Post by squatchcreep on Jan 27, 2011 4:12:52 GMT -8
Get ready for some sexy electronic hip-hop beatwork. Michal Menert’s debut album, Dreaming of A Bigger Life was released today as part of Pretty Lights Music (the record label). You can download it now for free at the PL Label section of PrettyLightsMusic.com. You just have to provide your email to Pretty Lights for future newsletters, which is really a gift in itself. Dreaming of a Bigger Life is sweet and smooth, with a touch of attitude. Tracks 4 and 5 are standouts for me.
Explore the rest of the site too. Beyond a nice flash design, there’s a lot of other goodies to discover too. And if you haven’t heard of Pretty Lights the man himself, step up your game…
Post by squatchcreep on Jan 28, 2011 5:00:05 GMT -8
Juno What?! is America’s newest contribution to the late 70's-early 80's-inspired, high energy, funk-disco, synth bass, electronica genre.
A rising star in their field, This funk trio is bringing their illuminated madness to every venue upon which they descend. Catalyzing dance-floors into sonic landscapes, Juno What?! is poised to take stages around the country and sternum poop its prey. A sound that is ahead of its time yet is steeped in a foundation of electro 80’s dance grooves with a healthy dose of progressive, booty-shaking themes.
Post by squatchcreep on Jan 31, 2011 8:01:08 GMT -8
Big Gigantic is the brainchild of Boulder, Colorado's own saxophonist/producer, Dominic Lalli, and drummer, Jeremy Salken. Conceived in 2008, the duo found their niche and created a name for themselves in the electronic music scene. By combining vibrant jazz melodies over pulsating dance beats, Big Gigantic delivers an innovative, distinct sound that's all their own.
As a testament to their timeliness and unique melody, Big Gigantic has made a profound impact on the jamtronica landscape. From playing modest gigs around Colorado, to instantaneously headlining shows throughout the country and hitting major festivals, Big Gigantic showcases an amplified array of compositions that combine elements of a DJ and live band that leaves fans from coast to coast anticipating more.
Between the band's debut album, Fire It Up, and their EP, Wide Awake, Big Gigantic has had over 70,000 downloads to date. With their highly anticipated sophomore album, A Place Behind the Moon, debuting on 1320 Records, the two-man sound machine continue to magnify their reach and reputation with a future that shows no signs of slowing down.
I've been waiting for months for this release and it lives up to my expectations, which is an understatement. Anyone who appreciated the careful structure of Walk It Off, will not be let down. I read the Pitchfork review of Outside (5.5/10) and was thrown off a little by the reviewer's stance. He bashes the album, claiming that after the band's success from The Loon, they lost appeal because, "they sound a little like a lot of bands but never very much like any one band-- namely, themselves." After listening to the album in its entirety, it's hard to imagine anyone disliking it or calling it unoriginal. Give it a listen..
Sorry no free download for this album. Find it on your own..
Post by squatchcreep on Feb 11, 2011 4:42:17 GMT -8
Producer-musician Jim Dickinson was a gentlemanly maverick who served as the unofficial historian and advocate for the most deeply imbedded strands of Southern music. His death in 2009 was a huge blow, not least of which to his family, which includes his sons Luther and Cody Dickinson. They’re the core members with bassist Chris Chew of the North Mississippi Allstars, who have been recording blues-steeped rock, soul and gospel for more than a decade.
The death of the Dickinson patriarch and the birth three months later of Luther Dickinson’s child inform the trio’s best album since its 2000 debut, “Shake Hands With Shorty.”
“Keys to the Kingdom” (Songs of the South) moves from anger (“This A’Way,” “Jumpercable Blues”) to acceptance (“How I Wish My Train Would Come,” “Hear the Hills”). Along the way there are potent collaborations with Mavis Staples on the gospel testifying of “The Meeting” and Ry Cooder on the sobering conviction of “Ain’t No Grave.” The album wraps with rollicking, randy takes on mortality (“New Orleans Walkin’ Dead,” “Jellyrollin’ All Over Heaven”) and a haunting coda by Jim Dickinson’s favorite piano player, Spooner Oldham.
The Allstars play with unassuming ardor, letting the rawness seep through the edges of the arrangements. Drummer Cody Dickinson in particular delivers exactly what each song needs, nothing less, and keeps things swinging. It’s the kind of unsentimental yet passionate tribute a musical legend and family cornerstone would surely appreciate.