For a release so diverse in its influences, Almost is a near impossibly cohesive introduction to emerging artist Null. Through melancholic, fragile compositions the Melbourne, Australia-based producer refocuses our attention on the mid 90s catch-all "Electronica" through contemporary genres ranging from Jersey House to Footwork to Trap. Frequently derided, Electronica was posited as a homogenizing term for a rapidly proliferating host of electronic genres to the North American market, in much the same way that EDM exists today. Null explores a space in which he condenses thediversity of that "genre" - essentially attempting to create work that can wear the Electronica badge earnestly.
Available as limited edition EP pressed on 'ultraclear' vinyl, the stunning techno-organic design of design firm Oval-X (How To Dress Well, Digitalism, CFCF) is presented in a heavy card sleeve with gloss finish and a metal "tamper-proof" security sticker. With Almost serving as an introduction to Null's considerable talent, he will expand his horizons further with a full album in late 2015.
Doss bursts forth into our reality by stepping sideways from one where the 90s boom never ended - an alternate Earth of curved, shining surfaces andstrobing colours.
As a producer and singer exploring "Electronica" as a concept, Doss sidestepst the revivalist tag by reaching across genres, from trip hop and trance to liquid drum & bass and Eurodance, and warping them into something simultaneously nostalgic and futuristic. Perhaps what makes her music so vital is that she manages to avoid using her influences as obvious templates. Instead, she uses particular genre tropes as tools in a contemporary, almost EDM, context; a place where the synth melodies of Crystal Waters and Love, Inc. coexist with the slinking shuffle of LTJ Bukem and Fabio. Doss makes bold, emotional pop music that bursts with imagination. But beyond the sheen there is a complex fragility reminding us that glossy fantasies are just as interesting for their subtext..
Crawling Up The Stairs is the second LP from Austin, Texas' Pure X. Made up of principal members Nate Grace, Jesse Jenkins and Austin Youngblood, they stay true to the dense sound they explored on their last album, Pleasure, but add twinkling atmospherics and a new clarity to their carefully cultivated, emotionally heavy songs.
Where Pleasure was built on syrup-slow hooks and a weighty, sexy haze, Crawling Up The Stairs is the sound of Pure X emerging from that humid cocoon to stare all the screwed up parts of life directly in the face and embrace them. When Grace's voice, cracked and worn, breaks through a fog of downtempo drums and misty guitar on "Someone Else," the pain that used to be visible in his face when he was on stage is pushed to the forefront of their sound, his voice growling and moaning with barely contained anger and apocalyptic worry in anguished falsetto. Crawling isn't a record about escape, it's about what you do after you've realized that escaping isn't an option and you just have to face the world you live in head on.
Estasy is the musical alias of Rome, Italy-based installation and performance artist Emiliano Maggi. After a few cassettes and CD-Rs, Estasy is releasing its full-length debut, Wild Songs, on AcÃ©phale (SALEM, Elite Gymnastics, How To Dress Well).
Wild Songs doesn’t sound like anything else, but it contains echoes from disparate sources. The first thing you’ll notice is Maggi’s voice, which has the range and timbre of an Italian Coloratura singer. Unlike many of today’s high-octave singers, this is not a falsetto; it’s a soprano. Sometimes it appears stark and alone, sometimes buried underneath ghostly vocal overdubs.
Wild Songs has a haunting quality that derives spiritually from Maggi’s recording process. All but three tracks on the album were recorded en plein air: amongst nature in fields and woods. The sounds of wind and nature, and Maggi’s tape recorder, blend into his spectral soprano to create a mythological world that modern civilization can no longer see, but which through acts of the imagination we might be able to hear.
The result is something like Alan Lomax’s field recordings trapped in Werner Herzog’s Cave of Forgotten Dreams. Reference points include the Nordic folk music traditions currently being kept alive by acts such as DvergmÃ¥l, the sublime other-worlds given birth to by Sigur Rós’s made up language, and most notably the proto-gothic funereal dirge of Nico’s post-Chelsea Girls trilogy.
How To Dress Well is the stage name of songwriter and producer Tom Krell. Combining a gorgeous falsetto with fractured R&B-influenced beats, an instinctive ear for subtly devastating melody and elements of noise, sound collage and avant-garde composition, Krell's debut album Love Remains offered a beautiful window into a startlingly realized artistic imagination.
Praised for both its conceptual strength and immediate emotional resonance, Love Remains duly garnered vast critical acclaim and saw Krell accredited with having given birth to a new, narcotized strain of R&B. This fall will see him share this new body of work with the release of Total Loss, his new album.
Whereas his previous work was a study of love in its darkest hour, Total Loss is an attempt to find one's way out of darkness, even when there seems to be no light ahead. Co-produced by Rodaidh McDonald (the XX), the album retains many of the elements of Love Remains; noisiness, moodiness, and layers of swarming voices. Now these stand alongside other complex elements: the elegant weeping arcos and pizzicatos of neo-classical music, the rude drums of trap-rap, and the sweet, special and sentimental moments of Janet Jackson's Velvet Rope are all swept up and embraced in the deep beauty of Total Loss.
After their introduction to the world through the singles The Truest Faith and Honey Mine the partnership of Marcus Joons and Daniel TjÃ¤der (also of The Radio Dept) presents its debut album, An Album By Korallreven. The project was conceived after Joons returned from an extended trip to Samoa where he found inspiration in the local choirs. Mesmerized by the South Pacific and the exhilaration of travel, he shared his newfound passion with TjÃ¤der and a partnership was born.
The result is a journey through influences as far flung as Southern Rap, Dreampop, Reggae, and Minimal Techno, among many others. The glittering production focuses on melodic evolution rather than structure; lush, dubbed-out instrumentals (Loved-Up) perfectly complement trance-pop vocal cuts (Keep Your Eyes Shut & Comin’ Closer).
Joining the duo are a host of collaborators including Victoria Bergsman and Julianna Barwick. Bergsman, who contributed her dulcet vocals to Honey Mine, returns with the swirling meditation of Pago Pago and the anthemic As Young As Yesterday. With Samoan choirs being a major influence on the record, who would be better to enlist than Julianna Barwick? Here, her loop-based vocal soundscape on Sa Sa Samoa builds from a choir of one to an ecstatic eruption.
After their introduction to the world through The Truest Faith and Honey Mine Marcus Joons and Daniel TjÃ¤der (also of The Radio Dept) return with their third single, As Young As Yesterday.
Returning for her second collaboration with the duo is Victoria Bergsman who previously contributed her dulcet tones to Honey Mine. As Young triumphs with glittering bombast - a true Balearic anthem. Cascading 808 fills mingle with steely acoustic guitar and chipmunked vocals while deep kettledrums and pulsing strings balance things out. It’s a glorious celebration of Summer’s fade, a song that looks forward by glancing back.
Animal Collective’s Panda Bear, fresh off the tremendous success of Person Pitch, delivers a reinterpretation that is at times frenetic and jarring, and at others meditative and soothing. London’s Girl Unit revisits the pitched vocals and builds a sprawling epic that erupts into a throbbing payoff before subsiding to begin anew. Finally, the Korallreven boys wrap things up with a massive expansion of their original â€“ an evolving, layered rhythm section lays the foundation for ecstatic builds of shimmering, hazy synths.
As Young is the latest single off of Korallreven’s debut album, An Album By Korallreven, out this November on AcÃ©phale.
Pure X is the latest incarnation of a long-standing collaboration between Austin, Texas musicians and friends Nate Grace, Jesse Jenkins and Austin Youngblood. AcÃ©phale is proud to present their debut album, Pleasure, released July 5th in the US and worldwide August 22nd.
Looseness is a key concept for the band, and all songs were recorded live without overdubbing. The aspiration was to capture songs in their purest form, mistakes and all, as they were being written. This process allowed the songs to form themselves; structure and formula lost their rigidity as songwriting became more about evolution than intent.
Patient, sparse and never any less than heartbreaking, the clutch of songs making up Pleasure has a sonic originality that many artists spend entire careers trying to cultivate. There are clear influences here: the nonchalant bombast of the Jesus and Mary Chain, the wistful croon of Hank Williams and the lovesick melodies of 1960s soul music can all be easily perceived within the group's work to date. Crucially, however, Pure X do not let their reverence for such precedents overwhelm them. So where other lo-fi fetishists currently garnering attention tend to produce a facsimile of their inspirations, Grace, Jenkins and Youngblood dissect, invert and damage them.
Pure X is the latest incarnation of a long-standing collaboration between Austin, Texas musicians and long-term friends Nate Grace, Jesse Jenkins and Austin Youngblood. Acephale and Light Lodge are proud to present their latest EP, You’re In It Now, with a special first pressing on black and white blended vinyl.
Bound to its influences only by its golden melody and bruised sentiment, the music of Pure X is a genuine, unafraid and honest foray into the emotive and redemptive potential of pop music; an endeavor that captures perfectly its indefinable ability to captivate and devastate in equal measure..
Porcelain Raft is the nom de plume of one Mauro Remiddi, Rome native, music/video mastermind and purveyor of some of the most exquisite, haunting and heartbreaking love songs you’re likely to hear in a good long while. Unsurprisingly, for someone who started off in music scoring short films, the world of Porcelain Raft traverses deeply evocative and emotive terrain, gorgeously redolent of moments lingering just on the fraying edges of time and memory.
Together, these tracks serve to announce Porcelain Raft as an important new name to watch, and, as anybody who has caught him live recently (supporting the likes of Blonde Redhead on their recent European tour or at several showcase at CMJ 2010) will attest, a beautifully compelling live act as well.
After their introduction to the world with Loved-Up and its follow-up The Truest Faith, Korallreven continue to bring the Balearic hits with new single Honey Mine. This time around Marcus Joons and Daniel TjÃ¤der (also of The Radio Dept) enlist the sublime Victoria Bergsman (Taken By Trees, The Concretes), whose distinctive voice brings a bittersweet gravity to an otherwise upbeat production. What could be a more fitting Valentine’s release than wallowing in the melancholy of a fading love?
This online only remix package includes the vinyl B-Side reinterpretation by fellow Swede Dan Lissvik, most notably of Studio. Lissvik’s instrumental remix lightens the mood a little, but the soft sadness of the original remains. Canadian duo Memoryhouse take the track into dreampop territory â€“ with just a little bit of echo Bergsman’s vocals go full-on 4ad. Toronto’s Nacho Lovers stray from their usual classic house template to bring the dub with their version, evoking Carly Simon’s Balearic classic, “Why.” Finally, Korallreven close out the EP by revisiting their own production with cellist in tow â€“ ramping up a massive build that climaxes in shimmering glory.