Baauer’s “Harlem Shake”

Posted on May 18, 2012 by | Leave a comment

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″

Posted on May 15, 2012 by | Leave a comment

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)

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King Charles’ LoveBlood

Posted on May 14, 2012 by | Leave a comment

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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Adopting The Stepkids, Soul and Steely Dan

Posted on May 4, 2012 by | Leave a comment

These men love Steely Dan. (Photo: Matthew Bologna & Jesse Mann)

Another day, another buzz band. Not so with The Stepkids, a Connecticut trio of music industry veterans attempting to stand out from the fray (pun intended) with a retrofunk sound and trippy light show. On stage, Jeff Gitelman (guitar), Dan Edinberg (bass) and Tim Walsh (drums) balance machismo guitar solos with the intuitive baton passing of jazz musicians: no one member hogs the spotlight for too long while performing. This collaborative approach carries over into the band’s songwriting and recording process, where everyone contributes equally. There’s no denying their skills–separately, members have toured with the likes of Alicia Keys and Lauryn Hill, as well as indie punk band Zox. Signed to Los Angeles-based Stones Throw, the band’s collage of styles is at home among labelmates J Dilla, Madvillain and Dam-Funk. Following the release of their self-titled debut in 2011, The Stepkids are currently on tour with Mayer Hawthorne. Treeswingers geeked out with these purveyors of psychedelic soul after their show at Paradise Rock Club in Boston to discuss Steely Dan, keytars and the importance of good visuals.

Treeswingers: That was an awesome set, I really enjoyed it. I’ve been following you guys because you’re on Stones Throw, one of my favorite labels. Tell me a little bit about yourselves, and how you got together?

Dan Edinberg: Well, Jeff and I met on a bebop gig in the summer of 1998, when we were teenagers. We played a lot of bebop together that summer.

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Twin Shadow’s “Five Seconds”

Posted on May 1, 2012 by | 2 Comments

I <3 the 80s. (Photo courtesy of brandondorf.tumblr.com)

Despite the moniker, Twin Shadow doesn’t like being in the shadows for very long. Less than two years after releasing full debut Forget, George Lewis Jr., the man behind the Brooklyn-based 80s revival project, is back with Confess set to be released on 4AD in July.

If Forget could have been the throwback soundtrack to Emilio Estevez’ life circa The Breakfast Club, we can expect Confess to be the Kevin Bacon counterpart if the Baconator lost his way to the taping of Footloose and ran shirtless through the set of Flashdance. Our first preview, “Five Seconds” is uninhibited with Lewis Jr. loosening up from his reserved approach to their first album to unleash choral yells and that delicious electric guitar that had been somewhat muted on his debut. Stealing a few lessons from Michael Sembello’s “Maniac,” the lead singer builds off a catchy chorus: “Five seconds in your heart/Straight to the heart/I can’t get to your heart” before jamming away for 4 minutes deserved of air punches and athletic tape.

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Coachella 2012: Under The Desert Sun

Posted on April 29, 2012 by | Leave a comment

I left my heart (and the heat) at Coachella.

One week has officially passed since the end of the Coachella Valley Arts and Music Festival.  Remembering the blistering heat and highs of 110 degrees, the tens of thousands who flocked to the desert are maybe happy that it’s all over. But if you’re still longing for a little sunburn or want to recall that ringing sensation in your ears, here’s a set of Treeswingers’ favorite shots from the gathering in the Indio desert.

Also if you missed it, here are our recaps from the festival: Friday, Saturday and Sunday. 

Check out the photos after the jump…

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Ximena Sariñana Is a Million Years Old

Posted on April 28, 2012 by | Leave a comment


I love it when vocalists give themselves up to emotion and for a split second, their voice breaks on a high note. Maybe it’s the fallibility I perceive in them that convinces me of the sincerity of their lyrics; regardless, those moments are my favorites at live performances. Here is such a moment, with Ximena Sariñana contrasting her bubbly keyboard line in “Wrong Miracle” to lyrics heavy on regret. The rendition is fortunately more sweet than bitter: twenty-six (her real age) is too young to sound resentful.

Listen to the original here:

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