Foals Unleash New, Free Material

Antidotes, the debut album from Britain’s lovable indie-rocking quintet Foals, was only released last March (and made it to a couple “Best of 2008” lists currently circulating the web), but the band has already announced some details on a new full-length.

Though we’ve yet to hear word on a title or tracklisting, the band did unveil a few tracks from the promised record, available for free download via their MySpace page. According to bandmember Yannis, “most of this stuff is me messing ’round late at night, lonely on a loop pedal. It’s, for the most part, formless and semi-instrumental.”

Intrigued? Check out the new material here.

Photo by Dave Ma.

Boozoo Bajou Readies New Album, Tour

Boozoo Bajou starts off the new year armed with a brand-new album, set for release in early spring. This is the first proper full-length from the Nuremberg, Germany-based duo since 2005’s Dust My Broom, and the new offering is said to be inspired less by the Cajun sounds that have marked Florian Seyberth’s and Peter Heider’s earlier work and more by the acoustic musings of Neil Young, Joni Mitchell, and Jackson Browne. No doubt the two have thrown some electronic elements in among the singer-songwriter influences. We’ll see on March 3, when the album drops.

Meanwhile, the duo will make a few stops in the U.S. this month:

01/22 Santa Monica, CA – Zanzibar
01/23 San Francisco, CA – Poleng Lounge
01/24 Washington, DC – 9:30 Club
01/26 New York, NY – Cielo

ZZZ “Lion (Breakbot Remix)”

As its press release states, “Lion,” ZZZ‘s debut release, is all about “pianos, pianos, pianos, pianos, and more pianos.” This is true of not only the track’s original version, but also of the three remixes the boyfriend/girlfriend duo unveiled when the single dropped in late December. Breakbot—who’s reworked the likes of Metronomy and Sebastien Tellier—had a go at the song with this remix, adding his French electro touch to the track to make it the world’s most danceable piano solo.

ZZZ – Lion (Breakbot Remix) 1

School of Seven Bells: Dream Pop

It’s just past 9 p.m. at Diner, a dimly lit foodie joint in Williamsburg, Brooklyn. Slouchy hipsters in plaid button-downs and black schoolteacher glasses talk earnestly over flickering candlelight, while grungy waitresses scribble the daily specials on paper tablecloths. Benjamin Curtis and his fellow School of Seven Bells bandmates, Alejandra “Ali” Deheza and her twin sister Claudia, sit quietly in the corner. Like other fledgling artists, the Bells can’t believe their own appeal. “Our music is so personal, I can’t believe anyone actually likes it,” states Curtis, a former member of space rockers Secret Machines.

School of Seven Bells’ debut album, Alpinisms, is a warm hybrid of ’90s ethereal rock, melodic electronics, and noisy shoegaze guitar; it’s one of the most disarming and lush dream-pop albums this year, but it’s influenced by more than just what’s pleasing to the ear. “Our inspiration comes from what we imagine visually,” explains Ali Deheza, whose wide brown eyes could inspire their own anime cult following. “Like when you’re dreaming of something wet, you’re not really feeling it–you’re just conjuring it up in your head. Our music is like that: It’s the feelings and visions we have moving around in our heads.”

Their music may be full of abstract concepts, but what makes Alpinisms so inviting is the Bells’ keen pop sensibility. One of the album’s most personal songs, “For Kalaja Mari,” is a love letter to a friend Ali lost to suicide–and one of the album’s most accessible tracks. The percussive, freespirited “Face to Face on High Places,” probably Alpinisms’ catchiest piece, also offers one of its simplest themes: how Claudia’s love for her two-year-old son has sharply focused her life. “I would say that our sound is a simple one–we just take a lot of time shaping the atmosphere,” reflects Curtis. “It’s all pop music, we just make it mostly electronically.”

The haunted vocals and eerie atmospherics of Alpinisms aren’t just musical–the Bells are literally living in their dreams. Since they were children, the Deheza sisters have practiced lucid dreaming in response to chronic vivid nightmares, and Curtis lives with a waking dream disorder, which causes him to see things while he’s asleep–although he appears to be awake. “It’s terrifying because he’s both awake and asleep. I’ll have to shake him a lot for him to realize that nothing is happening,” explains Ali, who is dating Curtis. “I’ll see him talking to me but I’m not there. Or he’ll be convinced there’s a bug on my head.”

Damián Schwartz Party Lovers

Madrid’s Damián Schwartz nurtures a thumping future-retro regiment of paced soul claps and piano-enriched diffusion. In January 2008, Schwartz released Quimica Afluencia, a 12” sputtered with sibilant percussion, its musky physicality straining at minimal’s tailoring. This debut full-length furthers the fascination with condensing Chicago house’s enraptured chords and Detroit techno’s trim programming, then applying them with an atomizer before going to a tribal gathering in Berlin. Those looking for a fragrance with bass notes of Moodymann’s shuffling grooves, mid notes of Minilogue’s synthetic melody punctuation, and top notes of Ricardo Villalobos’s vocal choppiness should apply liberally, especially the tracks “Dos Dias Despues,” “Lo Que Sube Baja,” “Piece of Anything,” “Carolina’s Favorite,” and “Raw.”

A Filial 1,99

Hailing from Rio de Janeiro, A Filial’s style of Amazonian rap is funky-fresh favela-chic with more rounded corners and fewer sharp points than their Sao Paulo counterparts. More boho than gangsta, the group aspires to a globally aware, less-insular aesthetic which, like all Brazilian hip-hop, sounds pretty damn sexy, even when it’s not trying to be. Tracks like “Baiao One Two” and “Equitava” reward adventurous ears by attaining a level of esoteric creativity rarely attempted in American hip-hop these days. Equal parts raw jungle flavor and sun-drenched smoothness, 1,99 is an innovative, organic mix of bossa nova, boom-bap, and Tropicalismo—the perfect soundtrack for a lunchtime capoeira cipher or a midnight skinny dip.

Various Artists I Love Dubstep

This two-disc compilation contains a pair of DJ mixes of some of the best released and unreleased dubstep tracks of the past few years. The first, mixed by Youngsta, gives the music a historical context by featuring the slow, booming, bass-wobbling sound (from artists like Loefah, Distance, Hijack, and Benga) associated with scenes largely based in London and Bristol. The superior second mix by Geeneus looks forward to the future of dub, inserting genre-busting selections by Shackleton, TRG (as remixed by Martyn), The Bug, Kode 9, 2562, Mala, Skream, and Burial, the breakout star who still rules with his haunting, indefinable talent.

Best of 2008: Stimming

Diynamic’s minimal house mastermind, Stimming, sounds off on the state of electronic music and his real feelings about jumpstyle.

Who was the best artist of 2008?

Butch. I heard of him only a few months ago, but he developed his style so well–it’s light and funky but still very techno. Really good!

What was the worst music trend of 2008?

Jumpstyle. Mixing hardcore with really cheesy childish melodies isn’t my cup of tea.

What was the best label of 2008?

I’m not allowed to mention Diynamic here, so I have to choose another one. I like what Cadenza released this year–maybe it’s not the very best in ’08 but it’s all quality. “Albertino” from Guido Schneider had some very impressive moments. In general, as I’m not a DJ and only playing my own stuff live, I wouldn’t say that I’m an expert regarding the scene.

What was the best 12″ single of 2008?

Studio Apartment “I’m In Love (Rasmus Faber Epic mix instrumental).” I loved this track the most when hearing it in the club. When I first heard it I saw flowers coming out of the speakers–it was in the middle of a dark techno set from some DJ and suddenly those emotions hit me hard! Maybe I wasn’t sober, but the track has had its place in my mind from then on. Soundwise, it’s mixed very hard and the groove is kinda old-school but what Rasmus did with the strings is impressive!

What will be big in 2009?
I hope that we musicians learn our equipment better and start to really use the million possibilities when working with a computer in a more personal and unique way. I hope that the electronic music scene starts to lose its sameness and we can identify the different artists more and more. But, to answer your question directly: Butch is gonna be big next year…

Best of 2008
Drop the Lime
Abe Vigoda
Bradford Cox
Andrew Jeffrey Wright
eLZhi
Cut Copy
Fucked Up
Evidence
Vivian Girls
Matt Furie
dj/ Rupture
Telepathe
The Death Set
Holy Ghost
Mochipet
CTRL
Plump DJs
Jose James
Worship Worthy
Peter Beste
Hercules and Love Affair
Magda
The Alchemist
DC Recordings
Megan Whitmarsh
Nosaj Thing
Stimming

Edie Sedgwick Things Are Getting Sinister and Sinisterer

Justin Moyer’s transgender antics as Edie Sedgwick are enjoyable bursts of DIY post-punk—for about two songs. Although Moyer’s art-punk pedigree is beyond reproach (El Guapo, Supersystem, Antelope), his solo work is basically a one-note affair. Things Are Getting Sinister and Sinisterer is essentially a collection of cleverly titled songs—most are named after celebrities or movies—that all sound the same. Take one part bass riff, one part drum machine, and a healthy dose of Moyer’s nasally vocals and you’ve got an Edie Sedgwick tune. It’s telling that even though album closer “Edie Sedgwick II” sounds like a forgotten blip from ’90s alt-rock radio, the fact that it varies from Moyer’s standard recipe makes it the most refreshing thing on the album.

Best of 2008: Nosaj Thing

L.A.’s experimental beats ingénue Nosaj Thing was awed by Cornelius, but not blog house.

Who was the best artist of 2008?

Cornelius. His live show with synchronized video and concepts was amazing and inspiring.

What was the best 12″ single of 2008?

Who releases singles anymore?

What was the best piece of music-making equipment of 2008?

Native Instruments Komplete, Torq, the Akai MPD32, and my iPhone. All these products helped making music and communicating more efficient.

What was the best music trend of 2008?

Having no trend.

What was the worst music trend of 2008?

Blog house. Too many disposable remixes.

Who was the best DJ of 2008?

The Gaslamp Killer and Kutmah.

Best of 2008
Drop the Lime
Abe Vigoda
Bradford Cox
Andrew Jeffrey Wright
eLZhi
Cut Copy
Fucked Up
Evidence
Vivian Girls
Matt Furie
dj/ Rupture
Telepathe
The Death Set
Holy Ghost
Mochipet
CTRL
Plump DJs
Jose James
Worship Worthy
Peter Beste
Hercules and Love Affair
Magda
The Alchemist
DC Recordings
Megan Whitmarsh
Nosaj Thing

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