New Music – 03/31/11

Del – Golden Era

I wish I could say that I’ve been a Del fan since (insert early guest cameo here), but, truth be told, he’s always rubbed me the wrong way. The problem with Del is that he’s an MC who needs a DJ and a producer who can blend, yes BLEND Del into the music instead of putting him front and center. On the Gorillaz track, Clint Eastwood, Del fits into the track instead of standing on a soapbox, churning the same lyrics he has for (insert number of years from Wikipedia).

One Out of A Million is a great track because he fits in. Not sure what “diesel” has to do with anything, but recycling the phrase on other tracks dilutes the phrase. Vocal effects are also neat, but choral and wide effects layered over a very noisy, cacophonous track like Pearly Gates make me cringe. The rest of the album doesn’t change my opinion. Nearly every track is confrontational, talking about “the game”, “haters”, etc…stop talking so much about the art and participate.

And I wish I could even like the beats, but alas, no.

Well, at least I have one track I can spin…

Gold Panda – Companion

Lucky Shiner was the first I’d heard from Gold Panda, and I really liked what I heard. Companion follows in its footsteps with the mysterious, little encapsulated worlds Gold Panda creates each track. Fifth Ave could be held inside your hand, it feels so tightly woven. Like Totally makes me think of looking out on a Winter courtyard. Back Home is a fast-forward video blog of traveling through airports and taxis and hotels and sitting down to a drink on your couch, all done through a fisheye lens. Lonely Owl kinda, well, sounds like the track name and is very contemplative till about halfway in, where the Owl in question most certainly leaves its perch.

The attention to detail is what I hear here, though the Sennheisers, and it makes me think of many other artists in this veing, including Daedelus, Shigeto, and Four Tet, among others. I’ll return to the comment I’ve made about giving equal tools to artists and getting wildly varying results. These are the results I want.

He’s also not content to let you sit still, gazing unfocused, because tracks like Mayuri are certainly made for a loud, bass-filled dancehall with several hundred people.

A few tracks are a bit more experimental, Long Vacation included, where the artist falls into the entertaining “noisy” track vibe, where every nutty nugget of sound gets tossed in. Triangle Cloud also succumbs to some of the wandering synth piano/808 fiddling/panning synth bloop treatment. Win-San Western follows with an unexpected DnB journey, with plenty of Amen Break beats also. Police sounds like, perhaps, what a fly, on acid, with a taste for Progressive Trance, would trip if he were stuck to the grille of a cop car…maybe.

This album oozes character, and these are the types of albums I always come back to. They’re the tracks that, when your music is shuffling, you smile at. I certainly don’t like all of the tracks, but there are plenty here to love.

Noan23 – Fry Cook On Venus

First I’ve heard of this guy. Shame the album isn’t clean and that the promotional company clearly didn’t pay much attention to the FCC-clean tracks. The two tracks on the album I like, Fry Cook On Venus, and Old Dog, are certainly not airplay-able. It’s a shame, because while much of the album is plagued by whatever the “indie hip-hop” sound is supposed to be, those two really do work well for me.

Noah has an interesting presence on the mic, and when those beats are on, it’s on. Kinda reminds me of Sims, to be honest. He’s got a knack for storytelling, and the rhymes back him up.

Noah23 certainly has a place in Hip-Hop that needs to have strong acts like his. I think.

We Are Enfant Terrible – Explicit Pictures

Strange sound here that I’ve heard before, cringed at before, and deleted entire albums in minutes because of. WAET blend some kind of indie rock with 8-bit “chiptune” music, and don’t do it nearly as irritating as many other acts I’ve been unfortunate enough to hear. I don’t like, and have a hard time appreciating, dissonance. Tune is important to me.

Filthy Love, the second cut, made me hesitate and listen closer to the rest of the album. Shame it’s the strongest track, because it’s really good. I beat and bass guitar-heavy tunes with interesting vocals, but they’re so rarely done right. This one is.

The rest of the album generally goes by this formula: 8-bit intro then blend with guitars and drums with a synth. Cue vocals. Next track 3 minutes later. It’s a decent formula, really.

This is an interesting album, but pretty forgettable. I feel that it might grow on me with subsequent listens, but, if I’m honest, I don’t think I have the time to spend on it. I’m just glad that there’s at least one track worthy of play.

Groundislava – Groundislava

Well, yeah, the ground was lava at least once. No matter where you stand, you can be guaranteed that those atoms were once inside the molten Earth. It’s harder to know where I stand on this album. It’s got some interesting textures, and kinda sounds like a relaxed Exkmo at times. Panorama (feat. Weary) is an interesting track, though I prefer the Clive Tanaka remix to the album version.

I wish these guys would have chilled just a little. This album would be more enjoyable and listenable if the entire character of a track didn’t change 40 seconds in, then again another forty later. Young Lava or not, it’s annoying.

Final Impasse, Animal (feat. Weary), and the Clive Tanaka remix of Panorama are my favorite tracks and those I will be playing on air. They’ve got the elements that I love from this kind of music, without the schizophrenic changes or harshness many of the other tracks employ.

Mexicans With Guns – Highway to Hell

It’s got Freddie Gibbs. It’s got organs. It’s got lots of heavy basslines. I’m game.

Innerpartysystem – Never Be Content EP

These guys remind me of Daft Punk for some reason. Maybe it’s the synth voice. Maybe it’s the heavy use of sawtooth synth patterns. It’s almost danceable. I don’t like Daft Punk, or, generally speaking, tracks like American Trash.

I do like solid cuts like Out of Touch and Squid. It’s the solid beats, the prog house vocals and lyrics. I could speed these up about 30 BPM and they’d really be danceable. I like that. I want to hear more, and I am going to like a few of these tracks for a long time.

Wiz Khalifa – Rolling Papers

Eh. The first few cuts of this album have some interesting properties. When I’m Gone, On My Leve, Black and Yellow, and Wake Up are pretty solid, if only because the beats are good. Wiz hold up his end, I guess. These are the club tracks, so I’m being unusually kind because they’re actually done well.

The lyrics, through and through, are rubbish. I could give a damn how many bottles of (insert trendy liquor here) you buy at your table in the club, how you buy expensive clothes for your hoes, the stacks of money, and how you were misunderstood “back in the day”. It’s tripe. I could care less.

These are the kinds of cuts that I would play in a club, loud, because the bass is strong and the chorus is catchy. That’s pretty much it. Wiz is kinda worthless. Hell, even Del is more interesting than this cat. Don’t take my word for it, Ghostface Killah rates him #4 on his list of the ten “softest” rappers in the game. I see it.

Maybe I’ll get a club gig and bump some of these. Maybe.

New Music – 03/24/11

Atmosphere – She’s Enough single

For some reason, without knowing too much about Slug, I think he’s turned a corner in his life. When Life Gives You Lemons… was a great album, but it had so much angst.

She’s Enough is the most positive track I’ve heard from Atmosphere in….ever? They’ve had albums devoted to the pain and hate and struggle of a single past relationship. This feels downright cheery in comparison.

Ant, as always, crafts clever, catchy beats with so, so much character. The instrumental version is perfect.

Such a great track.

Zion I & The Grouch – Heroes in the Healing of the Nation

Some sort of confluence has happened with me. I’ve heard Zion I before, and I knew there was something eerily familiar about the Zumbi & The ARE’s The Burnerz, and Pigeon John mentioned The Grouch as one of the reasons he got onto Quannum. AmpLive did a remix I’d really enjoyed sometime last year. Here we are, all of these artists on one album, and boy is it good. Oh wait, I’ve not even mentioned the guests…

Only yesterday I listened to a 2009 podcast from Seattle’s KEXP where Zion I perform some of their tracks. Much learned, and even more respect given. I finally hit up Wikipedia to get even more information and clarification.

This album is, as its name suggested, a positive effort to get people to be a part of a healing effort. To that end, they’re touring presently, with a stop in Park City’s Star Bar next week. Proceeds of these shows go to a variety of charities. Now that’s positive.

To the music, well, the beats are fantastic. DJ AmpLive has a touch with many of these cuts that is brilliant. I’m a big fan of the UK Grime and Dubstep scene, and tracks like Rockit Man, Drop It On the 1, and others are heavily influence by these scenes. Thankfully these aren’t just rude transplants of beats, sloppy and misplaced. AmpLive really, really knows his trade.

The Grouch is one of those talents whose voice I’ve heard only rarely, but feel refreshed to now experience. His presence on the mic is strong, knowledgeable, confident, and smooth. Zumbi’s style and presence compliment this, with more of a playful and clever delivery. Both of these MCs are top notch.

Fantastic album. Can’t wait to see these guys live and get the healing going.

Rocky Business – A Rebel’s Roar

These guys are new to me, and without doing some digging, I can’t say if I’ve ever heard of them.

Decent album, though only Glide and Rocky’s Theme are tunes I’d play on the show. The other cuts range from an indie sound, 90s DnB, to jamming rock. It makes for a diverse album, and the talents of the artists here aren’t wasted, because there are only a few tracks I didn’t like.

Interesting stuff, and I’m glad I have a few to spin, because they’re very good.

Jib Kidder – Library Catalog Music Series: Music for Hypnotizing Minds

This is probably the fourth or fifth of this series I’ve received. Some have been good, and this is one of those for sure, but another from B Lan 3 was just awful.

Jib Kidder has dived in to the Asthmatic Kitty archives, using a laptop and a Technics 1200 turntable, and produced this very interesting release.

The artist is a new one to me, but he will have a place in my playlists for years to come. I’ve always been a fan of DJs and artists who can take a boatload of samples and make something out of it. DJ Shadow, DJ Signify, Blockhead, DJ Premier, and others I’ve listened to over the years have made careers by creatively sampling music and recompiling it.

Every track on this album is interesting because of how it’s been created. Suspension 1 might be the best example of how sampling can take what’s probably a total of 20 seconds of music and make an entire song out of it. Breaks used to be a clever way to make the sweetest part of a song into the crucial part of the new track, like the legendary Amen Break. This track uses some guitar and drums to draw us through three minutes wonderfully.

Reflection, Cruising 1, Blue, and Together are my other favorites from this album, though you can’t much go wrong with any of it.

Pretty neat album.

New Music 03/10/11

Federico Aubele – Berlin 13

Unbeknownst to me, I’d heard this guy on one of the Thievery Corporations compilations, and once I started listening to the characteristic vocals and Spanish guitar, it came flooding back.

This release highlights the changes in the artist’s life while living in Berlin, and 13 is the “death” Tarot card, which represented for him a new beginning. He keeps his talents, but mixes them rather sublimely with some heavy, deep Dub tones. It gives the bulk of this record a thick feel, even when it’s only the vocals of Ka and the guitar. To my delight, it works well, if not very well, across the entirety of the album. I love the sound.

Rainbow Arabia – Boys and Diamonds

With a name like that, there’s a whole lot of expectations for what this album is going to sound like. Thankfully I wasn’t disappointed much, though the highlights were few. It’s a heavy, synth-dependent style with the distant female vocals and plenty of catchy percussion, while avoiding a lot of the pitfalls this genre’s known for. I know I’ve mentioned this before, but sometimes, given identical tools, %75 of these groups will make something I can’t listen to.

Without You and Hai are my favorite tracks on this album, while Nothin’ Gonna Be Undone and Sayer are throwaways. The rest of the album is solid listening and entertaining, for sure. Good stuff.

Ancient Astronauts – Into Bass and Time

I’ve known about these guys for a little while, but it’s been less than 24 hours since I listened to them first and I can’t stop. There are perhaps one or two records a year I get which, upon first listen, can get a five-star ranking for EVERY track. The last time I remember this happening was Pnuma Trio, or maybe Dutch. Interestingly enough Raashan Ahmad is also present on this release too.

This pair of Germans has somehow captured the best of US underground hip-hop sounds, blended it in with their own interpretations, some Jamaican Dub/reggae, Asian strings, and made it a very delicious treat. I hear the echoes of every DJ I’ve ever respected in here, but without it feeling like a copy or riff in any way, shape, or form.

It’s like DJ Shadow, DJ Krush, RJD2, Kabanjak (a fellow German), Blockhead, Stoupe, and many others have all been blended, slowly, and poured over ice.

I’ll not only be spinning this for a LONG time, and include at least one of these track on Nerd New Year, but this will be something to enjoy for years to come. Brilliant.

Robert Miles – Th1rt33n Remixes

I am not a big fan of Th1rt33n as an electronic album, perhaps because I’ve long since moved past the Brian Eno, Tangerine Dream, Fennesz electronic haze and soundscapes.

Delightfully, however, Miles knows a guy or two who can do some of the work for him and get some vocals and beats on these tunes. A four-track EP or remixes, I’m pleased to say that only Antimony (Max Pollu Hypnotica remix) was shy of my best rating. The other tracks, one even done by Miles himself, are entertaining and certain improvement on the originals, especially when airplay is considered.

I’m pleased that I’ll have a couple tracks to better represent what I hoped Th1rt33n could sound like.

Mic Crenshaw – Under the Sun

Mic is another name I’ve heard over the years but never had opportunity to sample in album form. He’s a vocalist whose presence is instantly listenable and compelling without feeling preachy or harsh. Mic is certainly an activist voice and he gives us a tour of what he thinks, track after track.

As we know, tracks aren’t worth listening to if the beats aren’t up to snuff. Fear not, because you won’t be bored or annoyed by the backing Mic gets on this record. Lots of synths, believe it or not, and a fair bit of interesting treatments like bells and claps. Hey, I’m failing here to explain it, so get it where you can and make sure you listen to Bad Blood, Yeah, and That Glue. Great stuff.

Dub Is A Weapon – Vaporized

Akin to what I’ve heard before from the legendary Dub Trio, this is an instrumental group who are a hard interpretation of Jamaican Reggae and Dub. It’s got the heavy, omnipresent bassline, but with guitar riffing, piano stabs, and horns, not to mention the drums.

Over the years I’ll get a few instrumental albums that have little to do with the Nerd Show theme: electronica. However, I can’t help by play this stuff on the show because I have such an affinity for Dub and Reggae. Guess that means you’ll be hearing it on the show…

Donwill – Love Junkie Remixes

The basic track, Love Junkie, is good. Funky beat and clever lyrics. Content is a bit sketchy though, because it’s kinda a weird love song in a very pop way. Not so much a fan. Look At Me rubs me the wrong way from the intro, as it’s just a bunch of noise.

Relief hits, however, when I get to the So Shitty remix and dub of Love Junke, the last two tracks. The track has been rendered anew and it’s genuinely interesting. Cutting up Donwill’s lyrics and spreading them over a Garage-type beat gives it a new lease on life, not unlike the Blueprint track I mentioned last week.

Now it’s fun.

New Music 03/03/11

Zion I & The Grouch – Rockit Man Single

Tracklist – Rockit Man (feat. Silk E), Instrumental, Drop It On the 1, Instrumental

These tracks are solid.  I don’t mean that just to be nice, either.  Zion I has had my ear for a while and his vocal style is top notch, but The Grouch completes this duo’s collaboration with Silk E for some seriously strong presence.

But I’m hugely, and I mean HUGELY impressed that they’ve basically imported the UK Dubstep-based sound for these tracks and even tossed in some chopped and screwed Houston style for good measure.  The instrumental versions of these alone are seriously radio-worthy.


The Electric – Life Is Moving

A project involving DJ Vadim, probably the only Russian DJ anyone has ever heard of.  It’s a R&B/Hip-Hop flavor.

The album starts out a little flat for me, and We Rolling, track three, is a skipper, but Sometimes and So Now You Know are both a compelling mix of restrained vocals and driving, snappy beats.  It’s hard to ignore Beautiful, as it’s a track I’ve heard before as a single, but it’s a bit repetitive and chatty.  Kinda wish for an instrumental version of this.

The next set of tracks gets tiring, though a few of them I would prefer as instrumentals.  Let’s call this the R&B section.

Did I mention that many of these tracks would be best as instrumentals?

This could have been a much better album for me, but I’m pleased that there are two or three tracks I feel good about.

Paris Suit Yourself – Sometimes

Hmm.  Let’s not mince words: the base track kinda sucks.  The Micachu mix doesn’t do it any favors, but the M.E.S.H. remix brings a new wardrobe to the equation and I like how it’s dressed.  Victor Tricard tries hard, and does a good job making a miserable track fun.

The Qemists – Take It Back (EP?)

This track, Take It Back (feat. Enter Shikari) was one of my favorites on their 2010 release, Spirit In the System.  I spun that one like mad and included it on the Nerd New Year broadcast.  This is the original track, a remix by The Prototypes, a VIP remix, and Drity Words, a track I’ve heard twice before, strangely with differing guests, but with another go at it with the VIP remix.

The original cut is a classic for me, and The Prototypes made their interpretation beautifully. The VIP mix is a complete rebuilding of the track, and it’s somewhat unrecognizable, but certainly moves its appeal a bit wider because it’s less of a pounding.  Really nice, too.

Dirty Words, well, no thanks.

The Death Set – We Are Going Anywhere Man

I don’t like The Death Set.  Nuff said. Deleted.

Chilly Gonzales – You Can Dance EP

Nine remixes of the track You Can Dance.  The original is, well, not bad. It wasn’t even near one of my favorites on Ivory Tower.

It kinds sounds like he gave the track to a bunch of his quasi-disco mates and had them remix it.  Mostly it sounds like music for bellbottoms and cocaine.  Not into that, thanks. Edwin van Cleef and Max Tundra make a few decent remixes, but they are still working hard against the base track.

Blueprint – So Alive (remixes)

The track So Alive is very good, with compelling vocals that don’t overpower the excellent backing band beats.

The Budo remix is a stripped-down version with a Casio-like beat, guitars, and a progressive introduction of bass and horns.  Very interesting interpretation of the original with its own merits. X144’s interpretation is a bit more bombastic. innerpartysystem remakes the track to the point it’s unrecognizable save for the vocals. The instrumental version might be the best of them all.

Stateless – Matilda

As a fan of Stateless from the Bloodstream EP, prior to their first, self-titled album, I had high expectations for the full release after getting a few singles with remixes.  I’m not disappointed.

There’s a cohesive aural element throughout the album, something very important to a release with the track diversity Matilda has.  Curtain Call, for example, gives you a full three seasons, if you will, by the time it’s halfway finished, and you know you’re in for a bit of a ride.  Ariel, one of the two singles widely played, is a dynamic, questioning, accusatory track that would give any listener familiar with their older work a bit of a breath of relief 25 seconds in.  Yeah, they still have it.

Miles to Go makes you realize that, given the same elements, SO MANY groups would get this wrong. Blending a piano, heavy beats, spare percussion and haunting vocals is not easy.  Great track. Visions carries on this delicate blend with some guest vocals that just work. Assassinations is the second single released beforehand, and it fits right in beautifully.

Red Sea begins a more ponderous stretch in the album as almost a two-minute interlude. I’m On Fire carries the theme onward. Ballad of NGB is, for lack of a better term, a romantic song  Very neat. Song for the Outsider might very well be a reference to DJ Shadow.  Chris James, lead vocalist for Stateless, worked on several tracks for DJ Shadow’s The Outsider, and his mention of Stateless in his blog years ago helped promote the group in many important ways. Junior earns it keep here with rich vocals and a simply lovely beat.

I Shall Not Complain finished the album with another brilliant display of melding Chris’ vocals with percussion, electronic beats and synths, and even an accordion.  Again, it would be so easy to get this wrong, but they don’t.

Great album.

Austra – Beat to the Pulse

Interesting little EP here.  Beat and the Pulse has some neat instrumentation with good beats and synth work, but I’m a bit tired of the chorused, subdued female vocals.  I’m feeling it a bit more with another listen, and I’m going to give this one a chance.

Energy disappoints me with some decidedly lo-fi sounds, as if they’re hiding the vocals.  Bjork would be blowing this the hell out, but Austra are not. Young and Gay is interesting, and a decent track. I look forward to some more material from Austra.

Return to Mono – Frambreaker

One of the few CDs I got this week, this one was out of the blue.  That’s led to some bad results in the past, but not so today.

Song of the Beast was good enough that I wasn’t ready to write it off.  How many of these artists I’ve never heard of, given the same tools, would make a mess of it?  You’d be surprised.

Framebreaker, Doomsday Device, and The Promise make for a great trio of tracks.  Great vocals that make me respect the talent, and a genuinely interesting beat and synths.

XRUST and Nightfall are the other highlights of this solid album, with Black Swan being the only disappointing track on this album for me.  Impressive work, going to have to play these tracks for a while.