Electro – Page 46 – 7th Level Music

Haelos proposes an “End of World Party” with their latest single.

“End of World Party” is the newest single by London-based electronic quartet HÆLOS off their sophomore album, Any Random Kindness, out May 10th via Infectious. Following a string of previously released tracks including the “anxious and melancholic” (Stereogum) “Boy / Girl,” “Kyoto,” and “Buried in The Sand,” “End of World Party” is a satirical look at disregarding the apocalyptic aspects of humanity and focusing on the now.

“‘End of World Party’ went through a few different versions, and then we took things from other songs and these new melodies materialized that we ran with. There’s a lot of fun production in it,” Arthur Delaney explains regarding the song’s unique sonic spin. Lotti Benardout elaborates on its themes, “It’s a bit more tongue-in-cheek than some of the other tracks on the record. We’re all humans in the end—you often need to turn yourself off from the news and enjoy the moment.”

STREAM “END OF WORLD PARTY” — https://haelos.lnk.to/EndPartyVidPR

The follow up to 2016’s Full Circle, Any Random Kindness is an astoundingly textured record and a huge leap forward for HÆLOS’ band members Lotti Benardout, Arthur Delaney, Dom Goldsmith, and Daniel Vildósola. The shivering, gorgeous atmospheres conjured on Full Circle are more warm-blooded and varied than ever, the result of a new approach to live instrumentation the band took in-studio. It was recorded in a variety of locations—from Benardout’s basement and Delaney’s house to a studio in the English countryside, miles away from their city digs. Throughout, the album touches on themes ranging from the permanent destruction caused by climate change to the ephemeral emotions projected onto social media.

HÆLOS is in the midst of their pre-release tour. All dates are below.

Stream/Watch/Share: “Buried In The Sand” Video – https://Haelos.lnk.to/BITSVidPR “Kyoto” Video – https://Haelos.lnk.to/KyotoVideoPR “Boy / Girl” – https://youtu.be/aFOhIKJf4GM

Pre-order Any Random Kindness – https://haelos.lnk.to/BITSVidPR

HÆLOS Tour Dates: Thu. May 9 – Sat. May 11 – Brighton, UK @ The Great Escape Thu. May 16 – London, UK @ EartH (Hackney Arts Centre) Fri. June 7 – Sat. June 8 – London, UK @ Field Day

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Review: Delicate Steve – Till I Burn Up

I, for one, am glad that electro and synthwave is making such a nice comeback. It might be due to the fact that I’m a Generation X kid who grew up on new wave synth music and experimental music ruling 1980’s cinema and the FM pop airwaves. I don’t know if Delicate Steve is a fellow Gen X’er, but he certainly loves the music from that era and displays that affection on his latest album – Till I Burn Up.

Opening with heavy synth bass and stuttering processed beats on “Way Too Long,” Till I Burn Up gets off to a great start by sounding like a robotic funk band doing a weird interpretation of Pink Floyd records. “Freedom,” like the track before it, revels in snap-crackle-pop guitar riffs and percussion. “Selfie of a Man” has a great title and a swaggering android sound that pokes fun of how social technology causes us to prevent more false versions of ourselves to the world at large.

The title track is full of crunchy guitar riffs with cool synth stabs behind them. “Purple Boy” is a short instrumental lead-in to the ethereal “Ghost” before the futuristic hit man theme of “Rat in the House.” Seriously, it sounds like something off a cool VHS movie you forgot existed. “Rubberneck” sounds like it’s from a scene in that movie in which the sexy bounty hunter that looks like a living Patrick Nagel painting walks into a smoky nightclub full of neon where they serve glow-in-the-dark drinks.

“We Ride on Black Wings” brings in soaring synths perfect for the song’s subject matter (death, and not being afraid of it). The short “Vacant Disco” is also aptly titled. The underlying quiet menace of the synths on “Madness” reveals some of Delicate Steve’s love for Gary Numan records, I think, and I love how his guitar sounds like it’s filtered through a Transformer’s vocal chords. The album fades out with “Dream,” a lovely track that reminds me of some of John Carpenter‘s quieter themes.

Synthwave is back, my friends, and thank heavens for folks like Delicate Steve for dusting off the old keyboards and sequencers to help it return.

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Smalltown Supersound to release Erik Wollo’s “Sources. Early Works 1986 – 1992” March 29th.

Smalltown Supersound is pleased to announce the release of 58-year-old Norwegian composer Erik Wøllo’s Sources. Early Works 1986 – 1992, out March 29th. Additionally, Wøllo shares the ethereal and atmospheric “Ody to Sea.”

Listen to “Ody to Sea” – https://youtu.be/rBw8rKXHDcM

Wøllo, who has been a professional artist since 1980, has covered a wide range of styles, from rock and jazz to experimental electronic and classical music. He was one of the first Norwegian composers who adapted a minimalistic style, building a bridge between grand symphonic realms and gentle, serene sounds. His musical statements range from slowly-drifting kaleidoscopic passages to epic soaring guitar melancholy, to upbeat ever-changing sequences and compelling melodies. Possessing a sense of drama and storytelling, Wøllo has been composing and performing music for films, theater, ballets, and art exhibitions, as well as music for string quartets and large orchestras.

Sources joins Wøllo’s nearly 40-album catalogue. Comprised of 10 previously unreleased tracks, Sources was originally recorded surrounding the album sessions that spun Dreams Of Pyramids (1984), Traces (1985), and Silver Beach (1986). This was the start of a very fruitful and inspired period for Wøllo, thanks to modernized technology like MIDI and inspiration from music from all over the globe. “There was lots of new equipment coming out during these years, and this reflects the music I made at the time.” Wøllo says. “There was also a lot of great electronic music released. I was inspired by artists like Hassell, Eno and Budd. Also a big influence was Klaus Schulze after seeing him at the legendary Oslo club, Club 7 in 1984.” The spacey sounds on Sources show a clear line of cosmic excursions between Wøllo’s early releases to modern day fellow Norwegian travelers Lindstrøm, Bjørn Torske, and Prins Thomas.

Sources remained untouched, transferred from tapes that Wøllo had made years ago, before Helge Sten (Deathprod) mastered the material in his Audio Virus Lab. The collection was mostly created with a Roland MSQ 700 sequencer, in real time with several MIDI synths/modules recorded directly to either a 2-track stereo recorder or 4-track Tascam Portastudio.

“I am very happy that the album feels like one whole. I do not often look back, and I rarely listen to my own releases after they are released,” says Wøllo. “Sometimes I get positively surprised discovering new aspects of my older material. This is music made on impulse and with an eagerness to create. Not much thought was put into how it would be released. At least this is the way I remember it.”

Sources. Early Works 1986 – 1992 Track list: 1. Blooming 2. Swamp Land 3. Soft Journey 4. Under Water 5. The Near Future 6. Big Sky 7. The Movie 8. Luftreise 9. Native Dance 10. Ody At Sea

Pre-order Sources. Early Works 1986 – 1992 http://smarturl.it/sts342-preorder

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Review: Ladytron – self-titled

So far, the winner of Most Intriguing Album Cover of 2019 goes to Ladytron (Mira Aroyo, Daniel Hunt, Helen Marnie, Reuben Wu) for their new, self-titled album. A young couple runs from a luxury car left abandoned on a road toward a raging forest fire. They are willingly, gleefully running toward chaos, fury, and death. If that doesn’t sum up the cultural zeitgeists for many people in the U.S. and the U.K., I don’t know what does.

Ladytron’s new album is their first new material in seven years. They’ve seen the change in the world’s political atmosphere, the further embrace of technology that is advertised as a communication tool but only drives us into our own literal and metaphorical cocoons, the Brexit vote, the 2016 U.S. presidential election, mass shootings, bombings, hurricanes, civil wars, genocides, and more things that keep us awake at night. They’ve responded with an album of searing electro and haunting hooks.

Opening with “Until the Fire,” the vintage synths and slightly spooky double vocals us Ladytron fans love immediately swirl around you as Helen Marnie and Mira Aroyo sing about the power and danger of desire. “The Island” is a lush synthwave track that has bright chords that hide a bit of menace (i.e., The last line of the song is “We are savages.”).

“I only came here for the view,” they sing to begin “Tower of Glass” – a song about not throwing stones, physical and verbal, at others. “Far from Home” sounds like “classic” Ladytron, if that’s even a proper term. The synths on it sound like they were dug out of Giorgio Moroder’s basement. “Paper Highways” brings out their love of krautrock, not to mention industrial goth.

“The Animals” is a haunting but toe-tapping song about war, racism, and the insanity of it all. “We are more like you than the ones than the ones that you view,” they sing. “Run” has processed beats that would make John Carpenter jealous and mysterious lyrics like, “Stop looking at me with a gun in your hand.” “Deadzone” has sharp-as-a-knife beats and even deadlier synth stabs and chords throughout it.

“Figurine” moves with an urgency that gets you moving right away and builds to a great rush. The synth bass on “You’ve Changed” is outstanding. I’m willing to bet the title refers to not only a particular person, but also the general public who seem to have lost their collective mind (i.e., “You’ve changed. What were you thinking?”). This song has probably been remixed by dozens of synthwave DJ’s by now to tear up dance floors, as it should.

“Horrorscope” is plain enough to understand. Again, just look at the album cover. The future is full of bad things if we don’t turn around now (“…across the hemispheres, and now it’s always near.”). “The Mountain” builds from a far echo to a state of soaring psychedelic synth bliss. “Tomorrow Is Another Day” is almost relaxing chillwave and would fit on a make-out playlist as long as you want a bit of intrigue while you’re getting your groove on with someone.

It’s a nice return for Ladytron. Synthwave is making a big comeback, and it’s good to see Ladytron taking the reins and shaking us out of our 24-hour news cycle-induced funk.

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Haelos’ new album, “Any Random Kindness,” is due May 10th, but the first haunting single from the record, “Kyoto,” is out now.

HÆLOS will release their sophomore effort, Any Random Kindness, on May 10th via Infectious. Any Random Kindness examines the search for connection in an increasingly fractured world. It’s the follow up to 2016’s intricately-layered, trip hop-influenced Full Circle, a debut album “that both cements them in a genre and leaves them room to grow” (Pitchfork). In conjunction with today’s album announcement, HÆLOS share a new song, “Kyoto,” and an accompanying video.

The first full album cycle for HÆLOS was a baptism of fire, and the year-long creation of Any Random Kindness pushed HÆLOS to the edge and back again. On winding up the Full Circle tour in January 2017, the trio — Lotti Benardout, Arthur Delaney, and Dom Goldsmith — returned to London and immediately installed touring guitarist Daniel Vildósola as a full-time member of the band. His classical background and technical prowess brought a new level of musicality and equilibrium to the band.

For Any Random Kindness, HÆLOS reassessed their creative approach, conducting songwriting experiments – writing a song an hour or finishing a track and then stripping it down and completely re-doing it. Delaney returned to writing on acoustic guitar, while Goldsmith retreated into his love of dance music and the minimal techno of Ricardo Villalobos. The band recorded the album with producer Orlando Leopard at Baltic Studios in East London and at their home studio, and it was mixed by Matt Wiggins (Glass Animals) and Marta Salongi (The xx, Bjork). The latter part of the recording was especially tense, with many near breakups. However, this process led to a new, optimistic perception of each other, and music that explored the push and pull of relationships. A new, increasingly dance-floor oriented direction to their sound emerged.

Throughout Any Random Kindess, HÆLOS refer to different facets that affect the modern world – the isolating nature of technology and social media, the looming climate change, their relationships with each other, and corrupt politics, as heard on “Kyoto,” a glitchy, yet catchy slice of electronica that critiques politicians who prioritize economics above the environment.

Any Random Kindness shows a newly developed HÆLOS, one that’s eager to push forward. Catch them live throughout North America this spring.

Watch “Kyoto” Video – https://Haelos.lnk.to/KyotoVideoPR

Stream “Kyoto” – https://Haelos.lnk.to/KyotoPR

Pre-order Any Random Kindness – https://Haelos.lnk.to/AnyRandomPR

Watch HÆLOS’ “Buried In The Sand” Video – https://Haelos.lnk.to/BITSVidPR

Any Random Kindness Tracklist: 1. Another Universe 2. Buried in the Sand 3. End of World Party 4. Kyoto 5. ARK 6. Boy Girl 7. Deep State 8. Empty Skies 9. Happy Sad 10. So Long, Goodbye 11. Last One Out (Turn the Lights Off)

HÆLOS Tour Dates: Thurs. Feb. 21 – Berlin, DE @ Badehaus Fri. Feb. 22 – Brussels, BE @ The Rotonde at Botanique Sat. Feb. 23 – Amsterdam, NL @ Bitterzoet Tue. March 12 – Sat. March 16 – Austin, TX @ SXSW Sat. March 16 – Sun. March 17 – Mexico City, MX @ Vive Latino Tue. March 19 – Los Angeles, CA @ Teragram Ballroom Wed. March 20 – San Francisco, CA @ The Independent Fri. March 22 – Portland, OR @ Doug Fir Lounge Sat. March 23 – Seattle, WA @ The Crocodile Sun. March 24 – Vancouver, BC @ Wise Hall Wed. March 27 – Minneapolis, MN @ Fine Line Thurs. March 28 – Chicago, IL @ Lincoln Hall Fri. March 29 – Columbus, OH @ A&R Music Bar Sat. March 30 – Toronto, ON @ The Garrison Mon. April 1 – Montreal, QC @ Bar Le Ritz PDB Tue. April 2 – Boston, MA @ Brighton Music Hall Fri. April 5 – New York, NY @ Music Hall of Williamsburg Sat. April 6 – Washington, DC @ U Street Music Hall Thu. May 16 – London, UK @ EartH (Hackney Arts Centre) Fri. June 7 – Sat. June 8 – London, UK @ Field Day

Keep your mind open.

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Turning Jewels into Water’s debut album, “Map of Absences,” due March 15th.

Turning Jewels Into Water is a live electronic duo led by Indian-born drummer/producer Ravish Momin along with Haitian electronic percussionist Val Jeanty. They seamlessly blend futuristic turntables, ritual chants, polyrhythmic percussion, live loops and synth melodies along with rhythms inspired by global dance music. Their new album, Map of Absences, will be released March 15th via FPE Records. They share the lead single, “Dark waters rushing in,” with an accompanying video directed by Travis Williams and featuring Flex Dancer Infinite.Brynn and Fire dancer RaNubi.

Watch Turning Jewels Into Water’s “Dark waters rushing in” Video – https://youtu.be/TAKwMvOgri0

This new project with Val Jeanty arose from her participation in a jam session at Pioneer Works in Brooklyn, NY while Momin was artist-in-residence there in September of 2017. Their collaboration, rooted in improvisation, evokes the esoteric realms of the creative subconscious. Drawing from the voodoo religion, Val recreates the ancient rhythm and pulse of Haiti through digital beats, while Momin, whose own musical background is rooted in Indian, North African and Middle Eastern traditions, has developed an original blend of electro-acoustic beats, drawing together the improvisational traditions in Jazz and Indian folk music. Together, they employ cutting-edge music-technological tools such as acoustic drums outfitted with Sensory Percussion triggers, Force Sensing Resistor (FSR) drum pads and Smart Fabric MIDI Controllers, but still emphasize the ritual aspects of creating music in the digital realm.

Their unique sounds quickly caught the interest of music curators and in 2018 they performed at the Bang On A Can Marathon (NYC), ZEZ Festival (Croatia), Tarcento Jazz Festival (Italy) and various venues in Slovenia, Slovakia, Czech Republic, Switzerland and Italy. They closed out the year with a two-day run in Washington, DC where they performed at the Flash of the Spirit Festival at Georgetown University and the Anacostia Arts Center. They released a critically-acclaimed EP on FPE Records entitled Which Way is Home, which featured remixes from rising-stars Slikback and Zilla, both of whom came heartily recommended by the crew that operates the Kampala, Uganda-based Nyege Nyege Tapes record label.

“Our full-length record, Map of Absences, is a reflection on the regressive state of human rights, deepening refugee crises and the worsening impacts of climate change worldwide. Imagine a world where refugees of color are free to cross borders, LGBTIA people are treated fairly and respectfully, and environmental healing technologies are widespread. These ideas are unfortunately absent from our current reality. We say ‘absent’ instead of ‘forgotten’ as the latter implies an instance of memory or a record of those things having existed. Musically, we drew inspiration from artists such as DJ Lag, Nidia, DJ Rashad, Nihiloxica, and Epic B amongst our other varied global influences. For the album artwork we tapped Marissa Malik, a UK-based artist whose work evokes the mystical and empowered mythical beings. For remixes, we returned to Kenyan maverick Slikback (Hakuna Kulala) and also approached PlayPlay (who ran the legendary Party Illegal in Durham, NC for years) and the modular-synth wielding producer Nueve Vidas from Mexico City.”

Turning Jewels Into Water will tour in support of Map of Absences this spring. A list of dates is below with more to be announced soon.

Watch “Dark waters rushing in” Video – https://youtu.be/TAKwMvOgri0

Stream “Dark waters rushing in” – https://open.spotify.com/track/0x5C7SNgT8TjhnHhSHhD7G?si=KirQJ8-jTdyjUwKv8aQ7fw

Pre-order Map of Absences – https://fperecs.bandcamp.com/album/map-of-absences

Turning Jewels Into Water Live: Saturday, March 16 – Pittsburgh, PA @ Warhol Museum Wednesday, March 20 – Boston, MA @ MassArt Friday, March 22 – Brooklyn, NY @ Arete Saturday, March 23 – Williamsburg, MA @ Grange Hall (Collider 5 w/ Noura Mint Seymali)

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Buke and Gase release video for title track from upcoming album – “Scholars.”

The date swiftly approaches for the new album, their first in almost 6 years, from New York duo Buke and Gase. Scholars, the long-awaited follow-up to 2013’s General Dome, will be released January 18th via Brassland. They’ve previously shared 3 new songs off the album, displaying an uncompromisingly diverse aesthetic and sonic palette. Any previous attempts to pigeon-hole the band as a curio, a duo of experimental mad scientists with DIY instruments, is blown out of the water with these utterly unique, forward-thinking songs. Their new album embraces a form of expression that is more concise, more emotional & less perverse in its uniqueness. They have embraced the same computer- and synthesizer-driven creative tools that make electronic music, pop and trap music function, while existing entirely in their own, fully imagined universe of sound.

Which brings us to today, when the band shares the album’s title track and announces a slew of tour dates in Europe and the United States. Here’s what singer Arone Dyer had to say about Scholars:

“When I sing this, I picture a quintessential trouble child whose parents express a need for the control they know they don’t have. When I sing this, I picture being gaslit by a lover. When I sing this, I imagine myself bigger than I am, and growing, a crown of stars waits for me. When I sing this, my chest billows with a desire to believe that I will overcome my faults, even though the subtle judgment that I won’t by those I love compresses my spine, keeping me Earthbound. I extend this empathy to those whose truths aren’t yet recognized by contradictive social expectations.”

WATCH THE VIDEO FOR “SCHOLARS” https://youtu.be/proUg8S6wVg

BUKE AND GASE TOUR DATES Sun. Feb. 3 – Catskill, NY @ Catskill Mill Mon. March 4 – Manchester, UK @ The Castle Tue. March 5 – London, UK @ The Lexington Wed. March 6 – Dublin, IE @ The Grand Social Thu. March 7 – Paris, FR @ Supersonic Fri. March 8 – Cologne, DE @ Stadtgarden Sun. March 10 – Berlin, DE @ Berliner Festspiele Mon. March 11 – Jena, DE @ Trafo Tue. March 12 – Nuremberg, DE @ Kantine Wed. March 13 – Munich, DE @ Rote Sonne Thu. March 14 – Dündingen, SE @ Bad Bonn Fri. March 15 – Turin, IT @ Blah Blah Wed. March 27 – New Haven, CT @ Space Ballroom Thu. March 28 – Boston, MA @ The Middle East Club Fri. March 29 – Montreal, QC @ Casa Del Popolo Sat. March 30 – Toronto, ON @ Monarch Tavern Tue. April 2 – Washington, DC @ Comet Ping Pong

WATCH “DERBY” https://youtu.be/Jro9yH78hwY WATCH “NO LAND” https://youtu.be/bW0K31nZEEQ WATCH “PINK BOOTS” https://youtu.be/pv4U713Yk6cgo

PRAISE FOR BUKE AND GASE “No other bands sound quite like the duo of Buke & Gase” — NPR Music “It’s got a creepy kind of magic to it” — Stereogum [about “Derby” “thumping, skronking, ever-ascending guitar-pop oddity about the looming environmental crisis our planet is facing…eerily catchy refrain” — Stereogum [about “No Land”] “no real adequate response to what Buke And Gase is beyond ‘listen to them yourself’” — The Sound Board

Buke and Gase Online: https://bukeandgase.com/ https://bukeandgase.bandcamp.com/ https://instagram.com/bukeandgase/ https://facebook.com/bukeandgase/ https://twitter.com/bukeandgase

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Top 30 Albums of 2018: #’s 10 – 6

Here we are at my top 10 albums of the year. Read on to see who made the cut.

#10: Khruangbin – Con Todo El Mundo – I was a bit late to the Khruangbin party, but I’m glad I showed up. This three-piece makes beautiful psychedelic jazz with few vocals. The tones they produce are so clear they’re almost like Tibetan mediation singing bells.

#9: Janelle Monae – Dirty Computer – Ms. Monae is a genius. She can blend hip-hop, R&B, electro, jazz, and rock with such ease that it sounds like she’s cloned herself at least five times and each of those clones studied a different genre to mastery. Knowing her love of androids and science fiction, this wouldn’t surprise me at all if it were true.

#8 – Cookin’ Soul and MF DOOM – DOOM XMAS – I don’t remember how I stumbled upon this album after Christmas Day, but I’m glad I did. It’s a wicked mix of lyrics by MF DOOM and Christmas-inspired beats by Cookin’ Soul. Any DOOM is good DOOM, and this collaboration is among his best.

#7: Throw Down Bones – Two – I stumbled upon this excellent electro / industrial / rave album on Bandcamp and it turned out to be the best electronic music record I heard all year. This will be booming in your favorite club soon if it isn’t already.

#6: Ron Gallo – Stardust Birthday Party – I’ve enjoyed Mr. Gallo’s garage punk music since I saw him open for Screaming Females in a dive bar a couple years ago. Now he’s put out a Zen-punk record that blew my mind and included my top single of the year – “Always Elsewhere.”

The top five will be revealed tomorrow!

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Top 30 Albums of 2018: #’s 25 – 21

#25: Protomartyr – Consolation – This EP from these garage punks is solid and intriguing. Sporting two tracks with the Breeders’ Kim Deal as well, the record hits hard but knows when to be soft.

#24: Steve Hauschildt – Dissolvi – I hadn’t heard of Steve Hauschildt until this album somewhat fell into my lap. It’s intriguing electro that reveals more layers with each listen.

#23: Bev Rage and the Drinks – Cockeyed – Besides having the naughtiest album name on this list, Cockeyed is also one of the best punk records I’ve heard in a long while. Queercore punk is back in business, bitches!

#22: Public Practice – Distance Is a Mirror – This post-punk EP from prior members of WALL was a welcome addition to my collection of post-punk records. It’s full of razor sharp lyrics and equally sharp guitars, bass, and beats.

#21: All Them Witches – ATW – These Nashville psychedelic blues rockers upped the volume and fuzz and became a three-piece to get back to basics and melt faces.

The top 20 is up next!

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Top 30 Albums of 2018: #’s 30 – 26

Here’s the list you’ve all been waiting for. As always, there are so many good albums out every year that it’s impossible to keep track of them all. Here are my top thirty.

#30: The Dunes (self-titled) – A great return for the Dunes, this album of Australian psychedelic rock is full of reverb, fuzz, and even surf touches.

#29: Underworld and Iggy Pop – Teatime Dub Encounters – This EP was made during lunch meetings at a hotel and blends great stories from Pop with Underworld’s masterful beats.

#28: Avis: Sova – Shampoo You – This Chicago’s three-piece’s newest garage rock-psych record gets better with each listen.

#27: Windhand – Eternal Return – This doom metal album became one of my favorites of the year as soon as I heard it. I immediately began recommending them to anyone and even bought it as a birthday gift for a pal.

#26: Makeness – Loud Patterns – This electro album wasn’t on my radar until Makeness’ label sent it to me for review. It turned out to be a solid record with interesting structures to it.

We’re into the top 25 tomorrow. Come back for more!

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