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New "What's In My Bag?" Episode With The Glitch Mob

Posted by Amoebite, April 10, 2014 01:15pm | Post a Comment

The Glitch Mob

With two proper albums, five mixtapes, one EP and a slew of singles, The Glitch Mob are LA's beat scene rulers. The electro champions have remixed everyone from Daft Punk to The White Stripes to TV On The Radio. Their most recent full-length, Love Death Immortality, came out in February of this year on their own imprint, Glass Air. A quick look at their tour schedule and it's easy to see the Mob is in high demand. You can catch them performing out in the desert at Coachella April 11 & 18.

The Glitch Mob stopped by Amoeba Hollywood recently for some record digging. The guys picked up some really cool Drum & Bass, Hip Hop and Dub albums, kicking things off with Portishead's 1997 self-titled classic on vinyl. They follow it up with Aphex Twin's Selected Ambient Works Vol. 2 and ATLiens by Atlanta's biggest Hip Hop export and fellow Coachella artist, Outkast. They also share some of their influences, including DieselboyKing Tubby, and Nine Inch Nails. Check out the full episode for all their picks.   

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Amoeba Electronic's 2013 Best of LPs

Posted by Oliver / Matt / Jordan, December 19, 2013 02:58pm | Post a Comment


Thanks for supporting Amoeba and reading the Amoeba Electronic blog in 2013. Like us on Facebook for daily updates and feel free to hit us up with any requests/feedback. Without further ado, here are our Best LPs of 2013, compiled by Oliver, Matt and Jordan. 

 

ADR - Chunky Monkey LP Cover20. ADR - Chunky Monkey

Hippos In Tanks

While visual artists have been quick to adapt to the internet's Babel of information, musicians have been slow to comment directly on the vast digital buzz. Hippos In Tanks, as a label, has admirably pushed this conversation forwards while also displaying a fierce devotion to the traditional mediums of CD and vInyl. James Ferraro's "Farside Virtual" (Hippos In Tanks, 2011) was seen as a comment on emerging personality types in the face of rampant technoconsumerism, but in retrospect, can be seen as Ferraro's first step out of the cassette underground into sleeker rnb/hip-hop influenced production Gatekeeper's "Exo" had them abandoning the Carpenter-esque VHS aesthetics of their previous releases, even hiring internet artist Tabor Robak to create a playable game for reach song. The most successful effort in creating a musical analog to endless internet-meme driven communication is ADR's "Chunky Monkey". 

The record succeeds first and foremost because Aaron David Ross (1/2 of the Gatekeeper) is a completely badass producer. I woudn't be suprised if legitimate pop production is in his future based off of the seemingly effortless genre tourism on display here. Opener "Casual Friday" places  samples of sitcom saxaphones against a loping 303 and eerie processed piano that could be lifted from a Prologue release. "Sumo" seems to be an oblique comment on 90s boom-bap, while "What It Takes" could be lifted from a sinister Sprite commercial. "Stray Dog Strut" could be seen as ADR's reading of Sly and Robbie digidub, but in this tune, the comment on internet culture is palpable. In the midst of innocuous and expertly produced genre-exercises, ADR is prone to interrupt with unsettling samples (e.g. a screaming chorus of roller coaster riders) to fray the edges. The effect has an uncanny resemblance to cruising through life with 15 tabs open.

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New "What's In My Bag?" Episode With Electro Duo Disclosure

Posted by Amoebite, December 12, 2013 03:06pm | Post a Comment
Disclosure

Electronic music duo and recent Grammy nominees Disclosure have been quickly becoming dance music's latest craze. The English born musicians are brothers Guy and Howard Lawerence. Despite being born in the mid-'90s when U.K. garage was peaking, Disclosure pulls from the past to create their own brand of 2-step house. Some critics call them revivalist while others praise their elaborate production chops.settle The dudes are really good.

Disclosure made a lot of noise when they gave Jessie Ware's "Running" a hyper-soul synth pop makeover. The remix resulted in millions of plays on YouTube and Soundcloud. It didn't take long before promoters from London to Ibiza were falling over each other to book the duo.They quickly found fans in some of dance music's tastemakers, including Pete Tong and Annie Mac.

Their debut album, Settle, entered the U.K. charts at #1,  followed by a Grammy nod for Best Dance/Electronica Album. The duo will now ring in 2014 with a world tour. Pretty impressive for a couple of kids born in the mid '90s. 

Disclosure recently visited Amoeba Hollywood for another awesome episode of What's In My Bag?. These dudes are very much the "producer's producer" as it goes. Big fans of Hip Hop, Guy and Howard pick up J.Dilla's Welcome 2 Detroit, a classic in the underground Hip Hop scene. They also grab Gangstarr's Ownerz and A Tribe Called Quest's Anthology on vinyl. They make sure to dig up some house music and find a copy of Pepe Bradock's Lifting Weights 12". Clearly these guys love all things with big deep bass! These two brothers are super cool, down to earth and insanely talented. Check out the full episode of "What's In My Bag?" below.

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New "What's In My Bag?" Episode With Brazilian Electro-Rock Band CSS

Posted by Amoebite, August 6, 2013 09:13pm | Post a Comment

CSS

Sao Paulo, Brazil has always had a rich history in music. Some of Brazil's most engaging musicians were spawned in Sao Paulo during the 20th century, including Os Mutantes, who helped create the Tropicalia movement of the '60s, and Samba composers Paulo Vanzolini and Adoniran Barbosa, who wrote one of Brazil's most famous Sambas (see "Trem das Onze"). A late punk and garage scene grew in the '80s while the '90s gave way to a strong drum and bass movement. Fast forward to the 21st century and CSS carries the torch as Sao Paulo's leading purveyors of  electronic-dance-rock. CSS exploded onto Brazil's burgeoning "new rave" scene in the early 2000s. Originally a six piece (5 ladies, 1 dude), CSS was one of the early bands to turn Internet fame into a full-fledged career.

Nearly a decade after they famously took their name (Cansei de Ser Sexy) from R&B diva Beyonce, after she declared she was "tired of being sexy," the women of CSS are back with their fourth album, Planta.css TV on the Radio's Dave Sitek takes on producer duties and this time around CSS deliver a more polished production. Still full of electro-pop rock angst, CSS remain fun and loud despite losing main songwriter Adriano Cintra. The album's lead single, "Hangover," is a querky synth-pop jam that carries an upbeat feel. Lovefoxxx sings, "Living in Jupiter that spot is free / Martians??/ vampires and bees /
Everyone is floating together / Everyone is partying forever." Party on CSS!

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What We're Doing With What They've Done: Amoeba's "Vinyl Vaults"

Posted by Rick Frystak, April 28, 2013 07:15pm | Post a Comment

If you don't already know, we here at Amoeba are very much underway with our monumental archiving project for our website Amoeba.com, simply called the "Vinyl Vaults". It's a really spectacular beginning to what is and will be a huge undertaking in offering to the public digital transfers of the most remarkable older, oblique and hard to find works of creative peoples around the globe throughout the history of recording. I myself, am curating a large part of this, and have been very excitedly pulling out many, many unique pieces of vinyl out of the used LP buys that we take in at Amoeba's buying counters, and sending them into the ether (ie,our great team) to be archived and considered for sale on Amoeba.com. Our sound team takes these copies of the LPs, 7" singles and 78 rpm discs and digitizes them via ProTools, into 24-bit files, and then make mp3, mp4 and 16 bit .wav files (CD quality) from the 24-bit master and split up the sides into tracks for folks to download. We sometimes offer of the highest resolution 24-bit file as well for a certain title. And in many cases the original LP or 78 or 45 we used to digitize the sides is available right there next to the download. 


How do I decide what we save to digitize and offer to the public as I go through all these LPs? The records almost speak to me as I sift over the aquisitions we've purchased in the collections we buy. If I don't  know the record, I'll see the look of the cover, the paper texture, and the era of manufacture as the first things revealed. Even the weight and smell of the "thing". Exotic LPs have a feel to them, a way they communicate to the holder that they are something interesting, distinctly special, and a thing to be investigated further. If you've held a phonograph record in your hands  you know what I mean. Often the packaging will tell me what's inside, but how many records say "vocals" or "guitar" or "piano", and yet how different can all these records be? The actual sound on the disc is an exciting mystery of immense promise before I hear it. So then, to play a little bit, I "needle-drop" (sample bits of) so many records in a day. And it just so happens that Amoeba offers 1 1/2 minutes of free sample listening for all the records' songs, so this is comparable to how I listen to potential pieces for the Vaults. Once chosen, a disc will undergo a discerning ear's analysis and judgement for condition, and a little research to see if folks already know about this record. Ultimately, the bliss of finding a transcendent musical performance by a deceased or obscure artist or on a long-defunct label is intoxicating. And to think that others can later enjoy these provocative sounds via the "Vinyl Vaults"  is exhilarating.

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