Fade To Mind Archives – Telekom Electronic Beats

Videodrome 126 – This week’s best videos

Each week (well, almost), Moritz Gayard rounds up the best new music videos, so you don’t have to.

 

Wait, what happened last week? Where’s Videodrome #125? Well, last week was mad: Readers Poll, Scooter Ticket give away, Dean Blunt live, Roadmap 2014, and so on. For all real music videos lovers, let me unveil this lost ‘drome #125 right here.  1. 임창정-문을 여시오, 2. Prince Rama, 3. AUSTRA, 4. Max Cooper , 5. Death Grips, 6. IISA, 7. TOP, 8. Bob Dylan, 9. patten, 10. M.I.A. And now the new and cool videos from the last week, unfortunately w/o room for Sophie Ellis-Baxtor, Arcade Fire or Icona Pop.

 

#1 Ricardo Donoso – “The Redeemer”, directed by Michael Formanski

Smooth, digital road trip for Ricardo Donoso’s stellar release As Iron Sharpens Iron, One Verse Sharpens Another—out last month via Digitalis.

 

#2 The Underachievers – “Leopard Shepherd”, directed by Wrung x Issa Gold

While prepping their Brainfeeder debut album next year, here’s the Paris-shot video for last year’s “Leopard Shepherd”, off their impressive Indigoism mixtape.

 

#3 Nguzunguzu – “Mecha”, directed by Jude MC

“By sampling footage from contemporary sci-fi and action films I am able to, through a process of divination, analyze the culture surrounding technological advancement and the mechanization of earth. Through time, we will see if life imitates art along the path of what is prophesied in these films, in the meantime they are certainly entertaining to watch.” – Jude MC

 

#4 Sky Ferreira – “Night time my time”, directed by Grant Singer

sky ferreira

Sky Ferreira’s dark and twisted video for “Night Time, My Time”, the title track from her new album, Night Time, which is out now via Capitol. Click the pic above for the video.

 

#5 Factory Floor – “Turn it Up”, directd by Dan Tombs

Here is the new video for Factory Floor’s track “Turn it Up”. The first single from their self-titled debut album, which is out now on DFA Records.

 

#6 Axel Boman – “Fantastic Piano”, directed by Axel Petersén

Swedish DJ-producer maestro Axel Boman. Love the simple video making: You only get lights reflecting on water and it is entertaining!

 

#7 Mike Will Made It ft. Future – “Faded”, directed by Mike WiLL

Mike WiLL Made It has released the official music video for this song “Faded” featuring Future. The song is off the producers upcoming mixtape, #MikeWiLLBeenTrill, which will be released in December.

 

#8 Popnoname – “Anna”, Directed by Uldus Bakhtiozina

Cologne based Jens-Uwe Beyer aka Popnoname premieres his new music video with a track taken from his third album 50 °. Video directed by Uldus Bakhtiozina.

 

#9 DJ Haus – “Addicted 2 Houz”

Yeah, old school is new school is old school is new school.

 

#10 Pharrell Williams – “Happy”, directed by We Are From LA

Pharrell Williams presents “Happy”, the world’s first 24 hour music video. See the full interactive 24hour music video HERE.

 

For more editions of Videodrome, click here.

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Beats Per Month: November, 2013

In our BPM column, we review a clutch of the most intriguing electronic music currently on offer. This month, Louise Brailey on Mr. Beatnick, Fis, Objekt, Nguzunguzu, Pearson Sound, and Renaissance Man.

Artist: Mr. Beatnick
Title: The Synthetes Trilogy
Label: Don’t Be Afraid
Format (release date): CD/digital (out now)

London’s Mr Beatnick may not be the world’s biggest self-promoter, preferring that his musical knowledge speak for itself. And it did, furnishing DJ sets, stints on Rinse and NTS, music writing, and, every now and then, his quietly brilliant hip-hop informed productions. It was a suite of immaculate house EPs on the Don’t Be Afraid label that rattled him free from the “producer’s producer” pigeonhole and found him talked up everywhere from Fact to NME (poor soul). Neither hip pastiche nor bass-primed, his original Synthetes trilogy of EPs ran in tangent with, but apart from, the strands of house revivalism. Eight original tracks from the original trilogy of releases are gathered here, in an expansion pack that includes four exclusives and is an exercise in depth and restraint. Beatnick’s hip-hop background manifests in the subtle use of samples and frequent excursions into space funk territory (see “Sun Goddess” for examples of both) but while the warm, jazzy chords of “Symbiosis” are spiritually aligned with house classicists like Theo Parrish or Virgo, the rawer excursions suggest the kind of Detroit updates installed by the new wave of idiosyncratic producers like John Heckle. Of the newer tracks, both the deep and muted “Waning Moon” and the  jungle bpms of “Never Dies” provide stylistic variation, but let’s not mess about—it’s not the exclusive tracks that make this one essential.

 

Fis
Preparations EP
Tri Angle
12-inch/digital (November 18th)

Even when placed alongside a handful of other assaults on drum ’n’ bass orthodoxy, which is what happened when “Cultural Trauma” was featured on Exit Records’s Mosaic compilation earlier this year, Fis’ music juts out like an unsightly slab of brutalism. Then, his sound was tempered by a collaborator, the experimental d’n’b producer Consequence. Working alone, his dark, strange vision stretches the parameters of the genre until you hear the sockets pop.
Enter Tri Angle, who’ve have spotted a kindred spirit in the New Zealander—and it’s testament to Fis’s own unplaceable sound that it fits on their roster as well as anywhere. Indeed, on “Magister Nunns”, increasingly frantic wails and twitchy percussion bears more than a passing resemblance to The Haxan Cloak. The decrepit-sounding “DMT Usher”, originally released on NZ label Samurai Horo, deploys a crippled breakbeat and heart-stopping rotary blades FX to slash through its desiccated, Shackleton-style ambience. “Mildew Swoosh”, well, you can work this one out: splints of percussion lope and collapse into a breakbeat as waves of toxic white noise gather and disperse. We’re in a flush of artists attempting to recapture mental and spiritual impression of rave music, Fis seems obsessed with its physicality—even if there’s little else left. Decayed, mutated, sick, this is body and it lives, in its own way, in the present.

 

 

Nguzunguzu
Skycell
Fade To Mind
12-inch/digital (out now)

Asma Maroof and Daniel Pineda follow up their contribution to Kelela’s Cut For Me mixtape with eight more examples of why they’re one of 2013’s more interesting propositions. As Fade to Mind’s resident shock troops, they make mutable, mutant grime which glints with shards of R&B, anchored by a slippery center of gravity lent by a powerful low-end. That their meticulously layered records can sometimes feel unlovable is part of their futurist appeal. From the chorale synth, knackered piano and vrooom FX  of “Vision of Completion” to the shuddering and dungeon-dank “Tumultuous” (which, displaying the duo’s stylistic pluralism of influences, features both nods to juke and Goa trance), Skycell sees Nguzunguzu are clearly so far ahead of the pack they can barely mask their contempt. Still, sometimes it’s the most insidious weapons which do the most damage and “Foam Feathers” distills Nguzunguzu’s capacity for genuine creepiness into the meanest of elements: parping, clenched baseline, tin-pot percussion, and twinkling, incongruous chimes, all coalescing out of the sound of distant heavy industry. Now, can you even imagine the damage these would do in a club?

 

Objekt
Objekt #3
Objekt
12-inch (out now)

Objekt’s TJ Herz makes club music that feels like it’s lurked so long in the cracks between techno and garage it’s started to congeal there. This, the third in his series of self-released white labels, continues to mine that particularly warped seam and just as “CLK Recovery” found its charge in the tension between warehouse techno’s relentless drive and intricate, atmospheric sound design, “Agnes Demise” employs violent dynamics to disorientate. Air piston and sucker punch drum pads stake out a monolithic two-step, as assorted clanks and clatters littering the negative space left in the backdraft. Like any power tool, “Agnes Demise” finds its power in its relentless force on a concentrated area—which only makes those moments when the percussive support implodes, leaving behind aftershocks of aural detritus, including a scrambled space transmission, even more disarming. “Fishbone” is less contorted, an exercise in streamlined electro pitted with cavernous sub-bass and passages of ambience. It’s up to you to take the respite while you can.

 

Pearson Sound
HES026
Hessle Audio
12-inch (out now)

Remember when dubstep blossomed into a period of unprecedented experimentalism only to settle into quite trad house? It felt like going from Chagall and Otto Dix one year to pastoral landscapes the next. Thankfully, Hessle Audio’s infrequent transmissions have remained beacons of innovation amidst the conservatism, their light shining all the brighter against the increasingly irrelevance of labels like, say, Hotflush. As one of the founders of Hessle, David Kennedy aka Pearson Sound, keeps things ticking along with this release. A-side “Lola” sees him thrash out a grimier direction, the pointillist Zomby-esque synths and leaden swing an interesting set-up to B-side “Power Drumsss”. The latter, a flinty Hessle-style 808 tool, albeit with the angles slightly off. Lastly “Starburst” employs squealing stabs, distorted drums and, eventually, a cloud of synth vapor which envelops the whole affair like a toxic sunrise over industrial wasteland. While not an quite essential release, it augers well for a label who’s recent flush of releases have included Pev and Kowton’s brilliantly scuzzed out “Raw Code” and the itchy industrialism of Joe’s “Slope”.

 

Renaissance Man
Kama
Black Ocean
12-inch/digital (out now)

Coming up amid the heady days of fidgit house (with the Dubsided and Made to Play credits to prove it) Renaissance Man know better than some that affecting seriousness in the club is a mug’s game. They also know that the line between making club music that’s littered with clever-clever samples which is innovative and humorous and coming off as a bit of a cringe is really fine. Now, with their freshly minted Black Ocean label providing a home for hardcore-referencing, grime-y slow boilers like “UFO Who R U” they’ve gone all out: sampling Brad Pitt’s derided Chanel commercial, calling their mix for Dis “outsider Gabber”… The Internet, presumably, is smiling inwardly to itself at all this but, back in the real world, it’s genuinely difficult to hate. This is partly due to their production chops: Renaissance Man have always been sonic innovators and even as “Kama (Dance with Me Into the New Age of Love)” references the acid synths—and the new age bollocks—of Sven Väth style trance, they temper it with heads-down techno fatalism, foreshadowed on the excellent January release Call2Call. As for “Journey”, with its galloping Plastikman chassis laden with granular texture—all knife clinks and bird tweets—and the foolhardy use of that sample it could, perhaps should, be a disaster. Yet somehow the feeling that the track, and the EP as a whole, is coming from a genuine place cuts through the dense fug of naffness, or worse, irony. ~

 

For other editions of BPM, click here.

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Editors’ Choice: November 1st, 2013

Rather than operate as a music news source, Electronic Beats operates as a music information source. We want to share with you; we want you to know what we’re hearing, what’s reverberating our cochleas and sending broader vibrations throughout our bodies, and by extension our audio-addled souls. Down with that? Welcome to Editors’ Choice.

 

Lisa Blanning (Online Editor)

Nguzunguzu – “Skycell”

The title track from their upcoming EP on Fade to Mind is a dirty roller—first heard on Kingdom’s mix for XLR8R whose chiming progression fits nicely with S-X’s ubiquitous “Woo Riddim“.

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Louise Brailey (Deputy Online Editor)

Warpaint – “Love Is To Die”

I remember seeing Warpaint in summer 2010, at the then newly opened CAMP Basement in Shoreditch, and I was struck by how insubstantial their music seemed. Their debut The Fool had many moping around in thrift store fabrics and bed hair but I wasn’t one of them. Now I see that the insubstantiality is kind of the point and I’ve let my barriers fall. “Love Is To Die” is an update on 4AD romanticism which luxuriates, stylishly, in its own misery and it’s heavenly. A heaven, of course, gilded with silvery guitars and lilting vocals of the stripe which casually lament “I’ve got a knife to cut out the memories”. Dim the lights, Warpaint are back.

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Moritz Gayard (Online Duty Editor)

Arthur Russel – “A Little Lost”

Arthur Russell’s excellent 1994 release Another Thought is coming out the first time on vinyl. You don’t want to know how much I treated my neighbors with this pressing. My fave is this track above: “I’m a little lost without you/ That could be an understatement“.

Willie Burns – “Tab Of Acid”

This is Willie Burns’ upcoming return to The Trilogy Tapes. And everybody who enjoyed his earlier TTT release The Overlord knows that this is the creme-de-la-creme of techno and probably one of the best techno releases this year.

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Daniel Jones (Contributing Editor)

Bratkilla – “The Killer Gene”

I really miss the early days of discovering filthy dubstep. Before it solidified into cookie-cutter productions, it seemed like there were more people willing to play around with the notion of what you can do with hardcore aesthetics welded to chainsaw synths…or maybe I was just in a thrashier mood at the time, who knows. Swedish beast Bratkilla’s work may not be advancing anything, but as far as this sort of thing goes he’s among the best and most playable. His latest LP of deathrave is set to drop soon, and I’m looking forward to dropping a few of these myself. That cover is getting deleted immediately, though.

A.J. Samuels (Senior Print Editor)

The Velvet Underground – Beginning to See the Light

The first time I saw Lou Reed was the premier of Metal Machine Music at the UDK in Berlin with Zeitkratzer in 2002. I remember not taking the earplugs they offered us before the show and then taking my seat to watch Diedrich Diederichsen get insulted and corrected by Lou Reed for around fifteen minutes during a pre-show interview. When someone took a picture with flash, Reed stopped the conversation, insulted that guy and then threatened to call it all off. After the inteview, Zeitkratzer came onstage and played really, really loud and screeching. Eventually Lou Reed walked on after twenty minutes, plugged in his guitar and played feedback even louder. My balls hurt. When they stopped for around thirty seconds, one guy screamed “Bullshit!” and another guy screamed “Genius!” Sums it up, really.

The second time I saw Lou Reed was at the Schiller Theater in Berlin a year later and it sucked. There was a dreadful rendition of “Perfect Day” he did with Antony Hegarty and then at some point he invited his tai chi (!) instructor onstage… to do tai chi.

The year after that I worked briefly for a catering company and ended up washing his dishes.

Then last night I met myself in a dream and let me tell you, everything’s all right.

Clara Hill – “Lost Winter”

A welcome Laetitia Sadier-inspired left turn to Clara Hill’s creative course, with lush production by Hanno Leichtmann and contributions by sort-of label mate Schneider ™. LP Walk the Distance out now on Tapete Records.

Blevin Blectum – “Cromis Part One”

Blevin Blectum is really good at making music that’s both free and loop-led. Can’t wait to hear the rest of Emblem Album, out December 7 on Aagoo.

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Read previous editions of Editors’ Choice here.

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Audioccult Vol. 77: ASMR & Shreklationships

Light a candle. Draw the required sigils. Now, raise your arms above your head and slowly, gently, exhale your soul. You won’t need it here. This is Audioccult, and it’s time to get low. Illustration: SHALTMIRA

I know this might be a strange thing to say, but I’m really into those ASMR videos. You know, the ones where somebody taps on a bag of beans or whispers about elves or gets punched in the stomach by a friend? I think those are all really great. Sometimes when I’m next to my computer (it’s a mac) I put them on while I eat cronut holes and talk about Miley Cyrus, Breaking Bad, and Gravity. I think my favorite ones are the ones where people eat different kinds of food. Not because I like food or watching people eat or anything, really. I know everyone’s expecting a reason with some artistic, ironic, or reconceptualist thought process behind it, like what if the Cremaster Cycle was about a shut-in doing binaural gum chewing. Or maybe you’re thinking, hahah. This guy is about to say, “Psych. You fucker idiot. This dumb shit is for creeps.” But actually I really like it. I have fifty-seven bookmarked videos of camera lens brushing. For the last two months, however, I’ve been unable to find the proper drivers that allow me to play Shrek: Shrek Forever After. Shrek will return in The Stranger Wore Green, but I’m simply unwilling to wait that long to see the animated ogre’s adventures. Jokes for me and jokes for my kids? This stuff is amazing. It’s also the worst legal drug I’ve ever experienced.

I will say it in the simplest language that I can: Shrek has enriched my spiritual life and destroyed my earthly life. Because of the amount of energy which I have invested in Shrek and Shrek fanfics where I meet the characters from Shrek and get them to sign my Shrek merchandise, my mental slate has become little more than a surface where I crush the pills of obsession and snort them into my soul. My need to expound on the subtle intricacies of Shrek The Third has destroyed several relationships and an equal number of movie nights. I’m sorry you’re too busy texting to notice when cinema is being shown to you and you’re getting the inside scoop straight From The Ogre’s Mouth (my ‘zine, write me for shipping costs), maybe just stay home if you can’t deal with intelligent discussion. I’m lying in my bed vectoring a hand-drawn photo of Donkey being digitally erased from the Shrekiverse by forward-thinking animators. An older man from the Ukraine is whispering about his kids and crumpling up a potato chip bag. I understand nothing. There is no fate but what we make for ourselves. ~

 

For previous editions of Audioccult, click here.

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Editors’ Choice: September 20th, 2013

Rather than operate as a music news source, Electronic Beats operates as a music information source. We want to share with you; we want you to know what we’re hearing, what’s reverberating our cochleas and sending broader vibrations throughout our bodies, and by extension our audio-addled souls. Down with that? Welcome to Editors’ Choice.

 

Lisa Blanning (Online Editor)

Kelela – “Enemy” (produced by Nguzunguzu)

The first new track revealed from the vocalist’s upcoming debut release (she called it a mixtape at her recent Berlin gig, but with the catalog number FADELP001, that implies vinyl) is a much spikier production than the beguiling “Bank Head” from Kingdom’s latest EP and an interesting contrast for the singer.

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Louise Brailey (Deputy Online Editor)

Joe – “Maximum Busy Muscle”

This week Hessle Audio announced two upcoming releases. Two. That’s like Christmas for us undernourished Hessle fans. It’s Joe’s release that I’m digging the most—particularly this bruxic B-side. It has an apt name—the track feels like it’s coasting off its own nervous energy, meanwhile the stumbling beat, scrambled samples and clipped, live percussion is reminiscent of the kind of squared-off anti-techno that Robag Wruhme used to make in the early part of the millennium.

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Moritz Gayard (Online Duty Editor)

SETH – “Dont Open Your Make – Chick On The Moon”

Gobby is back. This time the beloved techno manipulator has teamed up with vocalist James K for a new project called SETH. Their debut EP Chick on the Moon will be released on October 8th via UNO, get an idea above.

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Jannik Schäfer (Social Media Editor)

Kid Kameleon – “Flavor Overdrive”

Matt Earp aka Kid Kameleon’s favorite sounds of 2013 compiled into one smashing hour of footwork, d’n’b, trap, future bass, hip-hop, zouk, dubstep, and more. 130+ BPM fun! Extra internet cred goes out for including the Schlachthofbronx remix of ‘Teach Me How To Dougie’.

Andhim – “Boy Boy Boy”

The masters of sunshine are back with another track that doesn’t seem to change from the first to the last second but still succeeds in nestling right into the nucleus accumbens. Boys, boys, boys…

Read previous editions of Editors’ Choice here.

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