Premiere: FAY - “What’s the Use”.

13 Apr 2012 — Henning Lahmann

Incredibly excited about the upcoming full-length by enigmatic female solo artist FAY, a wildly unique effort that is tough to classify in any sense. Fractured, intricate beats and fancifully processed and rearranged vocals and sounds, sometimes kind of resembling early Missy Elliot material, at other times simply unanticipated and mind-boggling. FAY's approach to composition and arrangement is probably best illustrated by the LP's cover art, with which the artist vividly elucidates her own method: "The cover art demonstrates that the record was edited visually. each sound is placed, not in a grid or a sequence, but its distance in time from the others is measured by visual space. In this way, I could retain a human element, and a performative element. Also, there was an opportunity for chance. A rhythm I wouldn't have constructed on my own, a section of a vocal line accidentally looped, creating a rhythm. Also in this way I could have slight variation constantly. Each measure being slightly different. Or I could have hesitations or a stronger attack. I was made to be conscious of every sound I was making along the linear path, rather than setting up a sequence and letting it run or loop." DIN will be released by Time No Place and is due June 13 digitally and June 25 on vinyl. Read more → Incredibly excited about the upcoming full-length by enigmatic female solo artist FAY, a wildly unique effort that is tough to classify in any sense. Fractured, intricate beats and fancifully processed and rearranged vocals and sounds, sometimes kind of resembling early Missy Elliot material, at other times simply unanticipated and mind-boggling. FAY's approach to composition and arrangement is probably best illustrated by the LP's cover art, with which the artist vividly elucidates her own method: "The cover art demonstrates that the record was edited visually. each sound is placed, not in a grid or a sequence, but its distance in time from the others is measured by visual space. In this way, I could retain a human element, and a performative element. Also, there was an opportunity for chance. A rhythm I wouldn't have constructed on my own, a section of a vocal line accidentally looped, creating a rhythm. Also in this way I could have slight variation constantly. Each measure being slightly different. Or I could have hesitations or a stronger attack. I was made to be conscious of every sound I was making along the linear path, rather than setting up a sequence and letting it run or loop." DIN will be released by Time No Place and is due June 13 digitally and June 25 on vinyl.

Looks Like Miaou: “Minuit 25”.

13 Apr 2012 — Henning Lahmann

Informed by no wave, early punk and garage, male/female duo Looks Like Miao certainly takes comfort in the noisy side of things. Calling the remoteness of the French countryside home, their debut is filled with an odd sort of bustling nervousness that usually does not spring to mind when thinking about the stereotypical origin of vin rouge and joie de vivre (pardon). But be that as it may, this is all commendably raw and unpolished material here, straightforward and playful and most of all almost grotesquely accessible, especially the stupefying and thoroughly hilarious "Canif & Diana Ross", but just as well the reverb-dripping, strangely romantic interplay "Minuit 25 ", the LP's second single that was revealed earlier this week. To record the whole album took either exactly 27 minutes (its running length) or a couple of years for all its concealed artsy conceptualisation, but either way it's an alarmingly enjoyable effort. Warmly recommended, provided you dare to step away from the pacifying coziness of Balam Acab for a minute. Looks Like Miaou's self-titled LP will be out April 30 on Brisbane, Australia-based Bon Voyage. Be sure to also check out the even grittier and more furious "Canif & Diana Ross": Read more → Informed by no wave, early punk and garage, male/female duo Looks Like Miao certainly takes comfort in the noisy side of things. Calling the remoteness of the French countryside home, their debut is filled with an odd sort of bustling nervousness that usually does not spring to mind when thinking about the stereotypical origin of vin rouge and joie de vivre (pardon). But be that as it may, this is all commendably raw and unpolished material here, straightforward and playful and most of all almost grotesquely accessible, especially the stupefying and thoroughly hilarious "Canif & Diana Ross", but just as well the reverb-dripping, strangely romantic interplay "Minuit 25 ", the LP's second single that was revealed earlier this week. To record the whole album took either exactly 27 minutes (its running length) or a couple of years for all its concealed artsy conceptualisation, but either way it's an alarmingly enjoyable effort. Warmly recommended, provided you dare to step away from the pacifying coziness of Balam Acab for a minute. Looks Like Miaou's self-titled LP will be out April 30 on Brisbane, Australia-based Bon Voyage. Be sure to also check out the even grittier and more furious "Canif & Diana Ross":

Airbird: “Goodnight”.

13 Apr 2012 — Henning Lahmann

Just in case you missed it, the latest tune by long-standing NFOP favorite Airbird was debuted earlier this week, "Goodnight" being a lush and atmospheric, pretty cinematic synth pop tune that instantly evokes images of extended night cruises, distant inner city lights and deserted relics of civilisation, leaving the listener with a soothed yet somewhat disillusioned mind. And to be clear, that's basically a good thing to feel. After all, we'll probably never find our way back, but it's good to know that we've been there at least once. Now however, it's time for the closing credits. "Goodnight" will be part of Airbird's Trust EP, which is out May 29 via Software. (via) Read more → Just in case you missed it, the latest tune by long-standing NFOP favorite Airbird was debuted earlier this week, "Goodnight" being a lush and atmospheric, pretty cinematic synth pop tune that instantly evokes images of extended night cruises, distant inner city lights and deserted relics of civilisation, leaving the listener with a soothed yet somewhat disillusioned mind. And to be clear, that's basically a good thing to feel. After all, we'll probably never find our way back, but it's good to know that we've been there at least once. Now however, it's time for the closing credits. "Goodnight" will be part of Airbird's Trust EP, which is out May 29 via Software. (via)

EmAy: “Just aMuk”.

12 Apr 2012 — Tonje Thilesen

If you happen to be a long-time reader of this blog, you might know that Ontario, Canada's Mubarik Adams aka EmAy has been one of our very favourite experimental rappers in the "blogosphere", ever since we stumbled upon his rework of Karen O and the Kids back in the spring of 2010. And even so, EmAy has definitely proved to evolve musically during the past two years he frequently has been putting up new tunes on the internet; the earlier ones with production leaning more towards shoegaze esque, glitchy beats, both with or without his own vocals. The rough and exploring sound of EmAy's earlier productions is still intact on his brand new LP Adam however, but with sharper edges and perhaps more polished lyrics, all though still having a strong DIY touch in its whole. He even did a track with the finest experimental rockers of Ramona Falls (below), and one featuring our dearest Steffaloo — everything available for a free download of over here. EmAy - Just aMuk EmAy - Method [with Scott Kid] EmAy - Luminescence [with Ramona Falls] Read more → If you happen to be a long-time reader of this blog, you might know that Ontario, Canada's Mubarik Adams aka EmAy has been one of our very favourite experimental rappers in the "blogosphere", ever since we stumbled upon his rework of Karen O and the Kids back in the spring of 2010. And even so, EmAy has definitely proved to evolve musically during the past two years he frequently has been putting up new tunes on the internet; the earlier ones with production leaning more towards shoegaze esque, glitchy beats, both with or without his own vocals. The rough and exploring sound of EmAy's earlier productions is still intact on his brand new LP Adam however, but with sharper edges and perhaps more polished lyrics, all though still having a strong DIY touch in its whole. He even did a track with the finest experimental rockers of Ramona Falls (below), and one featuring our dearest Steffaloo — everything available for a free download of over here. EmAy - Just aMuk EmAy - Method [with Scott Kid] EmAy - Luminescence [with Ramona Falls]

Premiere: Paco Sala - “Earn Your Stripe”.

12 Apr 2012 — Henning Lahmann

The fine folks over at Boomkat just called it one of the finest debuts they've heard on Digitalis and named it "album of the week", and boy we couldn't agree more: Paco Sala's Ro-Me-Ro is a stunning effort, a work of ten tightly knit and consistently magnificent tracks, some of them soothing ambient instrumentals by Konntinent's Anthony Harrison alone, but mostly otherworldy and contemplative collaborations between him and the very talented vocalist Leyli, whose crystalline voice truly sets this LP apart from the mass of releases in this field. While without doubt deeply rooted in drone and forward-thinking experimental, kosmische-informed synth music, what we have before us as a result are some of the most beautiful and honest pop songs we've come across this year. You've already heard the first single from Ro-Me-Ro, the haunting standout track "Gifts of the Bloom", a little while back. Now, we're more than happy to premiere the stream of the second track, "Earn Your Stripe", another breathtaking example of ethereal, intricately textured songcraft and another of the seven tracks that feature Leyli's incredible vocals. Ro-Me-Ro is out now. Get it here (North America) or here (rest of the world). Highly recommended. Read more → The fine folks over at Boomkat just called it one of the finest debuts they've heard on Digitalis and named it "album of the week", and boy we couldn't agree more: Paco Sala's Ro-Me-Ro is a stunning effort, a work of ten tightly knit and consistently magnificent tracks, some of them soothing ambient instrumentals by Konntinent's Anthony Harrison alone, but mostly otherworldy and contemplative collaborations between him and the very talented vocalist Leyli, whose crystalline voice truly sets this LP apart from the mass of releases in this field. While without doubt deeply rooted in drone and forward-thinking experimental, kosmische-informed synth music, what we have before us as a result are some of the most beautiful and honest pop songs we've come across this year. You've already heard the first single from Ro-Me-Ro, the haunting standout track "Gifts of the Bloom", a little while back. Now, we're more than happy to premiere the stream of the second track, "Earn Your Stripe", another breathtaking example of ethereal, intricately textured songcraft and another of the seven tracks that feature Leyli's incredible vocals. Ro-Me-Ro is out now. Get it here (North America) or here (rest of the world). Highly recommended.

Tokyo Hands: “What Have I Done”.

12 Apr 2012 — Tonje Thilesen

The young folks of the Philadelphia based electronic producer Tokyo Hands recently finished their EP No Nights, and this slightly darker club shot below is amongst my favourites from its 20 minute spin. Order the tape via Locus Recordings. Tokyo Hands - What Have I Done (feat voyeurs) Read more → The young folks of the Philadelphia based electronic producer Tokyo Hands recently finished their EP No Nights, and this slightly darker club shot below is amongst my favourites from its 20 minute spin. Order the tape via Locus Recordings. Tokyo Hands - What Have I Done (feat voyeurs)

Stream: Greenpot Bluepot - Ascend at the Dead End.

11 Apr 2012 — Jesse Thompson

NYC artist Natalie LeBrecht has a new album release under the Greenpot Bluepot moniker titled Ascend at the Dead End. Co-mixed and produced with Dave Portner (aka Avey Tare of Animal Collective), the album does a wonderful job of combining melodic sensibilities that are common in more popular forms of contemporary music with experimental harmonic and monophonic textures. On the whole, LeBrecht's dynamic vocals range from tonguey shrills like Kate Bush at her most eccentric, something like "Wuthering Heights" perhaps, to a mystical, chant-like tone similar to Nico. Combine all this with constantly shifting rhythmic structures that span everything from celebratory tribal ritual to opium den trance, and you have an album that's as vicerally enjoyable as it is cerebrally captivating. LeBrecht has worked extensively with minimalist composer and artist La Monte Young, most notably on his acclaimed Dream House sound and light installation, and the avant-garde musician's influence is apparent, particularly in the album's more drone-y moments like "Sarangi" where sustained notes and chords intertwine to form a sonic core that boasts raga-styled vocal drifts like enchanting solar flares. Stream Ascend at the Dead End below, and watch the album's first video, "Melting Sword", directed by Brett Milspaw. Read more → NYC artist Natalie LeBrecht has a new album release under the Greenpot Bluepot moniker titled Ascend at the Dead End. Co-mixed and produced with Dave Portner (aka Avey Tare of Animal Collective), the album does a wonderful job of combining melodic sensibilities that are common in more popular forms of contemporary music with experimental harmonic and monophonic textures. On the whole, LeBrecht's dynamic vocals range from tonguey shrills like Kate Bush at her most eccentric, something like "Wuthering Heights" perhaps, to a mystical, chant-like tone similar to Nico. Combine all this with constantly shifting rhythmic structures that span everything from celebratory tribal ritual to opium den trance, and you have an album that's as vicerally enjoyable as it is cerebrally captivating. LeBrecht has worked extensively with minimalist composer and artist La Monte Young, most notably on his acclaimed Dream House sound and light installation, and the avant-garde musician's influence is apparent, particularly in the album's more drone-y moments like "Sarangi" where sustained notes and chords intertwine to form a sonic core that boasts raga-styled vocal drifts like enchanting solar flares. Stream Ascend at the Dead End below, and watch the album's first video, "Melting Sword", directed by Brett Milspaw.