Death Grips builds up to the release of it’s supposedly final album with an LP of instrumentals.
Featuring quite peculiar synth work, funky bass and drum lines, alternative guitar melody loops and slick sax playing, the functional centre of Horse Lords’ sound rotates on a steady axis of African, Western and Eastern concepts, conveying musical ideas and cadences that are, quite frankly, perfect to read something to. However, no matter how quietly you listen to their new album, Hidden Cities, at some point or another, you’re going to look up and marvel. Containing a handful of longer pieces separated by either busy or relaxed interludes, Hidden Cities is certainly one of their best works to date and sends them further out of the depths of Baltimore and into the eerie misshapen land of prog rock.
- Fin Worrall
Erik K. Skodvin is the real name of Norweigian avant-garde, dark ambient producer Svarte Greiner. As Svarte Greiner, Skodvin has released a handful of well-crafted, lurching albums, such as his great debut Knive, and 2013′s Black Tie. He has also recorded music as half of Deaf Heaven. But it is not very frequently that he puts out music under his birth name. In fact, only one album, 2010′s Flare holds the name. But now Skodvin is releasing a follow-up in Flame, and has debuted a glorious new song from it, entitled “Red Box Curves.”
The music Skodvin makes under his name is a little more succinct than the music he makes as Svarte Greiner (who is no stranger to epic-length dirges), but they retain similar elements. “Red Box Curves” consists of not much more than a hollow, relentless percussion, screeching strings, and some dissonant atmospherics and subtle distortion. It sounds a little like something that wouldn’t be so out of place on The Knife’s bizarre Shaking the Habitual, and it is really made of the same things as many Svarte Greiner tracks. The difference is in its pacing: “Red Box Curves” is over in less than 4 minutes, and doesn’t waste any time. Its elements dance around each other, slowly increasing in intensity. If this were a Svarte Greiner song, it’d all be much more discordant, elongated, and droney. But under his own name, Skodvin feels free of the heavy chains that can sometimes burden his alias’ music.
Flame is out next week via Sonic Pieces.
Mello Music Group‘s Apollo Brown has just dropped a hefty instrumental album that lifts a great deal of it’s samples from the sounds of the 70s. Funk, Blaxploitation film soundtracks, and obscure soul gems are littered throughout this thing. A great deal of the project seems pretty laid-back, and there’s a prominent vinyl crackle coasting through a lot of these songs as well.
Grab Thirty Eight on Bandcamp, stream it via the widget above.
The new Tobacco album is one of the most demented sonic adventures I’ve gone on this year.
Out of the damn blue, Aesop Rock drops a 30-minute collection of unreleased beats, loops, and sonic oddities that haven’t made his commercial releases. It’s a pretty colorful collection of tracks, honestly. It’s just as lo-fi and idiosyncratic as I’d expect. It’s kinda like a Tobacco or Black Moth Super Rainbow album, but without the incessant psychedelia vibe. Enjoy, and download the Blob here.
Tycho makes the transition from hazy bedroom producer to what almost sounds like a full instrumental rock band on this latest record of his.
Music production has come a long way since the 80s, and it’s sometimes hard to imagine how so many beloved joints were produced on such rudimentary equipment. Case in point: The SP-1200. Of course, this drum machine and sampler that was more advanced than the hardware that preceded it, but it’s funny to think this thing had only about ten seconds of sampling time at its disposal. These days, we can sample anything for as long as we’d like. The limitations seem to be endless, and advancements like this tend to make us forget what things were like prior. Despite obvious limitations, the buttons on the SP-1200 were smashed by too many legendary producers to name, and its abilities were put to use in a variety of different genres, too.
This is how all of this is relevant: What’s been embedded above is a new album of instrumentals from up-and-coming producer Surock, and he stuck faithfully to the 1200 for every single track here. As a result, the beats here have a warm, gritty tone. The dude’s sampling is tight as well, and there’s a variety of vibes that come across in these beats, too. Give ‘em a stream, and enjoy!
The new Sadsic album is one of the heartiest collections of beats that you’ll come across this year, featuring over an hour’s worth of psychedelic, kick-heavy odds ‘n’ ends.