Rain Machine - Give Blood

It has long been my opinion that everything TV On The Radio does is awesome. But since the self-titled debut release of lead singer Kyp Malone's solo project, dubbed Rain Machine, I've had to update that to include everything even associated with the band. It's been a while since I've heard an album as strikingly original and unapologetically raw as this, and the only reason it's not at the top of the charts (yet?) is directly as a result of these qualities. I guess some people just can't handle unrestrained emotional expression, even in musical form. If you want to be moved by music, though, this is the way to do it.

Rain Machine - Give Blood


While I chose the leading single (and also the catchiest track) to share with you, dear friends, it's impossible to do justice to this album by limiting myself to one song only - there's just so much more going on. Each song to me seems to represent a distinct set of emotions, and in such a way that they are at times strangely familiar. The trumpet-like guitar in "Hold You Holy" resounds with triumphant love, while Malone's s swooping falsetto in "Winter Song" speaks of freedom and happiness. "Love Won't Save You" is desperately bitter, with vocals that sound more painful with each repetitive cry of the title. It's the most intense song on the album, and also the most difficult and yet captivating to listen to. On another level entirely, the primal beats and rough, jagged guitar sound of "Give Blood", along with the frenzied chanting of the song's title, give it a wild energy that is worthier of a tribal trance than a dancefloor, but would work pretty well in either setting. A little over two minutes in, Malone lets loose a scream that is almost animal before launching into another explosive verse. Dude clearly isn't fooling around here.


Malone's distinctive command of guitars both electric and acoustic is masterful, but what really strikes me about this album is just how unique Malone's voice is. While it fits in perfectly with the TVotR material, the huge sound of their music often makes it difficult to listen to the vocals alone among all that beautiful noise. With Rain Machine, however, the music is stripped down to a much more intricate level, allowing Malone to experiment more with the sound of his voice. The results are simply astounding, showcasing the incredible control he has over what is a truly unusual vocal style.

Cover art, drawn by Malone himself

In all, Rain Machine not only gives me a new respect for Malone as a solo artist, but also makes me appreciate TV On The Radio's music even more. It's a really great insight into an important part of their music that comes from Malone himself - and it's no wonder that, with so much musicality evident in just one member of the band, their collective efforts are so mindblowing. Perhaps a few other solo projects are in order...

Just remember...you heard it here first.

Final Fantasy - This is the Dream of Win & Regine

The violin was the first instrument I ever learned to play, and out of the multitudes I've heard and the few more I've come to play since, a beautifully-played violin still remains one of my favorite sounds to date. The fact that the violin is still a predominantly classical instrument often limits its use in more contemporary forms of music, but it's really great to see an example of the instrument being used in exactly that way. Final Fantasy, a.k.a. Owen Pallett, composer and long-time Arcade Fire collaborator, is one of the best violin-based projects I've heard.

Final Fantasy - This is the Dream of Win & Regine


Before you ask - yes, the name of the project is based on the video game series, and the title of the track refers to Win Butler and Régine Chassagne of Arcade Fire. Simplicity, not subtlety, is clearly the emphasis here, and that intention is also present in the music. It's very minimal, dominated by Pallett's violin and voice and backed only by quiet drums and laid-back 'filler' instrumentation. 'Childlike' might even be a good description, but far be it from me to suggest that this song is childish. On the contrary, it's the childlike honesty of the music that helps it to communicate a very mature and personal mix of emotions. The recurring violin melody in particular, which effectively takes the place of a chorus, is uncomplicated and unassuming, yet sublime, complementing the vocals perfectly.

Pictured: not Owen Pallett

Although the title gives away the identities of the characters who effectively speak in this track, without it the lyrics could be referring to anyone who has experienced the fickle fortunes of stardom. The way these words are sung, as if by a small voice in the back of your head, are just brilliant in the way they convey this message. Whether or not you've ever experienced such an internal conflict, this track, at least to a certain extent, makes you feel like you have.

If that's not a mark of a great song, feel free to tell me what is.

Mumford & Sons - Little Lion Man

Once again, I may well be accused of jumping on the bandwagon with this one (that pun never gets old), but I can't avoid the fact that this is the best song I've heard in months, if not the whole year. Mumford & Sons, an indie-folk quartet from London, came out of nowhere earlier this month with their debut album Sigh No More, and quickly became one of the most talked-about bands in the world - and for all the right reasons. This is a band well worth your attention.

Mumford & Sons - Little Lion Man (removed by force)


The intro to this song is just epic. A lone, percussive acoustic guitar strums out an energetic riff for a few bars before the rest of the band comes in with a dramatic crash that's almost orchestral. From there on in you know things are going to get serious...and, well, they do. Talk about a chorus - I've rarely ever heard one so powerful and honest, beyond being (as it is) very tuneful. Also, how many folk bands do you know who use the word 'fucked' so many times in one song? Joking aside, there's something in that that, once again, sets these guys apart.


The unusual combination and use of instruments is what makes this band so distinctive and yet so familiar (in fact, to really appreciate this aspect of the band, I recommend you check out the video for this track, which is intimately grandiose). Alternating throughout the album, primarily between guitar, banjo, upright bass and piano, and adding the occasional mandolin, violin, keyboard, drums and even a foot-percussion kit, they've basically taken a whole bunch of musical styles from more or less the past century and brought them together in an entirely unique way. I'm still picking up on similarities to other artists and genres, both in this track and throughout the album. Fleet Foxes, Cat Stevens, Dave Matthews Band, countless country and bluegrass artists and folk music in general emerge as influences at different points, but there's also a proper rockstar vibe coming from these guys. For reasons I can't entirely justify, I think that if The Killers played folk, Mumford & Sons might be what they sounded like.


The number of times I've listened to this in the past few weeks would be enough to make me actively avoid most songs, and yet I still find myself scrolling to M in my iPod on a daily basis. I think the lyrics are what give this song such staying power. On paper, they seem apologetic and regretful, but the music gives them a forceful, almost accusatory edge. It's a strange combination of emotions that nonetheless reflects something very familiar. If you've felt it too, I think you'll know what I mean.

It's official: folk is cool again. Not that it ever wasn't.

Phoenix - Love Like A Sunset (Passion Pit's Shuttle Remix)

If you've been paying any attention at all to the global music scene lately, you must at least have heard of both Phoenix and Passion Pit, two of the most hyped bands of 2009 (so far) - and rightly so. More likely, if you have heard of them, is that you've also fallen in love with their music. Quite different stylistically but still part of the same indie scene, it seems as though it was only a matter of time till this French synth-rock quartet and Massachusetts-based electronic band came together. The results are suitably impressive.

Phoenix - Love Like A Sunset (Passion Pit's Shuttle Remix)

To understand where this is coming from, take a listen to the original version of the track, off the inimitable Wolfgang Amadeus Phoenix, released earlier this year. It's a two-part, largely instrumental 7-and-a-half minute 'interlude' reminiscent of Pink Floyd-esque space jams, but with an electronic edge. Passion Pit's drummer and resident remixer, Nate Donmoyer - alias Shuttle - takes the intensely dreamy track and adds an epically grimy beat that instantly translates it to a dancefloor setting. It's the kind of beat that often gets used and abused in the average 'club remix', but Shuttle uses it to great effect without making it too overboard or offensive.

While I'm no stranger to filthy beats and outrageous drops that send you sprawling on the floor, I think the weight of this track is just right. There's a great balance going on here between singer Thomas Mars' soaring vocals and the punchy synth chords and gritty bassline added by Shuttle. I really dig how this track manages to keep the hazy feel of the original while adding that driving element that would fit very nicely into almost any DJ set. Not too hard, but not too soft either. This one's just right.

I urge you to get hold of both Wolfgang Amadeus Phoenix and Passion Pit's debut LP Manners, if you haven't done so already. For your own sake.

Krafty Kuts, Freestylers & Dynamite MC - Dynamite Love

I don't know how much of a splash this track made when it came out, but it definitely deserves another mention. I was at Earthdance two weeks ago, where I managed to catch a killer set by Joburg regulars Musical Chairs on Friday night (if anyone can find these dudes on the interweb, drop me a line). Aside from the stage having one of the clearest setups (in terms of sound quality) that I've ever heard at a festival, that was the best set I heard that night, and this track was definitely a highlight. It's one of those that's guaranteed to get the floor pumping in pretty much any club you can think of, but you usually end up forgetting about it until the next time. But now, thanks to Ultrasensory, you can listen to this track from the comfort of your own headphones! The things I do for you...

Krafty Kuts, Freestylers & Dynamite MC - Dynamite Love


This is a great example of what can happen when the worlds of rap and electro come together to make some sweet, sweet music. And for once, it's not pretentious or annoying (we're looking at you, Dizzee Rascal), but just plain cool. This track makes you dance, no matter who you are or what music you're into, and that's a great thing. Sure, maybe it's a bit repetitive, but with a hook like that, how can it afford not to be? A fine piece of work all round by British breakbeat producers Krafty Kuts and Freestylers. Even Dynamite MC's fast-paced rapping about hot girls and wild parties sounds cool in context. Can you really argue with that?

The man himself

Yeah, I dig this. It's commercial, but in the best possible way. And I'll be just as stoked the next time I hear this played somewhere. When that happens, you'll know where to find me.

"Jesus Christ." (the indie band) - Is This Really What You Want?

Admittedly, the main reason I even noticed this track is because of that outrageous name - which, by the way, is officially written and punctuated that way. And that's probably the same reason you're actually reading this post right now. Hailing from Brooklyn, NYC, the duo, who refer to themselves as the "Poet Laureate" and "subconscious voice" of Generation Y, insist on calling themselves a "sound project" rather than a band. But egomania aside, the song is unavoidably cool. Whether you take it seriously or not is up to you.

"Jesus Christ." (the indie band) - Is This Really What You Want?


It's clearly a song about lost love, but beyond the vocals, which are both spoken and sung (and very tastefully, I might add), the wistful synthscape and minimal drums backing them make this more than just another throwaway track in a long list of insincerely nostalgic pop songs. The sounds seem to come from far away, but have a depth that you can easily find yourself slipping away into as you listen. There's also a subtle buildup of energy that runs through the entire track that's only really noticeable after a few listens, but is really one of the main reasons this song is so hard to let go of. It lingers a little, like the memories of a lost romance. As silly as that sounds, I think you'll find it hard to disagree.


The main thing that strikes me about this is that, for a band with such a ridiculous name, their music is far from it. It falls into a similar category to artists like Memory Tapes and Washed Out - sort of chilled out dreamwave, with an M83 edge. Chillwave? Use it, don't use it...

Regardless of whether you dig this track or not, the band's page on Muxtape (a new online platform for bands which also looks like a very cool idea) is well worth a visit. Make sure you go right to the bottom...some of these gems are too good to miss:

Splendid!

See you next time.

(P.S.: Sincere apologies for the recent lack of posts. Normal service has been resumed.)

Animal Collective Remixed

Thank God for Animal Collective. Deerhunter's Bradford Cox has called them "the most important band of our time", and I'm not far from agreeing wholeheartedly with him on this point. If you haven't heard Merriweather Post Pavilion, you're missing out on some of the most groundbreaking music of this decade. These four boys from Baltimore are the perfect example of a theory I've been working on, which I'm calling the 'bulldozer effect'. What this basically boils down to is an artist's ability to collect all the music from the past and, like a bulldozer, bring it together at one point in the present (or even the future). This is exactly what Animal Collective has done, and while you might think this would result in a whole bunch of discordant sounds that we've heard many times before, the reality is totally opposite. Their music defies classification, creating natural harmonies and organic rhythms from a wide range of eclectic sounds that pretty much everyone, regardless of musical taste, enjoys in some way. And that, my friends, is about as good as it gets.

Animal Collective - My Girls (Gigamesh 'Proper House' Remix)


Small wonder, then, that it's taken so long for anyone to seriously attempt an Animal Collective remix. Gigamesh has bravely risen to this challenge and created a remix that is as impressive as it is tasteful. The original track, one of my favorite songs ever, is still very present in all its glory, but so is Gigamesh, adding a very cool electro vibe which just feels right. The beats add to the track rather than overpowering it, as if they were always there, and that Frankie Knuckles arpeggio in the beginning finally feels fulfilled. It's all in the details, and Gigamesh clearly knows exactly what he's doing in that regard. Not that I expected any less from the dude, having heard a bunch of his stuff before. Mad respect.


Again I say: if you haven't already come across Animal Collective in your musical travels, you need to get on that train. That is all.

Ted Leo & The Pharmacists - Timorous Me

A problem with the whole indie scene is that you find some really great bands that just fall through the cracks and never seem to get the acclaim or popularity that they deserve. Sometimes this happens because the band takes the indie tag too seriously and purposefully avoids the mainstream, but more often it's just because they never get the exposure they're worthy of. I first saw Ted Leo & The Pharmacists in 2006, when they opened for Death Cab for Cutie at Madison Square in New York, and left after a stellar performance by both bands, wondering why I'd never heard of them before. I vividly remember Ted Leo, standing on the edge of the stage wearing a bright orange jumpsuit, striking driving guitar chords and belting out a powerful rock falsetto, flanked by a bassist who reminded me of a teenage Jimmy Page and a drummer who looked for all the world like a lumberjack (see pic above). Definitely one of the best live shows I've ever been to.

Ted Leo & The Pharmacists - Timorous Me


This song was one of the highlights of their set that night, and still remains my favorite. It's uplifting and nostalgic at the same time, especially when you pay attention to the lyrics, which speak of relationships lost and found. Musically, it's Ted Leo's distinctive guitar playing that gets me from the start, channeling a little of Jimi Hendrix's technique of playing lead and rhythm parts simultaneously into his own indie-punk roots. The song kicks off with a rhythmic bluesy riff that is pretty awesome on its own, and then Leo's fiery voice drops in from above, setting the momentum. Lest we forget, he does all of this at the same time (live), which any singer-guitarist will tell you takes no small amount of skill. I dig the way he drags this part out quite a bit before a handclap-worthy beat drops in from the rhythm section, turning the song into a proper indie jam. Try to sit still while you listen to it. You will not succeed.

Slightly overboard?

Anyway, do yourself a favor and get hold of either The Tyranny Of Distance or Shake The Sheets (both on Lookout! Records), both of which are great albums. Or you can do what I did, and get their whole discography. It's all good.

The xx

I'm not usually one of the first to jump on the bandwagon when it comes to the latest buzz, but I get the feeling that The xx are going to be making some substantial waves in the near future. I can't decide which of these tracks I prefer, so consider yourself lucky.

The xx - Islands
The xx - Crystalised

While I don't really like to compare two bands side by side, the reference can't be avoided. Ever since I got to know The Whitest Boy Alive, I've been waiting for an equal band to come along. The xx have risen to that challenge, and then some. The minimal, reverb-tinged guitar, rhythmic bass and laid-back drums are taken to a deeper level, creating a really sparse soundscape that is dark and beautiful. I can imagine this band playing in a dimly lit cave to an audience of none.


The male-female vocals really set these guys apart. Both vocalists have sublime voices on their own, but their ability to complement each other is what gives this music such an uncommonly ethereal sound. Every note sounds personal, as if they're singing to each other, and the lyrics, jumping expertly between metaphor and literal meaning, often add to that effect. There's also a veil of electronic ambience in the background, almost unnoticable at times, that subtly completes the dreamlike atmosphere. Midnight music at its best.


Interesting fact that I had to mention: these four 19-year-olds met at Elliott School in London, the same institution that produced Burial, Four Tet, and Hot Chip. Those of you who know any of these artists will be familiar with the unique sound that each has. Do we see a trend developing here?

If you dig, their debut album, xx (Young Turks/Rough Trade) was just released earlier this month. Get it.

DJ Shadow - Building Steam With A Grain Of Salt

If you know DJ Shadow, chances are you love him. The legendary DJ and producer from California revolutionized the world of alternative/instrumental hip hop with his landmark album, Endtroducing..... (Mo' Wax/Island), a record made up entirely of samples and put together using only a set of turntables, an AKAI MPC60 sampler/drum machine, and an early version of Pro Tools. His music has influenced countless musicians as diverse as RJD2 and Radiohead, and still sounds original and experimental even in today's eclectic music environment.

DJ Shadow - Building Steam With A Grain Of Salt


In case you didn't catch it the first time: this track (like the whole album) is made up exclusively of samples. There is no element in here that Shadow came up with himself. And while that may sound like criticism, it couldn't be further from the truth. The way the track is put together, combining musical fragments from a wide variety of other artists to create an entirely different, highly creative piece of music, is a testament to the validity of sampling as a true art form.


Even the spoken-word samples in this track are carefully chosen to add to the effect, and they have a real impact on the track as a whole. In particular, the opening and closing words (taken from an interview with jazz drummer George Marsh) contain some profound thoughts about music that I often find myself referring to in my own thoughts or conversations.

The music's coming through me...

Another great part of the track is the breakdown that drops in about halfway through, one of my favorite examples of breakbeat. It's a drum solo in its own right, just as dynamic and energetic as if it were played on a kit. Another example of DJ Shadow's unique sampling technique and musical creativity.

There's a reason this is one of my favorite tracks. If you find it as well, let me know.

Ghostland Observatory - Silver City

Ghostland Observatory is officially one of my favorite bands right now. I can't really put my finger on just why that is, but if the above image doesn't illustrate how cool they are, I'm not sure if I can do much better. I also don't know exactly what to call their music. It's definitely rock-based, with a lot of electronic elements and some occasional funk influence thrown in, but to try and categorize it seems a bit futile. A few things I do know, however: it's melodic without being oversimplistic, groovily energetic (is that a word?), and somehow manages to remain organic and industrial at the same time. Bionic rock, maybe. You decide.

Ghostland Observatory - Silver City


This is a travelling song for me. It's about leaving one place and arriving in another, trying to find something new, something beautiful. Just getting out, being free, and discovering yourself. There's no regret involved, just a bright sense of optimism and the courage it takes to be a stranger in a new city. Uncertain, but uplifting. That's where this is at.


The beats are very cool, keeping things grooving along rhythmically without being too heavy or overpowering. I particularly like the vox synth that starts this track off and just keeps going in the background, providing the foundation for a number of melodic synth lines which do a great job of complementing the vocal melody. In short, a well-constructed song that makes me feel good every time. Mad respect.

If you dig, get hold of their gloriously titled debut album, delete.delete.i.eat.meat (Trashy Moped Recordings) and work from there. These guys are known for their versatility, so don't expect to hear the same thing every time. Prepare to be impressed.

Ezra Furman & The Harpoons - Take Off Your Sunglasses

Every so often I come across a band that I really dig despite the fact that I know they should annoy me. Having said that, there's something about the cheese factor of a band like Ezra Furman & The Harpoons that I just can't ignore. With a song structure you could write on a post-it note, a total number of chords you can almost count on one hand, a harmonica hook straight out of any Bob Dylan song ever, and vocals that sound like a confused cross between Clap Your Hands Say Yeah and Cold War Kids, this song is awesome.

Ezra Furman & The Harpoons - Take Off Your Sunglasses


Just face it. No matter how hard you try not to, there's something about this track that will make you smile. Maybe it's the the nonsensical, rambling lyrics, the singalong-worthy chorus, or the fact that whoever's playing the harmonica appears to know only one way of doing so. Whatever the case, it's whimsical, uncomplicated, and above all, fun. Isn't that what music's supposed to be about?


If any sense can be found in the lyrics, this track seems like a pretty cool metaphor for the reclusive state of mind we all fall into from time to time. Hiding behind our sunglasses, as it were. However, while it's nice to think that everyone taking off their sunglasses would lead to mutual love and understanding among people, how this relates to taking out shoelaces is anyone's guess. Still, perhaps it's the irrepressible silliness that makes this song so much fun to listen to in the first place. Good times all round.

Friendly Fires - Your Love (Frankie Knuckles Cover)

I dig me a good cover. And by "good", I mean when a band takes an original song by another artist and plays it in their own style (as opposed to a note-for-note copy of the original). A good cover is a great way to hear a different interpretation of a song you love, and a great way for the covering band to pay tribute to an artist that influenced their own music. And quite often, these revealed influences can come as a surprise from a band you never imagined would dig the kind of music that they're covering...

Friendly Fires - Your Love (Frankie Knuckles Cover)

...like Friendly Fires covering Frankie Knuckles, for instance. In case you're unfamiliar with the original track (which I include below for your added enjoyment), a little backstory may be in order:


Meet Frankie Knuckles, house music pioneer and regular cool cat. While resident DJ at The Warehouse, a nightclub in Chicago, in the late 70s and early 80s, Knuckles began to create his own electronic tracks, sampling the R&B and disco singles popular at the time and splicing them together with uptempo, four-to-the-floor beats and analog synthesizers to create a revolutionary dancefloor sound that quickly made The Warehouse a Chicago hotspot. "Your Love" was one of the first tracks to become widely recognized as 'house' - which, if you hadn't guessed, was shortened from the name of the club where it originated.

Frankie Knuckles - Your Love

Friendly Fires, an indie dance-punk band from England (think Klaxons, Foals, etc.), take the original track, up the tempo a bit, translate it to their own instrumental setup and launch into a really sick version of a classic track which is just as much their own as it is Frankie Knuckles'. Sure, it sounds a bit raw and slightly underproduced, but being off their very first Photobooth EP, I'd say it's a pretty fair effort. Tell me you wouldn't dance to it. I dare you.

Oh yes.

If you dig, I highly recommend their self-titled debut album. Like that, and then some.

Doveman - Castles

One of the most amazing things about music is its ability to mould and shape itself into so many new and different forms, some of which can energize you like a shot of adrenaline while others send you to sleep like a powerful anaesthetic. Doveman, a.k.a. Thomas Bartlett and co., have created some surreal music which clearly falls at the far end of the latter category. Their self-described brand of "lamp rock" is some of the most gentle, ethereal music I have ever come across, weaving half-whispered vocals through ghostly piano lines, sleepy guitars and barely audible drums against a backdrop of soft, ambient sounds, to create an intensely subtle musical experience. I'm writing this post in the dark, because there's really no other way to experience the fragile magic of this track.

Doveman - Castles (Removed by request)


There's so much intensity in the silences between notes, it's almost painful to listen to. And Bartlett's voice; an emotional, beautiful whisper that barely carries over the soft tones of piano and acoustic guitar. Sorrow, love, peace, happiness, all wrapped in a cocoon of the most delicate music imaginable. Indescribable.


There's really not much more I can say about this one. I hope you enjoyed it as much as I do. If you dig, get hold of With My Left Hand I Raise The Dead (Brassland), half of which consists of spectral instrumental tracks (differentiated only by different numbers of full stops) which are even more sparse than this one at times. Just let yourself slide...

I'm going to sleep now.

U2 Remixed

I don't think anyone will argue the fact that U2 has been one of the greatest and most successful bands of the past three decades, which is about the same length of time that they've existed as a band - in itself no small achievement. However, it's only very recently that producers and DJs the world over have finally figured out how to remix their music. These days, with a veritable slew of indie-electro remixes of every buzz band from Bloc Party to Black Kids (don't get me wrong, a lot of these are awesome in their own right), it's exciting to hear a new take on creative remixes of guitar bands. With the possible exception of the Justice remix of "Get On Your Boots" that I heard a while back, it seems that a more progressive house sound is the way to go when it comes to U2 remixes.

U2 - Magnificent (Adam K Club Mix)
U2 - I'll Go Crazy (Dirty South Remix)

Those of us who generally shy away from commercial music and anything with the word "club" in the title (myself included - most of the time) can rest assured: you will dig this. Bono's Magnificent voice (see what I did there?) soars above powerful beats and pulsing chords, carrying the sound to incredible heights. This effect is not exactly new to those familiar with U2's original music, but with the increasing use of vocals in house tracks these days, it's very cool to hear what is truly one of the very best voices in music today used in that way.


Both of the original tracks are off U2's latest album, No Line On The Horizon (Interscope), released earlier this year, which I really enjoyed, so I was pretty stoked to check these remixes out. Needless to say, I wasn't disappointed. Although I could see how the replacement of the rest of the band with more house-friendly sounds - with the occasional but notable exception of The Edge's guitar - might cause some lamentation among die-hard U2 fans, these tracks really do take the originals and create something entirely new out of them. Which, contrary to the popular belief that adding a club-heavy beat and turning up the bass on the EQ qualifies, is basically what remixing is all about. Mad respect to Adam K and Dirty South for these rad tracks.

This pic came up first when I searched for "magnificent" on Flickr. Rather appropriate, I thought.

Thanks also to my good friend DJ Burch for turning me on to these.

Enjoy.