Saturday, 24 December 2011

Quick holiday post

Hey, it's gonna be a busy day for me but I thought I'll make a little post before I go.



Here are your gifts !









Happy holidays, -Here

Friday, 23 December 2011

Sending Off Shuffle

I know this year's been a bit lacking in content and I apologise for that, but there's only so much blogging one can do, and we have lives too you know! Joking aside, I wanted to take this opportunity to do something I've not done for a while: A good ol' fashioned shuffle post, think of it as a thank you for staying with us through the year.

Click for big


First up is the band I have a notorious love-love relationship with, The Knife. I'm very interested in what they will bring to the table for the album they're planning for next year, hopefully more in the vein of Silent Shout than the more experimental stuff they did on the soundtrack for Tomorrow, In A Year but for now enjoy a cut from what is by far their most popular LP, Deep Cuts.



Ah, Squarepusher. I had a real lack of his earlier works before I started the Warped series, so I have a lot of un-posted gems kicking around. I'll probably do a series on 'em after the main Warped series is finished, until then have a bit from the quality Big Loada EP.



Speaking of early stuff, another track just came on that I really love. It's Aphex Twin back in his acid house days, like most of the stuff he makes it has a nice contrast in sounds from the beats to the almost orchestral stabs throughout. The opening arpeggio is pure sequenced heaven to my ears.





It was around this time last year I posted some cuts from Oneohtrix Point Never's then new compilation Rifts, he's since come out with another two albums that I've yet to pick up. I remember the first time I heard this track, it was described as a combination of tons of ambient stuff including Boards Of Canada. I was skeptical at first but this track just absolutely sold me.



Miss Kittin's first solo effort, I Com was a mixed bag of atmospheres, some tracks were clearly meant for the dancefloor, some for listening. Some even combined the two, as seen here; it's pretty slow to build but that just makes the eventual peaks in sound even more satisfying to hear, especially the amazing break at 3:10.



I think I've said before I have a penchant for liking albums that the music press at large don't, this is a great example, 100th Window was massively critiqued upon release. It's true that the compositions are even darker than those on Mezzanine and a hell of a lot sparser, but the end result still sounds great. My only complaint is that it could do without that solid 1 minute of intro.



And that about wraps this years posting up for me, I would whacked a few more tracks on but the last few tracks were quite long. Regardless, happy holidays from me and the rest of the ilictronix crew, we hope to see you in 2012! As always, stay safe and enjoy the music, wherever you are.

Into The Blue,
- Claude Van Foxbat

Tuesday, 20 December 2011

A Very Warped History 14: 2006 (2 Of 4)

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As we wind down once again for the holiday season, I leave you with one final helping of downtempo goodness from my hometown buddy Nightmares On Wax. After a slight stumble with Mind Elevation, the Wax man returns to form with a fresher take on that slightly more mainstream sound in spectacular style that dare I say even rivals the original Smokers Delight in terms of out and out quality. Oh, and be sure to keep an eye out for those tunes used in [Adult Swim] bumps!



Take Passion for example. I've posted it before, but it deserves it again. NoW is pretty good at killing it with his intros, and this is no different. Any doubts I had after the slightly bland intro of Mind Elevation were quelled and lost in that hazy sea of sound.



As you can tell, In A Space Outta Sound is all about the Hippty Hop, and pulls it off much better than Mind Elevation did. It's all a far cry from the dub infusions present on Smokers Delight, but parts of it return here: notably the bass booms just after the intro, and the ever present reggae style organ.



The Sweetest then flows ever so gracefully into what is right up there as one of the best Nightmares tracks ever, right from the downright brilliant intro to the final fade, it's just downright essential. It achieves everything that Mr. Evelyn wanted to do with his sound. There is no need for any more words, just give it a listen and you will hear just why.



The Wax man goes full on hippty hop for the next venture, The influences of the 1970s soul scene on this track and NoW himself an are quite obvious, it is after all where most good n' funky samples come from. It's kept fairly simple but that doesn't hold it back in any way, in fact it feels a lot shorter than it actually is.



A return to the longer tracks now, with Damn providing some Arabian sounding strings to go with the tried and tested beat formula we're now accustomed to. It's a pretty good track as-is, but the introduction of the vocals at about 2:40 pushes it even further into proper quality territory.





I have heard this track far, far too many times. Yet it's still as good as ever, why that is I do not know, the sample, the organ, the slight hint of vinyl crackle amidst it all? it could be anything. But damn if it isn't satisfying as hell to listen to.



Remember Me + You from Smokers Delight? Remember how great it was despite being about 50 seconds long? Well, this album has it's very own little sample-based track like that. Presenting Chime Out: the tune that says so much with so little.



I was unsure of this track on first listen, it was good alright, but it was missing that crucial, essential groove that makes Nightmares On Wax. The 'lil guitar bit at 1:05 had my back, and that led into that amazing chiller drop at 1:15. I don't even know if you would call that bit a drop, but who cares it sounds a-mazing.



As the album draws to a close, we're treated to another candidate for the best of Nightmares On Wax. (and it even has an 808 in it!) The best description of it was from a review which simply said "This track is like if Trip-Hop came out of Florida instead of Bristol". And I'd have to agree with them wholeheartedly there, it's definitely brighter than the moody musings from the likes of say Portishead.



Playing us out is African Pirates, which I believe we posted a remix of once. It's very bouncy and light, much like the rest of the album. The bassline for this one is just perfect in setting the mood. It's nothing like an outro track at all, so like all NoW releases before it leaves you wanting more.



This is not the first time I've had to stop myself from posting a full album, but I really, REALLY wanted to this time. I massively recommend you check this out, it's so well produced and catchy that it at least deserves a listen from you. That an it's probably the easiest NoW album to get into with it's easy going vibes.

Out Of Sound,
-Claude Van Foxbat

The Magictape 18

A little present from The Magician !



Tracklist in the comments as soon as it's up. -Here

Thursday, 15 December 2011

Foreign Language video

Brand new video from Flight Facilities' track : Foreign Language.

And a bonus, The Bloody Beetroots - Church Of Noise reworked by Sir Bob Cornelius Rifo and Thomas Roussel from SomethingALaMode. -Here

Wednesday, 14 December 2011

Alex Awklr - AppAratus EP

Here is a brand new EP from Alex Awklr Very short tracks, remembers me of Onra, short but creative tracks, Hokkaido is amazing. It's free so consider it an early christmas gift !
-Here

Monday, 12 December 2011

Flux Pavilion x Doctor P and Gigamesh

Just received this little bomb from Gigamesh, thought you guys might enjoy!



Flux Pavillion and Doctor P worked together again, and the result was more than unexpected, incredibly groovy dubstep tune, very different from their usual stuff.



-Here

Sunday, 11 December 2011

A Very Warped History 14: 2006 (1 Of 4)

    Previous Part                                                                                                       Next Part   


It's a Boards Of Canada blowout this week, this time with the Trans Canada Highway EP. It has a lot of similarities to The Campfire Headphase (Hell, the first track is Dayvan Cowboy which appeared on that album) but it is different enough to warrant it's own release. It's longer than the previous In A Beautiful Place Out In The Country EP which was only a 3 tracker, and even includes a remix! So without further ado, let's pick apart this EP.



Missing out Dayvan Cowboy, we get the first proper track. Left Side Drive, like the rest of the EP, leaves the acoustic driven direction of The Campfire Headphase behind in favour of the classic BoC formula with thundering beats with hints of synth sprinkled throughout, and even a few reversed parts in the background for good measure.



You may have noticed a distinct lack of the short ambient interludes that were such a treat on The Campfire Headphase, unlike albums previous. And that's where the EP comes in, it features a couple of them and they're a welcome return this ones a quasi-drone piece similar to Corsair from Geogaddi.





Skyliner is a bit of an interesting one, I saw a deconstruction of it not too long ago and pretty much the entire song is palindromic. Basically the melody and the synth sounds the same backwards as it does forwards, though I suppose it's not that strange when you consider BoC's track record with samples and whatnot. It seems to be uncommon as the only other palindromic melody I know of is in Sigur Ros's Starálfur.



And finally, the other ambient interlude: Uder The Coke Sign. I love when Boards do this kind of thing and this track is no exception, they cut it just short enough so that it doesn't get old, so that way it stays just as sweet on every single repeat listen. It'd be fitting to just end the EP right there, but...



Click for Huge

There's a little something on the end. A massive 9 minute remix of Dayvan Cowboy by a one Odd Nosdam. It's sort of the musical equivalent of watching a really old VHS tape, the whole thing is warped and barely sounds like what it used to, but it has that charming quality to it. The moment that airy intro gives way to the now menacing sounding guitars is amazing, and just like that they're gone again. The song doesn't start properly for about another minute and even then doesn't stick around long, giving in to another ambient bit. Overall it plays out like a more trip-hop version of Dayvan Cowboy, it's pretty great.



And finally, another first for Boards Of Canada, their very first official music video featuring footage of Joesph Kittinger legendary skydive from practically the edge of space. it's pretty much what you'd expect visually from a Boards tune, all washed out and retro like. Officially it was directed by a one Melissa Olson, though I suspect it was probably the Boards brothers themselves, considering the tracks "Melissa Juice" from Twoism and "Olson" from Music Has The Right To Chrildren it's too coincidental a name to be true.



...And I'm Gone,
-Claude Van Foxbat

Saturday, 10 December 2011

A Very Warped History 13: 2005 (2 Of 2)

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You may have noticed not much changes between each Boards Of Canada album, that's not necessarily a bad thing, their sound was interesting and they kept it fresh enough to stretch out. So what happens when the band themselves decide to change things up a bit? well, The Campfire Headphase has more of an acoustic slant and even though it's still got spatterings of their now trademark nostalgic analouge haze on it, the album as a whole just feels different perhaps... warmer I want to say, than anything else they've done before.



And it begins innocently enough, with a little ditty that sounds like something from an old TV test card from more than a few decades ago rather than the underlying menace of tracks such as Beware The Friendly Stranger from Geogaddi



And with no hint of hesitation we dive right in at the acoustic end, with the guitar here essentially taking the place of where a synth would before on their previous efforts, contributing to that whole warmer, looser atmosphere to the album while still sounding like Boards Of Canada.



Aside from the intro, the next track takes a different approach to the incorporation of acoustics, like Chromakey Dreamcoat the guitar forms a recurring melody, but it's sandwiched between sets of BoC's usual dreamy electronics affair, with a tiny ambient piece on the end for good measure.





Now, up until this point I was thinking the album's pretty good, but it needs something to push it over the edge, something with the instant classic vibes that tracks like Roygbiv gave off in the past. I wasn't disappointed. From the absolutely sublime first chords until the very end, I was hanging on every note.



And much like the Dawn Chorus/Over The Horizon Radar combo from Geogaddi, it's followed up with another outstanding track. Dayvan Cowboy is one of BoC's most famous songs and it's not hard to see why. The track is essentially in two parts, with the woozy intro breaking off about halfway through to give way to an amazing moment at about 2:05. When you hear it you will understand why it's one of their most famous tunes. It's just brilliant through and through.



The acoustics take a well deserved backseat for now, and instead we're treated to one of the electronic based tunes that made them famous in the first place. They're still as good at it as ever, with the usual mix of emotion and atmosphere making for the quintessential Boards Of Canada experience.



It's not long before the guitars make a comeback and we're back in the now familiar valley of strings however. I've posted this track before, for a post that was just mix of summery tunes. That's pretty much it, like Dawn Chorus before it, it's practically made to watch the sun rise to, Its even in the title of both of them.





This track has always stood out as a bit strange to me, not only does it mark the end of any more acoustic elements, but it just sounds out of place considering the more upbeat nature the album, as it sounds like the more sinister ambient pieces from Geogaddi that's not to say it isn't still quality though. If Hey Saturday Sun was made to watch the sun rise to, this is for those hot and humid summer nights where you can't sleep.



And that leads us to the winding down period of the album, as always, A few ambient pieces to guide you through the last few minutes. This one's always been a favourite from just the intro alone, it's a short one, but it feels like it lasts forever. In a good way though.



Farewell Fire holds a unique niche in the world of BoC ambient pieces, it's got the usual soft pads but this time it's entirely un-sequenced, just recorded as it was played. This leads to some interesting and subtle differences throughout in regards to the note structure. Also of note is that the track almost completely fades away at about the 4:00 mark but it remains just barely audible for the remainder of the song. I have no idea why they did it but it sure does make for an interesting listen (and a bit of a fright when it ends and you have it on shuffle + full volume).



That's meant to be the last track, but just like with Geogaddi I'm gonna throw in the Japanese bonus track as well, it doesn't quite fit after the sparse and spaced out Farewell Fire. Regardless, the track itself is quite interesting and sounds quite a bit like some of the stuff that would be on the EP after this, the Trans Canada Highway EP which we'll see in the very next entry.



Boards Of Canada have yet to do an album since, there's been rumours on and off for the past couple of years that they're releasing a boatload of old unreleased material like the infamous 'Old Tunes' tapes in a box set (or BoCset, if you will), but nothing's come of it yet. Mind you if you listen to Boards Of Canada you kinda get used to waiting a long time between releases, because it's probably going to be more than worth it in the end.

1986 Summer Fire,
- Claude Van Foxbat

Thursday, 8 December 2011

Original Don

Oh, nothing special here, just another regular Major Lazer music video... nothing weird at all.



-Here

Tuesday, 6 December 2011

Moloch remixed by Vengeance (Embed broken as of 2020)

Everything is in the title, I'm sleepy but this kept me awake for six more minutes.

Moloch - Owl Vision (Vengeance Remix) by VENGEANCE

Bang.

-Here

Magna's at it again

Made my day, and it's only 9am. Magna's just killing it one more time, that remix is really different compared to most of the other, he chopped the vocals and he did good !



The Rapture - How Deep Is Your Love?  (Magna's 'Stripped' Remix) by Magna

-Here

Monday, 5 December 2011

Cassian's Love

It is a well known fact that How Deep Is Your Love is a gold mine for any remixer out there, that track is brilliant and the vocals are simply asking for it.

Cassian gave it a try, and the result is simply GREAT.



-Here

Wednesday, 30 November 2011

Bangers by the BBs

Kind of totally forgot about these guys since their whole screamo weird thing...

Came across this video today, and the song was actually way better than I expected it to be.



Actual song :



And their brand new remix of Congorok - Ivory. Magnificient, I missed their old vibes so much, glad to see they're going back to it.



-Here

Tuesday, 29 November 2011

Quick news

Hey.

New Congorok killer track. That man really know how to make bangers.



Robotic Pirate Monkey's back too, one more time, it's the sweet combination of smooth and heavy dubstep, amazing.



and let's wrap this up with Moonlight Matters remix of Digitalism - Circles.



Monday, 28 November 2011

Things I forgot to post

Here are some of the things I forgot to post because I did not really have time... time to catch up !

Let's start with Yuksek's latest music video



Two very good tracks by Xinobi including a collaboration with Moullinex





And this amazing remix of How Deep Is Your Love by NTEIBINT



-Here

Sunday, 27 November 2011

Canon (Pyramid remix)

Worth a whole post on its own. Canon (Pyramid Remix) by -Pyramid- Pyramid is definitely someone to follow :) -Here

Cadillac

Here is a little something to end this weekend !



My shitty weekend needed something that smooth.

Enjoy
-Here

Tuesday, 22 November 2011

Kraddy and a bonus

Hi there, it's been a while...

I recently received news about Kraddy, hope you guys remember him.

He released his debut album, you can catch it for free on his official website.

But that's not all !

Two contests are coming, a T -shirt design contest is already open, but in a about a week a remix contest for Black Box will start, so you know what to do !

Also, the music video for his main title is now out too.



And what about that bonus ?

Magic Tape Seventeen by TheMagician

Tracklist in the comment section, when available.

-Here

Saturday, 19 November 2011

A Very Warped History 13: 2005 (1 Of 2)

    Previous Part                                                                                                       Next Part   


Broadcast have always had a rocky history with their line-ups; mostly drummers drifting in and out of the band. 2005 sees Broadcast reduced to a skeleton crew of Trish Keenan and James Cargill after the departure of their long time guitar player Tim Felton. The result of this is that their third and ultimately last album, Tender Buttons, takes a much more electronic route than anything broadcast have done before, almost taking a complete 180 in terms of their sound up until this point. This is probably my favourite album by them, like The Noise Made By People before it, it completely nails the aesthetic. Except this time the hazy atmosphere of albums past is replaced by an overall much more rigid feel, while retaining some warmth about the songs themselves.



Take for example, the opener. It's simple enough, the main hook is just descending keys, but they soon get lost in the sea of now trademark Broadcast sounds. It's a short one at just 2 minutes long, but it serves as a perfect demo of how the band works without a guitar.



Broadcast haven't lost their experimental touch though, as heard on the second track, Black Cat. It's structured much like the opener with a heavy focus on the electronic side of things and I think the song is better for it, it just makes it complete.



The title track sees Keenan's cryptic lyrics lathered over the contradictory sounds of a guitar and a lone synth. The guitar is the main focus at first until about 40 seconds in, when it gets kicked to the backseat and the synth steals the show. Despite this, it flows just as well as any of their acoustic tracks from albums past. It's just a shame it's all over so soon.



I have a special place for this one in my library, as it was the first song I ever heard from Broadcast, a long time ago on a blog just like this one. The song just grabs you and is brilliant from the introductory plastic sounding drums all the way to the final fade out.

Tender Buttons takes a mellow turn as we approach the middle of the tracklist. Keenan's vocals form the backbone of the song as it's mixed much higer than everything else. Unlike the songs before it her voice remains untreated (save for an echo) and will remain so for the rest of the album, as will the more subtle merging of the electronic and acoustic.





I'll always remember Corporeal as it was my current favourite when I heard of Trish Keenan's untimely death early this year. Ever since then it's sounded bittersweet to me despite the underlying intimacy within the song itself. Still a highlight for me though.



Heading briefly into upbeat territory again with Michael A Grammar. It's probably the poppiest sounding song on here, and the closest Broadcast get to sounding almost like an indie band. That's not a bad thing though, it's a welcome change from their usual material.



Tender Buttons gets it's title from a series of poems by Gerturde Stein in which she deconstructs clusters of words and re-defines them. The inspiration on the album has been seen before on the title track Tender Buttons, and is heard once again on this next one.



Another upbeat sounding track that Keenan's vocals just shine on. That's pretty much all I can say, I just love what she does and this track is pretty much the best example of that on Tender Buttons. Even without the other 3 members around, the band makes amazing tracks.



The closing track is a different sound altogether: I Found The End is the opening keys of I Found The F re-purposed, slowing them down to create a haunting ambient piece, a bit like Sigur Rós did on Avalon from Ágætis Byrjun. It also shares the twinned opener/closer like the Long Was The Year/Dead The Long Year on The Noise Made By People. Very fitting seeing as this was the last thing Broadcast released outside of collaborations and old material.



That's it for Broadcast, when you put it like this it doesn't seem like a lot of music. Their three albums will pretty much always be in continuous rotation by me, and I hope some of you will as well.

Comb, Calm, Colour, Cortex,
-Claude Van Foxbat

Monday, 31 October 2011

SCAR ! (Embeds broken as of 2020)

I kept this treat for the end of October.



Released today, I present you Magna's brand new EP, Scar !



It starts with an intro that will remind you of Mr Oizo's weirdest creations, distorted notes, mashed up samples, high piano notes and most important of all, an ending that will make you know what's going to happen to your ears for the next 12 minutes.

Paranoia has been in my ears for about half a year now, I heard a LOT of versions, and this one is by far the most impressive one. Dark and crazy electro, with a touch of dubstep.

Do It Right will definitely catch your attention, that's exactly the kind of song you want, to hear when someone's Djing, powerful progression and amazing drops.

Thrust is by far the discoest (and my favorite) track on the EP, a bit more like his first tracks, I'm having trouble thinking about anything to say as I'm banging my head too hard, seriously, STRONG song.

Magna really worked hard on this EP, he achieved to go past his usual progression style to give songs that sound even more achieved than they usually do. The result is brilliant. He is more than ever a guy to follow.

-Here

Thursday, 27 October 2011

A Very Warped History 12: 2004

    Previous Part                                                                                                       Next Part   


On a similarly Drum & Bass / Jazz note, here's another Warped entry. This time it's Ultravisitor, the last in the line of Squarepusher's frantic experimental stage that started with Go Plastic. Remember earlier this year where I said in my review of Bibio's Mind Bokeh that it was a bit all over the place in terms of sound? you ain't heard nothin' yet my friend, 'cos Ultravisitor is by far the least cohesive album I have ever heard. But it works, well yeah some of the tracks are pretty much full on abrasive noise, but it's all part of Squarepusher's grand send-off to the experimental style.



This album also has a bit of a gimmick where some of it was actually recorded live, and some of it just has crowd noises spliced in to make it seem live. I don't quite get the idea, but it sounds good so I'll let it slide. Anyway, onto the tracks: It starts innocently enough, with the titular track proving actually quite tame by Squarepusher standards. A far cry from what we'll hear later I assure you.



And to throw you completely off, Mr. Jenkinson throws a jazzy bass solo at you, just for kicks. It's a welcome return to the style that he explored on 1998's Music Is Rotted One Note and would again in 2009 with Solo Electric Bass 1



Again another Jazzy-esque bit that wouldn't be out of place on Music Is Rotted One Note, this one actually reminds me of the track My Sound from that record, and that is one of my all time favourites. This one goes down a treat.



One final guitar solo, not like anything he's done before, both on this album and previous this time. It's very nice in a not-Squarepusher way. It's the calm before the oncoming storm that should be coming riiiiight after this.

br />


Now. The time for Jazz is over. Those nice Guitar pieces you liked so much? They're gone. We're back in frantic Drum & Bass territory à la Go Plastic now. That doesn't stop it being brilliant though. My favourite bit is at 4:11, where the man himself starts spouting some distorted verses that work really well with the backing.



The Go Plastic-esque trend continues, a quiet intro filled with bleeps and boops leading to a cavalcade of sounds flying at you from all directions with spatterings of Bass Guitar later on. It's pretty much textbook Squarepusher for this era.



A return to the jazzy side of things, with a improv drum session leading nicely into familiar territory as heard on earlier tracks. A brief respite from the sound assault that came before it.



It's a similar story for this one, though just when you thought we were back in Jazz land in comes some actual Drum & Bass backing, this is pretty much the style the 'Pusher adopts for the next few albums after this, flowing electronics with a speedy Drum & Bass backing with splashes of Bass solos lathered over the top. It's probably my favourite of all his styles adopted throughout the years.

br />


As we come to the last few tracks of the album, we leave the experimental Drum & Bass behind for good. In it's place is the sequel to Tommib, an ambient number from Go Plastic. Like his mate Aphex Twin, 'Pusher is just as good at chilled out stuff as he is his usual repertoire. A well deserved break from all those breakbeats.



And wrapping the album up, one final guitar piece. No drums, no electronics, no speedy sampled breaks. Just Jenkison and his Guitar together for the last send-off. It's a fitting end, not just for the album but for his experimental work as a whole: it had it's patchy moments, but when it shined, it REALLY shined.



It's funny, this album isn't usually in my standard rotation because I always remember the ultra noise parts split with a few downtempo pieces, but looking through the tracks for ones to post I found it's pretty evenly balanced between the two. His experimental stuff isn't my favourite, that award goes to both the set of albums after this and his early works. Though saying that, it's aged a lot better than Go Plastic in terms of the more experimental stuff as in I find the stuff on here a lot easier to listen to. Next time we have a TON of Boards Of Canada stuff coming up, see you then.

Rearranged Into Plastic Membranes,
-Claude Van Foxbat

Saturday, 22 October 2011

Alecks Awklr's new EP

Hi guys. Remember Alecks Awklr ? If not, check out this interview and the album review of his first LP. He recently sent me the songs from he's next EP, I thought I'd share some of them with you. My favorite one would be Granted, love the atmosphere, the mix between violins and loud drums adds something moving to the vocals.



Leaving seems to be sampling Björk's voice, or at least it remember me of hers... very relaxing track.



Suburau could really sum up Aleck's style, very simple yet well worked pieces of music that progress together, creating something of its own in the end.



True is a little bomb, makes me think of Hudson Mohawke's style in a way, that's never a bad feeling.



The full EP will come out during November on his bandcamp page don't forget to check it out. -Here

Thursday, 13 October 2011

Dramatic Return

So, I'm finally back. As you probably already know, I've been quite unwell for the past few months. I'm a little better now, but still not 100%. To make myself feel even more better I picked up some music stuffs, which is good news for you as well!



Kicking us off is Ladytron, who brought a house inspired brand of psuedo-electroclash to the synthpop revival scene of the early 2000's that I quite like with 604. It still sounds quite fresh for an 10 year old album, check this out.





It's not all house all the time though, 604 really shines when it's fully embracing the simple bleeps to create that undoubtebly Kraftwerk inspired sound. It's perhaps easier to hear the influence on other cuts, I just picked this one 'cos it's a favourite.





I finally got around to picking up The Knife's soundtrack to swedish indie flick Hannah Med H too, which I've posted a bit of already. It's short (just over a half hour) but all the tracks are brilliantly produced.



Now, this one is a bit of a wildcard. What happens when The Knife takes a stab at techno? well, this. A menacing sounding, frantic and cut up to hell track that lasts all of two minutes. It sort of reminds of of Aphex Twin's Digeridoo only more... European sounding, if that makes sense.



I really like the structure of this one, it's one of the longer tracks on the album, nothing is wasted and no element overstays it's welcome: everything feels very precise and calculated, from the opening beats to the breakdowns.





Sending us off is my favourite internet animator turned musician, Locust Toybox. His new album Noon dropped earlier this year and as far as I'm concerned it's his best yet, it's very refined and mostly sample based and doesn't have that sort of unfinished feel some of his earlier stuff did.



The first track I heard from Noon, the intro is good by itself, but the track really shines when that brilliantly executed sample at 1:26 drops. That was when I knew it'd a be a favourite of mine.



Finishing up with the first track, which sounds just a bit like something Mr. Scruff would make, but with hazy reverb infused vocals over the top. Could've probably been a summer track, but it's a bit late for that now isn't it?



And that be that, I apologise for not being around as much as I'd have liked to, but between going back to school and havin' brain problems, I kinda had a lot on my plate. BUT on a lighter note I have some other stuff planned so expect a semi-regular return to form for me!

Feelin' Fine,
-Claude Van Foxbat

Wednesday, 12 October 2011

Surkin - USA album teaser

It's now Surkin's turn to give us a little preview of his upcoming album : USA. Surkin - USA (Album Teaser) by Marble Music Sounds very promising... This fall is off to a good start ! -Here

Tuesday, 11 October 2011

What's happening at ed banger ?

Hey there, after the little medley from Justice album, I found a few more things you might enjoy.



Justice really is into oldschool guitars and vocals, I'm not the one who'll complain as long as they do it as nicely as on Newlands. Anyway, the song seems a bit unfinished, that wouldn't be surprising obviously, it's enjoyable anyway even if it feels that it's lacking something.



If you enjoyed Helix, Canon might do the trick for you. So far all those Justice songs are not bad (even Audio Video Disco finally grew on me and I found myself liking it when I was like 'bleh' at first, go figure.) but they feel like they are missing something, that little thing that made every tracks from Cross epic.



Don't get me wrong, they are decent electro tracks, but I expect more from Justice, especially when you see how great Cross and Planisphere were. So far it seems like they are holding themselves, weirdly.



Let's move to something different, and I'm not talking different from Justice, I'm talking different from everything. You guessed it, Mr Oizo ! From his upcoming album Stade 2, here is France 7



Enjoy!
-Here

Saturday, 1 October 2011

September Review : Glass Swords

September Review : Birdy Nam Nam - Defiant Order

September Review : Modeselektor - Monkeytown

I would have hard times trying to explain how Rustie sounds. Electro, hip hop, aqua crunk, garage, jungle, I HAVE NO IDEA WHAT I'M TALKING ABOUT RIGHT NOW, just shouting words that sound cool and might be appropriate..



Rustie is an artist I discovered, with Hudson Mohawke, two years ago during a Warp/Ed Banger party in Paris. Those two guys blew my mind.

So, what to expect from this album ? 13 tracks, 13 ways to bang your head, 13 synths, claps, drums and weird vocals to discovere how versatile Rustie is.

First song of the album is Glass Swords, it's more of an intro, but a damn good intro, a "how to use electric guitar in an electro song".



The next one is Flash Back, a lot of little sounds reminding the synths used by Hudson Mohawke, might be a little tribute, I don't know.



Surph, oh, just another regular Rustie track, wait no, it's amazing.



A song that really got me thinking is Hover Traps. You can hear those powerful Trance synths you hear all the time. Well, he took them to another level, simple as that.





City Star is another example of the things he's able to create. Hip Hop Electro at its finest.



Ultra Thizz, banger of the album.



All Nite sounds like he sampled the chorus of a 1996 summer hit, throwed it into acid, that would be the result.



It might not fit everyone's taste, because Rustie is pretty weird to listen to. Anyway, that album is ridiculously great, no wonder that guy is signed on Warp, they don't release half finished albums filled up with average tracks. Rustie took his time, and I'm glad he did because he came back with something that is even a bit above what he usually releases.

So that was the third album review of September. Of course other albums came out during this month, but I don't really have enough time to buy/listen/write about everything and I don't enjoy making review of things I do not enjoy. So yes, all three albums are amazing to me, because they are from artists I really digg, I might not really be objective about everything, but I tried !

enjoy!
-Here

Monday, 26 September 2011

Zoo keeping

Been busy with everything that's related to going to college, and this is the first time i can catch up on received promos. And the very first email, i get this:







All brilliant tracks, give them a good listen and then download them, because they are free. Enjoy! Proper post soon-ish, Alex.

Monday, 19 September 2011

Gimme Gimme

Hey Finally ! Louis is back with a music video for Gimme Gimme ! Let's keep it funky with some brand new Jean Tonique. Jean Tonique - TS 411 by Jean Tonique Oh and Controls is about to release an EP so here it is. Controls - Forever Techno EP ( Out on VAMP Music Soon ) by Controls Very quick post, I'm very busy at the moment, but those were worth sharing ! Enjoy! -Here