We, the contributors, love and support well-made music and make every effort to support the artists we love by purchasing their work (it is our policy only to post what we own). Through this site, we're simply trying to share good music with others who will also hopefully continue to support these artists. We encourage everyone to purchase music and concert tickets for the artists you feel merit your hard earned dollars. Also, if you own the copyright to one of these songs and would like a song removed, please let us know.
I had this song on repeat yesterday, which is really the best way to hear it. The furious pop blizzard starts, the furious pop blizzard briefly pauses, the furious pop blizzard starts again. Over and over.
The fact that it doens’t get tiresome is because of Dustin Harmsen, alias H.D. Harmsen, lead singer and songwriter for H.D. Harmsen and the Electrophones.
We’re late to the party on this one, but better late than never, right? Especially when it comes to a song like “All Her Colours,” which combines a steady synth with a bonkers beat to achieve pop paradise. Pick a Piper—which consists of Caribou cohort Brad Weber, along with Clint Scrivener, Angus Fraser, Dan Roberts, and a rotating cast of characters—likes to call this “organic dance music,” a term that’s hard to argue with.
The press materials for Royal Forest’s new record Spillway say this about the band: “For all the geeky shit, Royal Forest is awfully listenable.” I think that about covers it.
I love bands like this, bands that cater in weirdness that never quite goes off the rails. Not going off the rails provides a tension, a twinge that the song will go off the rails. In Royal Forest’s case, they use the musical vocabulary pioneered by Morphine and Flaming Lips to come up with something bright and dark, heavy and light. It’s like the air before a thunderstorm, unsettled but not uncomfortable.
Given how infrequently I post these days (yeah, sorry about that), it seems unfair to give Northampton’s Speedy Ortiz such a big share of the spotlight, but I’ll be damned if they don’t keep topping themselves.
“No Below,” with starts with DuPuis’s shaky voice and an uncertain guitar, builds to a glorious, frenzied conclusion, and it’s the highlight off their excellent debut Major Arcana. The record is out on July 9, and you need to get it because it’s great.
Holy crap this Flume remix of the new Disclosure single is insane. Already a solid song, it holds up incredibly well to Flume’s slowed down, hazy molasses treatment; the vocal loop keeping things feather-light before the delicate hand claps and strings bring it all home. I had high hopes for this collaboration and it definitely lives up to the expectations.
I have a larger post to write about No Age’s relationship with the art world and artistic tropes in general, but first let’s just enjoy the new single. No Age has always been Los Angeles to me, and the further I get from there the less a sense of place I hear in the music, in the best possible way.