NEW MUSIC - Part 1

THUMP are pleased to being you the premiere of Reality Testing, the brand new album from Lone, due for release on June 16th.

Lone - Cutched Under

'Faith In Strangers' is the title track from Andy Stott's forthcoming album, due for release via Modern Love on November 17th/18th.

Andy Stott - Faith In Strangers

“This is the first song with lyrics we’ve ever written. We never really thought of ourselves as having a “singer” but we knew that we wanted a voice for Khruangbin. We decided to write about something close to us, tell a story as simply as possible, and sing it together.”
- Khruangbin

Khruangbin is a three-piece band from Texas, formed of Laura Lee on bass, Mark Speer on guitar, and Donald Johnson on drums. Taking influence from 1960's Thai funk - their name literally translates to "Engine Fly" in Thai - Khruangbin is steeped in the bass heavy, psychedelic sound of their inspiration, Tarantino soundtracks and surf-rock cool. Khruangbin's exotic, individual sound is captured at their spiritual home, a remote barn deep in the Texas countryside where their first rehearsals took place. Debut album ‘The Universe Smiles Upon You’ is scheduled for release at the end of this year.

http://khruangbin.com
http://khruangbin.bandcamp.com
http://soundcloud.com/khruangbin
http://twitter.com/khruangbin
http://facebook.com/khruangbin

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Buy On Bandcamp

Khruangbin - White Gloves

Made with Max/Msp, Logic

Samples used from:
Junior Senior
The Weekend
Joni Mitchell
Frou Frou
Stereolab
Nelly
Steve Miller Band
YG Feat. Tory Lanez
Drake
The Beach Boys
Aaliyah
The Doobie Brothers

Cybele's Reverie, Stereolab (DJ Recut)

Out now on 2LP/CD/Digital
https://hypercolour-records.bandcamp.com/album/you-exist

Hypercolour proudly announce the latest long player from UK stalwart, Ed DMX AKA DMX Krew, the visionary British electronic producer who has been responsible for a slew of excellent releases for labels like Rephlex, Spectral Sound, Permanent Vacation and his own Breakin’ Records and Fresh Up Records since the mid 1990s.

‘You Exist’ is DMX Krew’s debut appearance on Hypercolour, and as expected the record features nine tracks of beautifully crafted, melodic electronic sounds.  From the opener ‘Spiritual Encounter’, DMX sets the tone perfectly with oodles of pitch perfect synth riffs and driving drums, working his way through snappy and bright pop moments like ‘Hard Copy’ to more melancholic, darker cuts like ‘Computational Paradigm Shift’.  DMX breezes in and out of electro techno territory to more contemplative IDM vibes with ease, testimony to the guy’s talent (that’s also seen him wear the hat of over 10 aliases throughout his career to date).

‘You Exist’ captures a very true and genuine musical form, produced and delivered with love from one of the scene’s unsung heroes, and makes it a great companion piece to another Hypercolour released album from similar stock (take your pick from Luke Vibert’s 2014 ‘Ridmik’ album or his latest Kerrier District LP).  A consistent and engaging album then from DMX Krew that will pleasure the ear buds of discerning listeners everywhere. 


DMX Krew - Daylight Saving (HYPELP005) [clip]

10 - Belfast

Andy Stott - New Romantic

GBX025
Stasis
by Pye Corner Audio

LP, CD and Download
26th August 2016

Stasis

Mountain View

Pye Corner Audio - Mountain View (clip)

Move D - Eastman

(Preview) Mark Pritchard – Beautiful People (feat. Thom Yorke) (Damplay bootleg)

Best of Mf

Doomsday

Ex-Aquarium

Cut It Upwards

Kidsuke

Tiny Concrete Block

Summer of Our Discontent

Two Armadillos - Theme (Oriol Mubu Edit)

The Digging Remedy

Artist - Noname (Feat. Eryn Allen Kane & Akenya)

Song - Reality Check

Album - Telefone

Telefone

Noname - Reality Check

For more information visit: http://www.klassikakzente.de/recomposed/home 

Some works are so familiar that it is almost impossible to hear them afresh, but that is what Max Richter has achieved with Vivaldi “Recomposed”. This is no mere arrangement; instead Richter has absorbed Vivaldi’s The Four Seasons into his own musical bloodstream. At first Richter followed the example of other works in the “Recomposed” series, which re-mix existing recordings, but, he says, “I wanted to open up the score on a note-by-note level, and working with an existing recording was like digging a mineshaft through an incredibly rich seam, discovering diamonds and not being able to pull them out. That became frustrating. I wanted to get inside the score at the level of the notes and in essence re-write it, re-composing it in a literal way.”Richter calculates that, in the process, he has discarded around three-quarters of Vivaldi’s original. He opens with what he describes as “a dubby cloud which I’ve called Spring 0. It functions as a sort of prelude, setting up an electronic, ambient space for the first Spring movement to step into. I’ve used electronics in several movements, subtle, almost inaudible things to do withthe bass, but I wanted certain moments to connect to the whole electronic universe that is so much part of our musical language today.” Other resonances are no less unexpected: Richter describes part of the first movement of his Summer as “heavy music for the orchestra. It’s relentless pulsed music, which is a quality that contemporary dance music has; and perhaps I was also thinking about John Bonham’s drumming. Then, in the second movement of Autumn I asked the harpsichordist Raphael Alpermann to play in what is a rather old-fashioned way, very regularly, rather like a ticking clock. That was partly because I didn’t want the harpsichord part to be attention-seeking, but also because that style connects to various pop records from the 1970s where the harpsichord or Clavinet was featured, including various Beach Boys albums and the Beatles’ Abbey Road.” Clearly, Richter has brought his own frame of reference to the project. As he says, “Vivaldi’s music is made of regular patterns, and that connects with post-minimalism, which is one strand in the music that I write. That felt like a natural link, but even so it was surprisingly difficult to navigate my way through it. At every point I had to work out how much is Vivaldi and how much is me. It was difficult but also rewarding because the raw material is so fascinating.”Just as Richter’s Seasons plays tricks with the way we hear Vivaldi’s original, so it also asks questions of the soloist, Daniel Hope. “Violinists have Vivaldi’s The Four Seasons hardwired in their brain. Daniel is likely to play the original I don’t know how many times in a year, and for him to have my parallel text going on in another part of his brain is a challenge. I think he did a wonderful job. He brought to it a deep engagement with the original, but he was fully prepared to cut this new swathe through the text.”


NEW MUSIC - Part 1

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