August 07, 2020
Welcome to Important Releases, our weekly roundup of the perfect music on Bandcamp. This column started as a option to advocate essential new albums. Nevertheless, till additional discover, we’ll be utilizing it to highlight the data which can be resonating with us proper now, no matter once they had been launched.
Deltalite Odyssey, Melbourne artist Rory McPike’s debut effort as Cactus Head, is the proper lounge-around-and-do-nothing album: a comfortable mix of balearic pop and lo-fi rock, easily paced and sun-soaked to perfection. Like lots of his tasks (Rings Round Saturn, Bleekman, Pickleman, and many others.), it’s an digital undertaking underpinned by numbing texture and new-age bliss—however whereas these endeavors channeled that dreaminess into techno and ambient, Deltalite Odyssey presents—to cite the colourful album description—”DMT-induced ’80s ballads and drum machine-driven mid-fi boogie.” What its songs lack in sheer impression—cuts like “Elevate” and “Crimson Bluff” sound like mall music heard from underwater, pop hooks drifting amongst murky snares and synths—they make up for with a robust devotion to type, expressed by means of minimalist savvy and psychedelic heat. Typically, the perfect issues in life—and music—are understated.
Alter Ego: Fleeigo Delgado
The New York rapper Flee Lord opens his June album Alter Ego: Fleeigo Delgado with an apology. “So, we needed to pull an audible,” he says. “We was engaged on Loyalty & Belief the second version, however we wasn’t positive if it was gonna make this month. So I put this collectively.” He’s speaking about the truth that he hasn’t completed the follow-up to final 12 months’s Loyalty & Belief, however he has nothing to be sorry for. Over the past 24 months, Flee Lord has been churning out albums at a staggering tempo—solo LPs in addition to collaborations with Eto and 38 Spesh. He turned up on the final album by Belief Military, a collective of kindred-spirit rappers like Che Noir, Planet Asia, and Rome Streetz. He additionally makes an look on the upcoming, career-best album from Griselda rapper Conway. In different phrases, when he informed us final 12 months that his purpose was, “To make extra music than anyone else,” he wasn’t kidding. But when Fleeigo Delgado is, as he places it, “an audible,” then it stands as one more testomony to only how good Flee actually is. Not one bar on the album’s 10 songs feels shrugged off or phoned in. As an alternative, Flee leans in onerous, his voice grinding insistently towards the beats like rusted-over cogs cranking away inside a turbine. On the dazzling “Funeral Residence,” over a tense, organ-driven backdrop from the producer Dolla, Flee presents boasts like, “Droppin’ albums like my arms greasy, it’s mad simple,” “Y’all bums within the sales space, I include the reality,” and “All my verses high-speed, that’ll value you 9Gs.” Regardless of who’s behind the boards, the manufacturing maintains a form of humid, August-in-New-York vibe, and Flee’s voice on each tune is as jagged because the blade of a buck knife. It’s the form of report that makes you excited to listen to what the artist goes to do subsequent. Figuring out Flee Lord, we’ll discover out in about three or 4 weeks.
2020 marks the 100th birthday of the theremin, one of the crucial superbly unusual instrument in recorded music. Initially, the theremin operated inside a classical, albeit futuristic, context; a century later, its eerie tune permeates horror and sci-fi scores, avant-garde electronica, and electro-jazz, amongst different highlights, as explored by Jim Allen in his story on the theremin’s centennial this previous April. The celebration continues this week with a brand new compilation from London producer Gaudi that recasts the theremin as a starring dub participant. For all its sci-fi mystique, the theremin’s gliding ghost-song is an ideal match for these buoyant riddims, carrying the melodies alongside in a delicate, winding present. A stacked roster of board wizards sweetens the deal; Mad Professor, Adrian Sherwood, the Scientist, Prince Fatty, and Dennis Bovell come by means of with their very own distinctive takes on the instrument, from the balmy (“Smoking Dub”) to the James Bond-esque (“Secret Service Dub”). Dub has all the time been about exploring house, the very precept on which the theremin operates within the first place: in different phrases, the 2 are a match made in heaven.
Launched in 1972, Buddy Terry’s Pure Dynamite captures a fertile time in jazz, when purists wrongly predicted its demise, opening the door for musicians like Terry to fuse it with funk, soul, gospel, and West African rhythms and create one thing new. As a result of jazz had change into much less well-liked within the mainstream, Terry flew beneath the radar. Which means Pure Dynamite didn’t get the credit score it deserved as a spirited set of put up bop and fusion meant to unite previous and current sounds. It was his second album for Mainstream Information, following the equally nice Consciousness from 1971. With gamers like drummer Billy Hart, trumpeter Eddie Henderson, and percussionist Mtume on the album, Pure Dynamite is a fluid interaction between among the style’s greatest purveyors of Afrocentric jazz. Terry favored shape-shifting orchestration; on Consciousness, it got here within the type of its 13-minute title monitor. Right here, on the album opener “Quiet Afternoon,” the band opens with a sauntering groove that picks up steam across the two-minute mark, because the trumpet and Terry’s saxophone ascend to the fore. The tune, with all its crescendos, lastly congeals, ending as a stellar psych-funk hybrid. Then there’s “Baba Hengates,” the album’s regal 17-minute nearer: Jazz heads would possibly acknowledge this from Mtume Umoja Ensemble’s album, Alkebu-Lan – Land Of The Blacks (Reside At The East). However the place Mtume’s model felt looser, Terry’s rendition is a tightly-coiled procession of some totally different subgenres—avant-garde, ambient, and swing. You want Pure Dynamite in your assortment immediately.
Merce Lemon’s Moonth has a form of self-possessed steeliness beneath its indie pop delicacy, but the Pittsburgh songwriter’s mild contact imbues her music with an inviting heat that tempers its heartfelt expressions of emotional vulnerability. To not indicate this can be a bummer report, as a result of it’s not. There’s really a whole lot of playfulness right here, particularly in its lyricism. Lemon writes very smart songs with out being overly mental in her strategy nor overly childlike, even when utilizing myriad meals metaphors to delineate the pains of heartbreak and resignation. Moonth can also be stylistically various, with songs starting from hushed and folky acoustic guitar ditties to extra atmospheric explorations and twangy ballads. There’s even an indie rock tune or two—although they’re the exception somewhat than the rule, and all the time err on the twee aspect of the spectrum. A deceptively simple-sounding report, Moonth will draw you in with its accessibility, but it surely’s Lemon’s fearless honesty that leaves the deepest impression.
UV-TV’s proclivity for shading their twinkly pop-punk with doomy streaks of post-punk, coldwave, and shoegaze was already evident on their wonderful 2017 debut Glass, however the method coalesced much more formidably on final 12 months’s Completely satisfied with out sacrificing the massive, large hooks that makes the band’s music irresistible to anybody with a love for a fantastic rock tune performed breathlessly quick à la Tiger Entice. What units this band other than many of their specific milieu is how they’re capable of pair such high-energy, seemingly throwaway songs with deeply felt feelings that really feel as expansive because the working occasions are quick. Bassist Rose Vastola’s velvety vocals stay a balm on the ear they usually profit immensely from Completely satisfied’s larger manufacturing values than what was discovered on their comparatively garage-y debut. However so does all the pieces, actually, as a result of music that’s tightly wound and locked-in all the time sounds higher when you possibly can cleanly hear all of the shifting components. Highlights embrace the fractured “Inside Out,” the buzzy title monitor, and the dissonant “Gold,” which is matched in its upbeat expressions of pleasure by gross squeals of guitar straight out of some nameless music video that aired on 120 Minutes in 1992.
Golden Hallway Music
Guidelines & Probability
Named for a poetic fragment by the late David Berman (“If Christ had died in a hallway we would pray in hallways/ or put on little golden hallways round our necks”), Golden Hallway Music is the moniker beneath which Zack Tornaben data whimsical, wondrous daydream miniatures within the hallway of his New York condo. Guidelines & Probability is his second self-released assortment, and its songs triangulate kosmische circus themes, pastoral new age, and African keyboard modalities, making a humble fantasia of open-horizon melodies and electrical sundown textures, all of them impressed by moments of quotidian magnificence: freeway relaxation stops, gentle air pollution, metropolis rooftops at evening. It’s a quiet gem, stuffed with meditative moods and minimalist means, pulled from the mouth of the metropolis into beatific spheres above.
-Britt Brown, proprietor, Not Not Enjoyable Information