by Jason Di Vece·Comments Off on darkDARK is Love Like a Chrome Dipped Dive Bar
Welcome to Heathered, the synth-heavy debut EP from electronic duo darkDARK. According to the band, the record is about relationships. “Everything from the first moments with someone, which can be so amazing and fleeting, to the times where you’ve forgotten who you both are, change, and evolve […]” darkDARK recently told Consequence of Sound. Haley Bonar’s sultry vocals over shadowy synthesizers only gets better as the tracks advance. It takes on a cinematic quality that will have you reaching for the volume knob and player controls.
Carl Craig is known for Techno. So what is this? A collaboration between the Detroit iconoclast and a French Orchestra– a fabulous album that takes his music out of the club and into the concert hall. Beautifully minimal and progressive, tracks like “The Melody”, “Domina” and “Technology” are about as close to pure bliss you can legally get.
“Versus is my desire and dream come true to have my music interpreted by an orchestra.” – Carl Craig
by Jason Di Vece·Comments Off on My First Trip into Latin Folktronica
Apparently that genre is a thing with Argentinian born singer-songwriter and an actress Juana Molina. Having not heard of Molina before, it’s unknown what differentiates Halo from her previous six albums. Tracks like “Los pies helados,” “Cosoco,” and “Cara de espejo” are upbeat and catchy, but the album’s general demeanor is pretty cloudy. The nearly 57 minutes of echoing vocals and atmospheric instrumentation gets numbing after about 20 minutes. Sift through the cruft, and there are some real gems to be found.
by Jason Di Vece·Comments Off on Big Spider’s Analog Playground on Hush Hush
Seattle-based electronic artist Yair Rubinstein AKA Big Spider’s Back returns with this 9 track analog playground available as a cassette tape only release. Get lost on a Gold Star highway with tech-house bangers like “Light Sleeper,” “Outbound,” and “Dream Sequencer.” Or find solace on a long walk alone with wavey instrumentals like “Ativan” or “Sunset Programming. Where ever you might going, Beverly Centaur will get you there.
by Jason Di Vece·Comments Off on Jimmy Whoo – Motel Music Part II
Jimmy Whoo, Parisian producer and Co-Founder of Grande Ville Records, returns with the second part to his Motel Music album that he wrote over a three month stay in Los Angeles. Consisting of “dark, filmic moments that weave together dreamlike visions of L.A. landscapes and night time glamour,” or in this writer’s words, a mellow mix of contemporary electronic, hip hop, soul and jazz. Motel Music part 2 is an electronic album safe enough to play straight through at your next cocktail event or dinner party, with enough complexity to entertain the more engaged listener many times over. Truly wonderful.
by Jason Di Vece·Comments Off on Wish You Were Here Symphonic by the London Symphonic Orchestra
This one came into the station a few months back and grabbed my attention immediately. Anything remotely connected to Pink Floyd is worth a listen in my opinion. About twenty years ago a record called Us and Them: Symphonic Pink Floyd which is an amazing interpretation of legendary, mind bending Pink Floyd, so that sparked high expectations here. This particular release celebrates the 40th anniversary of the original 1975 Wish You Were Here. While the majority of this album is indeed orchestral, there are vocals. Alice Cooper lends himself to the title track, and “Welcome to the Machine” also features vocals. These tracks feel out of place, and upset the delicate balance of honoring a classic. Nevertheless, the pure symphonic compositions are excellent.
by Jason Di Vece·Comments Off on Cover Art: New Order and Peter Saville
“Plagiarism in graphic design means the unauthorized use or close imitation of existing artwork and the representation of it as one’s own original work […] Appropriation in art and art history refers to the practice of artists using pre-existing objects or images in their art with little transformation of the original”
Someone somewhere called this cover art for New Order’s Confusion 12″ single “typography cool”, which designer Peter Saville was a pioneer of. The color combination represents a code of numbers that corresponds to the letters of the alphabet. One would need the color wheel included on New Order’s 1983 release of the same year Power, Corruption, and Lies for decoding.
Plagiarism or Appropriation?
Although the cover art for Confusion is an exception, Saville was dinged on more than one occasion for his “graphical appropriations” in his other designs for New Order. Take for example the cover art for New Order’s 1981 debut studio album Movement. This is a clear reference to a 1932 poster by Futurist painter Fortunato Depero.
Comments from Saville
When asked to comment, Saville explained that it seemed more appropriate to “quote Futurism verbatim rather than parody it ineptly.” By making such an obvious statement about the origins of the Movement design, Saville believed that no one would think he invented it.
by Jason Di Vece·Comments Off on Cover Art: Industry’s Mini LP and Theosophy
Have you heard? Communication is a two way word.
The most remarkable thing about Industry’s Mini LP is the album art. It’s hard not to admire the clear graphical study that has been given to it. What could have otherwise been a simple photograph of the group in period garb has been stripped of it’s essential elements and reduced to pure geometric forms. Cover art designer Norman Moore was perhaps influenced by Piet Mondrian or Theo van Doesburg.
“Everything, living or not, is put together from basic building blocks evolving towards consciousness.”
This is a fundamental tenet of Theosophy; a doctrine of religious philosophy which holds that all religions are attempts by the “Spiritual Hierarchy” to help humanity evolve towards perfection. Each religion therefore holds a portion of the truth. Was Moore a Theosophist like his predecessor Mondrian? Unknown. While this remains a fantastic piece of cultural residue from the 1980’s, let me be clear: the music itself is trash.
“I started Chinoiseries in August 2006, when I got back from a trip to Viet Nam, the land of my grandparents. As a vinyl junky, I really couldn’t come back to France without bringing back some wax. After hours spent riding on a motorbike in Saigon streets, a taxi finally helped me find some old Asian records. I was feeling like an explorer discovering a forgotten treasure. I bought almost 30 vinyls, most of them in poor condition, went back to the crib, and started making beats with some material that I wasn’t used to.”
U.N.K.L.E. Revival on vinyl, and it feels so nostalgic. Never a good review coming from Pitchfork for these guys. Over and over again, I’ve tried to understand why.
“Alienating some, while inviting others,” it may have read.
“Exciting their core fan base, but really annoying the rest of us,” it may have also read.
Well Burn My Shadow and Surrender Sessions 11-12 were awesome. So, fuck off. Cunt soup.
Admittedly, Pitchfork is actually pretty useful for finding new music, but it becomes increasingly obscure as the days end for this fellow. Someone somewhere is still discovering Pink Floyd, The Doors and Led Zeppelin for the first time. God bless them.