English electronic music producer Christopher Clark just released his latest full-length on Warp Records this month. It’s self-titled. Of the songs I’ve heard thus far, I’m finding it much more experimental and intriguing than his last album, Iradelphic, and “The Grit In The Pearl” is moment that must be highlighted.
The bouncy, overlapping synth leads are complimented with a driving kick drum that really brings clarity and order to the track as it continues to build this amorphous wall of reverb-slathered tones. It’s focused, but incredibly explorative as well–especially with that noisy drone in the song’s second half.
With a voice like Janis Joplin minus the cigarettes and guitar playing like an angel with problems, Jessica Pratt seems to be a rising contender in the folk rock world. Pratt’s original and peculiar approach is simple, but allows her to enter a completely different category to modern folk rockers: a strummed or plucked guitar, and vocals that hold such unfamiliar nuances that their beauty really lies in the heart of the listener. “Back, Baby” is a single from her upcoming album titled On Your Own Love Again, which is being released on January the 27th.
Although the track is similar to her previous work, there seems to have been some emotional progression. Reminiscent of a pregnant Joan Baez at Woodstock, Pratt tells a tale of a lover from the past, a man she wishes she could revisit, but understands the consequences could be dire. As she “sometimes prays for the rain,” I pray her new album lives up to the standard that this single has set.
- Fin Worrall
Hey, everyone! I hope you’re in a good mood today, because I’m going to introduce you to someone very interesting: Hartley C. White. This guy is a multi-instrumentalist, martial artist, poet, and songwriter that currently resides in Queens. He records a self-coined style of music called “Who-pa-zoo-tic Music,” which seems to emphasize extremely broken rhythms. While it all seems entirely new on the surface, most music nerds will probably draw similarities between Hartley and notables names in “outsider music“: R. Stevie Moore, Wesley Willis, Tonetta, Ariel Pink.
On “Let’s Play Politics,” Hartley’s melodies are rudimentary, but there’s something strange and unique about them as well. The odd rhythmic character of the song makes every note pronounced and sticky. Despite this song’s unorthodoxy, it’s incredibly catchy. On the lyrical side of things, Hartley doesn’t say anything he doesn’t mean, making every word count in this clever satire of today’s political landscape.
Famed drummer Ginger Baker‘s got a career that’s near-impossible to condense into a few sentences. The man’s contributions to everything from psychedelic rock to jazz are immeasurable, and he’s still hitting the skins at 75! He just put out a new album titled Why?, and the title track is embedded above.
The track features some funny female group vocals, a swinging rhythm, and a great horn solo, too. Pick up a copy of the album over here, and enjoy!
New York’s Parquet Courts–or Parkay Quarts as it is stylized here–have a somewhat spotty past with me. While I really dug 2012′s Light Up Gold, I felt left out in the cold on their last record, Sunbathing Animal. But because I’m a fan of Andrew Savage, the band’s deep-voiced frontman, I’m still interested in seeing if the Parkay can top its previous material.
With “Uncast Shadow Of A Southern Myth,” they’re off to a good start. It’s a long, dreary slow-burner, which there were a few of on Sunbathing Animal, but Savage has obviously upped his lyrical game here. He indulges in some Dylan-esque poetic abstractions while delivering them in a Lou Reed-style apathy. It actually keeps the track engaging as the band performs a simple, downtrodden instrumental that fuses lo-fi indie rock with alt-country.
Look for Parkay Quarts next album, Content Nausea, to be released via What’s Your Rupture? on November 11th.
With just a few brief albums and a handful of singles under her belt thus far, Holly Herndon is quickly becoming one of the most interesting electronic music producers to watch in 2015.
If I’m correct, she’s slated to drop a new full-length toward the start of next year via RVNG Intl., and her most recent single here shows her incorporating lyrics into her usual mix of glitchy rhythms and strange vocal manipulations.
Not only is the chord progression on this thing pretty epic, but the massive bass and dense cacophony of rhythms is pretty overwhelming much of the time–of course, the visuals in the video attached to this song mirror this.
Teaming up with fellow Chicago rapper Supa BWE, Mick Jenkins lands on this socially relevant and very necessary cut titled “Treat Me.”
If you wanna hear this track in its greater context, it comes from Supa’s new EP, which is titled Hurt Everybody. Personally, I didn’t dig it, but if you’re into this song, it’s definitely worth giving a shot. Enjoy!
Idiosyncratic indie rock band Deerhoof drops yet another cut from their forthcoming album, La Isla Bonita, and the track features one of the most nasty, dizzying, and dissonant guitar leads to ever make it into one of their songs–and that’s saying something.
Look for La Isla Bonita on November 4th via Polyvinyl Records.