It all started on the South Pacific island Samoa some years ago when Marcus was there for a longer vacation and one day, while chillin’ under a coconut tree, got a feeling of how he wanted the pop music of his dreams to be. Spiritual like the local Samoan Catholic church choirs, hypnotic like the breathtaking tropical nature and, overall, a feeling of that you finally had reached to ”the other side”.
So, since some summers he and dear friend Daniel – who aside of this play keyboard in The Radio Dept. – have suffered some blood, sweat and even tears to turn this South Pacific dream into reality.”
BY KORALLREVEN FOR KORALLREVEN IN COLLABORATION WITH KORALLREVEN FOR KORALLREVEN
What I loved about the Moneyball was that the pace with which it told its story mirrored that of the sport at its heart. Baseball is boring, baseball is glib. Baseball takes its whole lot of time for very little to happen, and offers no apologies for a nine to nothing bloodletting, or an extra inning war of earned run attrition. At its core, I think baseball finds conceit in dilated time. Its detractors will tell you it is less than sport, and its tenants will swear that it is more than life. I agree with both. I think you can see it in the shots of empty stadiums illuminated, in the unspoken thoughts of those the game catches in its snare. I think baseball both knows and teaches that the most unlikely of events can not be predicted. I think if you listen closely and aren’t in too much of a hurry, you can hear this score breathe. You might even catch it whispering.
"Diverse, big-boned electro-hop debut from man-like Kuhn. ‘Slime Beach’ sets his sound with ragga samples, jukin’ rhythm accents and G-funk riff twists while ‘Stoneskipper’ leans on a noisier, synth-driven Hip Hop/Skweee style. Flip it for ‘We’re Gonna Make It’, a more blunted bit of psych-folk-sampling Hip Hop reminding of Koushik, and the the EP highlight, ‘Back ‘n’ Forth’ putting his own spin on the high velocity Footwork meme." - Boomkat
So last night I was taking part in one of my favorite past-times, shamelessly searching for new youtube videos featuring Meric Long and Logan Kroeber of The Dodos playing live acoustic sets, when it came to my attention that the cameras seem to mostly focus on Logan banging ‘round the drumsets, which I get, because I don’t know that I’ve ever heard a more constant energy abound from any other percussionist, but Meric does the majority of the song-writing, and plays most of the instruments on their albums, and was a singer-songwriter before getting involved with Logan. So although I would like to post something off Visiter, which was gifted its name exceptionally:
"The reason it’s misspelled is because it’s from a drawing this kid gave us. We played a show for a bunch of kids in South Central L.A.—Dorsey High. A friend’s sister [Barbara Lempel] is a special-ed teacher there, so we went down there to her class and we played for the kids and it was super fun. Then it came to the kids asking us questions and then one of the kids came up to us and he gave us a drawing with that written on it. The drawing is the cover actually of the album, and just—I dunno we liked it. Actually we used all of the drawings that the kids made in the artwork on the album. It was definitely a fun, interesting venture for us. We’d never played for kids before—we didn’t know what to expect but they were clapping and dancing."
I think it might make more sense to throw all the way back to Meric’s original EP, Dodo Bird, and perhaps share a sense of where their music sans Ewe drumming comes from. Enjoy!
From December 9th-11th 2011 at Butlins Holiday Centre, Minehead, UK, All Tomorrow’s Parties will present their yearly Nightmare Before Christmas festival. This year each day is curated by a different artist: Les Savy Fav on Friday, Battles on Saturday and Caribou on Sunday.
Please enjoy this amazing mix put together by Dan Snaith (Caribou), who has created an intense hour long journey through the artists chosen for his day of the event.
A mixtape made for dis magazine. Somebody should find out what’s going on there. Remix of awesome jams from Spirited Away, spoken word, PONPONPON, Crazy Cousinz, lots of good stuff all in one-wait for it-38-Minute package.
Birdy is fifteen years old. She won Open Mike UK’s under-18 category at the age of 12, is currently signed to 14th Floor Records, and recently released a self-titled album consisting mostly of popular indie band covers from the likes of fleet foxes, bon iver, and the now-defunct (us)postal service. A worn and wearied old-soul voice combed over affectively played grand piano comprises the majority of the sound for this record, showcasing the austerity of a youthful artist who seems to enjoy above all else just singing songs of simple melodies.
"For Jonathan Segal’s new movie, Norman, the director tapped looping violinist extraordinaire and indie singer-songwriter Andrew Bird to create the soundtrack. One of the publicity blurbs describes Norman as a movie about “a self-aware and darkly funny teen,” which could mean the music goes with either an introspective hipster vibe or angst-ridden hard pop/metal. Given that Bird is the composer, we get the former, with a number of typically mellow and beautiful Bird folk/rock/pop tunes on here, the standouts being the acoustic and impassioned “Night Sky” and the electrically charged rocker “Darkmatter”. Additionally, there are a few choice outside contributions from the likes of The Blow and Wolf Parade.
The real surprise here is Bird’s original, non-diegetic compositions. He has created a background score that manages to tell quite a story, one of hope in the face of desolation, without even needing to see the movie. Bird follows a general formula of minimalist background sounds underneath deeply moody and passionate violin melodies. The former paint a cold, grey picture, while the latter breathe life and personality into the otherwise dour soundscapes.
Opening track “Scotch and Milk” captures this aesthetic perfectly. Oscillating chords of indiscriminate instrumental origin soon give way to a pulsating and nervous violin pizzicato, on top of which Bird layers lines of poppy violin melodies and driving tremolo strings. Other bits suggest darker scenes, like the eerie harmonics and dissonances of “Cancerboy Strikes Again/Monsterstream”. Luckily for Norman, his life isn’t just pain and suffering: He probably gets some action to the accompaniment of “The Kiss”, with finger-picked acoustic guitar and sweet, wordless vocalizations. Although they make for a staggeringly good movie score, these tracks probably won’t end up on your iPod; however, the five actual songs on this soundtrack are keepers.” - consequence of sound
“I had the chance to check out the ‘first’ official show from Sydney indie-pop squad Jinja Safari over the weekend when the lads took supporting honours for Miami Horror’s just-wrapped national tour and once the Jinja Safari crew had wrapped their set I wasn’t the only one with a giddy grin plastered on my face.
But let’s backtrack to the set itself. Bounding about with endless energy, Jinja Safari performed like this was their 100th gig really, they were impressively tight. Mixing island-keyboards with erratic guitar squall, low-slung bass and some double-duty percussion – with the bongo/xylophone maestro rolling around on stage barefoot – the set was a lot of fun to watch. Which is really all you can ask for.
Expect to hear a lot about these guys from here on out, that’s a certainty. In the meantime, grab first cut Peter Pan below and head to Unearthed to show them some more love.”
Think Local Natives meets Vampire Weekend, then sob hysterically sad/happy at the sheer cleverness and enterprise of the whole outfit.
A little research confirmed what my ears had already entertained, that the newly released Dead Legs & Alibis hails from the same British electronic folk-rock outfit that produced Miracle Kicker back in 2008, only without the better half of its namesake. A two-piece ensemble, what has seemed recently to me to be the optimal number of collaborators for any non-touring musical manifestation, giving grandiose scope to folksy murmurings, Dark Captain exhibits a restrained sensibility of space in their work by building atmospheres fully layered of acoustic post-rock loopings bolstered against wheat field sounds weaving back-and-forth with the wind. They’re the nascent beats heard clamoring over the hum of an engine, the changing tranquilities of tree leaves colorturning in the autumn sun.