FYF Fest Tickets On Sale at Amoeba Hollywood April 1

Posted by Amoebite, March 29, 2016 01:30pm | Post a Comment

FYF Fest Tickets on Sale at Amoeba Hollywood April 1

The lineup for this year's FYF Fest was just announced today and it features a diverse and amazing roster including headliners Kendrick Lamar, Tame Impala, LCD Soundsystem, and Grace Jones. Not to mention Air, Grimes, Charles Bradley, Father John Misty, Todd Terje, and Vince Staples...

Tickets go on sale Friday, April 1 at 12pm. You can buy 2-day general admission weekend passes in-store at Amoeba Hollywood starting Friday at noon for $212 total. Limit of 4 tickets per person, cash or credit cards accepted (except for American Express). Store credit cannot be applied to ticket sales. (Single day and VIP tickets will also go on sale at the same time, but you'll have to buy those online.)

See the full lineup below:

FYF Fest 2016 Lineup


Amoeba's Top 50 Favorite Albums of 2014

Posted by Billy Gil, December 29, 2014 04:24pm | Post a Comment

All we do at Amoeba is listen to music and talk about music. Take advantage of how nerdy we are with this comprehensive best-of list from the year, which compiles new records from the best albums of 2014 lists made by Aaron Detroit, Brad Schelden, Oliver/Matt/Jordan, Billyjam and myself (click to see invidividual lists).


1. FKA TwigsLP1

FKA Twigs LP1 was one of those cross-genre, unclassifiable albums that everyone seemed to love. Not only the best debut record of the year, perhaps the best, period.

“There is miles of ink about Ms. Twigs already, and for good reason – her debut album, LP1, wlessly melds a bonkers electronic experimentalism with mainstream R&B and pop with spellbinding results.” —Aaron

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Best Electronic Albums of 2014 Handpicked by Matt, Jordan & Oliver

Posted by Oliver / Matt / Jordan, December 18, 2014 09:05am | Post a Comment

Moodymann - Moodymann (Mahogani Music)

Moodymann is a sprawling, psychic journey through KDJ's Detroit State of Mind with the protagonist revealing more about his setting and personality than ever. Like good writing, the length of Moody's tracks (or sentences) fluctuate wildly. The constant sing-speak narrative from KDJ and divergence of styles and tempos makes the record feel like a trip down the dial of a liminal radio. Moody gets an assist from Andres on future classic "Lyk U Used 2," a track that has Kenny ably playing a slightly woozy frontman over upbeat modern soul. The radio effect is amplified by likely and unlikely samples. Jeremy Greenspan appears first on "Have You Ever Been Lonely." Elsewhere, Lana Del Rey and Carl Craig's epic remix of "Delia and Gavin" is used to bear out the album's distinct, schizoid voice. Moody's serpentine 2011 hit "Freeki MF" acts as a recurring riddim before appearing in unadulterated form. KDJ's female counterparts match his idiosyncracies ("Watching U") and he even dabbles in Dennis Coffey-informed guitar psychedelia on "Sloppy Cosmic." The album, as a whole, is a lovesick ode to an unfairly maligned city, seen through the dark glasses of experience.

Joey Anderson - After Forever (Dekmantel) 

Loosely affiliated with the NYC crew which includes Fred P and DJ Qu, this was the year for the New Jersey building inspector and leftfield house extraordinaire. Most producers attempt to make an album that "flows" together with a solid mix of short, long, ambient and dancefloor cuts. After Forever is so memorable because it dispenses with this rulebook altogether, luxuriously spreading the wings of its own twisted logic. On the LP, nothing is at it seems. "It's A Choice" takes a worried vocal sample and lays it on an equally foreboding atmosphere. "Sorcery" is the closest thing the record has to a club track, but of course it's subverted. The convincing lead and bassline are frayed by some hyperreal percussive elements and cluster piano, like a corroded-VHS recording of a spinning top, barely hanging on in a bizarre and dramatic balancing act.

Kassem Mosse - Workshop 19 (Workshop)

Gunnar Wendel has been operating for some time now like an EU version of Omar S, quietly releasing remarkably consistent sides for Workshop. With that said, the nondescript black packaging for Workshop 19 housed one of the most anticipated releases of the year. KM's double-LP lived up to the hype, offering the absolute best in psychedelic mid-tempo house. The record starts gently, with the first untitled track focusing a nonchalant Rhodes figure and Mosse's trademark shuffling percussion. The songs are patient and hypnotic, constantly shifting, but the b-side in particular drops the hammer with some dubby, melodic future house classics. Bits of acid, Detroit, and the euro masters go in, but in the end, this pleasantly disorienting sound is all his.

Edward - Into A Better Future (Giegling)

The Giegling crew was on fire this year, with mainstays Edward and Traumprinz leading the charge. While the latter opted for ethereal dancefloor EPs, Edward, aka Gilles Aiken, presented his most realized work to date: an album which subtly intertwined krautrock influences with heady techno and house. As such, Aiken felt free to integrate motorik guitars and speak-sung vocals on "Let's Go," but by the end of the record he's dropping ecstatic funk breaks ("Skating Beats") and deadly breakbeats ("Hecstatic"). Into A Better Future is a portrait of a curious producer at the top of his game. The question isn't whether he'll continue to push it, but in which direction.

Mura Oka - Autfakt (Latency)

Just as winter approaches (for those of you on the East Coast), Latency pops up with an album perfect for shorter days, colder nights. This is deep dub techno, a paradoxical mix of humanity and cold alienation, just like the uncanny valley figure on the cover. Mura Oka prefers the slow burn--nary an assault on the eardrums here. Rather, tracks like "990933" poke around the edges of the dancefloor, perfect for the beginning of the night or a subway car zone out. Later, on "Xqdel Eit" and elsewhere, some subtle IDM moves work themselves in, the latest portent of an impending revival.

Juju & Jordash - Clean Cut (Dekmantel)

Hardware aficionados Juju & Jordash return to Dekmantel with their 3rd LP. The duo say that "Clean-Cut is tighter, more honest and there’s less hiding behind a hazy screen of FX." The album is a rollercoaster of tempos and experimentation, but somehow very coherent. The attention to detail in the arrangement and production really shines through and it's quite a journey through their marshland of machine funk.

Roman Fluegel - Happiness Is Happening (Dial) 

The stately Dial sound has been in need of an update for a little while now, and who better to revamp it than the massively talented Roman Flugel. The concept here seems to be accepting happiness, a tall order for an artist and really, anyone living through these dark times. Flugel presents a salve in mannered, playful krauthouse. "Tense Times" updates the Kraftwerk autobahn sound for today's dancefloors, while album highlight "We Have A Nice Life" rides wild leads over peaceful pads. Who says great art has to come from a place of oppression or sadness? For those going through tough times, Happiness... serves as a lovely escape.

Todd Terje - It's Album Time (Olsen) 

It was Terje Olsen's game to lose on Album Time. Naysayers complained that the sprawling prog-disco opus lacked functionality, but what would you expect from a guy who obviously holds Chaka Khan and Quincy Jones in higher regard than any modern producer. This is a capital A album, and it's better for that. The intro is a virtuosic and cheeky triumph, the hits "Inspecter Norse" and "Strandbar" appear in unedited glory, and Bryan Ferry stops in for a midnight ballad. What can't this dude do?

Cloudface - Wyre Drive LP (Going Good) / Untitled LP (Black Opal)

First released in 2012 as a very limited cassette, this eight track mini-album brought the Vancouver-based Mood Hut collective to the attention of the weirdo-dance underground. A mix of home-brewed hardware house experiments and Selected Ambient Works-period Aphex Twin.

PST's 50 Best Albums of 2014

Posted by Billy Gil, December 5, 2014 02:48pm | Post a Comment

This is how it always works: You think, how am I going to find 50 albums I really liked this year? Then by the end of compiling these things, you’re leaving off records you really liked and realizing that this year didn’t suck so badly after all! Here are the 50 albums I honestly felt were the most well-made, original or enjoyable this year. Check out Aaron Detroit’s list, too, for even more good shit from 2014.


1. Sun Kil MoonBenji

Amid the wrongheaded War on Drugs bashing and indulgent songwriting/self-mythologizing that came with it, it could be easy to forget the brilliance of Benji. But Mark Kozelek’s later-career renaissance reaches its apex on Benji. Whereas songs in his ’90s project Red House Painters were often autobiographical, if morose and romantic, if, to call Benji “confessional” would be an understatement. Not only is it a classic example oversharing in the social media age, it’s just a new classic period, the best thing he’s done since RHP’s heyday. Two songs directly address Kozelek’s love for his aging parents as he himself hits middle age (“I Can’t Live Without My Mother’s Love” and “I Love My Dad” are far from ironic, though they cover ground beyond what their titles suggest). “Dogs” covers Kozelek’s history with women in sometimes excruciating detail, from his first kiss at 5 to getting bathed by two women. Part of what makes Benji so masterful is how Kozelek blends rich physical details, with references to Panera Bread and Pink Floyd records, along with impressionistic accounts, such as his atmospheric telling of what caught his attention in a Led Zeppelin film (“I Watched the Film the Song Remains the Same”) and what that says about him as a person. It can be a lot to take in at once—“Micheline” at first feels like a diary dump, though it ends on a touching note about his grandmother—but most of the time, the details are funny or poignant or both, coming through clearly with little more than Kozelek’s wavering, creaking voice and reverbed acoustic guitar. “Ben’s My Friend,” which ends the album with its catchiest song (and curiosity value, due to its titular subject being Ben Gibbard of Death Cab for Cutie), is a sterling reminder of how many little things add up to the sum of our lives, making a pretty refrain out of “blue crab cakes,” throwing in some horns and flamenco guitar for good measure and tying the album up nicely with a reflective bow. Kozelek may be a cranky old man, but his lifetime of experiences made for enrapturing listening on Benji, which simply has the best songwriting of any music release this year.

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The Best Albums of 2014 So Far

Posted by Billy Gil, June 27, 2014 04:54pm | Post a Comment

It is now almost exactly halfway through 2014! It’s time to look back on the last six months and see what’s it’s had to offer music-wise. There’s already been a bunch of great records released this year, including a couple of excellent ones released just this week. If you haven’t checked these out, they’re all worth getting—pick ’em all up and catch up on what you’ve been missing.

Sun Kil Moon Benji

Some people write memoirs. Sun Kil Moon’s Mark Kozelek write songs crammed with details, from a brutal story about a distant cousin’s death by a freak fire to mundane details about Panera bread and sports bar shit on the walls, that somehow come together to form something called a life. Just when you feel like the songs are too stuffed to keep up, Kozelek will let his breathy “sadcore” folk open up and focus on a seemingly trivial line like “blue crab cakes” in the song “Ben's My Friend,” and in doing so perfectly captures the weird things that stick out in our heads when we reflect. Simply put, listening is like attending a master class in songwriting.


Swans To Be Kind

Let’s just say Swans’ To Be Kind isn’t an album you put on while you’re working. It’s an album where you light some candles, lower the lights, stop what you're doing and put it on in order to fully experience the moving madness Michael Gira and co. have created on the two-hour album. You’d do the same for a great film. Besides being a remarkable, if occasionally difficult and harrowing album, To Be Kind hearkens back to a time when albums were treated as events, things to be fully absorbed rather than sampled and tossed like so many records. We can thank them for reminding us of that. And don’t be afraid—To Be Kind has an oft-overlooked, David Lynch-style black humor that makes its orchestral calamity more palatable.

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