A synthy slow jam named after Bill Murray? Mmkay, you got me. Phantogram have unleashed this new track, and it’s pretty great. From Sarah Barthel’s honeyed, smooth voice, to the lithe slide guitar, to the buzzy keyboards. It almost sounds like a Beach House song if they were a little more reliant on electronics. I’ve always liked when Phantogram slowed things down a bit, and this is a prime example.
Their new record Voices is out February 18 via Republic.
So Serene is the off-the-wall new tape from Wavves’ Nathan Williams and his brother Kynan. See that cover art of Batman and Robin melting? That pretty much sums it up. A 27-minute-long piece that goes through a multitude of wonky, chip-tune-inspired phases. Thankfully, the brothers have really stepped up their production game since Sweet Valley’s last outing.
So Serene is a crazy journey, and one worth taking for the sampling alone. I mean, the guys sample Larry David and Space Ghost Coast to Coast…TAKE MY MONEY NOW! Oh right, it’s a free download. Grab it here via the duo’s Bandcamp.
The latest from Brooklyn producer PATRCIA. continues the artist’s streak of infectious yet somewhat sinister dance music. “Daughters of Erebus” sees PATRICIA. venturing even further down the path of acid-house, going so far as to add the Roland TB-303 to the list of Soundcloud tags. Groove to it above! And hope that we see an EP or LP from this project soon.
Before SBTRKT’s next proper LP, he will be dropping a series of 12″s comprised of new, transitionary instrumentals. Yesterday on Mary Anne Hobbs’ BBC Radio 6 stream, he debuted one of these projects’ tracks, “Hold the Line;” another expectedly moody piece of dance music from the artist in his unique post-dubstep voice. We can look forward to hearing this new EP series over the coming few months.
There’s a feeling I get when one of my favorite artists announces a new record after a long time without one. Four years may not be long in the grand scheme of things, but it has been way too long since Mirah’s excellent 2010 LP (a)spera, and I’m absolutely ecstatic about her announcement of Changing Light, her sixth solo album. The first taste of it comes in the form of “Oxen Hope”, a slowburning track resting mostly on a deep, bassy synth progression, a subtly intricate melody, and Mirah’s great-as-ever voice. Of course, this time around, her voice is doubled with some very cool robotic effects, but Mirah finds a way to maintain a human urgency behind the cold mechanical sound. Enter some beautiful strings and the whole thing takes on a melancholic, nearly soulful quality by the end of its four minutes. I don’t know about you, but I can’t wait for this record. Welcome back, Mirah.
Changing Light is out May 13 via Absolute Magnitude.
Avey Tare’s new oddly-named project releases its first song, “Little Fang.” This is much more straightforward than most of what we’ve come to expect from Tare, despite the slightly off-kilter vocal affect. A throbbing bass and summery guitar lead the way, with the drum beat giving the song a fresh pep. I guess we will have to wait longer to find out if this project is just a horror-pop gimmick–the name is probably still giving me too many hangups–but this song seems pretty sound.
Enter the Slasher House comes out April 8, via Domino.
If you find yourself enjoying the pristine, banal plunderphonics of Oneohtrix Point Never as well as the woozy vocal inflection of a “sad rock” act like Porches. (or even Liars), then you might want to keep an eye on 19-year-old Bay Area musician Devlin Miski (a.k.a. Goliad). On Inevitability, you will find both of these things in abundance, and with some fine-tuning, this “plunder-pop” thing might just catch on. Happy listening!
This is Miski’s second project this year, after last month’s Gavin’s Middle Name, a beat tape he released under the name Iequoia with fellow producer Danny Spiteri. Hear it here.
The new Neneh Cherry songs–I love saying that–have been slightly underwhelming. “Blank Project” had its moments, but ultimately felt a little unfulfilling. “Everything” was better, but overstayed its welcome a tad. Now comes “Out of the Black,” and it’s arguably the finest taste of Cherry’s forthcoming record, Blank Project, her first 1996′s Man. Featuring a generous vocal contribution from pop mastermind/fellow Swede Robyn, the track feels a bit like a melding of two like-minded members of the same hierarchy. The recording is the same dry, percussive style of the last two tracks–again, produced by Four Tet–but the elements all congeal a little better than on those other songs. Nonetheless, it’s intriguing to hear her come back to solo work after all these years.
Blank Project is out February 25, via Smalltown Supersound.
More Black Milk already? It was only a few months ago that he dropped his fantastic album No Poison No Paradise, and he’s already got a new EP due out next month, titled Glitches in the Break. Above you can stream the project’s lead single “Cold Day,” featuring a glitchy and grimy, but also impressively smooth instrumental backed by some nice female chorus vocals. And of course Black Milk’s bars are freaking on-point. Check it!
Glitches in the Break is slated for release March 4 via Computer Ugly, and will be put on 12″ for Record Store Day (April 19). Watch our review of No Poison No Paradise below:
The upcoming self-titled album from St. Vincent can’t come soon enough. “Birth in Reverse” and “Digital Witness” have hinted that this will be Annie’s most off-the-wall and adventurous project yet, and although decidedly a bit more understated than those two; new single “Prince Johnny” is a welcome come-down after them. It’s a smooth, seductive track with a laid-back groove, and of course it proffers a slick-as-sin guitar part from Annie. Yeah, it’s kind of simple, but it’s just so freaking well-written! At this point, I’m convinced she can do no wrong. Enjoy!
STV is slated for release February 25 via Republic.