Jakub Alexander curates the music selections here at the blog. He also runs his Moodgadet record label out of Brooklyn, NY and does A&R for Ghostly International Records.
Links:Moodgadget RecordsJakub's Tumblr
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Dub like this track from Orphan is rare, its not as murky or linear, I find it really entrancing because it has old IDM melodic structure, I end up playing it over and over.
I wish you could see my face when this Dirty Beaches song comes on, i’m shaking it in disgust, it changes you, the drive the musk the maturity and rawness just tosses your cares aside. You don’t enjoy a song like this, it sets a mood that for the record has more balls than any Johnny Cash song.
The Revenge’s production is been slightly evolving away from disco, the edits almost seem like a trend from the past, I love both so either way i’m happy.
“World” music has a huge atmosphere that still hasn’t been explored, there is fusion and mismatches that will most likely not be made in my lifetime, well atleast Egyptian Sports Network is taking a proper stab at it.
We’ve only supported/shared a handful of Kickstarter projects in the past, I always want to do more but its best wait for some of the best ones or ones that friends do that catch our eyes. This one by Matthew Waldman from Nooka is a pretty great idea since I see soo much coffee grounds go in the trash and a compost in an office environment isn’t the best always. I’ll let the video do the talking, support below.
Since Beacon has toured with Tycho they have found themselves some proper exposure from singing live with Sarah Barthel from Phantogram to hitting the road with How To Dress Well. The duo will hopefully be all over the states and EU this summer and fall, until then just enjoy the stream above.
Thomas Mullarney and Jacob Gossett, aka Brooklyn duo Beacon, introduced themselves to the world with the No Body and For Now EPs, both released last year on Ghostly International. The EPs were united by minimalist, R&B-influenced instrumentation, and also by a lyrical theme, with both serving as meditations on the darkness that underpins the most intense of human emotions: love.
The duo’s debut album The Ways We Separate both consolidates and develops these ideas. The album focuses, as the title suggests, on the idea of separation — both within the context of relationships and in a more intimate, psychological sense. As Mullarney explains, “The narrative contained inside The Ways We Separate deals with two kinds of separation: one where two entities grow apart, and the other where we grow apart from ourselves. Over the course of a relationship, the two sometimes happen together, one being the result of the other.”
Desires, passions and regrets are central to the songs on The Ways We Separate, which take a variety of perspectives to construct a nuanced reflection on the album’s central theme. ‘Between the Waves’ draws a clever analogy between relationships and soundwaves falling out of phase: “I know all the ways we separate/ Where we start to fade at different frequencies.” ‘Overseer’ catalogues a parting of the ways with discomfiting clarity: “Isn’t it fine?/ Taking it slow?/ Watching you watch me walk out your door.” And album closer ‘Split in Two’ explores how the extremes of love and loss can take you far away from being the person you thought you were, making explicit the connection between the two ideas of separation: “What I’d do for you?”, sings Thomas Mullarney, “Split myself in half/ Divided into two.”
Musically, The Ways We Separate finds Beacon working with a richer sonic palette than ever before —as Gossett says, “The production on this album is much more expansive than anything we’ve done thus far. We spent a lot of time exploring new gear and experimenting with how to pull a wide range of sound out of various instruments. Some of the key sonics that shaped this LP are analogue synthesis, lots of heavily processed guitar work, and vocal layering/processing.” While the abiding mood remains that of late-night introspection, the production draws from elements of hip hop and a wide gamut of electronic music, marrying intricate beats and subtle textures to honeyed pop melodies that belie the album’s conceptual depth. Rarely has bleakness sounded so pretty — this is a record that’s deceptively, compellingly beautiful, an exploration of a place both discomfiting and darkly seductive.
If you know me personally i’m a huge sports fans, i’ve always wanted to bring design and music fans together with sports fans anyway I can. If I had a dream job it would be hopping around in-between all the major sports teams and redesigning uniforms and logos. Nike did a great job here BUT… there’s a problem, a HUGE problem in my opinion, this doesn’t seem like what a passionate design would design, i’m in love with the fabrics, Nike always nails that department out of the park. The issue is that everything is completely evolving from the early 1990′s expansion boom, that gooey round 3D look or the Sin City “we’re the bad guys” thing. Both of these new logos suffer from that influence and thats the big bummer and the color scheme the designers have to work with. Also, i’m not going to lets simple designs get away with it either, look at the Minnesota Wild logo, you would think ISO50 might like it but no way, look at those trees, what a horrible effort.
To end on a positive note, I love what Nike did for the Oregon Ducks. I hope some of you comment in the comment section because i’d love to have a conversation about all of this.