Kyson
Patience – EP
Moodgadget

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Being a fan of most electronic music, I have to say that pure ambient style is not one of my favorites; however, the moodscape provided by German writer/musician/producer Kyson (Jian Kellett Liew) offers a reach inside of his mind and soul with his latest EP Patience. “This EP was about experimenting with layers of emotions to create a plateau of sounds that become one.”

Six tracks that blend together to form an ambient cacophony of mood-driven “quite music” that can played in almost any situation to the soundtrack of life. It is evident from the opening notes and soft quietness of the first track “You May Have Limited Time,” Kyson is inviting the listener to begin a journey toward inner peace and harmony.

The next track “Company for Us,” blends together and interesting mix of soft Drum n’ Bass with an almost jazzy type of irrelevance that flows through the soundscape with many fades.

The ghostly and haunting “Frustrated with Myself” is another smooth blend of beats filtered with gothic vocals from time to time and reminds me a little of an Art of Noise song.

“Washed Out” and “Patiently Waiting” are the next tracks that complement one another quite well setting the overall mood of the album. yet it does little sonically to engage the listener.

By far the best track is left for last with “Ink Ties,” a melodic melodrama that offers dainty keyboards over a tender back beat.

Gabriel and the Hounds
Kiss Full of Teeth
Ernest Jennings Records

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• Facebook
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When I got this assignment I wasn’t really sure what to expect out of Gabriel and the Hounds’ debut album Kiss Full of Teeth, but upon first listen I was instantly hooked with its mix of pure indie brilliance, scoping from spaghetti western music, slow gothic desperation, orchestrated elegance, early ’70s Velvet Underground like punk, spacey electronic ambient and psychedelic folk.

Upon further review I realized the band was basically just a one man outfit consisting of Brooklyn native Gabriel Levine (Founding member of Takka Takka), who invited a few friends (including members from St. Vincent, Bjork, Sufjan Stevens, Sigur Ros, and Beirut) to record with him.

I was truly blown away at this diverse outing. Levine’s style reminds me a lot of old Beck in the way that Beck was not afraid to stick to one style or genre when recording albums and Kiss Full of Teeth is cut from that same fabric.

From its opening track “A Beginning (rethinking the Urban Agenda)” with its ambient beauty; it is clear that this album is something special.The reverb-heavy guitar virtuoso “What Good Would That Do?” the song sounds like the backdrop to a Clint Eastwood Italian Western flick. Next up is the somber “Wire and Stone” with its gothic undertones surrounded by be-bop persona and orchestrated beauty followed by the horn-filled “Lonely Thief,” with its haunting vocals over mandolin strums and flutist brilliance.

The next track “The World Unfolds” is my favorite track of the album and has that CBGB punk rock vibe synonymous with the sounds of the Velvet Underground and Wreckless Eric during the late ’70s. The next song, “When We Die in South America.” reminds me a lot of late ’80s Jesus and Mary Chain. Its echoing beats, brazen but spacey vocals covered lavishly in sonic reverbing guitar licks blend together with some violin accents. The amazingly acoustic ditty “Talk of the Town” and the earthy folk driven “Photos of the End”  offer up amazing contrast to one another and truly show Gabriel’s musical range.

Surrounded by two acoustical gems “An In-Between (Full Where You Are)” and “An Ending (Between Friends)” falls the highly graceful “Who Will Fall on Knees?.”

Having listened to this album many times over, it is now clear to me that this album comes from the heart and is highly personal to Gabriel. Each song remains a reflection of emotions ranging from love to empathy. It could not come more highly recommended.

Links:

• Royal Canoe on Bandcamp
• Facebook
• Twitter: @royalcanoe

Another superb band out of Canada, Royal Canoe offers four infectious treasures on their debut American EP titled Extended Play. This unique band doesn’t live by the one genre rule by blending rock, pop and indie into a cacophony of sound and harmony.

The first track, “Hold on to the Metal,” makes me envision that this is the song the world would wake up to in the morning of a long night of restful sleep. With a poppy and perky bubbliness of a percolating coffee pot brewing, the track leads into a rush of rhythm and business of a bustling city heading into the daily grind.

The next song, “Bathtubs,” is a very slow groove with catchy hooks and lyrics with a bit of grittiness provided to the vocals. Followed by the hip yet cool funky fresh beats, amazing surf guitar riffs and harmonic/demonic vocals makes the track “Bloodrush” eerie yet fun to listen too.

However, my favorite song of the EP is “Caught in the Loop.” To me it’s a throwback song to the early ’60s  California Surf sound. It paints a scene of sandy beaches, huge waves and beautiful girls dancing in the sunset next to a raging bonfire providing a great finish to an excellent album.

Lindstrom
Six Cups of Rebel
Smalltown Supersound

Links:

• Lindstrom’s official site
• Facebook
• Twitter: @feedelity

From the land of the Nords and Vikings comes dance producer Hans-Peter Lindstrom’s third solo release of 7 mixed original songs titled Six Cups of Rebel. The album features all aspects of electronic music including ambient, fresh funky beats, house and a bit of straight trance hop.

The splash track “No Release” is a beautiful symphonic illustration of pipe organ brilliance that would seem to fit perfect if your local church were to have a rave for charity on Friday night. This leads straight into the next song “De Javu” which consists of high energetic house beats with a funky bassline and some very rare vocals from Lindstrom himself.

The following track “Magik” is a spritely little ditty mixed with ambient noise surrounded by syncopated drum beats and high hats culminating in the middle to high energetic dance track.  Next up is the Daft Punk influenced “Quiet Place to Live,” which by far is my favorite track of the album with its synthesized guitar licks surrounding a high tempo trip-hop beat and bizarre vocals.

The next song up is the cacophony of robotics at play called “Call Me Anytime.” Rich in business and dance beats this track draws in from the beginning and holds you by the throat to the last beat and clockwork tic tocks. The tinkering tocks continue into the title track “Six Cups of Rebel,” but you can tell from the first few seconds you are in from a treat with its funky slap happy bassline that shocks you out of the hypnotic trance of the previous song. Continuing on, this track reminds me a lot of the Art of Noise with its random vocals and spacey eclectic sounds.  The last number off the album is the ten minute long opus “Hina,” which is a dreamy sort of orchestrated madness of super sound and light. I imagine that if the Aurora Borealis had a soundtrack this song would be this track would definitely be in the top running.

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• Official Site
• Facebook

A far cry from their debut album of ambient noise and lack of lyrics, the New York based Dinowalrus’ sophomoric effort Best Behavior is a more mature blend of indie alt rock mixed with electropop and a flash of brilliant vocals.

It is evident from the first few notes on the splash track “Gift Shop,” that the new direction of the band is one to take notice of for the future. Often referred to as psychedelic dance music, they remind me a bit of the early 90’s Manchester UK artist like The Stone Roses, Happy Mondays and the Charlatans UK. This sound is clearly displayed in a rich and unique blend of vocals and blazing guitar riffs in the next tracks “Phone Home from the Edge” and “Beth Steel.”

The following track “Rico” lead the listener off to a more electropop dance track with a purely techno beat and spacey vocals that very much reminds me of early 80’s new wave. The next song “Twenty Seven Club” is a purely ambient and sporting a beautiful guitar solo in fifty-nine seconds.

The next jam “What Now,” which is by far my most favorite of the album, is a more upbeat tempo with a fast paced and raunchy bass rhythm and rocking guitars. This is followed by the purely synthpop driven “Radical Man,” which is a very solid track as well with dreamy notes and fierce vocals.

Next up is the very Sonic Youth sounding “Burners,” which is another one my favorite songs off the album. Rounding out this stellar disc is the ambient-infused “Riding Eazy,” which also contains a pop rhythm, catchy guitar licks and great vocals.

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• MySpace
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I have to admit that growing up I did not really care for the Pixies; however, as I came to mature I could appreciate their sound and they really grew on me. The same can be said for Black Francis’ latest collaboration with his wife Violet Clark on their second album under the name Grand Duchy entitled Let the People Speak.

An interesting mix of Black Francis’ awesome guitar work mixed with an electronic back beat covered by a healthy dose of ambient sound, it is everything that I liked about Francis when he was with the Pixies. Violet’s voice on the other hand is a stunning compliment to the album making it rich in soul and texture.

It is most evident on the track “Dark Sparkles and The Beat” where Violet’s echoing and penetrating vocals splay over the top Francis’ reverberating guitar chords to a hip late ’80s sub pop beat.

The track “Silver Boys” epitomizes what this album is all about by not being just a “hey we are couple, let’s make an artsy album.” It combines Francis’ sing chops intermixing with Violets sultry vocals to beat of a mid ’80s electro-pop song. This track is followed by the super sexy and sultry dance beat of “Illiterate Lovers,” which is another highlight of the album.

An interesting note to the album is the use of voice overs that narrate the listener through the album from track to track providing a glimpse of the nature of the tune they are about to hear.

Other tracks of note are the grungy late ’70s dance club-sounding “See-Thru You,” the hyper intensive dance track “White Out” which is consequently a reference to the Liquid Paper product, the very Pixie-ish “Where is John Frum” and the dark and foreboding gothic sound of “Annie Bliss.”

The last track on album, and subsequently the title track, adds the piece de resistance to a genuinely interesting fusion of what the world may have been given if the Pixies had crossed with Soft Cell during the mid ’80s. The blend of mesmerizing vocal combinations on top of Black Francis’ amazing guitar licks and orchestration of syntho-sizemic sounds makes each track of the joint uniquely individualistic.

Links:

• Marc Vanover on Soundcloud
• 
Marc Vanover on MixCloud
• 
Marc Vanover on Facebook
• Marc Vanover on Twitter

Marc Vanover first became interested in electronic music in the Houston nightclub scene during the mid-eighties, but he didn’t start DJing until 1995. Vanover became a regular of the early Houston rave scene and many of my friends were DJs. He has always been a musician of sorts so DJing came naturally to him. Spinning Techno and Breaks around Houston until he moved to Austin in 1996, he became immersed in the Austin House scene and, with the help of a very talented group of DJs, he became a successful House DJ. After playing alongside the greats—Paul Dyne, Mike C, Thomas Sahs, Brett Johnson, and Rob Vaughn—Vanover considers himself very fortunate to be a part of the Texas underground.

How did you get started doing DJ work and what motivated you to learn the craft?  

I was first inspired to play records by the Matrix Crew DJs at Houston area raves in the mid-nineties. Many of my friends were DJs and they encouraged me to start collecting records and spinning.

What influenced you to get into the type of style and sound you currently DJ?

When I moved to Austin in 1996, I was surrounded by great House DJs and instantly took to the House vibe. Whether I’m playing House or Techno, it has to have that groove that makes people want to dance. That’s what a good House DJ does.

How did that transcend into your life and become a part of who you are?   


House music is a brotherhood but it is also a frame of mind or a way of thinking, always positive and uplifting.

What is it that first attracted you to electronic music? Tell me about your music collection? What are some of your personal gems and why do you consider them essential?

I was first drawn to the way that Electronic music could move people, physically through dance and emotionally as well. My collection is a somewhat eclectic but very powerful mix of House, Tech House, Techno, Minimal, Electro and Breaks. Some of my favorites are: Ponente by Alex Kenji, Tetra by Bunkers, I Got Something by Atnarko and House Gangster Phil Weeks Dub by Wally Callerio. These tracks are not only great on their own but make perfect transitions and sound good in any set.

How has the city of Houston influenced you and your work?

I grew up in Houston and started clubbing there in 1984 at the famous club NRG as well as Numbers, Power Tools, Riches, Therapy, Excess, and many others. I loved seeing the huge and diverse crowds all moving to the beat. I am still heavily influenced by the edgy and urban Houston sound.

What trial and errors did you encounter while developing your style? How did you know that this is the sound that was right for you?    

I would like to think there are no mistakes, just endless experimentation. My style’s development can be best described as an organic progression of my tastes and skills so I never question the direction.

Why become a DJ? What gives you the most satisfaction when DJ’ing?

I always wanted to DJ so I could move people and there is no better feeling than that!

Tell me about what you are doing now and some of the important highlights for you that happened in the last year?

This year marks my return to my roots as I have picked up the guitar again and have been jamming lately as well as making a return to vinyl DJing.

 What are your plans for 2012 and what do you want to accomplish in the future as a DJ?

In 2012 I am planning another Unify party in Houston as well as starting my career writing and producing electronic music.

Link: The 2 Bears on Facebook

Not to be confused with any name of an alternative lifestyle flick you might find at your local smut shop, the London duo The 2 Bears drop their first full length album entitled Be Strong.

This album comes straight from the London house scene with highly infectious beats provided by Hot Chip’s Joe Goddard and overlaying vocals by Raf Daddy (aka Raphael Rundell). This interesting duo seems to capture the sounds of the streets of London by blending a mixture of high energy house music with some steel drums, xylophones and horns.

It is evident from the first instrumental only track “The Birds & the Bees” that this album is going to be different from any other house driven joint that came before. Utilizing different instruments into this track offers an array of images of life moving in bustling streets capturing the essence of  the daily lifestyle of London.

It’s not until the second track, “Be Strong” does have the high energetic bass as it becomes present with a heavy serving of vocals that makes you feel you have entered the nightclub scene. Much like a mix album, this song blends into the next track “Bear Hug” flawlessly.  “Bear Hug” is an interesting combination of backbeat and techno with a vox reminiscent of Scream’s “Do you Like Scary Movies” killer voice.

With a smooth transition, “Bear Hug” leads into the first single off the album, “Work.” The album and this track especially make me think of the band Underworld. The similarities between the two are a bit uncanny in areas, but other parts of the album remind me of Orbital which makes this group interesting.

The next track “Warm & Easy” is totally different from the previous three in that you can definitely feel a specific identity. Almost as if the album rebooted itself to the beginning; however, the following tracks “Take a Look Around” and “Ghost & Zombies” take you back to the dance floor.

The most pop-inspired track of the album is “Time In Mind” which personally doesn’t seem like it fits at all on the album except maybe on a hidden track that is far removed the songs surrounding it.

‘Faith” seems to get the album back on track, offering an instrumental backbeat mixed with sounds from the street that remind me of a city on the cusp of awakening for the day ahead. The next two tracks “Heart of the Congos” and “Get Together” bring back the house flair to meet full circle with rest of the album.

The last track (personally my favorite), “Church” is an awesome mix of samples, organs, backbeat and steel drums which I have never heard before on any electronic album. Add in the haunting vocals reminiscent of a purely thick Guy Richie movie-like London accent, this song is well worth the wait.

Baring the one track that didn’t seem to quite fit the album, though that may have been the artist’s point of including it, this album comes highly recommend for a listen.

Barry Adamson
I Will Set You Free
Central Control

Links:

Barry Adamson Official Site
Barry Adamson on Facebook

Post punk icon and true visionary by every sense of the word, Barry Adamson started his career with the early 80’s post punk synth pop band Magazine along with Howard Devoto of the Buzzcocks.  Playing bass guitar on all Magazines’ albums and a brief appearance on one Buzzcock album, Barry went on to play on Devoto’s solo albums as well as Devoto’s next band Luxuria. He continued on to play on the New Wave band Visage’s first two albums Visage and The Anvil.

After Magazine broke up, Barry moved to record with Nick Cage and the Bad Seeds first four albums that include From Here to Eternity, The Firstborn is Dead, Kicking Against the Pricks and finally Your Funeral…My Trail. In the late 80’s Barry finally went solo releasing the EP The Man with the Golden Arm followed briefly by his first album Moss Side Story. Barry has also contributed works to soundtracks which most notably include Oliver Stones’ Natural Born Killers, David Lynch’s Lost Highway, and Danny Boyle’s The Beach.

I Will Set You Free marks this British crooner’s tenth studio release with an unmistakable cacophony of musical styles that makes every track unique and drastically different from any other track on the album. It is safe to say that this album has it all ranging from pop, jazz, punk, rock and R&B.

From the opening track “Get Your Mind Right” you realize with its hard-hitting rock rifts over a purely funk rhythm section that this album is a pure joy ride from beginning to end. Sounding as good if not better than the iconic Tom Jones, Barry can belt out a lyric like no other, and it is totally evident on this first song.

The next track “Black Holes In My Brain” is a very jazzy but soulful little ditty that is funky and upbeat with a hint of pop in its soul. It is highlighted by a brief Cab Callaway moment towards the end of the song which is truly genius and fitting. The next song “Turnaround” is a pop song that truly shows off the greatness in Barry’s voice.

Next up is the R & B piece entitled “The Power of Suggestion” which has a quirky sound that is very much like a Jack Johnson song. The following track and first single, “Destination,” is an adrenaline high power punk rock song that is a throwback to his early musical career.

The next track “The Trigger City Blues” is by far the most interesting piece on the album. Part spoken word, part electronic, but altogether telling a story of a crime of passion, including sound effects, gives the feeling of a frame story. Starting quiet and building to an abrupt end, the track leaves with a sort of unfinished easiness but leads nicely into the following song “Looking to Love Somebody.”

The last three tracks off the album include the rock inspired “The Sun and The Sea,” the deep pop soul song “If You Love Her” and the late 80’s synth pop flavor of “Stand In.” The latter song sounds a lot like a cross between Gary Neuman meets The Cars which rounds out this gem of an album.

(Click on the label to listen/download the song.)

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• Website
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Like a phoenix rising from the ashes, Leonard Friend (a.k.a. Alex Feder formerly of the New York band XYZ Affair) reinvent himself into a modern-day Bryan Ferry with his soulful voices and his Tintin inspired hair cut.

“Serious Music” is the first single released of his upcoming EP entitled Lynryrd Frynd due out January 31, 2012. The song is a very playful tune harkening back to the days of early 80’s synthpop. Sounding very much like ABC or later Duran Duran, this song coming straight from the heart completes Leonard’s transformation into a true rising R&B pop star.

This track is a good sign of things to come from this artist, and am looking forward to seeing what more he has to offer.