Weekly Retrospect 33/12

17 Aug 2012 — NFOP

A selection of tracks you should've been listening to this past week."Now Tom Krell has leant his fragile-yet-beautiful vocals to a moving rendition of Janet Jackson's "Again". The song hits me on some personal levels I'll spare you of, but regardless of how much you relate, there's just no denying that Krell manages to make you feel his woes. It's a strange and awesome power that he wields." — Jheri Evans, Decoder Total Loss is out September 17 via Weird World/Domino and in North America September 18 via Acéphale."With the first drum beat at 11 seconds and a delicate drop following, the powerful beats intoxicate; combine this with Bath’s dreamy vocals, here is a song of crushing emotion." — Francesca Davison, Dummy From Feel Me, out August 28 via Friends Of Friends."It's the kind of brogue that'd set adrenaline streaking through your body if you heard it yelling after you down a dark alleyway, but here, the only threat of violence manifests in the still-sore "wounds on [your] back." It's a tale of knowing better next time offset by Marshall's turning-trademark cockiness: all, "See, girl…" and dedications to an oblique old guard, the only lineage in which Marshall seeks to establish himself." — Laura Snapes, Pitchfork From the Rock Bottom/Octopus 7 inch, out September 24 via Rinse."[T]he first single from the band’s sophomore album is “Die Life,” an exhilarating burst of release-less tension that pairs a “She Lost Control” shuffle with a jacked tempo and animalistic melodies." — Self-titled Mag From Zeros, out September 30 via Captured Tracks."This is the most eccentric and mellow collection of tunes Traxman has released yet-- if the hypermanic lullaby of "Da World Around Us" and his rework of Black Sabbath's "Iron Man" are any clues-- but it's another, almost undeserved peak into the mind of a juke giant, as well as a precursor to his forthcoming release on Lit City Trax. We can't help but be grateful for it." — Brad Stabler, Ad Hoc From Heat, out on Sewage Tapes.

A selection of tracks you should've been listening to this past week."Now Tom Krell has leant his fragile-yet-beautiful vocals to a moving rendition of Janet Jackson's "Again". The song hits me on some personal levels I'll spare you of, but regardless of how much you relate, there's just no denying that Krell manages to make you feel his woes. It's a strange and awesome power that he wields." — Jheri Evans, Decoder Total Loss is out September 17 via Weird World/Domino and in North America September 18 via Acéphale."With the first drum beat at 11 seconds and a delicate drop following, the powerful beats intoxicate; combine this with Bath’s dreamy vocals, here is a song of crushing emotion." — Francesca Davison, Dummy From Feel Me, out August 28 via Friends Of Friends."It's the kind of brogue that'd set adrenaline streaking through your body if you heard it yelling after you down a dark alleyway, but here, the only threat of violence manifests in the still-sore "wounds on [your] back." It's a tale of knowing better next time offset by Marshall's turning-trademark cockiness: all, "See, girl…" and dedications to an oblique old guard, the only lineage in which Marshall seeks to establish himself." — Laura Snapes, Pitchfork From the Rock Bottom/Octopus 7 inch, out September 24 via Rinse."[T]he first single from the band’s sophomore album is “Die Life,” an exhilarating burst of release-less tension that pairs a “She Lost Control” shuffle with a jacked tempo and animalistic melodies." — Self-titled Mag From Zeros, out September 30 via Captured Tracks."This is the most eccentric and mellow collection of tunes Traxman has released yet-- if the hypermanic lullaby of "Da World Around Us" and his rework of Black Sabbath's "Iron Man" are any clues-- but it's another, almost undeserved peak into the mind of a juke giant, as well as a precursor to his forthcoming release on Lit City Trax. We can't help but be grateful for it." — Brad Stabler, Ad Hoc From Heat, out on Sewage Tapes.

Weekly Retrospect 32/12

10 Aug 2012 — NFOP

A selection of tracks you should’ve been listening to this past week, in the words of our friends."Listening to it just once doesn’t quite do it—Loscil’s music is based on subtle patterns, muffled keys repeat gradually under layers of gauzy hums, which a single listen could never fully convey. But on repeat 'Coyote' works like a choose your own adventure: different sounds branch out into these textural worlds endlessly." — Sam Hockley-Smith, The Fader From Sketches of New Brighton, out September 10 on Kranky."And though the delivery is sunny the tone and temperament of the surrounding songs have gotten darker, slanted more bittersweet than they've driven in the past. In turn, with the complex emotions the complexity of the arrangements has grown, but without ever becoming encumbered by ideas. No matter what the supporting cast, the shuffle of drums, the short strums and Earl's voice remain the gravitational point of any Woods album." — Andy French, Raven Sings The Blues From Bend Beyond, out in September on Woodsist."Greene keeps his trademark woozy R&B samples and light synth hooks as a central part of the sound while beefing up the low-end: every kick and bass pop hits harder than before." — Brad Stabler, Ad Hoc From the Ready EP, out on 3024."The song is a good indication that Kisses has changed its direction a bit. Though it contains an innate disco dance core, it also features tropical instrumentation, making the track more fitting played at a beach party than a night club." — Katrina Nattress, Prefix"The main attraction here, though, is a remix from analogue synth maven and DFA stalwart Gavin Russom. Russom re-imagines the song in cosmic slow-mo, a chugging behemoth over which Cohen’s voice takes on newfound diva qualities – one for the endless, erotic slowburn of some imagined Balearic terrace." — FACT From Cascading Keys, out on Olde English Spelling Bee."The first track to surface from the nine-track effort is the opener “Sleepwalker”, a psych-metal fusion comprised of pounding guitar grooves and fuzzed-out vocals." — Chris Coplan, Consequence Of Sound From Circles, out October 1 on Souterrain Transmissions.

A selection of tracks you should’ve been listening to this past week, in the words of our friends."Listening to it just once doesn’t quite do it—Loscil’s music is based on subtle patterns, muffled keys repeat gradually under layers of gauzy hums, which a single listen could never fully convey. But on repeat 'Coyote' works like a choose your own adventure: different sounds branch out into these textural worlds endlessly." — Sam Hockley-Smith, The Fader From Sketches of New Brighton, out September 10 on Kranky."And though the delivery is sunny the tone and temperament of the surrounding songs have gotten darker, slanted more bittersweet than they've driven in the past. In turn, with the complex emotions the complexity of the arrangements has grown, but without ever becoming encumbered by ideas. No matter what the supporting cast, the shuffle of drums, the short strums and Earl's voice remain the gravitational point of any Woods album." — Andy French, Raven Sings The Blues From Bend Beyond, out in September on Woodsist."Greene keeps his trademark woozy R&B samples and light synth hooks as a central part of the sound while beefing up the low-end: every kick and bass pop hits harder than before." — Brad Stabler, Ad Hoc From the Ready EP, out on 3024."The song is a good indication that Kisses has changed its direction a bit. Though it contains an innate disco dance core, it also features tropical instrumentation, making the track more fitting played at a beach party than a night club." — Katrina Nattress, Prefix"The main attraction here, though, is a remix from analogue synth maven and DFA stalwart Gavin Russom. Russom re-imagines the song in cosmic slow-mo, a chugging behemoth over which Cohen’s voice takes on newfound diva qualities – one for the endless, erotic slowburn of some imagined Balearic terrace." — FACT From Cascading Keys, out on Olde English Spelling Bee."The first track to surface from the nine-track effort is the opener “Sleepwalker”, a psych-metal fusion comprised of pounding guitar grooves and fuzzed-out vocals." — Chris Coplan, Consequence Of Sound From Circles, out October 1 on Souterrain Transmissions.

Weekly Retrospect 31/12

03 Aug 2012 — NFOP

A selection of tracks you should’ve been listening to this past week."That focus on timing and subtlety helps to further empower the resonant drum patterns and disembodied choir that eventually join Howard in his lament, just before he pulls himself back as the spare instrumentation makes the composition's closing statements." — Patric Fallon, Pitchfork"It's more downtempo and strangely far more accessible than previous Teengirl Fantasy tracks, offering itself up as a sort of alt-dance jam that shimmers with vocal samples and various oddities." — Tom Walters, The 405The-Drum are the perfect foil to Fay's meticulously cut-up approach, smoothing things out but not without retaining the original's unsettling, lurching quality. — Tim Gentles, Rose Quartz"Under the thick cords, minuscule blips and bloops bubble up, exhibiting the kind of attention to detail that makes Fort Romeau's tunes exceptional." — Elissa Stolman, XLR8R"In a landscape crowded with electro-girls, Kolstad stands tall – her music teems with positivity, energy and spirit." — John Rogers, Snipe

A selection of tracks you should’ve been listening to this past week."That focus on timing and subtlety helps to further empower the resonant drum patterns and disembodied choir that eventually join Howard in his lament, just before he pulls himself back as the spare instrumentation makes the composition's closing statements." — Patric Fallon, Pitchfork"It's more downtempo and strangely far more accessible than previous Teengirl Fantasy tracks, offering itself up as a sort of alt-dance jam that shimmers with vocal samples and various oddities." — Tom Walters, The 405The-Drum are the perfect foil to Fay's meticulously cut-up approach, smoothing things out but not without retaining the original's unsettling, lurching quality. — Tim Gentles, Rose Quartz"Under the thick cords, minuscule blips and bloops bubble up, exhibiting the kind of attention to detail that makes Fort Romeau's tunes exceptional." — Elissa Stolman, XLR8R"In a landscape crowded with electro-girls, Kolstad stands tall – her music teems with positivity, energy and spirit." — John Rogers, Snipe

Weekly Retrospect 30/12

27 Jul 2012 — NFOP

A selection of tracks you should've been listening to this past week."Here’s a new track from Montreal’s Solar Year, taken from the band’s otherworldly new LP Waverly, which was recently premiered underwater in an olympic-sized swimming pool. I’m guessing that was the ideal way to listen to this record, as the hymnal “Brotherhood” sounds a bit like a new age-y Silent Shout floating up from the ocean floor, featuring entrancing/ethereal guest vocals from the duo’s friend Grimes" — Chris Cantalini, Gorilla vs. Bear"Gobby's Lynchian version of 'Tree Drum' is a prime example of dark techno, with muddy synth beats permeated by gunshot-like percussives." — Emily Wheeler, Ad Hoc"Even though this was released in an instant, it’s a fluent expression of where Actress’s mind is, transported through the net for us all to hear" — Dummy"‘Money’ falls on the dreamy side of trap-influenced EDM, with a cooing sample of the word ‘money’ looped and contorted into a melody. Giraffage unleashes waves of body-vibrating bass and the type of snare programming that’s everywhere right now, before giving way to a very-EDM build and drop. It may not be timeless, but it’s a mover." — FACT"Today’s look comes from Washed Out, who sources “Straight Back,” the Nicks-fronted cut from 1982′s soft rocking, Tusk followup Mirage. In its original instance, the song has a smooth luster and dreamy mid-tempo dance pulse, which is to say it is apropos putty in Washed Out’s hands, who ratchets up the dance and gives it all a beachfront Balearic shimmer" — Amrit Singh, Stereogum"FAYE‘s amazingly beautiful single ‘Water Against The Rocks’ has had us swooning more than what’s healthy lately. Now it’s been reworked by fellow Stockholmers Museum of Bellas Artes, experts when it comes to making a remix completely different from the original, while keeping the bits that truly made it remix-worthy in the first place." — Oskar Christiansson, Ja Ja Ja Music"The song features stuttering beats and claustrophobic electronics, all tightly wound up with mutated vocals rapping 'Dumb luck, numb fuck/ Come out with your motherfucking hands up.' It’s freaky and suffocating and I love it." — Mr P, Tiny Mix Tapes"t’s only a matter of time before MPCs are introduced at Primary School and all the sweet cherub-like little children are banging out bass heavy tracks with creepy drums. That’s kind of what Happa’s doing here, with tracks like Secrets and Let It Go, Pearson Sound-esque vocals and percussions with twisted bassline flourishes." — Joe Bish, Abeano