Following his very well received ‘Entropy’ 12″b, Etienne Jaumet further indulges his passion for pure synthscapes on ‘Night Music’, a sheer pinnacle of elegant Paris-meets-Detroit moods featuring mix and production assistance from Carl Craig. Outside of his work for Zombie Zombie and numerous collabs with everyone from Daniel Johnston to Lou Barlow, this is the place where Etienne invokes the spirits of Schulze, Carpenter or even Reich, especially so on the opening epic ‘For Falling Asleep’. Taking 20 minutes to reach its goal, Jaumet crafts a constellation of decaying astral plumes, wistful sax and mesmerizing but gently insistent machine rhythms with the mix “Directed and imagined” by Carl Craig. Lush stuff. New track ‘Mental Vortex’ revolves again around rich analog bass arpeggiated into the distance while spooky moog motifs reminscent of Wendy Carlos zoom into view, and the brilliant ‘Entropy’ makes another appearance. ‘Through The Strata’ sounds heavily like Carl Craig working with an Eastern European Klezmer band, while the closing stage of ‘At The Crack Of Dawn’ could surely be some missing incidental music from a directors cut of ‘Escape From New York’. Excellent. [Source]
Etienne Jaumet is probably best known for his work with electro-pop outfit Zombie Zombie but he’s crafted a couple of very cool and techno compatible tracks with some help from Perspectiv records’ Christian Vance. ‘Entropy’ is the sund of Jaumet going it alone, setting an icy mid-tempo electro groove with sparkling clean production but we’d recommend checking either of the collusions with Vance, which both sound kinda like Sleeparchive jamming with Klaus Schulze. Cool cuts. [Source]
Composed on an electronic music system: 3 synthesizers & 2 tape recorders. Pure analog. Released April 19, 2009. Buy the album for only €4 here.
Trentemøller, Henrik Vibskov and Mikael Simpson playing Silver Surfer, Ghost RIder Go! live at Roskilde Festival, Denmark, 2009. Watch the 2011 performance on Coachella here.
Always a show-stopper, Antony Hegarty’s cover of Beyoncé’s Hot 100 jam “Crazy In Love” is a masterclass on how to cover a song: with its rearrangement and reinterpretation, this version projects the mirror-imaged flip side to the sentiment B and Jay-Z bottled in their buoyant club hit. Antony’s take casts the tune’s desperation in an entirely new light — from a confident celebration of irrational infatuation to one of hand-wringing loss of self-control — and the video does so literally: Beyoncé’s hyper-colored, crisply lit dance routines give way to Antony lurking in shadows, filtered through a diaphanous and murky haze. We’re unable to see him clearly, but really we’re just being put in his shoes. [Source]
[via Pernille 'Bad Girl Of Tennis']
Official video for “Rare As The Yeti” by Kid Congo and The Pink Monkey Birds from the album, DRACULA BOOTS on InTheRed Records. Directed,shot and edited by award winning Washington DC short filmmaker/artist Rob Parrish, with shooting team Paris Bustillos and Helen Schneider . Filmed during a New York Night Train Happening at Civilian Art Projects in Washington DC with dancer Anna Copa Cabanna, projections by Spencer Bewley, numerous DC folk and Kid Congo Powers (former Gun Club, Cramps, Nick Cave and The Bad Seeds guitarist) as The Yeti http://kidcongopowers.blogspot.com/
[Dedicated to P.G. Frandsen]
Howard’s take on Talk Talk’s ‘Life’s What You Make It’ is an amazing bass-heavy monster that fits in with the tone of the album perfectly. In addition to being an excellent track in its own right, it does what a good cover version should: it shows the original in a new light and stamps a degree of personal ownership on the song. [Source]
Titled “Chase The Tear”, the track works off of a steady digitized beat that recalls Brad Fiedel’s score to 1984′s The Terminator. It’s smooth, but not too sharp. You can feel the lo-fi edge to it, especially in the muffled drum tracks. When vocalist Beth Gibbons lays down her first vocals, about a minute or so in, it’s actually kind of creepy and unexpected. But by then you’re already grooving. [Source]