Recent FMA Blog Posts
This is a feed of featured blog posts from FMA users. Blog on, bloggers!
jason on 07/22/2010 at 09:00AM
"Like motown with lasers" is how Robot Koch describes his style of brainfeeding electronic hip-hop. The Berlin-based producer keeps busy with his Robots Don't Sleep label and global dance trio Jahcoozi (also featuring Sri-Lankan/British MC Sasha Perera and the Israeli born Oren Gerlitz). Meanwhile, he's worked with everyone from Mochipet to Comfort Fit to Diplo & Switch's Major Lazer.
For a swift introduction, we've just added the Planet Terror Records release Robot Koch 101. Two tracks -- the slow-building "101" and the slow-burning "Day Like This".
Speaking of Planet Terror, their latest release is the killer Terra Firma compilation, showcasing a range of dubbed-out electronic hip-hop stylings. Here's one of my favorites from the comp, Mikuś "Alkali"
>> Robot Koch interview w/ Generation Bass earlier this year
>> Robots Don't Sleep / Robot Koch's vast discography
lizb on 07/21/2010 at 01:00PM
Mil Mascaras were named after a famous Mexican luchador, and have been known to don masks during their live shows (check out this brief, yeti-like glimpse of a 2006 show). Hailing from Strasbourg, France, the band righteously take cues from the great post-punk lady heroes of Kleenex/Liliput, the Slits, Los Microwaves, the Flying Lizards, the Au Pairs, Family Fodder, Lydia Lunch, Malaria, etc. The result is loud, bratty, hypercatchy sing-alongs and caterwauling, stuttered dark bits.
Fans of Death Sentence: Panda!, T.I.T.S., Naked on the Vague, and especially the Dreams... check 'em out! Through some mid-level internet stalkery, I was able to deduce that the singer of Mil Mascaras (Armelle aka Bisoubisou) is also in the Dreams, but I can't quite tell if MM are still active. The only physical release I could find any info on was a split 7" they did with the Normals on the Bibimbap label in '06.
I fell upon the Mil Mascaras songs below on the fantastic Beko Box Volume 2 compilation, which was recently uploaded to the FMA. You can grab another few MM tunes on Phil Scrotum's site, or watch this Youtube video from 2006.
lavenders on 07/21/2010 at 09:00AM
These Silk Flowers, hand delivered from New York City, grow on you. You might as well just put this live session on repeat, because silky seeds are being sowed in your brain as soon as you push play. Several listens later, the odd and enigmatic shades of gray which first confronted you bloom into a prismatic synth world populated by kaleidoscopic colors, unique song structures, and haunting, strangely poignant vocals. Remember — although not of the natural world, life-like Silk Flowers never die.
Courtesy of Post Present Medium.
TAGGED AS:silk flowers
jason on 07/20/2010 at 04:30PM
NYC's Workbench Recordings offer a steady stream of high-quality Creative Commons tracks on a monthly basis, each accompanied by unique text and visuals. Workbench specializes in "unusual and experimental music," which ranges from cinematic soundscapes and fingerstyle guitar, to abstract pop and psychedelic folk. There is an organic element that defines what I might call "the Workbench sound," favoring acoustic guitars and sparse airy percussion. The consistency of that sound is further enhanced by the label's relationship with a worldclass mastering facility (Masterdisk), which is a rarity in the netaudio world.
James Beadreau is the curator, musician, producer, and graphic artist behind Workbench, and he has compiled a mix to showcases the 'songier' side of the Workbench sound, with some more experimental sounds mixed in. The mix begins with two covers -- a psychedelic take on the public domain lullaby "All the Pretty Little Horses" into a Fahian twist on Deerhoof's Creative Commons composition "Fresh Born" (part of a very cool Cash Music project). The mix includes three tracks by Philip Lynch, a progressive folk artist who writes with a compositional flare that recalls an unleashed Elliot Smith. Then there's the short, haunting Richard Youngs & Andrew Paine soundscape...lots to dig into, and be sure to check out more over at Workbench Recordings
These Workbench Recordings are licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 license
herr_professor on 07/20/2010 at 05:46AM
The haze of nationalistic sports fervor having finally died down, we can now turn our gaze back to the true competitive energy inherent within the international chipscene.
With even the bigger netlabels offering material for free there is great incentive for artists or groups who don't feel they fit in with the greater identity of these collectives to branch out and create their own labels and organizations. One such label is Chip n' Damned Records. The label, "which promotes and releases experimental, hard and uncommon chipmusics from artists all over the world" lives up to their mission statement with their 2009 compilation release "Bleep or Die".
This release, which features tracks from such superstars as BSK, Dr. Von Pnok, Yatagarasu, Peter Quistgard, and Divag, is a great walking tour of the basic transformative power that chip hardware has over common place electronic music genres like glitch, idm, breakcore, dubstep and more. It is great to see that people are not content to allow chip music the platform not become a rigid uniform concept and push it forward always, just the same as other music genres.
Enjoy some of the highlights of the compilation, then check out the rest of the 20 tracks, and catch up with us next week as we take a look at some more chip trash for your earholes.
TAGGED AS:dr von pnok, chipndamned records, peter quistgard, divag, bokusatsu shoujo koubou, See More...
mwalker on 07/19/2010 at 02:00PM
The term supergroup should not be bandied about lightly…or perhaps, used at all, considering possible connotations of ego-clashing wankery and undeserved hyperbole. Nonetheless, considering the ridiculously high caliber of musicianship/resumés/chemistry exhibited by the subjects at hand, I’m having a tough time resisting the urge to drop said nomenclature in reference to Volume(II) -- the new improv project of composer/electronic artist Stephan Moore, composer/flautist/electronic artist Suzanne Thorpe, composer/harpist/laptop-ist Shelley Burgon, and composer/avant-turntablist Maria Chavez …undeniable heavy-hitters in the Brooklyn/NYC experimental community that rack up a cumulative curriculum vitae about 100 times longer than I can provide in this forum. But to go ahead and rattle off a few: Merce Cunningham Dance Company, Mercury Rev, Stars Like Fleas, Ne(x)tworks, Thurston Moore, Pauline Oliveros, Lydia Lunch, etc, etc, etc.
This Friday (July 23) at ISSUE Project Room, the group will present their second-ever performance: a certain highlight of the fifth annual, Stephan Moore-curated Floating Points Festival – a month of new works utilizing ISSUE’s 15-channel Hemisphere speaker system (designed and constructed by Mr. Moore himself). Definitely not a performance to sleep on.
As a preview, the impeccable quartet has shared with us the full, 26-minute recording of their debut set - Volume(I) - from last month at the White Box gallery, showcasing a pitch-perfect balance between the fluid, performer-blurring integration of naturally intuitive communicants and the compelling, narrative-driving friction of dynamic interaction between wholly individualistic personalities.
dsuisman on 07/19/2010 at 09:10AM
Matthew Johnson has said that he started Fat Possum Records just to be able to put out a record by R. L. Burnside. He did that (Bad Luck City, 1992), but fortunately he didn’t stop there. From that time on, Fat Possum has released many of the most exciting blues discs to appear since the 1960s, revitalizing interest in music that many people (outside the South, especially) had long thought was creatively exhausted.
For a number of years, a handful of artists from the label’s roster toured the country, billed as the Fat Possum Juke Joint Caravan. Back in the mid-1990s the troupe featured R. L. Burnside and Junior Kimbrough. Later, its mainstays were T-Model Ford and Paul "Wine" Jones. In 2004, the opportunity arose to bring the Caravan to WFMU for a set on my show "The Inner Ear Detour," and I was thrilled to have them.
For reasons I don’t recall, everyone was packed into Studio A, rather than setting up the musicians in the regular, roomier performance space upstairs, connected to Studio B. It wasn’t intentional, I’m sure, but with everyone crammed in there, the effect when the music started was that Studio A felt an awful lot like a crowded hill-country juke joint. The sound had a lot to do with it, too, of course. Listening to these recordings today, this is not a sound—gritty and dark, loose and groovy—that I generally associate with 10 a.m. on a Thursday morning! It helped too that we had a throng of people squeezed into the room: all the musicians, their handler, engineer Jason Engel, sundry WFMU staffers and volunteers, and, somewhat incongruously, a small television crew doing a story on Fat Possum for the Canadian branch of Bravo.
The late Paul "Wine" Jones played first, with a searing guitar style reminiscent of the rawer recordings of Hound Dog Taylor. T-Model Ford played next, with echoes of Howlin’ Wolf and Muddy Waters in his repertoire but with a sandpaper-and-gravel timbre and sparse accompaniment (by his longtime partner Spam on drums) that no one would mistake for Chess Records. "T” (as everyone seemed to call him) was then in his 80s and walked with a cane, but this didn’t stop him from getting up and dancing when the other musicians played. Last was Kenny Brown, best known as a protégé of R. L. Burnside but whose lighter finger-picking on this date was more reminiscent of another of his mentors, Joe Callicott. Cedric Burnside played drums with Paul Jones and with Kenny Brown.
Great musicians, and a great morning.
jason on 07/16/2010 at 01:45PM
I hadn't seen Sic Alps since a show a couple summers back at Brooklyn's Death By Audio, which is a DIY venue that looks a little something like this:
Death By Audio has its own sound system, but Sic Alps didn't care. They brought their own, cuz that's how they do -- running everything through a big set of black and Orange amps, mixing in a touch of tasteful delay to create that distinctive Sic sound. It's a sound you may already be familiar with from their releases on myriad awesome labels (Slumberland, Siltbreeze, Woodsist, Important, Almost Ready, Drag City, the list goes on). If you've yet to hear these fine releases, you can check out "Message From the Law" on this FMA Sampler V2, and their amazing 2007 live session on Brian Turner's show (part of which appeared on a highly sought-after tape via Mike Donovan's own Folding Cassettes imprint). I've often heard Brian Turner speak of Sic Alps as exemplary of the new crop of DIY bands (Thee Oh Sees and Naked On The Vague among them) who shape sound entirely through their own equipment instead of depending upon outside forces.
Sic Alps sounded downright at home on the big festival stage at Primavera, pumped through gargantuan outdoor speakers like it was no big deal. The former two-piece of Mike Donovan (vocals/guitar) and Matt Harman (drums) are now joined by bassist Noel Von Harmonson, which helped round out their sound on classic Alps tunes like "Brill Building," "Bells (w/ Tremolo and Distortion)" "Stories" plus new jams, "Do You Want to Give $$" being one of my faves from the set. If you like these free sounds and want to give $$, the $ icon on Sic Alps FMA profile directs to their merch page but for some reason it only contains lyrics, nothing for sale...well I'm sure you can find stuff online thru Drag City, Siltbreeze etc, or find a new track, "Maddy / Riley" available on a new Amnesty International compilation called "PEACE" that with exclusive tracks by 180+ artists -- including Bonde Do Role, Dan Deacon, Steve Wynn, Vieux Farka Toure -- available for a donation of $5 or more (link).
>> Full Set
andrewcsmith on 07/16/2010 at 09:00AM
"It's a big beast, you know--it's better to play flute," Joëlle Léandre said as she sweated through the end of her second athletic improvisation at ISSUE in June. And then seagulls cawed, and she launched into an ostinato backed by field recordings and overdubbed bass, and punctuated by ecstatic shouts from the upper range of her instrument.
Léandre was in town for the free jazz festival Vision Fest, and stopped by ISSUE to play a solo set of improvisations, John Cage, and her own compositions (all titled—and announced in a Cagean way—as "No Comment"). Léandre exploited the way that the resonance of the bass fills the room, and the way that any upper harmonics sympathetically resonate the lower strings. In her other composed work ("No Comment") she utters French phonemes and nonsense syllables, alternately grunting and spitting out infantile sounds. In each of her works, she seems to have internalized many of the experiments conducted in the avant-garde of the late 20th century, to the point where each of the improvisations or compositions is strikingly personal.
I've added all of Léandre's own compositions and improvisations from her performance, so check them out on her Artist Page. Below, you can hear the "No Comment" involving the field recordings (mentioned above).
jason on 07/15/2010 at 07:06PM
Eric W. Brown is RainbowDragonEyes to the chiptune world, drummer for Inferi and Destroy Destroy Destroy to the metal world, and elsewhere he can be found by the handle iheartdoublebass. From this twisted mind comes a new musical entity known as Magic Hammer. The debut album Most Extreme Ultimate Thunder melds rave-worthy happy hardcore with furious death-metal, in an explosive style they call "extreme dance music". The album morphs from rainbow candy-pop into epic metal riffs, often over the course of a single song or a series of fluid seconds, like an energy drink in musical form.
Not exactly what comes to mind when thinking of Nashville, home to the Grand Ole Opery, the Country Music Hall of Fame, karaoke bars and singer-songwriters. The "Athens of the South" is home to a thriving independent music scene, with top-notch garage/psych rock like Jeffrey Novak's Cheap Time, and Jeff the Brotherhood's Infinity Cat label (home to the prolific soft-punk Pujol and retro teens The Looking Glass). Some good stuff's a-brewing, but The Nashville Scene remains completely "befuddled" by Magic Hammer.
"I'm basically the antithesis of the current music scene in Nashville," Eric told me in a recent gchat. He seems to take pride in the fact and solace in the DIY ethos. Magic Hammer is his beast; he's the self-appointed CEO For Life, but he has managed to find an arsenal of likemindeds to bring Most Extreme Ultimate Thunder to life. You can catch Magic Hammer and RainbowDragonEyes live this Friday night, in a live stream from East Nashville 5spot, online at ragenotrave.com. RageNotRave is Eric's "company slash empire," and the free concert/stream is billed as a Nashville 8bit and explosion showcase (more info)
Two tracks from Magic Hammer's debut can be found here on the FMA, and Eric reports that a fresh batch of CDs is at-the-ready (the first were lost to Nashville's recent flooding disaster), available at magichammermusic.com/