Keep Shelly In Athens is mysterious. Little is known about them and little I think they want to have known about them. They might be from Athens, Greece, they might be a duo of a girl maybe named “Sarah P” who does the amazing singing, and a dude possibly titled “RPR” who probably makes the beats, does most of the production and the remixes. But beside all the unfounded speculation of who this band might be their music speaks for itself. The haunting, melancholy undertones of Sarah P’s soft singing over the electronic, spacey, ambient yet catchy beats provide a complementary contrast that lends to quite pleasant ear food.
In a time when many electronic acts are fronted by sexy female voices including JJ, Little Dragon, School of Seven Bells, Peaking Lights and many others, Keep Shelly In Athens stand out enough to take notice. Every time I heard them I wanted more, and when I found this really nice free remix album they did I had to share them. So check some downloads and the remix album below and enjoy the weird trippy video too.
Keep Shelly In Athens – Running Out Of You
Keep Shelly In Athens – Fokionos Negri Street
Keep Shelly In Athens – Hauntin’ Me (You can get the whole Hauntin’ Me EP with remixes for free here.)
After a couple of mixtapes, an outstanding EP on the much vaunted Hyperdub Records and a compilation of released and unreleased material, Samiyam is set to drop his first proper full-length on Brainfeeder at the end of this month.
And I for one can’t fucking wait.
I’ve got a special place in my heart for his woozy, off-kilter electro, which hobbles with the swagger of a drunken b-boy — drums pitching forward only to self-correct, snapping back into place. I love those loose, squiggly synths and lopsided, gurgling basslines, as well as the assortment of interesting, lo-fi, sampled instruments he uses to create his jagged motif which sounds thrown together, that is, spontaneous in the best sense of the word.
Here’s a nice album sampler someone posted.
And grab the track he’s giving away via FACT Magazine.
Shit’s gonna be slammin!
So, I found this pleasant little surprise in my inbox today.
The debut EP from Olympia Washington-based outfit Ghost Feet, is a tight mixture of moody indie rock vibes and glitched out electronics, which recalls the sound of edIT’s Crying Over Prose for No Reason.
Anchored by melancholic guitars and somber ambiance, these four tracks are full of jittery synthesized noise and broken rhythms that stutter and pop back into place. The whispered vocals and other found sounds are chopped and processed til they become indecipherable, and then interwoven into the atmospheric fabric of the music.
Recommended for fans of the Flying Lotus/Brainfeeder sound.
The new Battles video for the song “Ice Cream” is off their forthcoming album “Glass Drop” coming out on June 7th. The video was directed by CANADA who I think are not from Canada at all but from Barcelona, Spain or possibly some other spanish land. Their website is full of awesome videos very similar to one above and to a Gorilla vs Bear favorite from last year by El Guincho posted below. El Guincho also known as Pablo Díaz-Reixa has many crazy, random, spanish videos you can check out on his YouTube page here. He also has an album out “Pop Negro” which is pretty fun and kind of reminds me of a Spanish Animal Collective. Oh and I’m going to go ahead and pre-apologize for the many titties now…
I found out about this guy the organic way (IRL not from the Internetz) sometime last year. He played an excellent show at a small venue for like a couple of $$.
Only later was it discovered that he was being lumped in with the burgeoning, yet unfortunately named “chill wave” scene.
This mixtape – anchored by an Aretha Franklin-sampling title track – came out awhile back, but it’s ideal summertime listening, so I thought I’d post it up.
If you likey the sound, look out for his latest album, which he’s sellin’ on a “name your own price” basis over at Bandcamp.
Travis Stewart (better known as Machine Drum) and Praveen Sharma have been quietly releasing tracks under the moniker Sepalcure over the past year, including a couple of killer EPs (Love Pressure and Fleur) on Hotflush.
As part of the amorphous post-dubstep, non-genre simply called bass, the Sepalcure’s sound falls somewhere between the jagged lo-fi bump of Burial, and the jacked up intensity of vintage Chicago house.
The duo expertly splices chopped-up diva vocals with acoustic guitar, piano, bells and plenty of sugary synthesized melody. Then they float the concoction over pulsing asymmetrical rhythms composed of everything from 808s to woodblocks to shakers to what sound like spoons, before finishing it off with massive amounts of low end.
The result is music that manages to capture equally the solitary intimacy of headphones and the sweaty hedonism of a packed night club going off at 2 a.m. It’s also probably the closest anyone in the bass scene will ever get writing love songs (lovestep?).
Bibio aka Stephen Wilkinson makes lo-fi, layered, somewhat folkish, semi-ambient, electronica noise that often has a catchy beat and always has a strong emotional backbone. His latest album Mind Bokeh takes his past efforts and morphs them into a new more accessible sound with strong synthy melodies and funky rhythms with much more pronounced vocals.
Where Ambivalence Avenue and The Apple And The Tooth both had electronic feels and strong rhythms they also had more atmospheric themes with laid back acoustic and instrumental moments. This time instead those warm sunny fuzzy feelings are traded in for more urgent sentiments of enjoying right here, right now. He seems very sure of his ability to stand in the here and now this go round too, where in the past he might have been happy as an unknown.
Mind Bokeh deserves to be known too as even iTunes wants you to listen to it. They are offering the most rocking track on the album “Take Off Your Shirt” for free for a limited time. Go get it now but don’t let it be an indicator for the rest of the album as it is way guitar heavy and faster then any of the other tracks. Regardless of the progression the album still sounds like distinct Bibio and I wouldn’t want it any other way.