Archive for February, 2007|Monthly archive page

Please don’t do that again

Nôze, “Piano” (Dop remix)

Mabik, “Der Flossenmann”

Ark & Mikael Weill, “Caribou Et Bigorneau”

Rok & Mijk, “Jack Your Ass” (Mijk van Dijk remix)


Dog days of winter

It amazes me how much I’m craving warm weather. I might have to explore living in a different, more stable climate. Now for some tunes with which to warm yourself.

Martin Landsky, “Let Me Dance” (Sebo K remix)

Midnight Operator, “Midnight Operator”

Superpitcher, “Baby’s On Fire” (Brian Eno cover)


My first feature for Resident Advisor — a sort of “What’s Lindstrøm up to in 2007?” — went up this morning, which I’m quite excited about. Expect more of these sorts of features in the coming months.

I recently received a mix set from reader from Portugal who goes by the alias of Stuart. It’s an exhaustive French Touch/electro rock set leaning a little heavy on Justice that fits neatly in the iPods of SebastiAn/Guns ‘N’ Bombs fans. I’d be interested to know where else this sound is rattling teeth loose and making los ellos bailan.

Download Stuart’s mix, “Molotov”.


Does It Offend You, Yeah?, “We Are Rockstars”
Justice, “Waters of Nazareth” (John Reeden remix)
Kavinsky, “Testarrossa Autodrive” (SebastiAn remix)
Goodbooks, “Leni” (Kissy Sell Out remix)
Moulinex, “Salt”
Xinobi, “Turbonegro’s Lesson”
Justice, “Let There Be Light” (DJ Discrete mix)
Trashtalk, “Tankgirl”
Hystereo, “Validity Revision”
Franz & Shape, “Countach”
Digitalism, “Zdarlight (Paranoid Asteroid)”
Depeche Mode, “Never Let Me Down Again” (Digitalism remix)
Yuksek, “Composer”
Vitalic, “Candy”
Passions, “Emergency”
Toxic Avenger, “Kissin the Remix”

Sheet rock music

Holger Czukay, “Cool In the Pool”

The Associates, “Love Hangover”

Coloma, “No Moving Parts”

Kraftwerk, “Aerodynamik” (Alex Gopher & Etienne de Crecy Dynamik mix)

Silent predators

Jesse Rose, “You’re All Over My Head”

From an early 2006 release on Dubsided that recently found its way onto my desktop, “You’re All Over My Head” follows none of the rules I’ve come to expect from minimal techno. I feel like this expounds on the growing respect for Rose, even at his sloppiest and half-hearted. And on first listen, “thrown together” is the easiest and most dismissive way to describe it. Machinery hiccups, swishing percussion and Rose’s emotionless utterances (“it’s a lot of ____” and “I know”) open the tune, laying a straight path suddenly broken into with a vibrant and destinctly vintage sample (I thought my mp3 player was on the fritz). Of all the songs, Rose chose The Cyrkle’s “It Doesn’t Matter Anymore,” a tune I coincidentally wrote about last year — a safe bet for a selection few would recognize. While chopped up and repasted to fit his fancy, the sample runs longer than most would dare include in a dark, thumping tune like this. It vanishes back into the murk with an anxious little synth progression taking its place. Though The Cyrkle interrupts once more, the rest of the track remains largely the same, leaving listeners a little bewildered. Not an ellegant tune by any stretch of the imagination, but Rose’s choice to scramble his momentum with a bitter-messaged, sugary pop song provides unexpected continuity. This probably only sees use as a DJ tool or headphone track, but “You’re” traffics in ideas as much as grooves.

Les Petits Pilous, “Jolie Fille”

I really wanted to take Tal’s unspoken challenge to write about this tune, but I’m at almost as much of a loss as he was. Les Petits Pilous (Small Cotton Flannels, natch) are a young Boyz Noize band taking the grating electro/rock/rave sound to peaked out heights. Of the songs I can hear easily, “Nice Bird” is the most ambitious and disorienting: To get yourself in the mood, imagine being separated from your friends at a packed rave about 15 minutes after swallowing what you think is e with a desperate desire to reconnect. Rhythmically obtuse, the coarse patterns shift at what feels like odd times and swell in intensity, only to drop listeners without a second thought. “This is how kids perceive rave or something,” Tal guessed, and it seems like that perception is practically no wave — no rave even (Tal’s brilliant combination, see comments), a rip-your-face-off-and-poke-fun-at-it mindset. Much to my surprise and delight, this nu-rave scene is getting more interesting instead of less.

Fairies eat angel dust

Check out my review of Guns ‘N’ Bombs debut, “Nothing Is Getting Us Anywhere.”

Marc Romboy vs Chelonis R. Jones, “Helen Cornell” (Stefan Goldmann Macro Version)

Phonique, “What I Fake” (Sleep Thief remix) [peace, Modifyier]

Two track reviews later today.

Various Artists, “Slaying Since 1996”

Label anthologies such as Slaying Since 1996 have many purposes, but the two that hold the most water are fairly simple. Because labels are in the business of releasing slices of musical history, anthologies serve as primers to the moments and musicians they captured. And as most labels with anthologies started before the .mp3 obliterated the way we consume music, oftentimes their early releases only exist as dusty stacks of wax on a shelf; the anthology brings these to listeners on both sides of the turntable. This Suicide Squeeze Records two-disc compilation covers nearly all of the wide range of artists with whom they’ve worked, including out of print tracks from The Black Heart Procession, Melvins, Of Montreal and The Constantines, as well as unreleased tracks by Russian Circles, Crystal Skulls, Earlimart and quite a few others. Surprisingly (or unsurprisingly, depending on your taste), the bigger names on the comp are the biggest letdowns: the Elliot Smith, Modest Mouse, Les Savy Fav and The Unicorns tracks are largely filler except to the biggest of fans. And if judged by the songs included here, most of the lesser known acts like The Scenic Vermont, Goon Moon and Aspera will stay low profile. With a few notable exceptions (S, Pedro the Lion [whom I rarely enjoy, so this is doubly impressive] and the Iron and Wine/Six Parts Seven collaboration), the second disc, made up almost completely of unreleased tracks, easily trumps the first in quality. The Phil Spectorish pop of The Aislers Set demo for “What Fades First” is instrumentally spare but melodically looms large. Crystal Skulls’ keyboard jangle on their demo version of “Baby Boy” makes great neighbors with the demented psych pop bounding from Of Montreal. Hella, Russian Circles, Metal Hearts and Black Mountain all sound top shelf as well, making me wonder how many of these ended up either OOP or unreleased. Slaying Since 1996 is an accurate portrait of Suicide Squeeze Records’ past and present, which is a testament to their ability to sum up the labels’ musical identity. Fans of the label will be pleased; the rest of us will pick and choose and be happy for it anyways.


Of Montreal, “Voltaic Crusher/Undrum to Muted Da”

The Aislers Set, “What Fades First” (demo)

Black Heart Procession, “After the Ladder”

Crystal Skulls, “Baby Boy” (demo)

Smash your inbox

Magda, “Oblivicleas”

Dan Bell, “Phreak”

Underground Resistence, “Nannytown”

Thomas Schumacher, “Wig-Out Into”

When’s the last time you heard it like this

Heartthrob, “Baby Kate” (Plastikman remix)

Gui Boratto, “Terminal”

Sascha Funke, “Brocken”

Lars Behrenroth, “Organism”

A rip-roaring shut in

Today’s last tune is by my friend and confidante Joseph, a musician, writer and swell librarian from Pittsburgh, Pennsylvania. “Skating” is an excellent ambient tune conjuring up the satisfied serenity of carving up an icy pond and it comes highly recommended.

Audion, “I Gave You Away”

Salif Keita, “Yamore” (Luciano remix)

Richard X, “Finest Dreams” (ft. Kelis)

Josephy, “Skating”