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Space Captain – Two (Radio Edit) (Tru Thoughts)
Breakplus – Silver Bangle (Mythstery)
Album of the Week: Jewellers – Enjoy Your Stay
Jewellers – Swing Kids (Bandcamp)
Sidestepper – Come See Us Play (Real World)
Dayme Arocena – Madres (Ron Basejam Remix) (Brownswood)
Alex Malheiros – Uno Esta (Spiritual South Remix) (Far Out)
Rim & Kasa – Shine The Ladies (BBE)
Antonio Carlos e Jocafi – Quem Vem La (Cultures of Soul)
Album of the Week: Jewellers – Enjoy Your Stay
Jewellers – Sundowner (Bandcamp)
Bosq – Pay The Price (Ubiquity)
Ekambi Brilliant – Aboki (Mon Copain) (African Sevens)
Bunty – Boom Clac (Beatabet)
2nd Hour
Ziga Murko – Glow (RX:TX)
Willie West – I’m Still a Man (Lord Have Mercy) (Timmion)
Cate Ferris – Disappear (Leroy Horns & Seth Tufnell Remix) (Bandcamp)
La Mechanica Popular – Noche Triler (NYCT)
4th Coming – The Dead Don’t Die Alive (Now-Again)
Mini-Mix: Frank McQueeny
DJ Vas – The Moment
Late Night Tuff Guy – The Groove (Tuff Cut 04)
Escort – My Life (Escort Edit)
Fatty Mombassa – Be Good Do Good
Thomas Roland – Bubble Gum
Opolopo – Round and Round feat. Diane Charlemagne (Opolopo 4 To The Floor Mix)
Till Von Sein – The Manifest feat. Mr. V (Pablo Fierro Remix)
Kneebody & Daedelus – Drum Battle (Brainfeeder)
New Xperience – Frisco Disco (BBE)
Album of the Week: Jewellers – Enjoy Your Stay
Jewellers – Heartburner (Bandcamp)
Fred Everything – Searching feat. Jinadu (Deetron Remix) (Lazy Days Music)
Claire Boucher wants to play it cool, but as her alter ego she just can’t help standing out. Meet the woman making the most exciting pop on the planet
Claire Boucher sighs. It’s the sort of sigh that comes with an eye-roll and exasperated sub-vocal muttering. A sigh that, despite her best efforts, she can’t quite seem to suppress. She does it the first time when she hears which songs I’ve been allowed to listen to on her closely guarded fourth album Art Angels, a hyperactively eclectic record that piles up pop and dance tropes into gratifyingly alien forms.
In the electronic music realm, they have godlike status, but way back in 1970, German band Kraftwerk was just getting started — and now a video of their very first concert has landed on YouTube.
The band later became known for their techy outfits and their slick staging, but as you'll see, at this point they were still in hippie/rocker mode. Still, their trademark quirky sound is all there.
The line-up during this concert consists of Ralf Hütter (organ, tubon), Florian Schneider-Esleben (flute, violin, percussion) and Klaus Dinger (drums), and the four songs they perform appear on their debut album Kraftwerk.
It happened in Soest, a small town in West Germany, and the crowd shots are just as great.
Pony Girl ais set to release its sophomore album, Foreign Life, next week. The Ottawa band stands firmly on a tall pile of musical genres and that is confidently on display as the music on Foreign Life comfortably ranges from pop to rock to electronic. On tracks like "Theo" they seem to combine all of those and toss in a folky feel for good measure.
There's so much to take in on this record — from the sexy harmonies of vocalists Pascal Huot and Yolande Laroche on "Candy," to the fuzzed-out, layered and brooding "Dirty Pictures," to the sparse and hypnotic "Demon Dream" — Foreign Life generously rewards multiple spins.
This isn't just music y'all. It's art.
Foreign Life will be released Nov. 7 on So Sorry Records. You can pre-order the album here.
The Brazillian teenage duo leave their school days of recording in their parents’ basements behind and head off on a strange, beguiling and highly unorthodox journey through psychedelia and tropicalia. Their second album Manual shows how they are maturing well, and a startling rate
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by Alexis Petridis and Mona Mahmood via Electronic music | The Guardian
Inspiration can strike at any time, whether in a positive or negative light. The mysterious young gun known as JOYRYDE has channeled his anger into his production and creating a beast of a track built on a fusion of bass house and hip hop, with piping energy all the way through. The result is Hari Kari, the Japanese term for a ritualistic suicide method of Samurai – but today that deadly act comes in the form of a free download. Listen to his words and grab it below!
“Yo Rydrz. someone made me feel not so happy a few weeks back and this record is the result.. When the world fucks with you CRANK THIS SHIT and HARI KARI those f**xx… Stay fresh team.. J” – JOYRYDE
Escort were spawned when Eugene Cho and Dan Balis met at an electronic music class in Poughkeepsie, New York. They began making house singles, gradually adding musicians and evolving into a 15-piece orchestral behemoth. Animal Nature, Escort’s second album, has all the trappings of dance classics of the last 30-odd years: If You Say So has a repetitive rhythm, lyrics about “letting go” and a squelchy bassline worthy of Daft Punk; Cabaret has a Giorgio Moroder-esque pulsating synth, Earth, Wind & Fire horn flourishes and an Italian house-style piano. And just when you’re thinking, “But wait! Where’s the Chic-style guitar?”, a funky riff straight out of the Nile Rogers playbook locks Barbarians into a tight groove. Escort’s sense of abandon never quite reaches the heights of their disco forebears, but closing track Dancer, recorded before an audience in Brooklyn, reveals them to be a formidable live prospect.
Electric Paradise is shaping up to be quite the beach-side winter affair. Today, it just unveiled its phase 1 lineup featuring everyone from Gorgon City, to AlunaGeorge, to Major Lazer, and several other acts that will be at the helm of this multi-stage festival that also features art, food, design, technology, and more. The other artists that are rounding out the phase 1 bill include Hot Singe 82, Cashmere Cat, Moon Boots, Matthew Johnson, Steve Angello, and Cash Cash. With this diverse group of some of the most in-demand artists, Electric Paradise is setting itself up for an excellent second edition in Punta Cana, and there are still 15 more artists to be announced! Tickets are available here.
The neuroscientist turned DJ who likes to throw impromptu parties with Four Tet and Caribou has been given philosophy books by fans – but insists he’s not some kind of techno Einstein
On paper, Sam Shepherd makes an unlikely dance-music trailblazer. There’s the PhD in neuroscience. There’s his gentle demeanour, more akin to a bookish vinyl nerd than a international 24-hour party boy. And there’s his handmade album artwork – drawn using a harmonograph that he built in his studio himself. The 29-year-old also likes to test his audience: his forthcoming live shows will feature an 11-piece orchestra; for a recent six-hour set at Berlin techno haven Berghain – a booking that was “as much to my surprise as everyone else’s” – he played the album Harvest Time by spiritual jazz saxophonist Pharoah Sanders in its entirety.
In addition, Shepherd is, perhaps, the only musician to have been given a philosophy book during a DJ set. “A girl came up to me at a gig in San Francisco and said, ‘I think you might like this, you should read it,’” he recalls, sipping at a rhubarb gin that matches his top. “It was a David Eagleman book called Sum, which is 40 short stories about what the afterlife might be and atomic reincarnation, where you get to heaven and God is presented to you as a bacteria, and of the absorbance of life …” I give him a look that suggests he has lost me. “I know,” he says, and laughs.
ThePoint Blank Music Machineis their very own platform that allows you to quickly and easily put together a beat, and now it featuresDeep House loops from The Chemical Brothers, one of dance music’s biggest and most respected duos. Alongside that, you’ll find Deep House, Drum & Bass, Funky House, Electro, Hip Hop loops and everything in between. As a great incentive to get you creating some unique tracks,Point Blank are giving away an online course and studio setup worth £1,295to the music-maker who submits the best track to them. The setup includes a pair of KRK Rokit monitors, Novation LaunchKey 25 keyboard and Scarlett 2i2 soundcard. Don’t delay though, because there’s not long left to get your entries in before the competition ends.
The deadline for competition entries isNovember 8th, so headhereand get involved now by creating and submitting your track! Please note, only tracks submitted from October 15thup to the deadline will be considered, with the eventual winner decided by a combination of votes and judges’ decisions from the Point Blank panel.
If you’re not already familiar with how thePoint Blank Music Machineworks, it’s very simple to use – simply drag your loop from the style of your choice and start making music right in your browser. It enables you to put full tracks together using a huge selection of samples that Point Blank have provided across multiple genres. It’s capable of impressive results and one of the most popular parts of Point Blank’s website.
Horror is a pretty subjective thing, but whether you're into psychological terror or all things blood and guts, these 20 music videos are pure nightmare fodder. Some are controversial or graphic, obliterating all boundaries of basic decency, while others taunt and tease out the suspense until every bump in the night has our nerves on constant alert. From machete-waving killers to skin-tearing cannibalism, this Halloween-themed playlist is not for the faint of heart. Don’t say we didn’t warn you.
Editor's note: graphic and potentially offensive material ahead, plus strong language.
Creepy barely begins to cover the horrors on display in this traumatizing bit of electronic mayhem. A gang of children all wearing the same face masks and pony tails (think Andy Samberg crossed with Steven Segal) wreak havoc and attack people indiscriminately against the backdrop of pained, droning beats that lift the hair from the back of your neck. One curious bit of catharsis: at one point, an elderly woman and an alien-looking, webbed ghoul shout into each other’s faces for a long time. If this is scream therapy, I'm in.
Another creepy face mask to give everybody nightmares, only this time a man has been duct-taped and tucked behind the steering wheel of a moving car he can’t control or stop. It’s a tense, all-encompassing mind-f--k that we don’t know what happened or how he got to this point, but it’s a forgone conclusion that he’s doomed and we’re along for the ride.
This video is more about what we don’t see, but what we do witness is haunting all the same: a man faces lethal injection, blood spills from another man’s mouth and Twigs plays three different characters, two of whom dance in twisty, jerky movements, embodying the violence that lurks beneath her twisted, ethereal vocals.
The former Take That boybander gets his groove on in hilarious fashion, rocking out in the middle of a circle of model-esque glamazons. The cheese factor is high Gouda until the video takes a sharp left turn into peeling flesh and cannibalism.
A man in a suit stares out a window, contemplative and fiddling with his wedding ring, in his glass tower overlooking the city. A well-dressed woman brings in a folder. They exchange mannered, meaningful pleasantries. She leaves with another folder, only to return with a huge knife. What transpires within less than five minutes will kick off hours of speculation if you let it.
Why wouldn’t this beloved, but arguably kinda boring, English indie rock band be huge fans of ’70s Italian giallo-style horror films? The video is a perfect homage to the genre, and fittingly acts as a short film with proper credits running over gorgeously rendered drawings after the shocker ending. Even if you’re not a fan of the music, press
mute and enjoy.
The Toronto-based rapper tries on a variety of identities as the walking dead roam the streets, feasting on fresh corpses and wreaking havoc and — dancing? Yes. Apparently the flesh-eaters are fond of flash mobs. Who knew?
Bling, bravado, ego and misogyny are all things to expect from a Kanye West song, but this is also salient social commentary highlighted by a video that's graphic, disturbing and full of terrifying images straight out of the Saw franchise, with a little classic monster magic mixed in.
A hip-hop horror show: blood spurting, spilled intestines, brain eating and feasts of flesh, choreographed vampire bride and monster pygmies dancing, and someone is beaten to death with a freshly severed limb. Awesome.
Axes, bone saws and blood: Broken Social Scene, we thought we knew you. Even though the band’s own Andrew Whiteman reportedly hates the Bijou Phillips-starring video, it’s hard to argue that the song’s soft creepiness doesn’t suit the stylishly grisly affair.
Radioactive waste reanimates a burial site and brings a murderous snowman to life
in the bloodsoaked, quasi-zombie-themed, stop-motion video for the new track off the freak-folk singer-songwriter’s upcoming Christmas box set, Silver & Gold: Songs for Christmas Volumes 6-10.
Oh, the endless carnage of a seemingly psychopathic teddy bear whose targets for annihilation include Barbie, a rubber duckie and a number of his stuffed brethren. But this new video from Toronto-based beat pioneers Amon Tobin and Joe "Doubleclick" Chapman has a brilliant twist that’s well worth riding out this warped toy story.
Jake Gyllenhaal stars as a drug addict who slaughters people that love to dance. No real background on whether his character’s murderous rage is inspired by jealousy, or if he’s harboured a long-festering anger from having two left feet, but his vicious crime spree will make you think twice about the handsome, quiet ones.
We all know that classic horror trope: damsel in distress gets chased through the woods by a machete-wielding killer. While the slow-motion scene is enough to get our hearts racing, the video gets even gorier when the protagonist fights back by taking a stab at the villain in a rather unexpected place.
Falling, drowning, being surrounded by snakes and getting run over by a giant truck: the boy in Metallica’s "Enter Sandman" video is having the worst nightmare ever.
Frontman Keith Flint would make an incredible movie villain, and the video for "Breathe" is an ideal demo reel for the British artist. Sure, there are many creepy elements that intensify the video (worms, cockroaches, rundown rooms), but it’s Flint’s terrifying performance that kept us up at night.
There’s something deeply unsettling about the imagery in Fever Ray’s haunting video for "If I Had A Heart": two kids in a canoe floating toward an ominous ocean, dead bodies lying around an empty mansion and artist Karin Dreijer Andersson’s skull-like face standing over it all as she performs a quasi ritual with her song.
The shadowy close-ups make it tough to figure out exactly what we’re seeing in Timber Timbre’s "Black Water," but the retro-filtered clip provides an intimacy that’s more menace than comfort.
The indietronica outfit return to their dance roots, with member Gerard Sidhu saying of the band’s recent turmoil, ‘The faster you rise, the faster you can fall’
How many Australian musical acts have been swept up by trendsetter music blogs, deemed worthy of Triple J’s hallowed playlist by Richard “Kingmaker” Kingsmill and, as they relentlessly toured cooler-than-thou boutique festivals, found they’d become toast of the town? A couple of EPs or an album later, though, and they’re chewed up, spat out or burnt out, feeling as though they have nothing left to give.
People think that horror movie-makers have the corner on creep, but the music world has thousands of songs that will make your hair stand on end.
From Tom Waits to Bauhaus, the Pack A.D. to Pink Mountaintops and Radiohead to Nick Cave, CBC Music has unearthed 66 of the creepiest, spookiest tracks, and created a playlist that will make your Halloween even scarier.
So click on the gallery above to get started, if you dare — and click on the playlist below for a spooky Halloween soundtrack.
The Haunt,Brighton The clash of pure pop with malfunctioning machine sounds and harsh, austere rhythms shouldn’t work, but Sundfør’s music is astonishing
The fact that Susanne Sundfør’s Ten Love Songs topped the charts in her native Norway rather makes you want to take your hat off to the mainstream record buyers of Trondheim and Fredrikstad. No easy MOR pop for them: on Ten Love Songs, Sundfør’s radio-friendly tunes and intriguing lyrics – “nothing’s ever easy when you take ecstasy” opens Trust Me – crash against expansive mock-classical interludes, punishing industrial rhythms and vaguely proggy touches. In Britain, it’s the kind of thing that would almost automatically condemn you to critically acclaimed cult status: back home, it’s her third No 1 in a row.
Have a listen to the British rapper’s bold new album ahead of release and let us know your thoughts
Roots Manuva’s Bleeds is an album that doesn’t sit still long enough to pin it down. One minute you’re listening by the spooky dub of Crying, the next an explosion of patois, cockney rhyming slang and typically far-out Four Tet production for Facety 2:11. From there, you’re straight into Don’t Breathe Out, a soulful, Barry White sampling affair packed with melody.
Rodney Smith has long been hailed as the leading light of UK hip-hop but he’s never allowed himself to be enveloped into the mainstream. This sixth album is no different, and features a range of forward-thinking collaborators including Adrian Sherwood, With You and young British producer Fred. You can listen to it ahead of release using the stream below. Let us know your thoughts in the comments.
Emerging as a dominant brand in Los Angeles, Minimal Effort will return this Halloween to create a haven for dance music connoisseurs with no boundaries once again. A certain commonality will exist between those in attendance, those that are performing, and the entities that may or may not be present. Three stages will be curated for your enjoyment and entertainment and hosted by some of the most extraordinary brands in dance music. A plethora of artists will provide sounds for your enjoyment, some of which will be known to many and some which might be unknown to all. Taking place at the magnificent Belasco Theater in Downtown Los Angeles, this is not going to be your ordinary Halloween event. For nearly 30 years, Belasco Theater was resurrected as a church and rumor has it that phantom footsteps were heard by members of the congregation coming from the stage as well as odd rustling sounds from back stage when the area was completely empty. A former organist tried to explain these sounds and believed that people actually heard a very elderly lady who lived under the stage who was “inherited” from the previous church. Occasional sightings of this woman eventually diminished and she did as well. Her true identity was never known and her spirit may still linger until this day. The sounds you hear might not be coming from the speakers, the essence you feel might not be from within, the spirit you embrace might not be your own. Get ready for the most magnificent and extravagant Minimal Effort yet and proceed with caution.
Grimes announced last week that her new album will be entitled Art Angels, and today she released the first song and music video from that project.
"Flesh Without Blood/Life in the Vivid Dream" is a video nearly seven minutes in length divided into two acts, featuring Grimes in Elizabethan costumes and donning angel wings.
While the first song is more upbeat and electronically propelled, the second is noticably slower-paced and ballad-oriented. The video credit lists that it's "written, directed, edited, colored, + art directed" by the Montreal artist herself.
According to Grimes's record label, 4AD, Art Angels will be released digitally on Nov. 6 and will be available in physical form on Nov. 11.
Additionally, Grimes has released more details about what to expect musically from the project. The album will feature collaborations with Janelle Monae and Taiwanese rapper Aristophanes. She also plays a number of instruments on Art Angels, which 4AD describes as her "most ambitious album to date."
While the album was recorded primarily in Los Angeles, it was revealed in recent interviews that it was also recorded in Squamish, B.C.
Grimes is currently performing dates on her Rhinestone Cowgirls tour.
Taylor Swift said he had made an ‘instant classic’, and with his psychedelia-tinged take on electro pop, Michigan’s Garrett Borns is clearly going places
Garrett Borns, better known by his stage name Børns, is just north of Denver, Colorado standing outside the 1stBank Center in Broomfield. Under a strong October sun, he’s surrounded by the flurry of activity of chain-smoking crew members feverishly preparing for the night’s show, in which he’s supporting the Icelandic act Of Monsters and Men. The air is full of the smell of running semi-tractor trailers, dumpsters and secondhand smoke. “Very glamorous,” he deadpans.
Borns fortunately couldn’t care less about his surroundings, since this Rocky Mountain stop is part of a nationwide victory lap following last fall’s release of his debut EP, Candy. The electro-charged, psych-tinged indie pop has made the Michigan native an indie darling and created a palpable buzz that’s been building up to this week’s release of his debut album, Dopamine. “This past year has put me in a different state of mind than I’ve ever been in,” he says about his ascendence from a young singer-songwriter to hyped proto-pop-star. “I’m in a different artistic state of mind, a different performance state of mind. I’m testing the introvert and extrovert in me and seeing how far I can push myself both ways.”
The sound of 2016 echoes Arctic Monkeys, London O’Connor turns Beck’s Loser inside out, and Le Grind release the most infectious dance track ever
The Wholls are being touted as the sound of 2016, which is odd, because they’re very much the sound of 2006, with echoes of the Arctic Monkeys’ clipped guitars and the chipper cockney tones of Jamie T. Debut single X21 is indie rock with a light dash of dub, and is the culmination of two years’ worth of BBC Introducing and Battle of the Bands-type attention. They’ve been in the studio with LA producer Steve Baughman, who has worked with Michael Jackson, Usher, 50 Cent, Destiny’s Child, Pink, Eminem and Snoop Dogg, which is surely less a sign of their future direction and more of the seriousness with which they’re taken by their label, Defcon 2.
As the hugely influential Manchester band return, drummer Stephen Morris explains they have always had a jinxed relationship with the US
New Order are back. Their new album, Music Complete, is “anunexpectedly coherent return”, particularly for a band that helped pioneer electro-pop and whose influence can be heard on across the radio dial (or Spotify charts) today. In support of the album, the band will play to sold-out crowds in the UK and Europe. They haven’t scheduled their US tour yet, though. In past interviews, the band’s lead singer, Bernard Sumner, has made it quite clear that he doesn’t actually like touring the United States. “Yes that’s one of the many things that Bernard doesn’t like,” says the band’s drummer and programmer, Stephen Morris.
But why? “America’s such a big place, so the only way to do it is by air, so you’re stuck in ‘airport-hotel-gig-airport-hotel-gig’. It gets a bit repetitive and you tend not to get much time to get out and see places,” he explains. But aside from its expansiveness, it turns out there are some other very good reasons that New Order might dislike the States.
Launched by the multi-platinum producer, Steven Lee, better known as Lee Cabrera, FaderPro is an electronic dance music-focused production education platform that promises an engaging and interactive virtual in-studio learning experience. With years of offering high-quality video tutorials, access to the top artists, and opportunities through partnerships with leading industry entities since its launch in 2010, this online startup is poised to bring even more to the table as they welcome a host of new instructors, and experience team members, such as Roger Sanchez, Sander Kleinenberg, and Mark Knight’s Toolroom Academy, after receiving a new round of investment.
More specifically, some of the new additions to the proven, artist-driven curriculum range from track deconstruction, to mixing and mastering classes, to more business-focused lessons, giving students the full range of inside knowledge they need to succeed in the industry. The FaderPro platform offers 24/7 on-demand access to content that allows for students to move at their own pace, while also keeping things neat, organized, and structured, unlike endless low-quality YouTube tutorials.
Whether you’re a beginner or advanced dance music producer, FaderPro promises to expand your knowledge and improve your sound. Head over to their website for more information and to sign up for courses.
Sweden’s solo females tend to be electro-pop ice maidens; newcomer Seinabo Sey, by contrast, offers up big-picture, transatlantic soul-pop with some dance moves thrown in. When Stockholm’s answer to Emeli Sandé is good, as on Hard Time, or the title track, she is up there with the money-makers, making punchy night music that sounds as persuasive on the Fifa 16 soundtrack as it does in the video, in which Sey and a friend dance privately around a city at dawn. She sounds convincingly weary on Sorry, a piano ballad robbed of its natural gravitas by synth strings. Other times, this debut tends towards the characterless, making all the right sounds (retro vocals, contemporary beats) but more often than not, choosing the path of least grit, least quirk, and least memorability.
For those blissfully unaware of this juggernaut of a gettogether, The Cityfox Experience has been uniting NYC partygoers for some time now. With 17 events under their belt, they’ll be rolling into Los Angeles in style. Uniting unique performers to satiate the tastes of house and techno lovers across the spectrum, the party promises to be a success.
This recap video of one of their most recent events portrays the whimsical scene the party has come to be known for. Wide spaces, interesting vantage points and creative scenery provide the ideal backdrop for the celebration of the deeper ends of the electronic sound. Look past the scenery and you’ll find some seriously top-notch talent.
Headliners Dixon and Cityfox’s own Adriatique are sure to reel in a massive crowd. Hailing from Berlin and Switzerland accordingly, these acts bring in fresh faces and tough sound to the Los Angeles warehouse scene. House legend Doc Martin and LA trio Droogserve as their western counterbalance. We’re surely in for some huge sets to round out the evening.
Southern California favorites Mikey Lion and Deep Jesus are also on the Cityfox bill. Their Desert Hearts collective has seen an unprecendented surge in popularity over the past couple of years, selling out their desert festivals and leading a cross-country tour. It’s fantastic to see Cityfox and Desert Hearts merging in Los Angeles, a true melting pot of some of the more forward-thinking, community-oriented dance music names.
Alexisi Petridis recommends a lavish new box set that collects together the entire output of Harmonia, the mid-70s Krautrock supergroup. It’s the thrilling, hypnotic sound of three hugely inventive musicians – Michael Rother of Neu! and Hans-Joachim Roedelius and Dieter Möbius of Cluster – striking out into the unknown together
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by Alexis Petridis and Mona Mahmood via Electronic music | The Guardian
Now we’ve got a heater of a remix from young gun Wheathen out of Chicago. He’s taking on Midnight to Monaco’s “Suicide,” and the result is pretty epic. Plucky synths roll through the bass-heavy drops and really bring that trap hands x-factor. The vox are pitched down and floated over the rest of the composition for a nice ghostly effect. Really solid remix from Whethen, the youngest person to release a remix with Future Classic to date. Enjoy!
Pretty bold move to try to take on one of the hottest tracks on planet earth, but EVALYN has succeeded in bringing something new to The Weeknd‘s slow-burner-yet-banger “The Hills.” Pseudo-mashed with Kavinksy’s “Nightcall,” this track has a little bit of something for everyone. Stunning vocals, great production value from Louis Vivet, what more could you need. Stream the track here and make sure to jump on that free download.
This Friday, the famed Control night at Avalon Hollywood will be one for the books as Matoma, Dropout, Prince Fox, Bryce Vine, The Interns, and resident, Sam Hiller, will be throwing down for some pre-Halloween festivities. With an eclectic mix of styles throughout the night, including everything from future bass, to tropical, to house, the event is sure to have something for everyone trying to get down after a long work week, and for those trying to stay warm in a club environment as we slowly transition into the fall season. Buy tickets here and get ready with The Interns’ “Wet Hot Los Angeles Summer” mix.
With a busy touring schedule, Desert Hearts figurehead, Mikey Lion, has remained a bit quiet on the release front, but he recently announced his third EP, The Big Cats, which he created with fellow Desert Heart and Berkeley native, Bengal. Just in time for Mikey’s upcoming Cityfox LA performance this weekend, and the Desert Hearts 3rd year anniversary, the first taste of this forthcoming offering comes with “Like That.” It’s a stripped down tech-house heater with full-bodied low end to drive the groove that punches through in between vocal samples, which give the track its character. Listen/download here. The Big Cats EP is out on October 27th.
With just one year of existence, No Mana has been growing by leaps and bounds. The anonymous, Los Angeles-based producer holds a catalog consisting mostly of originals and just a few remixes, which is rare for up-and-comers in the dance space. Despite the short, but productive career thus far, No Mana has managed to get a co-sign from Deadmau5′ mau5trap, and that has yielded several releases on the label. The most recent release is “Tell Me,” and it’s a catchy vocal house track reminiscent of “I Remember.”
Back in August, LA’s Lonely Boy made the trek out to the infamous desert gathering known as Burning Man. In the midst of heavy dust storms and other performances at sound camps across the playa, this Desert Hearts-affiliated talent graced the decks at Pink Mammoth, and he threw down an excellent 1 hour+ set chock-full of funky tech-house and more. Listen above and feel the vibe that Lonely Boy is well-respected for.
Rich Aucoin’s first Halifax Pop Explosion show was eight years ago, and he was covered in Christmas lights.
"[They] started to give me shocks as soon as I became sweaty," he remembers of the Hell’s Kitchen bill. "Luckily, it was before the dance-party days of the show so I didn’t get too sweaty and didn’t die of electrical shock."
Over the last near-decade, the Halifax musician has added synced videos, tributes to friends and a party with a giant parachute, confetti and a balloon drop. At this year’s Pop Explosion, though, Aucoin’s dialing down the theatrics and upping the grandeur: he’s playing two shows with Symphony Nova Scotia.
Both Friday and Saturday nights, Aucoin will play his music — which he arranged, as supervised by David Christensen — with the full symphony, and at least 29 additions.
"One of the biggest things I realized early on was that I wanted to do the show without any computers, synthesizers, electric guitars, basses, keyboards or anything modern. That's meant, though, needing to put together a 25-person choir in order to perform the pieces as they sound in their recordings as well as recruit the help from fellow percussionists Ryan Gray, Joel Waddell, Paul Aucoin and myself to join the four percussionists already in the symphony.”
So no parachute. No confetti. No balloon drop. But no doubt two shows you won’t want to miss.
Since Aucoin’s in his hometown for these special shows, and there are so many Halifax Pop Explosion shows to choose from this week, we asked the honorary symphony member to recommend some Halifax bands you should check out this week. But don’t worry: if you can’t make it to the fest (shame), we’ve put together a playlist of Aucoin’s suggestions. Just keep an eye out for the bands when they tour — you’ll want to check them out.
"These guys are the Beatles of Halifax if the Beatles started with the rooftop sessions and then continued on into the ’70s psych scene."
Band:The Everywheres Song: "Strangers Below the Wire" HPX shows: Wednesday, Oct. 21: 5:30 p.m. in the CKDU lobby; 11 p.m. at Gus’ Pub
"A gentler touch of the Halifax current psych movement. ’60s blissed-out vibes with an undeniable groove that connects everyone everywhere they perform."
The German pioneers’ complete catalogue gets reissued later this month – but its members’ work extended far behind the Harmonia name. Here are 10 classics from across their careers
In 1969, Conny Plank, a young West German producer with a decent pedigree in the industry but a deep sympathy for a new generation of experimental musicians, managed to persuade a church-run studio to record an album he was making with Dieter Moebius, Hans-Joachim Roedelius and Conrad Schnitzler, a musically untutored fellow extremist from the Zodiak Free Arts Lab in Berlin. In February 1970, they recorded a follow-up album entitled Zwei-Osterei (Two Easter Eggs). Its lengthy opener, Electric Music & Text, is a stabbing, pre-post-industrial, brutalist broadside of abrasive sound effects; these are not achieved on synthesisers, then prohibitively expensive, but the result of Plank electronically modifying the trio’s piano, guitar, cello, flute, percussion and organ playing, with fearsomely compelling results. Strangest of all about this track is the “Texts”, a religious tract read out by one Manfred Paethe as a condition of the band recording on church premises. Conrad Schnitzler later advised listeners not to try to decipher the text, not merely to attend to its Teutonic textures. “If you find out what it means, it sounds terrible.”
Electrowerkz, London
There’s a reassuring familiarity in these euphoric songs evoking long nights dancing and even longer drives back home to the suburbs
Things don’t begin well for Real Lies. Backed by a video of a strobing motorway, frontman Kev Kharas po-facedly dedicates the band’s first track to the “straight-through crew”, before launching into Blackmarket Blues, opener of their album Real Life. On record, it’s Pacific State overlaid with a blokeishly sentimental spoken-word eulogy to nights so late they’re days; tonight, it’s somehow transformed into the worst kind of droning, furrow-browed XFM indie. Deeper, the band’s usually coldly shimmering debut single, gets the same treatment.
Then, just like that, it all goes north. To the Hacienda, specifically, as the London trio – a five-piece live – bring “newest member” Celeste on stage. She sings the Bassomatic sample on One Club Town, another of Real Lies’ odes to nightlife, as the band back her house vocal with joyously atonal reggae. It’s a jolt of euphoria that they manage to sustain even after Celeste has taken her leave – into the slow, faintly dub-like sirening of Dab Housing and through to Seven Sisters, a synthpop reimagining of Vogue.
Ryan Hemsworth is back in his hometown this week, and he’s brought some friends. Since May 2014, the Halifax-born, internationally loved DJ/producer has been dropping free tracks by up-and-coming artists via his Secret Songs series. For Hemsworth’s Halifax Pop Explosion set tonight, he’s bringing those friends along in person, as part of his Secret Songs showcase. Hemsworth will perform on a bill that includes fellow hometowners the Vogue Dots as well as U.S. artists Skylar Spence and Suicideyear. It’ll be a time.
Hemsworth hasn’t just been pushing forth other artists' music this year: he’s toured Asia, Europe and Australia, performed at Coachella with Tinashe and, on Oct. 9, released an EP, Taking Flight, with Lucas, his Seattle-based Secret Songs collaborator. It’s a downtempo headphone dance party that you can stream in full over at Secret Songs.
Given that Hemsworth has been recommending new artists for people to check out, we thought he’d be the perfect person to guide you through some Halifax Pop Explosion shows with local artists this week. But don’t worry: if you can’t make it to Halifax (shame), we’ve put together a playlist of Hemsworth’s suggestions. Just keep an eye out for the bands when they tour — you’ll want to check them out.
The BPM Show is the UK’s leading event for the electronic music and clubbing industry. Taking place at Birmingham’s NEC, it’s the place to be for fans of all things dance music, DJing and producing. This year,Point Blankteamed up with their pals at Native Instruments to host the Learning Zone, giving eager punters a chance to learn from their expert instructors. Focused around Traktor, there were sessions on Stems, Remix Decks and even an exclusive look at the brand new Kontrol S5.
In the first video in their BPM series, PB instructor David Clarke breaks down what’s possible using Traktor’s Remix Decks. Make sure yousubscribe to Point Blank’s YouTube channelto keep up with all their videos from BPM as well as other tutorials and live events.
If you want to learn more about Traktor and DJing in general, Point Blank’s London DJ courses are perfect for you. Taught by expert DJs on industry standard equipment, you can master Traktor, its controllers and more. Point Blank have had students go on to play the biggest clubs in the world, including Nicole Moudaber (DC10, Ibiza), Monki (BBC Radio 1) and Madam X (Annie Mac Presents).Find out more about Point Blank’s DJ courses in London here.
Home boys TastyTreat and home girl Tribes have come together for one massive future jam. “Found Someone” is a vibey little number with some of the coolest synth work I’ve heard in a downtempo piece in some time. The drops undulate in waves and seem to carry you weightlessly through the composition. Tribes’ vocals suit the sound greatly; definitely keen to hear more from her. This one comes as the first of a three part EP. Don’t sleep on TastyTreat.
The conversation about gender, identity and equality in music has reached a fever pitch, but for all the talk, we’re still woefully behind on the action.
Last week, Condé Nast acquired Pitchfork, arguably one of the most influential music media companies. Was it because of Pitchfork’s reputation for excellent music criticism or its numerous high-profile writers, or even its vast, diverse readership? Maybe, but mostly it was for a specific, highly coveted prize: millennial males.
The country music industry still thinks women are window dressing or the "tomatoes of our salad," not valid contributors to the business and craft in their own right.
And this past summer, male acts and artists continued to dominate the headliner slots at music festivals around the world, leading to these poster "corrections," which clearly demonstrate just how bad the gender gap is still.
And yet, it’s been a crazy great year for many women-identified musicians, from powerful icons getting global attention for great records (Buffy Sainte-Marie, Björk, Nicki Minaj) to emerging artists crushing it as they make their debuts (Girlpool, Alessia Cara). There’s been a lot of talk about how 2015 is the perfect time — so depressingly truthful — to resurrect an all-women festival. A few weeks ago, Haim proposed bringing back a version of Lilith Fair, and we think that’s a fantastic idea, because if the festivals refuse to diversify and make a concerted effort at being inclusive, then why not take a page from Sarah McLachlan’s playbook and make the music festival we want to see? Nay, we demand to see.
CBC Music is proud to present Dream Fest 2015. Check out the poster below for our dream lineup, highlighting some of the biggest success stories and most celebrated artists of 2015. We’ve also included longtime favourites and incredibly cool up-and-comers who give us so much hope for future generations. And click on the gallery above to find out more about each artist and listen to their music. Think of this as a dream three-day festival that’s for everybody, but that also purposefully and proudly puts women-identified and non-binary people front and centre.
Racking in millions of soundcloud plays and riding high on support from Porter Robinson and Flume – Swedish phenom Kasbo wraps up 2015 with his last original of the year “World Away”, just released on Odesza’s new imprint Foreign Family Collective. This cinematic production embodies the young artist’s sound: soulful, evocative, and melody-rich – moving from bass-heavy, synth-fueled sequences to airy atmospheres, all with raw energy that you can feel. Kasbo also joins Odesza on tour this month, with a virtually sold-out schedule across North America.
King Midas Sound and Fennesz sparkled 125m below the ground but Current 93 disappointed at Kraków’s risk-taking festival that kept half its artists a secret until they went on stage
If you’re the kind of festival-goer who likes to have a laminated spreadsheet of who to see and when, this year’s Unsound would have made your teeth itch. The theme for the Kraków-based festival was “surprise”: about half the artists were kept a secret until they went on stage, forcing its attendees to succumb to serendipity and even disappointment.
The theme this year was a much more lighthearted interrogation of how and why we talk about festivals, compared to 2013’s Unsound, which banned audiences from taking photos, in a Canute-like denunciation of the Instagram age.
He invented sampling, taught everyone from the Beatles to Bowie, and climbed up Big Ben to record its ticking. Meet Peter Zinovieff, grandfather of the synth
“Think of a sound – now make it.” With this slogan, the British company Electronic Music Studios brought synthesisers to the masses in the 1960s. For the company’s co-founder, Peter Zinovieff, it has also been a mantra for his own music. “There are so many sounds in my head and it would be marvellous if they could come out,” he says. “When I go to sleep, I think of ways of producing sounds. Then I spend most of the next day trying to get the computer to obey my nebulous thoughts.”
Zinovieff, now 82, has been trying to make computers obey him for almost 60 years. In fact, he claims to have owned the first personal computer in the world. And he taught the Beatles, Pink Floyd, David Bowie and Kraftwerk how to use EMS synths to gild their work.
My first wife had a tiara. We sold it to pay for a computer. She didn’t miss it
Lots of people would say, "Oh, this is too daring." But I’m not afraid of going too far.
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by Ben Beaumont-Thomas via Electronic music | The Guardian
After a busy North America summer tour with festivals performances at the likes of Electric Zoo, Electric Forest, Lollapalooza, Hangout, Firefly, CRSSD, and more SNBRN returns with a brand new original record entitled “Beat The Sunrise.” This time around, SNBRN teams up with Republic/Varvatos signed vocalist/guitarist, Andrew Watt, to create a feel-good house anthem with an obvious nostalgia for summer. Marking his first original release since his debut hit, “Raindrops,” SNBRN is proving that 2015 is his breakout year. With an arsenal of original records yet to be released, the excitement surrounding this burgeoning LA artist isn’t going anywhere anytime soon. Check out the stream below and be sure to grab your copy on iTunes here.
The San Francisco Bay festival saw paella-fuelled fans – many dressed like Bill Murray – rock to trop-house, a gyrating Father John Misty and Chvrches
San Francisco Bay’s Treasure Island is host to a one-off music festival that lasts two days, each with a different mission: Saturday is to dance, Sunday is to rock. Here’s the best of both days – and a few things that went down like Davy Jones’ locker.
Album of the Week: The Milk – Favourite Worry
The Milk – Wanderlust (Wah Wah 45s)
Khruangbin – Balls and Pins (Night Time Stories)
La Mecánica Popular – Montame en la Tormenta (NYCT)
Gerardo Frisina – The Obsession (Schema)
Reginald Omas Mamode IV – Can You Dig It? (Five Easy Pieces)
Homeboy Sandman – Arrows (Stones Throw)
2nd Hour
Junior – Junior on Drums (Edits from the Jr. Stable)
Atjazz – Enchantment (R2)
Ephemerals – You’ll Never See Me Cry (Ambassadeurs Remix) (Jalapeno)
Mini-Mix – Souleance
L’Orange – Part One: Introduction to a Conspicuous Man
Thundercat – Evangelion
Moodymann – Hold It Down
Golden Rules – Down South Boogie
Silo – Tear it Off
Bastien Keb – Chicken Stomp
7 Samurai – Cosmic Jam (Extended 12″ Version)
Album of the Week: The Milk – Favourite Worry
The Milk – Lose That Way (Wah Wah 45s)
Jamie Woon – Thunder (PMR Records)*use the Jamie drop again if you want
Mo Kolours – Orphan’s Lament (One Handed Music)
Jeb Loy Nichols – Wintering of the Year (JLN)
Album of the Week: The Milk – Favourite Worry
The Milk – Favourite Worry (Wah Wah 45s)
Just last month, Justin Jay put out his celebratory Mom, I Graduated EP, and embarked on his first world tour, which saw him perform everywhere from Electric Zoo, to Decibel Festival, CRSSD Festival, and many other gigs in between. If you’ve seen him on the road recently, you may have been lucky enough to catch him playing with Josh Taylor on vocals and Benny Bridges on guitar, both of whom are college friends, and Benny is finishing his senior year.
Now, Justin Jay is starting to officially unveil what he’s been working on with his friends over the past year, and this new remix of Alison Wonderland’s “Back to Reality” featuring Benny Bridges is the first taste. Have a listen below and hear this inventive tech-house track that merges rock with dance in truly stunning fashion. Expect more of these collaborations in the near future, and don’t miss Justin Jay in a city near you.
“Sometimes making music can be a really intense, serious, grueling process. Other times it’s about being silly and goofing around with your homies. Ben is a crazy jazz/blues guitarist and we had fun pretending to be tough on this remix for Alison Wonderland. We’ve been making a ton of music together with our homie Josh Taylor so keep your ear out for Benny Bridges, laying it down on guitar.” – Justin Jay
British electronic duo Disclosure performed at Toronto’s EnerCare Centre this past weekend, an unconventional venue that evidently wasn’t prepared to host a music event of this size.
The EnerCare Centre, which is Canada’s largest exhibition and convention centre, opened up its doors to thousands of enthusiastic fans on Saturday night who came to see the act behind the 2012 Sam Smith-assisted hit "Latch." Many of the attendees wore jackets due to the cold October weather.
To deal with this, the venue blocked off a section of the building and filled it with coat racks for concertgoers to coat-check their belongings, leaving them on marked hangers. Unfortunately, when the show let out just after midnight, many swarmed the racks frantically looking for their jackets but in some cases stealing others’ belongings.
"People just started to break into the barricades they had set up for the coat-check," one concertgoer named Melanie Langevine told CityNews. "People were breaking in … people were crowdsurfing in and nothing was happening."
Langevine recorded the chaos and posted the video online. It shows people shouting, shoving their way to the coat racks and many of the security in the building standing by instead of intervening.
Many have since taken to social media to report missing jackets, money, keys and many other valuable belongings.
EnerCare Cenre spokesperson Laura Purdy told CityNews that both coat-check and event security were the responsibilities of the show promoters, Embrace Presents. "We are asking the promoter to communicate with patrons and are very concerned with the events that transpired," Purdy said.
Embrace quickly responded to angry commenters on Facebook: "We are working with our production team and the coat check operator to resolve this situation as quickly as possible and reunite people with their lost coats. Anyone who has not contacted us yet should send an email to: info@coatconnexion.ca with a photo of their coat check ticket, a description and a picture of their coat if possible."
The promoters also promised that they would set up a lost-and-found for all coats.
"My jacket isn’t lost," another concertgoer told CityNews. "Someone walked out with it."
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Montreal artist Grimes today announced that she will be releasing a new album entitled Art Angels next week. Grimes, whose real name is Claire Boucher, made the announcement on her Twitter feed and other socialmedia accounts, posting album artwork that she designed herself earlier today (Oct. 19). Grimes had previously said her new album would be released in October, but no release date had been announced.
The road to the release of Grimes' upcoming album has been a long one, with the singer publicly announcing she scrapped a whole album that she had been working on after releasing 'Go,' the single she initially penned for Rihanna last year.
Information about Grimes' follow-up album to her critically acclaimed breakthrough 2012 album, Visions, has been gradually leaking out as the singer approaches an upcoming North American tour due to start in California on Oct. 24.
According to NME.com, in the November issue of Q Magazine, Grimes recorded much of the album in B.C.
"I wanted to get away from Hollywood bullshit," she says. "So I moved to Squamish, a small town in British Colombia. There was a lot of 'crazy' going on, but it was organised 'crazy' — like lying in the dark and seeing if I could hallucinate."
Grimes also revealed a set of unlikely inspirations for the album including Bruce Springsteen, Billy Joel and gangster movies like The Godfather.
Today’s playlist features the return of the Chicago jazz/electronic outfit Tortoise, the UK’s answer to Flying Lotus, and an exclusive stream from Planet Mu’s Herva
With the mashed chords and bumping hip-hop tempo of his Treetunnels cassette last year, teenage producer Iglooghost was angling to be the UK’s answer to Flying Lotus. FlyLo has clearly taken the compliment, signing him to Brainfeeder for the Chinese Nü Yr EP, out later this month. Iglooghost’s productions have really stepped up a gear, featuring Rustie, Visionist and the shiny plastic aesthetic of PC Music. His own explanation of his sound is … well, have a read: “The EP is a story about a gelatinous worm-shaped creature who wears a witch hat called xiāngjiāo. He/she is really sad because his/her existence consists of infinitely being blasted through endless wormholes into different worlds that don’t make any sense – full of floating fruit and pink mist. He/she has a voice played by my little sister but sometimes my dad. He/she is perennially sad and terrified because it doesn’t make any sense why he/she was randomly born into this existence, but he/she is also shit scared because being shot at light speed through wormholes is probably fucking terrifying.” Got it?
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by Ben Beaumont-Thomas via Electronic music | The Guardian
O2 Brixton Academy, London
Live, the south London producer’s determinedly low-key approach to dance music can end up short-changing his fans
The success of the Boiler Room video platform – in which a camera is fixed on a DJ for the duration of an entire set – is a testament to the world’s seemingly unquenchable fascination with the disco knob-twiddler. Since the series launched in 2010, the hunched and almost imperceptible hand movements of a legion of selectors have drawn millions of viewers. Their fans have proved equally compelling to look at, shuffling near the decks, nodding sage approval at each new cross-fade or adjustment of the treble. Essentially, it’s watching people watch a DJ; any dancing is incidental.
Hailing from Amsterdam, the emerging talent, Bolier, has graced festivals like TomorrowLand and Ultra, while also getting co-signs from Pete Tong, Oliver Heldens, and more. This year, he’s put out a grip of tracks and remixes, like “Ragga” with LVNDSAPE, and now he’s bringing us “Forever And A Day” with Natalie Peris. On this track, Bolier uses Peris’ vocal to build the energy before moving into a deep groove with gritty, horn-like synths and vocal accents.
Recently, the LA-based house music maestro, Fritz Carlton, hasn’t had the best of luck as his laptop was stolen, but he’s making the most of his situation, turning negatives into positives with music. After dropping “Mohki” on the This Ain’t Bristol’s Even More Selections Compilation, he’s back to roll out the first installment, “Perspective,” of his Free Fritz Tuesdays series, which will bring more of his free tunes on a weekly basis. This new jam is a punchy 808-driven number featuring wonky synth work, a shuffling groove, and a quick rap sample to complete the bass-fueled track. Listen and download it here:
Despite summer coming to a close, there are still several festivals that we have to look forward to. HARD’s Day of the Dead, Desert Hearts’ 3rd year anniversary, and now Electric Paradise. On December 19th, this annual festival in Punta Cana (Dominican Republic), will be taking over its unique beach venue for the second year in a row. With multiple simultaneous stages, it’s the biggest festival in the region, and last year, they saw 12,000 people come through to enjoy its fusion of music, art, food, design, technology, story-telling and paradise. The lineup for Electric Paradise promises 20+ world-class artists, so it will surely hold its own in the competitive festival landscape. If you’re looking for tickets and more information, visit the official website.
Winnipeg musician Iskwé discovered her personal Facebook page was shut down on Thanksgiving Day. She was informed that the account would be reinstated only after providing the social media company with government ID.
IsKwé, whose traditional Cree name is Wasekwan Iskwew, also has an English name, Meghan Meisters. Her Facebook page has been restored under that name.
IsKwé, who restored the page for the sole purpose of having the conversation about the sudden shutdown on it, has since moved her social attention to Twitter and Instagram. You can read her final Facebook post below, originally posted on her personal page and reposted to her band page.
My lasting memory of seeing Montreal duo Majical Cloudz perform is singer Devon Welsh’s maniacal stare – huge, unwavering eyes that burned into the air. No matter that producer Matthew Otto was prodding keyboards behind him, Welsh seemed solitary. Similarly, their second album bears that sense of being alone in a room full of people. Their electronic pop songs detail the breakdown of a relationship with the sad detachment of someone who feels misunderstood. Melancholic synth washes delicately build as Welsh sings about how he’ll “try not to be so blue” (the unsettlingly sad So Blue) or about being let down (on the minimalist, R&B-spiked Change). All of this might be an inescapable bummer if it weren’t for the album’s more absurdist moments, such as the majestic Silver Car Crash, which is jolted by jagged choir samples and adds surrealism to the sorrow. The overall effect is of a bow-tied cabaret crooner singing to no one: awkwardly intense but, if you steal a glance, completely beguiling.
In the late 1970s, Jean-Michel Jarre’s albums Oxygène and Équinoxe sold in their zillions, demonstrating that electronic music could be embraced by mainstream tastes. Almost 40 years later, the list of Jarre’s collaborators on Electronica 1: The Time Machine reads like a who’s who of electronic music, including Massive Attack, Moby, Air, Vince Clarke, Laurie Anderson and John Carpenter. True, by assembling such a stellar lineup, Jarre is reminding us of his status as a pioneer. But this does not feel like a cynical exercise – perhaps because Jarre was shrewd enough to work in person with his collaborators rather than remotely by sharing digital files. Jarre’s soaring washes of chords are present on tracks such as Conquistador (with French techno artist Gesaffelstein) and Zero Gravity (one of the last recordings of the late Edgar Froese of Tangerine Dream). But, by and large, the new age retro-futurism that characterised Jarre’s earlier work is replaced by a focus on accessible modern pop.
The production duo and young lovers known as Parker + Barrow have emerged today after over a year locked away in the studio to premiere with us this alluring take on War’s classic tune “Low Rider.” Her refined, sultry vocals tiptoe barefoot over the driving, refined production which fans of Hot Creations, Anabel Englund, or simply dead-sexy house music are advised to get ahold of early. I’ve heard a lot from them in the past year and been in and out of the studio with them while they’ve prepared a staggering amount of music for coming releases, and I can say that this song is at most a tease of what’s to come, albeit a very decent one. The mellow punctuation found here along with vocals built to drift in and out of your subconscious through the day for me immediately delivered the invite to “take a little trip with me…” Have you got yours?
(Design: Heather Collett/CBC Music)
