“Electronic” (Used 514 times)
studio11 on 02/06/2015 at 05:30PM
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 by their supercharged cover version of "Spacer Woman" and 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 late 2014 as a re-release of the bands original demo release. The song is an infectiously catchy ride through an electronic whirlwind.
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
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.