P Morris – “Debut”

P Morris, formerly known as MΔRRI$, and known to his mother as Philesciono Canty is a bass sculptor of the first order. His slick trap-informed style of of production, which he’s oddly dubbed Goombawave, has found its way on to compilations curated by the  boundary pushing Night Slugs imprint, and the mixtapes of genre benders like Kelela and Le1f (as well as our DecibelCast series).

For his first “mixtape,” simply called Debut, he’s really upped his game, coloring in trap’s minimal framework of skittery 808 drums, handclaps and booming low-end, with sweeping cinematic atmosphere and lavish amounts of organic instrumentation.

Although clocking in at just under 30 minutes, Debut is laid out almost like a film score, the tracks flowing continuously together into one seemless whole, weaving icy ambient interludes into orchestral arrangements of strings and piano, and rising intermittently to crescendos of pitched R&B vocals and chest-rattling subsonic frequencies.

It’s a sprawling record such as this, with this many moving parts is pretty much de facto headphone music, but, make no mistake when the beat does drop it would murder the sound system of any club. And honestly, you’ve got to give up to anyone who can flip a Justin Beiber track into something as supremely badass as  The Weeknd-esque “Hold Tight.”

You can grab the whole thing as a name-your-price download over at Bandcamp.

And for those who want more of this sound, there is also the EP split with Sweater Beats, Young Love Heartbreak, available as a free soundcloud download.

And some further listening:

Kelela – “Go All Night” (prod by MΔRRI$)

Le1f – “Go In” (prod by MΔRRI$)

Katy B – “Crying for no” Reason (MΔRRI$ remix)

*edit: I forgot to add his recent mix for FACT, a perfect encapsulation of what P. Morris is about, featuring a slew of exclusives and remixes.

Trackilist:
Justin Timberlake – Set The Mood Prelude (P. Morris edit)
P. Morris – Ladyboy [Bear Club Music Group]
Jon B – They Don’t Know
Justin Bieber – Recovery
Craig David – Fill Me in
Axel Boman – Barcelona
P. Morris – Rashida Jones [forthcoming Bear Club Music Group]
Drake – Come Thru
Tom Richman – Dro Montana (Sweater Beats Remix) [Bear Club Music Group]
R. Kelly – Remind Me of Something
Jeremih – Rosa Acosta
Tom Richman – Your Body [forthcoming Bear Club Music Group]
Dat Oven – Icy Lake (L- Vis 1990 Refix)
P. Morris – Wunderlust [forthcoming Bear Club Music Group]
Katy Perry – Walking On Air (Hundreds & Thousands edit) [forthcoming Bear Club Music Group]
Zedd – Stay the Night (Schwarz Remix)
P. Morris – White Hood (Neana Chop)
Omarion – Ice Box
Foxy – ICE RINK WHERE MY HEART USED TO RIP GIRRL XX [Tom Crew]
Mssingno – PART 2 XE2 VIP BIELDUB REMIX PART 2 (Goon Club Allstars)
Drake – We Made It (featuring Soulja Boy)
P. Morris – Crying for No Reason VIP
Cam’ron – Oh Boy
Katy B – Crying for No Reason (P. Morris Remix)
Young Thug – Stoner
Missy Elliott – Take Away (ft Ginuwine) (P. Morris Edit)
P. Morris – Hold Tight (VIP) [Bear Club Music Group]
Beyonce – Drunk In Love
Squarepusher – Red Hot Car
Rai – The Game of Rat and Dragon (Vivisect) [forthcoming Bear Club Music Group]
Roni Size – Heroes [Kruder & Dorfmeister Remix]
Dane Chadwick – Vowels [Astronautico]
112 – Anywhere
Jubilee & Burt Fox – Keys Wallet Phone
Wale – Bad [Mike Gip Remix]
2 Chainz – Where You Been
Moleskin – Turnt On
Alexander O’ Neal – What’s Missing
*NSync – Gone (P. Morris Exit edit)

Angel Olsen – “Burn Your Fire For No Witness”

Chicago based singer/songwriter Angel Olsen has readied her sophomore full length, Burn Your Fire For No Witness, for a February 18th release via jagjaguwar.

This time around she steps into the studio with producer John Congleton (The Walkmen, Modest Mouse, Okkervil River) and a full band. “The first two albums I did on my own, or with people that I knew, I was afraid that in going from something really raw to something professionally produced, I would end up too crisp or calculated. So, with John Congleton, I was really specific about everything that I wanted to hear.” With this transition she has elevated her fervid whispers into a much more assertive wail. These songs openly carry bold, heavy emotion which is expected being familiar with her previous efforts but with Burn Your Fire they seem to project a more matured assurance.

purchase the record here

 Angel Olsen – HI-FIVE

Angel Olsen – Unfucktheworld

 

director Zia Anger on her music video (below) for Forgiven/Forgotten shot in Asheville, NC.

“I traveled to Asheville with a couple rolls of 16mm film and a Bolex camera. The only idea Angel and I had decided on was that she should be given a chance to act – to perform in a way most people have never seen her perform. Upon arriving I was immediately struck by the beautiful and unruly area of Malvern Hills. Suburbia had never spoken to me like that before. Our idea morphed into a suburban fantasy just as lawless as its backdrop. It is complete with a ‘Freaks and Geeks’-inspired lovers quarrel that ends with the male character physically being hand-scratched out of the film.” 

– Zia Anger

 

The Lemons – “Hello, We’re The Lemons!”

The Chicago based DIY supergroup, The Lemons, released their debut full length, Hello, We’re The Lemons!, january 30th via Tripp Tapes/Gnar Tapes. Comprised from members of Skymaul, Todays Hits, Slushy, Hollow Mountain and The Rubs they have found common ground in their brand of lo-fi sugar/pop. The records 14 charming, bubblegum tracks clock in at just under 16 minutes leaving every moment packed with catchy, glucose coated bliss.

grab it on tape here and digitally here

William Onyeabor – “Who Is William Onyeabor?”

William Onyeabor

Luakabop is one of my new favorite labels for a few reasons: The label is owned and kind of run by David Byrne (of Talking Heads), they house Javelin as well as a few other amazing bands, they have tons of amazing albums in the catalog that are all worth checking out, and lastly and most importantly they find and revive old recordings from obscure classic artists like William Onyeabor.

This album is the fifth installment of the World Psychedelic Classics series which has rounded up and reissued some amazing compilations from the likes of Os Mutantes, Tim Maia, and others.  Like many of these reissues and most Luakabop releases, this album takes the once forgotten or overlooked international music from the past and exposes it to today’s world music hungry fans.  But William Onyeabor‘s music differs in one very significant way, he uses synthesizers and drum machines to create a strange disco, electronic sound that takes the typical African music and rhythms to a futuristic place.  There are many origin stories of who this man really was and many other stories of what has happened to him since these records came out in the late 70′s but what matters is that his music transcends boundaries of time and space.  This album could have started a dance party in the 70′s and 80′s all the way up to yesterday, anywhere in the world (trust me I played it at a house party and people got down).

The album came out a few months ago and Onyeabor’s music has been around for decades but since buying this LP I have not been able to put it down, so much so that it made our Favorite Sounds of the year list.  Go over to Luakabop and order the album on vinyl here and check out a track and a remix below and watch the video too.

 

William Onyeabor – Heaven and Hell

 

 

 

David Lynch – “The Big Dream”

The Big Dream dropped way back in July via Sacred Bones but it felt almost criminal to allow this year to come to a close without giving it its due respect. The follow up full length to 2011s solo effort Crazy Clown Time is just as twisted as anyone familiar with David Lynch would expect it to be.

His work on the screen takes the viewer out of any and all comfort zones and into a world occupied by the weird and beautiful while his music, maintaining the ability to transport and certainly does not lack in the weird and beautiful and unlike his previous releases, is oddly comforting. His voice is delivered through distortion and could easily be attached to one of his fictional characters, coming off slightly comical. Throughout the record I’m reminded of early ’90s Tom Waits, think Bone Machine over doo-wop. A lot of these tracks feel like surreal horror ballads. Lynch on the album… “most of the songs start out as a type of blues jam and then we go sideways from there. What comes out is a hybrid, modernized form of low-down blues.”

stream a few tracks below and then pick it up here. 500 copies of the deluxe edition available here and pre-order the Super Deluxe edition out jan. 27th here

Possibly the best song of the collection is offered as a bonus track 7″ featuring Lykke Li. It beautifully recalls Julee Cruise and her contribution to Twin Peaks.

https://soundcloud.com/mrlutto/david-lynch-feat-lykke-li-im

short documentary on the making of The Big Dream

from 2011s Crazy Clown Time

 

EM.MA. – “Blue Gardens”

E.m.m.a-Blue-Gardens

With her debut Blue Gardens, E.M.M.A. has given us one of the best “proper albums” to come from the bass world in some time.

A relative newcomer on the scene, she hooked up with the Blackdown‘s Keysound Recordings camp sometime last year, and in the time since, has managed to infuse the drab atmosphere of South London’s underground with some much-needed color and life.

While she employs the syncopated swing of post-garage as a primary vehicle (in a similar manner as Burial), her music is really all about the synthesizer — the sinewy rhythms providing the framework for intricate melodic content that is somewhere between the twinkly arpeggiation of Zomby and the melancholic circuitry of early Darkstar. But where as Zomby is apt to sound cold and clinical, E.M.M.A.‘s pixelated melodies are alive and sparkly. And compared to the despondency of early Darkstar, Blue Gardens is practically exuberant, its loping bombast accented by florid bursts of melodic color.

“Jahovia,” her collaboration with the legendary Congo Natty (under his Rebel MC moniker), sums up two decades of British bass music, swings effortlessly between a half a dozen rhythms without ever breaking stride.

This corner of the music world is not known for its female influence, perhaps it could use some.

E.M.M.A. – “Intro” (160kbps)

E.M.M.A. – “Marina” (160kbps clip)

E.M.M.A. “Nostrum feat. Sully” (160kbps clip)

“Dream Phone”

“Jahovia”

Kevin Morby – “Harlem River”

Kevin Morby (Woods, The Babies) has stepped out on his own with his solo debut Harlem River released Nov.26th via Woodsist. Currently operating out of L.A. and a Kansas City native he calls this record “A homage to New York City” his home for the past 5 years. The record weaves stories of love lost, grief and uncertainty through the city streets. It’s a mild departure from his previous work, more intimate and personal leaning on folk elements rather than his typical psych norms.

Purchase Harlem River here

Kevin Morby – “Slow Train (feat. Cate Le Bon)”

Kevin Morby – 2013 Tour Dates
12/03 San Francisco, CA – Rickshaw Stop *
12/05 Portland, OR – Doug Fir *
12/06 Seattle, WA – Barboza *
12/07 Boise, ID – Neurolux *
12/09 Salt Lake City, UT – Kilby Court *
12/11 Denver, CO – Larimer Lounge *
12/13 Scottsdale, AZ – Pub Rock Live *
12/14 Los Angeles, CA – Bootleg *
* = w/ Cate Le Bon

The Low Frequency in Stereo – “Pop Obskura”

popobskura

This Norwegian five-piece has been around for over a decade, honing its sound with a steady stream of material, including 4 previous albums and at least 3 EPs.  Their latest offering Pop Obskura was released a few weeks back via German indie stalwart SPV GmbH.

Their style might loosely be classed as “post-rock,” but is really a highly textured amalgam of different influences. There’s a tangible debt to bands like Stereolab and Broadcast, a sort of high Lo-Fi thing going on (i.e. low fidelity aesthetic, but created and mixed on quality vintage analog gear).

Muscular,  propulsive rhythms recall the kraut-rock tradition, but the compositions are much denser than say bands such as Can and Neu!. Horns and organs coalesce with whirring electronics, vintage synthesized noise, shoegaze-y guitars and sugary pop-like harmonies in a complex tapestries of sound.

You can grab the first single in exchange for your email address here, and pick up the whole shebang here.

The Low Frequency in Stereo – “Elevated Desecrated”

The Low Frequency in Stereo – “Curly Hair”

And here’s a guest mix they did for Some Velvet Mixtapes, which gives a pretty good idea of the diversity of influences they draw upon.  It’s a few years old but well worth a listen

The Low Frequency In Stereo Podcast

1. Broadcast – Ominous Cloud
2. Woods – Blood Dries Darker
3. Real Estate – Fake Blues
4. Hypertext – Ivy Leauge (Remix by The Gin and Tonic Youth!)
5. The Low Frequency in Stereo – Geordie La Forge (Radio Edit)
6. The Megaphonic Thrift – Dragon vs. Dust
7. The Magnetic Fields – The Luckiest Guy on the Lower East Side
8. Spiritualized – Twelve Steps
9. Økland/Lie/Haaland – Juggernaut
10. Gabor Szabo – Three King Fishers
11. Dave Pike Set – Walking down the highway in a Raw red egg
12. Electrelane – The Valleys
13. Can – Little Star of Bethlehem

Maston – “Shadows”

It is almost impossible to discuss the music of Frank Maston without referencing his native Los Angeles and the psychedelic pop tradition of the 1960s. That being said, Shadows, released back in the spring via Chicago-based imprint Trouble in Mind, is not an easy record to classify. While it clearly owes some kind of debt to the production techniques of Phil Spector and the arrangements of Brian Wilson, it is hardly a neat fit within the West Coast cannon. After all, there is a certain sound one imagines when thinking of said tradition, and I’m willing to wager that descriptors like spooky, bizarre, paranoia and dread, do not generally figure into it.

frankMastonWelcome then, to Maston‘s fun house of esoteric bedroom pop! Like the name suggests, Shawdows is a far cry from the care-free sunny harmonies of the Beach Boys. Rather, this is the Los Angeles of Phillip K. Dick. Like some sort of bad trip everything is kind of familiar, but in a strange and unsettling way, a shiny veneer masking something  nebulous and vaguely sinister.

Even with a running time of just 27 minutes, there is a lot to take in, in fact this is the kind of record that demands repeat listens. The arrangements, which involve at different times: pianos, organs, guitars, various percussive instruments, horns strings and woodwinds (all of which Maston plays himself), are dense and sophisticated.  Shuffling rhythms composed largely of various shakers and bells and tambourines underlie music box piano melodies, which swirl around surf rock guitars and sit uneasily in the creepy synthetic ambiance with outlandish big band horns. Maston‘s croon, which only features on about half of the songs, has a strange hollow quality, and is processed in a way that makes his melodies sound ghostly when they might have otherwise been sweet.

This is good stuff, probably one of the best records of the year. But don’t take my word for it…

 

 

“Flutter” from Shadows

“Young Hearts” from Shadows

DARKSIDE – “Psychic”

Darkside

I’ve written about DARKSIDE a few times before: when their first EP came out I gave some background on Nicolas Jaar, and then earlier this year they released DAFTSIDE their incredible remix of Daft Punk‘s much heralded Random Access Memory LP.

Well, now it’s finally time to announce that they have a full length LP out today, Oct 8th, on Matador. It’s called Psychic, and if you like your downtempo sexy, dark, and groovy, definitely check it out.  You can hear some of their tunes over on their soundcloud page, and you can get the album here.