Ella Fitzgerald & Louis Armstrong - “They Can’t Take That Away From Me”
Happy Tax Day in the USA ;)
Happy Tax Day in the USA ;)
“Cause in my physical I can’t express through song, delete stress like Motrin and extend STRONG”
The earnest and well-to-do Tree Cover crew in Harrisburg, PA sent through this gorgeous 7” from Caleb Cossick, aka Uwue, and it’s just ideal for springtime in the sunshine. His vocals are striking in their upfront, dry treatment…Mr. Cossick isn’t afraid to show off that falsetto with a lot of emotion, and “Silent Wave” is all the better for it. Relaxing, contemplative, and soothingly optimistic: Uwue knows how to write a great pop song.
Scoop the “It’s All Lore/Silent Wave” 7” (or if you prefer, cassette!) here, and support passionate musicians who live and breathe good tunes.
Damn, those crazy Canadian cats up at King Deluxe keep elevating their game. This new video by Renata Gąsiorowska for Alphabets Heaven’s plaintive and eerily funky “Birthday” is a masterpiece of hand-drawn animated weirdness…it would be right at home on Adult Swim.
The circadian percussion and hazily-hewn synths are straight out of a uneasy, but memorable dream, while the video expertly captures the creeping but never quite threatening vibe of the beat with aplomb. Too good.
This new album from Cleveland’s James Donadio, aka Prostitutes, burrows deep under the soil and away from the hype of all these purveyors of brash, noise-laden techno with a new LP for Digitalis, Crushed Interior.
Haunting and very affecting for such a quiet, contemplative album, you can almost hear the music scurrying away when you turn on the lights. The sonic arms race to louder and “heavier” levels has created a pissing match in this strange corner of electronic music, and it’s extremely refreshing and enticing to listen to a record produced by someone with their hearing still intact. The subtlety and nuance to each track’s arrangement, with slowly evolving counter-rhythms and stark, meditative melodies creeping out of the gloom, makes for an insular experience that rewards repeated listening sessions.
One of my favorite LPs of the year so far.
Whenever anyone talks about acid when describing dance music these days, it tends to revolve around house music and a billionth revival of the “acid house” scene. Which I really don’t know very much about, except that Lory D is a don.
For me, the acid sound and all those little Roland TR-303 burbles makes me think of IDM and Aphexian madness, with skittering drums and sharp left turns littered throughout the jam. DC-by-way-of-bonnie-Scotland madman Beatwife, also known briefly on Planet Mu as Burnkane, has been churning on some real speed demons in this acidic arena lately, but slows it down on “Dwistco” for some really gorgeous synth work and mind-f*cking dance structures.
By golly, there’s also a 4x4 beat in there too…maybe I know mroe than I think I do.
Probably the most menacing track Rustie has put out since that lecherous, scantily clad remix of Zomby’s “Spliff Dub” waaaaaay back when. You can really see how far the guy’s come though, with those opening chords, the melodic breakdown halfway through and a really triumphant finish to the jam.
But I mean, really…that drop at :55 is just plain evil, some monsters under the bed type of business.
SUS RECORDS would like to invite you to participate in a special event set this Spring. We’re looking for experimental visual artists to showcase their work in a very special location. Please email susrecords(at)gmail(dot)com with the subject line “NOODLES” and a link to vimeo/youtube/etc.
Friends, fans, fam - please share / recommend this post to anyone this may apply.
East Coast experimental visual artists looking to showcase your work at a great, unique space - email Styles Upon Styles asap!
cuttooth - Newcastle-based producer with a variety of sounds under his belt - shared a new collaboration with Hitomi (best known for her work in King Midas Sound) that creaks along trip-hop genre borders, in the same fashion as Blue Daisy’s debut LP on Black Acre pushed t-h into noisier, shoegazerific territory. ‘Old Tape Machine’ feels damn close to a CocoRosie production, actually, and less Reset EP-era FlyLo; Hitomi nails a high-pitched, operatic vocal hook that slinks alongside Cut’s simple and effective beat. dude’s got an album out soon on 4Lux White and an EP on Plynt; Hitomi, I have no idea.
Pretty brutal stuff here, from Portuguese artist Drunk Robots on a new full-length called aftermath. Glitching, stuttering beats underpin caustic waves of synthesizer and crumbling guitar, creating a wall of dystopian-tinged sound that comes across like a Nine Inch Nails, sans the Reznor vox. Bleak but epic, if you ever had a love affair with NIN like we did, you’ll find something to dig here.
Classic and creeping jam from pac…
la da da da da daaaa
Hailing from wheresoever in the American Midwest, SD Laika is an odd sort. His first transmission for Visionist’s Lost Codes imprint, Unknown Vectors, was a warped little journey through crystalline synths twinkling lovingly off the surface of serrated, grimey-as-fuck percussion and basslines. This tune is allegedly forthcoming on Glasgow’s shifty All Caps label, and showcases that hissingly gorgeous style of his in all its glory.
Close Kort and Styles Upon Styles confidant Devon Hansen, aka Lotide, crops up on a favorite label of ours with a hazy, lush long player called Moonless. Coming to cassette and digital on Astro:Dynamics on the first of April, the record sees jigsawing textures and atmospheres clasp together unsteadily into a variety of rhythms, often dropping out before you’ve quite got your head around them.
The video for “Monks”, by Camila Carrillo of Mutualist Collective, suits the flickering audio fragments of Lotide’s music very well, as through the crunch and the static we can discern gorgeous little flourishes of melody and image. It’s a technique that resonates throughout the album; keep an eye out for more soon…
Soul is on its way back. JT’s new LP looks to the Dean Martin days, Daptone Records surges forward with a new Charles Bradley record, and our own King Garbage prepares for their debut release in April. So then, where does Gabriel Garzón-Montano fall on this spectrum of slinky 2013 crooners?
Subtle nuances and excellent production mark this free release from Gabriel, with percs that pitter and patter across the stereo range, and a deft use of keys and bass that serves to highlight the artist’s greatest strength: that voice. Elastic and adaptable, the guy’s singing makes you forget the surrounding musical elements…until you realize how well they, too, are executed. Really great stuff, a superb release.