Ghostly 7 Year Anniversary Podcast

The new 40-minute podcast from Ann Arbor’s Ghostly International marks both GhostlyCast number 6 and a nod towards the label’s seventh year anniversary. In celebration, this is not just a collection of forthcoming tracks, but a look at past, present, and future, with new releases as well as old classics and previously unseen material.

Tracklisting

1. Tadd Mullinix “Enfant Dans La Chambre Respirant” (From the out-of-print album Winking Makes A Face)
2. Lusine “Push” (From the Push EP)
3. Aeroc “You Say That You Love Me” (Unreleased)
4. Christopher Willits “Love Wind” (From the album Surf Boundaries)
5. PostPrior “Sterling and Goulden” (From the Touched Pilot EP)
6. Matthew Dear “Neighborhoods “Effigy Mix” (unreleased)
7. Dabrye “Game Over Feat. Jay Dee and Phat Kat” (Flying Lotus Remix) (Unreleased)
8. Daniel Want “Pistol Oderso” (Mehr Acid Mix) (From the Berling Sunrise EP)
9. Osborne “Downtown” (From the 2005 Puma Limited Edition Box Set)
10. Audion “Mouth To Mouth” (From the 12″ Mouth To Mouth)

ghostly.com/ghostlycasts

Berlin City Issue

For our annual city issue, we travel to Berlin. Design collective Pfadfinderei and Bpitch pranksters Modeselektor collaborate, Patric Catani and Gina D’Orio sound off, K.I.Z. raps dirty, Anja Schneider comes clean, the Berlin reggae scene, bleeding-edge breakcore from Society Suckers, grooves from Dixon, Morr Music and Sleeparchive keep quiet, and much more from this city.

Berlin City Guide

The real Berlin is an adventure-seeker’s paradise, and XLR8R plays tour guide on a trip through the city’s best-kept secrets in this supplement to our October issue. Head to “Museum Island”, Berlin’s hotbed of art galleries, or visit some of the most cutting-edge clothing stores, bars, and cafes. Also featured: the Zoologischer Garten, modern art museum Hamburger Banhof, lazy days in Prenzlauer Berg, wild times in Friedrichshain, the Watergate club, and more.

jab mica och el abc hej im cola

Here is a sample list of instruments found on jab mica och el’s latest Ache offering: xylophone, recorder, human voice, French horn, triggered pikin sounds (?), saxophone, kazoo-flute, eggs, harmonica, banjo, oboe, whistle, and something called a “gobble.” Here is what those instruments, in various permutations and configurations, sound like: the infinite innocence and newness of childhood, the majesty of finding everything interesting, and of loving its freshness. After a while things get a bit too close to baby-wipes and diapers, but the initial sound is about as captivating as birth.

Pit Er Pat Pyramids

Last year, Pit Er Pat released the freewheeling Shakey, an album full of innocent eyes, wary synths, and preschool drums. Much has changed since: trading cheer for spook, and youthful exuberance for paranoia, the band’s divinely complete Pyramids is the sound of a matured band. Physically enthralling, the record’s 11 songs dig into the skin, trading anxious passages for nervous swells and terse verses for tense choruses. Shakey was what it felt like to chomp cotton candy and hold hands at the carnival; Pyramids is how a murder ballad sounds from the merry-go-round.

Various Fear of a Digital Planet

Canada sounds like a vibrant place on Vinyl Republik’s (dare we say) nation-defining comp, Fear of a Digital Planet. Gathering the label’s most promising artists-along with a handful of VR’s Great White North cohorts-Fear is a diverse monster: part electro-gaze, part mini-house, and part nasty club bang. Toronto duo Original Recipe opens with the whirring lounge-fuzz and bass-thud of “The Chase,” while Andrew Duke closes up shop with the techno-jog of “Dirty Sugar Water.” Everything in between makes for a spotless comp, shooing missteps with a consummate cast that bodes incredibly well for Canada’s future.

Andy Stott Merciless

Andy Stott’s compositions boast a ghostly character. Over the course of his latest Modern Love offering, 10 sparse songs overflow with substance, but somehow make off like invisible apparitions-a huge accomplishment for a guy who tends toward melodramatic piano scapes and sinewy beat work. But it‘s all in Stott’s touches, a loose approach that allows the music to breathe, assembling itself piecemeal out of a scrap heap of Kranky-ordained minimalist tricks, Detroit techno calling cards, and bump-in-the-night electronics.

El Goodo El Goodo

Ask your dad: The 1960s blew the top off of a lot of things, rock music hardly excluded. From the radical re-envisioning of folk to the wildfire spread of psychedelic drugs, a lot happened, and nothing has been the same since. Wales’ ‘60s-adoring band El Goodo is proof. Their self-titled debut offers songs like “Here it Comes” (a direct rip of VU’s “Heroin”) and the foot-shooter “Stuck in the Sixties.” The gang’s all here: Brian Wilson faux-percussion bobs, Farfisa organ runs, and Byrdsy jangle dominate, but the line between homage and rip-off never seemed so treacherous.

A Shoreline Dream Avoiding the Consequences

When Avoiding the Consequences‘ hour-long stare finally breaks, there’s sea foam at your feet, sleep in your eyes, and it’s clear why Ryan Policky and his Colorado-based four-piece call themselves A Shoreline Dream. But while the distant melodies, the swirling, treated guitars, the understated drumming, and the muffled sonics are on a perpetual slow dive toward shoegaze, Policky and Company’s ride offers up a different kind of atmosphere. It‘s a complicated brand of sorcery that spooks and rattles as songs smear themselves all over the record in an experience that never truly ends, even after album-closer “The End” promises you it has.

Miss Violetta Beauregarde Odi Profanum Vulgus Et Arceo

Miss Violetta Beaureagarde is a one-woman wrecking ball: a sweaty, Italian mess of hip-hop, grindcore, sex, and savagery swinging straight for your face. Her latest record, the spiny Odi Profanum Vulgus Et Arceo (a Latin phrase that loosely translates to “I hate the common crowd and spurn them”), won‘t win her the attention of hyphy fans, but it might blow the mind of anyone willing to reconsider what hip-hop is, or can be. Like Peaches before her, Miss Violetta’s noise-fuck beats drip with femininity. But the aggro Italian is more concerned with breaking your ears than soundtracking Last Night’s Party.

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