words: Jamie Milton
originally scribed for musicOMH
Seek Magic has enjoyed re-release after re-release, on these shores and in the States. The reasons for this lie both in the fact that Memory Tapes is enjoying a steady growth in reputation and most importantly, that this is the kind of album that could be lost in the post but deserves to be shared – the sort of record you wish to play to your friends, for fear that they’re missing out on something quite wonderful.
Dayve Hawk, the creator, may not even be aware of the word-of-mouth popularity his debut album is beginning to absorb. He’s what is known as a recording maverick, sticking to his bedroom chair (probably one that spins) and simply churning out these electronically-inclined works whenever he sees fit to do so. Some of his work under the alias’ of Memory Cassette and Weird Tapes as well as this more definitive title of Memory Tapes range from sensational remixes of established alternative acts such as Yeasayer to the more gutsy approach of tackling a Britney Spears song. And that’s forgetting Treeship, a twenty-minute-long progressive dance song that has its own narrative voice in developing so fruitfully from bongo drum patterns to all out Euro Trance.
Until until now, what with the trio of names and the scatterbrain approach to releasing music, Hawk hadn’t really arrived in fully-fledged form. Stay Magic however, begins the first chapter of what could be an illustrious career. Being his first complete work of solid songs, reacting to one another, it flows like all albums should. Reverb-ridden guitar lines, soaked to the bone, stumble upon inventive, cacophonous percussion. This is an album that visits the party vibe of Cut Copy’s In Ghost Colours whilst delving into the darker territories such as those found on The Knife’s tour de force Silent Shout. He’s a very comparable artist, this Hawk. But at the same time, Stay Magic is as original as dance pop gets, citing an extension of influences you might not have associated with the Memory Tapes sound prior to the album.
“Produces a rapturous charge”
Its highs come in the unexpected; from Bicycle’s climax of New Order guitar solos and high-spirit multi-voice chants to Plain Material’s sampling of melancholy – swimming against the tide of the rest of the record. From where it starts (delicate, skyscraper guitars in Swimming Field) to where it ends (a frantic, open atmosphere of synth noise in Run Out), Stay Magic shows itself to thrive on advancing forward and opening new doors.
Initially, what comes off as artistic dance-wizardry can also appear to be devoid of meaning. That’s where patience and a drive to find some hidden truths in Stay Magic comes good. Total immersion in Plain Material’s motto of “It was a beautiful dream” and the sunny-day triumph that not leaks, more erupts out of the record, leads to a true understanding of the meaning. This is yet another one of those records about escapism, yearning for a bolt of light in the dark, an end to normality. And it finds it, to almighty effect; producing the kind of rapturous charge that no bedroom-dance-record has ever assembled before.
8.1
mp3: Bicycle
words: Jamie Milton
image via Paper Tissue
Have Hot Chip ever taken themselves seriously? Evidence behold: OK, so they’ve always claimed that debut album ‘Coming On Strong’ was a joke. And then ‘The Warning’ and ‘Made In The Dark‘; I mean, they always had the odd and yes, pretty annoying moment of private jokes (‘Shake A Fist’s’ “sounds from the studio” segment comes to mind as a surefire record dampener). But there’s indication that ‘One Life Stand‘ will be serious and for that reason it can’t be anything else but their masterpiece, right?
‘Take It In’ backs this up to no limits. The song begins from the darkest side of the world, Joe Goddard sounding helpless to control the moody synthetic atmosphere that rides beneath, but then — stop what you’re doing, hold on to something — comes the chorus: It’s like those on ‘The Warning’ – light-headed, smile-inducing, timeless. The blend of dark and light hasn’t been so brilliantly dabbled with by any other electronic act I can think of in recent times.
It’s post-2010 dance music: sensitive and so inspired.
[stream at pitchfork]
via Paper Tissue
Neon Gold’s next target and now a Guardian Band of the Day (back off Paul Lester, we saw him first), Chris Glover aka. Penguin Prison stands out in the crowd as an electronic, gadget-based artist that won’t be shadowed out by a dying scene.
This is like a US version of Calvin Harris only with more integrity and brighter ideas. He compliments feel good vibes with really punchy rhythms and killer choruses. ‘A Funny Thing’ has a optimistic outlook above some pretty negative lyrics – “It can’t be done. It’s never done…” If ever bouncy dance-pop can be made to sound haunting (ok, maybe The Knife have already achieved this), Penguin Prison are capable of doing so.
Glover’s previously come desperately close to “making it”. He’s been signed to Interscope and one other label before, very recently infact. He’s made albums that have never ended coming out but now, under the praise of Girl Talk and with every blogger on the planet about to sing his praises, “make it” he will.
mp3 - A Funny Thing
A huge hit at CMJ festival (which is basically a showcase fest for bloggers and journos), Sleigh Bells emerged, along with Phantogram as the outstanding name on the tip of everyone’s lips. And so when you find that out and then you play ‘Crown On The Ground‘, you’re bound to be a little perplexed…
One jolt to the volume knob, one squirm and one covering of the ear and you’re not on the same level as Sleigh Bells. They make the complete antithesis of what their name suggests – gentle Christmas music this is not. What’s delivered is no-fi pop, dance, what have you. And whilst everyone defended the pointless PENS for delivering scrappy pop that was “kind of catchy“, Sleigh Bells stick in your head all day, all week even. It’s like what Justice achieved with ‘Cross’ but taking it to a whole new level. Holy shit it will split opinion, don’t think otherwise. But Sleigh Bells will annoy and be adored by a whole host of people. And don’t think they don’t know that’s the point.
mp3 – Crown On the Ground
mp3 – A/B Machines
Massive thanks to IM//UR for this find.
James Murphy has vowed to return in March and you can expect some pre-Spring pandemonium from the masses, akin to the ruckus amounted before ‘Merriweather Post Pavilion‘… (remember the hacked email accounts and the Christmas day leak?!).
Why the fuss? Because LCD Soundsystem have a few fantastic records under their belt but ‘Sound Of Silver‘, one of the albums of the decade it might be, still hinted that possibly — and I mean this lightly — there was room for progression.
New single ‘Bye Bye Bayou’, out on the 24th of November via DFA Records is being released as a free download, which is an awfully nice gesture. It’s a cover of Alan Vega’s original from the 1980’s. Stretching to over seven minutes, this retains the retro feel whilst extending its capabilities with perfectly-timed handclaps and smooth bass grooves. It’s textbook Murphy and one to wet the tastebuds. (JM)
mp3//
words: Jamie Milton
It seems as if as each day passes, ‘Bonkers’ becomes more and more asserted as this year’s summer anthem. And whilst new release, the Calvin-Harris produced ‘Holiday’ begins its journey of seeping into our systems, this remarkable second number 1 single for the cheeky, future Prime Minister grows even more so in popularity.
Here’s why:
1. It’s not actually very good at first – The first time Jo Whiley claims she’s discovered this little gem, you immediately want to turn it off, and I’m pretty sure Dylan Mills himself said it wasn’t nearly his best single to date. But it’s all about that hook, the pulsating, dry rhythms that guide it along the way. Scrap the meaningless lyrics, scrap the in-your-face stance it takes, it’s an immediate pop song that somehow grows.
2. The man himself is a lovely chap – Paxman might have ridiculed him, but Dizzee is a free-thinker, a popstar that isn’t ruling anything out. He emerged from an rough upbringing but he’s one of the few grime artists sending out the right message – have fun.
3. You can’t sniff the scent of Calvin Harris from a distance – he’s nowhere to be seen. And even though he re-invented the Dizzee Rascal brand and opened new doors for him with ‘Dance Wiv Me’, if he produced every hit single he’d be getting in the way.
4. It’s bouncy – Did you see them all bounce at Glastonbury? It was quite the bounce.
5. The MUSIC fits the TITLE – It’s very clever what they’ve done. ‘Bonkers’ is actually out there, zany and mad! Like what all the Big Brother auditionees claim to be.
mp3: Bonkers // alt
TRACK REVIEW: Friendly Fires – Kiss Of Life
words: Martyn Young
Friendly fires have a growing reputation as one of the UK’s most exciting and invigorating bands thanks to their infectious mashing of funk and disco rhythms with traditional anthemic indie aesthetics, add to this their outstanding live shows led by the fleet footed dance moves of singer Ed McFarlane and you have all the ingredients for a band ready to make the step forward from critical acclaim to mass devotion.
Kiss of Life, a brand new one off single, may be the song that allows them to do this. More overtly poppy than anything on their album it is a dazzling mix of samba influenced beats, disco grooves, and a hook that burrows itself into your brain and refuses to budge. The song showcases their inventiveness and sheer musicality as it flits from section to section, from a carnival sound to blissed out dance. Very Impressive.
mp3: Friendly Fires – Kiss Of Life // alt
TRACK REVIEW: Simian Mobile Disco – Audacity of Huge
words: Martyn Young
On hearing this first single from Simian Mobile Disco’s forthcoming second record “Temporary Pleasures”, the Chemical Brothers should be extremely worried that their position as the Uk’s pre-eminent dance duo is about to be usurped.
“Audacity of Huge” is an apt title for this electro monster of a tune. The beats twitch, flicker and jerk around in that familiar SMD style, however, the real revelation on this track is an outstanding, mesmerising vocal performance by Yeasayer’s Chris Keating. The song relentlessly forces its way into your brain as Keating delivers an amazing vocal performance, almost rapping his way through completely random yet captivating lyrics.
This is the sexiest, funkiest, catchiest dance track you will hear all year. Simian Mobile Disco are the new kings of UK dance.
mp3: Simian Mobile Disco – Audacity of Huge (feat. Chris Keating) [alt]
MFM @ HYPEM
