Top 10: Eliot Lipp, Jamie Lidell, Freerange

Various Artists
Freerange 100 Part 2 EP
Freerange
Release Date: March 10, as vinyl or digital download

Behold, the 100th release from Freerange Records! Half of it, anyway. Part 2 of this vinyl series shows off a collection of brand new tracks from some of the label’s most notable names, including a lush, crooning house number by Jimpster, the tech-y, funk-driven “Lose it” by Palm Skin Productions, and a minimal, slow-building remix of Only Freaks’ “Mental Overdrive.” Nice!

Faunts
M4 EP
Friendly Fire Recordings
Release Date: Out Now

This Edmonton, Alberta-based trio makes the prettiest version of shoegaze this side of Ulrich Schnauss, and has bundled several songs originally made for short films into a single release titled M4 EP. And despite the music originating as a soundtrack for low-budget indie film, there’s nothing pretentious here. The mood is epic, the musical textures deep, and the overall feel of the EP is genuinely heartfelt.

The Drift
Memory Drawings
Temporary Residence
Release Date: April 8

Memory Drawings sees the return of The Drift after a three-year hiatus. The break appears to have done the band good, and the new album finds the San Francisco-based four-piece experimenting with musical structures that call to mind ’60s jazz and ’70s dub. Add a robust horn section and plenty of whispering snare drums, and it’s a free-jazz field day that provides the perfect soundtrack for the early morning.

Cassettes Won’t Listen
Small-Time Machine
Self-Released
Release Date: March 11

Jason Drake’s one-man, multi-instrumental Cassettes Won’t Listen project has kept him busy for a few years now, with EPs and remixes that give us a taste of his many talents as a producer. Finally, Drake has prepared this, his debut full-length, and it doesn’t disappoint. His electro-flavored songwriting is complemented by delayed hip-hop beats, complex string arrangements, thick synth lines, and a certain ominousness to the music that unfolds slowly over the course of the album.

Jamie Lidell
Jim
Warp
Release Date: April 29

When Jamie Lidell’s Multiply was released in 2005, strains of his crooning, soul-heavy voice could be heard up and down the corridors of the XLR8R office for weeks on end. Jim finds the Berlin-based artist and his voice fully intact and more diverse than ever, moving from gospel-style numbers to slinky R&B tracks, to some of the most upbeat, disco-laden work we’ve ever heard from this guy. Jim is proof that Lidell is an artist who will grow–not fade–with time.

Jens Lekman
“I’m Leaving You Because I Don’t Love You”
(Spoolwork Remix)
Download

Just in time for Valentine’s Day, Swedish indie-pop romantic Jens Lekman unleashes this downer of a track to the blogosphere. Secretly Canadian artist Dave Fischoff (a.k.a. Spoolwork) remixes the mournful love song, letting the music build slowly before it explodes into the quotable phrase, “I’m leaving you because I don’t love you.” I think I’ll break up with someone just for the excuse to play this track on repeat.

Son Lux
At War with Walls and Mazes
anticon.
Release Date: February 26

There is a certain sophistication found in many classically trained artists’ music, an audible result of spending years playing piano scales and reading notation. In the case of At War with Walls and Mazes, the debut album from anticon.’s latest signee Son Lux, that sophistication is in the way he uses subtly plucked strings, lightly touched synths, bells, and other instruments to work together as an entire statement. Like a well-written story desperate to share every detail, At War takes its time and savors each moment.

These New Puritans
“Navigate, Navigate”
Domino
Release Date: February 5

Speaking of new label signees, here’s Domino’s latest find, a group of four 19-year-olds from Southend, U.K., who have prepped this single to hold fans over until the release of their debut album this spring. This15-minute-plus track is a collage of droning guitars, feedback, shades of ’80s industrial music, and electronics, all executed with the relentless energy you’d expect from a bunch of kids under the age of 21. The DFA’s Tim Goldsworthy chopped up the vocals and added some bouncy basslines for the remix, made under his Loving Hand moniker. Photo by Dean Chalkley.

Various
Triple R: Selection 6
Trapez
Release Date: February 5

Club owner, journalist, DJ, and Trapez co-owner Riley Reinhold delivers the sixth compilation in the label’s Selection series. Here, Reggy van Oers gets minimal, Salvatore Freda and Massimo Steffanelli prove that there are still a few good trance numbers out there, Aquilina and Venturi give us disco for 2008, and Reinhold even throws in a couple brand-new tracks from Trapez’s first Greek artist, Mihalis Safras. All tracks here are 100 percent danceable, made by artists whose names would require a six-week dialect course to pronounce properly.

Eliot Lipp
The Outside
Mush
Release Date: March 4

Eliot Lipp has made a move over to Mush Records for The Outside, and the transition has only made him a stronger producer. We always knew he was capable of exploring many styles and musical tricks in a single track, but this latest full-length has more to get excited about than his last two albums put together, blending heartwarming–and sometimes heartbreaking–melodies with futuristic synth stabs and tightly-arranged, abstract beats covered in feedback.

Pictured above: Eliot Lipp, live in Tokyo.

Last Week’s Top Ten

Matt Furie’s Big Adventure

Artist Matt Furie goes through his morning routine, shows us around his room, gives us an idea of what makes up his weird cartoon-y world, and then hits a major snag…. he loses the ability to draw. He first believes it’s been stolen, then admits he needs the help of a powerful mystic. On his quest to regain the key to his talents (which takes him to the Presidio Pet Cemetery in San Francisco), Matt finds something even more valuable… himself.

This episode was written and shot entirely by sixth graders.

VP and Greensleeves to Merge

VP Records of Jamaica-Queens, New York and Greensleeves Records of London, U.K. have announced a merger deal in which VP would purchase the Greensleeves Records and Publishing from its holding company, Zest Group. Founded in 1977, Greensleeves’ extensive catalog includes titles by Yellowman, Wailing Souls, Shaggy, Shabba Ranks, JC Lodge, and Michael Prophet.

In a press announcement today, Chris Chin and Randy Chin, respectively Chief Executive Officer and President of VP Records, commented, “Although Greensleeves has historically been our competitor, we have always had the utmost respect for what Greensleeves stood for. The label and its founders had a long-term commitment to reggae music, and no one is better positioned than VP Records to understand the need to respect this legacy. We will ensure that Greensleeves remains alive as a brand synonymous with excellence in reggae and dancehall music.”

VP and Greensleeves actually have similar origins, with both labels originating from small record stores in the mid-1970s in Kingston and London, respectively. Greensleeves celebrated its 25th anniversary in 2000, and its publishing wing handles some 12,000 songs. According to YardFlex.com, Greensleeves was run as a close partnership between Chris Cracknell, who oversaw the A&R policy, and Chris Sedgwick, who looked after the business side of the company. Greensleeves was sold to public company Zest Group, and in March 2006, Chris Cracknell agreed to a one-year contract at the time of sale to ensure a smooth handover.

Zest’s Chief Executive Steve Weltman says, “The combination of Greensleeves and VP Records will ensure the future of reggae music around the world. VP Records is committed to preserving the legacy of the Greensleeves label that was begun by its founders Chris Sedgwick and Chris Cracknell in 1977.”

Shaggy (left) and Assassin currently have releases on Greensleeves and VP, respectively.

Black Lips Release Live Session EP, Prep Tour

Black Lips never tire of working. After a whirlwind 2007, the garage rock foursome jumps right into the year with a new release, tour dates, and a featured spot in, uh, a Yahoo! contest.

The iTunes Live Session EP, out now, exclusively through iTunes (duh), was recorded this past summer when the Atlanta natives did a stint in San Francisco. The release is just a taste of the antics the band is now notorious for when it takes the stage, but if you want to see fireworks, nudity, and stage diving in real time, check out one many shows listed below.

Finally, if you love the band and enjoy participating in contests, cast your vote for them in the Yahoo! User’s Choice program, in which four bands sound off against one another.

iTunes Live Session EP Tracklisting
1. Bad Kids
2. Lean
3. O Katrina!
4. Cold Hands
5. Lock and Key

Tour Dates
02/04 Seattle, WA: Neumos
02/05 Portland, OR: Dantes
02/06 Eugene, OR: Wow Hall
02/08 San Francisco, CA: Great American Music Hall
02/09 Pomona, CA: Glasshouse
02/10 Costa Mesa, CA: Detroit Bar
02/13 San Diego, CA: Casbah
02/14 Los Angeles, CA: El Rey
02/22 New Orleans, LA: One Eyed Jacks
02/23 Austin, TX: Emos Outside
02/24 Dallas, TX: The Loft
02/25 Lawrence, KS: Bottleneck
02/26 Omaha, NE: Waiting Room
02/28 Minneapolis, MN: 7th Street Entry
03/01 Chicago, IL: Logan Square
03/02 Milwaukee, WI: Turner Hall
03/04 Columbus, OH: The Basement
03/05 Oberlin, OH: Club Dionysus
03/06 Detroit, MI: Magic Stick
03/07 Pittsburgh, PA: Mr Smalls
03/08 Buffalo, NY: Mohawk Place
03/10 New York, NY: Bowery Ballroom
03/11 Brooklyn, NY: Music Hall of Williamsburg
03/13 Cambridge, MA: Middle East
03/14 Philadelphia, PA: Johnny Brendas
03/15 Washington, DC: Black Cat
03/16 Chapel Hill, NC: Local 506
03/20 Nashville, TN: Mercy Lounge
03/21 Memphis, TN: Hi Tone
03/22 Atlanta, GA: The Earl

Valet Naked Acid

We typically associate the blues with earthy African-American men from the South baring their souls and poeticizing their hardships. Rarely do we ponder what blues from a psychedelically inclined Portland woman would sound like. With Naked Acid, Valet (Jackie-O Motherfucker’s Honey Owens, assisted by vocalist Adrian Orange and Silentist drummer Mark Evan Burden) hints at those possibilities. And, damn, are they exotic and eerie. Owens conjures a chilling air of mystery from the opening “We Went There,” marked by autistic-trance vocals and Venusian-blues guitar eruptions. Elsewhere, allusions to Spacemen 3’s deliquescent downer rock, Fennesz’s disorienting guitar striations, and Kendra Smith’s loner lullabies keep Naked Acid on a glistening, dreamy plane. File under: beautiful escapism.

Boy 8-Bit on Commodore 64 Bangers

Though his alias suggests otherwise, David Morris, who goes by the name Boy 8-Bit, didn’t grow up with a videogame console in his home. “My parents wouldn’t let me [have one],” he says. “They wanted me to have a computer as it was more ‘educational.’”

As a result, his first actual contact with 8-bit technology came not through Nintendo but early home computers like the Spectrum and Commodore 64. Whether intended for instruction or play, those initial dealings with technology clearly struck a chord. Morris possesses a seemingly meticulous knowledge of computers. And as Boy 8-Bit, he punishes processors to create a head-spinning brand of electro- and breakbeat-infused future house.

Morris, now 27, started DJing and making electronic music around the age of 15, employing a Commodore Amiga 500 and Octamed tracker software (an early sample-based program). He could create only simple tracks with such humble tools, but a few years later he’d find inspiration in a new piece of equipment. In 1999, Morris was making tunes on a PC using Cubase software–and not having much luck–until a friend gave him a copy of Fruity Loops. “I use it to this day for everything,” he says. “It’s awesome.”

With a newfound confidence to match his new set-up, Morris has been making certifiable bangers and garnering praise for remixes of Black Ghosts (Simian’s Simon Lord and DJ Touché), dubstep don Burial, and East London rapper Lethal Bizzle. “Any Way You Choose to Give It,” a reworking of a track by the former, “has been the one that really kicked everything off,” Morris explains. And though that song’s almost a year old now, Morris tells us he “still [gets] MySpace messages from people asking where they can get a copy.”

His productions are chock-full of ideas–lots of bass and breakbeats culled from hip-hop, jungle, and big beat, as well as plenty of chopped-up and screwed vocals–edited cleanly into a composed, wholly danceable thump that owes as much to Baltimore and late-’90s hip-hop as it does the British rave scene. “I like bass, I like melody, and I like dynamics,” he offers. “I’m just throwing things [together] to see what comes out.”

Curses “Hungry For Love”

We all know Luca Venezia as bass heavyweight Drop the Lime, but with his Curses moniker, he explores entirely different territory–the early ’90s. On “Hungry for Love,” Venezia unfolds a strange mutation of house music that seems to defy rhythm itself, yet is entirely irresistible when it comes to dancing. Add a few shades of electro, dubstep, and grime, and you have… well, we’re not really sure what it is, but it’s catchy as hell and we love it.

Curses – Hungry 4 Love

Beach House Devotion

The delicate, languid, minimalist pop of Baltimore duo Beach House’s Devotion is a glimmering dream. These love songs creep forward in bossa nova rhythms and even meters like they’re chasing after a slowly receding tide. Victoria Legrand sings in a cave-echoed voice that bridges between a sort of one-room-over ethereality and a pungent melody, gliding over the mix (drums, piano, and organ, mostly) like a low-hanging cloud, stretching her words into near incomprehensibility. Her high, breathy peaks on “Turtle” are charmingly imperfect, while “Gila”‘s slide guitar dances with her voice like a returned lover, hopelessly devoted.

Cymande Promised Heights

Early ’70s U.K.-by-way-of-West Indies outfit Cymande mixed jazz, soul, calypso, reggae, and funk like no one before them; it’s no exaggeration to say they were years, if not decades, ahead of their time. Long revered among loop diggas, they’ve been sampled by The Fugees, De La Soul, Masta Ace, and MC Solaar, among others. Promised Heights is an updated version of Cymande’s third album–recorded in 1973, but only now released in the U.S.–featuring three bonus tracks and two remixes (including “Brothers on the Slide”). Even without the revisions, the songs sound less dated than one might think, with unique arrangements that differentiate Cymande from most of their funk contemporaries. If this isn’t rare groove/breakbeat heaven, nothing is.

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