zidanefromhell skrev:Ja Kanadickerna är fan rätt vassa på fin popmusik!
Ja, det kan man verkligen säga.
Här är ytterligare ett exempel på det:
Ohbijou - Beacons (2009, Bella Union)
http://open.spotify.com/album/5bmKEexAOFhMMEhSP9K8YN
Moderator: Redaktörer
av FalloutBoy » 2010-03-06 17:36
zidanefromhell skrev:Ja Kanadickerna är fan rätt vassa på fin popmusik!
av Ton » 2010-03-10 14:24
av FalloutBoy » 2010-03-11 16:10
Ton skrev:Vit Päls - Nu Var Det I Alla Fall Så
av FalloutBoy » 2010-03-11 16:17
‘Landings’ is the culmination of four years of recording on the moors and hillsides of Northern England. The resulting album isn’t simply a suite of songs in the mould of ‘Marking Time’, but a form of diary; a dialogue with the landscape itself. It is imbued with a real sense of narrative – and of place – that is both epic in scale and yet intimate in feel.
And so we are taken on a literal journey across the threshold of ‘Noon Hill Wood’, with its achingly beautiful interleaved bowed melodies, drifting through ranks of pine, larch and birch. From there we cross the river and climb the slopes of the nearby hills in search of the source of ‘Green Withins Brook’ – a crushing Eno-esque ballad for concertina, recorded by the banks of the fledgeling stream as the ice melted one wintry morning. We are then taken across miles of bleak moorland, and to the album’s desolate centrepiece, ‘Voice of the Book’, a symphony of bowed metallic sounds recorded in the ruins of a centuries-old farm house. Finally, we make a long, slow decent into the valley, and follow the river as it leaves the moorland behind.
‘Landings’ is a demanding, involving experience and is without a doubt Skelton’s most complete work to date, containing within it the very essence of his musical output. Slowly, over the course of its 70+ minutes, he reveals the heart of his compositional skill and with that we are drawn into the depth of his work. Rarely are albums so involving and so absolutely moving.
-- http://typerecords.com/releases/landings
av wendel » 2010-03-11 17:38
FalloutBoy skrev:Tänkte släppa den lättlyssnade popmusiken en stund och tipsa om lite mer krävande musik.
Här är ett av årets vackraste musikstycken:
http://open.spotify.com/album/1ZctQAfYUoEwRr2d5Hm2sM
av FalloutBoy » 2010-03-12 18:22
wendel skrev:Den var riktigt trevlig.
‘I Could Not Love You More’ is a record that reframes their sound, taking their drifting ambience and pastoral folk and sharpening it at every opportunity. You can hear echoes of Takoma in Lewis’s delicate acoustic guitar playing, shadows of early 4AD in the shimmering drones and all this is wrapped up in an Eno-esque sense of restraint. It sounds almost as if the pieces were written for the mid 20th century, with sounds coming from electric pianos, Mellotrons and guitars rather than heavy electronic processes. We end up with a warming blur of sound, something far removed from the chatter of zeroes and ones we have become accustomed to.
As the album drifts from beginning to end there is a delicate yet defined narrative, enhanced by the inclusion of subtle field recordings and just the right amount of silence. The tracks lull us forward and send us into a state of nostalgic reminiscence, which is in essence the theme which balances the album. ‘I Could Not Love You More’ is simply a gorgeous reflection – exactly what it reflects upon is left up to the listeners themselves. Who would have thought the mean streets of South London could produce such beautiful music?
-- http://typerecords.com/releases/i-could ... e-you-more
av FalloutBoy » 2010-03-12 18:38
Taking cues from the skewed pop music of Arthur Russell on one side and Brian Wilson by way of Panda Bear on the other, Fred has channelled an outsider pop masterwork. Thick waves of decomposing electronics and processed instruments (is it gamelan? Is it something else altogether?) crash and fizz beneath Fred’s singular chanting vocals. There’s a sense that someone, somewhere might be singing along to these songs, but hearing them on mainstream radio might be pushing it a little too far. Sandwiched in-between three-minute pop marvels such as opener ‘Killer Whale’ and the stand-out ‘Summer School’ are extended ambient experimentations, but unlike the occasionally academic workouts you might expect from Type these feel organic and distinctly home-brewed.
There is something magical about Fred Thomas’s distinct and original musical creations, something that grabs you and won’t let go. We’re not entirely certain what that is but we’re sure if you give City Center a try you’ll feel exactly the same as we do. Pop music has rarely sounded so warm or quite so open hearted…
-- http://typerecords.com/releases/city-center
av FalloutBoy » 2010-03-14 23:04
Full length CD album from Jerome aka Message to Bears, Oxfords premiere ambient folker. Here he brings us 10 tracks of his gorgeous acoustic guitar driven melancholy, begining with the the aptly titled "Running Through Woodland", the track sets a menacing pace with layers of guitars and cellos. "Hidden Beneath" is driven by a stomping pulse and delightful percussion. Plenty of glock action and viola sweeps, uplifting choral vocals and delicate piano lines, this is Jerome at his finest yet, showcasing a brilliant melodic ability, combing classical instrumentation into a folk/pop structure taking cues from bands such as Explosions in the Sky. This is an album that will leave you speechless every time you listen as you uncover new hidden details, textures and melodies.
-- http://deadpilot.bigcartel.com/product/ ... -pre-order
av FalloutBoy » 2010-03-15 15:44
Phantogram's music sounds like it's made by a band from the city. Electronic loops, hip-hop beats, shoegaze, soul, pop — each finds its way into their songs. Unexpectedly, the band doesn't live and work in a major urban center, but rather calls the town of Saratoga Springs, NY (population 26,186) home. Despite the cultural influence of local Skidmore College (where fellow beat-experimenters Ratatat formed) and a relatively small scene of adventurous musicians and listeners, Saratoga isn’t exactly teeming with fans of J. Dilla, My Bloody Valentine or Serge Gainsbourg.
But Josh Carter and Sarah Barthel, the duo that make up Phantogram and who grew up in the even smaller nearby municipality of Greenwich, have flourished in Saratoga. In fact, the town itself isn't rural enough for their taste — they drive almost every day another 45 minutes into upstate farmland to a barn they call Harmony Lodge to write and record. Serving as their homemade studio/practice space/think-tank/bat-cave, the barn is equipped with various samplers, tapes, records, synths, drums, and both percussive and stringed instruments. It's there that Phantogram allows their natural surroundings and metropolitan influences to meld together creating beautiful, beat-driven dreamlike pop songs.
-- http://www.barsuk.com/bands/phantogram
av UrSv » 2010-03-15 21:46
Slowhill skrev:SLOWHILL - two highly creative musicians coming from different paths of rhythm and sound. DJ Slow (Vellu Maurola) has his backround in the Finnish hip hop scene, and has also had international chart success with his Levi's advert song Before You Leave. Sax/clarinet player Tapani Rinne is an award-winning jazz musician and one of Finnish pioneers of fusing techno music with jazz. SLOWHILLs debut Finndisc was released 2002 and it was the first so called "electronica " album on the Blue Note label. The band has now moved to PLASTINKA RECORDS with the album Fennika. It fuses elements of world music with a stylish downtempo/chillout background. All with a certain unique Finnish flavour!
av Koffe » 2010-03-16 23:35
norman skrev:Nästa flicka bli Brandi Carlile, tror hon började sin karriär som körsångerska åt en elvisimitatör...(om internet inte ljuger.. ), men det blev bra tillslut trots allt:
Brandi Carlile – Losing Heart: http://open.spotify.com/track/4VUNysMzVB8nBDUoB7viiV
av mrGaskill » 2010-03-23 14:02
av FalloutBoy » 2010-03-27 14:43
mrGaskill skrev:http://open.spotify.com/track/25cZ1hejpFTQY8rQ9lV7Xu
Ere bara jag som gillar typ sånt där? Inget Svensktoppen-material, I know, men allt kan inte ligga på Svensktoppen ändå så.
) som uppskattar ambient.
av FalloutBoy » 2010-03-27 15:15
UrSv skrev:Som en man med enklare musiksmak har jag en svaghet för musik som t.ex. följande:
Slow Hill - Fennika
Isla, the new album from Portico Quartet, is another step forward. Producer Leckie has brought an extra clarity to their arrangements, while the musicians have made good use of the studio to sculpt and enhance their sound with loop pedals, real-time electronics and overdubs. Nevertheless, 70 per cent of the album was performed live at Abbey Road: this is a band who can deliver on the promise of their recordings in concert; and vice versa. Their collectively written compositions evoke a universe of musical possibilities and influences. 'Eventually, the sum of all our parts - and what we've been listening to - comes out,' says Wyllie. Yet Portico Quartet sound like nobody else in jazz, World or contemporary music. Each of the nine tracks on Isla has a distinct mood and atmosphere, while remaining firmly within their soundworld. From the churning maelstrom of Clipper to the pounding pedal points of Dawn Patrol; from the fragile ostinatos of Line to the anthemic ensemble of the title track, Isla is an album whose contents reveal fresh nuances and facets on each listen.
-- http://www.realworldrecords.com/catalogue/isla
av FalloutBoy » 2010-03-27 16:50
Australian brother-and-sister duo Angus and Julia Stone, while nothing if not easy on the ear, are an acquired taste. Their habit of alternating tracks – she sings one, he sings one – makes them a trickier pitch than one where the dominant voice sets the mood.
This is a particularly unorthodox approach given that Julia possesses the kind of voice that generally sends critics into raptures. High and pained, it bears trace elements of Björk, Harriet Wheeler, Kristin Hersh, Jesca Hoop and Alison Shaw of Cranes. As a solo artist, she’d get quicker traction. Yet the contrasting laidback stoner tones of Angus are essential to the siblings’ appeal. Once you get into step, the yin and yang of his and hers make for a deft emotional map. She sounds edgy, all heartstrings; he’s chilled, all ennui. Hung across minimal, beautiful songs, it’s a powerful mix of gentle angst.
Down the Way, their second full album, is a quiet storm. Their overall restraint is commendable, with fine details proving as moving as pyrotechnics might try to be in less subtle hands. Hold On (opening in a wave of shimmer) and For You are Julia warming up her palpitations, giving us a warning nod before ripping our emotions from our chests. Angus, meanwhile, grooves away to himself like the most talented busker in the world, disinterested in reaching out, bringing an organic sun-kissed vibe to Big Jet Plane. Here, simplistic lyrics gain gradual resonance, like a mantra. (Elsewhere, their lyrics are often their weak spot, lapsing into hippie cliché). Around the mid-point, Down the Way grows into something which surpasses their delicate debut and expands their sweet acoustic softness without getting hard-hearted.
Yellow Brick Road is lovely, developing from a light Angus number with Al Stewart undertones into an impeccably-gauged, muted rock-out, with pinpoint staccato guitar stabs to rival Neil Young or Tom Verlaine. And the Boys, the single, is Julia’s showstopper, a brilliantly arranged and produced anthem-in-waiting which builds, almost invisibly, until its chorus and crescendo set up home in your brain.
With the most basic tools, the Stones build something lovely and lasting. Roll with them.
-- http://www.bbc.co.uk/music/reviews/4vhf
av Alexi » 2010-03-27 18:24
Vilken härlig bild, jag skulle kunna köpa skivan bara efter att ha sätt omslaget, ger en känsla av att vara den typen av musik jag gillar.FalloutBoy skrev:Lite trevlig elektronisk pop.
av FalloutBoy » 2010-03-29 18:19
Alexi skrev:Vilken härlig bild, jag skulle kunna köpa skivan bara efter att ha sätt omslaget, ger en känsla av att vara den typen av musik jag gillar.
av FalloutBoy » 2010-03-29 18:29
The debut full length from Brooklyn (via Los Angeles via New Orleans) songstress Blair is a raucous and seemingly violent nut wrapped in a cute, sweet candy shell. Full of fuzzy guitars, fragile vocals, 80s-ish synths, and delicate strings, Die Young is part dance party and part suggestive exploration.
It barrels out of the gate with "Rampage", an anthem short on lyrics but long on emotional intensity, featuring Blair's tender voice countered by blistering guitar licks and backed by a growling wall of sound. But her animosity seems to be a byproduct of youth. As she grows, and the album moves forward, this fiery persona get tempered. "Hearts" explores the fluctuating nature of love. "Kamikaze" deals with settling for what life actually gives you. "My Turn" and "Hello Halo" tackle the tumultuous tasks of finding oneself and letting go of the past.
Blair seems to get lost a bit in her own daydreams but said dreams are filled with lovely melodies that catch the listener right up in her sense of escapism. "Candy In The Kitchen" is a perfect example, extolling the virtues of dancing as a form of evasion from life's troubles and disappointments.
Ultimately Die Young is a gem of an indie-pop record in the vein of Feist, Stars and Mirah, and fans of those will be done well by picking it up from Autumn Tone Records. No local dates but if you are at SXSW in March look out for her.
-- http://radiofreesilverlake.typepad.com/ ... young.html
av FalloutBoy » 2010-03-30 16:25
When Laura Marling appeared on the folk scene in 2008, aged 17, there was almost as much anticipation of her promise as praise for the music she produced. This was no bad thing, allowing development as an artist, and crucially not placing too much pressure or expectation on not-as-yet broad shoulders. Her debut, Alas, I Cannot Swim, was delivered to a generous critical reception, but the question asked this time round was always going to be one of progression, and the fulfilment of that abundant early talent.
Listening to Alas and second full-length, I Speak Because I Can, back-to-back, a change in tone – if not direction – is evident from opener and lead single Devil's Spoke. The production here is more deliberate and pored-over, expanding upon the earlier bare-bones approach. A leaf out of the Mumford & Sons school of orchestration has also been taken, with Rambling Man the greatest representation of this. The development in vocal styling is also stark; gone is the wispy, quick-fire phrasing and in walks deeper, slower, huskier proclamations. In many ways darkness has replaced the brightness.
It would, however, be disingenuous to paint this record as a collection of Marling's miserabilism. Despite the downbeat opening tracts, certain songs – Darkness Descends and I Speak Because I Can – abound with optimism and the ultimate, swelling crescendo of the latter displays an impressive mastery of dynamics. Similarly, at least a touch of variation is a necessity in folk, and this is demonstrated frequently, no more noticeably than when the boisterous acceleration of Alpha Shallows falls under a weight of heavy strums and gives way to the subtle, tender love letter to a country that is Goodbye England (Covered In Snow).
There was a justifiable argument to be made that Marling's real talent had to be seen live; the recorded compositions not revealing the entire picture. With I Speak Because I Can, that argument may now end. Though just 20, it doesn't appear within her scope to make an outright bad album, and here we are shown a few more glimpses of her gift, but yet not an overwhelming outpouring of it. It's clear that there has been a progression as a songwriter, with a previously unfound depth apparent on these ten tracks. Though it undoubtedly draws on the travails of the past two-or-so years, there remains, without a doubt, more in the can from young Laura.
-- http://www.bbc.co.uk/music/reviews/chb6
av FalloutBoy » 2010-03-30 16:32
The Delgados were one of the UK’s most consistently excellent bands. The Scottish quartet, of whom singer Emma Pollock was a founding member, released five studio albums, and were Mercury Prize nominated for their fantastic third, The Great Eastern, in 2000. That would prove to be their finest hour, but their other records come just as highly recommended.
Since their split in 2005, Pollock has followed a solo path. Her 2007 debut, Watch the Fireworks, was enjoyable but suffered from recent-memory comparisons to her former group. The Law of Large Numbers – released through Chemikal Underground, the label set up by members of The Delgados and once home to Mogwai and Arab Strap – benefits from further time having passed. It opens in stately fashion, Hug the Piano a solo on the titular instrument. But anyone expecting a wholly delicate affair will be in for a shock when Hug the Harbour follows – clean guitar motifs and precise percussion give the song a military feel, and Pollock’s voice sounds sharper than ever. The warmth of her accent remains, but her words cut deeper.
Which is a good thing given the lyrical treats spread across this set – though her first vocal relies heavily on easy rhymes, come the midpoint of this release the ante has received a considerable uplift. House on the Hill is exquisite, a song of amour going awry as the object of one’s affection finds the arms of another: “I wish that I could have it all again,” Pollock sighs, “but now it’s too late for me”. In her voice there’s real ache, and the silencing of the music around her on the chorus emphasises this longing.
At the opposite end of the sonic spectrum is Red Orange Green, which features edgier, focused instrumentation; it’s more post-punk than orchestral pop. Here, Pollock’s on the attack, despite initial promises of protection. “I get the feeling that there’s more going on here,” she supposes, as trust turns to doubt and the song layers on stabbing piano keys and metronomic percussion.
While sentimental on occasion, and certainly possessed by a lovelorn spirit that should connect with all but the hardest of hearts, The Law of Large Numbers never comes across cloyingly, its content ably handled and expressed with the same cliché-free purity The Delgados mastered. Not that this will surprise long-term Pollock fans, whose high expectations will surely be met here.
-- http://www.bbc.co.uk/music/reviews/jzb6
av FalloutBoy » 2010-03-31 17:44
av phloam » 2010-03-31 17:50
FalloutBoy skrev:Lite trevlig elektronisk pop från Elizabeth Harpers nya band:
av FalloutBoy » 2010-04-02 17:09
phloam skrev:Tackar som vanligt, kul med det där moderniserade lite 80-talsaktiga soundet, och elektroniskt är ju alltid bra ju
Hip-hop's earliest records often relied on faded, scratchy source material run through entry-level equipment. Even as technology advanced, the grain and the gristle stuck around-- sometimes out of necessity, sometimes as an extra ingredient. Over time, those aged, decaying sounds burrowed their way underground to crop up in pockets of IDM, dubstep, and indie hip-hop, resulting in music, built around texture more than bass or treble, that often sounded ragged at birth.
With his second album, Flying Lotus (aka Steven Ellison) has mastered this texture. Los Angeles is filled with the crackle of static, but there's something about this ambient noise-- a nuisance to audiophiles, a sign of weakness in radio signals-- that feels oddly comforting. Rather than audio damage or interference, this deceptively entrancing record (stick with it, it's a grower) feels like nature; it's almost as though Ellison went out of his way to digitize and filter the sound of rain hitting a sidewalk to accompany its beats. Opener "Brainfeeder" bristles with sharp rattling taps, while "Breathe. Something/Stellar STar" transmutes it into boiling-water burble, and even the 1960s sci-fi foley-room chatter on the 43-second "Orbit 405" is underpinned by snarling, distorted, pre-amp buzz. It sounds less like an album built on damaged, beat-up, pre-existing vinyl loops than a clean, shiny new LP put through four decades' worth of wear and mishandling.
The static, of course, is just a single (if crucial) ingredient in the character of Los Angeles: What this album relies on specifically is the way that crackle and buzz reacts to the rhythm at the core. Flying Lotus shares passing similarities to the late J Dilla and fellow Cali beat creator Madlib in the way he puts together his beats, and it's not hard to hear touches of James Yancey's Ummah-era production tricks infused with the same off-kilter slipperiness you might find on a recent Beat Konducta release. And in Ellison's hands, these tricks are stridently odd where they could have been safely derivative, revealing a deep affinity for psychedelic lushness and digital distortion that puts him in his own class.
Los Angeles is also prone to letting its beats hang loosely in the air. Ellison often slips empty space inside the rhythm (another place where the ambient static comes in handy), and even when the tempo accelerates past the album's typical leisurely pace and finds itself driving a track packed with wall-to-wall bass, little of it seems hectic or jarring-- even the jittery tweaker-electro of "Parisian Goldfish" smoothes out into a pleasant pulse once it sets in. At its most stirring moments, the music can be soothingly meditative, though the booming low-end, sharp drums, and all that crackle and fuzz keep it from sounding too polite. With its accomplished fusion of debris and warmth in a place somewhere between b-boy head-nod and laptopper experimentalism, Los Angeles is a big step forward for a still-young career, an album well worth revisiting years from now-- preferably on vinyl, where the pops and clicks can only multiply.
-- http://pitchfork.com/reviews/albums/12132-los-angeles/
av FalloutBoy » 2010-04-02 18:08
Though the genre seemed to die a rather quiet death back in the early 90's when Kevin Shields decided to move into semiretirement, shoe-gaze music (so named due to the bevy of effects pedal utilised in it's creation and performance) has seen something of a resurgence of late. From the feedback drenched dance-rock of The Big Pink to the ethereal dream-pop of Asobi Seksu, it seems that after almost a decade of basic, jingle-jangle, landfill indie the wheels of fashion have finally shifted. Maybe I can break out my Ride albums now without fear of serious abuse (I don't care what anyone says, 'Vapour Trails' is one of the most beautiful songs ever!).
'Malory' would be daft not to cash in on their chosen genres latest resurgence, and on the evidence of their 4th album 'Pearl Diver' there's no reason the German quartet shouldn't reach an appreciative new audience on this side of the Continent. The familiar trappings of the genre are all present and correct (distorted guitars caked in reverb, distant drums, washes of ambient synth) but Malory have a real way with texture and mood which sets them apart from the herd. Like M83 before them, Malory have managed to blend the aesthetics of the dense, dreamy MBV sound with the epic electronics of Ulrich Schnauss and the results are often exhilarating. It's a stately and demanding album which requires a great deal of patience before it unveils it's rich rewards. Vocals are used sparingly (if at-all on most songs) with the subtle atmospherics and gentle, chiming guitars taking centre stage.
The main bulk of the record is made up of tracks which fall between the 3 and 5 minute mark, and nearly everything contained within is worth hearing on some level with the tortured beauty of 'Dragon In You' the pick of the bunch. Hooks are not exactly the bands strong-point but to argue the albums relative lack of 'tunes' would doubtless be missing the point. The real meat of the record however is in it's opening and closing sections. The album is book-ended by some truly epic tracks that could more accurately be described as 'movements' with 'Ajar Door' in particular capturing the soaring melancholy of Sigur Ros's untitled album, that the song was supposedly recorded live really shines a light on the bands abundant talents. The gentle build of 'Floating' meanwhile flutters into life over some haunting 'found sounds' as disembodied voices float between speakers like lost ghosts. It's a beautiful start to a beautiful album which works (like much of what follows) on the common 'post-rock' dynamics of push and pull. The song keeps threatening to break into something nasty and catastrophic but it never does, and it's all the better for it.
A beautiful record then which should keep men and women of a certain age and inclination very happy until that third My Blood Valentine album finally appears (come on Kevin time's a wastin!).
-- http://www.subba-cultcha.com/album-revi ... tID/17613/
av carpelux » 2010-04-05 21:24
av FalloutBoy » 2010-04-06 16:49
Kul! Misstänkte att det kunde vara något för dig.phloam skrev:Falloutboy! Gillade det smutsiga och drömska soundet hos Flying Lotus, jäkligt kul att Warp levererar än idag
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