26 February 2015

Gazelle Twin- "Unflesh"


Amidst the current electronic music landscape, there doesn't seem to be a dearth of innovation-- more so, varying camps of exploration and sub-genre classification that almost cripples the output. Mainstay acts either push the medium to glitch-based machine gunning percussion or glacial synthwave textures and the two often don't find common ground; enter Gazelle Twin.  Comprised solely of Elizabeth Bernholz (née Walling), Gazelle Twin has evoked a favorable critical following-- thanks, in part, to her art house approach and outsider execution.  Her debut album, "The Entire City" was a sweeping spectacle of dance-textured mathematics, truncated amidst violent drum blasts of precision; the sort of production that has remixed John Foxx and a myriad of Brit-based techno acts.

Bernholz's recent output, "Unflesh", pushes the soundscapes explored in her previous efforts- but to a much more focused and aggressive degree.  The lyrics are bare-bones and direct, sparing us misinterpretation amidst the frenzy of patchworked chaos and calm (which are often simultaneous in one song).  The album could easily stand against the discography of The Knife while still inviting the minimalist fans of later-day Plastikman, a definite stepping stone between contemplative post synth and the forward momentum of modern EDM.

Click here to get YOUR COPY of GAZELLE TWIN's "UNFLESH"!


19 February 2015

A Place To Bury Strangers- "Transfixiation"


There's no denying how easily Brooklyn has become one of the more enigmatic creative hubs in the country- throw a brick through your standard-issue SXSW beer tent and you're bound to hit six bands from the borough.  Understandably, it's become overrun with "next big thing" hopefuls and gentrified angular-pop that you've come to expect from any metropolitan freak-factory, but with that also comes the disappointment of the inevitable "too much of a good thing" plethora.  Which is what makes A Place To Bury Strangers a noteworthy band- being the most un-Brooklyn of the Brooklyn bands to make a splash.

Their self-titled debut introduced us to a bang that loved guitars- letting them dredge canals of feedback and distortion louder than their shoegazing forefathers; this was a band that could make a car crash sound as if it had longing.  Over the span of 4 albums, APTBS have gradually found the perfect blend of 80's goth sensibility, Wire-worthy post-punk and distorted bliss that have culminated in their recent outing, "Transfixiation".

Bridging the gap between their earlier soundblast, noise-punk debut and the refined gloss they explored on their previous album, "Worship", their latest album seems like a band readying for their next move; doing what they do best by tepidly exploring new sounds while calling back to their nostalgia. Whatever the future may hold for the members of A Place To Bury Strangers, "Transfixiation" could easily be the album reflected as a turning point in years to come.

Click HERE to get YOUR copy of A Place To Bury Strangers' "Transfixiation"!


12 February 2015

John Carpenter- "Lost Themes"


The films of John Carpenter have become one of the foundational blueprints of modern blockbuster filmmaking; everything from his camera framework to intensely captivating lighting has been fervently imitated on screen. Movies like The Thing, Escape From New York, Halloween or The Fog have a unifying utopian execution of the pop arts that have left an indelible mark on how cinema is made. His work, often held in cult classic reverence has one undeniable unifying theme- in a literal sense- the scores Carpenter himself composed for the films.  Sculpted with layers of classic synth tones which he utilized at face value (no effects or orchestra-imitating patches here)- the soundtracks themselves have become so intrinsically integral to the modern soundscape, they manage to stand on their own as essential instrumental works.

With a handful of years under the radar and rumors of an alleged retirement from filmmaking, Carpenter's latest endeavor is a surprising departure and a welcomed addition; an album aptly-titled "Lost Themes".  At 9 tracks, John Carpenter's debut album is the soundtrack to the best John Carpenter movies NEVER made. True to his patented tone, he keeps his synthesizers sounding like synthesizers- at their most menacing and eerie, with assistance from his son Cody Carpenter and fellow composer Daniel Davies.  Each score (because the word "song" lacks the ability to encompass the sonic worldbuilding going on) shifts tonally throughout and often dramatically, but much more intensely than in his legitimate film scores- it's evident that "Lost Themes" is a passion project and an immensely engaging one as well!  With a soundtrack this good, you practically don't even need a movie to accompany it.

Get YOUR copy of John Carpenter's "Lost Themes" HERE!


05 February 2015

Caribou- "Start Breaking My Heart"


Canadian-bred electronic composer Dan Snaith, or Caribou as he's known to music press, recently released his seventh album (the celebrated "Our Love") earlier this year to much-deserved accolades.  Snaith's earlier work however, is also finally reaching a wider audience- thanks to a vibrant reissue of his debut album Start Breaking My Heart. Originally released in 2001 under his initial moniker "Manitoba" (he was forced to change it after former Dictators lead singer Richard "Handsome Dick" Manitoba threatened a law suit), Heart is a pensive and melancholic ride through light organic instrumentation and Boards Of Canada-tinged synths.  The results are smooth hybrid of glitched electronics and effortless jazz tangents that could easily intrigue both the most hard-nosed Verve Records aficionado or a chill-room dance recluse.

The rebranded reissue is a noteworthy companion piece to this years "Our Love", featuring an additional disc of nearly an album's-worth of material from his earlier works.  Since this breakthrough 2001 release, Snaith has received numerous awards including the prestigious Polaris Music Prize and a Juno Award for 2011's "Swim", and he continues to produce breathtaking sonic works in a modestly prolific pace.