Poni Hoax Images of Sigrid

This is a monster: Nearly every one of Images of Sigrid‘s tracks is so built-up it’s like you’re hearing two-and-a-half decades of post-punk, post-punk revivals, post-punk spin-offs, and disco-funk, stacked and stitched together. It’s like a Frankenstein colossus made of un-aged scraps of Bryan Ferry, Ian Curtis, Gang of Four, and string-laden blockbuster epic film scores. The title track is preposterous, turning in five minutes from a subtle, ethereal electronic production to moody Smiths fuck music to an orchestral Saturday Night Fever disco track. Meanwhile, “My Own Private Vietnam” sounds like GoF’s “Anthrax” with Joakim programming some contemporary electronic weirdness into it. Good luck with this one.

The Dead Science Villainaire

On Villainaire, The Dead Science’s vocalist (and XLR8R scribe) Sam Mickens takes inimitable to a whole different level. If, a few years back, he sounded like Xiu Xiu’s Jamie Stewart at his most unquaking, now Mickens’ warbling birdsong (which is, oddly, both sensual/attractive and creepy) doesn‘t even sound real. Meaning, he’s gotten very, very good. It couldn’t be better framed by anything but the Seattle trio’s noirish avant-jazz–and, on this record, their Hades lounge tunes sound noticeably more elaborate while keeping some semblance of accessibility.

Artist Tips: Philip Jeck

If you believe that “turntablism” is just a sexed-up word for DJs scratching records over clichéd breakbeats, consider Philip Jeck. The British artist revives entombed moments from forgotten records and makes them surrealistic and ghostly under his touch. He prefers the natural decay of lo-fi turntables (employing 180 of them for his Vinyl Requiem performance), and from there he loops rich drones, disembodied vocals, and chords that arise like blown dust. His recent album, Sand (Touch), continues what he does best. Here, Jeck gives us a few tips on sampling and looping vinyl sounds.

Keep it simple
The methods I use are not that important to me in the making of the sound, but they are the simplest I have found. My biggest tip would be listen to what you are doing rather than looking, take away as much as you can, and still leave something interesting and/or emotionally engaging.

Use tape to form your loops
I put a little sticker on each record to make the stylus stay in one groove. (A tip from turntablist Christian Marclay.) I use a guitar delay pedal that will make loops of different lengths that can be added to without losing the original loop.

Experiment with speed
I have a large collection of old turntables from the 1950s, ’60s, and ’70s, which were originally collected for Vinyl Requiem. The ones I use for concerts are the two smallest and lightest I have (to cut down on weight and excess baggage charges). They have four speeds (16/33/45/78 rpm). I like to use the 16 rpm a lot. At that speed, the sound becomes its grainiest. These old players also distort the sounds in their own way and are not too reliable as far as speeds go, so they bring variations into the sound all the time. The records I use are of every different genre, and have on the whole been thrown (or given) away by someone.

Sample creatively
The Casio SK-1 keyboard, which is a simple lo-fi sampler–and is, unfortunately, not manufactured anymore–is what I use to make samples. I sample as I play, choosing which record to sample through the auxiliary outs on my mixer (which is a Behringer and has built-in effects, though I only use a handful of them). I love the sound of the SK-1. It always seems to distort in wonderful ways and it’s always a one-off, as you can’t save the sample.

Impose limits on yourself
In my playing, my intent is to find something that excites and moves me in some way. Then I try to expand it or reduce it to make a larger or more refined statement. I recommend limiting oneself (i.e. turn something off; do everything with one hand). Any limitation can take you somewhere you might not have gone otherwise. Also, when something comes into your mind to do, stop and wait for the next idea/action. In the end, the most important thing is the sound; all focus should be on that.

Common Market Tobacco Road

It’s hard not to compare Common Market to Blue Scholars. After all, both Seattle duos utilize producer Sabzi’s talents, resulting in a similarly laidback vibe. Here, Sabzi spends more time on the keys, creating an elegiac atmosphere. But the radical difference is in the MC: While the Scholars‘ Geologic is easily accessible, Common Market‘s RA Scion is more complex. Weaving the theme of service and labor throughout, Scion introduces Tobacco Road‘s central character–the artist as farmer–on the powerful organ-driven opener “Trouble Is,” and brings it full circle on the closer, offering an introspective look at his Kentucky upbringing. The star, however, remains Sabzi, whose production will keep heads nodding long after they stop listening to Scion’s words.

Flying Lotus, RZA Play We the People

It’s going to be election time before we can blink, so naturally, everyone’s getting patriotic this fall in a variety of different ways. For the organizers behind the We the People festival, that means rounding up a slew of artists, guest speakers, b-boys, b-girls, and non-profit organizations for another event, this one to take place September 27 at the Los Angeles Historic State Park.

On the music tip, expect performances from Flying Lotus, RZA, DJ Premiere, EMPD, Z-Trip, Eek-A-Mouse, Barrington Levy, Bassnectar, and others.

Meanwhile, guest speakers include Green Party Presidential nominee Cynthia McKinney, anti-war activist Cindy Sheehand, and G.C.N. Network Radio’s Jack Blood.

Top that off with multicultural performances, an art exhibit featuring the work of Shepard Fairey, an area for non-profit organizations to share information, and an international food court, and there’s your Saturday planned out.

Photo by Theo Jemison.

XLR8R Seeks N.Y. Intern

XLR8R is currently looking for a Marketing and Advertising Intern in our NY office.

We’re searching high and low for a passionate individual who wants to translate their love of music, art, style and technology into a rewarding job experience in the media industry. The right candidate reads XLR8R and is well-versed in the fields of coverage the magazine is known for; is already based in the New York metropolitan area; is available at least 2 full days each week; and, most importantly, is excited to be a part of a kick-ass team!

Please note that this position is unpaid; however, the fringe benefits are substantial, including both free music and access to myriad music and art events.

To apply for this position, please email [email protected]

A-Trak, Boys Noize, Santogold Tour

Fool’s Gold boss A-Trak and fellow party animal Boys Noize continue trekking the globe on their Attack of the Unibros tour, bringing hip-hop, electro, and house to venues in Europe and North America. Said tour doesn’t necessarily need more hype, since these guys pretty much rule the party scene at the moment, but they’ll receive some extra attention at the end of this month when they play a few U.S. dates with Santogold.

Meanwhile, A-Trak will drop his first-ever Kitsuné release in October, a 12″ entitled “Say Whoa.” That’s probably what audiences will utter when they check the whole ragtag team of artists at one of these venues:

09/11 Munich, Germany: Registratur
09/12 Berlin, Germany: Secret Location
09/13 Cologne, Germany: Boothaus
09/18 Oslo, Norway, Bla
09/19 Paris, France: Bataclan (Institubes Party)
09/23 Philadelphia, PA: TLA*
09/25 Cleveland, OH: House of Blues*
09/27 Detroit, MI: St. Andrews Hall*
Toronto, ON: This is London
10/03 New York, NY: Webster Hall
10/04 Montreal, QC: Theatre Telus

* = w/ Santogold.

Big Brazilian Fall: Zuco 103, A Filial

Usually, folks saying “everything is going south” means things are about to get bad, or even collapse. But when things go south this fall, it means a brilliant season of new music from South America–specifically Brazil. Sounds from the tropical powerhouse will arrive thick and fast when the air gets colder in the Northern Hemisphere, with a variety of bands and styles to sample from.

Rio De Janeiro-based skateboarding pals A Filial made their first recordings using a PlayStation, a karaoke set, a $10 mic, and a toy that made music, all dubbed down on a used cassette. Their new album, 1.99 (out December 2 in the U.S.), is an ode to one-dollar stores. The crew still keeps it gully on an album that lands somewhere between the Beastie Boys and Flying Lotus, with plenty of love for traditional Brazilian beats, especially heady, percussive polyrhythms. Rapping in both Portuguese and English, these cats are like a rougher, Brazilian Ozomatli–funky, conscious, and full of energy.

Elsewhere, the eclectic souls in Zuco 103 will release their fourth album for Six Degrees Records. After the Carnaval blends acoustic and electronic textures with funk, pop, soul, and tropical rhythms, which conjure images of Mr. Scruff or Thievery Corp playing a funky club tucked in the Amazon. The moody “Pororoca” sounds like Sade fronting Tony Allen’s band, with its subtle Afro-beat groove, while “She” is a wickedly danceable, sub-bass samba bounce track. After the Carnaval is Zuco’s big breakthrough.

Venerable U.K.-based imprint Far Out has two worthy releases to satisfy a tropical fix. Far Out Bossa Nova (out September 30) celebrates 50 years of the distinctive and summery Brazilian jazz rhythm with tracks from Marcos Valle, Joyce, The Ipanemas, Sabrina Mahleiros, and Celia Vaz. There’s never been a better soundtrack to a hot beach and a well-mixed Caipirinha. Meanwhile, 1970s veterans Azymuth’s new album, Butterfly (out October 27), was co-produced by beat programmer David Brinkworth, from U.K. breakbeat outfit Harmonic 33. Featuring a full string section and expert fusion jazz players, the album hovers between CTI-label rare groove vibes and Azymuth’s own brazilient groove.

Pictured: Zuco 103.

Inbox: Cut Copy

Sure, we’re always curious to know about an artist’s upcoming release, most recent tour, or arsenal of analog gear, but XLR8R‘s also got a curiosity for quirk. Thus, each week, we email a different artist and find out what makes them tick, in the studio and in life. Next up: Though he’s a man of few words (hey, it made the copy editing process faster), Tim Hoey of Melbourne’s Cut Copy shared some thoughts on basketball, alarm clock theft, and his girlfriend’s pajamas.

What are you listening to right now?

We just saw My Bloody Valentine… it’s going to be hard to listen to anything after that. It was like being hypnotized with a sledge hammer. Incredible.

What’s the weirdest story you ever heard about yourself?

That I paid my way through university by becoming a professional online gambler.

What band did you want to be in when you were 15?

Wu-Tang Clan.

Worst live show experience?

Mike Loves Beach boys show, 2002.

Favorite city to play in?

Hometown. [That would be Melbourne, Australia, for the uniformed.-Ed]

Which album do you like better: Apocalypso or In Ghost Colours?

Doobie Brothers.

What is your favorite thing you own?

Magic Johnson rookie card.

Name one item of clothing you can’t live without.

My girlfriend’s pajamas.

What’s cuter: Kittens, penguins, or Scarlett Johansson?

The Platypus.

What did you always get in trouble for when you were little?

Stealing alarm clocks from hotels.

Which pop star would you most like to work with?

Warren Ellis.

What’s the last thing you read?

F. Scott Fitzgerald’s The Beautiful and the Damned.

Complete this sentence: In the future…

I will be older and wiser.

Stupidest thing you’ve done in the last 12 months?

Not going to an NBA playoff game when we had the chance.

What’s next?

Dinner.

Last Week: Girl Talk

I Heart Lung “Interoceans I (Self Says Remix with Express Fresh)”

Guitarist Chris Schlarb and drummer Tom Steck (a.k.a. L.A.-based duo I Heart Lung) follow up on their latest release, Interoceans, with a collection of remixes provided by several key players in the underground hip-hop and electronic scene. Appropriately titled Interoceans Remixed, the album enlists the lyrical skils from the likes of L.A. rappers Bizzart and Radioinactive, and contains reinterpretations from Sugarghost and Strategy, amongst others. Similar to last week’s generous offering from Asthmatic Kitty, the label has done it once again and decided to give away this album at no cost. Viva free music!

Interoceans Remixed
01 Interoceans I (Self Says Remix with Express Fresh)
02 Interoceans II (Jel Remix with Awol One and Serengeti)
03 Interoceans III (Ellul Remix with Radioinactive)
04 Interoceans IV (Omid Remix with Gajah and Bizzart)
05 Interoceans I (Sugarghost Remix)
06 Interoceans II (Strategy Remix)
07 Interoceans III (Badun Remix)
08 Interoceans IV (Greg Davis Remix)

I Heart Lung – Interoceans I (Self Says Remix with Express Fresh)

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