Thursday, 31 March 2011

Embody



So we all heard SebastiAn's new track 'Embody', and it was met with resounding pleasure. Honestly, I wasn't impressed. It was really lacking the unique SebastiAn sound, and kinda sounded like watered-down Justice. I like the track, but it really didn't DO it for me, you know? So when I was in my typing class this morning (fff jjj fff jjj ddd kkk asdf jkl; it's required for my certificate) and i wandered onto Facebook and saw that Ed Banger has posted a link to the new Kavinsky remix of the track, I was rather excited - Kavinsky ALWAYS does it for me. I was in no way disappointed.



2011 is rapidly turning out to be much better than 2010.

Sunday, 27 March 2011

Civilization

Not to distract from RECONFIGURED, but this can't wait.

Saturday, 26 March 2011

Tron Legacy : R3C0NF1GUR3D

Hi everyone



I finally managed to listen to Tron Legacy R3C0NF1GUR3D, I'm not gonna lie, I was disapointed by the remixers list.

The whole album is not bad, but there is too much average tracks. Nothing really creative, people sticked to their style.

My personnal top 3 would be The Glitch mob, Teddybears and Pretty Lights remixes.

1.Daft Punk - Derezzed (The Glitch Mob remix)


2.Daft Punk - Fall (M83 Vs. Big Black Delta Remix)


3. The Crystal Method - The Grid

4.Daft Punk - Adagio for Tron (Teddybears Remix)


5. Ki:Theory - The Son of Flynn
6. Paul Oakenfold - C.L.U.
7. Moby - The Son of Flynn
8. Boys Noize - End of Line
9. Kaskade - Rinzler
10. Com Truise - Encom Part 2


11.Daft Punk - End Of Line (Photek Remix)


12. The Japanese Popstars - Arena
13. Avicii - Derezzed


14.Daft Punk - Solar Sailor (Pretty Lights Remix)


15. Sander Kleinenberg - TRON Legacy (End Titles)

Hope you liked my little selection.

3nj0y -Here

Sunday, 20 March 2011

A Very Warped History 8: 2000 (2 Of 2)

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The year is 2000, Warp moves from it's hometown of Sheffield to the big old city of London. Broadcast were signed in 1997 and are integral in the history of Warp, as it marks the beginning of the label shedding it's exclusively electronic image and eventually gaining the varied lineup it has today. In 2000 they would release their debut album: The Noise Made By People. Broadcast are quite a bit different to anything we've heard so far, They draw heavily from 60's psychedelica; merging the sound of a conventional band with electronic effects and lead singer Trish Keenan's era-influenced vocals.



I'll be honest, I don't have a lot to say about this album as a whole. Not because it's a bad album, but because every track is so brilliantly produced and the sound so realised that I think (as cliché as it sounds) the music speaks for itself. Broadcast as a whole are criminally underrated, I suppose that goes with the whole "Psychedelic" territory but I digress, check out my selection below and see for yourself.

Note: The original version of this post was much shorter, upon returning to republish it (2017) I am also writing a little more about my relationship with the album which I was a little uncomfortable with at the time.

Broadcast came into my collection at a turbulent time in my life, and I can relate to Keenan's lyrical accompaniment here (and even more on the preceding compilation Work And Non Work). There's always an underlying current of melancholy running throughout their work despite the upbeat nature of the albums sound.



Echo's Answer, my next pick, immediately betrays what I've just said and takes an outright downbeat turn. Echo's Answer holds a special place in my heart too, it resonates incredibly well with me, as mentioned I was in an incredibly rough patch at the time, and (to me at least) Echo's Answer reminds you that there's always time. What things may come, there's always time, and everything will be alright.



Leaving the sentimentality behind for a moment, Papercuts is one of the spots on the album where Trish really shines. Granted I love her voice on pretty much every Broadcast record, but her delivery on Papercuts injects it with a certain passion that makes the whole experience that much more complete, and if I had to guess I think there's a certain element of writing from life there too.





In addition to the main few above, Look Outside is one that I use to introduce the album to folks I'm recommending it to, it's a nice encapsulation of the album's overall sound and feel, and strikes a nice balance between Trish and the instrumental side of things much, which makes the whole thing a lot more accessible to the newcomer.



Until Then plays out almost like a sequel to Echo's Answer in structure and tone. Albeit where Echo's Answer had that slightly bittersweet uplifting tinge to it, Until Then doesn't mince words and dwells frmly in downtempo territory. They do it well mind, an they downtempo moments do serve as a nice contrast to the remainder of the album, and they're well placed if you're listening to the album continuously, with Echo's Answer clocking in at track 5 and Until Then at 10.



City In Progress continues the trend of the album's overarching sound, but with some interesting additions in cadence from Trish that will come into play in later Broadcast projects. As their first go at a cohesive album rather than a compilation of past singles like Work And Non-Work was, it's very successful, covering a nice amount of ground, setting a specific sound while still leaving room for experimentation and refinement.



It surprises me how unknown this band is, even with a recent popularity spike due to the untimely death of lead singer Trish Keenan. I hope I've introduced a few people with this post, just as I discovered them on a blog some years ago.

Answer Echo's Answer,
-Claude Van Foxbat

Friday, 18 March 2011

Embody video

Hey everyone SebastiAn is back with an awesome track and a pretty nice video directed by So-Me.

SebastiAn - Embody par edbangerrecords
Let's hope his album will be as good as this song, after so many years working on it, it would be nice not to have 3 good tracks and 8 shitty Enio style songs. Enjoy -Here

From The Vault II

Another old school electroclash record from way back when this time, a bit darker than Golden Boy's effort and widley regarded as the album that coined the term "electroclash" and home of the cult hit Frank Sinatra long time music buddies Miss Kittin & The Hacker's collabrative effort and the aptly titled First Album It's a simple collaboration; Hacker on the tech and Kittin taking care of the vocals. you can't argue with results though, take the culture critique of the opening track Life On MTV for example.



Originally from the Champagne EP along with Frank Sinatra, this track takes a fairly minimal approach and is pretty much the duo's version of Daft Punk's Teachers: making references to Depeche Mode's Just Can't Get Enough, Soft Cell's Tainted Love and New Order's Blue Monday among others.



Stock Exchange is First Album in a nutshell: it's catchy and all that but the lyrics are... different to say the least if you're not used to the 'scene' of electroclash and their particular brand of it - telling the tale of a woman attracted to fancy Wall Street types delivered in emotionless monotone fashion by Kittin - both a style and content that would become staples of electroclash.



This track sums up the turn of the millenium electronic scene in a slightly sarcastic way. As a track it doesn't work for me for too long, but thanks to Kittin chiming in occasionally with lyrics like "This is what our music is about: You and Us" it remains fresh and is actually one of my favourites from the album!



Another one of my favourites; Slow Track is (predictably) a slow track. Hacker's production is solid. It's the shortest track on the album, which isn't nessecarily a bad thing; it's the perfect length for it.



I know I've missed out the electroclash anthem that is Frank Sinatra, and that's because I prefer this alternate mix of it from later on in the album, it's much more refined than the original mix while retaining the elements that made it popular in the first place, including the Peaches-esque obscene edge to the lyrics.



And finally, a single released after the album that got included on the 2009 re-issue, The Beach doesn't fit the techno stylings of earlier tracks and is instead straight up house. Sampling 80's Italo Disco (I Want You by Gary Low) and featuring a Moroder style groove, it's one of my favourite House tracks ever (along with all of Roulé and Crydamoure of course :D).



He's Dead. DEAD!,
-Claude Van Foxbat

Wednesday, 9 March 2011

Kites [Interview]

Several months ago, I was contacted on Soundcloud by a band called Kites. I get notifications like "DJ Suck has shared the track 'Electro Sex' with you an 1,456,908 other people" so frequently that I almost ignored it. I'm glad I didn't. Kites has a nice sound that really brings me back to my own roots in electronic... my parents' 80s cassette collection: my mom's pop, and my dad's new wave. We messaged back and forth, and got an interview set up. I'm really pleased to present to you KITES. Kites. Now that's a pretty solid name. Short, simple, strong, and somewhat lofty. What inspired this monicker?
Matthew - Our theory was that anything more than one syllable would have been gratuitous. I think that our music is lyrical enough without shoe-horning some sort of double-entendre into the name. I wanted to retain a sense of purity with name. I hope we have achieved this Richard - For the weeks prior to our first gig I was traveling around India, and back home the pressure was on to decide on a name ahead of our debut performance. Matt had been keen on the name and the guys took the plunge and told me over email. It was quite amusing for me as at the time, there were massive posters all over India advertising one of the biggest Bollywood Films of the year, called Kites. It's absolutely got nothing to do with that, but it's a terribly interesting story, you must agree.
How did this project start? What made you decide that music was the way you were going? How did you all meet up?
Richard - Having written my own music for half my life, I had wanted to be in a band for many years but never got around to it. After the end of a long-term relationship I decided, fortuitously, to answer a single advert, met up with Matthew, clicked, and the rest is history, so it was almost fateful. Matthew - It wasn’t a calculated decision. Sadly, at my local careers centre there was no option to discuss my future in the music industry. I half-heartedly entered various professions, none of which particularly resonated with me. As means of staunching the flow of discontentment, I began recording rough demos and assembling a group of musicians. These musicians were not acquaintances that I ‘press-ganged’ into joining Kites but carefully selected individuals who I felt confident would bring something unique to the band’s dynamic. The fact that we happen to get-on famously is a great relief to me. Is it permissible to feel quite self-congratulatory about this?
These days, a unique sound is everything! What would you say defines the Kites vibe? What do you feel sets you apart?
Richard - I think there is a very tangible benefit borne out of our varied musical tastes and backgrounds and I hope this is evident in the music. Matthew - I think the fact that we have such vastly disparate backgrounds has been instrumental in crafting a sound which, although humbly acknowledging its influences, is entirely fresh. It’s obviously quite difficult for us to be objective about our own music but I genuinely find it tricky to describe our sound, which is probably a good thing.
Which of your songs do you feel most embodies this?
Richard - I think every track shows and should show signs of this idea. Matthew - There’s a song which is yet to be released called ‘You Are Dead (To Me). I think it successfully marries our different characters in polygamist harmony. The sound is at once electronic and organic, melodramatic yet ordered. I suppose all our songs in some way embody our sound but, because we are always evolving, it seems appropriate to cite our latest track.
Knowing that, what is the creative process usually like for you guys? Is there a process, or does it just sorta happen? How?
Richard - There is a definite process but it's also quite flexible and I think we communicate ideas to each other well, and also aren't too sensitive or precious about the necessary critical process that may pare down or build up an initial idea into a track. Matt may come to me with a complete lyric and a melody, and we start building from there, adding and subtracting as we go, or I might have a musical idea I have been playing with and Matt will take it away and write a lyric for it. We might abandon an idea completely if it's not happening. We aren't afraid to leave film on the cutting room floor, as it were. Matthew - There are certainly processes which we have developed because they work for Kites but there is no set formula. Writing music is not like completing a psychometric test; it shouldn’t be a logical exercise although, if it were, it would make my life a damn site easier!
There are lots of things that go into inspiration. What would you consider some of your main influences (and I don't just mean other artists... events, people in your life, places, whatever)?
Matthew - People people people. Having had a peripatetic upbringing, I formed many of my early attachments, not with places, but with people. These characters populate my songs in the same way that they colour my otherwise banal existence. I should probably also mention my birth; although I have no recollection of the actual event (thank god!), I believe it must have been a fairly pivotal moment in my ‘life’. Richard - Technology, History, Electronic music’s heritage…
What does the future hold for Kites? Where do you see it going, and is there anything exciting we should be anticipating?
Matthew - Expect a very intensive tour schedule commencing in May in South America and concluding a few months later at Timbuktu. Kites want to hone their craft and take their brand of melodrama to the far-flung reaches of the universe.
Just for fun, what have you been listening to lately? Any hot tips on some great tunes for our readers?
Matthew - I’ve been listening to Jamie XX’s remix, ‘We’re New Here’ although I fear that the rest of the English speaking world has been similarly engaged. I have also been gorging myself on the latest Gold Panda record but, again, I know this is ancient history to music fans. When you spend so much time performing and writing music, it’s sometimes difficult to keep pace with the latest fads and trends. This is a poor excuse isn’t it? Richard - I’ve always been quite eclectic, in terms of electronica, but of late have been listening to a lot of Electro and Italo out of Holland, stuff from labels like Clone, Moustache or Bunker. Having said that, since our music has been featuring on various playlists, I’ve been listening to a lot more Indie Rock/Pop music as it’s interesting to see who your contemporaries are, especially for me, as I’m certainly not as clued up with the Indie scene as the rest of the band and tend to go blank if people ask me what other bands I’m into.
Assuming there's more to life than music (I know, craaazy notion!), what sort of things do you all do outside of Kites?
Richard - I enjoy reading, watching films, socialising, fairly normal behaviour, really. As the weather improves I’ll be getting back on my bike and I do like to spend summer afternoons with friends having a few drinks in the great outdoors or throwing the odd house party or BBQ. Matthew - I eat thick-cut marmalade whilst consuming vast quantities of peppermint tea and reading back issues of Punch magazine. I tell myself that such activities will keep me from the clutches of decadence but I’m clearly deluding myself.
Any closing thoughts?
Matthew - We're very excited about the release of our forthcoming track, 'You Are Dead (To Me)'. It represents another evolution in our sound whilst retaining Kites' penchant for satirical storytelling Richard - and thanks for taking an interest in what we are doing, it means a great deal.


So there you have it, guys.





And one of their older ones for kicks:



www.wearekites.com
www.soundcloud.com/kites
www.myspace.com/kitesonline
www.facebook.com/wearekites
www.twitter.com/kitesonline
-Boba

Friday, 4 March 2011

A Very Warped History 8: 2000 (1 Of 2)

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Slight change in plan means no Broadcast this time, instead Boards Of Canada's stepping stone release between Music Has The Right To Children and Geogaddi: the In A Beautiful Place Out In The Country EP. The tracks (like the title) are all quite long, with all but one clocking in at just over 6 minutes each and contain elements from the albums that came before and after it; incorporating references to David Koresh and the Branch Davidians from Geogaddi while keeping the sounds from Music Has...



The first track, Kid For Today, is the best parts of the previous album condensed into one track, their now trademark trip hop beats combined with the synths from Olson and Turquoise Hexagon Sun. Absolutley perfect opening track and, like the rest of the EP, is also an excellent starting point if you're just discovering BoC.



On the second track things begin to get a bit minimal, this track can be spilt into just about 3 or 4 different elements, some come and go, other stay throughout the entire 6 minutes. While it's not one of my favourites by them, the ever so smooth synth at about 1 minute in just kills me every time.



Moving onto the title track and probably my favourite on the EP, In A Beautiful Place Out In The Country. Continuing the style set by Kid For Today it's another conventional BoC track, and a decent one at that, but the (what I presume) sampled voice that comes in after the break at 1:10 transforms it from decent to fantastic. One of their best tunes.



The closing track, Zoetrope is the black sheep from this EP, it doesn't get nearly as much attention as the other three, perhaps because it's even more minimal than Amo Bishop Roden, consisting of no beats and a single melody that slowly and subtly changes throughout. Fun Fact: Radiohead apparently sometimes play Zoetrope to the crowd before they come out on stage.



Sorry for the change in scheduling, not only have I had a ton of schoolwork dumped on me this week, I'm finding it really difficult to write about the tracks from Broadcast's debut album, to the point where I'm considering writing a brief summary and just posting the tracks.

Like Stepping Stones,
-Claude Van Foxbat