“Electronic” (Used 480 times)
Onyx_System on 01/15/2015 at 04:47PM
Spirits in the Juice indeed. I don't know where the Clocks found the plums for this strange potion, but it left my head spinning after just the first sip!
Listening to the opening piece of music, Circle Round lays out a rich carpet of organ drone as the bass pattern sets the table. Once the theme is established organs begin to layer and compete, darting and weaving soon they are braiding a gorgeous head of hair! A Big Bopper-styled maestro urges on the proceedings, and are those the sounds of swallows on the hunt as daylight grows scarce? Has the bass guitar's pattern changed at all or in fact has the listener changed within the act of listening?
Silver UFOs introduce some new tones, this time the bass gurgles, the keys ping and glide, and a violin maneuvers gracefully with, through, and around. I believe this tune might be in waltz timing. There is a moment where the tone shifts, a workmanlike mien taking the place of the carefree precedings; a dog barks as the the tumult grows, and just as quickly rainbows of violin part the clouds. Next a somewhat unexpected banjo joins the fray, picking a 'down-home' counterpoint to the violins as the song whirls through the brambles and on to its conclusion.
The third piece, Lunar Dunes, takes us into the kind of den we've all found ourselves at one time or another. Dim lamplight casts mysterious shadows. Anonymous sorts recline on couches, others across rugs, the air thick with intermingling smokes, a couple engaged in a languid dance. It is hot. Electronics squiggle and bubble, organ and bass guitar keeping time as a theremin tone picks out the tune.
And finally EP closer Around the Mountain finds the Clocks scaling the proverbial mount, the twilight haze of the previous 3 tracks giving way to definite night, shields and swords clattering, violins lamenting, all to the steady sturm of the bass guitar while the organ takes quill to scroll, narrating the adventure.
While not quite 15 minutes in length, the Spinning Clocks are able to achieve some transporting effect across these 4 tracks. Given the opportunity of a full length recording I'd be curious to hear where they take us, and to what depths... -Martin Standish
vate on 12/16/2014 at 06:25PM
Exótica is a momentary comeback to the electronic cumbia genre. Exótica and Excéntrica are two tracks made originally for the documentary “Los exóticos” by Michael Ramos Araizaga. Both combine, as in the Cachonda and Diablo albums, the sound of cumbia with electronic music. Porno Vector y Spexie complement the EP with a more techno sound.
Cover art by Guillermo Ariete.
More info on http://www.vate.com.mx/discography/v15-exotica-en
studio11 on 08/23/2014 at 10:28PM
BY ALEX GROSS
Some of my fondest Studio 11 memories date back to the late nineties when studio manager Dan Scalpone and I would embark on our yearly trip to Cannes, France to attend Midem, the world music convention. Here we would meet with labels worldwide on behalf of Chicago musicians to sort out licensing and label deals. Notably, I remember meeting with the Donato brothers of Italy in respect to their Full Time music label and catalog. As innovators in the late wave of disco and early house music, they emphasized that there always stood a unique and deep connection with Chicago and Italo music. Kindly, they had gifted us their entire catalog on CD's notably all "The Very Best Of Full Time" volumes. While building the second recording studio at Studio 11 in Chicago we were limited to a CD Boombox on the construction site. Needless to say, the whole Full Time catalog became the music of choice and I recall hearing the classic "Spacer Woman" by Charlie over and over. Upon attending the early shows in Chicago by Studio 11 friends and musical sensation Glass Lux, I was blown away upon hearing their supercharged cover version of "Spacer Woman" and absolutely thrilled to hear the fabled Chicago Italo connection come back to life.
The latest Glass Lux single "I'm A Machine" was mixed down at Studio 11 in 2014 as a re-release of the bands original demo release. The song is not only an infectiously catchy ride through an electronic whirlwind, it is lyrically clever and in every sense fashionable.
Interview with Emily Morse of Glass Lux and Alex Gross of Studio 11:
From what I understand, "I'm A Machine" was the first Glass Lux song written, how did it come together?
I'm a Machine came together the first time Fonz and I came together to write. At that time I was working 3 jobs while partying and living a pretty hectic time in my life. I literally felt like a robot- or machine. So I started thinking I'm a machine I can do this whatever it was. And I did. So then I wrote a song about it. I like to say the songs I write have nothing to do with my personal life but in the backround ..like deep in the lyrics they all directly have to do with what is going on with me at the time even though the words don't directly say so. It's almost like code. Which is appealing to me.
When did you become involved in music?
I first became involved with music when I was young. I'm half filipino and my people are OBSESSED with karaoke. So my mother would make me sing karaoke and then record the songs I'd sing along to then send it to my dad who lived in another state. Those tapes were most defiantly embarrassing and I would give anything for them to surface where ever they are.( Fonz ) I became involved in music when I was young. My friends and I started a band and I only started playing drums because we couldn't find anyone else to play. So since then I've always been playing in bands of all genres.
What best describes the Glass Lux sound?
Tough one. I guess right off the bat you could say we are very dancey..new wave.. electronic.. italo disco.. pop -ish. A real mix of everything. We don't totally fit in one genre and we like that.
I very much enjoyed your cover of Charlie's "Spacer Woman" at the recent shows, what inspired you to perform this cover?
I initially wanted to do a cover of something but Fonz HATES doing covers. He's weird like that. So we compromised and he was like IF we do a cover lets do this. I heard Spacer Woman and was like hell yeah this song is rad.
Who are some of your musical influences?
Vocally I'm totally influenced by Stevie Nicks, Ann Wilson, Robert Plant, Lene Lovich, Patti Smith, Jerry Lee Lewis and many others. I'd sing along to songs I liked and experimented with my voice it's range and what I could do with it. I never wanted to sound like anyone else so I took bits and pieces of inspiration from who I loved and played around with my voice to see what I could do. (Fonz) I used to hang out at a record shop called hot jams and got very into new wave, italo disco type music. In my early days I was in some metal and punk bands so I guess you could say that that's always been in my head and influences the sounds I produce.
What are some of your favorite venues in Chicago?
We have a few favorites.. but right now whats sticking out is Lincoln Hall. We played there recently. Other than the crowd being awesome the people that work there were really great. We were having issues with sound and the guys working sound were very determined to get everything perfect. I was just impressed by their level of professionalism. We've played shows where theres a "we don't really give a fuck about you" attitude.
Right now there's an act called Gemini Club and a project called HOLT. They both have great production and are on the up and up right now.
What's your craziest band story to date - that Spinal Tap moment?
Craziest? hm I feel like we all party so much that crazy has to top crazy. One situation that sticks out is when we were at SXSW and Fonz spent all of our band money at a strip club so we wasted a day having to get money wired. That was just annoying but I'm sure it was totally worth it for him.If I was a dude I might have done the same thing
What's on the horizon for Glass Lux in the near future?
As the year is near it's end the horizon is looking quite nice. We're entering into a part of the year were Fonz and I do a lot of writing and recording. Also going on a mini east coast tour. We have a feeling rad things are in the works for us and we're super stoked on seeing what's next.
Visit Glass Lux on the web at:
newweirdaustralia on 06/15/2014 at 03:21AM
Wood And Wire invites you to a take journey to the inner reaches of the mind; follow the sines to the symbols, to a place where time has no meaning, courtesy of our cosmonauts of inner space Elbee & Invisible Prism.
Psychic map-maker Invisible Prism drops his debut on Wood And Wire, titled Innermost Outerspace. The EP is a analogue travelogue of subtle body music, timelessspace anthems and psychosomatic experiments - an instructional manual for a fantastic voyage.
Sydney producer Elbee recently found his way onto FBi Radio's Open Day Podcast, and his track Boxing was added to rotation on the station shortly thereafter. Visions Of Vactrols is the follow-up to his debut self-titled EP, and finds Elbee navigating between crisp, angular electronics and plateaus of hushed calm.
Both releases are now available for free download from the FMA.
newweirdaustralia on 05/23/2014 at 10:18PM
Dig deeper into the Australian underground with four new releases from the Wood and Wire label - Black Pines offer a ragged, psych-damaged lava-wall of ash and guts and glory; Motion erase improvised boundaries, merging avant-garde jazz and left-field electronics; there's an audacious leftfield avant-rock debut from Perth's Mudlark; and Gatherer offers ambient/drone pieces intended for the spaces between your headphones.
WW27: MUDLARK Zimdahl
The debut release from Perth's Mudlark has already been dubbed as "bristling, vibrant instrumentals that prove antsy and unpredictable" by Mess + Noise, "a hard listening indie-jazz fusion cacophony that destroys your ability to think or reason" by The Music, and Cool Perth Nights concluded that it was "a weird riddle, a fascinating and deeply enjoyable mystery". Pivoting between only two instruments, with no re-amping or overdubbing, Zimdahl aims for a truly accurate rendition of Mudlark’s unique sound in a live environment.
WW29: GATHERER Amoeba Miasma Void
Amoeba Miasma Void is the new EP from Gatherer - the solo project of Morgan McKellar, one-half of Canberra improv-noise duo, Cold House, formerly of Sydney band Underlapper and his now defunct solo project Morning Stalker. Manipulating (mostly) found-sounds from audio libraries, online video, and field recordings to create improvised sample-driven, Amoeba Miasma Void is a collection of four ambient/drone pieces intended for headphone use.
WW30: BLACK PINES Harsh Out
Black Pines is about dislocation. Two friends separated by real life, wondering out loud about how and why one whole side of rock history has evaporated. That missing side – the abject horror of psychedelic rock – is where this project lives. This isn’t a revival or pastiche. No jams. No art. This is criticism. // Ian Rogers (No Anchor) plays guitar and sings. Benjamin Thompson (The Rational Academy) plays guitar.
WW31: MOTION Syllepsis
Motion draws on experimentalism, avant-garde jazz, left-field electronic music and more. The result is music that deconstructs song forms, explores textural possibilities and is both hypnotic and immersive. Syllepsis sees Perth-based multi-media artist, Kynan Tan join the band to aid in the creation of a collection of music where electronics and instruments meet in a constant state of tension and release.