Category: Electronica (Page 12 of 34)

Me, Myself, and iPod: ESDMusic’s weekly free downloads

esd ipod

We receive roughly 6,000 press releases per week that include links to mp3s that we are allowed to post for your downloading pleasure. Why haven’t we been posting more than one or two a month, you ask? Quite simply, by the time we get through all of the press releases, we’ve received another 6,000 emails with newer, “better” songs to run instead. It’s the kind of thing that can get away from someone if they’re not right on top of it.

This is our attempt to rectify the problem. Each week we will run a list of songs for your DRM-free downloading pleasure. And in the time it took us to type that last sentence, 15 more songs just came in. Geez.

The Futureheads – Struck Dumb
The band’s second album This Is Not the World was a bit of a non-starter, despite the fact that it should have appealed to anyone who liked the band’s post-punky debut. “Struck Dumb,” from the band’s upcoming third album The Chaos, still showcases the band’s trademark angular pop, but the edges are smoothed out a bit.

Deluka – Cascade (Acoustic Version)
This synth-pop band’s debut is set to drop later in the year, and this acoustic take on their self-titled EP’s best song is damned good. Usually we wrinkle our noses at acoustic versions of electronic songs, but this one works, and works well.

SPEAK – Digital Love
Everyone loves a cover, and this ultra-sheen pop rock band (think Cash Cash) surprised the crowds at South by Southwest with a faithful take on a track from Daft Punk’s seminal Discovery album. Sure, the keytar solo could have been handled a little better, but we bet this was fun to watch when it happened.

Ariel Pink’s Haunted Graffiti – Round and Round
Rare is the song that carries both a haunted, gothic feel (think Joseph Arthur gothic, not Bauhaus gothic) and a sunny, ’70s mellow gold vibe as well, but this song does just that.

In Tall Buildings – The Way to a Monster’s Lair
We’ll be honest: this is the first we’ve heard of either NOMO or Erik Hall. But one spin of this moody but driving track has us wanting more. Anyone looking for a good breakup song would be wise to check this out.

Kaiser Cartel – Ready to Go
Boy/girl duos: they’re the new animal band name. Still, as trends go, this boy/girl thing is a pretty damn good one (The Bird and the Bee, Mates of State, Codeine Velvet Club, Matt & Kim, She & Him, the Ting TIngs), and now that it’s become a movement of its own, perhaps Kaiser Cartel can seize the opportunity to jump to the next level. If “Ready to Go” is any indication, they are poised to pick up a lot more fans when their album Secret Transit drops in June.

The Disco Biscuits: Planet Anthem


RIYL: Sound Tribe Sector 9, Umphreys McGee, String Cheese Incident

Planet Anthem is The Disco Biscuits’ first studio album since 2002, which inherently highlights how this is a band more known for their live prowess. The overdue album finds the band exploring a wider array of sonic directions, but the track selection seems to indicate that the band has fallen victim to Ryan Adams Disease – being such prolific songwriters as to lose the ability to distinguish which of your own songs are the best ones.

It’s hard to believe that anthemic live winners like “Rivers” and “Mirrors” didn’t make the cut here. “Mirrors,” introduced in the spring of 2009, is one of the most infectious tunes the band has come up with in years, and would have seemed the best chance for crossover appeal. But then, mainstream appeal has never really been a concern of these counterculture jam rockers. They’ve made a living by earning a diehard core following that will travel great distances to see multiple shows, and who aren’t particularly concerned about albums or singles.

2010 finds the livetronica stalwarts dabbling in hip-hop, dance and even disco flavors, somewhat ironic since that is not where the band’s name is derived from. Opening track “Loose Change” is one of the more intriguing songs on the album, with a big bouncy groove and some socially conscious lyrics about how “money is the root of all evil.” “On Time” and “You and I” have a dance pop flavor that may catch some fans off guard, as this is not the trance-fusion that fans have come to know and love. But the funky beat is still there. “Konkrete” has a trippy, dreamy sort of vibe mixed with a dark heavy groove. “Uber Glue” also starts out trippy, but then moves into a techno direction that is probably going to have some fans scratching their heads.

Rain Song” is one of the more unique tracks, mixing an atmospheric PJ Harvey/Morcheeba sort of vibe from guest female vocalist Ryat with the band’s psychedelic exploration. “Fish Out of Water” could well have been the name of the album, for the way the band is experimenting outside of its comfort zone. The song is more of a straight-ahead, mid-tempo rocker about a girl who’s “gonna make a rebel out of me,” with guitarist Jon Gutwillig finally taking a short solo. “Sweatbox” moves back into techno territory, but builds into a party vibe where “the room is getting hotter” with Gutwillig doing a little wailing behind his vocals.

The last three songs on the album return to the melodic jam rock sound the band is known for, showing they haven’t gone totally off the deep end. “The City” has a big beat and melodic motif with bassist Marc Brownstein getting philosophical about “sitting on a mountain top.” “Big Wrecking Ball” is even catchier, with melodic riffs and vocals from Gutwillig on a tune that seems primed to open up for live exploration. “Vacation” closes it out with an epic track that opens with some ambient ascension before shifting into space rock.

The band gets credit for taking creative risks instead of playing it safe, but some fans are likely to feel a bit puzzled about the overall output. Some of these tunes may grow on stage though, so it’s always hard to grade a jamband album when you know an incomplete is the most appropriate grade until the songs become more seasoned. (Diamond Riggs 2010)

Disco Biscuits MySpace page

SXSW 2010 Quick Hits, Day 1: Broken Bells

I caught up with Broken Bells here at Stubbs since they followed Jones with an 11:00 PM set. The new band from the Shins’ James Mercer and Danger Mouse was definitely one of the most buzzed about. This probably comes from the fact that the Shins have quite simply become one of the most influential bands of the 21st century’s first decade. The Broken Bells sound a lot like the Shins, frankly, due to the distinctive voice and talent of James Mercer. But there’s less guitar and more keys and samples, triggered by Mr. Mouse on drums. The band has a groovy if laid back sound that seemed to hold the crowd’s attention fairly well. “Vaporize” and “Mongrel Heart” both have that classic Shins-y vocal from Mercer over a Shins-y type of groove, which seemed to resonate. The last two songs also featured more guitar, which helped build the energy some more, with Danger Mouse also playing guitar at the end over a sampled beat. It wasn’t the dazzling set that SXSWers have come to expect from evening showcases at Stubbs, but this is a new band, so it’s only logical that they might need some time to develop. There’s definitely some potential here, though.

We Are Wolves: Invisible Violence


RIYL: Handsome Furs, New Order, The Rapture

On their third release, Montreal trio We Are Wolves polish and refine their unique brand of indie, post-punk and electro to such a shine it’s hard to find another band to compare them to. They’re most reminiscent of It’s Blitz!-era Yeah Yeah Yeahs but they are still strikingly different in the way they combine punk and electronic music. While the YYYs practically abandoned their punk influences to create their dance-happy indie rock, We Are Wolves still embrace it, combining scuzzy garage rock riffs with Moroder-influenced synths in a way that shouldn’t work as well as it does. Invisible Violence is a pendulum of a record, swinging back and forth between rock songs with an electronic edge like the opening track “Paloma” or electronic numbers with a slight rock edge, such as the epic “Reaching for the Sky.” It’s cold and detached while being energetic and in-your-face, like someone gave Gary Numan and fuzzbox and had him go to town. The term “dance-punk” doesn’t fit these guys, they could probably best be described as garage-electro; everything about them is lo-fi, with their wonderfully retro-sounding synths melding perfectly with their scuzzy guitars and howling vocals. This has to be the most hard-rocking, punk-friendly album ever to be obviously influenced by late-’70s disco. (Dare To Care Records 2010)

We Are Wolves MySpace Page

SXSW Music 2010, Day 1: It Begins

The music world converged on Austin, Texas today for what is generally viewed as the biggest, bestest music industry event in the world. The thing that makes SXSW so unique is that you not only know you’re going to see some great bands you’ve had your eye on, but you’re also going to discover some great new bands. There are so many playing all over town all day for four straight days, so you can’t help but just stumble upon some cool new sounds.

This was the case early on when the line to try and see Broken Bells’ 1:00pm Red River garage show was too long to get in. I wandered over to the Mohawk up the street and there was a band throwing down a strong sound with some Neil Young/Crazy Horse vibes, and some of that My Morning Jacket kind of vibe. It was Yukon Blonde from Vancouver BC. Good stuff.

The line at the Forcefield PR/Terrorbird Media day party at Red 7 was also way too long, so again I wandered up the street and heard some Beatles coming out of Jaime’s Spanish Village, a Mexican restaurant across the street from Stubbs BBQ. It has a small patio where The Eggmen where dishing out the Beatles tunes, which sounded great on a warm sunny afternoon. It was a rotating lineup, with seven musicians up there for great readings of “I’m Only Sleeping,” “Fixing a Hole,” “From Me to You” and “All You Need is Love.”

I waited in a crazy 45-minute line to get into the Levis/Fader Fort, because I wanted to see Philadelphia band Free Energy. The band’s studio stuff sounds amazing, but it was too bad they didn’t seem able to match it live. They have great gear, great looks and a great name, but something in the musicianship seemed lacking. Maybe I’ll give them another shot on Friday. The venue was pimped out though, dubbed by one fan as “a funhouse for hipsters.”

Walking past the Independent up the street, I heard the call of a bluesy sound, the Maldives from Seattle were rocking out, also with a Crazy Horse vibe, and maybe some Ryan Adams & the Cardinals influence. The Canadian Blast tent outside by the registrants lounge closed out with Plants and Animals, who blended reverb-y vocals with a cool groove to close their set. Austin’s own Strange Boys packed Emo’s Jr for an 8:00 set of their retro ’60s-style garage rock. There were moments, but I don’t think it was really my thing.

Jonneine Zapata out of Los Angeles caught my attention first with her name and then with her powerful voice at the Red Eyed Fly. This is a great little venue with nice outdoor stage where Zapata and her band rocked the stage with a powerful bluesy sound that recalled Concrete Blonde.

Here We Go Magic packed Club Deville for a 9:00 set. The sound was excellent although the songs kept seeming like they were building up to something that never came. They were doing something right though, as the indie rock crowd seemed to dig it.

Sharon Jones and the Dap Kings tore up the stage at Stubbs BBQ, with the great band throwing down ’60s and ’70s-influenced funk behind the soul queen. This was the first major highlight of the day.

I caught up with Broken Bells when they followed Jones at Stubbs and James Mercer of The Shins led the band through a collection of tunes that sounded pretty Shins-y, with maybe more synth and less guitar. But when they added some more guitar toward the end, it was even better.

I bailed waiting for Spoon at Stubbs to go back to Emos main for Nas & Damian Marley. Mixing the hip-hop with the reggae was a slamming formula for the really packed crowd, who loved every minute. This is the new duo to watch out for in 2010, what a great set! It was all too brief though, leaving me able to catch the end of Spoon’s set. These guys confuse me. They play three songs in a row that are kind of blah, and then just when you’re about ready to give up on them they throw down a great rocker. Then they play two or three more blah, than some dope groove. Strange formula.

Compared to last year, this first day was so-so at first, picking up toward the end. Things looked primed to pick up tomorrow though, stay tuned…

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