Toronto’s Moon King will be issuing their debut European release on September 16th via Tough Love. Entitled Obsession, the record compiles all of the band’s output to date as well as one previously unreleased track, and will be available on LP, CD and digital download.
Comprised of Toronto native Daniel Benjamin and collaborator/co-conspirator, Maddy Wilde, the duo have been making music together for most of their lives. As Moon King, the two singers weave dreamlike harmonies over buzz-saw guitars and electronic percussion, their live performances capturing a raw-nerve intensity that verges on ecstatic.
While they have ties to a handful of other Canadian projects – Majical Cloudz, Grimes, Austra – they more obviously share a sonic affinity with the alien androgyny of Cocteau Twins, mbv and The Breeders. Many of Daniel’s songs appeal to our darker subconscious desires, revelling in the embrace of fear and ego as a means of escape. Daniel also frequently performs with his brother Airick’s group, Doldrums
Formed in January 2009, Girls Names quickly garnered recognition outside of the confines of their hometown of Belfast with the release of their eponymous debut EP in 2010 through New York’s Captured Tracks. A mini-album through London imprint Tough Love soon followed, setting the foundations for their critically acclaimed debut LP Dead To Me, released in April last year again by Tough Love in Europe and cult West Coast label Slumberland Records in the US. Earlier this year the band released a split 7” with Weird Dreams and contributed with a new single called ‘A Troubled See’ that saw them spread far and wide.
Girls Names are now hinting at making their boldest and most exciting record to date. New single ‘The New Life’ clocks in at over 7 minutes and takes you on a journey that mirrors the feelings of a band living and working in economy stricken Northern Ireland – the perfect soundtrack of the bleakness to where they exist. The B-side on the 12” is a J D Twitch Optimo remix of the single.
With their new album, Cymbals wanted to have fun, but not be dismissed as trivial. The first song to emerge suggests they’ve done just that
Dance-pop bros Disclosure have been sharing a few remixes from their excellent debut album ‘Settle’ lately to mark the release of its deluxe edition, and the latest and most exciting to see the light of day is this touching, sparse rework from Austria-based British producer SOHN.
Having signed to 4AD this year and produced heart-stopping tracks for the likes ofBANKS and Kwabs, SOHN has had a solid 2013 with glimmers of an astounding year to come. His light touch is all over this blissfully restrained Help Me Lose My Mind remix, pushing London Grammar singer Hannah Reid’s vocal to the fore and stripping the percussion to a restless heartthrob.
Born in Dallas from Nigerian roots but both raised and living in London, Shuanise has been making music for almost all of her life, developing into one of the very few artists who really create a unique atmosphere and an own vibe within her music, sounding like nothing you have heard before. As far as musical influences go she cites Zap Mama, Fela Kuti, Dilla or Sun Ra amongst others and one can be pretty sure it`s not a long time from now that Shuanise herself and her music will be called influential.
The Avalanches are an electronic music collective from Melbourne, Australia. They are well known for their use of eclectic sampling, having created their debut album, Since I Left You(2000), entirely out of over 3,500 samples of obscure records, movies, and television shows. This is famously demonstrated on their hit single “Frontier Psychiatrist”.
Before this, they were a hip-hop group with the single album Rock City and the EPy El Producto. Currently, The Avalanches are appearing at outdoor festival events with a DJ set, and are reportedly working on new material.
Secret Thirteen Mix 101” is a retrospective and highly exceptional audio journey through different periods of electronic music. The eclectic selection connects 32 unique records in less than an hour. Even though the works are quite eclectic and resonate with each other, Jelinek finds ways to deal with the situation and in the end it feels like a well measured sustained musical narrative. His skilled use of effects, thoughtful mixing techniques and long experience of working with sampled music add new colours and flavours to each record and sometimes even entirely reshape the mood or dynamics of well-known works after unexpected collisions. The music varies in time from the early 1950’s to these days thus creating the wide range of associations, elaborate connections that inspire and also prove that some music is relevant forever and were made to stand for centuries as brilliant monuments of the music history. The mix includes unreleased material from Jelinek’s various projects and unpublished recording cuts from his earlier live performances, also the record from the forthcoming Faitiche release. It is so inspiring to hear old gems by such historical rock/reggae musicians as Jimi Hendrix, Frank Zappa or Susan Cadogan weaved together with unforgettable pieces by such prolific modern composers as Bernard Parmegiani, Luc Ferrari, Vladimir Ussachevsky. This mix hides many emotional voyages and technical aspects to be written about as each part requires an in-depth study, but also it is like a beautifully packed Christmas gift from the whole Secret Thirteen team and from the artist himself that needs to be unboxed individually.
Raised amidst two pianos, Bernard Parmegiani grew up under the Sign of Sound, listening to the everyday scales practised by his mother, a teacher, and to the virtuoso repertoire of his step-father.
He was taken on as a sound man first on the radio and later on TV, which is where he conducted his first experiments with “bit twiddling” on tape. During this time he was also studying mime with Marcel Decroux and later at Jacques Lecoq’s theatre school, which gave him an awareness of the plasticity of space, a lesson that he would draw on in his later compositions and in the architecture of his sound universe.
Then he met Pierre Schaeffer, who encouraged him to attend a training course in electro-acoustic music (1959) and shortly after he joined the Groupe de Recherches Musicales (1960), of which he was to remain a full member right up until 1992.
Schaeffer put Bernard Parmegiani in charge of the Music/Image unit of the ORTF’s Research Departement, where he went on the compose the music for both full-length and short films made by the likes of Robert Lapoujade, Peter Foldés, Piotr Kamler, Valerian Borowczyck, Pierre Kast, Jacques Baratier and Peter Kassovitz, amongst others. This proved to be a first class training ground for learning how to deal with the problems of musical form as these relate to time, and how to overcome the constraints imposed by the medium of the cinema.
Super-obscure quasi solo project by M. Loubet, author of all tracks with the exception of the cover version of Tito Puente’s ‘Guayaba.’ This Uruguayan group — originally released on Lider — mixes up traditional candombe essences with Latin funk psych-fuzz influences for a very neat piece of pop music history of pre-dictatorial Uruguay (1973).”
This track is part of the sound track of a Mexican cult movie from early 70’s “Las puertas del paraizo”