Go Organ! - Cositas

this just in! a 10 minute EP has been released by Go Organ! with some classic 8bit danceable madness. sounds a little more sonic that the old releases. give it a try.

DOWNLOAD ON BANDCAMP.

Com Truise - Galatic Melt

feels like the 80s, having sex with vhs tapes, hanging out with a young boards of canada, four on the floor all the way, synthwise selectah, robots speak to me, lsd and where have you been all this time?

gracias feldy.
SEX

Lindstrøm - Where You Go I Go Too

Spaced out disco by this Norwegian master. All songs are over 10 minutes long, one of them lasting almost 30 minutes, but they keep your attention the entire time. Check out the remix he made for Boredoms in their Super Roots 10 EP. It's insane.

Get

Charanjit Singh - Synthesizing: Ten Ragas To A Disco Beat

this is the reissue of the original 1982 album chopped into individual tracks thanks to Bombay-Connection. an electronic gem.

taken directly from The Wooliest Mammoth.

"In 1982, Bollywood session musician Charanjit Singh imported the latest synthesizer equipment into India, to modernize the sound of Bollywood scores. After studio hours however, Singh went to work on his own experiment using the new equipment, (Roland TR-808, Roland TB-303 ((the synth responsible some 5 years later for creating the sound of acid house)) and a Roland Jupiter-8 keyboard) which was to record traditional Indian ragas using the latest in musical innovation. The result is an amazingly fluid minimal record that sounds far ahead of it's time. It just so happens that in this recording Singh made the first house and acid house recordings ever. Three and five years respectively ahead of their appearance in the west. All the elements are there: hypnotic beat, mesmerizing melodies, danceability."


RAGA TIME!

Caribou - Swim

caribou did it again with a nicely sounding production but very different from his earlier works. it seems he got pretty influenced by this new electro-club fad and he did his own take on it. its full of his trademark mixture of acoustic and ethnic sounding instruments along with a tribalist percussive feel that gives his music a unique vibe.

hell yeah for cover arts.

Go Organ! - I Remember Not Having The Hiccups

long overdue/late bloomer. i`m guessing this is the official 2010 release. puertorican 8bit dance-mania at its finest. tell all your friends about it.

get it now!


previously:
Go Organ! - Ate Bit

Jaga Jazzist - One Armed Bandit

!!!!!
a little late on this one but surely this is going in for a 2010 classic.

prognissekongen sounds jaga frippish.

Triosk meets Jan Jelinek - 1+3+1

The Australian electronic/jazz trio's debut album (2003). Jan Jelinek is a german electronic musician mostly associated with glitches and sampling. The electronic and jazz elements seem somewhat separate on this album, like jazz musicians experimenting within the borders of jazz form with electronic sounds in the background, as opposed to the integration demonstrated in the following albums, this is mostly due to the free drumming technique which was developed after this album. Moment Returns (2004) was released just one year later and already showcased a lot of progress in the concept of time and composition .

This album showcases good musicians interested in evolving and expanding their sound palette, it's a great step in the growth of these musicians, as demonstrated in the following albums.

Triosk meets Jan Jelinek - 1+3+1

Triosk - The Headlight Serenade

the third and final album of a great trio with a unique sound that makes any moment an epic moment.

do it!

Triosk - Moment Returns

Triosk was from Sydney, Australia. Born 2001, died 2007. This trio comes from two musical persperctives, jazz and electronic music (not trance or house, but as in sampling, resampling, and digital signal processing, etc.) and they were definitely good at both. Moment Returns is their second album.

This album has intense textures and fades in and out of beats that can actually be followed, most of the samples aren't in sync or quantized, add to that Laurence Pike's (drummer) ability to play without a time signature (perhaps inspired by Ornette Coleman's free jazz movement) and you've got no back beat to hold on to, it's great. On the other hand, songs like Love Chariot, Two Twelve are heavily rooted in the beat, balancing it out nicely.

Sit back, dim the lights, listen.

Triosk - Moment Returns

Brian Eno & Jah Wobble - Spinner

Do I really need to do this?

Portishead - Live at Roseland (1998)

I fucking love this album by one of my favorite bands.

"Recorded with a full orchestra on a cold, rainy day shortly after the release of their second record, Portishead, the project doubled as a live album and the soundtrack for a BBC documentary. In addition to being economical and perhaps lucrative, the disc demonstrates how sampled and sequenced music can be re-created in concert without losing any of the charm or dynamics of the original recordings. All it takes is a 22-piece string section, some horns, and a band whose tightness is exceeded only by its creativity. At times the performances on PNYC sound even more breathtaking and cinematic than Portishead's original recordings, as humming theremin, skittery scratching, and gliding strings mingle with stealthy guitar lines and sultry vocals."

Here's some background info on Portishead for those who are new to their music.

"Portishead are a band from Bristol, England, named after the small coastal town of Portishead, twelve miles west of Bristol in North Somerset. They were initially known for their use of jazz samples and some hip hop beats along with various synth sounds and the hauntingly beautiful vocals of singer Beth Gibbons. Their current sound drops the samples in favor of a harder, more abrasive edge, but retains Gibbons’ vocals.

The band was formed in 1991, by keyboardist/multi-instrumentalist Geoff Barrow and singer Beth Gibbons. Barrow had previously worked with two other bands from Bristol, Massive Attack and Tricky, and decided to name his new endeavour after his hometown.

After releasing a short film (To Kill A Dead Man) and its accompanying music, Portishead signed a record deal with Go! Beat and their first album, ‘Dummy’, was released in 1994. It featured heavy contributions from guitarist Adrian Utley. In spite of the band’s media-shyness, the album gained universal critical acclaim and was successful on both sides of the Atlantic, spawning two hit singles, “Glory Box” and “Sour Times”. The album won the British Mercury Music Prize in 1995 beating albums such as ‘Definitely Maybe’ by Oasis and Leftfield’s ‘Leftism’.

Their second album, ‘Portishead’, was released in 1997, and featured the single “All Mine”. A live album featuring new orchestral arrangements of the group’s songs was recorded primarily at Roseland in New York City and released in 1998, as well as a DVD of the Roseland concert."

but don't despair

DJ/Rupture & Andy Moor - Patches

Rupture continues his winning streak with yet another brilliant record that's an early contender for one of the best albums of 09'. This one's a collaboration with guitarist Andy Moor of the anarcho-punk, noise, industrial, improv, freak jazz, band The Ex. Moor's experimental style (check out his collaborations with Sonic Youth) works well with Rupture's textures.

Moor's playing never overshadows or takes over any song. It perfectly compliments everything that's going on with Earth-esque desolate repetitions, looped sound-scapes, distorted riffs or just overall ambience. Rupture adds his rhythms and familiar samples to the mix creating a unique blend.

Like most of Rupture's stuff there are so many sounds that pegging it to one specific style is impossible. Elements of dubstep, noise, electronica, experimental hip hop, avant garde, world music, and even post rock stand out.

Get it.