This is the second track from my electronica EP mentioned earlier. Notice how the song almost seems to fall apart in the middle, and then kicks back in. We were particularly proud of that.
Here’s a sketch of an idea I stumbled over a few days ago. The chorus I stole from another one of my newer songs - and it borrows a bit from some music I’ve been listening to lately. I’m particularly happy with the recording quality on this one. I used GarageBand + Duet (more on that later).
Don’t get me wrong. Zuni has been, and continues to be my favorite restaurant in the whole wide world. They’re open fairly late every night, serve the most delicious hamburger in the city, roast the world’s best-tasting fowl, and serve drinks behind a bar made entirely of copper and glass.
The picture above, mentioned first here, is of the centerpiece to Zuni’s summer dessert menu - an $8 nectarine. Ridiculous? Yes. Delicious? Probably. Would I pay for it? Depends on how badly I wanted to impress my date with my spending skills.
Yeasayer is one of my favorite bands of last year. This song, 2080, is Yeasayer at its peak - contrapunctal bass and guitar licks, synths screaming, Stewart Copeland beats, and a sing-along near the end of the song.
Somehow, pitchfork.tv convinced the guys in Yeasayer that recording a rooftop show in Brooklyn, in the winter, with temperatures in the teens would be a good idea. I’ve played shows in the cold before. Your fingers don’t work, and singing hurts. It’s amazing what they pull off here, given the weather and setting.
Fans of The Decemberists might enjoy this hidden DeGEMberists. This is from a set of demos Mr. Meloy somehow accidentally released into the wild. I guess this set is sort of in the spirit of this site, which has asomething to do with why I posted it.
Funny thing. When I posted about Caribou yesterday, I noticed the text on Dr. Daniel’s t-shirt said “The Russian Futurists”. I suppose he’s wearing the shirt because both he and Matt Hart from The Russian Futurists are both from Toronto, and love hockey and shit. But I think it also might have a little to do with The Russian Futurists uncanny ability to make ridicto music.
Check them out!
Every couple of months I find a new band I can’t stop listening to. This month, the lucky recipient of my undivided attention is Caribou. Caribou’s is actually one dude, with the sweet name of Dr. Daniel Victor Snaith. Not only is he Canadian, and smells of maple syrup, but knows much about Overconvergent Siegel Modular Symbols, which was the focus of his graduate studies.
I’d put the ‘bou somewhere between Panda Bear and the Beach Boys, with a smidge of Flaming Lips coulis dressing the plate.
Neat factotum: Daniel came up with the name of the band while stoned out his fucking mind on LSD in the Canadian wilderness.
Check out their MySpace page, or steal my iPhone, to listen to his musics.
(5) stars out of (5).
PS: Caribou is not new by any means, just finally made it to my headphones by some dumb luck.
This is the first track from Alvas Mosfera. An EP that me and Raymond Bessemer wrote, produced and recorded from the summer of 2001 to 2002. This was our take on what we thought IDM should sound like: barely audible vocals, droning pads, odd-time signature beats, and abstract, repeated chord patterns.
I wrote this song after I was done obsessing over The National. I think there’s a bit of Thom Yorke in the chorus…or something.
These aren’t really lyrics yet. Hopefully I can find the time one of these days to write something more meaningful than “mumble mumble…so I knoooow”.
So I decided I’d get off my ass and start recording music again. Well, calling it music is a stretch. These are really sketches of ideas I’ve had floating around for a while, that I wanted to commit to bits and bytes before they disappeared from my tiny tiny head.
I’m also going to try to and find some old stuff I recorded and put it up here. Stay tuned.
