DARKSIDE

Considering everyone has been getting their panties in a wad about the genius of 21-year-old Nicolas Jaar, it seems to make sense that his next project — a collaboration with Dave Harrington (of ARMS) would excel ridiculously. Their first show sold out Music Hall Of Williamsburg despite the fact that they have only one 3-track EP under their shared electronic belt. The world is watching, and no wonder… this is Jaar’s genius expanded into a package that is not only danceable, but accessible. A James Blake level of prodigy that Americans can be proud of owning (well, kind of, as he was partially raised in Chile, but we’ll take it). SXSW will be their second ever show in the United States. (Please play our SXSW show, guys.)

PURCHASE THE EP AT CLOWN & SUNSET

Matthew Dear

Released earlier this year, Headcage packs quite memorable style into its ~15-minute EP duration. One of the most intriguing parts of it, though, lies in how Dear treats the vocals. The scratchy vocal depth on “Headcage” practically comes from the mouth of the Sandman, and seems to embrace death with surreal depiction:

I suspect as I speak
Your hair grows down to your knees
Let it pass through your hands
Follow me into the sand
If you need to go to sleep man

See the absolutely astounding music video for “Headcage” HERE, along with full tour dates.

ARTICLE CONTINUED BELOW
Matthew Dear – Headcage by ghostly

“Headcage” is the record’s first single, followed by “In The Middle” featuring Jonny Pierce. Here, the EP turns a brighter cheek. Clear vocals seem to fly in an ocean breeze, the most uninhibited on the record, while looping vocal samples form a joyful percussive background. (Stream this track — arguably the best on the EP — below.)

In the remaining tracks, “Street Song” incorporates trailing phantom particle vocal lines, and “Around A Fountain” seems nearly the work of a capella vocal loops, save for some percussive elements and minimal synths.

In Midday Veil’s new video for “Moon Temple,” vocalist Emily Pothast has edited source material she and guitarist Timm Mason generated last year during a residency at Experimental Television Center in Upstate New York. At its gentlest, the video is a silky smooth ripple; at its most severe, a rigid and noisy gallop through harsh-edged brain wave terrain. Pothast guides you to step through purple-hued worlds as she morphs from a candle-wielding human into multiple faces of sensuality, to disintegrate in and out of forms of ghostly apparition. 23:50 in duration, “Moon Temple” is the type of video you’d want to project on a big screen, for a richly synesthesic experience.

The band has just finished mixing The Current, their second studio album with producer Randall Dunn (Boris, Sunn o)))). Stream the entire improvised EP below, and catch them on a string of tour dates, including a set at the upcoming REDEFINE SXSW showcase at House of Commons, Austin. (More details and full lineup coming soon, and you can see last year’s recap HERE.)

Read an interview with Emily Pothast about Midday Veil and her record label, Translinguistic Other HERE.

MIDDAY VEIL TOUR DATES
March 1 Rat & Raven, Seattle, WA
March 3 Bad for Jazz # 12 at SPACE, Seattle, WA
March 9 Pastime Tavern, Dallas, TX
March 10 SXSW Runoff Fest at Super Happy Fun Land, Houston, TX
March 11 Cafe Istanbul w/ PSYCHIC ILLS & WOODSMAN, New Orleans, LA
March 15 Austin Psych Fest SXSW Party, Spiderhouse, Austin, TX
March 16 Redefine Magazine Showcase, House of Commons, Austin, TX

YEAR ZERO

Vehicles, dirt, and griminess recalling those from Black Mountain’s video for “Old Fangs” receive a colorful lift via projections in caves, beautiful sunsets, hot babes, and… surf footage? Black Mountain have surprisingly teamed up with skate and surf company GLOBE to create a [heavily electronic influenced?] soundtrack for the upcoming surf film, Year Zero. Below is the trailer (which looks slow-motion fantastic) and a SoundCloud stream of their new track, “Mary Lou,” which will be found on the soundtrack for Year Zero.

Globe describe the film, saying:

YEAR ZERO is a modern take on high performance surfing set in a post-apocalyptic world, reminiscent of Mad Max or an HG Wells novel. It tells a story of a band of renegade surfers, including Dion Agius, Yadin Nicol, Nate Tyler, Taj Burrow, CJ Hobgood and Damien Hobgood, on a road trip through the apocalypse in search of waves, women, and good times. The film’s original soundtrack by BLACK MOUNTAIN, whom VICE MAGAZINE has called, “One of the best rock n’ roll bands of our time,” creates a sonic landscape that fully delivers the immersive experience that director Joe G envisioned for the film.

The film was shot on location around the world entirely in super 16mm film and offers a unique concept with stunning visuals that capture the essence of surfing in a novel setting. YEAR ZERO follows GLOBE’S previous award winning productions such as SECRET MACHINE and NEW EMISSIONS OF LIGHT AND SOUND and is undoubtedly GLOBE’S largest film project to date.

YAMANTAKA // SONIC TITAN

Pitchfork describes YAMANTAKA // SONIC TITAN as “psych-opera.” Press point yarn. This is not psych-opera, dudes; at least, not in musical style. When in consideration of YT//ST, one is inundated with hype terminology — including the band’s calling themselves “Noh(能)-Wave” (aka Traditional-Japanese-Dance-Theatre-Wave) and even more obnoxiously, “hyper-orientalist.”

While I am all for incorporating multicultural influences into one’s music, there is a degree of intense Asian fetishism present in YT//ST’s schtick that translates to their image in an arguably trite way. “Queens,” “Reverse Crystal // Murder of a Spider,” and “Hoshi Neko” from their new record certainly have moments of genre-crossing excellence. I don’t want to take away from that. But the music itself is not really opera, barely psychedelic, and definitely not hyper-orientalist, save for the use of the Japanese language. The genres that are crossed are more steeped in noise, metal, and pop; the hyper-orientalism plays out in facepaint (presumably in honor of Asian opera), music videos that seem a bit “tokidoki”, and pop art paper sculpture sets.

YT//ST call themselves a multi-disciplinary art collective, and they incorporate illustration and installation art into their performances. Fantastic! The way of the future! I admire their impetus! But what is it about Japanese and Asian culture that makes such emulation and fetishism culturally acceptable? While it is true that the two main ladies behind the project are themselves of mixed Asian heritage, at what point is it genuine, and at what point kitsch? These are just some things to contemplate while you decide yourself, via album stream and live performance video, below.
See an interesting discussion with PRINCE RAMA bout the topic of genuine versus kitsch HERE.

Swahili Blonde

Swahili Blonde also incorporate different multiple genres to break new musical territory. But at least their comparison points are actually rooted in discernible influences rather than just ridiculous buzz words. Yes — in Swahili Blonde you can hear evidence of the “unconventional dubby art-rock,” “Caribbean influences,” and “angular funk” of which they speak. And hell, though they didn’t use the description of “psych-opera,” I hear it more in their music and see it more in their visuals than in YT//ST’s. Their record, Psycho Tropical Ballet Pink, came out late last year, and the tracks “Etoile De Mer” and “Purple Ink” are great examples of genuine experimental groovy weirdness, not just emulation and fetishism. Stream the entire record below.

Directed by Burke Roberts.

Father Murphy

How cliche of an Italian band to take all of the meditative qualities of Catholic priestly chants and incorporate them into their craft! Comprised of vocalist and guitarist Reverend Fredie (of course), vocalist, keyboardist, and percussionist Chiara Lee, and vocalist, drummer, and string instrument wielder Vitorio De Marin, Father Murphy supposedly now have their most accessible record, to date, but they’re still channeling some transcendental black metal is-ness here. Anyway, your children will deny it comes out March 13th on Aagoo Records, and was recorded and mixed by Greg Saunier of Deerhoof. Have no doubt that it will leave you wondering just what your children will be denying. May / June Tour 2012 with Xiu Xiu & Dirty Beaches to be announced soon, as well as a split 7″ picture disc with Xiu Xiu!

Anyway, your children will deny it TRACKLISTING
1. How we ended up with feelings of guilt
2. His face showed no distortions
3. It is funny it is rest both came quickly
4. Digging the bottom of the hollow
5. In praise of our doubts
6. Their consciousness
7. In the flood with the flood
8. Don’t let yourself be hurt

Henetration

I have absolutely no idea where Hanetration is coming from with his moniker (I keep tragically typing it as Henetration, bringing to mind unnecessary filths), but his music certainly fits the goal of Spectral Hypnosis. For one thing, I completely forgot what I was listening to when the extended drones of “Rufus” started wailing, and I am finding myself repeatedly forgetting as I am writing this. This is transportive music, to be buried beneath ground with your secrets, where they will fester while being eaten alive by glitchy bugs. Tenth Oar EP is not nearly as dark as it sounds, though; it’s actually transportive, freeing, unassuming. And best of all: available for free download. (What am I doing?)

Tomat

Italians, again! Tomat is the solo project of Italy’s Davide Tomat. Dream and drone hold hands on his conceptual release, out March 5th on Monotreme Records. The conceptual backing is a fascinating one. In this technological day and age, it’s always nice to see when experimental artists are actually experimental in their creation process, as well as in their sound. Enjoy two tracks below, along with a brief summary from Tomat:

“This record came to life in 6 days from the 1st to the 6th of June 2010.

Each song is matched to an historical event that happened between the 1st and the 6th of June during human history.
I did a solo real time improvisation session for 6 days in my studio, recording each session in multi-track recordings, using only my voice, an analog monophonic sythesizer and a guitar through effects, loopers, computer and samplers, creating layers over layers of voices, sythesizers and guitar. No over dubs.

After 6 days of improvisation and 7 hours of music, on the 7th of June I started listening to all the music, isolating different tracks…at the end I had 36 different tracks.

I thought about the idea that something that had happened in these 6 days in human history may have inspired me while I was putting out this music and these emotions.

So I did some research about the events that happened in the past between the 1st and the 6th of June and I matched each track to a different event. I tried to mach things and emotions that could be compatible, emotions that somehow inspired me in creating this music.

I isolated 21 tracks to work on and then after some edits I mixed 11 songs and I mastered them on the 7th of September 2011.

This record is made 90% by vocals and 10% by an analog monofonic sythesizer and a guitar. It’s a drony experimental record that evokes sonic landscapes.

Wooden Shjips

If you weren’t convinced that about everyone ever is jumping on the remix bandwagon, we now have psych rock staples Wooden Shjips growing a third dance eye. Remixes, out February 21st, 2012, on Thrill Jockey Records, is a 28-minute 12″ EP featuring three remixes: “Crossing” from Andrew Weatherall, “Wiking Stew” from Sonic Boom (Pete Kember of Spacemen 3) and “Ursus Maritimus” from Kandodo (Simon Price of The Heads) w/ Ripley. Available now for pre-order on limited crystal clear vinyl with black streaks, and this shit is going to be good.

REMIX

ORIGINAL

Young Magic – “Night In The Ocean” (S.Maharba Serpent Love Song Remix)

We’ve been diggin’ on the new Young Magic record, Melt, with a palpable degree of excitement (you can stream the whole record here). These dudes really know how to market. First they dropped a bunch of EPs; then they dropped an album and a bunch of remixes — with each building momentum, each creating a bigger snowball that will ultimately go down as some Young Magic legacy, probably.

REMIX

ORIGINAL

Martin Denny – “The Enchanted Sea” (Young Magic Remix)

As a related added bonus: here is a Martin Denny’s “The Enchanted Sea,” which will lull you into some crazy mystic water raft. Always a treat when indie musicians can remix from largely untapped sources. Awash in blissful sound, ye! Avast!

REMIX

ORIGINAL

Blondes

On February 7th, Blondes released their latest double LP (appropriately titled BLONDES 2XCD) on RVNG Intl. It’s killer, and seems to be a next step in blurring the ridiculously segmented worlds of indie electronic music and club electronic music. Other remixes include “Pleasure,” remixed by Robert Miles (yes! Robert Miles! though this is available only as a digital exclusive), “Gold,” remixed by Laurel Halo, and “Business,” remixed by John Roberts. Amongst others.

REMIX

Teengirl Fantasy’s remix of “Wine” from the Blondes self-titled album remixes (RVNGNL12).

ORIGINAL

Whitney Houston – “How Will I Know” (Chromeo Remix)

In honor of the fallen lady of R&B, Chromeo have put together a new version of “When The Night Knows,” treated up in the usual Chromeo ’80s way. For max comparison, we’ve included an A Capella version of the track, as well as a music video from the 1991 track, so you can see Whitney at the height of her game.

A CAPELLA VERSION

ORIGINAL

Krautrock blends with pop on “Rituals,” the single from Death and Vanilla’s upcoming self-titled album. The Swedish duo’s video begins with a masquerade party, lulling one into a Eyes Wide Shut-type scenario of magick and mystery. As the track then progresses and speeds up, viewers are invited to descend down a black and white tunnel of geometries and fast cuts before everything tapers out again into mellow vibes and a burst of color. All of the footage is taken from five different art house productions and then manipulated by the band. Films are credited below.

The band tells REDEFINE a little bit about the creative process behind “Rituals” and how that ties in with the video:

“Rituals” is a quite hypnotic track as are the films in the video. There is a still and slow melody over an underlying restless rythm that gives this kind of haunting feel to the song. But there is nothing scary about it; it is just rhythm that never come to a rest… The musical elements of Rituals are collages of rythms and sampled sounds that we’ve put together almost at random and the song just emerged by itself almost. It’s the case of pieces falling to place by themselves.

VIDEO SOURCES
Derek Jarman : Art Of Mirrors (1973)
Harry Smith : Early Abstractions (1946-57)
Georges Franju : Judex (1963)
Aldo Tambellini : ?
Marcel Duchamp : Anemic Cinema (1926)

Information about the album release is below!

DEATH AND VANILLA – DEATH AND VANILLA TRACKLISTING
01. Rituals
02. Dreams Of Sheep
03. Cul De Sac
04. The Somnambulists
05. The Unseeing Eye
06. From Elsewhere
07. Library Goblin
08. The Clearing
09. The Unseeing I

Release date: Tuesday, March 13th, 2012
Limited editions of 300 copies in 12″ yellow coloured vinyl and 150 Digipack CDs
Co-release with Hands In The Dark and Kalligrammofon.

EARTH – Angels Of Darkness, Demons Of Light II

We loved EARTH’s last record, as well as its album cover artwork from Seattle artist Stacey Rozich. Their latest, Angels Of Darkness, Demons Of Light II comes out February 14th, 2012, on Southern Lord Records; it continues to build off the previous album’s improvisational energies with a slow slog through desert heat and bare farmlands.

In addition, lucky Seattlites get treated to a triple threat on February 25th, 2012, with what has effectively been billed a “A Very Special Triple Album Release Show”! Taking place at The Highline in Seattle, the show will include openers Low Hums and Cold Lake. $12 / 9PM / 21+

Grimes – Visions

We aren’t streaming Grimes latest album on our site, but you can stream the entire album on NPR. The upcoming album, Visions, will be co-released on February 21st, 2012, by 4AD in the United States and Arbutus Records in Canada. About it, the lady behind the project, Claire Boucher, says: “It is both an ethereal escape from, and a violent embrace of, my experience. The creative process is a quest for the ultimate sensual, mystical and cathartic experience and the vehicle for my psychic purging. Visions was conceived in a period of self-imposed cloistering during which time I did not see daylight.”

Full tour dates and tracklisting available here.

Royal Baths – Better Luck Next Life

With a fresh cross-country relocation and new record label under their belts, New York-based Royal Baths are back with Better Luck Next Life. Released February 7th, 2012, the album’s dark psych rock challenges listeners with an uneasy listen, particularly with intense vocal dissonances and twisted guitar experiments. It’s like Psychic Ills’ latest record in spirit, kind of, but with no holds barred and no lethargy. And trust us when we say that the recordings only do them partial justice; for the full experience, see them live and have your mindstate obliterated to their heavy instrumental plodding. See below for full list of tour dates and video for “Black Sheep.”

ROYAL BATHS TOUR DATES
2/7 – Death By Audio – Brooklyn, NY
2/8 – Kung Fu Necktie – Philidelphia, PA
2/9 – DC9 – Washington, DC
2/10 – The Blind Tiger – Greensboro, NC
2/12 – Black Cat – Boone, NC
2/13 – Voodoo Lounge – Huntsville, AL
2/14 – 529 – Atlanta, GA
2/17 – Parkside – Birmingham, AL
2/18 – Little Hamilton – Nashville, TN
2/19 – Zanzibar – Louisville, KY
2/20 – Empty Bottle – Chicago, IL
2/21 – Skihouse – Carbondale, IL
2/22 – 7th St. Entry – Minneapolis, MN
2/25 – The Bog – Scranton, PA
2/27 – Monkey House – Burlington, VT
2/28 – Butcher Shoppe – Allston, MA
2/29 – Maxwell’s- Hoboken, NJ
3/5 – Knitting Factory- Brooklyn, NY
3/6 – Golden Harvest- Baltimore, MD
3/7 – Strange Matter- Richmond, VA
3/10 – Savannah Stopover – Savannah, GA
3/12 – The Texan- Corpus Cristi, TX
3/14 – 3/17 – SXSW- Austin, TX
3/22 – Spazz Fest – Greenville, NC
3/24 – Duke University Coffeehouse- Durham, NC

Stuart Howard, or better known as Essex’s Lapalux, has been refining and experimenting with electronic music for quite some time now, and he’s no stranger to diverse and fringe technological music — which is both a blessing and a curse on When You’re Gone.

It’s strange trying to critique this album as a whole package, as various listens reveal little in the way of a single theme or identity. While one track bounces around between R&B and hip-hop, the next song which might be drum n’ bass or glitch house. As singles — as a track and not a package — Lapalux has done some of his best work on When You’re Gone, but trying to convince anybody that the album is a coherent work is nearly impossible. The album’s opening track, “102 Hours of Introductions,” begins as an ambient and pleasing, rain drop-sampling song before quickly shifting into a more beat-driven piece. It goes from Air to Shabazz Palaces at the drop of a hat, for better or worse. There are more traditional, vocal driven tracks as well. “Moments” features the voice of PY and boarders on an electropop sort of vibe, certainly the most immediately approachable song on the album. Even between those first two tracks on the album, it’s obvious that Howard’s influences are wide spread. Listen to “Gone” and you’ll hear everything from goth to Balearic, a strange but well-executed mix.

Listen to Lapalux’s “Gutter Glitter” – DOWNLOAD MP3

“Yellow 90′s” is far and away the album’s most brilliant moment, a soft but sharp electronic soundscape. For the first, and nearly the only time on When You’re Gone, Howard is onto something completely original. While it continues to drift in and out of different genres, the way in which “Yellow 90′s” uses filtering and sample pitching to juxtapose the sunny backdrop of piano keys and glistening synths is nothing short brilliant and catchy. Howard tries many times to capture this same sort of nonsensical rhythm, but most tracks fall flat or are too transparent to be taken seriously. Not only is Lapalux experimenting with different genres on the album, but it appears as though he’s still experimenting with what he wants to accomplish with his music. Howard is an incredible producer and every track is executed well, almost meticulously so. But very few of those tracks stand out, and as a whole, they paint a blurry and unfinished picture. The future is bright for Lapalux, as the project can basically be taken in any direction possible, but I can’t help from wishing When You’re Gone was the moment Howard decided to focus his efforts.

Hi-definition and hi-contrast color mix with black and white graininess in this new video for High Places’ “The Pull.” Examining naturalistic settings with the help of unnatural manmade light, the video, like the song, is at once romantic and unsettling. One is unsure of whether the florals are symbolic of sexuality or are merely just normal choices made strange under veil of black.

Track from their most recent album, Original Colors.

Directed by High Places.