sick shanxian selections.

[Devin the Dude]

Is this the first time Pot has actually tried to Hex a thread?

[daxton]

I don't know which came first, but he's doing the exact same thing to a thread I recently started. http://coachella.com/forum/showthread.php?t=45765

[Devin the Dude]

Oh, ok. It's just you. No worries.

[daxton]

yeah........................

[Devin the Dude]

[SDsoldier7]

I don't know which came first, but he's doing the exact same thing to a thread I recently started. http://coachella.com/forum/showthread.php?t=45765

you should thank him

[SoulDischarge]

So disappointed about that R. I guess E makes sense and I can see where it's coming from, but R really seemed right for that place and time.

[daxton]

you should thank him

Then, I guess I should thank you too.

[bmack86]

I don't know which came first, but he's doing the exact same thing to a thread I recently started. http://coachella.com/forum/showthread.php?t=45765

Not at all. That's a mothra invasion.

[Hannahrain]

So disappointed about that R. I guess E makes sense and I can see where it's coming from, but R really seemed right for that place and time.

This excuse all the damn time with you music nerdlets. You can't explain away a bad letter. His early work was innovative and fascinating, but these later letters are extremely derivative of much older alphabets. 3.7, and at least .5 of that is on the merit of the cat on the cover. That's a great idea, right? I hope we see that more.

[daxton]

Not at all. That's a mothra invasion.

You're right. It's completely different. Oh never fucking mind. I don't even know why I bother.

[dorkfish]

It really annoys me that the thread title is a completely botched attempt at alliteration.

SH ≠ S

[dorkfish]

You're right. It's completely different. Oh never fucking mind. I don't even know why I bother.

DEATH LETTERS ≠ MOTHRA

[bmack86]

[dorkfish]

[GeezrRckr]

I don't mean to disrupt the threadjack, but just want to make a comment about the Nicolas Jaar album. It's certainly more than noise (Devin, you are fucking deaf....either that or the size of your eardrums is proportionate to the rest of your miniature stature leaving you, again, deaf in some sort). I'm not sure I'll listen to the entire album much more, but it is definitely interesting (primarily in the production...yet another 21yo electro-savant). This track really does deserve some consideration (particularly w/headphones):



I'd like to see a Q, good friend.

[SoulDischarge]

I've haven't gotten the chance to sit down with that album yet, but his single "Time For Us" from last year is fucking fantastic. Totally anemic, narcoleptic dance music that feels like the negative of a snapshot of a party.

[GeezrRckr]

Oh, I like that one. I'm DL'ing it now. If anyone else wants it, do a search on this and the first hit is what you want.

nicolas jaar - 2010 - time for us [wolf + lamb 08] mediafire

[shanx]

http://www.guardian.co.uk/music/2011...enaissance-man




"Don't print this," frets 20-year-old Nicolas Jaar. "It's the kind of grand statement I make, and regret. But I honestly feel we're at the beginning of a renaissance in music. It's an amazing time. Mount Kimbie, James Blake, a lot of underground LA hip-hop – it's happening. We're all kids making music without studios, producers or other musicians – without anyone giving us money or telling us what to do – because we want to make really honest work. That's different. That's never happened before."

It has, of course. But the New York-based producer is also right. With his laptop, his broadband connection and his digital-music label, Clown & Sunset, he embodies a generation of musicians who, thanks to cheap technology, can now operate in defiance of the "industry forces pushing you into doing generic things". Moreover, judging by the excitement Jaar is currently generating – everywhere from Pitchfork to the rave music portal, Resident Advisor – his singular take on electronic music has struck a deep chord. Even if no one can agree what to call it.

He might have been inspired by Ricardo Villalobos, and originally mentored by the Williamsburg house music label, Wolf + Lamb, but Jaar doesn't make techno. Or deep house. Or trip-hop. Does he even make dance music? There is a natural rhythmic vibrancy to even his most fragile, strung-out tracks, but Jaar's debut album, Space Is Only Noise, is ruminative, melancholy music (Jaar calls it "blue-wave"). It runs the gamut from experimental sound collage to warped pop, but it makes no direct overtures to the dancefloor.

Indeed, Jaar has a weirdly conflicted relationship with his most natural environment: clubland. The Guide recently saw him play a memorably intense Sunday night set (half-live, half-laptop) at Spektrum in Manchester. Slowing things down to 100bpm, occasionally dropping the beats altogether, Jaar made the packed room his own, splicing together ambient electroacoustic pieces, leftfield electronic pop/dance, world musics, and heavily manipulated edits of everything from contemporary R&B to the jazz standard, Summertime. With its slow, low-slung momentum, his set was deeply sonically strange and unusually emotionally complex.

The crowd were delirious. The man himself less so. The son of Chilean artist Alfredo Jaar and, currently, a comparative literature student at Rhode Island's Brown University, Jaar takes music very seriously. He has an invigorating faith in its conceptual power. It is not simply a lifestyle accessory, he argues, but a potentially progressive, consciousness-raising cultural motor. "Even if it's not," he laughs, "it's better to think that. Maybe it's really naive of me, but, I promise you, that's why I make music."

Consequently, he worries that he doesn't push things far enough in clubs; that he finds himself pandering to the dancefloor. "I really don't hate clubs," he says, "but it's a difficult environment and you have to be conscious of where you are. You can't get completely sucked in because then you're not doing interesting things. Spektrum was a 70% [success]. When I played at [Berlin's] Bar 25, that was very honest. That was beyond a connection. That was a real dialogue between me and the crowd."

Frustrating as that gap often is between "what the club space provides, and what it could provide", those moments of sacred communion are what Jaar chases.

Nicolas Jaar plays a live set at Fabric, EC1, 30 Mar. Space Is Only Noise (Circus Company) is out now.

[shanx]

OTT. genius.

buy this album here for $10 or more:
http://ottsonic.bandcamp.com/album/mir

ott is a former popular music producer turned dub prodigy. his interviews where he explains the jump from producer/mainstream to artist/psydub are pretty amusing--he's really funny but such a kindred spirit. if you have heard of shpongle, ott is the brains behind that operation (and probably many other outfits under popular names).

this album is by far the most comprehensive piece he's created under his own moniker. if this genre isn't generally your cup, try it anyway.

the last set i saw was at LIGHTNING IN A BOTTLE 2010, a 6:00 PM or so set, main stage bass drawing in the present but uninformed.

i fucking love this man.

[SDsoldier7]

i don't think these people are ready for OTT just yet

[PotVsKtl]

[Devin the Dude]

You are so cranky. Jeeze.

[PotVsKtl]

[shanx]

i guarantee you darryl that someone who has never heard of OTT will listen to his new album and love it.

[SDsoldier7]

i wonder if Pot would like it...



it don't get much better than dis ^

[Hannahrain]

What if we've never heard of him but we already know what it feels like to be annoyed by a drum circle?

[GeezrRckr]

Fuck that hippy shit. You're regressing, Shanx.

[Devin the Dude]

What if we've never heard of him but we already know what it feels like to be annoyed by a drum circle?

Someone, not anyone.

[zimmy1222]

I didn't know unique basslines, traditional arabic rhythms played on a tabla and an oud was considered "hippy drum circle music".

hm, the more you know?

Ott is amazing. I'm diggin this album, waiting for a hard copy to surface in the states.