Category Archives: New Releases

Seekae adds a new dimension in live “Yech” peformance

Seekae, an Australian electronic trio you’ve maybe not heard of yet, have thus far made their name on elegantly crafted, emotionally-affecting electronic songs in the vein of former empire-mates Mt. Kimbie and James Blake. Tracks like “Void”  make heavy use of synth pads, hip-hop descended rhythms and vocal snippets for an effect that’s more summer meadow than sweaty club.

With new cut, “Yech,” the group takes the inevitable next stop for crafting electronic pop and throws some vocals in the mix. Surprisingly enough, one of these dudes, Alex Cameron, can sing. It’s the same sort of sad-soft croon that Blake has used to such great success. Although Cameron’s refrain–“I can feel my heartbeat… my ghost is coming,”--is appropriately haunting, the song itself never stops moving long enough to ascend from this plane. Performing with a full complement of analog and MIDI gear while amber sunshine splashes in from the Sydney bay, the trio builds the skittering, pulsing track up from drum machine to synth pad, giving it real weight. It’s only one song, but let’s hope there’s a whole album of this coming.


Seekae- Void (download)

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From The Mind Of Classixx: Fingerpaint’s “Lunar”

Classical arrangement.

There’s a painfully brilliant light peeking through my blinds.  I think it’s called “summer” and I think it’s about time to go play in it.

While I bask in my Southern Californian birthright, the deceptively named “Lunar,” will certainly be on repeat.  From the mind of Fingerpaint, one half of electro duo Classixx, comes a woozy, sun-drenched, slow-rolling disco house track that’s sure to inspire a poolside romance or two.  Throw on some shades, don some artificial melanin and go out and enjoy the rays.


Fingerpaint (of Classix)-Lunar

Baauer’s “Harlem Shake”

Brooklyn-based Baauer is a 22-year-old DJ/producer who makes house music that sounds like hip-hop. All heavy bass and filthy drops, Baauer’s sounds take you to a dingy basement club, which is exactly where I was when Glaswegian beatmeister Rustie dropped Baauer’s Harlem Shake during his May 15 set at Santo’s Party House NYC, rendering a chorus of “Oh, Shit!” from the crowd.

Released yesterday on Mad Decent imprint Jeffrees, Harlem Shake is a bamboozling combination of sonar synths and snares, woven together with a lion’s roar sample and warped vocals urging you to “Do the Harlem Shake.” It’s practically screaming for someone to rap over it–just imagine A$AP Rocky’s sugary flow or Azealia Banks’ gunfire rhymes on top of this one. Accompanying Harlem Shake is the marimba-driven “Yaow!” a beat so tropical it makes sense that Diplo is a fan.

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The Tallest Man On Earth’s “1904″

No longer in his blue period. (Brian Valdizno/treeswingers)

The last time we saw Kristian Matsson, the mind behind The Tallest Man On Earth was strumming somberly, filling the creaking frame of the Fillmore with downbeat tunes from then-recent EP, Sometimes The Blues Is A Passing Bird.

Two years removed from then, the blues in Matsson’s life seemed to have flown away. If new song “1904″ is any indication, the Swedish Bob Dylan throwback has taken a turn for warmer climes and happier times. The first track taste from up-coming June release, There’s No Leaving Now, despite being about death, is much fuller and up-beat than past releases, without sacrificing the acoustic qualities of traditional TMOE. It’s not exactly Phoenix’s calling-card hit aged three years, but it certainly is a joy–an open-armed return for one talented songwriter.

There’s No Leaving Now is out on Dead Oceans Records on June 12.


The Tallest Man On Earth- 1904 (download)

King Charles’ LoveBlood

Um, there’s something on your forehead.

After a few good listens to King Charles‘s peppy debut album, LoveBlood, one thing becomes clear: Charles Costa, the man behind the King, has a few go-to items.

The 11 tracks weave in and out of each other by relying on the same motifs: major keys, tight 4/4 rhythms, and lyrics that keep mentioning love, lust, blood, and a girl named Isabel, all sung in Costa’s lilting English accent.

But that’s about it. The rest of it is a tribute album. King Charles may be searching for his royal sound in his first album, but he’s only managed to find others’.

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