If you’re missing the doomtronic flourishes of The Knife or Ladytron, this Austra lot may appeal. They’re new signings to Domino, and “Beat And The Pulse” combines foreboding synths and a pop sensibility to pleasing effect.
It’s the kind of goth pop that always seems to go down very well in the States, so you might expect to hear it in a club scene on CSI: Delaware or something similar before too long.
Nice hair-scarf, too. The good thing about a hair-scarf is that it’s very difficult to lose one in a pub, unless you happen to be drinking with the kind of maniacs who bring clippers with them on a night out. And if you are, you kind of only have yourself to blame. Get some new friends, I would.
This is the new video for Washed Out’s “Hold Out”. If you haven’t heard of Washed Out (real name: Ernest Greene), don’t feel bad. I only just started listening to him, and I’m supposed to be a music blogger. The REAL music bloggers were doing excite-a-poos over Washed Out about a year ago, when I was discovering Bon Jovi.
It’s a nice enough video, and gives a good idea of what you can expect from the album from which it is yoinked, Life Of Leisure. It’s all kind of like that floppy feeling you get after a too-hot bath, but more tuneful.
Not that Hype Williams, silly chops. Everysod who’s seen a music videogram knows who he be.
This Hype Williams are a duo, from what I’ve been able to glean from infinitely moreup to dateberks than I. They’re spearheading a new movement known as Mongfug*, which is all about slightly queasy Jam-style disquiet putting the creeps up otherwise quite accessible little emissions.
They were part of the The Guardian/SoundCloud thing yesterday, which was designed either to “turn you on” to good new music or “make you feel” “hopelessly” “out of” “touch”.
Now, before you go hoping for anything nostril-shittingly original, you should know this number – called “The Throning” – samplifies Sade’s “Sweetest Taboo” (I wonder what Glamma Kid‘s up to now?). But Hype Williams change it from – well, you know what Sade’s about (notwithstanding recent rebranding efforts) – into something a bit more like… sweet aural influenza?
There’s something tantalizingly confusing in hearing music that doesn’t appear to belong to any recognised genre, and I found myself experiencing such beweirderment listening to Lorn‘s album Nothing Else.
Lorn probably won’t appear on a summer mixtape anytime soon. His oeuvre contains elements of dubstep, electronica and the kind of seductively woozy instrumental nausea Ratatat tend to favour. I don’t know how or where you’d dance to it, aside from performing some kind of lobotomised swaying in a very dark, very claustrophobic cave.
He employs the kind of basslines that people on SoundCloud tend to comment on with missives of the “SICK!”, or “HEAVEEE!” or “I JUST PUKED UP ALL MY KETAMINE AND IT FEELS LUSH” variety. Which is not to say he doesn’t have his accessible moments – “Cherry Moon”, embedded below, wouldn’t sound out of place over the credits of a Michael Mann “flick”.
While listening to Redlight‘s “Your Reward Is Cheese” mix, I unwittingly came by a new method of rating music. With it blasting through my “cans” and the light in the room fading, I needed to turn on the lights.
Rather than pause the music for 10 seconds, I unplugged the laptop and carried it with me to the lamp I needed to switch on.
That says so much more than a thumbs-up, I think.
Now look, this mix is forty minutes long. Which may lead you to thinkings akin to “hmm, I’ll listen to the first minute and if there’s any monotonous prog-house nonsense I’m fucking right off”. Or, “I bet I’m looking at my watch by five minutes in”.
My friend, I can assure you this is not one of those mixes. This thing is so unabashedly, relentlessly BANGPOP (?) that it chucks in Dizzee Rascal, Kings Of Leon, Yeah Yeah Yeahs, Marvin Gaye, Eurythmics, Kanye West, Joan Jett… and that’s just in the first half.
Braggage is an accepted part of the rap “game”, but it tends to be much more compelling when it’s done with a subtle sense of humour. Tinie Tempah seems to recognise this, as he shows in his soon-to-be-sizable-if-it-isn’t-already-I-dunno-I-don’t-keep-track-of-the-charts-these-days tune, “Pass Out”.
“I got so many clothes I keep some at my aunt’s house” is probably my favourite bit, but there’s a pleasing rags-to-riches feel to “now I drive past the bus I used to run for”, as well.
Love the track too, although in my ‘umble I think the hook/chorus/whatever – sung by a chap in a fetching checked jacket – interrupts the songs’s momentum a bit. The drum n’ bass outro suggests there should be some decent remixes out there as well…
The Man, of course, doesn’t understand how Ver Kids consumify music these days. That is why universalmusicgroup make their music videos unembeddable.
(Do you ever get a frisson of somethingorother when you use a word and suddenly think, “Wowzers, that chunk of language wasn’t even close to existing ten years ago. And if you’d made it up and said it at someone, it wouldn’t have meant jackpoo to them.” “Unembeddable”, everyone.)
One of the consequences of such Man-ness is that sometimes, rather than watching a video on a blog, you have to actually go all the way over to YouTube – which can take up to 5 seconds, depending on the buses – to watch something. And one of the consequences of *that* is that you come, once again, upon YouTube commenters. And what an interesting breed they are.
Anyway, this is all pointless preamble to me slapping in a screenshot of this comment what you can find on the page for Delphic’s “Doubt“. Many feverish words have been walloped onto the internet in anticipation of what these Delphic people are going to produce (my hunch: jerky, vaguely synth-y indie pop which a certain section of society will love while everyone else goes “muh”), but surely their PR team will be most pleased with this: