Patten is new to the Warp label, his LP is soon to be out. If you dig around on his insanely good website you’ll find free edits that he does, the best one in my opinion was this multi-fi edit of Burial.
I. am. thrilled. for. this. Small. Black. LP. Its like a slowed down Peter Gabriel instrumental!
Daniel Avery did up a perfect remix for Factory Floor, its something you’d hope someone would turn in for you, he leaves the original genre and gives you a beauty, DFA should be overwhelmingly happy.
I have been digging through almost every Delsin release this past week, just one by one and this was a stand out gem from D5, melting digital clouds.
Photo credit: Reuben Wu
You can now stream Spectre on above. It’s the third single from our forthcoming album, Awake, out March 18th on Ghostly International.
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Pre-order Tycho – Awake Vinyl / Digital / CD
“Oh I got this……..whaaaaaaaaaaaaaat, Oh come on!”
The new Com Truise EP “Wave 1” is out today, stream it above.
Wave 1 is the first new transmission the world has received from producer Seth Haley since his gloriously futuristic debut album Galactic Melt. That album cataloged the genesis and evolution of Haley’s alter ego Com Truise — the world’s first synthetic/robotic astronaut, as Haley described him — and this EP continues the character’s journey into the outer reaches of the musical multiverse. In the process, it also builds on Haley’s signature production style, one that’s rooted in classic sci-fi sounds and analogue textures but nevertheless manages to sound utterly contemporary.
SUPPORT: BUY VINYL / DIGITAL
Photo by: Philistine DSGN
02.18 St. Louis, MO @ Firebird
02.19 Kansas City, MO @ The Record Bar
02.20 Denver, CO @ Larimer Lounge
02.21 Salt Lake City, UT @ Urban Lounge
02.22 Boise, ID @ Neurolux
02.24 Vancouver, BC @ Fortune Sound Club
02.25 Seattle, WA @ Chop Suey
02.26 Portland, OR @ Rotture
02.27 San Francisco, CA @ Mezzanine
02.28 Los Angeles, CA @ Echoplex
03.01 San Diego, CA @ Casbah
03.02 Phoenix, AZ @ The Crescent Ballroom
03.04 Dallas, TX @ Club Dada
03.05 Austin, TX @ Red 7
03.06 Houston, TX @ Fitzgerald’s
03.07 New Orleans, LA @ Hi Ho Lounge
03.08 Atlanta, GA @ The Earl
03.09 Nashville, TN @ Exit In
03.10 Asheville, NC @ The Mill Room
03.12 Washington, DC @ DC9
03.13 Philadelphia, PA @ Boot & Saddle
03.14 Cambridge, MA @ Middle East Upstairs
03.15 New York, NY @ Bowery Ballroom
04.24 Asheville, NC @ Orange Peel
05.17 Lisboa, PT @ Musicbox
05.20 Hasselt, BE @ MOD
05.23 Rome, IT @ Spring Attitude Festival
05.24 Milan, IT @ Tunnel Club
05.27 Leipzig, DE @ Täubchenthal
05.28 Berlin, DE @ Flux Bau
05.29 Dortmund, DE @ Way Back When Festival
05.31 London, UK @ Shapes Warehouse
Jaakko Eino Kalevi: Finland has their own Destroyer/John Maus hybrid and he’s amazing.
Lee Bannon: Ninja Tunes just keeps stacking up and reviving good drum n bass.
Indian Wells: Flying under the radar in the beat world clutter.
Disclosure: I wouldn’t usually post this video but the color treatment and the vintage knick knacks make it.
Oh man soo many mixes and tracks went up today, my favorite though is this one from Majical Cloudz called Love Soul. Enjoy your night.
UPDATE: The Majical Cloudz track is up
Daniel Avery is touching on some Gui Boratto & Superpitcher levels, in 2004 this would have sold 10k vinyl easily.
The hypnotic manner of where this Marcellis song goes, made me obsess over it right away. I might never spin a set without it.
Some sort of juked out motown from Traxman, its like what Bullion might have ended up doing if he just kept it simple and sample based.
I think I heard this song in a Falty DL set, maybe Shazam lied to me and its not right but once I looked up the result I found this Doc Daneeka cut. Might edit it down and cut out the vocal break, its not my thing personally.
With Tycho’s Awake, out March 18th via Ghostly, the Sacramento-based audiovisual project helmed by Scott Hansen has reached a certain maturity, growing into a three-piece band and achieving, on the new record, an even more refined sense of clarity. Awake takes the evocative, pop-ambient synth work that made 2011′s Dive feel so oddly spiritual (and drew countless comparisons to Boards of Canada) and refocuses it into a cleaner, sharper post-rock context; it feels like an album that should be broadcast at night over the Grand Canyon. I spoke to Hansen about growing out of “the Instagram approach” to music producing, making headphone music work live and why he considers this “the first true Tycho record.”
The Fader: Where am I talking to you now?
Tycho: We’re in the studio, working on the live show. I’m working with the engineer who helped mix the record to translate the recorded stuff live. Last album, we struck the balance between having the live show sound more like the record, but over time, we decided we wanted a more ability to go off the beaten path, and we’re trying to skew the balance back to the performance end of things. It’s kind of headphone music at the end of the day, especially the older stuff, so we’re always trying to punch it up.
The Fader: You’ve called this “the first true Tycho record.” Why do you feel that way, even though you’ve been at it for a little while?
Tycho: I look at it from a career perspective, like what I was doing in my life when I made those other albums. My life revolved mostly around freelance graphic design work, and I wasn’t truly focused on music in the way that I am now. And back then, I hadn’t met musicians that I really resonated with in a songwriting context. Meeting Zac, meeting Rory and meeting Count, the engineer—forming relationships with them where we were comfortable enough to start creating together is what facilitated making this record the way I wanted. It was always my dream for Tycho to get to that point, it just took me 10 years to get there. This is what I wanted Tycho to be all along.
The Fader: So it’s a proper band now.
Tycho: Now I kind of look at at is: I’m in a band, and I play keyboards and guitar and bass, and I also produce that band. You put on two different hats. Working with Zac in particular, we came up with basic ideas and then spent time in different places for a couple weeks at a time working through them, developing songs. Then I went back and produced them out, and we spent a few weeks at the end flashing and burning and doing the hard decisions I wasn’t objective enough to make in the past. From songwriting to arrangement, we worked really closely. Rory, the drummer—I always hear these drum patterns and swells in the music, but I’ve never had the ability or energy to achieve that with electronic programming. He was able to just sit down, hear the music and go.
Read the rest via The Fader