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I never went after the GusGus catalog, I liked what they did for Bjork – Hunter but that is my favorite Bjork song. I do like what Kolombo did for GusGus, mostly the chorus got a real good face lift.
If you want more Todd Terje just go in the search box over there to your right, I think i’ve posted over 10 tracks in the last year or so. I should just make a playlist of them all. The appeal is hard to put my finger on, its just what I like to hear, that spacey/psych disco guitar that sits in the back and a slow driving pace.
I want to like this Tame Impala song more, its just not clicking with me yet, I think I just need to listen to it 4 or 5 more times, what do you guys think?
Ariel Pink is really going for it, cleaned up completely, almost like there’s a joke behind it. The idea is there but the lyrics are making me wide eyed.
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After leaving Brooklyn I don’t have the luxury of having some of the best venues, small record shops, and record labels near to physically check out.
The new Craft Spells record made me put this post together, a lot of hype is around Wild Nothings and DIIV but this Craft Spells album is right up there, that jingly sound with some sorrow played behind the guitar makes it perfect for that moodiness you might want.
Enjoy these tracks above but head to the labels soundcloud and dig thru, plenty of sugary driving pop that should be blasted this summer.
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“Start your engines and drive thru the 8 bit dirt in Excitebike” thats what the intro sounds like to me in this older single from Koreless and then the looped vocal comes in and adds that human connection and becomes a sugary fun track that bubbles and like a UK hip version of Pogo.
I missed this Jamie Xx track, what an intro, who would have thought that we would listen to this much steel drums in 2008 and on from Ratatat, The Knife and now this.
Here’s the semi pop effort of getting slow disco in front of a larger audience, sadly I think it might be a tad bit too slow, also vox could sit a little better in the mix, I love Poolside, I only want to see them do well.
The vinyl and digital of Tycho’s “Dive” single w/ remixes from Memoryhouse and Keep Shelly In Athens are out and available on the shop. Below are some details, i’d grab the clear opaque vinyl which is very limited and won’t be repressed.
Vinyl Details
The clear opaque vinyl is limited to 300 pressings, exclusively available through The Ghostly Store & ISO50.
The standard vinyl is limited to 700 pressings worldwide.
Each standard weight vinyl version features a 2-panel, 3mm spine, stock art jacket with a matte finish inserted in paper dust sleeves.
The title track on Tycho’s long-awaited Dive LP is just that—a ripple effect record that sounds like three songs in one, as if sound/graphic designer Scott Hansen just discovered prog-rock and decided to apply its winding passages to his own singular blend of sinewy synths and bleached beats. It’s also the first Tycho song to feature a prominent guest musician; guitarist Zac Brown, in this case, who paints outside the lines of Hansen’s halcyon hooks with restless rhythms and monorail-like riffs.
The “Dive” single fleshes things out even further, as Keep Shelly in Athens and Memoryhouse—both rising underground artists in their own right—cut Hansen’s cloud-scraping composition in half and slow his cruise control chords down to a crawl. The misty vocal melodies are still there, but they’re now floating through an embryonic assembly of jittery cicadas, rusty gears, and lean loops that are both welcoming and a bit woozy. The sonic equivalent of staring at the sun for too long, really, or two sides of the same cracked mirror.
John Maus is a religion, you believe in it wholeheartedly or not at all. I think its the most honest pop out there thats pushing true boundaries.
I found this Cinnamon Chasers song on the ISO50 Blog plug.dj room a few days ago, had the whole room full of animated characters dancing. A very simple song but bursting with drive and melody, I think i’ll keep this on my ipod if I ever need a pick me up.
This Jai Paul track has been everywhere, right away I love the whats happening with the fusion of high quality low end marrying a simple guitar line, its hard to make that sound right. Still not sold on Lenny Kravitz at times style vocals but the rest of the song overall makes up for it immensely.
Watching the end of the Silver & Light post that Charles did earlier had searching for the closing credit song, really wrapped the end up tightly without taking over. You can find the song on Vimeo’s new Music Store which i’m looking into and posting on later this week.
I’m into ASAP Rocky, I questioned posting it on ISO50 but after I heard Peso then this Clams Casino I almost made ASAP Rocky feature post. I can hear the Art Of Noise sample which gets comfortable right away and I just can’t deny how good the beat is soo it gets the top song. HIGHLY RECOMMENDED. NSFW.
I found Kyson via a podcast by Nueva Forma, it instantly grabbed my attention because of the dub aspects but fused together with wonderful usage of guitars, one of the easiest songs to get thru, just glades along.
I’m late to the Youth Lagoon parade i’m sorry, it was actually difficult to find a song to post though because I wasn’t falling in love with anything right away like people seem to be doing until I heard July.
M83 live on an insane level when it comes to emotion, really tweaked and thought through tracklisting, made you leave on a high, I personally loved his synth work on stage, I keep playing Klaus I Love You on repeat.
Those of you familiar with midi controller surfaces will know that, by in large, the product design associated with them leaves much to be desired. They are usually garish, overstated affairs seemingly designed to catch the eye of 18 year old ravers passing through Guitar Center. So I was pretty surprised when I saw the new line of Cubase control surfaces from Steinberg. The CMC line of modular controllers allow you to build a control surface using only the modules you deem necessary to your workflow. They even offer a frame to hold up to four modules of your choosing.
Of course, upon seeing these I was immediately reminded of the question I have been asking myself for years: why don’t we as Photoshop users have a system like this? There is something that comes close; the Avid Artist Color, but it isn’t compatible with Photoshop. Can you imagine having a modular system like the CMC that you could customize to run actions, edit color on the fly, manipulate images? Perhaps I’m being a little presumptuous, but I would think a lot of Photoshop users (and creatives in general) could benefit from an open standard for controlling software like Photoshop, Lightroom, and After Effects. The funny thing is that the standard exists already in MIDI, Adobe just needs to implement it and allow us to map controls to functions within their software. I guess after working with music software for so long and having hardware control surfaces as a given, it’s hard to understand why they’ve never made the leap to the world of visual production.
Would you use a hardware controller to work with Photoshop?
Also, here’s a pretty annoying video detailing the CMC system:
Last week I wrote a quick post about the Nosh Promo video I made. Today I wanted to go into the production and describe all that went into its creation. Basically it was insane 25 hours from when we started, until the next morning when I exported the final video and the power went out in my apartment building (literally AS I hit export). Above you’ll see the composite I put together to show how each step of the post-process contributed to the final video. View the final video here or at the bottom of this post. I’ll describe each step in detail after the jump.
