@@@ Guchi: Taken Over ft. Ladipoe (Mad Solution, 2022) I’m going bottom to top today and this is my second listen off the African section of Apple Music. It’s very similar to the track below with a chill sitch and lower tempo. Let’s skip over to the track which is clipped below. More smooth loverboy business but from the female point of view. I really like the keyboard part and the beat is all right but it’s too normie for me. African normie is still normie. A bit of a bust today with the African Apple recommendations.
@@@ Asake: Terminator (Empire, 2022) I’m checking out the African section of Apple Music and this guy is towards the top of the recommendation list. It’s a chill electro r&b with plenty of call and response, but very influenced by American r&b. Big big loverboy feels when the lead vocalist comes in. A nice single line clean guitar solo, then back to the autotuned vocals. It’s a solid groove but this is for the ladies, smooth business.
@@@ King Jammy: Closed Border Dub (Greensleeves, 2022) A coupla listens off the WRIR weekly playlist from last week. King Jammy brings back the dubwise flavors for the post Covid party. Well maybe post Covid, and maybe a party. Some newer dub records don’t have that trippy grit of the classic ones and though this opening track is no murky Lee Perry business, it feels dubby and not all cleaned up. All the titles are pandemic related with titles such as Dub for All Hospital Workers and Track and Trace Dub. Most dub records don’t contain much in the way of guitar shredding but there was a nice Funkadelic style guitar shred towards the end of the first track and the second track has it as well. Let me google who this guitar player might be, ah shit I can’t find anything. Whoever you are I honor you. There is some tasty shit on this record, this might make my year end list, so check it out, King Jammy 74 years young and kickin’ it!!!
@@@ LALALAR: Abla Deme Lazim Olur (Bongo Joe/Dunganga, 2022) This is a pre-release track from a Turkish outfit that I got to via the WRIR weekly playlist email. Gruff, low key male vocals, some rock bass, world music flavored synths and overall a sly party track. A little shreddy electric guitar, is the rock guitar making a comeback??? This is a pretty slammin’ track to be hitting for the onset of spring, lucky to be alive and kickin’ some party music, you can’t go wrong with that. It’s a bit hard to describe this track as it’s a mash of a lot of different sounds, but thank God we have the interwebz and you can hear it for yourself if you click on tracks you don’t know. Good listens today, get your world music on.
@@@ VTSS: Goin Nuts (Technicolour, 2022) I got to this track via the UK electronic music magazine Crack. These guys are up to some techno business with not classic beats and fat ass bass pushin asses around. Some glitch action, some high hat skitter action and boom! This is a 6 track EP with some hip hop flavors, some abstract electronic sounds, some classic techno flavors and funny titles like the ‘Propaganda of Success’ and ‘Why we Don’t deserve Nice Things’. This is above average approaching slamming so if you dig electronic throw this quickie EP a listen and you might feel it.
@@@ Moonchild Sanelly: Covivi (Transgressive, 2022) This is our sole listen from this week’s Line of Best Fit. Sanelly is part of the South African electronic scene and are 5 pre-releases tunes up on Apple Music where her record called is branded as pop. It’s a poppy track but it’s also very funky track with some big hand drumming sounds. Lots of chanting type vocals, you know your classic old school drums and vocal interaction. I didn’t love the track Stripper that I checked out but these tracks are full of sophisticated rhythm. The third track I peeped and the opener on the record is called Undumpable but I think the first track I peeped is the best of what I heard.
@@@ Charlotte Adigery & Bolis Pupul: Blenda (DeeWee/Because, 2022) I got to today’s listens via Line of Best Fit’s weekly email. Stripped back electro with high female energy, some Talking Heads flavors, and even maybe a few Prince pubes up in there as well. I read the blurb and they’re trying to pop out some real sentiments in an electro landscape and I respect the attempt and it helps my ears that they have a fair amount of funk bass popping here with the synth bass and the drum machine action. I like the idea of these hybrid albums that take bits from different places and smash em up and I peeped some of the tracks when it first came out last week. This track is the best of what I remember happening, mostly because of the higher funk factor. Other tracks are synthier and gauzier.
@@@ They Hate Change: From the Floor (Jagjaguwar, 2022) We had some New Orleans dixieland jazz last week out on the Subpop imprint and today we have some dancefloor banging out on indie stalwart Jagjaguwar. Chill and pulsing in the verse it goes drum and bass in the chorus before returning to the verse cooldown. A couple of MCs pushing the track and there ya go for the formula. A fair amount of glitch/granular sounds happening up in here as well. I think they got a bit carried away with the delay plugins, they could clip that back a bit and get a less janked out track. It’s the last track on the record, and it’s the pre-release track for a full length banger due out in May. I hate to judge a whole record by the last track as those tracks tend to be unique but I’m split as to whether I would peep more. Like some sounds, don’t like other sounds.
@@@ Burial: Antidawn (Hyperdub, 2022) I got to this track I think via Invisible Oranges but I’m a bit confused as it’s slotted as electronic music on Apple Music and Invisible Oranges is a metal website. There are five tracks over 43 minutes and the Apple Music blurb say it’s virtually beatless. I like this label but I’m not sure I’m up for 43 minutes of beatless. I’ll peep it with an open mind. I’m checking out the beginning of the second track and there are the faintest traces of rhythm like chattering insects and I’m feeling this. It’s so light but just that faraway piece of rhythm is just enough to anchor you and ground you with all the ambient business floating by. It feels random with occasional one line sung melodies and it’s very ambient (a plus for me) so I would say this is going to be a personal decision. Folks need to check it out to see if they want to deal. I’m going to go back to the second song and start again and try to eat the whole sandwich because it was compelling for me.
@@@ Ruth Mascelli: Petri Dish (Discpiles, 2021) I got to the above, brand spankin’ new for ’22 track via an Invisible Oranges tweet and this track via the Crack Magazine everybody who works there favorites typa thing email click through to a link. It opens with a bouncing bass typa line, more video game than funk show. It’s a very sparse sound stage with a kick drum added, some left to right distorted snare-clicks travelling back and forth with an occasional dubwise thing. Lotsa tension with a slow build. It’s a 6 minute banger and I’m thinking this is going to be a high end department store listen. Everything manicured and in its place displayed with maximal taste. I mean you can get sweaty to this but the refinement here appears to be the emphasis. So fresh and so clean as a rapper once said. I’m giving a quick listen to a track further down — it’s called Circle of Shit and it employs the same aesthetic despite the messy title. There are parts of this record that really work for me but the slightly static nature of the tracks doesn’t get me jumping up and down.
@@@ Nick Cave & Warren Ellis: Carnage (Goliath/Awal, 2021) Title track off a record slotted at #6 on NME’s best of 2021 records. I try to check out Cave’s recent work much more for the arrangements than his pronouncements which people love and I don’t hate but I’m not shitting my pants over. The synths (assumption) and other garnish pulsates and modulates in a most pleasant manner. This track has been tricked out with string arrangements and background singers so it’s got a full drama tilt to it. The extra drama detracts a little for me and it does appear that Nick Cave is crossing over into the Leonard Cohen of our times. I could use some variety out of him but that’s just me.
@@@ For Those I Love: You Stayed/To Live ( , 2021) I think I’ve heard this record before but I’m going to double check. There’s a sad story behind this record, this guy who worked in the rave scene with another dude and that dude died and this is a record that digests his passing yadda yadda yadda. Yeah I’ve heard this record and didn’t love it as I thought the spoken word parts didn’t give well with the dancefloor business but lo and behold I’m not the only person feeling that way as there’s an instrumental version of the record and I much prefer it. It’s not my favorite flavor of rave but it’s all right. It’s got a bit of a bombastic feel to the synth sounds and the arrangements but it’s not completely offputting. Lots of folks dig this flavor so I’m in the minority here.
@@@ L’Rain: Fly, Die (Mexican Summer, 2021) Chopped up electronic music with heavy chop, glitch and fragmentary but also a bit of a r&b most notably in the male spoken word stylings. It’s pleasantly intense though crispy on the edges from a lot of sample stacking as well as copious amounts of compression. I don’t have the volume up high but it feels like somebody is trying to shove a transistor radio up my buttocks. I’ll hang for a bit of the second song which changes vibes — less smashed up and more pleasing — good sonic cop after bad sonic cop. Oy, I feel like maybe went from too much intervention to not enough as this one is overly pretty on purpose for balance. I like a lot of the sounds and I like the arrangements — it does a feel all over the place and not artistically consistent and that’s from a dude who loves music that breaks out all over the place. Is it indie? Is it New Age r&b, is it chopped electro, yeah well I couldn’t tell you.
@@@ Black Midi: John L (Rough Trade, 2021) Another listen off the PItchfork best of 2021 and I think I’ve heard this. It’s sort of updated Frank Zappa hopped up on Red Bull. Rock drumming, male spoken word, and a a lot of guitar riffage to drive the track. There are other elements but those are the ones that stand out. It’s got a huge art school feel which I’m not a huge fan of, I guess the strings on the guitars and then a sax skronk really evoke that. If you’re up for this flavor I would head over to Captain Beefheart, get some of that! It’s way weirder and more musical.
@@@ Yves Tumor: Jackie (Warp, 2021) I got to this track via Crack Magazine’s best 25 jams of 2021. To my ears this is a mashup of ’80s krauty rock in the vocal melodies with a little industrial vibe and crunch in the guitars. I’m a big fan of Crack Magazine but I hear this song and it doesn’t make me feel much of anything at all. It comes across to me as a pose and it’s very light on authentic feeling. Maybe somebody else can hear it and feel something real here but I don’t.
@@@ UNIIQU3: Microdosing (Local Actions, 2021) This is a dancefloor banger with the big kick drum, the rhythmic keyboard vamp, and a singer imploring the listener to microdose on her love. I think this would be a fine hook for a listener that’s high off their ass but unfortunately I’m not high and I don’t think being high should be a prerequisite for enjoying a particular song or piece of music. And it just wears the hook out, the verse is better as the female MC leans into the microphone with quick spitting rhymes. Like keyboard part, agnostic on the classic techno beats, and not really feeling the hook.
@@@ Jon Hopkins: Music for Psychedelic Therapy (Domino, 2021) I got to this record via the PItchfork 10 most reviewed albums of the week. I’ve checked out Hopkins and have always thought he could drop a big fat one I would like but he has New Age tendencies that I don’t love. I don’t like New Age sounds, it’s like having somebody blow air up my skirty and I’m not wearing undergarments. There is such a thing as too much comfort. The fifth tune here is titled Love Flows Over us in Prismatic Ways. And who am I to protest, but I do think it’s a bit, ya know flattering and what not. The sonics here are drones on this opening track tinkly percussion. No beats and a few bird chirps. Bird chirps, meh. The second tune comes in with a rain storm and my ticket has pretty much been punched here. I get that there’s an Eastern peace of mind thing going on here, and I’m down with that as I’ve rocked the Upanishads and most of the major Buddhist texts but I would also say that the obviousness of the peacefulness and the stereotypical use of rain and birds lessens the creativity and the impact of the music. Just my view, if you want some really nice drone work framed with nature noises, who am I to say it takes all kinds of folks to fill the world, but it’s not for me.
@@@ Aimee Mann: Suicide is Murder (Self released, 2021) I saw a profile of Ms. Mann in the Guardian. I was never a huge fan of her big hit from back in the day, but you know time moves on and she’s probably a completely different person now. It does appear that she always been quite smart, so let’s peep. Clipped below is the ninth track for your listening pleasure and it’s a piano ballad. I struggle with the piano ballads, don’t blame me blame Elton John. I think it’s a creative title lyric and she executes the lyrics really well. As the tune rolls strings are added and some occasional percussion here and there. She’s got me convinced, suicide is murder. Drumkit comes in at 2:20 with a brushed snare thing. I let the player click through and the record gives me the impression of being a Randy Newman type acidic lyrics dropped into high end, quasi orchestral arrangements sort of record. It’s really nice so check it out if it sounds interesting to you. Somebody had to pay all these musicians so good on them for making a bit of coin.
@@@ aya: once wen’t west (hyperdub, 2021) I got to this from the 10 most reviewed records of the week sent out by the mighty pitchfork. This is a funky and janky banger, the third track of the record with a loose feel, spontaneous percussion and sound flying all over the place occasionally in a less is more arrangement. I dig it, it’s a rare electro track where I dig the lyrics — here they’re pretty processed so not super clear and they rhyme but they don’t distract they add to it. At least for me. I let the player move through and it’s more of the same and I say I will sit down and eat the whole sandwich if you’re servin’ it up. I love the feel of it, irreverent and very not giving of a single fuck.