My turn to play amateur music critic…

I’ll admit, I’m influenced by the behemoth that is Pitchfork.com.  I cannot deny this.  When I was younger, the gospel that was Rolling Stone and Spin Magazine, helped lead me to music in the 80’s and 90’s that I would have never heard on my own or heard mentioned by mainstream media.  To a young music adventurist, they acted as a treasure map for my curious mind.  Take Pavement, for instance; my choice for heaven’s house band.  There’s no way in hell I would have found these guys while aimlessly perusing the aisles of record stores, without first being tipped off to their greatness by the good folks at Spin.

Pitchfork now satisfies that role for me.  Granted, being in my mid-30’s, I’m most likely at the outer edge of their demographic, but I would have missed a great deal of worthy music over the last couple of years if not for them.  And they dig much deeper into the musical underground than the aforementioned paper-based predecessors.  They’re like a pastry chef from a far-off, mysterious land, making wonderful batches of new, exotic cookie dough and allowing me to take a nibble.  All I have to do is decide whether or not I want to put the cookies in the oven and make sure they don’t burn.  I’m not even sure that makes sense.  You can tell where my mind is this holiday season.

These are the songs I enjoyed listening to the most throughout the year.  There is no attempt to say these are the best songs of the year, just my personal favorites.  Let me rephrase that slightly…these are my personal favorites right now.  In a couple of weeks, this list could look different, but the brush had to come off the canvas at some point.

#20: Au Revoir Simone “All or Nothing”

#19: The Rural Alberta Advantage “Drain the Blood”

#18: Handsome Furs “All We Want, Baby, is Everything”

#17: Major Lazer “Can’t Stop Now”

#16: Black Moth Super Rainbow “Born on the Day the Sun Didn’t Rise”

#15: Late Of The Pier “Random Firl”

#14: The Thermals “I Let It Go”

#13: Cymbals Eat Guitars “And the Hazy Sea”

#12: Jason Lytle “Brand New Sun”

#11: The xx “Islands”

#10: Radiohead “These are My Twisted Words”
Every town in America has a kid in Little League who is miles ahead of the rest of the league talent-wise.  He can pitch, field, throw, run, and hit better than everyone else.  When he comes up to bat, opposing pitchers tighten up, infielders take step into the outfield grass, and the outfielders back up to the fence.  It does not matter who pitches to them or what type of defense the other team plays, this stud will find a gap or hit a home run damn near every time he comes to bat.  Now, imagine that kid decides to sit out most of the game, but takes just one at-bat to keep his reflexes sharp.  Of course, he hits a long drive to left-center that easily clears the fence.  That is Radiohead with this song.  They are better than every other band currently playing today and they can hit a home run every time they come to bat, even if the only thing they release all year is a single.

#9: Atlas Sound “Walkabout”
I’m not sure whether I like this song so much because Bradford Cox, as Atlas Sound, has finally allowed a bit of fun and whimsy to creep into his solo music, or because it prominently features Noah Lennox, a.k.a. Panda Bear, from Animal Collective.  I think I’ll go with the latter.  This almost sounds like a missing track from Panda Bear’s own solo album Person Pitch album from 2007.

#8: Sonic Youth “Antenna”
During my freshman year in college, the Goo album sucked me into the Sonic forcefield, and they’ve had me locked in their tractor beam ever since.  They’ve released a ton of albums since then, some good, some not so good, but this year’s The Eternal is right up there with the best.  It’s not quite Sister or Daydream Nation, but it’s pretty damn good.  This song is a throwback to that era of Sonic Youth.  It would fit on any album from Sister to Dirty.  It’s that solid.

#7: White Rabbits “Percussion Gun”
I’d never listened to the White Rabbits until this year’s album It’s Frightening. “Percussion Gun” is the first song on the album and it’s fucking great.  I love this song.  I love how they convey a sense of nervous anticipation, I love the wonderful harmonies on the chorus, I love that Britt Daniel from Spoon produced this. The rest of the album is well worth the listen, but this is the keeper of the bunch.

#6: Discovery “Orange Shirt”
Similar to Atlas Sound, this is another song by 2 guys who are members of more popular bands, Ra Ra Riot and Vampire Weekend.  If you get excited over 80’s synth-pop sprinkled with hip-hop, dance, and Jamaican undertones, then this album is for you.  “Orange Shirt” is the best example of how fun this whole album is.  You cannot feel bad after spending 40 minutes with Discovery, and like Neon Neon last year, they have tongue firmly in cheek. “Sleep on the train to Tokyo, Google yourself when you get home” may be the lyric of the year.

#5: Phoenix “1901″
There were 3 songs, in particular off the Wolfgang Amadeus Phoenix album, that stuck in my head: “Lisztomania”, “Love Like a Sunset”, and “1901″.  Yet, “1901″ is the song that I kept coming back to from an album that got played more and more on my iPod as the year progressed.  From the first time I heard it, it sounded like a thousand songs that I’d heard before.  And I mean that as a tremendous compliment.  It’s on my list of songs that seemed like they were freshly plucked from the branches of a ripe tree bursting with juicy pop gems.

#4: Animal Collective “My Girls”
In 2009, if you listened to music, you had to love Animal Collective, or so I’m told.  So, here is my requisite AC song.  In all seriousness, this song would make any top list over the past 10 years without a problem.  I’ll skip the superlatives with Animal Collective.  They’ve all been used and I’ll end up being accused of plagiarism.  The problem is, all the superlatives are justified, especially for this song, their most accessible and catchy yet.

#3: Girls “Summertime”
As with Animal Collective and the superlatives, I’ll skip the whole back story of Girls leading up to this debut album and just stick to the songs.  “Lust for Life” and “Hellhole Ratrace” seemed to be the critics’ go-to choices from this amazing album called, appropriately enough, Album. They’re amazing tracks in their own right, but my choice is “Summertime”.  Oh man, from the instant I heard this, I knew that I could put this song on at any moment and disappear.  My thoughts fade to a sun-kissed, golden California beach as friends gather in the sand…drink, smoke, get merry, grab a guitar, put your arm around your girl…it’s totally intoxicating.  Then the distortion and fuzzed-out guitar waves crash over you as you’re enveloped in the sound like a warm blanket and slowly, slowly ride it back home.

#2: Jay-Z “Empire State of Mind”
If you’re a filmmaker and you want to have your movie seen for years to come, it’s best to make a Christmas movie.  Even if the movie is so-so, there is a built-in audience of millions every year who’ll watch any halfway decent holiday movie during that month between Thanksgiving and Christmas.  You have the classics, like It’s A Wonderful Life and A Christmas Story; of course those will be on every year.  But you’ll also see Deck the Halls or Surviving Christmas or Christmas With the Kranks every year.  If the subject matter didn’t involve Christmas, these movies would be long forgotten. Instead, they’ll be on TBS for years to come.  Writing a song about a geographic area or location could be the same way, i.e. “Miami” by Will Smith or “All My Ex’s Live in Texas” by George Strait.  The great ones, like “New York, New York” or “I Love L.A.” stand the test of time and would be heard for years even if they weren’t associated with their respective cities.  Add “Empire State of Mind” to that list.  Jay-Z’s ode to his hometown is letter perfect, the beats are right on, and Alicia Keys just kills on the chorus.  It also helped that the Yankees won the World Series as this song reached the peak of its popularity.  Plan on hearing this for the next 50 years.

#1: Grizzly Bear “Two Weeks”
Supposedly, Brian Wilson took 6 months to record his greatest song, “Good Vibrations” in 1966.  Between the multi-part harmonies, countless session musicians, and his crazy paranoia, he created a 3-minute, 30-second masterpiece that 40+ years later still sounds fresh and innovative.  If Grizzly Bear had recorded “Two Weeks” back in 1966, it would have taken them at least 6 months.  It’s such a simple, yet complex song.  It aims for the heavens and, in the process, rockets with ease into outer space.  The vocal arrangements are second-to-none, the musical pacing is just right, but the secret weapon is the drumming (as is usually the case with great songs).  It grows on me the more I listen to it.  I can only hope that I’ll find as much pleasure in this song 40 years from now.

some tracks mixed together..  Girly dancing & blokey basslines.

1. Crookers ft Soulwax & Mixhell – We Love Animals (Tons of Friends)
2. Hot Chip – One Life Stand (Radio Edit)
3. Róisín Murphy – Orally Fixated
4. Kid Sister – Right Hand Hi (Kicks Like A Mule Remix)
5. Nouveau Yorican – Boriqua (Harvard Bass Remix)
6. The Count & Sinden – Mega (Harvard Bass Remix)
7. Beezy – Day In The Life (L-Vis 1990 Remix)
8. Baobinga & I.D – Tongue Riddim (Roska Remix)  / original mix
9. A1 Bassline – 8oh8
10. Redlight – Be With You (feat Serocee & Dread & Omi)
11. Crookers ft. Kelis – No Security (Zomby Remix)
12. Joker – City Hopper
13. Downlink – Gamma Ray
14. Danny Breaks & DJ Adlib – The Sound
15. Late of the Pier – Blueberry

1hr 3mins duration,

320kbps,

File size 142Mb

click HERE or on the picture above to download from rapidshare.

enjoy!

I wanted to come back to 2008, even while everyone is starting their 2009 lists (don’t worry mine will be out soon enough), because I think it is worth seeing what a year might do to the “Best albums of 2008″. Of course, it helps me share some truly amazing music, once again. Remember, it’s ordered by my favourites.

Even after nearly two years, Vampire Weekend’s debut stands up as strong as ever. The melodies are still catchy, the variety of sounds and instruments never fails to please, the album is, simply put, a wonderful pop gem. Pretty Much Amazing recently showed me a quote from Pitchfork which is good at explaining what gives this album so much universal praise:

People spend a lot of time poking around for the edgy new underground thing, convinced that plain old pop songs have been done to death. But Vampire Weekend come along like Belle & Sebastian and the Strokes each did, sounding refreshingly laidback and uncomplicated, and with simple set-ups that make good songs sound exceedingly easy.

Mansford Roof

Unlike Vampire Weekend, Foals‘ Antidotes grew on me even more over the last year. The weaker tracks have proven themselves to me (yes, especially you Heavy Water). The album is a perfect combination of experimental sound dynamics and bass lines, melodies, riffs and lyrics which will get stuck in your body, as well as your head. I’m not exaggerating, I’m sure I’ve caught myself tapping Two, Steps Twice’s breakdown rhythm or Olympic Airways‘ bass riff far too many times.

Olympic Airways

Late of the Pier’s debut is a mutated beast of genres, contained within the bars of electronic music. There are so many weird sounds that initially I was drawn away from, but now suck me back any time I’m shuffling through my libary and I hit one of the tracks from this album. Fantasy Black Channel’s diverse use of synths brilliantly blended together by the traditional rock setup of bass, guitar and drums, generates some of the most interesting sounds around.

The Enemy Are The Future

I think it’s Noah and the Whale’s second album, full of its slow somber songs, which helped me appreciate this one more. The music is just so perfect, which contrasts Charlie’s wobbly, but captivating, vocals. Peaceful, the World Lays Me Down is a collection of sharp lyrics and beautiful instrumentation that forms a magical, emotional and, above all, fun album.

Jocasta

Devonte Hynes (aka Lightspeed Champion) writes amazing lyrics about his emotions, sexuality and racism. Hynes writes gorgeous melodies combined with perfect harmonies that will have you in ecstasy. Most importantly, Hynes can arrange like no other and therefore, putting these attributes together forms a debut, which is far too underheard.

Everyone I Know Is Listening To Crunk

Back to the 1960s, as Alex Turner proves he isn’t a one trick pony with his side project The Last Shadow Puppets. A dark, twisted album, The Age of Understatement, boasts an amazing orchestral backing. The lyrics are great (not quite as good as Arctic Monkeys’ ingenious wit) and the acoustic tracks still manage to hold my attention, in fact standing out as some of the best moments of the album.

Calm Like You

Los Campesinos‘ debut is an album made up of ferocious indie pop, with raw punk attributes; an interesting contrast to say the least. There are the aggressive riffs pulled off by the guitarist, fighting high octave keyboards and violins. The let’s-talk-really-really-fast-for-vocals from Gareth weaves in and out of sickly sweet girl vocals. The lyrics are well worth noting; fantastic monologues using the previously mentioned rapid fire anecdotes.

Broken Heartbeats Sound Like Breakbeats

Tokyo Police Club’s Elephant Shell is made up of fast tempos, hard synths and intimidating bass lines. It’s a slow start, but still a solid one. It’s not until Tessalte that you really start to understand these guys, and what makes their debut so awesome. Unexpectantly, they slow it down to something they’ve never done before, and even then they achieve something great. The Harrowing Adventures Of… is an ode to childhood with a glockenspiel, supported by a bass drum, hand claps and violins. The rest of the album keeps up the 5 star ratings, with the blistering fast Your English Is Good, another slow plodder Listen to The Math and the finale, The Baskervilles, returns full circle with more distorted bass riffs. The album cover is my best way of describing this album; a never-ending, aggressive, solid album which will keep spinning for a long time in your record collection.

Listen To The Math

This album is pure, organic and beautiful. It’s difficult to describe how. Fleet Foxes is just a collection extremely stunning music. Fleet Foxes have created something which is perfect; all the arrangements are so perfect. Sit back, relax and let your mind be blown softly.

White Winter Hymnal

Born Ruffians is bouncy indie rock you can’t help but smile to. It’s loud, boisterous in a charmingly childish way. The cover depicts a toy cowboy, a symbol of the boyish youth that the record pushes into the listeners ear. Apart from Red, Yellow & Blue (which soothingly sings vocal harmonies to the quiet march of drums), the album never let’s up it’s continues energy of jaunty rhythms and joyful vocals.

I Need A Life

]]> http://djpj1.wordpress.com/2009/12/05/twentyseven/ Sat, 05 Dec 2009 08:00:13 +0000 DJ PJ http://djpj1.wordpress.com/2009/12/05/twentyseven/

Whatever that says right?  Fantasy Black Channel by Late of The Pier was one of my first album pickups of 2009…  I don’t know what it is about #27 Space and Woods… But I like it.

Late of The Pier – Fantasy Black Channel ~ Space and Woods (Cenzo Townsend Mix)

UPDATED: The stunning video for the song has been released to YouTube.

I thought there were a pair of comparable albums to come out of the post-Klaxons beats+thrashy guitars+searing synths movement. The first, released in 2007, was These New Puritans’ Beat Pyramid; the second, Late Of The Pier’s Fantasy Black Channel, exhumed from some twisted nightmarish grave in 2008. For me, Beat Pyramid was the superior beast, displaying a lot less cheese, an attempt to tackle disparate conspiracist topics like numerology and doppelgängers, and generally coming across like the work of artists with a little more focus and sensibility. Fantasy Black Channel was more messy and sprawling and clumsy, while Beat Pyramid tried out some interesting conceptual manœuvres (refrains, lyrical and music themes that re-surfaced elsewhere on the album, intra-album remixing) that they pulled off with some aplomb.

And so I’m rather glad that These New Puritans are back, this time wielding a seven-minute-plus single called “We Want War”, which precedes the 2010 release of Hidden, their sophomore album. “We Want War” is undoubtedly a more ambitious and high-budget affair, boasting woodwind arrangements, choirs, and the actual sounds of warfare. It’s also lost some of the DIY charm of the band’s previous work – where before they had beats that sound like they’d been punched in the chest and run over by an articulated lorry, this new material rides in on suspiciously crisp taiko drumming. Though the tone is supposed to be foreboding and doom-laden, it’s actually much less harrowing and brutal than songs like “Infinity ytinifni”.

For all that, it’s still a storming track, boasting several sudden shifts in tone and pace, and a combination of samples and loops and kitchen sinks that thrills and astonishes me. They’re clearly a band of wild ambition and excess, but key to “We Want War”’s appeal is that it reins in any really extraneous excess, and we end up with a long, long song, that doesn’t outstay its welcome. The comparison I imagine will be made will be with Massive Attack – this song shares that Bristol group’s unnerving sense of dread and apocalypse. “We Want War” also rides along the same kind of lazily terrifying beat as Massive Attack’s “Inertia Creeps”. Expect Hidden to be a less unkempt album, but certainly no less indicative of the band’s manifold talents and experiments.

These New Puritans – We Want War

Musically as untamed as wild fruits splurging out of fallen leaves in Sherwood Forest, Late Of The Pier have wormed their way back into the subconscious apple of the electro-pop eye. Blueberry blooms as perhaps the first fruit-inspired hyperballad since the spinning top that is this Earth found its axis. Lyrically simplistic when set against the crazed, contorted crashing synths of debut LP Fantasy Black Channel, Blueberry boasts a verse reminiscent of nostalgic mid-nineties Capital FM drive time before erupting into flowing, magmatic vocal cascades as haunting as deserted Donnington mansions. Blending the lines between the Lighthouse Family and disconcerting guitar squeals never seemed as seamless.

Blueberry is set to be released over the digital space waves on 17th December…

R: Iniciamos todo un conjunto de agendas que, durante todo el mes de diciembre, irán abordando las múltiples y más que jugosas actuaciones que nos traerá la sala Razzmatazz durante su noveno aniversario (celebrado, para regozijo de todos, durante todo el mes de diciembre). No podrían haber escogido mejor banda para abrir la fiesta que comenzará esta noche en Razz Club: Naive New Beaters llegan, directos desde Francia, dispuestos a demostrar que no es tan cierta esa equivalencia entre coolism y frenchy que Phoenix han intentado hacer creer al mundo entero. Bullshit. A los Beaters se la suda la imágen e incluso cultivan unas divertidas pintas de paletos de provincias recién deslumbrados por la moda retro-80s. Nada que ver con su música, que es una mezcla de mil estilos diferentes con un denominador común: el baile. Y es que tienen canciones groovies como Live good (de la que no deberíais perderos el video que os ponemos a continuación, ya que es una delicia… ¡con imitación a Son Goku incluída!) o temazos quemapistas como la tremenda Get love. Esta noche, en horario de club, presentarán estas canciones y el resto de temazos que conforman su debut, Wallace. Por si alguien quiere seguir la fiesta (que va a ser que sí: una vez entras en el Razz, con tantas salas a tu disposición, ¿para qué irte a casa?), la noche se presenta cargadita: Modeselektor en el Loft, Late of the Pier DJ Set en el Lo*Li*Ta… y más dj sets que forman parte de una noche con nombre mítio: Bugged Out . Lo dicho: entrar y no parar.

British synth peddlers Late Of The Pier are set to release a new track next month. Entitled “Blueberry”, it will be released initially as a download on December 12th, with a 12 – inch vinyl version to follow in February. The later release will also come with “Best In The Class”, an additional track.

It will be their first release since their much applauded debut album Fantasty Black Channel in 2008.

(Image courtesy of Nervous Shark)

As requested! Earlier than expected too
I think I might keep Zane’s show going on here too. Why not.

23rd November 2009

Tracklisting:

Wiley and Chew Fu — Take That
Mumford and Sons — Winter Winds
Animal Collective — Brother Sport
Lostprophets — Where We Belong
Vampire Weekend — Cousins
Wiley & Chew Fu — Take That (Doorly Dubstep Remix)
Them Crooked Vultures — Scumbag Blues
Dave Grohl / John Paul Jones On The Phone
Delphic — Doubt
Sam From Late Of The Pier On The Phone
Late of the Pier — Blueberry
Mumford and Sons — Winter Winds
Chapel Club — Surfacing
Rollz — Plugged In
Dev On The Phone Talking About Masterpieces
Metallica — Holier Than Thou
Goldhawks — Running Away
Is Tropical — When O’ When
Green Day — 21st Century Breakdown
Mics Down 20’10”
Skream — Rave Again
Kid Sister — Right Hand Hi (Caspa Remix)
Surfer Blood — Floating Vibes
Memory Tapes — Bicycle Club
And So I Watch You From Afar — S Is For Salamander
Grizzly Bear — Two Weeks
Plan B On The Phone
Plan B — Stay Too Long
AOTW: Nirvana – Live From Reading 1992
Nirvana — In Bloom
Arctic Monkeys — Sketchead
The Maccabees — Empty Vessels (feat. Roots Manuva)
Lightspeed Champion — Marlene
Laura Marling — Goodbye England (Covered In Snow)

My knowledge of this particular remixer consisted of his amazing remix of Franz Ferdinand’s Do You Want To and that he did that thing with Boys Noize (which was also pretty damn amazing). After researching (scourged for all his remixes and wikipedia’d the man), I discovered a couple of interesting things about this guy; he makes some crazy good, headbanging electronic remixes of indie artists (Bloc Party, Klaxons, Interpol and more) and produced the Late of the Pier record. For the second feat alone, I applaud him, it is quite a marvelous record. But that’s not why we are here, his remix of Death From Above is fantastic. Their aren’t words which can give this remix justice, but it’s basically just chopped up heavy, funky bass lines with some great build-ups.

Romantic Rights (Erol Akan’s Love From Below Re-Edit) – Death From Above 1979

Bonus: Waves – Erol Alkan & Boys Noize

official, myspace, beatport, podcast

“Space and The Woods” by Late of the Pier

My buddy, my pal, Josh (aka ShomerfuckingShabbos), brought both Late of the Pier and Klaxons into my life by suggesting them to Sassy O’Malley, my brother, as seen over there to the left with his Twitter feed (he will be a contributor soon enough). I can’t thank him enough for this.

These two bands showed me there is much to be appreciated in dirty, spastic, synth-y rock. They’ve both been referred to as “nu rave” or “nu wave,” but anybody who feels the need to call them that can screw off, largely due to the association with whoever coined “nu metal” for what became the end of popular radio as an even remotely respectable medium. It’s gotten to the point where new bands that I love cannot be defined easily. Rather than saying, “Oh, they’re part of that whole new-new wave thing,” most respectable music aficionados that I know simply try to ballpark it with a couple of somewhat related bands and an adjective or two.

Klaxons, for example, was introduced to me by my brother simply saying, “Trust me. You’re going to like this. It’s totally your thing.” He was completely right, but more importantly, I know why he didn’t throw any band names my way to prepare me. It’s because they have a truly unique sound. There were no obvious musical reference points, and it didn’t fit neatly into a specific genre.

“As Above, So Below” by Klaxons

Do we need to make up a new genre for this music? I think the last useful new genre name I heard was “post-rock,” and that’s partly because it is so broad. These bands like Godspeed You! Black Emperor and Sigur Rós were using rock and orchestral instruments to make music that clearly did not have the same intention as any traditional rock song. Even as such, post-rock as a genre term is useful but not necessary, and it’s broadness saves it from insulting the huge variety of bands that are included in it.

I think trying to make up a genre for a modern-day band heavily influenced by new wave by calling them “nu wave” is incredibly simple, especially considering the branding of “new wave” bands in the 80s is similar to post-rock in that it describes what it isn’t rather than what it is. There just isn’t a good reason that I can see for making up new genre names, especially those that simply mix or reference the names of other long-established genres.

Now is the time to quit with the genre excess and simply do what comes naturally: use adjectives and give points of musical reference. More importantly, for all of these modern bands soaking in seventy years of modern musical influence, neither of these descriptors attempts to define the band or song or composer. It’s more to spark interest and excitement in the listener for the new, undefinable experience they’re about to go through.

Better yet, do what my brother did: say “trust me” and hit play.

THE REMIXES – PART 6 - THE SHOES

So busy are this French double act that we weren’t sure if it was actually possible to complete a comprehensive catalogue of their remixes! There’s millions out there! OK, so perhaps not quite that many, but this is the biggest Remix Special that we’ve ever done, following our previous editions covering The Golden Filter, The Twelves, Bloc Party, DiscoTech and Soulwax.

We think The Shoes are head and shoulders above most when it comes to blending up other people’s tunes. They add a distinctive, but always brilliant, pounding four beat. The kind of beat that dance music was born for. The kind of beat that moves your legs for you. They add their perfect pace, together with a few chopped up synths, but like all the best remixers they respectfully maintain a lot of the orignal track and vocals.

JUST A BAND – WE ARE (THE SHOES REMIX) ysi
MARINA & THE DIAMONDS – I AM NOT A ROBOT (THE SHOES REMIX) ysi
ESSER – WORK IT OUT (THE SHOES REMIX) ysi
33Hz – I FEEL ALIVE (THE SHOES REMIX) ysi
THE GOLDEN SILVERS – ARROWS OF EROS (THE SHOES REMIX) ysi
TELEPATHE – CHROMES ON IT (THE SHOES REMIX) ysi
PRIMARY 1 – HOLD ME DOWN (THE SHOES REMIX) ysi
CANDY CLASH – JUST HER KISS (THE SHOES REMIX) ysi
THE VIRGINS – TEEN LOVERS (THE SHOES REMIX) ysi
THE CHEEK – SLOW KIDS (THE SHOES REMIX) ysi
LATE OF THE PIER – FOCKER (THE SHOES REMIX) ysi
LADYHAWKE – DUSK TILL DAWN (THE SHOES REMIX) ysi
MYSTERY JETS – YOUNG LOVE (THE SHOES REMIX) ysi
GET CAPE WEAR CAPE FLY – WAITING FOR THE MONSTER TO DROWN (THE SHOES REMIX) ysi

OK, as always please dutifully comment about those remixes we missed. We know there’s a couple of remixes floating out there they’ve done for Wiley, Hadouken and something they did with Those Kids, but we have to sleep sometimes.
(MB)

Artist Late Of The Pier
Title Space and the Woods / Focker
Label/year Parlophone/Zarcorp
Format 7″
Color Black

Heavyweight vinyl. Contains chart eligibility disqualifier.

Probably like an LSD trip.

I got a hold of Cassius’ tune Youth, Speed, Trouble, Cigarettes a while ago, and I couldn’t work out what was missing. Thank the lord Don Diablo just sent me his funked up remix, the bassline was nowhere near given enough attention previously. Don’t get me wrong, Cassius are up there with the best of the French house crew, but this just seemed to me like middle of the road stuff, this remix just makes me want to dance so badly, no matter how stupid I look – and that takes some doing.

That’s the thing about remixes, if they don’t add something to the original or improve it in any way, it’s pointless. I’ve been inspired now to post my favourite remixes based on that criteria, so hold on to your hats…

Youth, Speed, Trouble, Cigarettes (Don Diablo Remix) – Cassius

Innocence (Simian Mobile Disco Remix) – Bjork

See The Light (Calvin Harris Remix) – The Hours  <— a re-post, but so deserving, plus it’s a good time to brag about having tickets for Calvin next month!!!

Heartbeat (Hot Chip Remix) – Late Of The Pier

To Lose My Life (Filthy Dukes Remix) – White Lies

Et quoi de mieux pour fêter le retour, que la onzième édition d’Ow…ZIKS ! ? Hein ? Rien de mieux putain.

Au programme cette semaine :

- Sweet Disposition par le groupe indie/alternative The Temper Trap. Une zik de toute bêâûtay’ que l’on peut entendre dans un film prochainement dans les salles obscures : (500) Days Of Summer. ( et prochainement en review ici aussi accessoirement ). A noter que le reste de l’album est étonnamment très bon aussi.

- Focker, par Late Of The Pier. Late of the What ? Late of the Pier. Ca se passe ICI, et c’est bon. Surtout ce morceau qui pulse bien comme il faut en fait.

- Golden Skans des très british Klaxons. Je sais pas si c’est vraiment la peine de présenter ce groupe et encore moins ce titre qui est passé pas mal de fois y’a quelques années. Bref, c’est frais et ça sent l’été, donc voilà.

Salut les copains!

Et non nous ne sommes pas décédés (même si ça a l’air d’être la mode en ce moment, salutations à René des Musclés, Mickael Jackson, Sim, Patrick Schwayze, Philip des 2be3 etc.), et comme je suis au chômage, j’ai décidé de faire vivre ce blog. J’avoue, je m’ennuie comme un rat crevé.

On commence en musique. En fait y a quelques temps, j’avais téléch…emprunté un CD d’un groupe nommé Late of the Pier, que j’ai jamais écouté plus que ça. Bon ça fait un an, j’avoue, et avant-hier, je suis retombée dessus par hasard. L’histoire de ma vie palpitante n’étant pas le but de cet article, je vous passe les détails pour me concentrer sur ce groupe dont on sait que bien peu de choses sauf qu’ils font du bon son:

Late of the Pier (plus classe: LotP pour les fans), c’est qui?

Late of the Pier en fait, c’est trois types : Samuel Eastgate, Andrew Faley et Ross Dawson, originaires de Castle Donington (UK au centre de l’Angleterre) qui décident de faire un groupe en 2001. Ils sont rejoint par Sam Potter (entre 2005 et 2007).

Ils se sont choisi des chouettes petits noms de scène: “Samuel Dust” (chant/gratte/gribouillage), “Francis Dance” (pinceur de cordes/synthé), “Red Dog Consuela” (batterie ou ce qui y ressemble), “Jack Paradise” (machins électroniques).

Ils sortent leur premier single, “Space and the Woods”, en mars 2007 chez WayOutWest Records puis “Bathroom Gurgle” en septembre 2007 chez Moshi Moshi.Ils décident alors de monter leur propre label “Zarcorp”, sous lequel ils sortent leur single “The bears are coming” en février 2008, pour finalement sortir leur album “Late of the Pier” chez Parlophone, le 11 août 2008.

Depuis, pas trop de news du groupe. Ah si, il on gagné le Neptune Music Prize! (http://drownedinsound.com/news/4137795-the-neptune-music-prize-winner-is), youpi. Et tous les fans attendent un nouvel album depuis le temps.

Et comme moi je suis fan, je vous fais gracieusement cadeau des chansons phares de cet album de fou. Car il faut le dire, ça va renouveler un peu votre playlist qui commence à pourrir:

http://www.lateofthepier.com/ =>l’album complet en écoute. sans les mains.

http://www.myspace.com/lateofthepier

http://www.lastfm.fr/music/Late+of+the+Pier

Ouais je sais. De rien.

- Knights of Cydonia by Muse

- VW by Late of the Pier

- Trahison by Vitalic

- In the Morning of the Magicians by Flaming Lips

Please feel free to Add your own…

* This is a good thing

Seid gegrüßt!

Das wunderbare Scott Matthew + Karo Konzert gestern hat doch mal wieder gezeigt hat, dass das Nürnberger Publikum auch mal an einem Montag richtig begeistert aus sich rausgehen kann – Danke dafür! Montage sind nämlich schon so der Angst-Wochentag für uns Konzerteveranstalter.

Weiter geht’s bei uns mit einem feinen Partyevent am Samstag, 26.09. im K4 Festsaal: LAZRDUST heißt es, und als ganz besondere DJ Gäste haben wir mit dem E-Werk zusammen LATE OF THE PIER mit einem DJ Set eingeladen, und MOTO MOTOR (Heilige Liga, Max Masher). Als ‘resident’ DJs gibt’s noch dazu Sets von ELECTRIC PONY NOISES und EVE MASSACRE. Bis Samstag gibt’s dafür übrigens auch noch Karten im Vorverkauf.

Außerdem läuft gerade der Vorverkauf für PATRICK WOLF in die heiße Phase, den wir euch ja am 3.10. in den Z-Bau holen – bloß nicht verpassen! Ein großartiger Multiinstrumentalist, zerbrechlicher Folk-Songwriter mit warmer Baritonstimme, ungestümer Indierocker, gleichzeitig ein überaus sympathischer Live-Entertainer und exzentrische Glam-Diva. Mitspielen wird an diesem Abend das schwedische Indietronica Duo THE DEER TRACKS mit graziösen Klängen zwischen Múm und Notwist.

Am 15.10. feiert SELLFISH seinen 8. Geburtstag im Zentralcafe und dazu haben sie sich nicht nur die Schrammelemopunks CAPTAIN PLANET eingeladen haben, sondern auch noch PROCEED ON…, deren intensive Indietronik durchaus auch mal einen kleinen Schlenker in Screamo-Gefilde wagt.

Am 20.10. sind wir nun auf einer Supportsuche für THE INVISIBLE, denn THE PAPER CHASE, die eigentlich ebenfalls an diesem Termin bei uns gespielt hätten, können nun leider da doch nicht. Dafür haben wir aber gleich einen Ersatztermn gefunden: THE PAPER CHASE werden am 25.10. mit JAMES BLACKSHAW und DANIEL HIGGS im K4 zu Gast sein.

Für den 1.12. haben wir eine ganz neue Show im Programm: BRIGHTBLACK MORNING LIGHT, Neo-Hippies im positivsten Sinne, mit ziemlich großartigem Psychedelic-Folk. Sie brachten schon als sie noch Rainywood hießen, eine Splitplatte mit Bonnie Prince Billy heraus, und spielten sich inzwischen mit ihrem neuen Namen und Rhodes-Orgel und herrlich verhallten R&B-Flöten ins Herz der Weird Folk Fans.Mit ihnen wird RIO EN MEDIO ins Zentralcafe kommen, die atmosphärische ruhige Freakfolk Musik, mit Bariton-Ukulele und Elektronik und wunderschönen Vocals spielt. Auf ihrem ersten Album kollaborierte sie mit Coco Rosie und Vetiver, und erschienen ist es auf Devendra Banharts Label.

Aber zurück zu dem rauschenden Fest, zu dem wir euch am kommenden Samstag einladen wollen:

LAZRDUST Party mit
LATE OF THE PIER (DJ-Set)
+
Local DJs:
Eve Massacre (ORCHID, KILL THE POOR)
Antares & Mario Johannes (ELECTRIC PONY NOISES)
Moto Motor (MAX MASHER/ HEILIGE LIGA)

Samstag, 26.August
Festsaal K4
22 Uhr
Vorverkauf 7 Euro zzgl. VVK-Gebühr / Abendkasse 9 Euro

LAZRDUST ist Überzeichnung und Ekstase aber auch dieses eine besondere Gefühl, dass einen alles andere vergessen lässt. Wenn ihr in Mitten eurer besten Freunde zu eurer Musik tanzt, bei dem einen Moment indem alles stimmt. LAZRDUST sind die ELECTRIC PONY NOISES Gebrüder ANTARES und MARIO JOHANNES, die sich mit Queen EVE MASSACRE von ORCHID und KILL THE POOR zusammengeschlossen haben um euch eine verwunschene Clubnacht zu bescheren in der alles Möglich erscheint, wenn ihre Musik zwischen Indiedance, BlogHouse und technoiden Bangersounds aus den Boxen schallt. Das besondere an LAZRDUST ist, dass dafür nicht nur einmal, sondern auch für die Zukunft internationale Acts nach Nürnberg bringen will, die uns und euch begeistern, und dafür tun sich Musikverein und E-Werk mal zusammen.

Den Auftakt machen hierbei die wunderbaren LATE OF THE PIER die sich direkt aus den Wäldern Nottinghams auf den Weg zu uns ins K4 machen um zu beweisen, dass Erol Alkan und Kitsuné mit ihren Lobeshymnen Recht behalten werden, wenn sie uns zeigen welche Glam, Trash und Electro Perlen sich Hinter ihrem “Fantasy Black Channel” DJ- Set verbergen. Und damit in dieser magischen Nacht auch wirklich alles Stimmt haben wir euch noch MOTO MOTOR aka MEHMET 2090 von den MAX MASHER Jungs eingeladen, dessen harter Electrostyle euch bestimmt aus den HEILIGE LIGA-Nächten bekannt sein dürfte.

Links: Lazrdust
Late Of The Pier
Eve Massacre
Electric Pony Noises
Heilige Liga

* _ *

Die kleine Vorschau:

03.10. Z-Bau (Großer Saal)
PATRICK WOLF
+ THE DEER TRACKS
präsentiert vom Zündfunk / BR2

09.10. Zurück zum Beton!
mit den DJs Jool + Quirin

10.10. DAAD
+ Aftershowparty
Kooperation mit Parvenue und Perspektive – Menschenrechtsfilmtage

15.10. Sellfish wird 8!
Captain Planet
Proceed On…

16.10. Kill The Poor – Nr. 6 von 11
mit den DJs Quirin + Eve Massacre

20.10. The Invisible
+ support (wir suchen noch)

25.10. The Paper Chase
+ James Blackshaw
+ Daniel Higgs

30.10. Guy Bored
+ May He Hetal

04.11. Themselves
+ Schimmy Yaw

08.11. Carla Bozulich’s
EVANGELISTA

15.11. “Emo – Porträt einer Szene” (Ventil Verlag)
Lesung mit Martin Büsser

23.11. AIDS Wolf
Kitty Empire

26.11. Buried Inside
+ Tombs

01.12. Brightblack Morning Light
+ Rio En Medio

10.12. Kreidler

12.12. Hawnay Troof

19.12. im K4: Bucovina Club

19.12. in der DESI: Die Goldenen Zitronen

30.12. Rantanplan

* _ *

www.musikverein-concerts.de
www.myspace.com/musikverein

*

wir seh’n uns,
evi
für die mv-crew

*     °°°     *

Erol Alkan – 6 Mix

19-09-2009

Tracklist:

1. Drums Of Death – Got Yer Thing
2. Gossip – Heavy Cross (Siriusmo Remix)
3. Mike Snow – Black And Blue (Tiga Remix)
4. Acid Girls – Lightworks (Havard Bass Remix)
5. Kindness – Swinging Party
6. Saint Etienne – Only Love Can Break Your Heart ‘09
7. Spacearc – Love Machine
8. The Phenomenal Handclap Band – You’ll Disappear
9. Metronomy – Not Made For Love (Astronomer Remix)
10. Fool’s Gold – Surprise Hotel (Micachu Remix)
11. Joy Orbison – Hyph Mngo
12. Dorian Concept – Trilingual Dance Experience
13. Joy Division – No Love Lost (Demo)
14. Patrick Cowley – Memory Fails Me
15. Pisces – Mary
16. Memory Tapes – Bicycle
17. Duchess Says – Black Flag (Emperor Machine)
18. Floating Points – Vacuum
19. Gucci Vump – Sha! Shtil! (L-Vis 1990 Remix)
20. Boys Noize & Erol Alkan – Waves (Gonzales Piano Cover)

The very last song of the 6 Mix:

Late of the Pier – Best in the Class (Coming hopefully soon!)

]]> http://noofficialmusic.wordpress.com/2009/09/13/banda-recomendada-late-of-the-pier/ Sun, 13 Sep 2009 23:47:34 +0000 No Official http://noofficialmusic.wordpress.com/2009/09/13/banda-recomendada-late-of-the-pier/

Late Of The Pier es una banda de Indie Dance Punk. La banda se caracteriza por hacer un collage de todas las ideas, géneros y efectos que pudieran salir en el estudio. La banda ha recibido buenas críticas por las mezclas de diversos géneros y el espíritu innovador que tiene sus canciones. La banda la conforma Sam Eastgate, Andrew Faley, Sam Potter y Ross Dawson. Ellos se pasaron mucho tiempo pensando en el sonido que querían transmitir, puesto que estaban aburridos de escuchar a bandas que se quedaban con tan solo un estilo musical y no se diferenciaban en nada de los demás.

Una razón por la cual ellos tocan su propio estilo a un tempo no convencional y acordes extraños se debió principalmente a que hasta ese momento los miembros de la banda no sabían tocar bien sus instrumentos y usaron esa desventaja a su favor para crear algo nuevo. Ellos firmaron con una discográfica porque les dio total autonomía en el proceso de grabación, es decir, no recibieron presión alguna por convertirse en una banda comercial. El álbum “Fantasy Black Channel” tiene un sonido bastante influenciado por los 80s aunque ninguno de los miembros haya nacido antes de 1986. En general sus letras no tratan temas muy profundos. Es importante que al escuchar atención se fijen en todos los cambios que una canción puede tener. A continuación, los videos de sus sencillos. Espero los disfruten.

Espero que hayan disfrutado de la música. Saludos a todos los que nos visitan. Esperamos escuchar de ustedes pronto.

Que tengan un BUEN DIA!!!!!

No Official

another great dj who’s coming to stradbally next week (next week!) is duke dumont. he’s been making big noise for a few years now, with two epic releases on great labels (the regality ep on turbo and the dominion dubs ep on dubsided), as well as melting the collective consciousness of the blogosphere with simply mind-blowing remixes. lily allen, bat for lashes, late of the pier and mystery jets have all been transformed at his hands, and his work has made that of many a dj that much easier (the latter even made if onto james lavelle’s recent global underground mix, a seal of approval it hardly needed yet thoroughly deserves). he’s no one trick pony either. as a dj he’s pretty darned impressive too. case in point is this live mix from fabric, which surfaced on bodytonic last year.

BodytonicLive 05 : Duke Dumont