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Zero 7 – In The Waiting Line (S.P.Y Remix)

The first time I saw Spiritualized live, I was maybe 21, and I was absolutely determined that I would not experience them sober. They were playing in Rochester, about a 90-minute drive from where I was going to college in Syracuse, and I brought a gallon jug of Carlo Rossi merlot — absolutely disgusting shit — in the car with me. I spent the entire ride just obliterating myself. My friends Andy and Ashlea, who were driving, would have to tell me to put the thing on the floor when we pulled up to toll booths. By the time we got to the show, I was just gone. I remember Jason Pierce standing off to the side of the stage, remaining in profile the whole time, never once looking at the crowd. And I remember loving it. I remember nothing else. In their two decades of existence, Spiritualized have gone from making music about mind-obliteration to addiction to recovery to near-death experiences to hard-earned okayness, and from endorphin-rush early love to heartbreak to recovery to middle-aged domestic bliss — all without much altering their sound. But I think I was right to experience them while utterly fucked up that first time. You can break down their music into component parts, into influences and ideas and motivations, but I don’t know why you would. It’s more about the physical feelings of need and contentment, and how those things can bleed into each other — sensations that somehow become even more real and tangible and intuitive when you can barely stand up.

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Gossip’s 5th album, ‘A Joyful Noise’ was released last week, and we’ve been enjoying the sleek disco vibe of this Xenomania-produced era. The second single lifted from the album is the uplifting ‘Move In The Right Direction‘, and we love how the band have bucked the trend of boring lyric videos by actually making an appearance among their own words. Classy:

Join the discussion of Gossip’s new album on the forum

^^^ Click Image To Download ^^^ Genre: Dance Size: 33MB Quality: 320kbps Download Site: Filepost Tracklist: 1. Get Free (Original Mix) (04:50) 2. Get Free (Bonde do Role Remix) (03:43) 3. Get Free (Andy C Remix) (05:31) (Please support the artists and buy their music if you like it)

French/Argentinean producer Douster tweaks the latest single track “Strange Touch” from prolific dance music maestros Sound Pellegrino Thermal Team into what he calls a “weird house remix” which basically transforms the spaced out sounds of the original into more swagged out and tribal vibes.

Sound Pellegrino Thermal Team – Strange Touch (Douster remix) (Mediafire)

Shot and recorded live at the Blue Whale in Catoosa on May 15th, 2012. changeyrlife.com

^^^ Click Image To Download ^^^ Genre: Dance Size: 28MB Quality: 320kbps Download Site: Filepost Tracklist: 1. Only You (Original Mix) (06:21) 2. Only You (Nocturnal Dub) (05:31) (Please support the artists and buy their music if you like it)

It's a bit hard to categorize Hannes Fischer's remix of Soko's hit single "I Kill Her." It's glitchy beat kicks in from the beginning, but never really takes over the song the way many remix beats do. Rather, it eases you into the gentle guitar riff that ultimately sets everything up for Soko's talk/sing vocals. According to her facebook, she's a gloriously lost soul. "I have no life. I just love vegan ice cream and cats and romance and turquoise and sleeping and old notebooks and shooting stars and Netflix. And I may or may not be an Alien." Rumor has it that she's also an actress, and I'm hypothesizing that she uses that jaw dropping french accent to hypnotize the men of Los Angeles pretty regularly.

 

• Soko on Facebook
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• Soko Official

^^^ Click Image To Download ^^^ Genre: Dance Size: 34MB Quality: 320kbps Download Site: Filepost Tracklist: Northern Light (Almighty Radio Edit) 03:30 Northern Light (Almighty Club Mix) 06:07 Northern Light (Almighty Dub) 06:07 (Please support the artists and buy their music if you like it)

Action Bronson and Riff Raff, two rappers who come from very different worlds despite both being extremely gifted white weirdos, last teamed up on the excellent track “Bird On A Wire.” And now they’ve gotten together once again, alongside somebody named Dana Copafeel, trading lines over a floaty track called “Hot Shots Part Deux.” Riff Raff’s verse on this is so good. Listen below.

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It must be pretty awesome to be a producer with Danny Brown’s phone number. The veteran Detroit beatmaker House Shoes will soon release his album Let It Go, and he summoned Brown to breathe fire all over his loping “Sweet.” Download it below.

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Genre: Alternative/Ambiente/Experimental/Pop Country: Iceland

Tracklist

01. Ég Anda 02. Ekki Múkk 03. Varúð 04. Rembihnútur 05. Dauðalogn 06. Varðeldur 07. Valtari 08. Fjögur Pianó

MySpace [mp3 320kbps] df mc

Following a handful of intimate home town shows, the XX have released their worldwide tour dates -- with a handful of stops in every major hotspot. They played a few new songs at the shows over in the UK, and will most likely continue this trend on their tour -- something grand to see first hand. My fellow business partner who has seen dozens of major shows this year said that their London show blew every show he's seen out of the water, a statement that is backed up by their already stellar live reputation. Check the dates below to see if the Indie Kings of 2010 are playing in your neck of the woods.

05/29 – Bordeaux, France @ Le Rocher De Palmer 05/30 – Toulouse, France @ Le Phare 05/31 – Barcelona, Spain @ Primavera Sound 06/08 – Turin, Italy @ Traffic Festival 06/09 – Porto, Portugal @ Primavera Sound 06/15 – Aarhus, Denmark @ Northside Festival 06/16 – Hultsfred, Sweden @ Hultsfred Festival 06/22 – Scheessel, Germany @ Hurricane Festival 06/23 – Neuhausen, Germany @ Southside Festival 06/27 – Haervic, Norway @ Hove Festival 06/29 – Arras, France @ Main Square Festival 06/30 – Werchter, Belgium @ Rock Werchter 07/07 – Gdynia, Poland @ Heineken Open’er Festival 07/14 – Joensuu, Finland @ Ilosaarirock Festival 07/23 – Los Angeles, CA @ The Fonda 07/25 – Seattle, WA @ Showbox At The Market 07/28 – Toronto, ON @ Phoenix Concert Theater 07/29 – Montreal, QC @ Metropolis 07/31 – Boston, MA @ Wilbur Theatre 08/02 – New York, NY @ Terminal 5 08/09 – Sibinek, Croatia @ Terraneo Festival 08/10 – Budapest, Hungary @ Sziget Festival 08/11 – St. Pere, France @ La Route Du Rock 08/18 – St. Polten, Austria @ FM4 Frequency Festival 08/19 – Biddinghuizen, Netherlands @ Lowlands Festival 08/31 – Laois, Ireland @ Electric Picnic 09/07 – Isle of Wight, UK @ Bestival

Following up the other day’s announcement of their “Motif” single, Teengirl Fantasy come through with a Clayton Harley-directed video for that very track. It’s basically what it looks and feels like to be at a Teengirl gig, with video presets set to “murky VHS vibes.” Check it:

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Today, the celebrated dance-rock crew Gossip releases its new album A Joyful Noise. And it’s also the day they drop the new video for “Move In The Right Direction,” the album’s second clip after “Perfect World.” Directed by Price James, the new clip is about as early ’90s as it comes, from the choreography to the colorization to the typography of the words on the wall. Watch it below.

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It's easy to get preoccupied with tracks that rattle the dance floor in the bass music scene. Nothing against those types of tracks, I love them just as much as the next guy—but there are certainly softer, more melodic sounds that coexists in the bass music world. This sound is dominated by smooth and warm basslines, thoughtful and meticulously constructed drum patterns, organic textures, and soundscapes. A crowd that takes pleasure in the more melodic and traditional sounds of music, incorporating synthetic aspects of bass music into a more traditional formula. Embodying this approach to music is a young and opinionated producer with a worldly perspective and dynamic methods broadcasting from his new headquarters in London.

 I am a serial late-nighter, a begrudging music snob, roll-up/coffee combo enthusiast and have an imaginary Hamster named Jim-Bob.

His name is Pedestrian and he's had releases on London's Push & Run, remixed the likes of Jon Phonics, Tropics, and Emeli Sande, and has wedged himself front and center into the softer side of bass music. I was lucky to get a hold of Pedestrian and have a few words with him about music, his production, and the scene. Here's what he had to say:

EARMILK: Tell me a little about yourself, what kind of background do you come from?

Pedestrian: My name is Jack, I’m 23 and have just moved to London from Hertfordshire where I grew up. I went to school in a few different places. When I was three, I moved to Bahrain, next to Saudi Arabia, and lived there until I was ten years old. While I was out there I attended an international school. When I came back, I went to school in St. Albans in Hertfordshire. I actually don't have a “job” at the moment; I’m just working on productions, remixes and DJ gigs as my main source of income, so not particularly rolling in it just now! As far as background info goes, I am a serial late-nighter, a begrudging music snob, roll-up/coffee combo enthusiast and have an imaginary Hamster named Jim-Bob.

EM: Interesting. Do you find that growing up in Middle Eastern culture has influenced you at all, or that your exposure to it shows up in your production? 

P: I wouldn't say living out there influenced me musically. We heard everything that appeared in the Western charts, except six months later, and the sound of Muslim prayer calls in the distant background. Living there has definitely influenced me in other ways though. For instance, it gave me the travelling bug. I love travelling and seeing the world, and I am keen to travel for as long as I can and see as many corners of the globe as possible. Living there also made it very comfortable for me to be around all kinds of people of any creed or color, as I grew up with kids from all over the place.

EM: You also call yourself a music snob, is this because you are passionate about a certain genre of music or is it all music in general?

P: With regards to my music snobbery, it’s not genre specific. I just have a very wide but specific taste. Anything from Jazz, Techno, Hip Hop, Kraut Rock, or Ambient Soundscapes—I like what I like and I'm really picky. If it makes my ears happy I don't care what genre it sits in; genres can be so detrimental to the audiences listening experience in my opinion. Some people just completely write off an artist before even hearing them just because of what they are labeled as on a website—a label which can often be incorrect. I quite like how my music is a little more difficult to pin point to one genre. Just please don't call me “Future Garage”. Accurate term but poncey as fuck...

 A lot of music in the charts is made just to appeal to a mass market and not actually for the love of the music. That’s something I try to veer away from...

EM: Genres aside, do you find any artists or scenes of music have influenced your path to the music you produce?

P: I definitely have a lot of musical influences, drawn from all over the place. Bonobo with his musicality and consistency is a massive one for me; Mount Kimbie for their ability to create a perfect loop that can go round and round and not get boring. People like Dilla and Pete Rock for the pure soul and dustiness that come with their beats. Little Dragon for their quirkiness, interesting sound design, and unusual application of swing on the drums and rhythmical elements. Brian Eno for his beautiful treatments, unorthodox creative processes, and his extreme prolificness. I could go on and on, there are so many people I look up to. I make a conscious effort to listen to a lot of varied music because I think if you just listen to the style of music your making you will inevitably just regurgitate ideas, whether it's consciously or unconsciously. It makes it hard for me to listen to all of these incredible artists because I'm so harshly critical on my own productions—sometimes I just feel like giving up!

EM: When you produce tracks or remix do you have a certain sound or consistent style that you try to incorporate into your production, or is every track a different musical experiment for you?

P: I don't consciously try and incorporate a certain “sound” into any of my production, original or remix. I just do what I think sounds best to me. Remixes are a little bit different as I want to do the original justice, while making the remix appeal to the audience of the original artist and the people that are into my previous productions. It’s important to bear in mind the audience, but not focus on them too much. Otherwise you just end up making nonsense and trying to appeal to everyone, which is impossible. A lot of music in the charts is made just to appeal to a mass market and not actually for the love of the music. That’s something I try to veer away from, but of course the audience does need to be taken into consideration.

P: I definitely recycle samples and sounds that stand out to me in my original productions to a certain extent to keep some consistency. I did a 30 minute recording at a friend’s flat of anything we could find—hitting pans, alarm clocks, spray cans, bike bells and all sorts. I chopped that into individual hits and made a sample pack out of it and use at least something from it in every track.

 

EM: It sounds like you like to take advantage of some unconventional recording techniques to give yourself more options when producing. Can you pick a track you produced and take me through the production process? (You can listen to the track below)

P: Definitely a good example of this would be my track "Midsummer's Common". This all started one day when I took my laptop into the Apple store in Cambridge for something or other and on the way back there was a busker playing a Harp. I love the sound of Harp and he was playing it beautifully. I sat down next to him and recorded him through my laptop mic as it was all I had available. He was comfortable with me recording him and I made sure to give him a couple of quid and a roll-up for his troubles. When I got home I chopped it up, and started making the track. I also had recordings that I made of a drunken Cambridge professor we had ended up talking to one day at our local pub. He was mad, drunk, and eccentric but he said a lot of interesting things and had a voice that I had to record, which I did via my iPhone. 

 

P: I made the track during the summer and I wanted it to almost exude sunshine and what it feels like to chill in one of the parks in Cambridge with a few friends on a beautiful summer’s day. Midsummer Common was a park close by and I used a little word play by adding an apostrophe so it was "Midsummer's Common", implying these sounds are common mid-summer. I added the sounds of birds singing and other ambience in the background to help, and tried to make all the elements as light and “happy” as possible. I also wanted the track progress as if it was a day; it starts off walking to your destination, getting there and enjoying the sunshine, company and drinks, then trailing off into the night. I think I achieved that and I'm really happy with the outcome of the track. 

With regards to the “scene”, I think it's in a really exciting place at the moment with all the merging of different styles and defying boundaries of genre pigeon-holing. 

EM: Last question: there is a very cliché job interview question no one likes to answer honestly, but I think is an especially interesting question to ask musical artists. Where do you see yourself in five years? Where do you see the scene going?

P: Well, in five years hopefully I'll be 28, have a large back catalogue of original music and production credits which I'm proud of, living comfortably by doing something that I love and have seen a lot more of the world through work and play. 

P: With regards to the “scene”, I think it's in a really exciting place at the moment with all the merging of different styles and defying boundaries of genre pigeon-holing. Unfortunately though, dance music is becoming much more popular to the masses again, which isn't a bad thing in itself entirely, it just means there tends to be a lot more commercial tat that gets made. But as history shows us, trends seem to go round in circles. So my prediction is that in three to five years, dance music will be starting to become more underground again and band/guitar music will be dominating the airwaves again. 

• Pedestrian on Twitter
• Pedestrian on Soundcloud

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This right here is Hospitality’s first time attempting a cover, a fact I know because they say it in the beginning of this video. Research! Steely Dan’s “Rikki Don’t Lose That Number” may never have been the obvious answer to this particular bit of Hospitality trivia, but the band’s krautrock makeover is a sweet fit. This happened for the AV Club, and you can watch it below:

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