Disco sampling savages Javelin are at it again, this time with the western frontier in mind. Javelin, along with friend and past collaborator, director Mike Anderson, plan to produce an epic Western entitled Canyon Candy, or Blood of the Rio Grande, with an accompanying score composed by Javelin themselves. The score for the film, a 10 in. EP, was released April 16th, on Record Store Day, by Luaka Bop Records. The album itself is a limited edition, hand pressed-- and to show their commitment to the project-- hand branded masterpiece that only Javelin could have composed.
Canyon Candy truly plays as a backdrop to a lone cowpoke's journey through America's badlands in a search for something: wealth, love, revenge? It's never made quite clear. What is clear is Javelin's unmatchable sampling abilities, which are effectively layered and unbelievably melodic, the only way Javelin knows.
Their shift from the funky dance jams of their earlier work, Jamz 'n Jemz and No Mas, to the sprawling uncertrainty of the old West is seamless and surprising. Songs like album stand outs "Esteves" and "Waterfalls" display the charming sonics of Javelin, but have an undeniably Southwestern style. "Esteves"opens with a lonesome sounding slide guitar that begins to splinter and layer, with pieces winding effortlessly between one another. The swaying rhythm of the twangy guitars create a lush and emotional Western drawl in an incredibly unconventional way.
Album closer, "Waterfalls", is similar in it's set-up with effectively splintered and layered pitchy vocals fused with the eagle cry of a broken slide guitar, creating the old-time rhythm throughout. This track has an uplifting sense of accomplishment and finality, directly followed by a minute of the relaxing cricket chirps of a quiet and restful night on the Western front after a hard days' travels.
Javelin's interpretation of a glitchy Wild West is at times emotionally evocative, and at times just downright goofy. The wacky and whimsical mentality we've come to associate with Javelin is still very present in their most recent effort. Songs like the spliced hip-hop country mash up of "Colorado Trail", the whistlin' side-shooter narrative of "Winchesters", and the trot-paced southern belle harmonies coating "Sagebrush", show us that, despite the dreary subject matter, Javelin can still have fun.
The film portion of the project began with a campaign on the website Kickstarterto raise funds for the production costs of the film. Kickstarter is a way for people in various creative fields to gain access to funds for projects through pledges. They are then given a certain amount of time to ensure safety if financial goals aren't met by developers. This method allows a large creative pool to produce costly productions without the use of loans and investments, fostering a completely self-controlled creative experience. Javelin, director Mike Anderson, and producer Oscar Boyson's campaign began in the beginning of March with a goal of $9,500. Their goal was met on April 9th, and has since exceeded the initial amount by rounding up pledges totaling $12,505. Each series of pledge amounts were matched with awards ranging anywhere from a personalized thank you postcard, a playbutton containing the Canyon Candy score, a DVD of the film, or even an executive producer credit.
The score for Canyon Candy was not only released as a limited-edition record, but also as a Playbutton. New York based design company Parte LLC developed the Playbutton, which is an innovative way to listen to a record while still maintaining a tangible connection that's been lacking in the age of digital music. Crate-diggers, like Javelin, who's basis is upon the physicality of the LP and tapes of yore, obviously would be down to entertain the idea of a new way to bring music back into the hands of the listener. They crafted a custom Canyon Candy Sheriff's badge playbutton to add to the effect.
Given the restraints of creating a score for a then unmade film, Javelin sure have a knack for melody and theme. The album as a whole offers its own narrative, but also a sprawling glimpse into what we can only imagine will be, as Mike Anderson said of Canyon Candy, "The most beautiful thing you will ever see in your entire life."
Here are a few tracks from Javelin's Canyon Candy score, paired with western footage unrelated to the actual Canyon Candy film.
I revisited IDEO's Vimeo page after an earlier post about IDEO's Vision for the Future of Self-Service Banking to see what they are working on. I came across an intriguing video that was posted a few months ago, but the content really sparked my interest.
It is a concept from IDEO that aims to restore a physical aspect to digital music enjoyment. The c60 Redux is a platter that users place individual cards onto to play music. Each paper or cardboard card contains two RFID chips that activate the platter to play the track that is associated with it. The track stops playing when the card is removed from the platter. Users can create a playlist by placing several cards on the platter at a time and the tracks are read and played in a clockwise order. The unit is connected to a computer for power and sound output.
This re-establishes the focus on album graphics and tangible artifacts associated with music.
A trend of female-led, hip hop influenced, lo-fi jams has been developing over the last several years in the indie electronic scene. A few duos displaying variations of this constantly developing trend are stoner-Swedes jj, the musical culmination of Purity Ring, the street-beats of Phantogram, and the up-and-coming Made in Heights.
jj
One of the front-runners of this sound is the Swedish duo jj (intentionally unpunctuated and uncapitalized to show their laidback attitude) who have 4 releases under their belt after only being active for 3 years. jj is known for crafting originals and covering some of hip hop's finest with a subtle flow and Balearic vibe.
Their first full length, jj no. 2, has a definite sun-driven state of stoned relaxation and tropicalia trippin'. Don't be mistaken though, there are some solid jams in here. Opener "Things Will Never Be The Same Again" is a pop-heavy step into the somewhat deceiving sun soaked beats. jj's lyricism has a dark and dreary tone, especially with Elin Kastlander's bong-rip-flat delivery, but it somehow complements the sunny club beats. "Ecstasy" (posted below) is a perfect example of the straight-up gangsta lean jj was inspired by. And yes, the title implies it all, this song is a bass-driven banger best suited for the experience of its namesake.
The follow-up, last years jj no. 3, is a little less inspired as their debut, but still has it's shining moments. Altogether, the album takes plenty of cues from fellow Swedes and Sincerely Yours Records owners, The Tough Alliance, but no. 3 also displays a more fleshed out approach. Most notably, the opener -- a cover of Game and Lil Wayne's "My Life", which consists solely of a slow piano and Elin's smoky swagger-- turning this jam towards sullen ballad territory.
jj's most recent offering came in the form of a Mixtape. Kills (number 4 in the jj chronology) plays as a smoke-screened guide through hip hop history-- each track contains samples from some of hip hop's classics and currents. Everything from M.I.A.'s hyped-as-hell "Paper Planes" to Kanye West's anthem "Power". This format really enables jj to display their knack for lyricism and delivery. The track posted here, "Still", opens with hushed vocal harmonies that flow seamlessly into a sample of Dr. Dre and Snoop Dogg's "Still D.R.E." and Elin's breathy flow. The cleverly written lyrics add jj's swagger to the iconic beat, shedding a new light : "...I am S/Y, no lie, at least you get to witness, kill so many songs, you'd think I have a hit list."
Kills was released as a free download which you can snag here.
jj "Ecstasy" from jj no. 2
jj "My Life" (Game Cover) from jj no. 3
jj "Still" from the Kills Mixtape
Purity Ring
Purity Ring consists of Gobble Gobble's Corin Roddick and Megan James and currently only has two tracks released. Their first single "Ungirthed" is a glittering pop jam with some definite dubstep influences. Megan James' cute and crisp delivery compliment the grinding thump of the inconsistent bass line and the deep vocal sample moaning.
"Lofticries", Purity Ring's second single released this month, has a similar set up with a slower burn. The synth work is more intricate in it's movement and James' flow persists through the sparkling murk of the beat. The same cyclical vocal sample from "Ungirthed" reasserts itself in a more fluid manner. A lengthier song, "Lofticries" plays like the perfect B-side to "Ungirthed".
Purity Ring's first single "Ungirthed"
Purity Ring's second single "Lofticries"
Phantogram
Phantogram is the brain child of New York's Josh Carter on guitar, and Sarah Barthel on keys -- both sharing vocal duties. Their self-described "street beat psych pop" is reminiscent of the late J. Dilla's beat craftsmanship with the trip hop sensibility of Massive AttackandLittle Dragon. Their debut album, 2010's Eyelid Movies, contains some interesting beat and synth work in near-epic proportions. Opener "Mouthful of Diamonds" begins with a boiling chirpy beat leading into Sarah's slow and steady vocals, that are clearly and cleverly enunciated.
"When I'm Small", Eyelid Movies stand out track opens with a static Portishead-esque drum beat. Sarah's repetitive crooning washes over Josh's plucky guitar to create a haunting, paranoid atmosphere. Unfortunately, the two outstanding opening tracks listed here are not entirely indicative of the album as a whole. The tracks with Josh in the lead come off a little dull. His flat delivery and lack of emotion cause a less conflicting and challenging listen than the crispness or Sarah's vocals juxtaposed to the aged beats. His voice tends to fade to the background instead of grabbing your focus.
Phantogram "Mouthful of Diamonds" from Eyelid Movies
Phantogram "When I'm Small" from Eyelid Movies
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Made in Heights
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Up-and-comers Made in Heights released their free debut EP at the end of last year (much like jj's Kills Mixtape) as a sort of Christmas offering. Winter Pigeons (Songs to Raise Your Dead Spirits) consists of 3 original tracks with 3 complimentary instrumentals, and as an added bonus, a "Hip-Hoppity Christmas" rendition of "Dance of the Sugar Plum Fairy" from the Nutcracker.
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Made in Heights is one-half of the soulful and self-proclaimed "cinema art rap" of Seattle based hip hop duo Blue Scholars. Alexei Saba, a.k.a. D.J. Sabzi, and his friend Kelsey Bulkin decided to create their own music duo, using his history in hip hop as framework for their hip hop indie pop sound. Winter Pigeons opens with "Skylark Interabang?!" which samples the hushed piano notes from Sufjan Steven's "Concering the U.F.O. Sighting Near Highland, Illinois." Kelsey's soft spoken and swag-soaked delivery add to the subtlety of their songs. This track in particular starts out as charming indie pop but as soon as Kelsey gets past the first verse her head-bobbing flow begins to reveal itself. When the beat breaks with a circulating siren sound, it takes the track even deeper into hip hop territory. Deep vocal samples similar to Purity Ring's "Ungirthed" circulate around Kelsey's sweet sounds near the final breakdown.
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The following track "All the Places" is a hell of a lot more straightforward. A faster paced and more lyric driven song, this track truly displays Made in Heights hip hop sensibilities and Kelsey's way with words. "Now my chain is feeling heavy on my neck when I ride, but my heart is beating steady and I know it never lies. Dead could, dead could start to feel, and your eyes will start to flood, if you knew the kind of steel running in my royal blood...." is so cleanly delivered and cleverly written that it rivals that of even jj's Elin Kastlander. Throughout "All the Places" a whirling click carries the track as a metronome while a clap heavy stutter-beat mirrors Kelsey's own sampled stutters.
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Made in Heights Winter Pigeons (Songs to Raise Your Dead Spirits) EP
(The entire EP will stream on this page)
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These artists all vary greatly between their direct influences, but they all share a a common respect for the greats of rap and hip hop that is signature to their individual sounds. Whether it's the street beats of Phantogram or the lyrical flow of Made in Heights, these girls help remind us that hip hop is fluid, and can be manipulated in some fascinating ways.
Video games and music have a short but sweet history together. Some of the most iconic songs and sound bites from our generation came from or were inspired by video games. I mean, if you don't know the Super Mario Bros. Theme, then you may have some major pop-culture catching up to do. The legacies of such prolific video game composers as Yuzo Koshiro, who produced the outstanding sound track to the Streets of Rage series, or the creator of the Super Mario Bros. music, Koji Kando, live on even to this day. In fact, the trends they created and barriers they broke paved the way for the ensuing post-'80s and '90s electronic music.
Many musicians within the last ten years have begun to take cues from these celebrated works. Their influence isn't literal; instead, it serves as a jumping off point to create a whole new entity all together. The Canadian duo Crystal Castles (not to be mistaken with the 1983 Arcade Game) utilizes Atari synth sounds to fill in the skeleton of their shocking pop explosions. Their sound can fluctuate from bubbly sweetness to blood-curdling harshness with the bat of an 8-bit eye.
Guido is another great example of a musician using video game music solely as inspiration to compose atmospheric sounds. Instead of the glitchy 8-bit form of his contenders, Guido gains inspiration from the orchestrated instruments of the great Nobuo Uematsu, who created the scores for the Final Fantasy series. With occasional dub-step tendencies, Guido crafts some moody string-led electronic jams.
Dean Bentley of Hourglass Sea has a few things in common with these two, but he takes a slightly different approach. Like Crystal Castles and Guido, Hourglass Sea doesn't just use video game sounds and samples as a gimmick to create an instantly recognizable and relatable song. Instead, he encapsulates the late '80's and early '90's pop culture, while remaining very relevant in the current UK music scene. He employs smooth synth lines, vocal samples and noise blips effectively layered about bombastic drum beats and some legit '80s metal guitar solos. "I just want my music to be very loud, melodic and busy."
Hourglass Sea's inspirations are as varied as his sound, which is difficult to pin point. The influences for this distinguishable sound stem from Streets of Rage, Paradise Lost, Little River Band, Robocop and S.O.S Band, which seems apparent when compared to his synth style and beat progressions. These diverse influences combine with his background as an MC under the L.G.P. moniker, to create some heavy yet incredibly melodic and smooth bangers. He's currently working on releasing a collaborative effort under his L.G.P. title.
The singles leading up to the release of Hourglass Sea's Live from the Crematorum EP leaned towards the brighter side of the sound. Unlike the polished crispness of his new material, his former songs possess a rougher yet breezy quality. “Teenager” has a glitchy hip-hop feel that occasionally seems ready to burst at the seams with sound. “L.A. Lights” contains a tropicalia spin centered around sunny key strokes and the chime of the coin in Super Mario Bros. An all too familiar “yeah” sample fills the space, reminding us that Dean Bentley hasn't forgotten his roots.
The singles that dropped between "L.A. Lights/Teenager" and the release of LFTC were truly transitional pieces. They contain a polished sound indicative of LFTC. "Time Killer" is a crisply delivered and steady paced jam that sounds as if it could be the sound track to a Ken & Ryu duel. "I wanted to make quite an aggressive beat...The title is kind of a statement to ignore what kinds of sounds [and] styles belong in each decade. I think these days anything goes." And in Dean Bentleys hands anything certainly does go. "Crystal Kross" opens with a jackhammer beat and a warm and raspy guitar riff. Static drums carry the song at leisurely pace. The structured sequences of sustain soaked guitar into dreamy synth pangs continues back and forth until it culminates into a glistening wind-down.
The release of LFTC marked a slight change for Hourglass Sea. There is a definite glittering shadow cast over these tracks. The inspiration behind the songs can be summed up with Dean's experience growing up next to a cemetery as a child in Lidget Green. “All the titles from LFTC are references to death... The place where I grew up - we lived over the road from Scholemoor Cemetery. Living next to a place like that seems to bother some people, but it never bothered me. Sometimes you have to use your imagination and make the best of where you reside... On the one side it has a very English working class look about it, with its mills and terraced streets... but on the other side it had green fields that went on for miles. I suppose I liked the variation... It's more of a tribute to the people I knew and where we grew up.”
The title track from Live from the Crematorium possesses a very laid back jazz timing. A stammering drum beat forms the background while a bluesy guitar solo washes over a piping synth. “Divine Sealing” displays an effervescent intro. Synth choir notes build up with a whirl into HS's signature change-up thumping drum beat. Machine gun synths fire into a deep bass-cut breakdown with heavy-handed Balearic piano.
The second half of the four track EP begins to throw back to the previously released singles by displaying Dean's knack for cleverly placed vocal samples. The search for the samples contained in each song almost becomes a pop-culture hide-and-seek. The bass drenched outro of “Divine Sealing” leads into the boiling beat of “Memory Eternal.” “Memory Eternal” contains samples of Street Fighter character Guile's iconic “Sonic Boom” declaration following the video game announcer exclaiming “Perfect!” The EP's closer "Another World" begins with a glittery sped-up rendition of the down-tempo prog-rock of Little River Band's "Reappear" that slams into a brassy synth wall. A wavering siren pulses in the background as the grinding bass line runs its course. This track incorporates the "C'mon" sample contained in any MC's repertoire along with the pitchy LRB sample "When will you reappear?"
There's something special about Dean Bentley. His songs truly contain so much, it's hard to believe how smooth they roll. At one moment you feel as if Guile from Street Fighter is piloting one of the Blue Angels jets in Van Halen's music video for "Dreams," and the next moment Blaze from Streets of Rage is in line at a Little River Band concert in Super Mario World. In the hands of someone scared to use a little excess Hourglass Sea would be boring. Conversely; someone without a sense of true restraint would end up sounding like the purported "nintendocore" of Horse the Band. Dean Bentley's balance of these two is impeccable and we should anticipate a career as bright as his sound, and those who inspired it.
I had the opportunity of talking with Dean Bentley, the UK's video-game-gangsta beat maker known as Hourglass Sea. He crafts some epically heavy retro jams with plenty of nostalgic samples and chiptune effects to keep any music loving, video game playing nerd smirking. He just released the Live From the Crematorium EP at the beginning of the month.
I've linked to some of the songs from video games that we mention so you can hear/see for yourself.
Check out the link to the Robocop Game Boy Theme that's posted. It's insane.
?: When did you first begin recording as Hourglass Sea?
Dean: "Teenager" was the first Hourglass Sea recording. It was made about 8 or maybe 9 months ago.
?: The new EP's name is Live From the Crematorium, what is that a reference to?
Dean: The place where I grew up. We lived over the road from Scholemoor Cemetery. The crematorium is reasonably sized and sits right in the middle, so it can't be missed.
Living next to a place like that seemed to bother some people, but it never bothered me. Sometimes you have to use your imagination and make the best of where you reside. For all its problems Lidget Green was okay. On the one side it has a very English working class look about it, with its mills and terraced streets, almost like an L.S. Lowry painting, but on the other side it had green fields that went on for miles. I suppose I liked the variation haha. It's more of a tribute to the people I knew and where we grew up.
?: What was the inspiration behind Hourglass Sea?
Dean: Originally I wanted Hourglass Sea to be more versatile. I had ideas of recording metal, synthetic R&B, stoner rock, hip hop and a few other things - all under Hourglass Sea. I briefly tried it out but decided against the idea. I'm inspired by all kinds of music really. Zapp & Roger, Paradise Lost, Cameo, Little River Band, SOS Band, Biz Markie, Massive Attack, Bad Religion, Kyuss...it's a fairly big list. I try to take snips of ideas and sounds from different styles of music and incorporate them into one place.
I just want my music to be very loud, melodic and busy.
?: There's a strong sense of nostalgia in your songs, would you consider yourself a very nostalgic person?
Dean: Yes. A little too much, I think. Especially in music. From a music point of view it's kind of hard not to be. I grew up in the days of albums, album booklets, 3-4 single releases off each new album, videos, artwork etc. I kinda miss all that. I think overall things are changing for the better, but the original reasons as to why I fell in love with music will always play some kinda part.
?: There is a lot of guitar in your music, most notably in "Crystal Kross", is that all you? What other instruments do you play?
Dean: Yes that's me. I use a cheap Aria Pro 2 semi acoustic and a Big Muff. My amp set up is an early '70s Marshall Cab and a Matamp head. I try to include my guitar as much as possible, even if it's just a lick here and there. I play drums and bass, though at the moment I'm currently without a bass. I can handle keys sufficiently enough for recording.
?: When did you first begin playing music?
Dean: I began playing drums when I was 10 and guitar at 13. I was in one band in school. We didn't do very well, though we had the best intentions. Growing up all I ever wanted to do was be in a band. These days I love making music on my own. I could do with a vocal collaborator, but I wouldn't change the music making process at all.
?: It sounds like so much goes into each individual song, what is your music making process?
Dean: These days I always start with drums. I try to fill the drum tracks with percussion, effects, change ups etc. Once I'm 100% happy with the drums - I start playing with melodies and chords. Eventually I'll record something I like. It all builds from there really.
I have a fairly rudimentary style of recording. It's a manner of recording that works perfectly for me. I try not to care too much about the quality of the recording, whether it's a sample recorded into my MPC, or a guitar miked with my amp.
The two things I focus on with each song are melody and feel. I don't mind even if I make a slight mistake in a recording. Sometimes it's good to add a real human feeling to a largely synthetic backdrop. It sounds corny but I like the idea of a song sounding a little rough whilst containing a strong, bright melody.
?: Obviously video games, among other things, have a strong influence on your sound. What are your all time favorite video games?
?: Sonic 2 is amazing! I LOVE the music in the special stages in both Sonic 1 and Sonic 2. They both probably have my all time favorite video game music along with Zelda Ocarina of Time and Lunar 2: Eternal Blue. Robocop also had some awesome music.
What's your favorite video game music or song?
Dean: Do you remember the music for Robocop for the Game Boy? It had this strange mood to it, quite solitary and relaxed. It was very good. I don't have a favorite. I love certain mini-sounds, intros etc. I remember one of the early John Madden games had quite a cool intro, and the music played after Shinobi dies in the 3rd game, that was really nice! Sonic 2 is hard to beat though. That shit was inspired.
?: What are the samples used in "Another World" and "Memory Eternal"? Is that shit Guile from Street Fighter 2?!
Dean: Yes, that's Guile! I preferred Vega, but Guile has some nice lines. Like most people my age I have fond memories of Street Fighter 2. The characters, music and various effects used in SF2 will always be memorable.
"Another World" utilizes a prog rock vocal - as well as a subtle vocal sample from Streets Of Rage 2. See if you can find it!
?: The sample is Blaze, right?! Brilliant!
Dean: Correct! But there's another Streets of Rage sample in there....
?: Also, is that a sample of Mantazz in "Time Killer" or am I crazy?
Dean: No, you're crazy! Haha. Time Killer contains a sample, but I'm not giving this one away. You'll have to go digging for it!
?: The song sampled in “Another World” is “Reappear” by the Little River band, right?
Dean: That's the one! Playing To Win is a very cool album. The '80s was amazing for rock and funk/R&B. It was a pretty open field in terms of what kinds of sounds people used for each song. Old formulas were being ignored for new ideas & sounds.
Can you imagine being a teen, putting on the radio first thing in the morning and hearing “The Message” or “This Is Radio Clash”? Wow, it was like a new enlightenment.
?: That's one of the many things I love about your music, it's almost like a hunt to find the pop-culture references in your samples. Do you intend it to be this way, almost like a musical hide and seek?
Dean: Not really, but I used to do exactly the same thing with anything produced by The Alchemist and Just Blaze. If the beat contained a sample I wanted to know what it was and where it came from. For that reason hip hop opened me up to a lot of music.
?: Who designed your bad ass logos and EP covers?
Dean: My Hourglass Sea artwork is designed by Kevin Summers at Normal Bias.
He's very cool!
?: I like that you used the cover of The SOS Band's album Sands of Time, which was also the inspiration for your name, as the backdrop to your earlier track's logo. Is the backdrop on the new logo from something as well?
Dean: Good observation. Sands of Time is a cool album. That's like the epitome of mid tempo, synthetic 80s R&B. I think I want to listen to it again now you've mentioned it. The backdrop wasn't really inspired by anything, other than offering a darker tone than the bright, desert backdrop of “L.A Lights” and “Teenager.”
?: Have you gone by any other names, or do you have any side projects?
Dean: I used to collaborate with emcees under the name L.G.P. I'm on the verge of releasing an album of sorts featuring the various collaborations over the past few years.
?: What does L.G.P stand for?
Dean: Lidget Green Position. I know, terrible name.
?: Does L.G.P share the same sound as Hourglass Sea?
Dean: No, not really. Hourglass Sea is very different. These days I enjoy HS more than standard hip hop. The sampling techniques I've learned over the years will always be used in Hourglass Sea. I'll never stop sampling. Not fully. Maybe in the past I consciously created beats to fit an emcees mood. I suppose I got bored of that.
?: When can we expect the collaborative album to drop?
Dean: I'll release the compilation in the next month or 2. It contains about 18 songs feat Guilty Simpson, Craig G., Nature and a bunch of other emcees. It's totally different to Hourglass Sea and I'd never merge the two in anyway. The album is largely beats and rhymes.
?: It seems that you would bring a lot of brightness to your hometown with your music, have you ever put on a live show? (as Hourglass Sea)
Dean: Not yet, but from May onwards I'll start playing live. I'm not so sure I'll be playing regularly within my city. Bradford is a strange place. But I'm looking forward to playing live. I have a guitar/ableton set up. I'm not quite there yet. Setting the live thing up takes its own time, but it should be fun.
?: Given all the ridiculous titles for music genres -- what would you want to call your brand of sound if given the choice?
Dean: Universal Space Funk. That sounds lame doesn't it?!
I'm really not too sure. I remember witnessing the arrival of 'nu-metal' in the late 90s. It was pretty depressing to see a golden age in metal thrown away for this new buzz word, “nu-metal”. The music was mostly crap and so was the name. I've heard a few names being banded around. It's strange really because It's something I've never given much thought to.
?: Universal Space Funk does not sound lame! In fact, I think compared to Nu-Metal, Universal Space Funk rocks.
On a side note, Korn, a fairly popular American Nu-Metal band, is from my hometown in the Central Valley of California. This is not a fact I am very fond of. This is less of a question and more of a statement.
Dean: Really! That's kinda cool, really. Though I never got into them. I liked Deftones. They're from California, right? Ever heard Paradise Lost? They come from Halifax, just up the road from me. They had two cool mid-'90s albums.
I personally think they're the best (metal) band to come out of West Yorkshire.
?: When can we anticipate a full length? Do you have a record label or are you even looking for one?
Dean: I'd like some kind of guidance eventually, whether that results in a label or management. I'm not that sure on how such things work, but there are parts of the music game I'm pretty lame with, and could probably do with some guidance in. For the time being I'll keep releasing singles/EPs and a few remixes too!
?: When can we expect some more new tracks?
Dean: I'm currently working on a new EP. Live From The Crematorium was generally well received, so I think the idea is to take some time with the new recordings and hopefully try to gain a little more interest with a new EP. I'm pushing for late March/early April.
?: Finally, NES or SEGA?
Dean: That's difficult! I loved both consoles. If pushed - I'd go with Sega: Golden Axe, Streets of Rage, Sonic, Shinobi 3...They're fairly good reasons, right?!
Make sure to check out his new EP Live From the Crematorium which you can listen to at his soundcloud.
Also, keep a look out for my upcoming review of the Live From the Crematorium EP.
Oh the 1980s. What a simple time. Valley Girl vernacular plagued communication in America; Molly Ringwald was still Pretty in Pink; Nancy Reagan fought the “war on drugs” with her “Just Say No” campaign; Super Mario Bros. captivated just about all the children in the world; and Marty McFly charmed the pants off of millions.
We're all a little better off for most of the events and trends that took place then. Technology exploded into the world-dominating behemoth it is today, and more people were born in the '80s than any other decade. I mean, it's the decade that supplied us with the creation of MTV, new wave, mullets, Saved by the Bell, and most importantly, Return of the Jedi.
Must I even mention “Thriller”?
Nevertheless, the '80s are a commonly misunderstood and misrepresented decade. The disastrous year of 1986, the Exxon Valdez Oil Spill and the beginning of the AIDS pandemic are all examples of the murkier side of the period.
Gatekeeper, Brooklyn and Chicago's death dance output, are more focused on that macabre aspect of the time – the Mount St. Helens, Space Shuttle Challenger and Chernobyl side of the spectrum. They feed off of the Cold War apocalyptacism of the '80s, and they do it perfectly, molding it with a b-horror movie mentality. They've crafted a sinister sound that embodies the commonly overlooked dark side. Utilizing low end percussion, crisp synth peaks and some legitimately creepy samples, they've captured that stand-still-in-terror pall over that era. They've gone the opposite direction most do when taking cues from the '80s. Instead of Molly and Emilio, you get Freddy and Jason.
The Giza EP, Gatekeeper's second release, dropped at the end of 2010 and quickly sold out, prompting a reissue shortly after the start of the year on Merok Records. With an album cover like that, not much is left to the imagination. It looks as if Salvador Dali and Sam Raimi got together and created the cover for an arcade game, which is quite indicative of Gatekeeper's brand of noise.
Giza spans over six haunting synth drenched tracks that are as murderous as they are dance floor friendly. Let me tell you, this music has muscle. The opener “Chains”, for instance, begins with the roar of a motorcycle engine revving into action followed by a flash-bang thud into a relentless grinding beat. An X-Files influenced Mark Snow-esque UFO sequence builds over a frightened girl pleading and a man's scream repeats throughout. The end drives up the suspense by incorporating a rendition of the iconic breathy Friday the 13th “ch ch ah ah” rattle amongst the metallic grinding and high pitched synth shifts.
Gatekeeper changes pace a bit with the slow burn of “Storm Column.” It constructs a claustrophobic tone by using repetition to its advantage. There is a truly sinister sense of lurking danger to this song. The monstrous breathing plaguing the background, the vocal samples of a bewildered girl and the winding cyclical beat create a barrier between the listener and the outside world, fueling the shroud of paranoia . It almost feels as if this is the theme to some masked maniac's hunt.
The menacing breathing and thrashing of Gatekeeper's unknowable monster continues through the muddled serpentine labyrinth of the aptly named "Serpent." Midway through, a synthesized woodwind takes the foreground along with an echoed and distorted black magic chant. A smoky shriek filled intro leads to the grave rave piping of the title track "Giza." If "Chains" was Friday the 13th, then "Giza" would be The Nightmare on Elm Street. It's ghostly bell and chime bridge and sample of a man jackel-laughing his way to the track's grim end are straight out of a Kreuger nightmare. "Mirage" holds its own with feverish female crooning and arpeggio drenched laser peaks. This track sounds like Solar Bears as serial killers. The album closer, "Oracle," is the Death Race of the bunch. Dueling synth lines race their way to the crash of the drums and samples of hell hounds gnashing and barking.
Aaron David Ross and Matthew Arkell, the two brains behind Gatekeeper, are somewhat of a mystery. Aaron is a multi-instrumentalist with multiple personalities, and a new medium artist with an eye for perfection. His website has a portfolio of his sprawling works and they are as impressive as they are diverse. Check out his Shoutbox Conductor of "I Have Nothing" by Whitney Houston, a 65 minute long hypnotic drone created in an incredibly clever way.
Aaron is not only 1/2 of Gatekeeper, but he is also 1/2 of Night Gallery, a side project with Adam Griffin of Golden Birthday. They met at a backyard screening of The Neverending Story, which should seem obvious when compared to their lush cinematic soundscapes. He was also a part of the spazz jazz of Epcot Center. As if his work wasn't eclectic enough already, add that he (along with the even more mysterious Matthew Arkell, as Gatekeeper) also produced the score for a bad ass mini-documentary Doctor Laser. It's about a laser and holography specialist, Jason Sapan, who coincidentally enough, is referred to as laser Doc Brown.
Gatekeeper have crafted a sound that leans on the sci-fi and horror of the '80s and '70s while feeding off of the entire aesthetic of the period. Their heavy use of samples doesn't force a narrative but establishes guidelines for the listener to fill in the blanks, giving them the opportunity to create their own twisted musical nightmare. They've created a time capsule of what it was like to be a terrified child in those times.
As the eerie deep voice states in the title track "Giza": "The essence of the album is contained, for now."
Here are some of the music videos they've created in collaboration with Thunder Horse Video.
These guys definitely stay true to the trend. They released all of their music videos, including those posted here, on a limited release VHS available at Thunder Horse Video. How bad ass is that?
February of 2010 brought us Toro y Moi's exceptional genre bending debut Causers of This. A funk-filled excursion through the last half century of music. More than half of the songs on the album bleed and transition into one another creating a massive tapestry of music's sordid past. Whether it's the drunken surf beat of “Blessa” strumming it's way into the synth storm of “Minors” or the disco rave of the lyric less “Lissoms” sending vocal stutters churning into the funky crunch of “Fax Shadow,” each song has it's own genre and era it just so delicately tries to break out of. These tracks are solely electronic but filled with so much damn soul.
It was quite an impressive feat for the then 24 year old South Carolina native, Chaz Bundick. It showed an obvious knowledge of music's history and a knack for how it could be best displayed in these copy and paste times.
But how would – or could, rather, a sophomore album compare?
By stripping itself of its time traveling abilities and dance sensibilities.
As great of an album as 2011's Underneath the Pine truly is, it definitely does remain quite static in its sound. There is a very prominent '60s rock feel to it. There's also a major downplay on structure, and an almost free-style jazz approach has been implemented. The general feel of this album is more organic and instrument based. Toro y Moi is beginning to sound like an actual band as apposed to an individual cranking out soulful audio flashbacks. Nevertheless, a lot of what Chaz exhibited in Causers of This can still be felt in this album – not really heard.
That's not to say any traces of Causer of This have completely dissipated. Let's just say, Chaz chose his singles perfectly. “Still Sound,” released in the middle of a rainy Los Angeles December, is a playful echo laden tune soaked in Chaz's swagger that, no matter the song, he just can't seem to shake. He earnestly sings “There was a finer life when I was with my friends and I could always see my family. It's what I still want now even if I'm here and I know they won't be waiting. 'Cause I don't want to be alone.” Swagger aside and as up beat as this song comes across, it's straight up depressing.
The second single “New Beat” is the model for the new path Toro y Moi has carved. Hell, he even states it in the lyrics: “...tried to make ends meet but picked up a new beat.” This song is decidedly the bridge between Causers and Pine. There are plenty of warbly synth twangs and slap bass evocative of his freshmen work but the majority of the sounds are instruments, not just synths and samples. There's a large human touch to Underneath the Pine that was missing from Causers of This.
There's a certain motif to Underneath the Pine that can be perfectly explained by one of the album's stand out tracks "Good Hold". It begins with sinister heavy-handed piano thuds – vaguely reminiscent of John Carpenter's Halloween score – instantly turning into a rainy-day-stroll-in-the-park-ballad straight out of The Carpenter's catalogue. This trend of duality is a common occurrence in Underneath the Pine and Causers of This. I like to see it as Chaz's proof that the musical formulas we create don't always apply. Although the inspirations have changed, the Toro Y Moi stamp is still here. This track in particular is unquestionably Toro y Moi stylistically, not necessarily sonically.
There's plenty to experience outside of the limitlessness of the lush electronics of Causers of This. All throughout Underneath the Pine there are old gimmicks employed that, somehow, in Chaz's hands, become extraordinary. The vacuum feel of “Go With You,” the single strokes of the piano on the instrumental “Divina," even the bongo beat in the sinister opener “Intro Chi Chi.” Most notably, though, is the last minute of ”Good Hold”. The harsh piano and the lazy drum beat mix with rich vocal harmonies. They collectively snake their way between each ear until they're submerged in an underwater thud that will shock you if unprepared. These are old tricks done very well.
From the electronic crispness in Causers of This, to the lateral step of the more fleshed out Underneath the Pine, Toro Y Moi has proven that sound and time alike is malleable and he is not one to be pigeonholed.
You can purchase both Underneath the Pine and Causers of Thishere or here
You can also purchase this tote bag sporting a Chaz/pug hybrid and a digital download code here
Here's the music video for "New Beat"
From the album "Underneath the Pine" out February 22, 2011
