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Alien on Acid said in Marzo 4th, 2010 at 17:41

New LCD Soundsystem Album Due Out On May 17

The long-anticipated third LCD Soundystem album, which still doesn’t have a title, has been announced by DFA and Parlophone for a May 17 release date. The album is nine tracks long, and either “Drunk Girls” or “Change” will be the first single. That’s all we have right now, people. But to quote Raaaaaaaandy: Y’all ain’t ready. Motherfuckas need to know. Get yo’ shit.

Track list:
Dance Yrself Clean
Drunk Girls
One Touch
All I Want
Pow Pow
Somebody’s Calling Me
What You Need
(Prefix Mag)


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Alien on Acid said in Marzo 4th, 2010 at 17:43

non per tutti, ma…

A Sufi and a Killer
[Warp; 2010]

Find it at: Insound | eMusic | Lala
The best description of Gonjasufi’s voice may have come from Flying Lotus, who gave the new Warp artist a high-profile appearance on Los Angeles deep cut “Testament”. FlyLo called it “timeless, incredible filth,” which reads more laudatory than descriptive, but there’s something about that voice that escapes simple specifics. On “Testament”, Gonajsufi lost himself in the track’s wispy, ghostlike soul, but on earlier self-pressed records like Dead Midget on Stilts (Crutches) and Flamingo Gimpp (released under the name Sumach), his voice had a gruff, restless quality. His singing can sound raw, maybe a bit off, but his ability to pull off a frail falsetto and ragged rasp in equal measures gives him a serious depth of range.

In pairing with L.A. producer Gaslamp Killer, Gonjasufi has found a powerful outlet for his otherworldly strain of singing. Together they’ve created A Sufi and a Killer, one of the most fascinating slabs of hallucinogenic head-nod music to arise from Southern California’s post-hip-hop vanguard. Unlike the digital bleeps and squelches of SoCal contemporaries FlyLo and Nosaj Thing, however, Gaslamp Killer and Gonjasufi draw from their hip-hop background to create an LP that could as easily fit on the Stones Throw roster as well as it does IDM-centric Warp. The beats knock, but for every moment of b-boy-friendly atmosphere, there’s another moment– or a simultaneous one– that makes like 21st century acid rock.

Gonjasufi’s vocals are both haunting and haunted, coolly assertive yet frequently fixated on mortal matters, and they bleed vividly through Gaslamp’s corroded analog wall of zero-fi psychedelic noise. The results are stark: Brooding, bad-trip laments (“Kobwebz”), a doo-wop number punctuated by spacey twang (“Duet”), a warping of the blues (“Ageing”). Even the more straightforward stuff has a grimy quality to it, particularly the heavy soul of “Change”, the bar-jazz tension of “Advice”, and the woozy “Kowboys & Indians” with its Eastern vocals looped against a rust-covered revision of club rap beats circa 2003. A couple of previously issued tracks helmed by other L.A. producers sneak into Gaslamp Killer’s showcase as well: Warp 2010 comp selection “Ancestors” maintains the psychedelic mood with a sitar-driven Flying Lotus boom-clap, while both sides of last year’s Mainframe-produced “Holidays”/”Candylane” single contribute mini-Casio chirpiness and roller-rink funk. Even with the additional producers and the stylistic elasticity, it all coheres nicely.

And if the production on A Sufi and a Killer proves anything, it’s that Gonjasufi can stitch himself into the beat whether it’s a heavy banger or a quiet ballad. “Sheep” is the most notable example of the latter, as well as a testament to both the singer and the producer’s ability to salvage a potentially corny concept: The lyrics are a vague and contradictory metaphor about wanting to be a sheep instead of a lion, but Gonjasufi sells it expertly with a fragile, subtly harmonic multi-tracked voice. And in the more impassioned moments– “She Gone”, “DedNd”, “Stardustin”– his off-kilter wail pushes an already surreal junkshop-rock aesthetic into a kinship with Safe as Milk-era Captain Beefheart. There are plenty of times where the mix renders the exact words elusive and indistinct, and a track or two where you might wish they’d stay that way, but the meaning comes clear enough. And what the words don’t hold, that incredible, filthy timbre does.

— Nate Patrin, Pitchfork – March 4, 2010


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Alien on Acid said in Marzo 4th, 2010 at 17:44

“I Just Want to See Your Face”

It makes sense that Serena-Maneesh released “Ayisha Abyss” as the first track from S-M 2: Abyss in B Minor. Though it wasn’t a great song, the overcrowded opener showcased the menacing side of the band’s split personality. Leader Emil Nikolaisen has always conducted his rock band like an old-school jazz sextet, and their inherent volatility is both an asset and a hindrance. Gratefully, Abyss’ second track balances S-M’s yin and yang equation with a short love song. “I Just Want to See Your Face” finds the shoegazers returning to the melodic dream-gazing that we heard on their 2005 eponymous debut.

The Primal Scream-like tumult from “Ayisha Abyss” lingers in the first quarter of the track like scum circling the drain, before Emil’s sister Hilma emerges from the waves of distortion with her siren vocals. Warped, reversed, and panning guitars eventually float back up, but the gorgeous melody commands this track’s “Sapphire Eyes”-like spin. “I Just Want to See Your Face” finds Nikolaisen coming to terms with his gifts. Even if it’s hard to gauge whether it’s the band’s next logical step, it’s certainly among their prettiest. (Pitchfork)


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Alien on Acid said in Marzo 4th, 2010 at 17:54

Serena-Maneesh: entusiasmantemente “rumoroso”


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Alien on Acid said in Marzo 4th, 2010 at 18:01

Danger Mouse Buries Beef With EMI, Dark Night of the Soul to Be Released

Danger Mouse has patched things up with EMI. Somebody throw a ticker-tape parade!

Last year, a dispute between the label and the producer hampered the commercial release of Dark Night of the Soul, the all-star collaborative album/book package that Danger Mouse made with Sparklehorse frontman Mark Linkous and film director David Lynch. Danger Mouse told the Tripwire that he couldn’t release the album for fear of EMI suing him. Instead, the album– which features appearances from people like the Flaming Lips, Julian Casablancas, and Iggy Pop– leaked online, and the accompanying book was sold with a blank CD-R.

The reasons for the legal dispute are still mysterious, but apparently they didn’t run that deep. BBC 6 Music is now reporting that the dispute is over and the album will be officially released this year.

Danger Mouse told 6 Music, “The problems of last year are last year, so hopefully it will be out soon in June or something like that.”

A spokesperson for EMI also issued a statement to 6 Music: “We can confirm that EMI are working with Brian Burton AKA Danger Mouse again, and are delighted to be doing so. Further information on releases will follow shortly.”

In other Danger Mouse news, he’s now partnered up with Shins frontman and Dark Night of the Soul guest James Mercer in the duo Broken Bells. Their debut album is due next week from Columbia.

Posted by Tom Breihan – Pitchfork – on March 4, 2010 at 8 a.m.


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buzzandmusic said in Marzo 5th, 2010 at 08:27



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