Download: Gizeh Records Sampler For 2009
Thursday, 30 April 2009
Wednesday, 29 April 2009
First of all I read in an interview some time ago on ukhh with Flying Lotus where he mentioned after being asked about any Anglo-American collaborations he said, ‘I’ve also been working on something long term with Burial’ read it for your self here. This got my foaming at the mouth at the prospect, yet it was quite some time ago now and nothing has surfaced and there has hardly been a whisper since.
Then from the deep dark dance FWD>> comes news about people hearing a track that sounded like Burial from dBridge and low and behold confirmation comes from dubstepforum. Someone bumped into dBridge and he confirmed it.
There have been rumours a plenty for some time about Burial and D’n’B legend and Metalheadz owner Goldie hooking up but again nothing has surfaced and I once spent a good few hours locked into a sup-par Goldie hosted radio show on 1Xtra that promised a some sort of Burial action that never came.
Now for the real mouth watering part just a few weeks ago word came from a distributor that a Burial & Four Tet 12” was ready to drop at any moment. The tracks ‘Moth’ and ‘Wolf Cub’ are said to feature and I really don’t think any one but the lucky few have heard it, until clips appeared on Juno just yesterday. It sounds like business as usual from Burial but with a real tropical vibe and a four to the floor effort on the flip. I’m really not sure if it’s a collaboration or a split, but we will see next week.
Listen: Burial / Four Tet – Moth / Wolf Cub (Via Juno)
Then once again out of nowhere, well I say nowhere I mean Blackdown’s wicked Pitchfork column in an interview about Loefah’s new label Swamp 81 came word of Loe and Burial hooking up to remix Kryptic Minds for a 12” after the album drops.
I can almost hear these collaborations in my head when I think of the artists involved. Just imagine FlyLo’s organic flowing grooves playing off the sharp crackle of Burial’s ghostly garage or the D’n’B stylings of dBridge and Goldie bringing back the spirit of jungle together with a new pioneer. Then there is the subtle electronica of Four Tet with his crisp layers of atmospherics along side Burial’s vision. The deep half-stepping dark vision of Loefah with its massive bass and minimalist approach will be one hell of a juxtaposition to Burial’s riddims and Kryptic Minds vision of dubstep. Who knows when we will get to hear any of them mind but the mere speculation is pretty tantalising.
All pretty interesting stuff, and who says the mystery of Burial is now gone since the fuckers at The Sun ‘unmasked’ him. The music is doing the talking and that’s the way we like it.
Tuesday, 28 April 2009
Flaying Lotus, The Mother Fucking Gaslamp Killer, P45, Kid K & Laura J @ Leeds University. 27th April 2009
Then The Mother Fuckin’ Gaslamp Killer came on the scene and tore the shit out of the place playing a mad set full of big time dubstep wobblers all the way to sublime wonk from the likes of Bullion and Computer Jay, even some Terkish funk from 1969 and Ethiopian shit as he called it made an appearance. The majority of his set was fucked up wobblers like 16 Bits’s Chainsaw Calligraphy and really insane electro tinged off-killter hip-hop. The guy can mix as tight as hell and is a real party starting live wire. Getting on the mic and hyping the crowed like a mad man possessed and throwing together some real big bangers. The bas was big and the vibe was right, tracks from Harmonic 313 and Heralds of Change killed it, and there was far to much stuff I didn’t know the name of that really got the floor moving. By the end of the hyper set even Gaslamp looked tired until he turned all evil on us and dropped Aphex Twin’s Come To Daddy and shot the crowd down with gun fingers.
The main even was upon us and FlyLo took the stage easing us in with sublime beat after beat chopped in clashed into each other in a collage of percussion, made up of so many familiar tracks from his album and beyond. The sound of these tracks on a big system is something else, the bass is HUGE and the beats are like liquid. Shit really started to kick off when he dropped his refix of A Milli, it went down well and from then on he went from beat of his own to the odd inclusion of beats from all over. He took the mood down mellow for the smokers before really fuckin’ it up with his mix of Mr Ozio that really got everyone going. It got pitched up into more electro and I thought I riot was going to ensue at one point. He can flip the mood in an instant mind, and mellow passages melted into full throttle funk and dance floor bombs.
Just some of the tracks I remember him playing are: Kode 9’s killer smudged funky track Black Sun, Burial done FlyLo style, Martyn, Joker’s incredible Re-Up, A little Zomby, a mad wonky re-interpretation of Aphex Twin’s Windowlicker by FlyLo again. He even dropped some new material from a forthcoming album, which is wicked news. Some other highlights were the epic sublime builds that dropped into some of the most liquid funk fuled bass and feet moving beats I’ve heard, I have no idea what the hell the track I’m thinkin’ of is called but it killed it. FlyLo spun it back a few time and raised his hands in the air ready for the drop each time, which sounded like angels singin before a filthy funked up drop. He finished with some roots wobbler style dubstep before dropping some mad bleep-core hyper rave beats as his encore that morfed into what sounded like a Kode 9 FlyLo collaboration with warped synths hip-hop beats and huge bass but I could be really wrong about that.
Everyone killed if the Brainfeeder / Low End Theory crew know how to do things and fuck me their shit is tight! Go see Fling Lotus, go see The Mother Fucking Gaslamp Killer at any chance you get.
Monday, 27 April 2009
Singer and producer Cooly G hailing from South London where so much UK bass music has been pioneered before, drops her debut 12” for forward pushing, genre spanners Hyperdub who always have their ear to the ground for new and exciting hybrids. This platter shows both sides of funky while also helping to push it in new directions.
The first track ‘Narst’ comes on like a dirty grime infused dance floor shaker reminiscent of recent instrumentals from Nocturnal fed via old school Chicago house. It kind of sounds like the most gritty of super hero’s theme tunes, but one with a bit of slinky class like Cat Woman. The strings build and dub out before big house kicks propel everything forward and the other percussion funks it up into a big danceable beast before the chest beating bass throws down on you.
The flip which features ‘Love Dub’ and its refix is defiantly a highlight the intricate soca drum patterns flow, shake, bump and groove in all directions and make you want to wind your body in new and sexy ways. This is the smooth loved up end of UK funky, pure vibes. Cooly G sings snippets in her sweet and slinky way as smooth loved up chords get all warm and fuzzy above and the bass punches bellow, its all so spaced out mellow and minimal yet insanely danceable. The original and refix aren’t to dissimilar they both bring dubbed out vibes and amazing percussion with the soulful feel but the refix kind of steps up the kick a little.
Cooly G takes funky in new directions here by really stepping up the production values and making some really minimal forward thinking sounds all of her own.
Saturday, 25 April 2009
On the 4th May Warning! Heat Ray! Drop a free three track EP right out of Tooting and into your ear holes. The five piece make a kind of post-punk-rock-indie-pop-electronic sound with epic vocals and they even go a little dubbed out in places too. They have been getting recognition from people like Mr Scruff and Rob Da Bank for their single Spit It Out, which was a moving atmospheric electronica infused number with speech samples and melancholic vocals.
The 3 Track EP takes Warning! Heat Ray! Into a more rock influenced territory. ‘Beat Goes On’ opens things up with a tight bass, subtle electronics that flash, bubble and build the tension before the big beats come in and they rock out like a more spacious indie version of Queens of the Stone Age or something, it’s a tight little number and kicks things off in style.
Track two of three ‘My Quite Riot’ screeches as feedback loops and funky drums are played under a subtle and dark electronic orchestra and the vocals kick in to make this one a bit of an epic that wouldn’t feel to out of place in a dark side Bond movie set sometime in the 80’s, but in a good way this is a definite highlight especially when they get rocking out.
The final track is the dubwise ‘Permanent Machine’ with chugging harpsichord style riffs and dubbed out riddims. Guitars, electronics and effects really bring out the smoky vibes of the track; it’s a wicked juxtaposition of rock and dub that manages to stay far away from the ska clichés by keeping it well post-punk-electronic-rock. Plus the strong vocals really add an extra dimension.
Warning! Heat Ray! Have created a strong EP full of ideas and songs that both engage and make for an enjoyable listen.
Friday, 24 April 2009
Now for some news on Mr Cox’s other project Deerhunter they are not only going on tour in the UK again so I’ll hopefully get the chance to see them again as it was mesmerising last time see my words on it here. But they are also dropping an EP called Rainwater Cassette Exchange and you can download the ye olde sounding title track from Pitchfork too. There is a definite lineage from the Microcastle sound in this track.
Download: Atlas Sound – Time Warp
Download: Deerhunter – Rainwater Cassette Exchange
HEALTH // BLK JKS // Banjo or Freakout // Young British Artists @ The Deaf Institute, Manchester. 22nd April 2009
HEALTH don’t come to town to often in fact they don’t even come to my town at all so I’ve had to trek all the way to Manchester to see their intense dinosaur sounding noise in the flesh as that’s probably the best way to take them in.
HEALTH//LIVE > HEALTH > HEALTH//DISCO > HEALTH//MERCH
I was also happy to find out that African band BLK JKS are supporting as I heard about them late last year and have failed on all accounts at grabbing any of their music despite loving the idea of a post-punk sounding band with amazing African riddims. Tonight is my chance.
Banjo or Freakout are also on the bill and they are a group I didn’t think I knew until I realised blogs were a blaze with their accoustic version of Burial’s beautiful Archangel a while back. You may as well grab the track in question from the wonderful blog//label//whatever No Pain In Pop. So we will see what they have in store in the live environment.
Now for the complete unknowns to me anyway: Young British Artists. I have no idea what they sound like but they are local and made it onto this bill so hopefully it will be a nice surprise.
After masses of delays from somewhere between an hour and a half to two hours the first band Young British Artists came on and to be honest they didn’t do much for me at all. Sure they could play but nothing much happened to get me going in anyway shape or form.
Next up was Banjo or Freakout helped out on drums by one of Gentle Friendly. It was a wicked mish-mash of shoegazing electronica and tribal beat loops with a smidge of indie pop. By this time we realised the delayers where going to stop us from seeing that much music tonight though so it really put a damper on the evening. The highs of Banjo or Freakout’s set were mesmerising it was a real joy to hear.
BLK JKS all the way from South Africa really killed it mind. When they came on the night really found its feet. The band are as tight as hell, playing a kind of Affrican-Jazz-Post-Punk-Indie-Rock hybrid full of atmospheric surges that the Manc crowd were well up for talking all over, all the way to full on big stage anthem rock outs. The drums really pushed BLK JKS above and beyond he could punch out tight skipping African grooves as intricate and mesmerising as some of the best Jazz and African drummers I’ve seen, but he could really pound them out like a rock hero. Fuck me it was good. The songs were enchanting and massively danceable the way they effortlessly went from dubbed out soudscapes to full on rockin’ out was brilliant.
Then the night took a turn for the worse, for us anyway. As the gig had ran so late for some reason we had to leave before the main event to catch our train or we would be stranded. We weren’t happy at all it was a fucking nightmare. So travelling miles to see one of our favourite bands HEALTH was scuppered by people turning up far to late. So I have no clue what the new material sounds like now let alone feel the intense beat heavy tribal brutality of their live show, fuck.
YOU WILL MISS OUR BAND YOU WILL MISS OUR BAND YOU WILL MISS OUR BAND YOU WILL MISS OUR BAND YOU WILL MISS OUR BAND YOU WILL MISS OUR BAND YOU WILL MISS OUR BAND YOU WILL MISS OUR BAND YOU WILL MISS OUR BAND YOU WILL MISS OUR BAND YOU WILL MISS OUR BAND YOU WILL MISS OUR BAND YOU WILL MISS OUR BAND YOU WILL MISS OUR BAND YOU WILL MISS OUR BAND YOU WILL MISS OUR BAND YOU WILL MISS OUR BAND
Thursday, 23 April 2009
Holy State took the stage to a really dead and spares crowd unfortunately this put a bit of a damper on things but they still played their harts out. They tore out tracks from their debut EP in a short live wire set with riffs, screaming and the all important quality tracks. I’d love to see them play a livelier gig as the crowed was proper lame.
Pulled Apart By Horses are local hero’s / loons in Leeds they play everywhere and anytime it seems, I think I’ve caught them accidentally as much as I have on purpose as they crop up as support quite a bit. The band were having troubles this time mind as not only had the crowd only slightly grown and still felt dead out (I blame Sundays) but member James Brown injured himself somehow previously and wasn’t playing. He was apparently having his leg taken off and replaced with a horses, which will defiantly give them an extra kick when he rejoins the tour soon in Glasgow. They played some wicked stuff though, my highlights have to be the anthem Swan Dive High Five and E=MC Hammer they really shredded it up.
Now for the main event Rolo Tomassi took the stage with M83 setting the scene as intro music before doing their thing. Again the crowd was a little fuller but still dead, which was a really shame as I thought this would be a hype gig for Leeds on this tour. The sound was a bit muddy and muddled as well which didn’t help too much, this has been the case for all Faversham gigs I’ve been to mind so I wasn’t really surprised. Rolo played a set full of album material and only included one or two from the first EP this kind of gave the gig a really samey vibe, I’ve seen them mix it up a lot more and kill it. Highlights included the epic Gary Numan meats Hardcore ‘Nine’ and the brilliant ‘Digital History’ from the one sided 7” on Holy Roar, I’m pretty sure they played ‘Film Noir’ as well which always gets the gameboy-scream-core crew going.
All in all it was a nice gig but I kind of expected a bit more energy in the room, I wouldn’t blame the bands for that mind I blame the sleepy Sunday vibes and sound quality. Go and catch the rest of the tour where Grammatics also feature it will probably rock loads more.
Tuesday, 21 April 2009
The four-man Leeds natives Wintermute debut album drops on Oxford’s prime indie label Big Scary Monsters in the shape of Robot Works. They make a nice clean and tappy emo infused indie rock that BSM are so good at bringing to our ears. They fit right in with label mates This Town Needs Guns or Tubelord with their taping and melodies a plenty, not to mention the poppy hooks.
Wintermute have their own vibe that they bring to the table mind and that comes in the form of some Foals-esq indie dance party moments in places and in others a kind of power-pop meets post-hardcore energy, in-act they are pretty reminiscent of Kubichek! at times, or maybe a hint of their city mates ¡Forward, Russia! but with a less epic sensibility. It’s something they pull of quite well and it makes for a solid debut from the young band.
The catchy as hell ‘Bad Company In A Sauna’ almost makes me cringe at it’s poppieness but not quite it’s a wicked opener. ‘Disco Loadout’ is the most Foals-esq boogie down production but they bring a bit of grit and growl to the minimal dance guitar repetitions by growling a bit and adding distorted passages, to be fair to Wintermute they have been doing the Foals-y vibes for maybe longer than Foals them selves it’s just an accessible comparison really. I blame the press and a whole swath of bands listening to a lot of Minus The Bear all at once, in a house, making notes but in a good way (wink).
They pull out some brilliant jagged edge guitars on most of their tracks and have an ear for a melody. ‘Shark Vs. E-Boat’ is another highlight and the only thing even remotely Foals like on her is the drum hits that sound like the clipy clopy hooves of a tiny horse, which plays off some really nice melodic guitar taps. ‘Spanish Girls’ really does kill it in the quick fire melodic stakes though the riffs in this is something to behold, ‘I Abandoned My Boy’ is maybe the most mellow highlight of the album and it pulls off similar melodic heights before drifting off into an atmospheric sea of twinkling pianos.
Leeds has been very vibrant for quite some years now for producing these sorts of bands and Wintermute don’t let the side down at all in-fact they are very well established in the scene and have been for sometime now. They may not blow minds but Robot Works is a very enjoyable listen.
Wintermute - Dead Or Not He's Wearing Sunglasses from Roach Productions on Vimeo.
Friday, 17 April 2009
For just three people they shred the place up that’s for sure, they take the drum, bass and guitar set-up and channel a fuck load of energy.
The Pasture, The Oil EP is only their second and they bring some crackers to the table. ‘Trampled By A Horse’ is a thunderous opener (see video for evidence) the schizophrenic, jagged edged riffs surge into pure streams of energy and brutal shouts and screams. They remind me a little of Chickenhawk on this one.
Other highlights include ‘The Escapologist’ which comes at you with more melody and a slightly more laid back feel, they still tear it up though like a hot ball of molten rock fired through a cannon. The riffs twist and turn to make some interesting shapes as the songs develop leaving you feeling that you just let off a lot of steam.
‘The Moon Is Bright, But Coned Off’ is such a wicked track it has a slightly space like feel to it with the drums being backed by shimmering guitars drenched in reverb and a mad little twinkle noise. This all breaks down into some stop start guitar patterns and building the tension up before dropping back into woozy vibes of space again.
The EP closer ‘You Butcher’ twists and turns comes out a bit jazzy in its own hardcore kind of way before morphing into a bit of a bond theme-esq beast with a big metal orchestral moment, quality stuff.
Shapes sound like an exciting young band well worth checking out live and in EP form.
Monday, 13 April 2009
The freaked out space loops on ‘Alpacastan’ open the EP before things really kick off with some tappy math guitars laid under some monster riffs. They have an energy to them that is kind of playing against the spaced out nature of the music at times it adds a really interesting vibe to the tracks. It must be the pent up rage and passion of the vocals and the hardcore style bits mixing with the post-rock elements that do it.
‘What Are You Dylan In My House?’ is a fast paced clean tapped out guitar monster with stop start riffing, skipping drums and spaced out jazz sections. It’s an undisputed highlight of the EP that’s for sure. If you have been missing Meet Me In St. Louis (lets face it most people who heard them now are) and want something a bit like it but with a more hazy atmosphere them Native are for you.
Another highlight has to be the closing track ‘Hey Mon’ Hook Me Up ‘Do’ its just so full of energy and brutal passion.
Native manage to keep it interesting without delving deep into post-rock experimentation and obscurity, they just have a massive energy about them that really hits you and takes you on a mathy journey out of the spacey passages.
We Delete; Erase proves Native are indeed a force to be reckoned with and can hold there own against the big boys, ones to look out for that’s for sure.
Video: What Are You Dylan In My House?
Friday, 10 April 2009
You know when something comes out of the blue from a brand new unheard name and it makes your jaw drop? Well this is what happened when I put on 10-20 who is a young producer from Devon just dropping his debut self-titled album for Highpoint Lowlife.
This is a deep one full of hypnotic soundscapes made of electronic glitches and what sounds like a mass re-wiring of a super computer channelling fragments of hip-hop, ambient electronica, a wide array of dance music from either end of the spectrum and even a hint of krautrock’s pulse. 10-20 melts all of this and more into one solid flowing album that is quite hard to pin down.
The organic glitches of opening track, ‘Milvus’ has a chiming chilly vibe to it like a walk in the snow near a distant industrial site. It sounds cold; crunchy yet also has an endearing warmth to it. This robo-esq theme runs through the album, its like 10-20 has been making a tiny mechanical army and recorded the whole process. I think this army are built for good mind, as there is a sublime ambiance to the whole project.
The madly titled, ‘Wdrtrhjvelgrad’ sounds like the ghost of 2-step pirate radio being picked up over the top of a old skool electro beat and layers of ambient loops. These different section fade in and out and create something that’s both jarring and kind of beautiful. This melts into the truly wonderful, ‘InB’ which echoes the smooth chords of ambiance found in Aphex Twin or even the looped out brilliance of GAS, maybe ‘Arcadeagle’ is a better example of that. ‘sA’ has some serious crackle glazed dub sensibilities.
10-20 has made a dark and brooding album that flows like a winding river through industrial landscapes.
Sunday, 5 April 2009
And if you don’t believe that they will fuck you up with mustard, well you are just kidding your self as at least two of them have the aforementioned word ‘mustard’ tattooed upon their very knees.
They are off into the studio soon to record some bits and get an EP going so wish them luck there. But for now just try and catch them live where they bring their own brand of brutality and positive energy to the proceedings.
There young and fresh, there hardcore reincarnated in the flesh!
Download: Dorian Gay Demo’s
Wednesday, 1 April 2009
Sorry I got a bit carried away but its alright I’ve whipped myself down now. VSanres may well be dirty as hell here but he is also on top form, Filth already sounds like an IDM style classic, it can sit next to his other offerings and the high octane end of Aphex Twin and Sqaurepusher with ease.
Expert junglist breaks smash off monstrous base and donk worthy techno beats morph and freak out in front of your eyes by speeding up, slowing down and genraly making up fucked grooves as they go along, as the harsh tweaks and bleeps of the acid workouts fly in from all directions like Wink never existed.
Some highlights include: Labia, which sounds pretty beautiful in places, beautiful in a filthy kind of way of course. Chainsaw Fellatio has a low-slung dirty groove that gets shit swaggering like a Windowlicker-esq sex scene in a run down industrial estate. Splooj Guzzlers has to be in the review just for the name alone.
All the tracks have a visceral and down right physical presence a bit like the best most passion filled hardcore and metal has, but with an extreme electronic edge like a sex toy that has been battered so far out of shape you can’t switch it off. You really do have to be in the mood for such depraved acid breakcore otherwise you will feel orally violated to the extreme.
Now go and have a fucking shower you stink of sex you dirty c*~T!