The Swedish electronic band Little Dragon is back from a two-year hiatus to release its new music video for single “Lover Chanting.”
What's a catchy song is an even better music video, combining elements of first-person video gameplay in which the main character winds up at a concert that looks like something out of Star Wars Cantina.
If you're new to hearing Little Dragon, be sure to dig into their old stuff as well. I'd start with a song entitled “Twice” (also an excellent video) and “Constant Surprises”, both from their eponymous 2007 debut album. And then peep “Klapp Klapp” and “Paris” from their 2014 album Nabuma Rubberband.
The single “Lover Chanting” appears on the new EP dropping November 15. Preorder here.
The duo from Maribou State is back with a new single entitled ‘Feel Good' from the forthcoming album Kingdoms In Colour. Here's an excerpt from the track's review from Pop Bollocks:
There’s a sense of darkness that shimmers around the edges of melodic phrases. “Feel Good” arrives more as a note from a well-wisher, addressing a troubled friend. This isn’t a saccharine celebration. There’s a definite sense of issues that require negotiation There’s something to overcome before good times can be had.
The hookier elements of the track alternate between chopped-vocals, a guitar line, and a bass that doesn’t know where to quit. All aspects sound like a spotlight searching in darkness – shapes are found, discarded, and move ever-onwards. It’s great. At the centre of “Feel Good” lies a beat that breaks and undulates across the tune. The result is a groove that’s hard to deny.
Music writerMichael A. Gonzalespenned a dynamite article celebrating the 20th-anniversary release of [easyazon_link identifier=”B00FMF3R76″ locale=”US” tag=”wells01-20″]Mezzanine[/easyazon_link]from UK band Massive Attack.
Mezzanine is an album best listened to loud, preferably on earphones, to properly hear the layers of weirdness and rhythms, a soulful sound collage that was miles away from the “Parklifes” and “Champagne Supernovas” of their Brit-pop contemporaries Blur and Oasis.
Along with the likes of fellow Bristol-based artists Portishead and Tricky, the band helped usher in an era of trip-hop. The trip-hop genre mashed hip-hop and electronica, adding layers of rock, soul, and dub. Mezzanine was therefore fresh and original, contrary to the DJ sampling on the group's previous two albums [easyazon_link identifier=”B01L388UBI” locale=”US” tag=”wells01-20″]Blue Lines[/easyazon_link] and [easyazon_link identifier=”B000TEVJYS” locale=”US” tag=”wells01-20″]Protection[/easyazon_link].
The trip-hop label was bestowed on the group by the Brit journalist Jonathan Taylor to describe the trippy music that was simultaneously street and psychedelic. Trip-hop was a tag that, like jazz, was often rejected by the practitioners, but it fit perfectly.
Mezzanine contained 4 singles, each matched by a dark and intriguing music video (see below). It's also worth mentioning that one of the three key band members, Robert Del Naja, is rumored to be street artist Banksy.
To celebrate the album's 20th anniversary, the band decided to release the album in DNA format. 920,000 DNA strands make it the second-largest file ever stored in DNA. This is sure to make it forever timeless.
The greatest DJ of all time John Peel played his music before ‘breakcore' existed as a recognized genre. Thom Yorke of Radiohead once called his music ‘menacing.' He opened for Radiohead in 2001.
Christoph de Babalon AKA Jan-Christoph Wolter is an electronic music producer from Hamburg, Germany. His discography is exhaustive, but he hasn't always produced dark, intense breakbeats. According to his profile, he withdrew from the music scene in 2001 to compose music for theater and dance before making a comeback in 2008.
Now back to basics, the 4-track Grim Zenith EP is refreshing as it is melancholic. The track ‘Could We Be?' kicks off the record with a gloomy breakbeat against the nasty sub bass that bounces around the eardrums. Haunting but poetic. Grab the album on Bandcamp or Boomkat.
I remember buying this random disc in Palo Alto, California while at summer camp in high school. I had probably read a review about it in an issue of URB Magazine, which was one of my primary 90s go-to sources for discovering fresh underground music.
In the CD age, everything was a $14.99 crapshoot. You really never knew what type of sound you were going to hear, let alone if the music was worth the price tag. But I got lucky with Smith & Mighty [easyazon_link identifier=”B00004T90L” locale=”US” tag=”wells01-20″]Bass is Maternal[/easyazon_link], 15-tracks that introduced me to the sound of dub while also converging elements of techno, hip-hop, and jungle music. Their music planted the seeds for the Bristol trip-hop explosion from Massive Attack, Portishead, and Tricky.
I don't think you'll find the album on any of the streaming services (here's the [easyazon_link identifier=”B00004T90L” locale=”US” tag=”wells01-20″]Amazon link[/easyazon_link] for the CD) but if you're going to start digging, start with the crispy breakbeats on the track ‘Evolve.'