Polica is a group from my area back in the day, the Twin Cities. But of course I forgot about all that and more importantly who they’re tied with when I moved to the Bay Area around the beginning of 2012. See, I kind of have a man-crush on their producer, Ryan Olson, because of his involvement in not just one, but two of my favorite Minnesota-based bands, Mel Gibson & the Pants and GAYNGS. Seeing that this is a remix though, I guess this won’t justify my love for Olson, but Alluxe does reinterpret him right.
Alluxe’s remix of “Lay Your Cards Out” takes on Channy Leaneagh’s original vocals, whom is also apart of GAYNGS, and speeds up the pace for a more danceable tune. What Alluxe especially does best is build on Leaneagh’s vocals and flushes ‘em out just right for one sedating drop (done far better than the original). Leaneagh’s vocals, however, are a bit hard to interpret, as always, but I’m one for making up my own lyrics while listening anyways.
‘Ninties Man’ starts off as a sombre jazztronic track to tune out to, but intensifies at just the right moment (wait for
the drop it) to turn into one growing acid [jazz] trip. It’s one experimental ride, so don’t cling to it too tight… then again so is most of this site.
I think I’ve narrowed it down to two things that I like so much about Two Inch Punch. One’s pretty straightforward, while the other’s not so clear just yet.
My first experience with TIP was his remix of Birdy’s ‘People Help the People,’ manipulating her vocals with a varied charm. TIP always pulls off the chop & skew with any vocals, harmonizing ‘em at just the right moment.
The other thing I like so much about T.I.P deals with his experimental productions. It’s not only his hand in pushing this progressive style of electro soul or “lovestep” forward, but the whims he goes off in. Try out ‘BrokKen’ and see if you can hear it for yourself, it’s a bit of nonsense at first, but you’ll warm up to it quite quick.
While preparing this post, my roommate wanted to remind me of the stereotypes in cultural music. With a cynical smile, he said that this reminded him of Slumdog Millionaire. And I guess if I hadn’t been listening to this Hindi infused electronic for the last year, I would’ve thought the same. So I guess the lesson here is to listen to different cultures’ music infused with your own to break down the stereotypes, and this time I have Sol Rising to thank for that.
Sol Rising reminds me of the electro infused Hindi I’ve been listening to, but without one main ingredient. Unlike Bobby C’s ‘Yogi Fire,’ ‘Distant Lands’ takes on the electro funk without the ghetto wobble. Both do it with a charm of their own, but either is a nice electro bump around Hindi music.
This is one sexy piece of ass. Night Panther’s ‘Fever’ has horns a blazin’ in the back’round and it sounds sultry as f*ck with these vocals. I don’t know if I quite got this “Sex Pop” down just yet, but I sure as shit am diggin it for now.
Mumford & Sons have always been a nice change of pace for me to listen to, but I’m no diehard folk rock fan. However, put a lil electro-step into folk and it may just peak my interest.
Hobotech does just that with a folk-step remix of Mumford’s well known ‘The Cave.’ Luckily, he doesn’t lay the step in too hard and plays off Mumford’s original with grace… or as graceful as this electro step can be.
Too many musicians just start blindly blasting out their music, but forget the most important rule when submitting your music to a blogger, get to know the blog and make sure they promote your style of music. Thankfully though, every once in a while there’s an up-n-coming musician that knows what they’re doing, and this episode it all about niceFingers.
Nick Waterhouse & Dave Schneider, who make up niceFingers, must know this blog or got real lucky because their style matches mine like few other. ‘Champagne Galaxy’ builds on some unique sounds that become more & more vivid along the way (with a few nice surprises too). I especially love how they snuck that wooden wind-pipe instrument in (whatever it’s called), hear it trailing in from 1:20 – 1:30.
Outside Lands 2012 was an odd affair in a city forest. The music had a sharp range of talent, the food… oh god, the food was sogood and the people were quite pleasant & interesting to talk to. OsL did have its drawbacks though- it was cold as hell, dirty as shit & a trek to get to, but one thing especially bothered me that could’ve turned this massive music fest into a whole ‘nother experience from any other and it just so happens to be what its city & the Bay Area are known for, technology.
Outside Lands takes us back to the beauty of nature and feels more like a party on Safari than in the middle of San Fran, but that doesn’t mean it shouldn’t try to innovative on what a festival means, especially considering where it’s held. Since the technology capital of the world is right in its backyard, OsL needs to use that to its advantage to become a festival like no other. Not only would a better adoption with technology, especially anything social, help its name spread much farther & deeper across the web, but more importantly revolutionize the music festival experience. From advances in technological art to better socializing the whole festival experience – if OsL doesn’t do it now, they’ll have to do it later, but with many other festivals far ahead of it.
Anytime I’m ever feelin the blues, I take to disco to cheer me up and Luminaire just may be my main man for it. He always pulls out the most catchy choruses and his latest is no exception.
I should’ve posted ‘Shake’ when it first came out, but I wanted to sit on it a bit. At first, it didn’t compete with ‘Dream Lowe‘ or ‘Missing You,’ but I’ve since warmed up along the way. Once again Luminaire touches on my disco nerve just right.
Been a long time fan of Raw Poetic – he’s one of the main reasons for this blog – but when I first heard ‘Stealin Bread,’ it sounded like a whole ‘nother man. Raw P’s been changing up his style lately and it may not compete with the nostalgia of his earlier tracks, but I can more than respect a musician trying to change things up, not enough do!
Way back in the days of RPM, I knew Raw P as one smooth ass rapper who glided over his band better than most singers.
More recently though, he’s been experimenting with his sound in a more blues rock styled pace (still gliding well, though).
His latest release, ‘Stealin Bread,’ however, shocked/confused the hell out of me because I could barely tell it was him at all. Maybe with time, age and everything that goes with it, his voice changed to a more raspy, aged rhyme… or maybe he’s just doing some more experimenting. Whatever it is, I don’t see enough change in most musicians that I see in Raw P and that right there is something to take notice to.