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Monday
Nov072016

Be Yōkai - Facefist EP [Space Hardware]

 

This is a project we fell in love with instantly. Be Yōkai's 'Facefist' ep is a million things while being only itself. It's deep dark techno with a bizarre jazzy house influence and a vibe from the future that we don't even know about yet. We pressed play, and we were in the zone. Instantly.

Be Yōkai is a new collaborative project combining mindbending visuals from animator Kristofer Strom and audio from Minilogue's Sebastian Mullaert and Swedish creator Douglas Holmquist. Needless to say, it's a deeply immersive and moving experience. These are innovative, passionate artists at the top of their game.

The videos are beautiful, beyond anything we could possibly describe. And the music is game changing. It's absolutely great. This is absolutely going to find it's way into our collection.

Buy 12” EP
http://www.juno.co.uk/products/be-yok...
http://www.deejay.de/Be_Yokai_Facefis...

Buy Digital EP
https://www.beatport.com/release/face...
https://itunes.apple.com/gb/album/fac...

Streaming
https://open.spotify.com/album/2ra95b...

Thursday
Nov032016

Thom Sonny Green - High Anxiety

This collection of warped, hypnotizing, vocal-free compositions is about to captivate you from start to finish. It's about to grab hold of you and leave a lasting impression. A positive beacon you know you can return to anytime you need it. It's going to drive you forward. It's going to make you even better.

Thom Sonny Green is clearly a brilliant musical mind. He's the drummer for Alt-J, (who we once thought we were too cool for. And then we saw them at Osheaga and we got it right away. So we try to never think that way about things.)

Anyways, Thom Sonny Green is a wizard. This project is nothing like Alt-J, except for that it's great music. He's gone off on his own path on this record into a (dare we say again) hypnotizing new direction. It's got a strong hip hop influence, but it's also extra dark and extra optimistic at the same time. At least for us.

You're going to want to play this the whole way through for maximum effect - so we won't bother telling which cuts are our favorites (they mostly all are).

thomsonnygreen.com

Tuesday
Nov012016

Dearly Beloved 'Admission'

We always love it when a movie, a book, an album, whatever it may be - just jumps right into it. Like that new Mad Max movie. You don't get a second to breathe, and it's better that way.

This new record from Toronto rock and roll wizards Dearly Beloved does just that and then some. It makes us question if we could even handle seeing them live, or if it would be pure sensory overload. 'Admission' is a no nonsense, loud and heavy record with a million layers of airtight percussion, gigantic basslines, tons of guitars and lots of great vocals. Everyone in this brilliant five piece slays on this album, which draws from all kinds of influences and is full of facemelter after facemelter.

This collection of tunes is going to appeal to rock and roll fans across the board. And we're willing to bet their live show is as legendary as we can imagine. We look forward to seeing faves from this record like 'Who Wants To Know' and 'Currents' on a yet to be announced tour that we hope is coming soon! Enjoy!

LINKS:
http://www.dearlybelovedmusic.com/
https://www.facebook.com/TheBeloveds/
https://twitter.com/thebeloveds

 

Monday
Oct032016

Banks: 'The Altar'

With the release of her second full length album, the excitement surrounding Banks' music proves to be one of a kind.  For dedicated fans, and those curious to see what this creative force releases next there's certainly a sense of discovery, of possible surprise awaiting when she welcomes you into her world.  From the opening track 'Gemini Feed' it feels like this project shows us the inner turmoil of a person in the midst of great change, and an artist determined to make that change into growth.

When the first song ends and 'Fuck With Myself' you can start to feel how raw and honest this project is.  It's as if you're getting to know the artist personally, with the tougher exterior gradually fading into more tender moments as the record progresses with 'Lovesick' into 'Mind Games' and beyond.  As she calls out 'Do you see me now?' time and again it's clear that the personal evolution you sense early on is a pervaisve element on a powerful album.  Things have changed and Banks is out of this world.

'The Altar' balances uptempo jams like 'This Is Not About Us', an energetic track with percussion so intricate and unique we can't wait to see it played live by the masterful Derek G. Taylor.  To compliment there are the deep, at times somber moments like 'Mother Earth'.  It's a bold, vivid example of Banks' ability embrace heavy subject matter and still write songs of great beauty.  The poetic nature of her music makes it both relatable, and the cause of great curiosity.  How much of this is real?  How much is rooted in her personal experience?  At times these songs can feel almost too personal, as if the lyrics are really entries in Banks' personal journal.

There is the true beauty and sadness of Banks' new record.  It's also what sets her apart from the endless list of artists vying for your attention.  This music is so real in it's vulnerability that at it's most heartbreaking you see an unbelievably strong artist putting herself out there in a world that can often feel like it's falling apart. 

You need to hear this.

 

Monday
Sep262016

Bon Iver: '22, A Million'

One of the first words that comes to mind when thinking of '22, A Million' is defiance.  Bon Iver has never shied away from taking chances, but never quite like this.  The sound of this record is a long way from the woods of 'For Emma, Forever Ago', the titles make searching for and discussing the songs interesting, and the album art is mysterious and fascinating.  Bon Iver gives you their best music on a record that pushes the artists emphatically toward anonymity, letting the songs speak for themselves.

The tracklist for '22, A Million' was not what we expected but it certainly isn't that surprising from an artist who titled the songs on the last album after places.  Five years after the self titled second album and Justin Vernon is ubiquituous, but not in the way we might have predicted.  With an evergrowing, eclectic group of collaborators it's clear that Justin Vernon and company are here to further the plot, and to leave us with powerful, innovative and surprising music.  '22 (OVER S∞∞N)' is the opening track, and an introduction to the sound you can expect from this album. 

It also invites thoughts of impermance, and with it a sense of urgency to live and ultimately love.  As it ends for the first time you begin to savour the richness of the album.  It's followed by '10 d E A T h b R E a s T ⚄ ⚄', a noisy, unpredictable example of how the record defies the modern digital era that helps it come to life by eliminating the sense of perfection that has become commonplace in modern music production.  '715 - CR∑∑KS' follows with only a voice, yet a multidimensional one.  The clean, bold piano sound cuts straight to the core as '33 “GOD”' begins.  As one of the singles that introduced the world to this new music, it's been given a lyric video.  It comes from the same universe as the album art, and seems like a coded message, much like the cover itself. 

'22, A Million' reveals its true greatness over timeThe balance of incredibly talented musicians and innovative digital technology give you a glimpse at the timeless beauty of this music as the banjo fades away at the end of '____45_____'.  The album in each of it's facets defies the status quo of the art form, and likely contains more information than we're gleaning despite countless listens.  Few artists create such unique music, and fewer still present it to the world in such a creative, unorthodox way.  In doing so, this record truly feels like an instant classic; familiar yet futuristic.

 

 

Get the album on iTunes