20 Feb 2014 — Trey Reis
Looking at the visual geography of “M4U” on the Soundcloud embed, it’s the kind of track you turn the volume on your computer down a few notches before pressing play. It could be a blast of harsh noise from the looks of its plateaued waveform. It’s not, of course, and the body of that unsloping wall of sound is built by the throbbing quality of the unrelenting bass beats driving the track. And it never lets up. It’s a welcome change from all of the glitchy inconsistencies of so much of beat-based music being magnetized and compressed to tape. But, then again, Beer on the Rug has always had a tendency of keeping things cool. Like “welcome, have a seat anywhere you like, here’s a beer in a cup. Things rarely get so out-of-hand that it ends up on the rug.” Well, we’re not ruling anything out.
“M4U” is the first single from the new ENDO KAME album, MUSIC 4 EON GREEN available for streaming now from the Beer on the Rug website. No word yet on a physical release, but considering the BOTR track record, I wouldn’t rule that out either.
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19 Feb 2014 — Kelsie Brown
By no means a stranger to NFOP, Paris producer Sebastien Forrester, aka Holy Strays has changed directions a bit and remixed rapper Rejjie Snow, the pseudonym of Dublin, Ireland's Alex Anyaegbunam. Similar to how Forest Swords handled the production of young hip hop artist Haleek Maul's "Lobo", Holy Strays adds a dark and almost baroque edge to Rejjie Snow's already menacing words. "Snow" is taken from Rejovich, Anyaegbunam's 2013 debut EP on Kaya Kaya Records. It works so well that we can barely even imagine it's a re-work, as Rejjie Snow's deep voice flows too well with the ominous bells placed carefully by Holy Strays. We can only hope that this is more than just a chance encounter for the French producer, and that more collaboration with hip hop artists is to come.
Stream "Snow" as remixed by Holy Strays below:
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17 Feb 2014 — Parker Bruce
Over the summer, Swedish act Shadow Shadow (aka Mattias Friberg) gave us a 7" that went straight to the heart. Now, the full-length Riviera is following on March 4th here in America courtesy of Shadow Shadow's own label Molnstaden. "Kill Screen" further demonstrates his mastery of synth sagas. Friberg makes songs that are thoughtful and relentless, taking this very common sound further than many of his brethern. Like "1000001" and "Riviera" before it with their cataclysmic words ("we would not fall in love," "I can't fight the nights all by myself"), "Kill Screen" aches beyond belief as it waltzes, dallies, and dithers. It's music that immediately puts a lump in your throat, constricting your breath, and we wouldn't have it any other way. Kicki Halmos' vocals come across as if they are hidden behind a great screen. As I write this, I'm sitting in a café/bar in Brooklyn where, a few minutes ago, they lowered the lights – which feels like the ideal way to listen to Shadow Shadow's all-encompassing tomes. Find the pre-order here.
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17 Feb 2014 — Parker Bruce
Finally, after two long years of anticipation, one of England's best new bands, Fear of Men, are about to put out their first proper album, Loom. "Alta" and "Waterfall" both demonstrate how much Fear of Men have learned about structure and changes in tone since last year's Early Fragments. The LP's title reflects the band's sonic expansions, intimating a sound that is cocoon-like and enveloping. "Alta" is a low key sea shanty of sorts delving into the tufting tune of "Waterfall." Where the lyrics on Early Fragments expressed a picaresque form of alienation, "Waterfall" gives hope: "I'm not alone in this." Ending with a minute-long string instrument solo, there surely are very promising things ahead.
Loom is out April 21 via Kanine Records. Pre-order now over here.
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15 Feb 2014 — Kelsie Brown
Philadelphia sweethearts The Interest Group have been off the radar for a while since the release of their debut 7" single The Passenger. Fortunately, they've decided to warm our hearts this Valentine's Day with their newest single. "Wire" starts off with a hazy period of ambiance, reminiscent of something Mutual Benefit would dream up, before dropping into a smooth and catchy melody. Borrowing from their roots in 60s psychedelia, "Wire" is a dreamy and expertly crafted psychedelic pop song. As always, they don't disappoint.
"Wire" is taken from The Interest Group's forthcoming 5-track EP, the first of two, to be made public on February 24. Listen below:
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11 Feb 2014 — Parker Bruce
Alison Valentine, New York based singer and florist recently released the beaming, Chrome Canyon produced track "Curious", and we're happy to present the first remix courtesy of another chrome-inspired artist — fellow New Yorker and NFOP favorite Chrome Sparks. Here, Chrome Sparks' Jeremy Malvin lifts the original production off the ground, giving the composition a dramatic touch. Expect another remix of "Curious" coming up soon, by none other than the magnificent Blood Diamonds. But first, as promised, Chrome Sparks:
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11 Feb 2014 — Evelyn Malinowski
I am so relieved to come across this type of music, this death metal electronica. A local figure in the music scene, his speciality being electronica, was lecturing me the other day about how dubstep has changed the standard design of electronic music forever, and that from now on sustained bass is a must, causing a rather gritty, black metal attitude to join the ranks. While I didn't agree with him at all, especially because he was narrow-mindedly looking over house archetypes and other factors that haven't participated in the dubstep movement, I feel somewhat satisfied in finding his examples almost spot-on available in The Body's "Hail to Thee, Everlasting Pain." With their cut-and-pasted compositions, lain over with proper guttural metal screaming and sometimes perforated guitar, I'd say it's laughable how convincingly this work qualifies as an actual metal release.
The Body's full-length I Shall Die Here is out via RVNG Intl. on April 1.
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07 Feb 2014 — Henry Schiller
If Dent May had come out of South London and not Mississippi, he might sound something like Trudie Dawn Smith. On "No Pop", Smith drums every ounce of warmth and joy that she can into slick, "rock group" instrumentals - like May, she's working with fairly standard equipment, but never lets anything sound so canned or obvious as to induce a hipster cringe. Even the stray, deliberate cough strikes more as an instance of pristine pop excitement than some lame attempt at studio authenticity. "No Pop" is a crisply produced post-punk (think Police, not Joy Division) meditation on a cycling, but never not unsurprising bassline. "No echo of you will be left here" repeats Smith into the increasingly scuzzed out chamber of drum, bass, and cauterwauling electronics she's built around herself. Smith and drummer/producer Tom Skinner deliver a track that is minimally obscure and pop-sharp. Already drawing comparisons to The Slits, "No Pop" does show a similar rhythmic focus and groove-influenced melodic drive to the famous British punk band. Indeed, this may be the "Typical Girls" of the post-dub era.
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