ISO50

I try to catch every Nebraska track that comes out, some of the most visual disco that crosses over to indie rock and deep house easily. I find his approach always seems to come from a genuine knowledge of his sounds history, looking forward to more.

Beef Terminal is a Canadian guitarist that caught my ear via bandcamp, this song grabbed my ear because it was a bit looser than some of the Mark McGuire tracks and the reverb definitely has more space to roam around.

Not sure who the artist is on this but the new age whistling along with a jungle break is such a great combo.

Listening through Leon Vynehall’s catalog and mixes I find myself always coming to the point that he understands the organic groove of house music. The second track “This Is The Place” on the Royal Oak release is a perfect example of what separates him from the pack, from chord choices to resonance to stepping into new sequences, the man gets it naturally without relying on trends or replicating what he hears. HIGHLY RECOMMENDED.

Leon Vynehall Soundcloud
Leon Vynehall Facebook

People have talked about Vaporwave for years as a genre we even posted the music on the blog for years, no one really cared to call it that besides the deepest end of the bandcamp and tumblr culture and its looked down upon to even say it at this point. So instead of talking about it here on ISO50 i’ll just dig up a few classic free albums for you guys and post them up here. The genre is too fun not to share, its mostly just slowed down soft pop from the 80s and 90s that is pitched down, I imagine it was paraded around by Japanese teens and maybe some 15 year olds in California.

What started it all:

Mark E might be our generations most consistent edit wizard. Always soo smooth and always thinking about the dancefloor, he did stunning things to make this Brett single
flutter.

SUPPORT: Vinyl / Digital

June 2014 Brett Tour Dates
16 June – PHOENIX, AZ – Crescent Ballroom
19 June – Los Angeles, CA – The Standard
20 June – Agoura Hills, CA – The Lab Brewing Co.
21 June – Ojai, CA – The Deer Lodge
22 June – Laguna Beach ,CA – KX 93.5
25 June – Brooklyn, NY – Rough Trade
26 June – Washington, DC – U Street Music Hall
28 June – New York, NY – Mercury Lounge

I needed something light and fresh for the weekend and Ceremony allowed us to premiere this USF release. It has its moments of that speedy digital chopped up sound that makes you feel like your scrolling through a teenagers tumblr, but what separates them from the rest of the pack is the thoughtful softness chosen to form the melodic side of this record.

SUPPORT: Digital via Bandcamp

USF (formerly Universal Studios Florida) is an ongoing collaboration between longtime friends and Seattle natives Jason Baxter and Kyle Hargus. Since their inception in 2008, USF has recorded and released over five hours-worth of hypnotic, genre-bent music, including three EPs, the seminal debut full-length Ocean Sunbirds, a record inspired by the writing of Jonathan Lethem (2011’s The Spray), and a myriad of remixes for an eclectic mix of artists.

SIMISM is their most adventurous release to date and the duo’s first for Ceremony: a pulsing, club-worthy collection of tracks that departs from their established, diaphanous sound towards something more immediate and direct. Songs like “Sibilant,” “Free ‘Til Midnight,” and “Outtamind” (which features soulful guest vocals from Fatha Green) reach for euphoric new highs and refute the increasingly impersonal, rapidly-digitizing world around us. Ultimately yearning for intimacy from the lonely heart of the concrete jungle.

Finally had some time to settle down and dive into this Caustic Window LP, the great thing about it that I noticed right away was how quickly my music life flashed before my eyes and I calmly ended back up at the record store I bought my first Aphex Twin LP. I’ll just shut up and let you listen, for some this is still a sacred moment.

Back in 1994, there were plans of releasing a full LP of music from Richard D. James, aka The Aphex Twin, under his “Caustic Window” moniker on his own label, Rephlex Records.

This album unfortunately never saw the light of day until around 1999, when Mike Paradinas (aka µ-Ziq) granted a rare interview with the Aphex Twin fansite, joyrex.com (no longer active). In the interview, Mike described the tracks in detail, and went on to explain that only 4 people at the time were known to have a vinyl test pressing of the album – Richard James, Chris Jeffs (aka Cylob), Grant Wilson-Claridge (co-founder of Rephlex Records) and Mike himself. Each person was sworn to never make copies of the music, and for 20 years, not a single track had ever been commercially released (with the exception of two tracks that appeared on compilations).

Until now.