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"Surgeon" begins as a hazy, delightfully lethargic ballad with lovely crisp vocals from Ms. Clark. This intro melody? I dig it. And then suddenly the song hits the one minute mark and into the chorus and I'm like "wHAt? Yes. No... Yes. YES." You simply can't deny the brain spasm that occurs when you hear her pop-y vocal harmonies over that silky, funky guitar riff - a bit of a genre-melter don't you think? The song becomes even weirder (and might I say prog-ier?) as it goes, although unfortunately rarely returning to that simple hook in the opening verse, but that's just personal preference. And just to screw with any drummers listening to the song, the drummer switches his right hand hi-hat sixteenths to the snare during one of the verses, shattering an unwritten rock drumming rule. Timbre is everything, my friends. And that little detail in itself, however unimportant it is to most people, is just a lil' example of why musicians try new things and new sounds... Just to fuck with you all. KIDDING. I'm sorry Aunt Maureen, if you're reading this. You're reading this.

Coming out of that first chorus you get the intro vocal melody again, almost breathing humid air down your neck with its density. Then, the bridge. Ah the bridge - like the listener having to eat his/her vegetables at the dinner table: because it's necessary for a balanced meal... and they really should take the time to hear Annie's nice flute, woodwind and string arrangements. Then things get even funkier. Then things get prog-funkier. Then Dave Longstreth of Dirty Projectors walks in and... wait, no. I refuse to make the same comparison that everyone is making about his sound and this song.

But guys, if I'd have to say what my favorite part of the song is... it would be at 3:10. Exactly. The three minutes and ten seconds mark is what I like to call a "Totally In The Pocket 'UHh'". The End. Oh yeah and I don't really enjoy the synth part at the end. I respect the level of "cool" that it reaches, but I do also suggest that it's more of a part added for novelty or just for the sake of it(?) Oh and by the way, just in case you couldn't already tell, I'm totally writing on an uncensored stream-of-consciousness. But... I think that's what Annie did when she wrote the outline and parts of this wonderful, dyslexic, mixed-race child of a song.

#St. Vincent #Surgeon #Strange Mercy #Annie Clark

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In all unwritten, though likely achingly thought-out, interpretations of James Blake’s newer tunes, my immediate response is that he is arguably progressing at a rate that many of his fans and listeners are having trouble keeping up with. “Okay, this can grow on me…” is something I often catch myself repeating in my head since I’ve heard tunes like “Half Heat Full (Old Circular)” (my favorite newer song), “Order/Pan”, and an untitled single played on a Ben UFO show.

The good news is that he is still fearlessly diving into mostly unexplored ideas (in terms of minimalism) in electronic music - threatening to break into a new dimension?… anyone? But seriously, this can provoke the age-old question associated with indie/experimental music… “So, can we hear it? Does everyone get it? Should I blog about it and call it MacBook speaker-shatteringly brilliant?” In my perspective, this has never mattered with James’ music and that is something that I love. His ever-growing audience seems to be the kind that allows new sounds and ideas to be spread and soaked up. So one thing is for sure, one can only appreciate the balls (forgive me, but "chutzpah" and "audacity" didn't feel right...) that it takes to delve into such bare beat and bass-driven sounds, in particular reference to “Order/Pan”. He structures lines of music into mantras of percussion, bass, and synth - often letting a vocal melody slip through that either grabs you with its hook, provides a groove, or expresses in its purposely botched insertion - sample or not - a certain emotion. I, personally, sometimes hear feelings of alienation, desperation, and often tones of plain sadness. But coming from someone who took Lil’ Wayne’s “A Milli” and broke it down into a head-bobbing confessional rap-meets-james’-prophet 08-synthesizer tune, these personal interpretations do not surprise me.

I could aspire to write for pitchfork, but then I'd just be another person aspiring to write for pitchfork.

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This is "The Shrine/An Argument" off of Helplessness Blues by Fleet Foxes.

This tenth track is easily one of my favorites, beginning with Robin's delicate finger-picking and the particularly urgent and howling line "Sunlight over me no matter what I do" that then immediately calms into the juxtaposing "Apples in the summer...". The song eventually climbs into a rich insistent beat, with Robin's voice holding sooo wonderfully strong. I normally don't discuss lyrics or how much I value them in a song, but Robin has very much set a new standard. His words are clear, eloquent, and sometimes painfully honest. He doesn't hold back, and that may be this album's best quality. "When you talk you hardly even look in my eyes... In the morning, in the morning..." That lyric especially strikes a chord with me for some not-so-strange reason. There's something about the desperation in his voice and the simplicity of the words - the unpretentiousness is refreshing.

In "An Argument", there is the most heartbreaking horns arrangement. One could simply hear it as a literal representation of the subject/title of the song, which is equally as powerful as any other possible interpretation, but it's pretty open for debate (I usually find those discussions kind of pointless, as everyone should interpret music in their own way because it's usually the artist's intention anyway). The frenetic horns might be a little overwhelming at first, but the more you listen the more you can hear the sadness in it. And again, on the first listen you may feel like turning the volume all the way down in the car while your passenger is giving you that "look" like "Are you going to change it or am I going to have to?" Ignore that person, they will eventually appreciate. I think the frenzied part within the song can also represent Robin's ultimate frustration in writing and rewriting, recording and re-recording this album and all of the self-doubt and unnecessary angst that accompanied the process. Yet, with all of that knowledge of his inner struggles, something so rare to be able to peek into these days as a fan, knowing that that person is pretty much obsessively devoted to what they create is... indulgently intriguing.

#Fleet Foxes #Helplessness Blues #The Shrine / An Argument #Robin Pecknold

Hey! I was wondering where you got the mp3 for Love you up? Thanks a bunch in advance! :)

Yeah no problem, I got it off of a youtube video someone posted unofficially and I used video2mp3.net to convert the file to just audio. Here's the youtube video http://www.youtube.com/watch?v=KjLEhP53ay0

mthrfnkr-deactivated20150628

New James Blake Single

On June 20, Atlas/A&M will release the new single from British electronic pop wunderkind James Blake. It’s double A-sided joint available on 10” vinyl and digital download. The single features “Unluck”, the opener from his BNM’ed self-titled debut album, as well as “Lindisfarne”, which combines the album tracks “Lindisfarne I” and “Lindisfarne II”.

(via Pitchfork)

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Here is "Abducted" by Cults, a single released off their forthcoming album - good' ol indie pop avec le sentiment.

But seriously, Cults are surprising everyone. I heard songs of theirs like "Go Outside" and "You Know What I Mean" and I thought, "That's pretty catchy... but is that all?" My skepticism is fading quickly though and I'm beginning to think more and more that they're just a solid songwriting couple who like indie pop progressions and doing them well. So why not adore their summery sounds? I'm asking a lot of rhetorical questions in this one aren't I... The point is, don't judge something for being wonderfully simple - and when I say that, I'm basically just saying it to myself because I'm often an over-analytical shrew when it comes to indie pop/rock. *pouring my musical heart out on tumblr*

#Cults #Abducted #Tennis Band #Cults band #Go Outside #You Know What I Mean

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Part Deux in *golden* remixes of The Weeknd. This is "The Morning" remixed by Dolor.

The RnB singer even posted this version onto The Weeknd's facebook page, so it's got his approval. The track is certifiably sick. It expounds upon the heaviness of the original and doesn't sound overcrowded. 'Nuff said.

#The Weeknd #The Morning Remix #Dolor Remix

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I've been probing the internet lately for good Weeknd remixes and have had no luck until tonight. Most of the ones I found were straight up DUB (no thank you, been there heard that) or annoyingly House-y, with the same bass-hat-bass-hat over and over layered on top of the original song. Luckily though, I came across a few gems that I would love to share.

Here's one of them - "The Morning (Wack Ass remix)" by The Weeknd.

One thing you might notice, "Oh hey this guy does have the vocals treated down and octave and slowed down" Which is great, but... he layers real textures and melodies over the track and makes it his own (assuming it's a he). Despite the choppiness of the track, there's a definite vibe to it. And I applaud this producer for that, because even though it sounds like it might be literally impossible to fuck up a remix of a song by The Weeknd, I have heard my share fuck-ups in the past hour. This guy doesn't feel a need to overcompensate though; he knows that the vocals drive the song, however slow you make it. You may not hear it at first because it's in the background, but the percussion is actually a very heavy textural element to the song - clicking and snapping on like a defective clock. I also love the way the snare build-up just disintegrates into the chorus. But personally, I just wish those heavy bass lines were still there.

#The Weeknd #The Morning remix #House Of Balloons

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An older Thom Yorke re-edit that's been haunting me lately - "Proud Evolution" by Liars remixed by the man himself.

This remix is naturally recognizable as a work of Thom's, and that's mainly because of the titillating electronic percussion over - or under, depending on how you hear it - the tired vocals of Liars singer Angus Andrew. I hear the track as especially passive, and yet somehow confident in the minuscule range of sound-space covered (if I'm making any sense), and that seems to be one of Thom's trademarks in his solo work. The intro is hauntingly good - that particular first electronic keys riff sounding so easily malevolent on an emotional level, as well as in its polyrhythmic structure. And of course, Thom seems to pinpoint exactly what he wants in terms of an overall sound and atmosphere created. That may just be a theory, but I doubt many would object to the idea that the guy has a whole other compartment in his brain dedicated to executing weirdly good visions of sound and music.

#Thom Yorke #Liars #Angus Andrew #Proud Evolution Remix #Radiohead

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"Caffeinated Consciousness" by TV On The Radio, off of Nine Types Of Light which is set to release on Monday, the 11th.

This track sounds like background music for a sweaty day in NYC. Although I find the initial guitar/horn hook to become repetitive, this song can easily be classified for me as a mixtape shoe-in for the opening jam slot. Start off your day with some TVOTR folks!

#Caffeinated Consciousness #TV On The Radio #Nine Types Of Light #TVOTR

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Revisiting Grizzly Bear:

Grizzly Bear represents a maturity, creativity, and refinement in Indie music like none other, let's be real. The band is oh-so masterful in their self-production and arrangements that I think everyone's mouths were unanimously dropped when Yellow House came out, and maybe even more so with the heavily dynamic Veckatimest. It's safe to say that they raised the bar with their meticulously structured songs; so many of them having the kind of substance that you could almost experience with all your senses, rather than just observe within the miniscule range of headphones or speakers.

The first things that hit me when I initially listened to Grizzly Bear were the voices and the band's ability to create such a wonderfully raw, beautiful aesthetic. Ed Droste's voice in particular is like a grown choir boy's slathered with honey; But that's because it pretty much is (sans the honey) - he grew up singing in men's choirs. Yet, it's not just Droste with the great voice; consider Daniel Rossen, his vocal counterpart, whose voice is equally pensive and classic in it's rarity. In fact, all of the members contribute vocals, which has become more of a staple of Indie music in general, no? Yes? No?

So is it their undeniable uniqueness and consistent strive for a refined, innovative sound that makes them stand out, as well as making Jonny Greenwood declare them as his favorite band at a Radiohead concert? I think so. I've been re-listening to Yellow House and no matter how many times I listen to tracks like "Central And Remote" I just can't get over it's big, lush quality that still maintains that sought-after organic, slightly rough sound. It's obvious they weren't trying to execute a lo-fi sound, but they still avoid the studio-clean sheen. If anything, their sound is romantic - in the sense that they put so much care into the instrumental and production aspects. Of course you could name "Knife" as being a perfect example of an actually romantic song, but it's so much more than that. "Marla" comes across as indulgently dark and somehow vividly visual. I can almost hear a dry layer of humor resting on top of Droste's voice and the quietly reeling, receding melodies of the strings and cold piano. Moving onto one of my other personal favorites, "Colorado", is a track that will always resonate with me. Maybe it's just me, but I can audibly notice every contribution, and that's probably because they're all creatively valuable. Chris Bear provides uninhibited, jazzy drums while Droste's disembodied voice is joined by the richly effected guitar riffs played by Daniel Rossen. Speaking of Chris Bear, I think he contributes so much more to their sound than many drummers in Indie bands do currently, so I clap for him.

So many of their songs just lay in the perfect pocket (with or without the association of groove) during their best moments, and that includes ones on Horn of Plenty and Veckatimest. Their music will last, and I think that's something any listener can guarantee.

#Chris Bear #Chris Taylor #Daniel Rossen #Ed Droste #Grizzly Bear #Horn Of Plenty #Veckatimest #Yellow House #Central And Remote

A brand new video for "The Great Elsewhere" by Owen Pallett, off of his Heartland LP released in 2010.

Don't be thrown off by the jarring strings in the beginning, even though that's the implied purpose. This song carries so well, bringing both whimsical and serious tones together to add layers of graspable emotion - the ups and the downs, thank you very much. It probably doesn't take you long to figure out Owen's influences as being predominantly classical, but he truly never bores. He is a skilled composer of Indie experimental music like no other - combining intricate string arrangements (his main instrument is the violin) with equally complex electronic orchestrations. Every melody, vocal or instrumental, and texture seems to be so thought out. It almost gives me a headache thinking about what the sheet music looks like, not to mention his writing process. But that's what greats do - make it look easy.

This video really does bring even more to the song. Most of the time I come across videos that were almost obligations to the artists - think creatively uninspired and jammed with unnecessary effects (I know, it's a thin line). The video for "The Great Elsewhere" features the artist, but his presence isn't self-indulgent. He is obviously the narrator, conducting the story and the music; but he's not out there, ripping his shirt off in the cold like James Blunt, or trying to make himself look super cool. And listen, I'm a sucker for good cinematography, not that I know much about it, but the perspectives and imagery used are especially great in terms of expanding upon the song, rather than just mirroring it. The arc of the video corresponds gracefully to the content with it's subtleties, balancing it with the powerful sound of the song. And in the end, there is resolution. Take a look, take a listen.

#Owen Pallett #Heartland #The Great Elsewhere #Geoffrey Pugen #Yuula Benivolski

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Forever Dolphin Love by Connan Mockasin, remixed by the immensely talented Erol Alkan.

This is the kind of song that stays with you and haunts you at all hours of the day, or at least that was my experience. Erol manages to mold this Connan Mockasin track into more of a "re-edit" than a "remix", creating something distinctly original that happens to possess the most soothing, dreamy quality. The vocals strike me with their utter androgyny and are coated with an effect from the original that provides a somewhat trippy metallic sheen. Erol remains bold though in maintaining the ambient and often unsettling sounds heard in Connan's by occasionally inserting original drum set clips, giving the listener a break from the rolling electronic sounds. But he balances everything - creating a wonderful marriage of very involved treble-y electric bass and warm synth, which is then accompanied by reverb-filled, XX-esque guitar riffs to close the track. But seriously, all wordiness aside, it's difficult to not get obsessed with this track.

#Erol Alkan #Connan Mockasin #Forever Dolphin Love #Remix

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"As Far As I Can See" by Phantogram, another female/male duo harvested from the dense jungle of NY Indie electronic rock. They've got all the right ingredients for an accessible, modern, but still "underground" psychelectro rock outfit. Can they pull it off? They have been for the past year, at least on the opener circuit - opening for bands like Yeasayer and The XX. Both members contribute vocals; they frequently use scratchy synths, textured-yet-clean guitar, and old school hip-hop drum loops with an accompanying vinyl fuzz; and they seem to be well-acquainted with a sampler.

It's not that Phantogram isn't good, it just may be that they're not good enough to compete for the sound-space of potential listeners with other bands that have been exploding on the internet and at festivals like SXSW with huge new sounds, ideas, and fans. You hold a place in my hea- err, iPod, Phantogram, but I just can't devote my obsessive music-listening energy to you right now... I'm still not done being captivated with the ever-evolving British Electronic Producer category, after all, not that I'll ever be. And who knows when I'll be done daydreaming/salivating to Teen Dream. I'll keep your number though.

#Phantogram #Indie Electronic Rock #Trip-hop #Josh Carter #Sarah Barthel #Psych Rock

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A boldly slow and elementary remix of "Take It On" by How To Dress Well done by Holy Other. This is more euphoric than epiphany-inducing, but Holy Other seems assured in his minimalistic decisions by not overcrowding the track with unnecessary items, other than maybe some predictable overkill on the reverb, but that's almost unavoidable when a HTDW tune is involved. One thing that I've found to be pretty consistent in remixes of HTDW is the vocals are often left alone in terms of effect and original melody due to their versatility between genres - like post-dubstep and whatever you categorize what Tom Krell composes in his bedroom, and I mean that in a really good way. The slow progressions and soulful repeated vocal melodies push you into sleepy submission and allow you to possibly enjoy the song in a different way than the admittedly more obscure original.

#HTDW #How To Dress Well remix #Take It On #Tom Krell #Holy Other #Holy Other remix

A very lovely video (with lovely quality) of James Blake & friends live at SXSW. I'm still basking in his ability to create that same energy from Wilhelms Scream live and in broad daylight. I love watching the intimate crowd's response - and the before-song banter doesn't hurt either. Maybe it's just me, but his reply to them after the song and set is one of the most sincere "Thank You"s that I've heard from a musician, ever. It's so wonderful to see someone so clearly grateful and somehow surprised that people are lining up even in America to see him play live.

#James Blake #SXSW #South By Southwest #Wilhelms Scream

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