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This doesn’t need much of an introduction, its a best of list that we’ve been doing for years, the great thing about them is that i’ve made them into a nice 10 track playlist for you. I hope you enjoy, remember you don’t have to agree with me, I hope I turn you onto some new music by the end of it.
Uwe Schmidt aka Atom TM designed most if not all of the inserts for his legendary techno imprint Rather Interesting under the credits “design sampling by linger decoree”. The CD booklet for Midisport – 14 Footballers in Milk Chocolate is a favorite example of the deadpan humor, fearless oddity and demonstrative detail found throughout the Rather Interesting catalog both visually and musically.
A beautifully shocking portrait that we love. I still always look twice when shuffling through house crates. From 1997, the ‘Monsieur Guy a Paris’ mix of Acacia’s Maddening Shroud from this 12″ remix ep is a perfectly cunning piece of french house.
We love Ariel Pinks drawings of detailed sexual dysmorphia. The original drawing used for the My Molly 7″ is in Austin’s personal art collection. Here Ariel musically clones a song by an asexual man with “This Night Has Opened My Eyes” (Smiths cover).
Donald Byrd (Donaldson Toussaint L’Ouverture Byrd II, Detroiter 1932-2013) leans suavely aloof behind his spaceage sportscar on the cover of A New Perspective. This is a favorite cover by graphic designer Reid Miles who created all of the Blue Note album covers in its first 10 years of existence thereby inventing the classic look of the legendary jazz label. Ironically Reid Miles did not particularly like jazz.
The art for Plexure by Plunderphonics (John Oswald) which blends the defiant stances of Bobby Brown, Bruce Springsteen and Garth Brooks is an icon of the “audio piracy as compositional prerogative” movement. This is Urge (Marianne Faith No Morrissey).
I haven’t felt this privileged since releasing Casino Versus Japan on Moodgadget. Here’s a perfected EP from Pop Ambient legend Markus Guentner. We’ve been sitting with this album for a few months just trying to find the right time to release and work up the right artwork. Would love some feedback to share with Markus, trying to get him to come out to the US for a tour. Also, download the single “Shadows of the City” for free in the Soundcloud player.
It wasn’t until the advent of time-lapse photography that humans were able to perceive slow and subtle processes on a comprehensible scale. New wisdom can be found in being able to perceive clouds flowing like a river, or the way heavy traffic on a city street begins to resemble the circulation of blood vessels through an artery. In many ways, “Shadows of the City,” Markus Guentner’s latest release captures this fleeting sensation of experiencing time and space on a novel but disarmingly-familiar scale, enthralling listeners with deftly-constructed soundscapes that tell a story widely-open to individual interpretation.
Opening with the track “Chromatic Fields,” Guentner envelopes the user in a warm, resonant sphere of energy, gliding over the shimmering surface of a moonlit pond. Continuing with “Ashes,” a stark but uplifting and meditative movement, the listener is prepared for the first of two longer pieces as the sense of anticipation grows. The title track emerges from the shadowy silence before a Voigt-like four-to-the-floor beat takes hold of the listener and carries them through canyon-like resonance separating monolithic structures of percussion, snaps of air and cracks of sunlight flashing through to illuminate the dust. With the following track, “The Run,” Guentner releases the built-up energy, returning the listener to the center, preparing them for what comes next. “The Coral Crowd” is ushered in much like it’s long-playing counterpart (or counterpoint, to some), graceful yet grounded, organic, but orderly. Ending symmetrically with “Eternal,” listeners are gently returned to consciousness, new insights revealed and ready for the next play-through. A wholly satisfying low-levels listening experience from beginning to end, “Shadows of the City” may represent some of Markus Guentner’s finest and most mature work to-date.
I saw Italian trio Soviet Soviet last week in Brooklyn, I was super attracted to the quickness of getting in and out of the hooky driving songs. They obviously have their similarities to old bands but they deliver it with youth and catchy basslines. I highly suggest checking out “No Lesson” first and then streaming the album