engine idling, around 5am

spain

Don’t let the name troll you. Dutch duo The Titts – comprised of RBMA grad Jameszoo and Eindhoven’s Y’skid Beats – deliver a dead serious bootleg version of Danny Brown’s 2011 smoker’s anthem, “Blunt After Blunt.”  A vindictive quality shines through on each of the track’s elements – from the opening wood blocks to the skittering synths, on to the ominous siren break and the hook’s voracious low-end. Summoning maximalist effect through minimalist measures, the two producers conjure up a potent DJ weapon, which has already been endorsed by the likes of Gaslamp Killer, DJ Shadow, Machinedrum and Salva.

Danny Brown - BAB (The Titts Bootleg)

Free download: https://hypeddit.com/flozbeats/overmonoeverythinguneedflozedit

Overmono - Everything U Need (Floz Edit)

Taken from the forthcoming 'Truth' EP by Earlham Mystics AKA Luke Abbott. Released on 12" EP, CD and digitally on 14th April 2017. notownrecordings.com

Truth ep

Truth

Earlham Mystics - Truth

From the album The Kid out October 6, 2017 on Western Vinyl

Pre-Order The Kid
BLEEP https://bleep.com/release/86790-kaitlyn-aurelia-smith-the-kid
Norman Records https://www.normanrecords.com/records/166212
Bandcamp https://kaitlynaureliasmith.bandcamp.com/album/the-kid
iTunes hyperurl.co/8n4qa5
WV http://westernvinyl.com/shop/wv170

In 2017, the musical term “electronic” is nearly obsolete given the ubiquity of computerized processes in producing music.  Even so, the prevailing assumption is that musicians working under this broad umbrella must be inspired by concepts equally as electrified as their equipment.  Kaitlyn Aurelia Smith has demonstrated in her still-blooming discography that this notion couldn’t be further from the truth, and that more often than not, rich worlds of synthesized sound are born from deep reverence of the natural world.  Smith (who by no coincidence, cites naturalist David Attenborough as a contemporary muse) has embodied such an appreciation on The Kid in as direct and sincere a way as possible by sonically charting the phases of life itself.  The album, which punctually follows up her 2016 breakthrough EARS, chronicles four defining cognitive and emotional stages of the human lifespan across four sides of a double LP.

The first side takes us through the confused astonishment of a newborn, unaware of itself, existing in an unwitting nirvana.  Smith’s music has always woven a youthful thread befitting of the aforementioned subject. Here she articulates it in signature fashion on the track “An Intention,” which serves not only as a soaring spire on The Kid, but on her entire output.  There is playfulness here, but it's elevated by an undertone of gravity into something compelling and majestic that is fast becoming Smith’s watermark.  The emotional focus of side two is the vital but underreported moment in early youth when we cross the threshold into self awareness.  The subject is profound enough to fill an entire album, but rarely makes its way into a single track, indicating Smith’s ambition to broach subtler and deeper subjects than the average composer.  This side offers up another highlight in the form of “In The World But Not Of The World” which serves its subject well with epiphanic, climbing strings and decidedly noisy textures over a near-Bollywood low end pulse.

Side three emphasizes a feeling of being confirmed enough in one’s own identity to begin giving back to the formative forces of one’s upbringing, which is arguably the duty that all great artists aim to fulfill.  This side ends with the exploratory album cut “Who I Am & Why I Am Where I Am” recorded in a single take without overdubs on the rare EMS Synthi 100 synthesizer. This humble piece of sound design serves as a contrast to side four’s verdant orchestral moments, all written and arranged for the EU-based Stargaze quartet by Smith herself.  This final side represents a return to pure being, the kind of wisdom and peace that eludes most of us until the autumn of life.  On “To Feel Your Best” this concept is voiced in the bittersweet refrain “one day I’ll wake up and you won’t be there” which Smith intended to be a grateful acknowledgement of life rather than a melancholy resentment of loss. The song has both effects depending on the mood of the listener, and both interpretations are equally moving.

Kaitlyn Aurelia Smith belongs to an ilk of modern musicians who are defined by their commitment to creating experiential albums despite the singles-oriented habits of modern listeners, and here she represents her kind proudly.  The subjects on The Kid are not simple to convey, and yet through both emotional tone and lyrical content, Smith does just that. There is a similar gravity to both birth and death, and rarely is that correlation as accurately and enthusiastically mapped as it is here.  As Kaitlyn Aurelia Smith explores her existence through music, she guides us in gleefully contemplating our own.

Kaitlyn Aurelia Smith - "To Follow and Lead"

Taken from the  album 'The Nearest Exit' out now on Zozaya/Signal.

Pre-order: https://memorydrawings.bandcamp.com/album/the-nearest-exit

The Nearest Exit

Download: https://www.xlr8r.com/news/daniel-avery-shares-gorgeous-ambien-work

@danielavery

Download

Download: Daniel Avery - Visible Gravity

Fieldhead is Paul Elam, with Elaine Reynolds. Based in London and Manchester, UK, they produce electronic music that ranges from geography inspired tape loops to tense synth and violin led tracks. They have released three studio albums and a number of EPs (including 'Fury and Hecla', a collaborative release with Loscil). Their most recent album is ‘we’ve all been swimming’, released by Home Assembly Music on June 30th 2017.

The latest album marks something of a shift for Fieldhead. Previous releases have seen Elam take a detached view from the hillsides of West Yorkshire and Western Canada, but with his latest full length the subject matter is closer and more immediate. Tensely wound synths lead throughout the album, shifting from the breathless momentum of the opening track through to pulses reminiscent of Colin Stetson on ‘ton’. The unique violin playing of Elaine Reynolds glides sparingly across the record, tempering the constantly shifting arpeggios and accentuating the human elements within the record’s machine-like core. The haze found on previous records still hangs, but now it’s the haze of a crowded street or the last train home.

spain

fieldhead

Related tracks