Tag Archives: Pitchfork

because xxxchange needs all the blog love he can get!

i featured ghostdad’s acid yazz last week (which is still super awesome and features xxxchange tracks such as his remix of charlotte gainsbourg) and now i wanna draw your attention to a new project from xxxchange, ghostdad and devlin. they’ve done a new track under the name win win, which is a pretty appropriate moniker. the track is called releaserpm (no i’ve no idea either), and it features vocals from lizzi bougatsos, who if you don’t know is a member of gang gang dance. remember what i said? win win. the track is hosted on the fader, and got a mention on p4k, but it needs our attention because…..

never think that dudes, NEVER…

why i love james murphy pt 708

There are a lot of frustrated people at my label and I have shows booked before the album comes out, but it’s done.

I like old scores that are very specific but, typically, contemporary scores drive me crazy. It’s the musical equivalent of a poetry slam – just mood tones and spacey surround-sound shit.

We would have these discussions and we’d realize that we’re basically like two Greenbergs kvetching over dinner.

we’re basically like two Greenbergs kvetching over dinner

two Greenbergs kvetching over dinner

kvetching over dinner

kvetching

two thousand and ‘i prefer the switch mix’ six

i’m going to kick this off with a disclaimer – over the last few years i’ve made a point of never copying a dj’s mixes, ie if someone mixes two tracks together that sound great, i’ll go out of my way to find other ways of mixing them. i don’t wanna jock nobody’s style. but i’ve done it in this mix. not as a ripoff, but as an homage. it was in 2006 that i first saw the great man that is erol alkan play, and his opening tracks that night were his own remix of i don’t feel like dancing by scissor sisters and trentemøller‘s remix of go by moby. after that, like many of his sets, i was completely stumped – it always seems that he kicks off with something HUGE, then follows it up with an hour of obscurity, and lays the bangers on thick for his grand finale. later on that night i heard him play some of the tracks that have come to define that year, half of which are included in this very mix. bump, sitwoc, magick. that was 2006. this was year zero for the current crop of electro kids who never before had any interest in “dance music” – rock and rave had already come together through the likes of soulwax and lcd soundsystem, now labels like modular and ed banger were, i wouldn’t say consummating that marriage – they were f*cking like rabbits. it was wild.
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we pull the cars up from the river

so tonight i went to see new moon…….. i know, how unlikely. i enjoyed it a bit more than twilight – partly because i was laughing the whole way through, partly due to the reaction of the crowd – and also it did look quite nice at times. i’ve been avoiding any talk of the soundtrack, just noticing but not following headlines on pitchfork about thom yorke and death cab contributing.

to be fair, thom’s track is quite amazing.

in other thom-related news, i picked up the collection of his remixes (or rmxs) the other day – i know i’m two years late on that, but i didn’t think it was available on cd! it’s a japanese import, i saw it in hmv, i couldn’t resist. it’s gold! i’d heard a few of the remixes already, but the field‘s reworking of cymbal rush is simply mesmerising. quelle surprise.

here’s the burial remix of and it rained all night, quite appropriate a) because burial sounds best in november and b) on account of the flooding across the country this week. not that i want to make light of that horrible situation at all.

Thom Yorke – And It Rained All Night (Burial Remix)

luckier

nations

i read yesterday about sufjan stevens‘ latest venture – as p4k’s head put it, Sufjan Makes Instrumental Album With Stepdad and National’s Bryce Dessner. it’s part of asthmatic kitty‘s library catalog music series, the aim of which is to make what is essentially background music. on one level this could be seen as a perverted, introspective approach, making music that isn’t meant to be listened to but simply heard, not unlike the sound of the rain or of passing traffic, but the more i think about it i think it’s a delightfully novel approach which goes against everything i think is wrong with music right now. this is what the site says about the project:

Asthmatic Kitty’s Library Catalog Music is a series of instrumental albums designed for possible use in films and television, background sounds for home or office, or personal needs, such as relaxation, stimulation, meditation, concentration, or elevation. For your listening pleasure, we asked a select group of talented artists to create a unique recording for this collection. Specific uses for the music is this series may include accompaniment to cooking, eating, sculpting, exercising, high stakes poker, soaking, panoramic landscapes, cuddling, car chases, drawing, knitting, bandaging, romance, playing chess, or planning the rest of your life, of which this is the first day.

now i’m trying to apply this logic to club music. the library catalog wouldn’t ever work in a club (well i guess it wouldn’t, from the blurb above) but i think that it raises questions about people’s intentions when they make music. when kids are first learning to make music in their bedroom, they’re going to look to their idols – and right now those idols are people like boys noize, crookers, justice etc – most of whom are known for their peak-time bangers. no-one starting out is going to want to make a track that a dj will play to an empty floor as soon as the doors open. but the dj has to play something. so when does a producer make the transition, from making, as i call them, peak-time bangers, to tracks that just sound good at any time?

listening to chromeo’s dj-kicks i was really taken aback by the contribution from perth’s shazam. the guy’s already made a name for himself with that awesome remix of dance wiv me, as well as the unstoppable pool party 2009 (i swear i heard that in arnotts last week and thought it was late 90s french house – it’s that good), and now this track shows his abilities range far beyond late night fare. this slow-burning disco track fits in beautifully to the chromeo mix, in that it’s got that cheesy 80s sound – you know, that dancing organ sound, the soft warm synths, the seinfeld bass – it’s all there. this guy is, what, 19? i think more producers need to take a leaf out of his book. go hard in what you do, yes, but you don’t always have to go hard.

Shazam – Luckier

cover of a cover of a cover

yesterday pitchfork posted the cover of jay-z‘s forthcoming blueprint 3, and it calls to mind, bizarrely, the cover of a ministry of sound compilation.

Jay-Z - The Blueprint 3

Jay-Z - The Blueprint 3

Uncovered

Uncovered

it’s not just me right?

what a day

i thought mondays were supposed to suck? i had an excellent interview (completely non-music related), found an excellent charity compilation with tracks by diplo, lcd, eli and devendra banhart, and when i hit up my google reader i saw some innanet-gems.

flsgldrcrdlbl

buraka som sistema are giving away a new mixtape, and fool’s gold have rounded up ALL the free tracks they’ve given to rcrd lbl in advance of a party the two are putting on tomorrow. shame it’s in nyc. anyway my personal favourites have to be the surkin remix of acid life, a-trak‘s remix of bounce, and pretty much everything involving kid sister. one in particular is her freestyle over green velvet‘s shake and pop, the standout from the otherwise mediocre pillowface mix cd. apparently her album is on the way – see here for an insightful interview.

Sometimes you just gotta let it marinate. I need to make something I’m proud of. So don’t hate! We’re doing it as fast as we can. In the meantime, let’s tell knock-knock jokes on Twitter: Knock knock. Who’s there? Your album. Oh, wait– just kidding. It’ll never end.

EDIT: oh yeah and there’s a oizo remix of n.a.s.a. floating around too 😉