We Love is an opportunity for EB writers to contemplate, rant, and rave about one of their current musical obsessions and the deeper issues they inspire. For our first installment of the regular feature, Laurie Tompkins backs Lukid’s Crawlers, on Liberation Technologies.
If someone has recommended Lukid’s music to you, chances are they’ll have lauded its low fidelity and waxed lyrical about its fuzzy textures and degraded beats. While it’s true that Luke Blair’s woozy productions are often drenched in tape hiss, lumping him in with the lo-fi contingent does a disservice to the precision and craft of Crawlers. Of course, I don’t mean to say that the constituents of said contingent aren’t precise or artistic—I just want to explain why Lukid’s latest record stands out.
The EP’s four tracks are full of evocative sound combinations which might appear mismatched in a lesser producer’s hands. “The Brick Burner” plays off cold, plain synths and a rasping banjo line, while the cutting 808 rattles of “Nine” brilliantly sharpen the impact of scaling synths. In the video for “Nine,” digital shafts of light through the windows of an empty club, which strikingly captures the record’s defiant negotiation of grit and gloss.
New week, new Videodrome with amazing clips from artistst ranging from Dizzee Rascal to Sleigh Bells to Kingdom via Jay Z to Zola Jesus. Have fun!
#1 Dizzee Rascal – “I Don’t Need A Reason”, directed by Emile Sornin
Nice 18th century aristocrat fashion-inspired clip with some simple but effective looping effects for Dizzee’s “I Don’t Need A Reason” from his new album The Fifth—which is released later this year and features collaborations with Jessie J, Calvin Harris, Tinie Tempah and more.
#2 Goldfrapp – “Annabel”
Goldfrapp have debuted the music video for the latest cut from their upcoming sixth studio album Tales of Us. “When you dream / you only dream / you’re Annabel.”
#3 White Poppy – “Dizzy”, STRAWBERRYJACUZZI
White Poppy is the solo project of the British Columbia-based Crystal Dorval, above you can get an idea—you’ll find more in her The White Poppy LP, out now via Not Not Fun.
#4 Jolie Wanker – “Jolie Like Dat”, self-directed
Great new video from french beat maker Jolie Wanker. Full fun video, which experiments with extracts from the legendary Soul Train.
#5 Sleigh Bells – “Bitter Rivals”
The mighty Sleigh Bells are back! Watch the new video for Bitter Rivals!
#6 Zola Jesus – “Fall Back” (Versions)
A beautiful song, and a gorgeous, minimalist, black-and-white video with striking images. Zola, je te kiffe.
#7 King Krule – “Easy Easy”
Don’t like King Krule? Take it easy. Youth is truth and punk has a new outfit on.
#8 Dj Khaled Feat. Nicki Minaj, Future & Rick Ross – “I Wanna Be With You”, directed by Colin Tilley
The video is directed by Colin Tilley. This song is off Khaled’s new album Suffering From Success, which is set to hit stores in October. #Nickiallnightlong
#9 Kingdom – “Bank Head” (feat. Kelela) , Directed by Jude MC
Thought provoking and creative. The lead single from Los Angeles producer Kingdom‘s fifth EP Vertical XL, “Bank Head” is definitely one of my favourite tracks of the year , so this mystical visual treatment is most welcome.
#10 Death Grips – “Birds”, dir Shrek Mangum
Death Grips will apparently issue a new LP sometime in 2014 via their own Thirdworlds imprint. In the meantime, check the cool fan-made video.
We’ve been talking about this release for some time now. Today we’re serving the next portion: an exclusive pre-listening of Gesaffelstein‘s re-edit of VCMG‘s instant classic ‘Aftermaths’. Make sure to check out the entire remix selection here, as you can explore more excellent reworks from the likes of LFO, aka Mark Bell, who produced Depeche Mode’s Exciter, and Alva Noto, aka Carsten Nicolai. Click below to get an idea what happens when electronic veterans and a French up-and-comer with a sense of humor join forces.
I’m not much of a career person. In fact, I would say I’ve stumbled into almost everything I’ve done in life—not entirely by accident, but certainly without very much planning. And that’s more or less how I became involved in making film music together with Can founder Irmin Schmidt. But before I tell that story, I’d first like to say that I was never much of a Can fan. Actually, for most of my life, I felt like I never really “got” it. When it comes to German music from that era, Kraftwerk were always far more appealing to me. I first encountered the whole Can cosmos in the mid-nineties in Cologne when I was involved with Whirlpool Productions and doing mostly house music, which was becoming increasingly poppy. At the time, we only had a MIDI studio and were searching for something more professional to record our album. This is back when labels had money to pay for such things. Anyhow, after a short search, we ended up at the legendary Can studio in Weilerswist outside of Cologne, which was actually an abandoned cinema. This was where the band did almost all their recording and practicing from 1970 until around ’78 or ’79, when they split up and then turned it into a commercial studio run by René Tinner and bassist Holger Czukay. Basically, we fell in love with the studio and ever since I’ve been working with René, Can’s chief roadie and sound tech. Around 2001, René put me in contact with Irmin, who needed a programmer for the film music he was doing. So I went down to the south of France to meet him and his wife, Hildegard, who runs Spoon Records. We just clicked, right on the spot. And since then it’s been Irmin composing, me programming and René mixing.
I always had misconceptions about Can being “hippies” in their attitude towards music, and when I told that to Irmin, he went completely bananas. Can were highly scientific, filled with German efficiency, and insanely hard working. Of course, they had their rockstar fun, but they were absolutely not rock stars in any real sense. Irmin himself is very proud of the fact that he turned away from a career as a composer at the age of thirty after going to New York in the late sixties and seeing the Velvet Underground and the Fluxus people and listening to Hendrix. Irmin chose rock, but as a student of Stockhausen, he could have easily gone off to do big things in the contemporary and classical world. But that broader understanding of music—that’s what I would consider the “scientific” boundaries within which Can improvised, sometimes for days at a time and all of it recorded. They were one of the first rock bands to take the good stuff and edit the rest out. And that’s the context in which I hear the Lost Tapes: three pretty brilliant CDs put together by Irmin after wading through something like fifty hours of tape. In my opinion, almost every single track here measures up to Can’s greatest work—albums like Monster Movie or Tago Mago. And it does a really interesting job of putting songs with original singer Malcom Mooney together with those of Damo Suzuki. But most of all, it just sounds so good. Most of the Lost Tapes are straight up stereo recordings done by Holger Czukay live to stereo while playing the bass, which speaks to the success of their simple approach. “Dead Pigeon Suite”, “Bubble Rap” and especially “Midnight Men” remind me not only why this band was so important but also why the music seduced me as an adult. ~
Justus Köhncke is a producer and DJ based in Berlin. A founding member of house trio Whirlpool Productions, Köhncke currently releases disco and krautrock inspired minimal techno on Cologne’s Kompakt label.
CAN is a group who need no introduction. The experimental rockers have been consistently making some of our favorite avant-garde music for more years than we care to count. It’s always interesting to see something new from them, so we’re pleased to premiere their latest video. Set to a kaleidoscopic montage of vintage windup toys drumming away, ‘Dead Pigeon Suite (edit)’ features clattering woodenlike percussion and simplistic flute. It’s a dreamlike vibe very similar to the highly-underated Robin Williams vehicle Toys, actually. Watch it here, and be sure to check out the latest issue of Electronic Beats Magazine (which you can peruse below as well) for Justus Köhncke‘s recommendation of the ‘new’ CAN release.