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Two new shows just for you. We have squeezed out two extended release episodes for this weekend to get you through this week. They contain mostly new songs but there's also new issues from the vaults. The first show features music from Rider/Horse, Mint Field, Robert Aiki Aubrey Lowe, Anastasia Coope, ISAN, Stone Music, La Securite, Bark Psychosis, Jon Rose, Master Wilburn Burchette, Umberto, Wand, Tim Koh, Sun An, and Memory Drawings. The second episode has music by Laibach, Melt-Banana, Chuck Johnson, X, K. Yoshimatsu, Dorothy Carter, Pavel Milyakov, Violence Gratuite, Mark Templeton, Dummy, Endon, body / negative, Midwife, Alberto Boccardi, Divine. Cow in Maui from Veronika in Vienna. Get involved: subscribe, review, rate, share with your friends, send images! |
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Parsec: A unit of astronomical length based on the distance from Earth at which stellar parallax is one second of arc and equal to 3.258 light-years, 3.086 × 1013 kilometers, or 1.918 × 1013 miles.
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Calling music like this "electronica" is a massive underestimation of what kind of work must go into a release like this. Of course, I hate that term anyway, so there you go. Four Tet, started as an off-shoot project for Kieran Hebden when he wasn't working on Fridge, is an interesting mix of programmed beats and sampled live instruments, often looped, to create soundscapes that can appeal to a great variety of listeners. Where other releases by bands who use these techniques come off sounding derivative, and often over work the concept (Manitoba is a perfect example, though Dan Snaith of Manitoba reportedly contributed to/helped inspire parts of "Pause"), Hebden seems to know just where to go with these tracks. The beats aren't the same canned beats you hear on many releases, and occasionally there are live drums, sampled though they are. In fact, it is the use of samples of live instruments that make this release so compelling. Strings, guitar, piano, and percussion certainly sound better in this mix than synth lines and beeps and whistles. I wish more artists in the genre would use this approach. "Parks" is where it all came together for me, with horns, vibes, and backwards guitar grounded by a driving, stuttering beat. Never mind the obligatory kids in the playground sound sample every band seems to want to use these days (see gybe!, tortoise, trans am, etc.). A few tracks, like the intriguing "Leila Came Round and We Watched A Video," are simple, beautiful, priceless. It's like the first time someone smiled at you: you felt warm inside, and you just wanted it to happen again, but you knew from now on it would never be the same. Music that provokes this level of visceral response, if possible, is the only kind of music I would like to listen to. Failing that, I will be sure to have Four Tet around always. This record affected me in a way I didn't expect. Hopefully it will have the same affect on you. "Pause" is out in the UK now, and will be released on these shores next month. You know what you have to do.
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