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New 12"s @ Amoeba Hollywood 2/8 - Michael Whitehead, Pharoahs, 214, Versalife, Jeremy Greenspan, Daddub, Eddie C, and more

Posted by Oliver / Matt / Jordan, February 14, 2013 12:24pm | Post a Comment

Michael Whitehead

Danse Club 

Why release Jersey-inspired house when you can reissue the real thing? The “Meat Mixx” and “NYC Dub” of this Whitehead/Murk collaboration are compiled here, along with present-day remixes. The original NYC Dub is a transcendent example of American garage house - all vocal cutups, pristine piano, swung drums and organ steps.The Meat Mixx makes full-use of Whitehead’s powerhouse ( vocals. A1, the remix by Willie Graff and Tucillo provides an airier interpretation of the NYC Dub’s organ stabs and Whitehead’s soaring vocals, and adds a subtle acidic squelch. The Florian Kruse mix has a classic Strictly Rhythm vibe while Max Jacobson takes a deeper approach - looping a wordless sample of Whitehead’s vocal, but buoying the track with live-sounding bongos. Great release!

Purchase Under My Spell



Pharoahs
Island Time
ESP Institute

Their status as LA’s premier live dance/balaeric/kraut/? band cemented, the group of talented producers and music nerds (Pharoahs’ core consists of former Amoeba employee Sam Cooper, Dublab dude Ale Cooper and rising producer Suzanne Kraft) make the move to fellow diviner Lovefingers’ label for their most realized effort yet. “Ahumba” is named after surfer Cooper’s dream beach in Zanzibar - and the song reworks windswept digital beauty of the Innovative Communications label for the dancefloor. Sublime guitar arpeggiations color the tropical tracks. “If It Ever Feels Right” is a live staple that never comes out quite the same - a testament to the massive amount of improv that makes Pharaohs such an exciting group. The basis of the track is a descending Juno 60 arpeggio - delayed uptown sax, a far-off pad and varied percussion fill this out into perhaps the most floor-friendly track on the record. The insistent bassline eventually ends up scoring some light jacking and zonked sax-work worthy of Roland P. Young. Island Time successfully focuses on rhythm rather than the synth acrobats of the other tracks, bringing the tide back out for this great EP.

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Jordan's highly subjective, in-no-particular order, top 10 (or 11) electronica releases that made the world a better place in 2012.

Posted by Oliver / Matt / Jordan, December 27, 2012 12:35pm | Post a Comment


Paranoid London
Paris Dub 1
Paranoid London Records

Not all hardware acid jams are created equal. The vocals by Paris Brightledge (best remembered for "It's All Right," with Sterling Void) put this one over the top.

Purchase Paris Dub 1










Fudge Fingas
Mass X
Firecracker Recordings

Russian producer Vakula released a large quantity of stunning music in 2012, not least of which was his sparkling, dubbed-out version of this Fudge Fingas tune- and the Juju & Jordash remix on the flip ain't bad either.

Purchase Mass X








Petar Dundov
Ideas From The Pond
Music Man Records

A pristinely produced album fusing Dundov's melodic techno with an updated take on the sounds pioneered by the likes of Tangerine Dream.

Purchase Ideas From The Pond

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Albums Out 10/16: Chelsea Wolfe, Godspeed You! Black Emperor, Mac DeMarco, Pinback, Tamaryn and More

Posted by Billy Gil, October 15, 2012 07:00pm | Post a Comment

Album Picks:

Chelsea WolfeUnknown Rooms: A Collection of Acoustic Songs

Chelsea WolfeCD $9.98

LP $16.98

Download

The electric touches to Chelsea Wolfe’s doom-folk sound are nice window-dressing, but as Unknown Rooms shows, they’re not necessary — perhaps even a distraction — from conveying the gothic folk sound Wolfe built on her previous two albums. Stripped of nearly all else except acoustic guitar, exquisite violin and viola, and Wolfe’s arresting voice, Unknown Rooms is Wolfe’s strongest statement yet. In “The Way We Used To,” which Wolfe’s voice expresses the soulfulness always lurking in the shadows of her sound, harmonizing a simple vibrato vocal line to great effect as Wolfe’s voice gets higher (and more emotional) than she’s ever shown before. “Spinning Centers” takes a similar cue, using singsongy vocals in an ever-so-unsettling backdrop to create a beautiful kind of witchy music that suggests something ancient and beyond simple explanation. A song title like “Appalachia” would imply an exercise in Appalachian folk reverence, but in practice the song’s almost harsh, trudging nature makes it into a woodsy elegy. Her voice and delivery occasionally draw comparison to PJ Harvey, a tough comparison that could drag her down, but Wolfe ensures her music is distinctive enough that she’s considered more than merely a Harvey disciple. The distinctive quality of the incantations in “Boyfriend” and mandolin-esque vocals of “Our Work Was Good” alone make Wolfe sound like the leader of her own cult, one which will surely grow with the release of this excellent work. Chelsea Wolfe will be at Amoeba Hollywood Sunday Oct. 21 to perform at 5 p.m. Be there!

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