Monday, November 25, 2013

Random 30 2013: Radikal Guru - Chase The Devil

Another oldie but a goody ... with his brand new album, Subconscious, set to drop today, I thought it timely to post up something by long-time everythingsgonegreen favourite Radikal Guru.

Although The Rootstepa – this blog’s album of the year in 2011 – was his full-length debut, there were already a number of sampler and one-off releases floating around out there prior to that, and I’ve been slowly tracking them down ever since. Included in that voyage of discovery was this little gem – a stepper-style version of the much-remixed Max Romeo classic ‘Chase The Devil’. I was late finding this one, only getting to it in mid-2013 ... but better late than never.

I just can’t get enough of this guy’s heady mix of dubstep, deep bass, and roots reggae. If Subconscious is only half as good as the debut, we’ll still be in for a real treat.




 

Sunday, November 24, 2013

Random 30 2013: Gotye - Hearts A Mess

Okay, so this one is six years old. But that doesn’t mean it doesn’t have some 2013 relevance to everythingsgonegreen; a) it was one of the highlights of this year’s The Great Gatsby soundtrack, and b) it got played often after I belatedly discovered it mid-year.

Gotye is of course the artist behind ‘Somebody That I Used To Know’, one of 2011 and 2012’s most durable hits. ‘Hearts A Mess’ is quite different from that particular earworm in that it exposes a softer underbelly to Gotye’s music. There’s crazy offbeat percussion, subtle strings, and the clever use of what sounds like a vintage keyboard (a mellotron perhaps?) … all combining to supplement a set of lyrics so tragic, it’s almost enough to bring a tear to a glass eye … (if that’s your bag).

“Let me in/where only your thoughts have been/let me occupy your mind/as you do mine/your heart's a mess/you won't admit to it/it makes no sense/but I'm desperate to connect/and you, you can't live like this”
 
… *wipes tear*


Album Review: Cut Copy – Free Your Mind (2013)

When I reviewed Cut Copy’s last album and included it on my Albums of 2011 list, I made the point that Cut Copy was seemingly immune to any backlash from critics and fans alike for its blatant um, copyist approach to synthpop and wider electronic forms.

Zonoscope was the Melbourne band’s third New Order-aping album in succession, and Cut Copy’s appeal was starting to wear a little thin. I mean, I liked Zonoscope enough to include it as one of my most played albums of that year, sure, but there were a number of small things about the band’s music that had started to become a little annoying. Nobody else, it seemed, had noticed, and Cut Copy continued to attract very positive reviews.
 
Fast forward to November 2013, and the release of album number four, Free Your Mind ... well, it looks like things may have taken a slight turn for the worse, and even the formerly supportive Pitchfork site was a bit underwhelmed by the band’s latest offering, giving it – at best – a mediocre review. Ditto, The Guardian’s music pages, which gave the album a positively drab two stars (out of five).

I downloaded the new album regardless. I enjoyed the band’s first two albums so much (and clearly rated Zonoscope at the time), I wanted to give the Aussie electro-poppers the benefit of any doubt. I really shouldn’t have bothered.

The good news is that Cut Copy has actually moved on slightly from its default retro mid-Eighties synthpop starting point. The bad news is the band only made it as far as 1988 or 1989, and Free Your Mind is little more than a badly pieced together homage to flowery second wave “summer of love” bands like Primal Scream and Stone Roses.

Now, there’s not much wrong with either of those bands – or indeed, that period – but Cut Copy is starting to come across as an A-grade imposter, and the music on Free Your Mind is barely a pale imitation of the best music from that era. In the hands of Cut Copy, what once was universally known and loved as “baggy”, now resembles something similarly shapeless ... something saggy, even.

And who wants to relive that whole trippy dippy hippy thing a third time anyway?

And so we’re left with a bunch of try-hard tunes, with lazy and clichéd lyrics, and removed from its New Order context, I now realise it was singer Dan Whitford's weedy vocal that annoyed me all along on Zonoscope ... something I hadn’t quite been able to put my finger on previously.

Too derivative, too cheesy, and with bugger all originality poking through the psychedelic haze, I think it’s safe to say Cut Copy and I are now officially over.

Highlights: not much ... maybe this, at a stretch:
 
 
 

Saturday, November 23, 2013

Random 30 2013: Lasertom - Maelstrom

I picked up an mp3 download of the Lasertom track ‘Maelstrom’ on the XLR8R website a few months back and it’s a real gem. It’s still available as a free download (here), and it can also be found on Lasertom’s Drift EP.

Lasertom is Simon Cullen, a producer from Dublin with a background in funk and disco. Cullen’s a relatively new face on the electronic music scene but on ‘Maelstrom’ he gets the blend of bass music and electro-pop just right. ‘Maelstrom’ is all repetitive pulse and sparkling synth, a slow-building wordless foray into outer space … a trip that never quite peaks.

And anagram-spotters ... can you see what he's done there?

Grab a free mp3 download of ‘Maelstrom’ from the XLR8R website.

Lasertom on Soundcloud



Tuesday, November 19, 2013

Random 30 2013: Option4 - Do Work (Original Mix)

I’ve discovered loads of new music and new artists during the calendar year, but if I was asked to select one as the everythingsgonegreen “find of 2013”, it would be impossible to go past Option4, a producer/DJ working out of Denver, Colorado.

Option4 is Brennen Bryarly, and not only has he been prolific in producing new work throughout the year for his own (newly established) Night Supply label, he’s given most of it away – go to the Soundcloud and Facebook links below and grab what you like.

I’ve chosen ‘Do Work’ as the clip for this Random 30 countdown, but I could just as easily have selected ‘All The Girls’, ‘Street Love’, ‘Late Night Drop’, ‘Deep Diamonds’, or his remix of Two Door Cinema Club’s ‘Handshake’ ... each and every one of them a potential dancefloor filler.

‘Do Work’ is also available as a Bit Funk remix, but I prefer the original mix featured here. A little bit house, a little bit disco, but always funky, ‘Do Work’ reads like an Option4 mission statement ... this guy just doesn’t stop ...

Option4 on Soundcloud

Option4 on Facebook



Monday, November 18, 2013

Random 30 2013: Capital Cities - Farrah Fawcett Hair

I generally take music pretty seriously. You may (or may not) have noticed (ahem). But every now and then something catchy and irresistible comes along which is clearly not supposed to be taken too seriously. And we all love a good laugh, right?

The LA-based duo Capital Cities is well versed in writing catchy pop hooks; in a past life, prior to the release of this year’s debut album In a Tidal Wave of Mystery, these guys made a good living as commercial jingle writers ... one listen to the duo’s novelty track ‘Farrah Fawcett Hair’ and that much is immediately obvious.

The retro-flavoured ‘Farrah Fawcett Hair’ features a guest appearance from Outkast’s Andre 3000, and there is something quite contagious about its hook-laden delivery and highly amusing lyrics ... it’s good shit, as they say ...


Sunday, November 17, 2013

Album Review: Tears For Fears - The Hurting Deluxe (1983/2013)

I’m not going to lie to you. I can’t give you any sort of objective review for an album like The Hurting. Anything I offer for the newly released deluxe version of the album can probably be set aside and discarded as little more than the ramblings of a middle aged fanboy. Read on at your peril ...

I’ve owned a few different copies of this album in the years since it was first released – at least a couple on cassette, plus a couple on CD … and maybe even a copy on vinyl before either of those formats. But I was still excited about picking up the 30th anniversary deluxe edition on double disc a few weeks back. A personal affirmation, of sorts, that The Hurting remains a stick-on everythingsgonegreen Desert Island Disc.
 
Back in 1983, the music of Tears For Fears was serious business. Even a year or so before ‘Shout’ made it an even more serious business by taking the band beyond the loving embrace of an intimate few and out into the arms of a wider global populace. Long before the large scale success of the band’s second album, Songs From The Big Chair, took Tears For Fears to the very brink of what might (or might not) have been momentary world domination.

No, it was serious business even before it was big business because of the grim themes explored by Roland Orzabal, Curt Smith, Ian Stanley, and Manny Elias on The Hurting. Orzabal and Smith had studied the work of American psychologist Arthur Janov, whose ideas around “Primal Therapy” – a treatment which deals with unresolved childhood pain – inform much of the album’s content.

To some extent it’s a concept work, an album about childhood, an album about isolation, loss, and abandonment. The album deals with these themes relentlessly. It’s a dark, intense, brooding, heart-on-sleeve masterwork … and very serious business.

Yet, on a personal level it was, and is, a little bit more than that. More than the mere fact that it was “emo” well before emo was so much as a twinkle in the beady eye of the Great God of Teenage Angst.

For me, The Hurting is more about the backdrop it provided for just about anything and everything I did in late 1983, through early 1984. As a soundtrack to my first time “playing house”, as a teenager consumed by the first flush of what I thought was true love. Even today, I can’t listen to the album without that context gently poking me in the ribs.

I can recall a ‘Pale Shelter’ lyric sheet being meticulously removed from the inner pages of a Smash Hits magazine before being pinned to the wall directly above the “marital bed” … sure, I can laugh about it now, but at the time it was deadly serious business.
 
So The Hurting is all of that and more. It’s also probably one of the best debut albums of its decade, and one of synthpop’s alltime finest. It’s immaculately presented, with Chris Hughes and Ross Cullum co-producing. I suppose some of the production does sound a bit dated in a 2013 context, but you know, I’m too close to this album to offer any genuinely accurate assessment there – distance being the mother of all objectivity. Or something.

The deluxe package comes in a couple of different formats – I purchased the two-disc set as opposed to the more comprehensive three-disc plus DVD Deluxe release, but it still represents the album in expanded form. On CD 1 we get the original album; ten tracks clocking in at just under 42 minutes. On CD 2 we get single versions, b-sides, and demos.

And just how many different versions of ‘Pale Shelter’ or ‘Change’ do we need? … there’s four of each included among the 26 tracks found on the double disc edition. More than enough. Not to mention a gut-wrenching five full versions of ‘Suffer The Children’ (where’s the humanity?! – Ed) …
 
But there’s some interesting mixes on the bonus disc, 12-inch versions etc, plus the first shaft of Big Chair light with an early take on ‘We Are Broken’. There’s the odd track on the original album I can no longer really listen to with any amount of enthusiasm (‘The Hurting’, ‘Change’) but the vast majority of it is still pure pop perfection – ‘Mad World’ (ignore the pretenders and imitators), ‘Pale Shelter’, ‘Memories Fade’, and ‘Watch Me Bleed’, all being personal highlights.

The “super deluxe” package offers further material in the form of a third disc of BBC and Peel Sessions, plus some live stuff, and a DVD of the band performing live at the Hammersmith Odeon in December 1983. So far as deluxe releases go, this one is a pretty good one.






Saturday, November 16, 2013

Random 30 2013: The National - I Need My Girl

Trouble Will Find Me, The National’s latest album, is shaping up to be one of my favourite albums of 2013, and I can scarcely believe some of the poor reviews it received upon release earlier this year. It really wasn’t the barren snorefest some critics claim it was, and I'm still enjoying it six months on.

‘I Need My Girl’ was one of album’s stand-outs; a beautifully crafted song dealing with the twin themes of loss and hope … so good, it’s difficult to fathom quite how its reach could ever be anything less than universal. Vocalist Matt Berninger’s rich but gentle baritone is the perfect supplement to the restless sense of longing in the music, and it has to rate as one of the band’s best tracks (of any year).
 



 

Friday, November 15, 2013

Album Review: Earth City Recordz - FuTuRe SoUnD Of ThE UnDeRGrOuNd VoL 3 (2013)

Manchester-based recording label Earth City Recordz has just released the third compilation in its Future Sound of the Underground series (of label samplers). I picked up a download a few weeks back and I’ve been thoroughly enjoying it ever since.

The main guy behind Earth City Recordz is Muhammad Hamzah. I’ve been following him via social media for a while now and it’s unlikely there’s a harder working artist-producer-DJ-social and/or political commentator out there. His output as an artist working under the Celt Islam and The Analogue Fakir monikers, both live and in the studio, is prolific, and he’s relentless at supporting the work of other artists, getting it out there, in whatever form, wherever, and whenever he can.
 
As label samplers go, FuTuRe SoUnD Of ThE UnDeRGrOuNd VoL 3 is a very generous listen at 23 tracks over the course of more than 130 minutes, it showcases a wide range of artists, and features a genuine hybrid of styles. And just like Celt Islam’s best work, there’s a borderless feel about much of this compilation, as you’d tend to expect from such an ethnically diverse mash of nationalities coming together in the name of dub.

Yet to call it dub and stick such a singular label on it fails to give the compilation, or the label, the credit it deserves. Yes, dub, or transnational dub, does appeal as an ideal catch-all, but there’s also large portions of electro, some EDM-indebted stuff, some drum’nbass, dubstep, plus super-sized chunks of that thing we call “world music”.

The highlights are spread fairly evenly across the 23 tracks, the best of which are: MasterMind XS - ‘Far From Here’, Celt Islam - ‘Beyond’, Samia Farah - ‘Al Shams’, Mosienko Project - ‘Kings Valley Dub’, Vel Curve - ‘Tribal Dub’, Oenky & Tompafly - ‘Solitude In Darkness’, 4bstr4ck3r - ‘Mental Stabber’, Demon Dubz - ‘Don’t Stop’, and The Analogue Fakir closes the album with ‘Retro Box’.

Earth City Recordz on Bandcamp


Earth City Recordz on Facebook

And here’s Celt Islam:


 






Wednesday, November 13, 2013

Random 30 2013: Gemini - Robots (Chrome Sparks Remix)

Gemini, aka Thomas Slinger, hails from Leicester, UK, and while he’s probably best known for his remix work on tracks by the chart-busting likes of Lana Del Rey, Emeli Sande, and Ed Sheeran, he’s also released a handful of singles and EPs on his own account. Apparently we can expect a full-length album sometime in 2014, if not before.

The original mix of ‘Robots’ turned up on his Mercury EP back in November of 2012, but the version which made me sit up and take note was the excellent Chrome Sparks Remix featured here. Gemini’s music blends elements of house, electronica, and dubstep, but this synth rich mix of ‘Robots’ almost crosses over into some kind of plush variation on nu disco ... I’ve listened to this a lot during the year and its seemingly effortless groove still grabs me each and every time.


Tuesday, November 12, 2013

Random 30 2013: Stereophonics - Violins and Tambourines

For me, the music of Stereophonics is so indelibly linked with the late Nineties – in a sort of post-britpop comedown kind of way – I really hadn’t expected the Welsh band’s 2013 album Graffiti on the Train to be much chop at all. And I certainly hadn’t expected an album track like ‘Violins and Tambourines’ from a band I never really had all that much time for in the first place.

But it is what it is, and ‘Violins and Tambourines’ is – despite being overlooked as a potential single – quite probably the best track ever written by the band’s multi-talented lead vocalist Kelly Jones. It’s a song about a man seeking some form of redemption but at the same time never quite believing or accepting he is worthy of it.

It’s a common and simple enough premise, but the compelling arrangement of strings and guitar, along with a heartfelt set of lyrics, form a mesmerising whole, and ‘Violins and Tambourines’ went on to speak to me in ways I could barely have anticipated ... and just quietly, in ways that made me more than a little uncomfortable. As the best music so often does.



Sunday, November 10, 2013

Retail Therapy 6: Slow Boat Records, Wellington

Aside from the two Wellington stores I’ve covered in previous blogposts, there has of course been a host of other local record shops which have at various points along the journey served as depositories for my hard earned cash.

Going way back, there was the weird and wonderful Silvio’s Emporium on Cuba Street, a treasure trove of pick n mix delight, a shop that ceased to exist sometime back in the early Nineties, maybe even a bit earlier. There was the self-proclaimed “largest record shop in New Zealand”, Chelsea Records, in Manners Mall, which I think eventually got swallowed up by one of the large faceless chains. And more recently, right up until a couple of years ago, there was Real Groovy Records, also on Cuba, a shop with just about everything any self-respecting music consumer could possibly wish for.

But to conclude the Retail Therapy series of posts, I wanted to write a little bit about Slow Boat Records, an institution in Wellington music retailing. Unlike all of the above – and the two Wellington stores I’ve blogged about previously – Slow Boat is still operating, still a going concern as Cuba Street survivors for more than a quarter of a century. Selling both new and used music, in every format, stuff from all eras.
 
 

When I wrote about the Atomic and 24-Hour Party People nights at San Francisco Bath House recently (SFBH being just along the strip), I identified the sense of community at the venue as being something pivotal to the success of those nights. That same sense of community, indeed, a wide circle within the very same community, has been at the heart of the Slow Boat success story.

Owner Dennis O’Brien is himself a local muso of some renown, and he leads a passionate and knowledgeable team. Nothing ever feels too rushed at Slow Boat, it’s a great place to browse, or just to hang out as a voyeur. A place to feed off the sort of warm organic vibe you can only get amid racks and bins of pre-loved product. It is easy to get a little lost in there sometimes, even if the carefully categorised sections ensure you can never really stray too far.

It’s just a little thing, but I really like the display of Slow Boat’s picks for the greatest albums of all-time, taking pride of place over on the far wall. Something like that works on several levels, most obviously as inspiration to finally pick up that “all-timer” you’ve always wanted but never quite got around to buying. But it also works as a discussion point, and it informs the punter that these guys have a sense of history … a love of what they do. It’s an acknowledgement that for all that popular music is so often about the present, about the now, it also has a rich and vibrant past, and Slow Boat is a place where you can engage with that. It feels a bit like an inadvertent mission statement … of sorts.

In the opening post of this series I bemoaned the fact that nowadays I don’t get across town to Slow Boat often enough. I’m really going to have to do something about that. In my defence, I did many times set out on lunch-break treks across town, with Real Groovy the target destination, only to run out of time because browsing at Slow Boat got in the way. I could never quite make it all the way up Cuba Street within the allotted hour … and now I have no reason to.

So perhaps I’ll have to revive a Friday night routine from a few years back and make the effort to get there more often. Whatever happens, it’s nice to know Slow Boat Records is still an option for me, a throwback to the past, one that just keeps on giving …

I reckon the small but nostalgia-rich New Zealand music sections at Slow Boat are among the best I’ve ever seen, especially in terms of used vinyl, but more generally across all formats. Here’s a tribute to indie record stores from NZ band The Brunettes …
 
 
 

 

Friday, November 8, 2013

Random 30 2013: Jorge Takei - Aretha (Vocal Mix)

Jorge Takei (or JT) is a Cologne based producer whose self-released music has tended to slip by without much fanfare. Until May of this year, that is, when a sample-heavy, pulsating house track simply called ‘Aretha (Vocal Mix)’ dropped as a free download on the excellent XLR8R website.

Combining a pretty special Aretha Franklin vocal edit with Takei’s own unique brew of bpm-driven dancefloor goodness, ‘Aretha’ was a bright ray of sunshine for me during winter’s harshest months. I’m not sure whether this could legitimately be described as deep house, or whether it’s yet another variation on minimal techno, but whatever the hell it is, it’s hugely infectious.



Wednesday, November 6, 2013

Classic Album Review: Sex Pistols - Never Mind The Bollocks (1977)

Where do you start with an album like Never Mind The Bollocks?

Let’s face it, for a talentless bunch of anti-social misfits who supposedly couldn’t play a note between them, the Sex Pistols left an indelible mark on popular music’s vast and rich multi-coloured quilt … even if that mark now bears a remarkable resemblance to that of a stale semen stain.

I’m quite sure the band wouldn’t have had it any other way.

It is hard to believe the Pistols operated as a going concern for little more than a year (in reality), and given the size of their discography nowadays, even more difficult to fathom is the fact that Never Mind The Bollocks was the band’s only official studio album.

The story behind the album has been told so many times it almost seems ludicrous to offer my own little piece of revisionism here, suffice to say that Never Mind The Bollocks is a landmark work … of its time, for its time – an acerbic, snotty-nosed, sneering, take-no-prisoners monolithic monster of a Rock’n’Roll record that still, even after all these years, simply has to be heard to be believed.

If you haven’t heard it yet, then why the hell are you wasting time sitting there reading this? Get to it. Life’s too short …
Oh, and great cover art too. Who knew pink and yellow were so compatible?

Five for download: ‘Anarchy In The UK’, ‘God Save The Queen’, ‘Pretty Vacant’, ‘EMI’, and ‘Submission’.

Tuesday, November 5, 2013

Random 30 2013: Daughter - Lifeforms

There is a creepy intensity to be found in the music of London three-piece Daughter. The band’s full-length debut on the 4AD label from early in 2013 was called If You Leave, and it was a follow-up to three earlier EP’s and a couple of singles.

‘Lifeforms’ is a regular album track, not one of the singles, something which perhaps best emphasises the quality in depth of Daughter’s music. Vocalist Elena Tonra’s hypnotic delivery is all-consuming, and the guitar work never less than intoxicating. ‘Lifeforms’ is an absorbing listen, and it draws me in close each and every time I hear it.

Also worth checking out is the trio’s genre-bending cover of ‘Get Lucky’, and of course the rest of the album, but here’s ‘Lifeforms’:




 

Sunday, November 3, 2013

Random 30 2013: Fat Freddy's Drop - Silver And Gold

Blackbird, the 2013 album from Wellington’s Fat Freddy’s Drop, has become a firm favourite of everythingsgonegreen in recent times (review to come). Internationally renowned, yet not universally popular at home, the FFD collective couldn’t care less about the lazy labels being applied by local critics in order to categorise the music, it just keeps on getting on with it. Doing what it does best: bass-centric funk and crossover dub.

2013 was another huge year for Fat Freddy’s, the hard-working band once again touring extensively to get Blackbird’s eclectic grooves out there on a global scale. ‘Silver And Gold’ was an early taster for me, downloaded as a sneak preview before I bought the album, and it works as an ideal sampler for everything else you’ll find on Blackbird.


Saturday, November 2, 2013

Album Review: Pet Shop Boys - Electric (2013)

There is something distinctly magical about the earliest Pet Shop Boys work. The first couple of singles were perfectly formed slices of pure in-the-moment pop. I loved that early stuff, but I wouldn’t necessarily have called myself a fan for the longer haul. The novelty collaborations with the likes of Dusty Springfield and Gene Pitney left me a bit cold, and the PSB and I parted ways some years back.

Hugely self conscious and excessively camp, the duo’s music dropped right off my radar until a few years back when I heard a cover of the Madness hit ‘My Girl’, and a pretty cool PSB original called ‘Love etc’. It felt like some of the magic had returned, and I vowed back then to check out parts of the vast back catalogue … had I been a fan, I might have got around to it. Had I been a real fan, I wouldn’t have needed to.

Fast forward to 2013, and Pet Shop Boys are back with a new album, Electric. More in hope than expectation I downloaded a copy as soon as it came out – it seemed like the logical thing to do at the time, and as good a place to start/return as any.

The first couple of times I listened to Electric it sounded vibrant and essential, and early reviewers were calling it a return to form. Several months on, my familiarity with it has led to a form of contempt, and it definitely feels like a case of diminishing returns each time it gets an airing.

The first half of the album has enough going for it to be more than palatable, with some clever songwriting (main themes: politics, art, culture) and the now obligatory PSB morsels of humour in the lyrics – particularly on ‘Love Is A Bourgeois Construct’ … though whether that humour is intentional or not is probably debatable.

The real gem arrives four tracks in; ‘Fluorescent’ is possibly the best thing Neil Tennent and Chris Lowe have done since ‘Love Comes Quickly’ all those years ago. It’s an intense Fade-To-Grey-esque thing of true beauty, and it captures all that has ever been good about these guys in one short splurge. I’d go so far as to say ‘Fluorescent’ is one of my tracks of year ... it’s certainly the standout on Electric (insert your own flare or beacon joke here).


From there, the second half of the album starts to fall away quite badly:

‘Shouting In The Evening’ cultivates lightweight dubstep textures that merely succeed in leaving the impression Neil Tennant is trying too hard.

At worst, ‘Thursday’ sounds a bit like an actual PSB parody and it features a naff rap cameo from UK producer Example. At best, it’s difficult to listen to with anything resembling a straight face.

The closer, ‘Vocal’, does have its moments, but it winds up being swamped by slightly dated techno cheese.

Tennant’s voice remains as youthful as ever (he turns 60 next year). That boyish charm first heard on ‘West End Girls’ is still there, and it’s one of the keys to the duo’s long-term success, but there’s also times on Electric when I’m acutely aware that this is an album made by two men on the wrong side of 50 … and I’m not so sure that’s such a good thing.

I guess I’ve always found PSB perfectly fine in small doses, but a little more challenging over the longer form. Perhaps that’s why they’re such stalwarts of mainstream radio ... as past masters of the perfect three-to-four minute pop song?

When they’re good, they’re very good. When they’re not, the music feels like one big campy excursion into the void.

So Electric is a bit of a mixed bag, flashes of brilliance amid long periods of same old same old ... I’ve given it a fair old workout over the past few months but I’m pretty much at the point now where I doubt I’ll ever listen to it again.
 
 
 

Friday, November 1, 2013

Random 30 2013: Daphni - Yes I Know

This one is not strictly a track from 2013 – it is lifted off Daphni’s Jiaolong album, which was released in October 2012 – but it’s another one that got a fair amount of my pod-time during the first half of this year. Daphni is Dan Snaith, aka Caribou, and ‘Yes I Know’ is a heady combination of bass, loops, and funky drum machine samples. It positively pulses with dancefloor goodness. It’s quite different from the spacey psychedelic forms usually associated with Caribou but every bit as good.