The Hype Williams tripped out performance at Plastic People fittingly capped a day that started with a Syd Barrett exhibition.
More of that please.
Entrepreneurs off kilter ‘Bubblegunk’ get the treatment in this piece directed by Tyler T. Williams. Lovin it.
Something to keep y’all movin on the weekend
The softly spoken 24 year-old has already won over BBC Radio 1’s foremost taste maker Gilles Peterson and his Brownswood recordings with a handful of off-kilter, loopy electronic ditties blessed with his delightfully rambling musings on modern life. Born and raised somewhere between London, Coventry, Nigeria and Dominica, Obaro admits that his heritage is important to him, but that it hasn’t consciously affected his musical career: “My parents enjoyed listening to music around the house but never really encouraged it as a career. I kind of pursued listening to various sounds late into the night when the house was asleep.” Don’t sleep on this young, inventive, British artist – he’s destined for greatness.
By the age of 23, Anita Blay began making headlines as the sassy electro-pop soloist the Cocknbullkid (a self-chosen moniker attributed to her bullsh*tting ability). Born in East London, to Ghanaian parents, she started making music with various hip-hop artists while in a youth placement program, continuing recordings with her computer and MIDI keyboard in her dad’s Hackney flat.
She expanded her sound with the help of Metronomy founding member Joe Mount, and her debut single was released on Metronomy’s 7” label. In the summer of 2008, Blay played the major U.K. festivals, using backing tracks off a hard disc and a live three-piece lineup, then went on to tour with Santogold, CSS, Metronomy, and Late of the Pier.
Fast forward 2011 and the much anticipated album ‘Hold On To Your Misery’. Be sure to check out her performing the latest creations at CAMP.
James Yuill’s second album does so much more than put beeps and clicks on top of the work of a singer-songwriter: Movement in a Storm is modern pop album that happens to have been made by someone who can also write and play folk music. The dominant sound is not the acoustic guitar, but the throb of synthesised kick drum that propels most of it gently towards the dancefloor. When he does turn to the acoustic, Yuill supplements it with percussion and synths (Sing Me a Song), or the unexpected organ that jolts the listener on Foreign Shore. And when he puts folk and dance together, as on close Taller Son, it’s treat. Yuill’s one weakness is his unexceptional voice, but he has an ability to create melting melodies – at times there’s a purity that recalls Vince Clarke’s songs for Depeche Mode and Yazoo – with enough melancholy to suggest hidden depths. A pleasure indeed. (The Guardian)
Pitchfork review of The Magic Place:
The interface between the voice and technology is central to Juliana Barwick’s art. A Louisiana-born, Brooklyn-based singer who previously released the album Sanguine and the EP Florine, Barwick makes music whose raw material is almost exclusively her voice. But it’s hard to know what she might sound like alone in a room. When she records, Barwick layers and processes and twists her utterances into figures that can alternately be described as familiar, soothing, alien, and tense. She might bring to mind the bright harmonies of Panda Bear or the mystical invocations of Elizabeth Fraser, but her approach is her own.
Agents Van Alden + Sebso
Jordan Koplowitz and Reed Juenger summon up the mundane things in life, the things that we pretend don’t matter but the stuff that keeps everyone going; the first sunny day, getting the girl, slacking off, partying… things that are overly romanticized in movies. This is absolute indulgence, because the world is an incoherent jumble of perception and we all pass on eventually. So let’s have a good time and not worry too much, Saturday night always becomes Sunday morning.
Beat Connection’s debut single Silver Screen is released February 28th, on Tender Age (a Moshi Moshi label)
Debut mini-album is released in spring 2011.