Archive for Brainfeeder
Taylor McFerrin track ‘Already There‘, taken from his debut album for Brainfeeder, Early Riser, released 2nd June.
One of the jazziest tracks on the upcoming album, ‘Already There’ features the considerable chops of Robert Glasper, label mate Thundercat and drummer Marcus Gilmore, alongside Taylor himself.
Ninjashop – http://smarturl.it/earlyrisernt
In a world in which upstart DiY talent is flooding the gates of electronic music, a few recent voices have been so strong as to be startling. Lapalux – AKA 25-year-old Stuart Howard – is certainly one such. As singular as a brilliant artist always should be, his instinctive understanding of the atmospheric power of texture grips the ear immediately on listening. ‘Nostalchic’ is his debut album, mission statement, and the climax of many years of studying his craft. The amalgam of words that make the title is aptly, and perhaps knowingly chosen. The album evokes nostalgia without ever sounding nostalgic, and Howard may have had his tongue in his chic when he added the second half of the title. The album is his most focused document to date, adding his beloved R&B and soul into elements of house and hip hop, all with the trademark Lapalux finish; infectious, lopsided swing and achingly deep texture.
‘Nostalchic’ not only has all the hallmarks of a great album – a sense of cohesive purpose, its own themes, arcs and internal logic – it’s an album that could only have been made in electronic music. Howard understands the power and capabilities that are offered by his form, and he’s used them to the full. To this day, Lapalux remains the only British artist on the Los Angeles based label.
08 MARCH – Jesus Club, St.Petersburg
09 MARCH – Club 16 Tons, Moscow
13 MARCH – The Bulls Head, Birmingham
14 MARCH – The Green Door Store, Brighton
15 MARCH – Theme, Portsmouth
16 MARCH – Norwich Arts Centre, Norwich
20 MARCH – Islington Mill, Manchester
21 MARCH – Dance Tunnel, London
22 MARCH – Liquid Room, Edinburgh
23 MARCH – Stealth, Nottingham
27 MARCH – Venue TBA, Dublin
28 MARCH – Broadcast, Glasgow
29 MARCH – The Thekla, Bristol
30 MARCH – Bungalows and Bears, Sheffield
04 APRIL – Landet, Stockholm
05 APRIL – Gretchen, Berlin
06 APRIL – Motel Mozaique, Rotterdam
12 APRIL – Venue TBA, Bucharest
24 APRIL – Musicbox, Lisbon
26 APRIL – Venue TBA, Krakow, Poland
27 APRIL – Venue TBA, Poznan, Poland
03 MAY – Cafe Leopold, Vienna, Austria
10 MAY – Post Club, Madrid, Spain
11 MAY – Oh Yeah Music Centre, Belfast
17 MAY – TBA, Australia
18 MAY – TBA, Australia
24 MAY – TBA, Australia
25 MAY – TBA, Australia
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Stereo Typing is the sum of the parts of a journey. Giovanni Civitenga, aka My Dry Wet Mess, composed his forthcoming album for Brainfeeder over a 15 month period (November ‘10 through January ‘12), between Barcelona and Berlin, in four different houses. And out of the many changes and different chapters, comes a densely layered body of work that – despite being a product of transition – stands as his most grounded and resolved work yet.
The title derived, My Dry Wet Mess explains, “from the concept of typing for the stereo field, as in writing narration through sounds. Writing a story as a writer would do, but using sounds instead of words.” The 14 album tracks use live instrumentation, tweaked samples, slap-bass riffs, slanted beats and winding melodies to form playful narratives and plot shifts, leading the listener to places completely unexpected, and unknown. Twists and turns abound, each track is a journey in itself, at times traversing through intertwining synth lines in a buoyant underwater bassbin, other points diverting into R&B-sampled scifi wonderlands, filled with otherworldly sounds conversing. The album ends on sensory bliss, with the sublime “Prismas” and the daydream-inducing “Youth Reboot”.
Though his living situation changed throughout the album’s formation, there’s a inherent sense of family and home in the LP. His father plays guitar, Gianluca Pellegrino (an old friend and regular collaborator) plays various electric guitar parts, and his good friend in New York, Maryam Modarressi, sings on two songs, and her sampled voice makes an appearance throughout the album. The artwork was also created by his close conspirator, Berlin based illustrator Elliot Beaumont, a homage to one of MDWM’s favorite painters, De Chirico. “It’s got this hard to define quality to it, a sense of “future nostalgia” that I love and that I find extremely appropriate for my music and the ideas behind it.”
Release Date: 11/12/12
Lorn returns with a new full-length album, his debut on Ninja Tune, and it’s a huge stride forward since Nothing Else (released on Brainfeeder, June 2010). Listening back to his first album, Lorn says it now seems “cold and strict.” Ask The Dust, on the other hand, is “haunted, oily, smeared,” and with this description he captures something of the intensely felt, visceral aliveness of the music.
If Lorn began his musical career as a poet of alienation, then Ask The Dust(named after the 1939 proto-Beat classic novel of the same name by John Fante) sees his music develop a more human energy. In particular, the use of his own singing voice (a process which began on the last track of Nothing Else, “What’s The Use”), which has added a new dimension to his often crunching and brutal but never less than beautiful electronic music.
Take “Weigh Me Down,” where Lorn comes surprisingly close to glitched-out soul music. It would be easy to overlook while reaching for muscular superlatives, but his music is also supremely melodic, where a tune like “The Well” (ostensibly “a soundtrack to being buried alive”) is memorable for a melody that nags at your brain long after the music has stopped.
“Dead Dogs” combines spectral choirs with explosive drumming, (one of three tracks with live drumming). “Chhurch” combines the feel of early electro with Lorn’s own highly developed aesthetic (originally written on tour, GonjaSufi came up with lyrics to accompany it, but never recorded them anywhere else save his iPhone). But it’s on a tune like “Ghosst” that he shows the sheer energy and raw drive he commands. It is exhilarating and slightly terrifying all at once.
Other highlights include, “This”, a wipe of a hand across a chalkboard, so to speak. A simple sequence to reset things, a mantra to calm the nerves. “Diamond”, was among the first written for Ask The Dust, while Lorn was still up in northern Wisconsin, the last surge in his isolation, over the expanse of the lake in the house his grandfather built
Since the release of Nothing Else, Lorn has toured the world alongside the likes of Mary Anne Hobbs, Amon Tobin, and GonjaSufi to name a few. He became a devout owner of a B5 A4, and much like his dedication to music and art, wasted no time tearing it apart in order to learn how to put it all back together again. Ask The Dust suggests he’s learnt to do much the same with his emotions.
With his sophomore album ‘Ghost People’ appearing on 2010‘s end of the year charts for the likes of Mixmag (# 6), Clash Magazine (#9), DJ Magazine (#9), Data Transmission (‘Album of the Year’), Martyn returns to Brainfeeder to release a follow-up 12” this March.
The 12” leads with ‘Hello Darkness,’ previously unreleased and exclusive to the 12”, Martyn shuffles through a rhythmic bassline and feeling of, indeed, darkness from the very first beat. In typical Martyn fashion, the track skips its way through genre conventions, landing in a flux between 2-step, driving techno and old rave (the latter specifically heard in his ethereal and scaling upper melodies). ‘Hello Darkness’ could lend itself to the rawest, grittiest warehouse, yet simultaneously breeds a subtle feeling of elation and release, and keeps the listener guessing with a variety of quirky sound collages.
1. Hello Darkness
2. Bauplan (L-Vis 1990 & Bok Bok Remix)
3. We Are You In The Future (Redshape Remix)
4. Hello Darkness (Radio Edit)
Release Date: 03/19/12