Tag Archive: Yeah Yeah Yeahs


Welcome to the first proper post of 2017. Some people reading the blog last year may have noticed that I tried to review more music by women, in fact I was trying to strike a 50-50 balance between the music I reviewed that was by men and music that I reviewed that was by women. I managed to get that balance. This year and beyond I want to try and achieve that balance in my own music collection. I know that I may never reach a 50-50 split as there are just less women making music but I feel like I manage to balance these things in the rest of my life (films, T.V. podcasts etc.) While the music industry seems uninterested in pushing women to the forefront of music (other than pop music). I personally love and respect women both in general and in terms of artistic expression especially in music but feel that my music collection doesn’t necessarily reflect it enough. So I want to tackle this lack of balance in my own collection and hope we can all spread this positive message far and wide.

I’ve come across lots of talented artists/bands/producers but I’ve decided to ask for some recommendations as female bands/artists/producers struggle to gain the same amount of attention as their male peers. To help with the recommendations process I have created a list of music that I own by/or featuring women. I hope that this list gives you an idea of my taste and avoids people recommending artists or releases that I already own. I’ve also included a list of priority purchases so you know what I’ve got in mind to buy in the future. I’d buy them all but my benefit won’t allow for that and I will still buy some music by men as this is about striking a balance rather than cutting something out completely. .

I’ve set up a new Twitter account, @HerSonicFiction, where I’ll share what female artists I’m listening to now. Feel free to Tweet your recommendations at me or put them in the comments below. If we can all use #HerSonicFiction then we can introduce each other to some great female artists and encourage even more people to listen to and buy music by women.

Albums I already own

Kate Bush – “Hounds of Love”

Elza Soares – “Woman at the End of the World”

Thao & the Get Down Stay Down – “Man Alive”

Lindstrom & Christabelle – “Real Life is no Cool”

Solange – “A Seat at the Table” & “True”

Aretha Franklin – “The Very Best Of”, “Amazing Grace” & “Lady Soul”

The Staple Singers – “Be Altitude: Respect Yourself”

The Slits – “Cut”

Erase Errata – “At Crystal Palace”

M.I.A – “Arular” & “Kala”

Julia Holter – “Ekstasis”, “Tragedy” & “Loud City Song”

Deerhoof – “Offend Maggie” & “Breakup Song”

Stereolab – “Emperor Tomato Ketchup” & “Mars Audiac Quartet”

Colleen – “Captain of None”

Bjork – “Post” & “Medulla”

Erykah Badu – “New Amerykah Part One: 4th World War”

Neneh Cherry & The Thing – “The Cherry Thing”

Junglepussy – “Pregnant with Succcess”

Suzanne Ciani – “Lixiviation 1969-1985”

Kelis – “Tasty” & “Kaleidoscope”

Ikara Colt – “Chat and Business”

Janelle Monae – “The Archandroid” & “The Electric Lady”

New Order – “Technique”

Pixies – “Come On Pilgrim”, “Surfer Rosa” & “Doolittle”

Thee Satisfaction – “Awe Naturale”, Transitions”, “THEESatisfaction Loves Erykah Badu”, “Snow Motion” & “EarthEE”

Sleigh Bells – “Treats”

Patti Smith – “Horses”

Solex “Solex vs Hitmeister”

The Raincoats – “The Raincoats”, “Odyshape” & “The Kitchen Tapes”

Talking Heads – “Talking Heads ’77”, “More Songs About Buildings & Food”, “Fear of Music” & “Remain in Light”

Tom Tom Club – “Tom Tom Club”

Tamikrest – “Chatma”

Tune-Yards – “Nikki Nack” & “Who Kill”

Yeah Yeah Yeah’s – “Fever to Tell”, “Show Your Bones”, “Its Blitz” & “Mosquito”

Jamila Woods – “Heavn”

NoName – “Telefone”

female-pressure – Various Artists – “Music- Awareness & Solidarity w- Rojava Revolution”

Priority purchases:

more Kate Bush – suggestions very welcome

Lauryn Hill – “The Miseducation of Lauryn Hill”

Missy Elliott – “Miss E…So Addictive” & “Under Construction”

FKA Twigs – “LP1”

Kaitlyn Aurelia Smith – “EARS”

Dawn Richard – “Redemption”

Advertisements

index

A Man Alive’ is the fourth album from Thao Nguyen with her project The Get Down Stay Down (she also records as half of Thao & Mirah) and is one of the most personal to date. A large amount the lyrics deal with absence specifcally her father’s absence. These lyrics are a stark contrast to the albums thrashy party music. There is a bittersweet sense throughout the album that binds it together and rewards the listener with repeated listens as their understanding deepens and the layers are peeled away.

Merrill Garbus (aka Tune-yards) is on board as producer and contributes a lot instrumentally and back with backing vocals throughout the album. There is a lot of similarities between Thao’s vocal delivery and sonic and stylistic choices when compared to Tune-yards back catalogue. The use of lo-fi and distorted fuzzy production and funky, tribal rhythms that have a hint of Afro be about them I just two similarities. However, these similarities don’t spoil a brilliant album and is like a more direct version of Tune-yards “Nikki Nack” that sometimes suffered from overstuffing every song with elements and thus could be a very overwhelming experience. Another useful reference point is that of Deerhoof who combine serrated indie/post-punk guitars with Afro beat rhythms and poppy vocal melodies and have a similarly lo-fi aesthetic.

The album opens with ‘Astonished Man’ with a down tempo beat and vocals opening the track, then heavy buzzing synth bass joins in and push the track forward. In the chorus there’s a cool hook played by what sounds like a badly tuned guitar. Everything is very raw and lo-fi in a good way and reminds me of Deerhoof. Though Thao can create a more complex melody. Continuing in a similar vein is ‘Departure’ with its opening minimal sound set just a drum machine some percussion and vocals but then we get stabs of guitar and a deep thick synth bass joining in. At points in the chorus vocals to become a little grating and recall that of Garbus’ wI personally I don’t have a problem with Garbus’ vocals but I understand how they can annoy some people. ‘Departure’ is also the track where the lyrical theme begins With the shouted line “Half of all my blood in vain,” standing out. ‘Guts’ with its down tempo sparse beats and organ the only things accompanying the vocals, continues the lyrical theme with Thao stridently declaring “I’ve got the guts/ I don’t need my blood.”.

Next up is ‘Fool forever’ which opens with a tightly wound guitar playing across fast skittering drums while the vocal moves steadily over the top. This then breaks down temporarily before the riff returns to be joined by another riff played on very distorted organ, the jittery feel of the track is amplified by these elements combining. The Ballard-like ‘Millionaire’ Recalls ‘Maps’ by the Yeah Yeah Yeahs with Thao playing the part of Karen O. That this time the word is not directed at a lover but her father, “Oh daddy, I broke in a million pieces/ That makes you a millionaire.” The song opens with a sparse guitar melody and held organ delayed chords backing an almost bare Thao. A bass drum keeps time far in the background. Around 20 seconds in with the guitar and organ making a musical change to play soaraway chords for Thao to sing a long reverberant melody over. This structure is repeated throughout.

‘Meticulous bird’ puts us back on the upbeat tip with driving drums kick in the track off. Screeching synths play, counter point to the vocals weaving in in and out of the verse and chorus. The track is little difficult to listen to at first but once you get used to it actually works very well. It also another example of contrasts of sweet and serrated views on this album.The album closes as it began with a down tempo track and also brings back the main lyrical theme on The album closes as it began with a down tempo track and also brings back the main lyrical theme on ‘Endless Love’ where Thao sings a simple melody (sample lyrics include “I’ve got an endless love/ no one can starve,” and the chorus'”I don’t want it/ I don’t want it/ Carve it on out of me.”) over a sparse bass line and beat its Garbus on backing vocals again. The track provides very mellow end to the album though this is offset by nasty fuzzy guitar solo wind its wonky way through the middle of the track.

Let me know what you think of ‘A Man Alive’ in the comments or via Twitter.

Kirsty’s Reviews

Release of the Month

Cosmin TRG – Gordian (50 Weapons)

A little under two years since Cosmin TRG’s wonderful debut album “Simulat” is his second, “Gordian” and this, like its predecessor, showcases Cosmin’s way of instilling his productions with moods, emotion and charm.  ‘New Structures for Loving’ starts “Gordian”. Bearing Cosmin TRG’s familiar signature of marrying a warm and delicate synth melody with a rumbling yet unobtrusive bass drum, it’s clarity and brightness sounds open and blissful while also being a confident opener. The title track is overflowing with textures; an imploding snare rattles amongst unbalanced rhythms as long stretches of fuzzy background noise add to the disruption. An off-kilter melody and counter-motif work against each other, embellishing the unsettling feel. Cosmin TRG uses these to neat effect; having elements that push and pull, taking the track down a series of wrong turns. Next are the twin standouts ‘Desire Is Sovereign’ and ‘Defeated Hearts Club’. The former recalls his debut “Simulat” as choppy hats and a propulsive techno rhythm are met with surges of a sharp, exuberant synth melody. It’s warm, dark and dense with a satisfying heads-down-and-dance quality. On the lachrymose ‘Defeated Hearts Club’ a grainy synth using melodic builds and tactile intricacies evoke a highly personal emotional moment that stays with the listener long after the album’s final notes ring out. ‘Divided By Design’ shakes the listener out of the sadness with a 4/4 warehouse techno bass drum and expansive, pretty synth chords covered in a hazy gauze. The album’s closing tracks reroute to lighter territory: the airy ‘To Touch Is To Divert’, ‘Vertigo’, which zings with energy and “Gordian” finale ‘Terminus Abrupt’ floats with skipping percussion and a silky texture.

Altogether “Gordian” is more developed and seamless with a greater distillation of Cosmin’s ideas than those heard on the diverse “Simulat”. Where some tracks on his debut were restless and buzzing with a kind of nervous energy (‘Osu Xen’, ‘Fizic’), this is calmer and settled. Fortunately, the sparkling organic sheen that elevated “Simulat” is prevalent too on “Gordian”. Practically every track is endowed with glistening melodies and energy gained from the immersive sound scapes, robust low end and moments of bliss. “Gordian” is a gorgeous listen packed with rewarding moments.

Listen to some choice cuts form “Gordian” below:

Liam’s Reviews

Disappointment of the Month

Neon Neon – “Praxis Makes Perfect” (Lex)

If you’d told me at the start of the year that Neon Neon the duo consisting of Griff Rhys (Super Furry Animals) and glitch-hop producer Boom Bip would return with an second album of high brow conceptual electro pop I wouldn’t have believed you. So when “Praxis Makes Perfect” release was announced a couple of months ago I was both surprised and excited, I’d recently revisited their excellent debut album “Stainless Style” (2008) and found it had aged very well.

The album begins with the scene setting instrumental title track which does its job brilliantly unfortunately from this point on its only the single ‘Mid Century Modern Nightmare’ that’s as impressive as that track. The album is littered with awful lyrics that fall way short of the witty tales found on “Stainless Style” or indeed anything that Rhys has written for the Super Furry Animals. The songs also feel very formulaic and similar stylistically whereas “Stainless Style” had more variety with sleazy electro hip-hop and funk pop featuring guest such as Spank Rock, Yo Majesty! And Har Mar Superstar, the nearest “Praxis Makes Perfect” comes it this is the breathy contributions of Sabrina on ‘Shopping (I Like To)’. All the electro pop elements are present and correct but don’t feel fresh as they did on “Stainless Style”. It’s a shame this album doesn’t live up to its predecessor as albums that still sound and feel great five years on are a rarity nowadays and it would have been great to have another of those from this odd couple, maybe next time?

Bonobo – “The North Borders” (Ninja Tune)

In the lead up to the release of “The North Borders” Bonobo’s fifth album, pre release tracks ‘Cirrus’ and ‘Heaven for the Sinner’ suggested that a radical change of direction may have taken place. However, when I finally heard the album in full I was able to hear that although house and garage beats are present and instruments such as the harp and bells dominate the mix. This is the same producer just refining his formula and simultaneously pushing into new sonic territory. When he’s pushing into this new territory he often reminds me of his Ninja Tune label mate Falty DL whose recent ‘Hardcourage’ album could be seen as a more overtly electronic sister album to “The North Borders”. Bonobo’s moving into four to the floor territory have mixed results while tracks such as ‘Transits’, ‘Cirrus’ and ‘Emkay’ fully engage the listener and pull of a balance between Bonobo’s organic trademark sound and this new stylist direction, tracks such as ‘Antenna’, ‘Don’t Wait’ and ‘Know You’ are bland and fill unfinished. He’s on solid ground though when it comes to hip-hop beats with the stand-outs including ‘Heaven for the Sinner’, ‘Jets’ and ‘Ten Tigers’, on these tracks Bonobo manages to incorporate new sounds and refresh his formula while playing to his strengths. So “The North Borders” isn’t a complete overhaul of Bonobo’s sound and his experiments are only partly successful but overall it is a very good album.

Yeah Yeah Yeahs – “Mosquito” (Polydor)

Yeah Yeah Yeah’s new album get off on the wrong for me. Opener ‘Sacrilege’ tries to be an all out epic but falls short and doesn’t quite gel for me. Fortunately things improve on ‘Subway’ which utilises a sample of a New York Subway train alongside twinkling guitar,hushed vocals and is underpinned by subtle bass guitar. The band take things up a notch on the stomping alien alternative rock of the title track. On ‘Under the Earth’ they explore dub reggae for the first time with deliciously dark results!!! The band delivers the epic goods on ‘Slave’ which recalls ‘Songs of the Free’ era Gang of Four. ‘These Paths’ is another stylist departure with Karen O backed by electronic drums and synths. The track recalls Gang Gang Dance, though is more grounded and uses more conventional melodies.

The band returns to the sound of their debut album with the punk trash of ‘Area 52’ before collaborating with UFO hunting rapper Kool Keith on the epic alternative rock of ‘Buried Alive’. Keith delivers a fantastically smooth verse as his Dr. Octagon character. ‘Always’ finds a middle ground between ‘Slave’ and ‘These Paths’ with added cascading synth melodies. The album finishes with two slow building tracks ‘Despair’ and ‘Wedding Song’ which round the album out nicely, bring it to a satisfying close. All-in-all Yeah Yeah Yeah’s have delivered exactly they promised an album that both goes back to basics and provides an escape from the bad situations in life.

Cannibal Ox – “Gotham” (Iron Galaxy)

Back in 2001 Cannibal Ox worked with producer El-P on what would become a classic underground hip-hop album in “The Cold Vein”. Last year the MC duo announced they were working together for the time in over ten years and that they’d release an album in 2013. This single is the first new material from Cannibal Ox and its seem like that duo and new producer Bill Comiq are attempting to recapture the tense, dark atmospherics of “The Cold Vein”, while Comiq is no copyist the three tracks on the single strongly recall that album.

The single opens with dark lo-fi stabbing instrumentation and a male spoken word piece about darkness, these elements are quickly replaced by a beat and high pitched horror string stabs with MC’s Vast Aire and Vordul Mega painting a bleak picture on top of it all. ‘Gases in Hell (Inhale)’ continues along a similar sonic theme but with a section that features a plinking vibraphone and humorous references to the comedy show “30 Rock” helping relieve the tension. The single goes out on a high with ‘Psalm 82’ with its heavy click, clacking beat and shifting vocal samples making it the highlight of the a very strong single and whets the appetite for the album proper.

Tokimonsta – “Half Shadows” (Ultra)

“Half Shadows” sees a stylistic departure for Tokimonsta who recently signed with Ultra Records a big player in the U.S. dance music scene. Whereas previous Tokimonsta releases were full of glitches, stutters and other destructive audio and MIDI editing techniques on “Half Shadows” she puts melody and harmony front and centre and simplifies her beats.

“Half Shadows” is an interesting title for the album and very reflective of the light and shade utilised throughout the album. This wasn’t something that was present on previous Tokimonsta releases but now she delivers both dark tracks like the dystopian sci-fi ‘The Force’ featuring Kool Keith and the downbeat atmospherics of ‘Green’ featuring Andreya Triana and light, poppy tracks such as ‘Foolish’ and ‘Clean Slate both lead by the melodic vocals of female vocalist Gavin Turek. Tokimonsta even throws a third style with the last four tracks on the album on which all slow in tempo and change in mood in addition to ‘Green’ we get the ghostly pad and voices and distant hip-hop beat of ‘Soul to Seoul’, the reversed piano tricks of ‘Waiting for the Break of Dawn’ and closer ‘Moon Rise’ featuring Jesse Boykins III which is the most organic track on the album hinting at where Tokimonsta will go next and finishing off the album in a fine style.

The Haxan Cloak – “Excavation” (Tri Angle)

The long awaited second album by The Haxan Cloak arrives on the back of months of hype. “Excavation” has a significantly more electronic sound compared with the self titled debut album. In fact for the first six tracks, acoustic instruments are notable by their absence.

The album opens with ‘Consumed’ with its low bass drone, quivering female vocals and thumping bass drum setting up the rest of the album nicely. The heavy atmosphere continues on the two part title track. Part one places the listener in a darkened room with electric lights flickering disturbingly overhead. There’s no constant rhythm as you’re pushed and pulled and harassed by the sparse beat and prickly synth, all underpinned by an ominous drone. Part two is equally ominous but replaces the space of part one with a huge marauding beat that storms its way through the heart of the tune accompanied by what sounds like a heavy breathing monster. Your nerves will jangle as cymbals appear as if from nowhere. ‘Miste’ goes down the minimal route and utilises chopped up samples to refresh the established sound of the album. The biggest change though is yet to come.

This change begins on ‘The Mirror Reflecting (Part Two)’ when a ghostly synth melody emerges from the darkness hinting that light and hope are just around the corner. ‘Dieu’ brings the listener into the light and reintroduces the violin, an instrument that had dominated The Haxan Cloak’s debut album. Album finale ‘The Drop’ begins full of light that recalls a classic piece of film credits music but partway through its epic thirteen running time it returns to the darkness. A sparse synth drone dominates the remainder of the track.

Overall The Haxan Cloak has delivered a very good second album that expands his sonic palette and suggests a lighter future sound. My only criticism of “Excavation” is that with the exception of ‘The Mirror Reflecting (Part Two)’ the dark and light elements are segregated. It would interesting to see if The Haxan Cloak is able to combine these more in the future like his peers Raime.

Owiny Sigoma Band – “Power Punch” (Brownswood)

“Power Punch” is the second album by Owiny Sigoma Band who feature two Kenyan members and five English members including drummer Tom Skinner who released a great solo album as Hello Skinny last year. The band recorded this album in London and early suggestions were that this meant the English members influence dominates. However, I find that for the most part the Kenyan and English/European influences are given equal billing. In fact, the album opens with a melody played on the Nyatiti a traditional Kenyan stringed instrument.

The Nyatiti is quickly joined by chanting, chimes and a spacious synth on the opener ‘Nagalo Ni Piny Odoy’. However, these disparate elements don’t really start gelling until track four ‘Lucas Malone’. Though ‘Lucas Malone’ finds the perfect balance musically the English lyrics leave a lot to be desired, there psychedelic drippy-ness partly undermining the potent musical blend. Next up ‘Magret Aloor’ throws Dub bass and delay effects into the mix with stunning results. ‘Harpoon Land’ with its Nyidounge drum pattern and guitar melody matched with a funky drum break and deep bass it sounds like an undiscovered Afrobeat gem. ‘Owiny Techno’ is another unexpected delight the Nyiduonde drum playing off a techno beat and watery lead synth. The track comes across like a futuristic take on the Congotronics sound of Konono No.1 but slower and more laidback.

The last three tracks on the album turn into a funky tour de force. Starting with the offbeat rhythms and Nyatiti riffs of ‘Yukimwi’ via the upbeat acoustic drums, grooving bass and great guitar riff of ‘All Together’ and concluding with the rhythmical Nyatiti riffs, rolling Afrobeat drums, bass and guitar of  closer ‘Johnny Ra Ra’. These three tracks best illustrate why the album is called “Power Punch”. Overall Owiny Sigoma Band have produced an album that gets better with every play and promises to provide some great live shows.

Release of the Month

Adrian Younge and Ghostface Killah – “12 Reasons to Die” (Soul Temple)

12_reasons_1

With his new album alongside up and coming producer and multi instrumentalist Adrian Younge, Ghostface Killah comes pretty close to scaling the heights of his 90’s prime producing and album that never dips in quality across its 12 tracks. Like many Wu Tang Clan related releases there’s a storyline that runs through the album, this time the main character is Ghostface himself playing the role of a “vengeful soul hunting the 12 most powerful crime lords in the World.”

The album opens with ‘Beware of the Stare’ which immediate sets up the story and the tone of the album full of piano chords, a female choir, low slung funk bass guitar and a head nodding beat. ‘Rise of the Black Suits’ follows a similar formula adding chilling organ chords and an electric piano riff. ‘I Declare War’ is the most cinematic track so far with its operatic female vocals, spoken word outro and sweeping strings. The pace picks up on ‘Blood On The Cobblestones’ with it fast break beat, organ and horn stabs and great fuzz bass. ‘The Center Of Attraction’ changes things up again with it sparse electric piano chords and beat and back and forth strings. The next big moment on the album is ‘The Rise Of the Ghostface Killah’ with its cut-up female vocals and a spoken word male voice then a delay tail brings in the break beat and gliding electric guitar chords that slide around under Ghostface’s cool flow. ‘Revenge Is Sweet’ is a song of two halves beginning with sparse break beat and bass guitar before high pitched female choir cut in to tell more of the album’s story, strings come in and a male vocal duels with the female vocals. Then guitar chords float in  and then rap section of the track begins with Masta Killa getting busy on the mic. Wu Tang posse cut ‘Murder Spree’ and The Sure Shot’ (Parts One & Two) pick up where ‘Blood On The Cobblestones’ left off and the album finishes with ‘12 Reasons To Die’ which immortalises Ghostface in death to the sound of emotive piano, wind like sweeping synth, sparse bass guitar, mournful strings and an epic outro. With “12 Reasons to Die” Ghostface Killah and Adrian Younge have set the bar extremely high for other hip-hop releases in 2013 and Younge has proved that it’s not just RZA whose the perfect foil for Wu Tang Clan MCs.

Liam’s Recommendations

1st April

Bonobo – “The North Borders” (Ninja Tune)

Ninja Tune beatmaker extraordinaire Bonobo returns with his fifth album. Early signs are of a change of direction with first single ‘Cirrus’ featuring a four to the floor rhythm and plenty of bells, suggesting Bonobo may have been listening to a lot of Pantha Du Prince recently. The album will feature guest vocals from Erykah Badu, Swedish singer and DVA collaborator Cornelia, NYC folk singer Grey Reverend and fellow Ninja Tune signing Szjerdene.

8th April

Owiny Sigoma Band – “Power Punch” (Brownswood)

For their second album, the band, comprising Nairobians Joseph Nyamungu and Charles Owoko and Londoners Jesse and Louis Hackett, Sam Lewis, Chris Morphitis and Tom Skinner recorded in the UK, having cut the first record, 2011’s self-titled LP, in east Africa. With the relocation has come a whole raft of new sonic textures, with electronic genres – like techno and South African Shangaan electro making an imprint on the album.

15th April

Adrian Younge and Ghostface Killah – “Twelve Reasons to Die” (Soul Temple)

“Twelve Reasons to Die” is the result of an unlikely collaboration between producer and film score composer Adrian Younge (most famous for his work on the brilliant blaxploitation film “Black Dynamite) and Wu Tang Clan MC Ghostface Killah. The album is executive produced by RZA (Wu Tang Clan) and comes with a comic book written by Matthew Rosenberg and Patrick Kindlon of Ashcan Press.

Yeah Yeah Yeahs – “Mosquito” (Polydor)

For their fourth album the Yeah Yeah Yeahs went back to basics returning to a basic studio set-up in New York and trying to have as much fun as possible. The result is a title track that is literally about a Mosquito, a track that’s produced by James Murphy (LCD Soundsystem) and featuring rapper Kool Keith. Though the artwork is awful, Sonic Fiction look forward to hear what we think will be an excellent album of cutting edge pop-rock.

April 29th

Neon Neon – “Praxis Makes Perfect” (Lex)

Gruff Rhys (Super Furry Animals) and underground hip-hop producer Boom Bip return will another high concept electro pop album. This time the subject is Italian activist and publisher Giangiacomo Feltrinelli, responsible for the publication of Doctor Zhivago and The Leopard (plus all manner of political agitation). The album will feature a host of somewhat unlikely guests. Italian singer/TV personality Sabrina is on the record, as is xXx star Asia Argento. Red Hot Chili Peppers guitarist Josh Klinghoffer will feature, and former Neon Neon associate Cate Le Bon will also return to the fold.

Kirsty’s Recommendations

26th April

Cosmin TRG – “Gordian” (50 Weapons) 

Berlin-based producer Cosmin TRG will release his second album, “Gordian”, on 26th April two years after his debut full-length “Simulat”.  Born Cosmin Nicolae in Bucharest, Romania, he first appeared in 2007 with 12”s on Hessle Audio, Subway and Audio Freaks (all produced under the name TRG), he then prefixed TRG with his first name and began releasing more house and techno-orientated material, which “Simulat” is the result of. According to the press release “Gordian” references an ancient myth, but also “describes the very contemporary, impossible task of discerning between real and replicated, authentic and contrived.” It adds: “Coping with facts, objects and bodies, the necessity of ‘making it,’ fear of failure, fear of ‘not being happy’ are today’s topics, and “Gordian” is my attempt at an exploration of those issues.” Nicolae expands further, “On “Gordian” I tried to shape and distill my sound further, while sticking to a certain narrative and collection of references that make sense to me.” He adds, “It is saying different things to different people, and leaves it open to interpretation, which I find the most interesting. I also think that where “Simulat” was about me making a statement, “Gordian” is about me starting a conversation.”

Listen to ‘New Structures For Living’ below:

What Kirsty’s Looking Forward to

Albums

Pantha Du Prince & The Bell Laboratory – “Elements of Light” (Rough Trade) 11th January

Sonic Fiction favourite Pantha Du Prince (Hendrik Weber) has teamed up with Norwegian musicians The Bell Laboratory for a collaborative album, “Elements of Light”. The video previews below display the German techno producer and The Bell Laboratory creating an ambitious symphony of electronics, percussion and a special bell carillon, a three-tonne instrument consisting of fifty bronze bells.

Pantha du Prince & the Bell Laboratory – Trailer 1 from Sandra Trostel on Vimeo.

Pantha du Prince & the Bell Laboratory – Trailer 2 from Sandra Trostel on Vimeo.

Apparat – “Krieg und Frieden” (Mute) 15th February

The electronic music producer returns with an album based on a German theatre production of Tolstoy’s epic War and Peace, directed by Sebastian Hartmann. Once Hartmann asked Apparat, born Sascha Ring, to contribute music to the project, the producer then spent four weeks working with a 30-piece ensemble in an empty factory alongside Apparat’s live band members Philipp Timm and Christoph Hartmann. After the piece’s final performance Ring, C. Hartmann and Timm transformed the soundtrack into a work for album release. Ring says of “Krieg und Frieden”, “It’s the first record ever that didn’t hurt at some point. It’s full of imperfection because it was made by humans.” He goes on to describe the album as “a bit of a weird record with not many beats and lots of drones.”

Grab the free ‘A Violent Sky’ now:

Function – “Incubation” (Ostgut Ton) 4th March

Nearly 20 years into Function’s career comes his solo debut album “Incubation” on the luminary Ostgut label.  As a member of Sandwell District and as a solo artist he is known for producing sleek, atmospheric techno, which he will explore further on his album, which was mastered by the respected engineer Tobias Freund. His goal,  “was to create something cinematic and heavy on imagery and emotion.” and  a “soundtrack.” The release was conceived as “one endless piece to be listened to straight through. So everything is connected and there are reoccurring themes throughout the album.” Listen to his beautiful ‘Inter’ below:

Ellen Allien – “LISm” (BPitch Control) March

Berlin icon Ellen Allien is due to release her seventh album “LISm” in March. The album is closely based on a soundtrack Allien wrote for the Drama per Musica dance recital performed in 2011 at Paris’ Spectacles Vivants Festival. She called on Bruno Pronsato to aid her with expanding the pieces and to co-produce “LISm”. As usual the album will be released through BPitch Control, the label she’s managed for over a decade.

Stream a medley of “LISm” below:

The Knife – “Shaking The Habitual” (Mute) 8th April

After seven years we will finally see the release of the Swedish brother-sister duo’s third studio album “Shaking The Habitual”. Their last was the flawless “Silent Shout” from 2006. In 2010 they released, “Tomorrow In A Year”, the collaborative album with Mt. Sims and Planningtorock that was written for an opera/performance piece based on the life and work of Charles Darwin. Both members have also released solo records under pseudonyms – Karin as the acclaimed Fever Ray and Olaf as Oni Ahyun. Light Asylum member Shannon Funchess has contributed to vocals to the album which will be released via Mute/Brille.

This video, which may or not be The Knife, leaked online could provide clues on what we can expect.

Listen to the title track from “Silent Shout” below:

Artists

Audion – Matthew Dear has hinted via Twitter that new material from his techno side project Audion could on the horizon this year. Listen to the classic ‘Mouth to Mouth’ below:

Answer Code Request – Patrick Gräser has this far released a handful of refreshingly varied, rolling techno 12″s on labels as Ostgut Ton, Marcel Dettmann’s MDR Records and Music Man. His “Main Mode” 12″ is an essential listen with other tracks of his included on Norman Nodge’s excellent “Berghain06” and Dettmann’s “Conducted” mix. Maybe in 2013 Answer Code Request will take the leap to producing a full length release.

Kompakt celebrates 20 Years

The esteemed German label will celebrate its 20th birthday in 2013 with a host of special events, including an extensive European tour, a documentary chronicling the rise of the label, a “fanzine” and re-issues. The best news yet is they of course will release new music throughout 2013. While there are no exact release dates, we can expect new albums from Justus Köhncke, Coma, The Field and Gui Boratto.

What Liam’s Looking Forward to

Albums

A$AP Rocky – “Long.Live.A$AP” 14th January

Having discovered A$AP Rocky through his “LiveLoveA$AP” (2010) I was looking to hearing his debut album and its finally coming out in just a weeks time after many delays. The album features top underground hip-hop producers such as Clams Casino, Hit Boy, A$AP Ty Beats, Soufein3000, Joey Fat Beats and Rocky himself and has already gained a Best New Music award from Pitchfork. “Long.Live.A$AP” promises to be one of the Albums of the Year 2013.

Jamie Lidell – “Jamie Lidell” 18th February

Jamie Lidell returns with his self titled fifth album in February 2013, pre release track “What A Shame” finds him returning to the electronic sound of his first two solo albums “Muddling Gear” (2000) and the brilliant “Multiply” (2005).

Nick Cave and the Bad Seeds – “Push the Sky Away” 18th February

The long awaited follow up to “Dig!!! Lazarus Dig!!!” (2008) has got me excited due to its trailer and the Gaspar Noe directed video for first single ‘We Know Who U R’, a simple but highly effective song with a video to match. I can’t wait to hear the rest of the album!!!

Low – “The Invisible Way” 18th March

In 2013 Low celebrate their 20th anniversary as a band, they will also release their 13th studio album. Produced by Wilco’s Jeff Tweedy at Wilco’s Chicago studio, The Loft, the band visited the studio while on tour and decided to record with Tweedy after hearing his work on Mavis Staples “You Are Not Alone” (2010).

David Bowie – “The Next Day” March 2013

On Tuesday (8th January)  David Bowie announced his return with his 30th studio album and his first since 2003’s “Reality”. The first single from “The Next Day” is ‘Where Are We Now’ which harks back to the “Heroes” (1977) a Bowie classic. This has surprised many critics and fans alike as Bowie is generally perceived as a forward thinking artist. However, this overlooks much of Bowie’s output in the 90’s and 00’s which referenced his own back catalogue on numerous occasions. Producer Tony Visconti quickly aligned any fears of Bowie deserting his innovative roots describing the album as both “innovative” and “quite a rock album” continuing if people are looking for classic Bowie, they’ll find it on this album”.

Adrian Younge and Ghostface Killah – “Twelve Reasons to Die” early 2013

“Twelve Reasons to Die” is the result of an unlikely collaboration between producer and film score composer Adrian Younge (most famous for his work on the brilliant blaxploitation homage “Black Dynamite) and Wu Tang Clan MC Ghostface Killah. The album is executive produced by RZA (Wu Tang Clan) and comes with a comic book written by Matthew Rosenberg and Patrick Kindlon of Ashcan Press.

Factory Floor – “Title TBA” 13th May

After a good two years of singles and build up it seems that the band will finally release their much anticipated début album in May 2013 on DFA records. The album will be preceded by the single ‘Fall Back’ eight and a half minutes of slow burning dance floor intensity.

YoungBlood Brass Band – “Pax Volumi” early 2013

The latest from the band is that they have completed their new album with a release planned for early in 2013, accompanied by an extensive world tour. I look forward to hearing this explosive bands combination of raw live jazz and hip-hop elements, been much missed since the brilliant “Is That A Riot?” (2006).

Yeah Yeah Yeah’s – “Title TBA” Spring 2013

The band recently announced their new album would be out in the new year, more information as we get it.

Madvillain – “Title TBA” 2013

In a recent interview with Benji B on BBC Radio 1 Doom of Madvillain announced that the second album is almost done and he just has to finish off two songs and that if they’re finished on time the album could be out before the end of 2012. 2012 is now been and gone but the album is close to completion so hopefully it will be released before the year is out.

Artists

AlunaGeorge

AlunaGeorge’s music has been bouncing around the internet for around a year now and now the male-female duo are hotly tipped for success and finishing second in the BBC’s Sound of 2013 didn’t hurt their chances of going supernova this year. However, its their music and not polls that has me excited an combination on Timbaland and The Neptunes style beats, off kilter synths and R&B vocals instantly mark them out from the pack, while never forgetting about a hummable tune and killer hook. Their debut album “Body Music” comes out in June and I can’t wait for it. To read an interview with band on The Guardian’s website click here.

Ryan Hemsworth

Ryan Hemsworth started out providing beats for cloud rap acts such as Attrakionz and Deniro Farrar until the release of his instrumental E.P. “Last Words” late in 2012 in which he expanded out into a skewed hip-hop, ambient and dance music hybrid. His main influences are Three 6 Mafia, Mannie Fresh, Hudson Mohawke, Aphex Twin and Ryuichi Sakamoto. I look forward to hearing more material from this promising young producer.

Joey Bada$$

18 year old Joey Bada$$ released his excellent debut mixtape “1999” which perfectly recreated late 90’s New York and catapulted Bada$$ and his PRO ERA crew into the spotlight. It also drew the attention of legendary hip-hop producer DJ Premier and the two will release a free on Mountain Dew’s Green Label Sound next week.

Night Engine

Although originality isn’t their strong suit musically Night Engine do create exciting music and show the potential to develop into a great guitar pop band. They recall both Franz Ferdinand and Berlin era and early 80’s David Bowie and neither of those are bad artists to be a reminder of. Check out their debut single ‘Seventeen/Treat Me Like a Baby’ below and read more about the band here.

%d bloggers like this: