Dan Deacon: America (Domino)
“Lots”
It takes a certain type of self-confidence to Sharpie tits on a map of the United States and call it album art, or loop the sliced-up laugh of Woody Woodpecker for three-and-a-half minutes and call it an opening track. It takes a very different type of self-confidence to craft something as complex, varied, and yet wholly likeable and listenable as “Prettyboy,” one of the most intrepid compositions on Dan Deacon’s newest release, America.
Why?: Sod in the Seed (Anticon, 8/14/12)
“Sod in the Seed”
With the forthcoming Mumps, Etc. LP promising another new direction for indie-hop group Why? — this time with expanded orchestration — its Sod in the Seed EP comes to whet its fans’ appetites. And though its material is nearly all exclusive to the EP (only the title track is a repeat), at six songs and 17 minutes, it’s short and distinct.
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Battles: Dross Glop (Warp, 4/17/12)
“Rolls Bayce (Hudson Mohawke Remix)”
If the appeal of a cover tune rests on an artist’s ability to emulate a preexisting song and bring new flavors to it at the same time, then the remix is something of an estranged relative. With remixes, the implicit goal is to stretch an existing piece of music as far as it can possibly go. Remixers are thus encouraged to let their musical personality eclipse the composer’s. They are essentially hired to take risks, to reconstitute, and to deconstruct — even altogether ignore — the mood, structure, and musical components with which they’ve been given to work.
The end results often qualify as works of art unto themselves, yet they also exist more or less as novelty items. Arguably, few remixes connect with more than a limited niche audience — even for fans of groups like Massive Attack and Depeche Mode — and the thought of a group of remixes working together within the larger framework of a full-length album remains an anomaly.
But that isn’t stopping experimental rock trio Battles from trying.
Antibalas: s/t (Daptone, 8/7/12)
“Dirty Money”
Having come back into fashion a decade ago, afrobeat isn’t so much resurgent as it is enduring. These days it might even more popular than it was in the 1970s — setting off dance parties, blasting over café speakers, occupying whole sections at record stores, and even influencing indie-rock records. Its immersion into the global mainstream is in large part due to the revived interest in Fela Kuti, the Nigerian afrobeat rebel whose life is chronicled as equal parts musical innovator and controversial social activist. Over the years protégés of Kuti’s Africa ’70 band have exploded everywhere from San Francisco to London, but none may have been more instrumental to afrobeat’s second coming in the States than the Brooklyn-based ensemble Antibalas.
Bloc Party: Four (Frenchkiss, 8/21/12)
“Octopus”
After a hiatus that saw front-man Kele Okereke testing the solo waters of R&B-inflected electronics, London indie outfit Bloc Party has returned leaner, meaner, and more dynamic than ever. Some studio banter between tunes is a dead giveaway that Four is a more documentary approach than the boys have taken previously. Rawer sounds and a live recording environment make this the closest to representing the band at its naked best.
JJ Doom: Key to the Kuffs (Lex, 8/21/12)
“Banished”
In February, producer/rapper Jneiro Jarel and masked wordsmith MF Doom announced a collaborative album under the name JJ Doom, teasing us with “Banished” as well as a string of contributors such as Blur/Gorillaz front-man Damon Albarn, Portishead’s Beth Gibbons, and Jarel’s old Willie Isz partner, Khujo Goodie. Now the wait is over, as Key to the Kuffs finally gets its release on Lex.
Six Organs of Admittance: Ascent (Drag City, 8/21/12)
“Waswasa”
Six Organs of Admittance: “Waswasa”
An undulating, tripped-out space opera, Ascent is the latest from guitarist Ben Chasny’s psych-folk project Six Organs of Admittance — here joined for an electric, full-band lineup by his Comets on Fire bandmates Ethan Miller, Noel Von Harmonson, Ben Flashman, and Utrillo Kushner.
From the start, Chasny’s guitar comes alive with candescent color, invoking the avant psych-geist without pastiche. Rolling lines of finger play provide atmospheric breaks, and reflective pieces like “Your Ghost” prove that, despite the special guests, his softer sensibilities are undamaged. But make no mistake: the main focus here is the roar and reason of electric guitar.
Living here in Chicago, we’re not ready to give up summer until we’re good and ready. So even though the electronically inclined North Coast Music Festival purports to be “summer’s last stand” from August 31 to September 2, we’ll be living it up until the autumnal equinox.
Semantics aside, if you’re here with us, you can enjoy North Coast too, seeing artists such as Pretty Lights, Atmosphere, Big Boi, Girl Talk, The Rapture, Dan Deacon, YACHT, Rebirth Brass Band, People Under the Stairs, and many more in addition to some of dance music’s biggest names. See the full lineup here.
The video for High on Fire’s “Fertile Green,” amazing in its ridiculousness, is a mini-masterpiece of psychedelic sci-fi. Follow “Balteazeen, the Christ Twin” in his quest to reach some sort of Goddess of the Sticky-Icky.