Author Archives: bandabear
About a year ago, I wrote a post on Soosh, a Glasgow-based beatmaker who had really turned my head with his first self-titled EP. My first impression of his tunes was that they held a balance between groove and wonder. Since then, he has put out another four-song release called “SoFar” which had a similar vibe to it. Today marks the release of his first full length, “Colour is Breathe,” available via Error Broadcast for 6 pounds (you do the math?) at Boomkat. Vocals take much more of a role in his new tunes, which often feature contributions by his sister, Carmel Khavari. While his sound is a bit more grounded than it has been in the past, he maintains his now-signature expression of being in some unfamiliar sense of awe. Spinning this album is like finding your home planet after floating through space for years. For fans of Teebs, Bad Vibes-era Shlohmo, James Blake. Also, he’s f@*&king gorgeous. Let’s have one more look.
Born on the forefront of the 90’s, I think I can safely say what does and does not sound like music from that decade. You got your beasties, your pumpkins – even some cranberries if you’re into that. So, like most listeners, I had to change my pants after I started playing a 45-minute track Kieran Hebden uploaded to Four Tet’s soundcloud a few days back. All that accompanied the track was one line of text, “Produced by Kieran Hebden 1997-2001. Compiled 2012.” For those not familiar with Four Tet’s output, this spans a period before he even released any music under this moniker.
Hebden’s style has changed at almost every point in his career, but an arc can be seen moving from jazzy sample-based headphone tunes to complex, intelligent dance music, emphasizing the “dance” aspect the genre usually only holds as a backdrop. As someone who prefers his former work but still adores the latter, this was a welcome change of pace.
Compiled like a mix rather than an album, 0181 seamlessly moves between every style Hebden has dipped his pen into over the past decade-or-so. The first sequence demonstrates this perfectly. The track opens with delay-saturated piano melodies before layers of static and noise prepare the way for a garagey dance beat that could easily have found its way onto 2012’s Pink. Elsewhere on the album, we find many sounds and tones now indistinguishable from Hebden’s work – rough, off-kilter hip hop beats adorned with pitch-shifted string plucks, reversed melodies. Do I wish it was separated into tracks rather than put out like a mix? Yeah but like, whatever man, it’s a free download.
Much of this work explains the transition between Hebden’s old band, Fridge, and Four Tet’s earliest material. It’s a lost chapter in his story, one that listeners may find easy to understand why it was kept under wraps for over a decade. The face of music has changed more between this album’s composition and release than perhaps any other time period. To make a piece like this that, in 1997, could have elevated himself to Mobyish levels, and then decide to sit on it? Sounds insane. Yet, now we are treated to a truly beautiful work fossilized in amber. Or maybe it was Nickelodeon Gak. Either way, it tastes great.
i’ll admit to my bias of getting to know these guys pretty well from playing shows with them, but this is some universally enjoyable music. their self-produced debut EP has been on heavy rotation in my life since I first got it over a year ago. on this one, however, they spent a good year or so in one of the most respected studios in philadelphia crafting these into the fleshed-out finished products you hear today.
this level of professionalism really shows in the music itself – where before they bore their influences on their sleeve (maps & atlases, beach house, maybe some this town needs guns?), here those sounds are a mere layer underneath a sound totally their own. come smile and hop around in merriment – if the free downloads on their bandcamp are up, they posted a mediafire link in the text underneath the liner notes.
-drew bandos (dj on Coast Off, thursdays 2-4)
Little is known of Winston Berg. A legend in the minecrafting scene, one can easily hear how the skills yearned in such a productive use of time spill over into his songwriting.
I only joke because I’m not sure how to talk about his music, but don’t let that stop you from listening to it. Show some love for a GW student that’s really doing his own thing – stream here and pay what you want for the full release.
Thrice’s newest album, “Major / Minor,” is out now on Vagrant Records.
Interview by CJ Ballesteros
Justin Peroff, drummer of feel-good(lost) mainstays Broken Social Scene, just put out a most excellent mixtape of the best in bloops, beats and dopeness. Perfect for remembering that while finals may be more than enough reason to stress, there are just as many reasons to relax. Also, I found out Peroff was in How to Lose a Guy in 10 Days. Too bad that doesn’t affect my interest in watching it. (via Drowned in Sound)
I don’t really have much to say about this. I invited Evan Dice, who puts out music under the new moniker ((S*5)), to come into the station for our last in-studio of the year. After (as usual) everything breaking and having to run back and forth to my dorm to get equipment, he played non-stop for half an hour. I kept looking around at the others in attendance and was happy to see everyones jaws were dropped to the same degree as mine. He makes his music entirely out of vocals, an analog sampler, electric violin and an effects processer, churning out the kind of tunes you’d assume could only be done with a laptop. The best part was how honestly surprised he seemed to be at our enjoyment. I’ve never heard anything like this, I hope you like it as much as we did. We’ll post a video of it soon.
Download the whole set here: http://www.mediafire.com/?hnwnw0nk4hhun (mac and pc!)
Stream his other work on Soundcloud: http://soundcloud.com/s-5-1
Doug Aitken’s audio/visual integration project, a “360-degree convex-screen cinema” featuring music by Beck, James Murphy (of LCD Soundsystem), Devendra Banhart, Lisa Papineau and many more. At the installation, covers of the pop standard “I Only Have Eyes for You” by these musicians are accompanied by visuals displayed along the sides the museum. Today, the museum announced a concert featuring artists involved in the project on May 11th at the Hirshhorn. So far announced are Nicolas Jaar, Oneohtrix Point Never, No Age, and High Places, but more are to be announced in the coming days (here’s hoping for Beck). Tickets can be bought here.