, like saws on steel ... the voice filters like rudimentary tape loops or homemade synthetic effects ... the distortions and feedback like background fuzz on a Nine Inch Nails track circa 1990.
So it's dawned on me -- HEALTH represents a new wave of music: industrial noise. Catch the quartet when they come through your town as they are not to be missed. But the eponymous debut here. Read my interview with the band here, here, and here. If you're looking for their remixes and can't find enough on BBBD, check out the HEALTH // DISCO MySpace page.
Lastly -- pictures from last night can be found here or after the jump!
I guess it's really, really awesome to give MP3s away to promote a band's new album in exchange for the downloader's email address. I can pretty much unilaterally say that yes, yes indeed, I will fork over my GMail address (or *ahem* a fake one) in exchange for an MP3.
Joining the Clinic mailing list for "Free Not Free" is so much more worth it, though: not only do you get the song from their forthcoming Do It! LP, but you also get "Thor," a stellar b-side, and a pile of artwork. "Kriss Kross" is bizarre ... sounds like the Guillemots got their hands on the cheesy synths that Europe used to use and went on a Queen binge, but oh boy is the song a sure-fire hit.
"Free Not Free" is quite possibly Clinic's most melodious and accessible song. It's a swooning, dark, and melodious psych-rock tune that also emulates old rockabilly and soulful high school prom dance music circa 1954. Very rockin'.
Enjoy the Clinic song below for streaming and download.
When the French indie-pop quartet, Go Go Charlton (MySpace) released their debut EP -- logically called EP 1 -- we posted about them. Now that EP 2 has been released, we're posting again!
Go Go Charlton is a spunky and energetic quartet from oh-so-sexy Paris, France that sounds more like an Orange Juice cover band than a a Phoenix follower; a much more commendable style, if I may say so myself.
But as Go Go Charlton says, they could've formed anywhere, so don't get the wrong impression about their sound and style from the get-go as they're not your typical Parisian foursome.
In UK it could have been a Manchester pub where New Order or The Smiths played for fun. In France it would be Patrick Dewaere negligently laughing on a soccer field. But it's mostly about music, about friends staying up late and about some heroic gigs.
Check out "The Wise's Daughter" (wha?) below. Get EP2/Your Son from iTunes if you want more!
Phew ... long day. Tough day. Definitely need this one.
Jonna Lee (MySpace) is a Swedish singer-songwriter, and a very good one at that. I tend to be quite the non-fan of singer-songwriter stuff, especially when it's driven merely by simple rhythm guitar melodies, airy keyboard backgrounds, and super sparse, high-hat-heavy drumming, but Jonna Lee does it well and does it with conviction and an authenticity that most folk-leaning individuals wash out with overly ego-centric arrangements and songs. Lee sounds like another instrument in the band as opposed to the center of attention and one glimmer of talent and soul.
Indeed, these songs are not only catchy and relaxed, chill, but also organically layered and warming. Don't you hate those people on the street that'll randomly walk by singing some crummy song with next to no talent, but thinking they're the best in the world? I always feel like singer-songwriters (broad generalization here) subject me to the same disservice. Lee has proven me wrong: I want to hear this girl all day long.
And hey -- she collaborates with Ed Harcourt on one of the tunes! Be sure to check out "I wrote This Song," though -- it's the best of the bunch below. It sounds like what would happen if Victoria Bergsman got a jazzier, more confident voice. Cool.
Paris' front runner in the world of minimalist dance music, I'm A Cliché Records (the same label that brought us the stupendous Bot'Ox) is releasing Cosmo Vitelli's latest double a-side single for "Converted" and "La Radiateur," and what a pleasure they both are.
"Converted" is especially reminiscent of something by Bot'Ox, but Vitelli makes music with an extra twist of funk and an added boost of disco that the colder, more calculated Bot'Ox never quite touched.
Check out "Converted" below and be sure to grab the 12" from Toppler Music.
France's Kitsuné Records is prepping for the release of their newest compilation, the fifth in their stunning series of mixes.
Kitsuné Maison 5 features the usual dose of buzz bands (the Teenagers, Cazals, Digitalism, Does It Offend You, Yeah?, etc.), quite a few old standbys (Alan Braxe, Fischerspooner, M.I.A.), and a handful of bands on the verge that BBBD endorses wholeheartedly (Late of the Pier, Bitchee Bitchee Ya Ya Ya). In short, an awesome, awesome, killer, killer mix that's not to be missed!
Pre-order the thing here. Download a great six-minute mini-mix below, too. Get psyched.
BBBD favorite Swedish indie-pop act, Envelopes are finally about to deliver their much, much anticipated sophomore album -- and follow-up to Demon -- Here Comes the Wind (out on Brille Records on February 18). I've been on these guys for literally a year, begging and pleading for more. The handful of EPs and singles didn't quite quench my thirst, though: I needed the album!
While we've still about three weeks until we can pick up a hard copy of the LP, the band has put together a free widget that you can get here. We've yet to test drive the thing, but you apparently get a sample of the record, exclusive songs, and much more with the download. Thank you, Envelopes! Not quite a Radiohead, but you're getting there ...
This is a new one for me so let's hope I get the facts straight (but keep in mind that I'm working with a lot of Spanish text here).
Okay, Buffet Libre is a music blog/magazine that -- while I've not investigated too much -- looks really, really solid. Good coverage, good topics, interesting collaborations, good recommendations. Right up my alley!
So ... Buffet Libre just put together a killer mix of remixes called Proyecto Batidora #147. Or at least I think it's #147. All you need to know is that P.B. is a series and B.L. represents a whole pile of DJs who tour around Europe as a group. I'm going to stop trying to explain here ... I'm sure one of you lovely readers will (a) catch mistakes and (b) amend my post, anyway. So check the comments, folks!
Download the mix right here. It features remixes of the likes of Das Pop, the Go! Team, SHITDISCO, the Toxic Avenger, and a few more. Below is my favorite remix -- Mojib's edit of the Go! Team's "Grip Like A Vice."
The following review of Xiu Xiu's (MySpace) Women as Lovers was written by BBBD contributing writer, Bryan Hood. Fingers crossed he'll become more of a regular at this Internet daily concern, but until then, just enjoy his expert writing.
Although an avid fan of Jaime Stewart’s band Xiu Xiu, I can’t say that I have been looking forward to their latest album, Women as Lovers. Since 2004’s accessible Fabulous Muscles, I had found myself disappointed by each successive follow up. Neither of the two albums released since then had been able to capture the energy and spirit of Xiu Xiu’s fantastic live shows. That said I was more than willing to give Women as Lovers a chance, and what I found is that Xiu Xiu has managed to finally make the album I’ve been wanting to listen to the for past four years.
Xiu Xiu’s music can best be described as a blend of shattering of glass, wind chimes and a few desperate pleas yelped above the chaos. This description may not sound that appealing, but somehow Stewart and co. manage to pull it all together and create music that’s earnest, beautiful, and occasionally poppy. This is something that can be heard at each and every live show, but rarely on their studio albums. Women as Lovers changes this though as Xiu Xiu’s full sonic range is finally on display. The music is no longer a shambling mess of high-pitched screaming and clanging. Well that’s not exactly true, there’s still plenty of that but now there’s so much more. Along with all the high treble sounds, there’s actual bass and—get this—drums! That’s right Xiu Xiu has finally added texture to their sound, and it’s definitely welcomed. Really enough can’t be made of drummer Ches Smith’s addition to the band. It’s hard to imagine Xiu Xiu having produced anything like the magnificent “I Do What I Want When I Want” and the exuberant “No Friend Oh!” prior to Women as Lovers. On top of this the album features more than just Stewart’s pained warble as Caralee McElroy once again joins on in the singing and Michael Gira’s voice is a welcome addition to the wonderous “Under Pressure” cover. The album’s not perfect by any means though (I understand the sentiments behind “Guantanamo Canto” but that doesn’t mean I think the song is any good) but it’s a remarkable album that gets better with each listen.
Women as Lovers is a great step in Xiu Xiu’s musical evolution. The band manages to add new layers to their music while still maintaining their distinctive sound, something that is especially important of a band as unique as Xiu Xiu. The album is one that both longtime fans can enjoy and one that for the first time since Fabulous Muscles might actually win over some new converts.
I love this band's name! At first, I read "THE LK" as "THE ELK" -- funny how your eyes (and brain) can paly taht srot of tirck on you!
Anyway, settle down for this one. The LK (MySPace) is a super-melodious experimental/glitch electronic pop act out of Malmo, Sweden. Had they popped up a little earlier, they would've been on the Caribou/Manitoba bandwagon. Had they congealed earlier than that, these two would've been an integral part of the IDM scene (how cliche does that classification sound now?) Fortunately, they're making music in 2008 and don't really subscribe to any one genre (who doesn't!?) ... or at least neither of the two aforementioned ones.
Equal parts emo-leaning Junior Boys, hook-driven Ratatat, and atmospheric experimental, the LK will surely pull you in for the sheer quality of their synthetic doodles, cavernous computer "paintings" (yes, I'm calling these songs paintings and doodles). None of the songs from Vs. the Snow suffer from want of ... anything. They're overflowing with bizarre samples, moody, brooding soundscapes, and lovely, thin vocals that all coalesce into this overwhelming pile of sound. They are very cool.
Vs. the Snow sold out in Sweden (allegedly), but lucky for us Americans, it's been picked up by Washington D.C.'s Kora Records, and will be released on March 3, so get it there! The pair's also touring the U.S. for a month or so starting on March 7 ... find more details (when posted!) on the MySpace page.
Mojib (MySpace) is a Swedish experimental breakbeat outfit that's really ... sweeping me away right now. The Gothenburg artist sounds like a sublime cross-breeding of dark, atmospheric acts like UNKLE, the Avalanches, Boards of Canada, and RJD2 on the glitchy, electronic, free jazz side of things and Asobi Seksu and like shoegaze bands on the other end. A really amazing and heartwarming sound.
Remember that UNKLE song that Thom Yorke sang on? "Rabbit In Your Headlights"? That's what Mojib reminds me of. Stunningly beautiful.
You can pick up a digital or hard copy of the album, Whimsical Lifestyle, for a mere $9 right here. It comes highly recommended. The title is an apt way of describing Mojib's sound and aesthetic -- with a light-hearted whimsicalness, the eleven tracks just float by, wrap themselves around your ears, calm you down, and ease the tension. If you're looking for something to keep you chill while keep you guessing what the next bar, refrain, or song is going to sound like and truly keep you stimulated, Mojib is your guy.
Many months ago, BBBD posted about this great new London DJ duo, the Slips. The electronic pair make refreshingly sparse and atmosphericdeeply layered, yet clear and highly-produced dance music to distinguish themselves from the bulk of club music (AKA bombastic, spasm-inducing, sensory-overload-in-a-bad-way crap, 95% of the time). The Slips have just released a great 7" single on BBBD favorite L.A. label I Am Sound Records for "Girls At the Back Up." A really solid 7".
(As an aside, BBBD would like to think that we were, in part, responsible for the Slips' signing. We take pride in occasionally telling you all about music that's worthwhile ... )
Anyway -- as the headline indicates, we've a contest! For the new Slips single! Shoot an email over to bibabidi@bibabidi.com with SLIP ME THE SLIPS as the subject. Be sure to include your mailing address so we can send our one (1) lucky winner the single and, if you're super nice, tell us how and where you found out about the Slips. The winner will be announced next Friday.
Check out a couple b-sides below, stream the "Girls At the Back Up" song, and stream/download the CSS remix of "Hot Hot Sex" over at the MySpace page. It's super good, man. Just buy it, why don't cha?
Q: You get a lot of attention for being a phenomenal live band. What do you try to do when you're on stage and how does it differ from your studio recordings? Do you try to differentiate the two?
JOHN: There is a difference, and some of it is intentional, but we don't think of the two as totally different things, I'm sure if there was a producer involved, some songs would be slowed down for the record that are much faster live, but the live songs and the recorded are very similar. Were allowed more crapulence with overdubs and such. Live there's a different NRG arc in the sequencing, some things get you off differently recorded vs. live.
Q: And more generally -- how's touring been for you? You've hopped around a few continents now and seem to be garnering quite a following. How's the touring life treating you? How're you liking it?
JOHN: We've always been touring, before we had a record, or fans or anything. So were pretty used to and get antsy staying at home. We generally love tour, but it does kick yr ass. The upcoming tour with Crystal Castles through central Canada in winter were expecting to run our asses ragged.
Q: As a band signed to a small label [Love Pump], how do you think the music industry at large is treating smaller groups and labels? Do you think the current environment is overall helpful for independents or is it still tough to "make it" today?
JOHN: I think its easier than ever for independents to "make it" today then ever, but let me clarify that "making it" is being known, not like making it rich or nothing. The interweb, dood.
Q: Any projects coming up that we should know about? Collaborations, forthcoming releases, music videos?
JOHN: 7" singles and 12" singles w/ originals and remixes, in limited colored vinyl pressings. There will also be a HEALTH//DISCO album in early '08 on Lovepump United, it will be a remix album, but a lot of care is going into it, it wont be just a comp of remixes. There will be some enhanced CD content too. Dan Deacon mentioned he wanted to collaborate sometime...but given his schedule that will be sometime in 2019.
Q: Thanks so much for talking! You make me proud to be in L.A. -- just when I'm starting to feel down about the health of the music scene around here, you pop up and make everything better! We all hail HEALTH!
As with every (*ahem*) desperate pop star trying to straggle a hit or two out of the new album, Kylie Minogue (MySpace has remixed the hell outta her new material. First a Studio remix, then Big Face, then a billion more I didn't hear, and now, a great one by the French duo, Spitzer.
The two brothers who comprise the ominously named Spitzer (sorry -- I just think it's too foreboding in nature; the name deserves italics) sent ripples through the blog-o-sphere when they sent out a couple ace tracks to a couple ace blogs and requested a post. This rarely happens, but ... Spitzer wound up being pretty damn good! Re:
The blogosphere was amazed by the twilight dark ambiance and the frenetic robotic sound of some of their tracks available on the Web. Understandably backed up by the whole electro Lyon community, booked by the Festival des Nuits sonores, they were also called by Kylie Minogue to create a crazy remix, that is still very secret. Track after track, Spitzer creates a new map without boundaries nor rules, frenetic and grandiose techno music set in between Nathan Fake's grandiloquence and the rhythmic scathing of Trentmoller. Sought by many labels, Spitzer is already cooking some new remixes and is working to finalise their first EP, "Roller Coaster". The two brothers will also start an Australian tour beginning April 2008. The two Spitzer brothers will road trip from one club to another and get the dance floor groovin'."
Remember the delightful Swedish pop duo Suburban Kids With Biblical Names? Well, Peter -- one half of the indie-/guitar-pop pair -- has been an active member of another band, Springfactory since 2005. The band shouldn't be thought of as a S.K.W.B.N. lookalike, though -- they share little in common. Springfactory's sound is equally indie-pop oriented and relies heavily on cutesy lyrics, twee production qualities, banjo melodies, and quirky arrangements (plenty of xylophone, horn, etc.) like S.K.W.B.N., but otherwise, they represent a sharper, more concise breed of Swedish pop music that S.K.W.B.N. never neared.
Gah, I can't believe I wrote S.K.W.B.N. three times in that paragraph. Ignore me.
The band released a collection of their EPs on the Nebraskan label, Series Two Records, on December 3. Buy a copy over at the MySpace page. Springfactory will undeniably be on repeat at the BBBD Offices ... and why not? Not a single song isn't immensely hooky and memorable, not a single word out of vocalist Linda's words comes out flat or or insincere or unnatural, not a single banjo strum sounds cheesy or cliche, and not one guitar hook sounds bland, overdone. Swing along to Springfactory's easy-going guitar-pop/indie-rock tunes. Ahhhh, so good.
They just released a 7" single for their stellar tune, "Psychotic." The duo sounds like a loony Devo-meets-K-Records-meets-the-Dodos (does that shed any light on their sound?) They fill their songs with irritated distortion, bouncy, off-kilter synth lines, filtered harmonica, and mumbled lo-fi vocals. It's so supremely soft-spoken and modest yet unassumingly angst-ridden that I simply can't get enough. I need more than a mere three-song 7", damn it!
Check out a couple tunes below and buy the vinyl when it's available for purchase on Every Conversation's MySpace page.
Q: I really liked your debut video [for "Heaven"]. Why did you pull that footage [from Werner Herzog's documentary, The Great Ecstasy of the Woodcarver Steiner]? It works really well with the music, but seems like a strange choice ...
JOHN: Yes, well it wasn't our idea. In fact we didn't know about it until after it had been posted on YouTube, and it started getting posted a lot of places. The video was done by Bret Berg of a great band called Anavan, he also did an Anavan video made with found footage ... The video is still not technically "official" but we really like it.
Q: And speaking about aesthetics and imagery -- where did the cover art for the eponymous debut LP originate? What was the inspiration there?
JOHN: The design used is one we've used for a lot of t shirts and our live cassette before, but the LP art was inspired by a lot of old record art, when the song titles or hits were often listed on the cover. Taking that idea and making it modern.
Q: Now, on to music. When asked to describe your music, what do you say? You're noise, but you tend to play more melodious stuff that other noise-rockers; you mess around a lot with pedals and weird effects, making the "experimental" categorization an easy one, but you seem to be more interested in song structure over random sounds; your tunes feature heavy, stoic drumming and speed guitar often, but no one's described you as a metal group yet. What are you!?
JOHN: Yeah thats tough. We tried to join several genre clubs with little success. We do get metal associations on tour, but Jupiter is the only one with a metal pedigree, though Beej is most accused of having one. We wish we could just be called Noise, but the L.A. Noise guys have reminded us that we are a band that plays music and not Noise. I like how BBBD says "Noise Dance". The genre thing doesn't bother me.
Q: What sort of stuff did you grow up on and how did you all personally get involved with actually making music yourselves?
JOHN: My formative years were punk rock, then I added classic rock, then progressive rock, then actual current music in that order, dance music got in a few years ago. We all played instruments in high school, and had high school bands. Weve always wanted to be in a band. Jake's was also punk rock, Jupiter, Metal, and BJ Blues Traveler. We all had equal Classic rock obsession and its the experience we share.
Q: And what type of music are you digging right now? Any undiscovered gems we should know about? Are you really all Michael McDonald fans?
JOHN: Um, Im really loving anything from "Italians Do It Better", get hip to Pictureplane, Captain Ahab, Telepathe, Narwhalz, Videohippos. If you live in L.A. get hip to Kyle H. Mabson, hes a goofy musical movement all to him self, in about 14 bands, all hilariously stupid: Kyle H. Mabson MySpace.
We finally got the chance to do an interview with BBBD favorite, HEALTH (MySpace). I think we've literally been talking about this for a year now. Anyway, enjoy Part 1 today, 2 tomorrow, and 3 on Friday! Q: Tell me a little about how you four got together as band.
JOHN: Not terribly interesting. Jake and I met each other working at Guitar Center Hollywood,I was playing Chinese Stars in the accessories section and he went: "hey you listen to cool music..." etc. etc. Him and Jupiter had already been trying to make a band and didn't know what they wanted to do, so I started meeting with them after work. After much talk and little action we decided to get a drummer off of Craigslist, BJ. Then we were a band.
Q: Shortly after the album came out, you began releasing a wave of remixes. Why did you decide to commission so many DJ's to remix your work? And what do you personally think of them?
JOHN: The original plan was not for so many remixes, I didn't think so many of them would be down for it. Every remixer was hand selected, I'm a huge fan of all parties involved.
Q: Maybe the most important and significant remix was the Crystal Castles one that was done way back before you had much of anything released. How did you get together with them and do you credit them with bringing you to any sort of fame?
JOHN: We discovered Crystal Castles upon my first visit to the blog 20jazzfunkgreats. Immediately stoked we started stalking their MySpace, added them. They left a nice comment about the tunes. Stoked+ we worked up the nerve to ask them to do a split or a remix possibly, at the time they had only two remixes both of which were amazing. Finally we emailed and asked. They were down for both. We owe a lot to Crystal Castles, possibly a right eye.
Q: The Smell has received major press in the past couple of months from sources as desperate as the New Yorker to i-D. Along with No Age, Mika Miko, and a few other groups, you're closely tied to the venue ... so how do you take all this press and, more importantly, what're your feelings on the place? How have you interacted with and benefited from the Smell?
JOHN: We don't mind the press, its not harming the scene one bit, and The Smell is a very willing participant in all this, so don't shed no tears. Nothing is in danger here. The Smell is a big deal for us, its always been a legendary place, I would drive up in high school from San Diego to go to shows there, but the biggest thing we owe to it is our record. Jim Smith gave us keys and free reign, and the Smell is really the sound of the record.
The Edmonton, Canada new-psych-pop outfit, the Whitsundays, just released their eponymous debut LP on Friendly Fire Recordings (the label that brought us the beautiful Asobi Seksu and Faunts to name a couple).
Everything about the band is somehow ... off. Just the thought of a stupendous psych-pop band a la the Zombies with a summery twist of Beach Boys from Alberta is sort of weird. But psychedelic music is more contemplative and dark than listeners assume initially. The Whitsundays' songs, while dripping with pitch-perfect harmonies, saturated, melodious guitar hooks, warbley organ lines and bass routines, and clear, minimalist drum breaks -- in short, everything a poppy summer psych-song circa 1966 needs -- are almost eerie and cold in nature. Take the below "Loralee," for example. It plod along at a sunny, bright pace yet winds up making you feel pretty damn ... down, am I right?
I guess that's appropriate, though. It's super rainy in L.A. -- weird -- the world is dark and cruel ... the Whitsundays may sound like some lost 60s artifact, but they're very much a relic of our present.
I don't mean to end on an ominous note, though. Pick the record up right here. You will not regret it.
The Pacific! guys just sent me a few remixes of two of their songs that I'm really enjoying.
"Runaway to Elsewhere" has received the treatment from France's Breakbot while "Sunset Blvd." was remixed by fellow Gothenburg citizens the Touch. They're both very impressive. The "Runaway to Elsewhere" remix is a space-y, robotic ode to the original with a sexy Daft Punk twist. It's elegant but retains that original fun pop aesthetic that made the track so damn good to start with. The Touch's effort is a more straight-forward club edit that'll get you jumping up and down, bobbing your head to the beat, and air chopping with the audience.
The Pacific! vs. Radio LXMBRG tune is very good as well. It's somehow cheesier than the original song -- faux-metal-esque guitar riff; slinky synth chords -- but just as funky and easy to get into. Man, I love this band ...
Listen to more remixes here. Be certain to check out the Avalon remix of "Sunset Blvd."
Chicago's Clique Talk has changed a little since we posted about the group first. Now, Clique Talk doesn't really represent a group anymore. J.D. -- the original frontman -- has moved on to do club nights, some remixes, and other dance-oriented projects. He assures me that the band still "exists," but for now, I'm not completely convinced. And it's hard to complain about -- if he keeps sending me remixes like this one, a draft of his remix for Mahjongg's "Tell the Police the Truth."
The new Mahjongg LP -- out on January 22 (tomorrow!) is great. Stream the whole thing here. It's more tribal, more bombastic, more confident, more intriguing and exciting. The songs explode into lengthy percussion exposes, sing-alongs, killer riffs and jams, and shrink back to the seedling of ideas they once were.
The remix is a lot of fun. It's more ethereal and creepy that the original -- repeated, echoed drum routines; high-reverb vocals; atmospheric synth lines -- but just as exuberant and rhythmic. Check it out below. Keep in mind that the final version -- whenever that's out -- will most likely be even better.
Tall Firs (MySpace) is yet another band that somehow passed under my radar for two, three albums. And, the Brooklyn trio is signed to Ecstatic Peace ... really, how the heck did I miss these guys?
Anyway, they've been found, and just in time for their forthcoming LP, Too Old To Die Young, out in March. As it is with most of Ecstatic Peace's signings and releases, it really makes sense that Tall Firs was picked up by Thurston Moore. Briefly put, the group sounds like a folksier version of Sonic Youth, or maybe like the opening for the new Moore solo album. These guys don't mess around -- the music and style is serious, intensely detailed and layered, and especially stoic, solid -- and I love it. They've the sonic reverence and taste for sophisticated arrangements like Radiohead and the homegrown soothingness of any other Ecstatic Peace outfit, Sonic Youth on a "quiet" day, or maybe some underground country outfit from the 70s. I'm blabbing.
Check out a few songs from the new LP below, get some more over here, and buy the Ecstatic Peace eponymous debut over here.
Von Luxxury, Johnny Jewel, and Ida spent nine months working on this remix! Johnny and von Luxxury were quite the collaborative team as they kept bouncing ideas off of each other, passing around edits, and critiquing each incarnation of the edit. The final cut wound up being nineteen minutes long, believe it or not (hence the Parts II & III thing)!
I'm itching to hear Part I, but for now, the final two-thirds cut it pretty damn well. The von Luxxury remix is dark and ambient like Glass Candy songs ought to be, bouncy and post-punk-infused, but with just enough disco gloss and atmospheric shimmers to bump it up to moody dance floor fodder (if also very smart and expertly arranged).
While I can't help but wonder if this strategy is really working, I do admit that I'm a big fan of any band who offers their music for free download, especially when that music is in an album package, with artwork and all. Additionally, the groups taking this route seem to be getting increasingly better, which is heartening, a good trend.
The Depreciation Guild (MySpace) has their album, In Her Gentle Jaws available for free download right here (click the yellow bar of just grab the ZIP here). It's a very solid effort. I never thought that 8-bit, jagged electronics, harsh drum machines, and shoegaze could merge so effortlessly and with such a beautiful result. Let's call it industrial shoegaze.
The Brooklyn-based band sounds like apost-apocalyptic My Bloody Valentine that's been hacking around with synthesizers, drum & base production equipment, and Atari-chip filters for ages. In Her Gentle Jaws is mesmerizing. Download it immediately, sit back, and let wave upon wave of serene yet angst-ridden guitar walls, bombastic drumming, and swooning vocals flow over you ...
