Watch: Doomsquad “Ovoo”

12 Dec 2013 — Parker Bruce

Canadian trio Doomsquad's new video for "Ovoo", which recently came out on No Pain in Pop/Hand Drawn Dracula, calls to mind all bad things that happen in the woods (see Xavier Dolan's Les Amours Imaginaires, The Hole, The Hunger Games, or any horror movie involving a "cabin in the woods" ever). "Ovoo" has trilling vocals and pan flutes which we will hopefully hear more of on Kalaboogie, their first album, which comes out in February. Find "Ovoo" here and here.

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Julia Holter “Willow Weep (2013 Remaster)” (exclusive)

10 Dec 2013 — Henning Lahmann

Originally released by Human Ear Music in 2007, Julia Holter's debut EP Eating the Stars saw its first reissue on cassette by Tokyo-based imprint Sixteen Tambourines in early summer of 2011 in a tiny edition of 40 copies, only a few months before the LA-based artist hit it off with her first proper full-length, the acclaimed Leaving Records release Tragedy. Over the years, much has been written about Holter's evolution from a lo-fi leaning bedroom artist to today's composer who is embracing high-end studio environments for the opulent orchestral arrangements which could be heard on this year's outstanding LP Loud City Song (for example by this humble author, in case you speak German; sadly never found the time to work on a translation), so there's probably no need to recount that narrative right now. After having released three albums within three years that quite well map this development, culminating in Holter being signed by Domino, surely one of the most 'major' of all operating indie labels, the time however seems right for a little contemplation, embodied by a Human Ear holiday special: a handmade, remastered re-release of Eating the Stars.

In label head Jason Grier's own words: "The music has been completely remastered, track-by-track, incorporating vintage analog outboard sounds and re-amplification of many instrumental parts to bring warmth and fullness to the mix. The packaging is hand-folded 300gsm South-Indian Khadi cotton rag paper, red vellum inner lining. The envelope is folded like a 19th century letter, with the edges gold-leafed by hand, and finally sealed with red scented wax."

Below, you may take an exclusive listen to the "new" version of one of my all-time Holter favourites, the beautifully low-key EP closer "Willow Weep". Check it out, and for purely academical reasons, listen to any piece off of Loud City Song immediately afterwards.

Pre-order Eating the Stars now via HEM.

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NFOP x BCR #11: Some of Our Favourite Tracks of 2013

09 Dec 2013 — Henning Lahmann

As most of you will certainly be aware of by now, Tonje and I have been broadcasting the NFOP Show on Berlin Community Radio for a couple of months now, our spot is every Friday afternoon at 4pm CET. In case you missed it, last Friday I played some of my favourite tracks of the year ("my", because I was on my own). It's been a great year for new music from all kinds of scenes and genres, so this can naturally only be a small-ish selection, though I dearly hope you'll agree that it's quite a good one. The songs are loosely grouped but otherwise in no specific order, listen to the whole show below.

Tune in again this Friday at 4pm when we'll be together again, presenting even more of our most beloved tunes of 2013.

Tracklist

Young Echo "Voices on the Water" (from Nexus, Ramp Recordings)
Iceage "Ecstasy" (from You're Nothing, Matador)
Kitty "Dead Island" (from D.A.I.S.Y. rage, self-released)
Alexander Geist "A Woman's Right to Choose" (single, New Pangea)
Airhead "Autumn" (from For Years, R&S)
Forest Swords "The Plumes" (from Engravings, Tri Angle)
Dean Blunt "Papi" (from The Redeemer, Hippos In Tanks)
Inga Copeland "Obsession 2" (from Higher Powers, self-released) (direct d/l)
Lucrecia Dalt "Vitti" (from Syzygy, Human Ear Music)
Julia Holter "He's Running Through My Eyes" (from Loud City Song, Domino)
Lee Noble "Remind Me" (from Ruiner, Bathetic)
Emily Reo "Metal" (from Olive Juice, Elestial Sound)
Yohuna "Apart" (from The Le Sigh Vol. 1, Birdtapes)
Mala "Changes (Harmonimix)" (12", Deep Medi Musik)

 

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Intimatchine “I’ll Eat You Last”

09 Dec 2013 — Evelyn Malinowski

Chelsey Rae Holland and Christopher Steven Wormald form LA duo Intimatchine, whose new 5-track EP I'll Eat You Last starts with bulging keys, followed by Tarantino-esque guitar. Holland's voice, with only a taste of delay but consistently slow and deliberate, drapes over the sexy desolation conveyed in this archetypal song structure, the one that intersects sloppy fashion and 1950s love ballads. Their Facebook slogan, "Doing it without a crowd since 2008," captures the type of parody afoot in their sound. It plays with gender politics and apocalptic economic theory, but doesn't really drive to say something new, yet it does. But also not. No one is in the crowd to listen, but something will be said anyway.

One might as a result listen to the EP and envision two friends swaying to these sluggish beats, grinning slightly, performing in an empty Hollywood dive bar, with expressionless cowboys sitting around drinking Bud Light.

With other titles running around like "Do Me," "Heavenly Creatures," the EP title itself, and lyrics such as "Hey mister, are you rich? I don't care, I gotta man to take of me which is more than you can say about yourself, tough guy. You know what I wanna be? Your feminist. I know you don't believe me, well I don't believe you," participation in contemporary post-internet culture and all of its glorious irony is keenly communicated. Intimatchine cite the sounds and spoofs of groups like Tropic of Cancer, HTRK, and Hype Williams; yet they have something a little different and definitely unclassifible. It could be the introductory chanting in tracks like "Are You Rich?" and "Sea You in Hell," but more than likely is something radiating from the transcendence available through being unapproachably, darkly humourous. 

You can stream I'll Eat You Last below.

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Nine Shields “Quadrangle Shift”

05 Dec 2013 — Richard Greenan

Very little is known about Nine Shields - all we have to go on is this hypnotically tumbling arpeggio orbited by a warming, oxidised swirl of strings. Calmly floating between The Advisory Circle's haunted public information broadcasts and BoC's blunted dystopia, "Quadrangle Shift" could soundtrack a physics O-level VHS if the tape was buried under a tree for ten years then dug up again. We look forward to further transmissions.

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Interview: Avalon Emerson

04 Dec 2013 — Henning Lahmann

San Francisco-based producer Avalon Emerson has been on our radar for a good while now, so the recent news of the imminent arrival of Emerson's debut physical release, the Pressure/Quoi! 12", met our unashamed excitement. The vinyl includes four tracks – two new productions by herself, and two different remixes on "Quoi!" on the flip side, both provided by German duo Tuff City Kids. In anticipation of the release, we've talked to Emerson via email about her work and the electronic music scene in the Bay Area. Read the interview after the break.

The Pressure/Quoi! 12" is out January 13 on San Francisco's Icee Hot. Stream clips below.

(Photo by J. Astra Brinkmann)

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You've been producing tracks for a while now, but this is your first – physical, "proper" – release. When did you first start making music, and when did you start DJing?

I was in a couple bands in highschool, but I have never been a fan of 'jamming', or really collaborating with other musicians beyond a remixing relationship, so pretty quickly I fell in love with producing and the studio environment. I was the go-to person to record, mix down and produce my friends' music. I have been working from a scrappy DIY, experimental perspective, systematically teaching myself what I needed to know on pirated software, borrowed microphones, and faking-it till I make it trial-and-error. I began really DJing when I moved into this 14-person warehouse in SF's SoMa district. I was 20 at the time, so it was the only place that was available for me to play in the US. I didn't realize then but soon found out that playing all night at private warehouse parties was actually MUCH more fun than trying to cram a decent vibe into 50 minutes in between local electro partyboys or warming up for apathetic indie band bros scraping together a boring serato set.

How would you describe your development from your first tracks to "Pressure" and "Quoi!"? I find them both a bit harder, perhaps more leaning towards techno compared to the first ones. Has something changed regarding your influences or the stuff you're into?

I believe if you want to get good at something, do it in a constant, tight iteration loop, and take advantage of the public stage the internet and blogosphere affords. When I was just starting out, I released a track a month for about a year (made many more that never saw the light of day) on Soundcloud. I feel like I've gotten over most technical learning curves, and I'm at the point where I feel very efficient at translating the idea I hear in my head into audible tracks. I've learned a lot, technically from working with Christopher Willits, who helped me mix down "Pressure" and "Quoi!!", and my new release with Spring Theory later in 2014. A lot of this stuff is actually quantitative science, with rules and best-practices to learn and formulate a framework to creatively work within. When I listen to some of the stuff Carl Craig and Kevin Saunderson did 20 years ago I know I still have a TON to learn. It's exciting.

How's the electronic music scene in the Bay Area? How is the situation concerning spaces to make and perform such music and to throw parties?

There is no shortage of talented, driven and creative people involved in music here. The influx of tech money, even since I moved here in 2009 is palpable, and is most felt in the club/nightlife industry. Every big city deals with something similar, the dramatic struggle between the traditionally warehouse/industrial/club areas of town, and the new MBA's who are moving into the new, multi-million dollar condos next door.

You've visited Berlin before. As an artist producing electronic music, did you find the city immediately inspiring? What clubs/spots/scene did interest you in particular, and did you find anything you're missing in SF?

I had always heard about people coming back from visiting Berlin and just gushing about how awesome it is. It can be kinda annoying (though I'm very much THAT person now too). To say Berlin today has achieved an impressive level of professionalism when it comes to techno is a boring understatement. I'm from Arizona so I know the cold would eventually REALLY get to me, but I would like to try out living there for a time.

How did you get in touch with the Icee Hot crew?

I've known the guys for a while. I was an intern at XLR8R when I was 20. And I even used my fake ID to get into (editor in chief of XLR8R and co-founder of Icee Hot) Shawn Reynaldo's old party Tormenta Tropical. I went to the first Icee Hot parties and Will and Ryan (Ghosts on Tape) have been friends for a while. I'm very impressed with what they have managed to build in such a short time and super excited to contribute to the label.

There's a lot of discussion going on this year about the position and role of female producers within electronic music. What are your thoughts on this, from your personal perspective, would you agree that women are still marginalized in this field? What are your own experiences regarding being booked, or concerning journalists covering your music?

So, during the day I'm a Ruby on Rails and UX dev working in SF tech. It's an understood and boring fact that men grossly outnumber the women here too. Just like in electronic music, I keep an open mind and try and go into every situation with the best intentions, do my job the best way I know how, and help to be an example for the future generation of women who want to enter a predominantly male field. There will always be the few faux-alpha-male-red-pillers out there who want to remind all the little ladies of their place, but they're a dying breed and I'd rather not focus on the few bad apples. For the most part, whether in tech or in techno, I think women bring a unique and valuable perspective to the table. At the risk of sounding cheesy and namaste, all genders, races and orientations dance and listen to music, and the more voices we get to hear from, the richer all our experiences will be.

What's coming up next? Any further releases or even a full-length in the works?

Working with the hyper-talented interactive 3D artist Cabbibo for a piece to go along with "Quoi", which will be beautiful. Then after the Pressure/Quoi! EP comes out in January, I've got another 12" coming out on a new SF/Paris label called Spring Theory in the spring, which I'm fantastically happy about. Right now I've got about a full-length's worth of material I'm trying to decide what to do with. Records take a long time, man! Gotta be patient!

Are you planning on performing outside the Bay Area or go touring sometime soon?

I love going down and playing parties in LA and I've got a couple of those lined up. The low density and year-round warmth of the city makes it perfect for cavernous warehouse parties downtown. I'm also working with a crew up here on a party series called Play it Cool. It's a roving party where we go crazy with the decorations, bring in real DJ's DJs to guest, and I even built this scrappy lighting control rig out of a bunch of dimmers and a photo box to control a bunch of lights to the music. We're having a lot of fun with it.

Vancouver Sleep Clinic “Collapse”

03 Dec 2013 — Henry Schiller

The solitary vocal yearnings of James Blake bump haughtily up against a little stabbing synth-pop keyboard action in "Collapse." The latest track from Tim Bettinson, an Australian teenager who goes by the name Vancouver Sleep Clinic (yes, we have run out of things to name our music projects), "Collapse" is deep and warm; a full-on assault by succulent keyboard swells and ear-licking vocals. But "Collapse" also manages to keep a cool, collected distance, as much a summer breeze as a winter rush. Listen to "Collapse" below, and then fall, sobbing, to your knees; and then go get a beer with your pals. 'Tis only appropriate.

Expect a new EP from Vancouver Sleep Clinic soon.

 

 

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