Planningtorock – Much To Touch feat. Maija Karhunen
Planningtorock has a brand new album coming our way in November called ‘Powerhouse’, and this week she is giving us just a tiny taste of what we can expect with the smooth, gooey sounds of ‘Much to Touch’.
The new track also comes with this weird & wonderful music video that was filmed, directed & edited by Planningtorock, and stars her good friend Maija Karhunen.
“Much To Touch’ is about owning one’s muchness, especially when faced with being told ‘you’re too much’. Maija Karhunen and I have been working together since September 2017 on a performance duet in addition to other performative pieces which will feature in my new Planningtorock live show ‘Powerhouse’ which premieres on 16th and 17th January 2019 at Berghain, Berlin. Through our work together, Maija and I have built a strong creative relationship and I wanted to delve deeper with this notion of ‘muchness’ and our own individual experiences and the methods we have developed to navigate it. In the ‘Much To Touch’ video Maija explores ‘muchness’ through her choreography owning it all through her every move.” – Planningtorock
Read the rest of this article at Acidstag
Klaus Johann Grobe – Discogedanken
Swiss duo Klaus Johann Grobe have announced details of their third album, Du Bist So Symmetrisch, set for release on October 26th through Trouble in Mind. Du Bist So Symmetrisch continues in the vein of last year’s Spagat der Liebe, “incorporating the slinky, jazz-fusion-laced grooves populating late night clubs and braiding them together with the band’s own blend of mutant electro-funk”, as the press release explains. “Driven by an organic, metronomic beat aligned with synth, chant-like vocals, and a monstrous funky bass,” it adds, “the music aims towards a certain kind of hypnosis, particularly as the sleeping pill echo-heavy vocals cycle over the locked grooves the pair throw down.”
The first single to be revealed from their forthcoming album is the melancholy-tinged cosmic track ‘Discogedanken’ and it comes with an animated video made by Jonas Baumann.
Read the rest of this article at Cast The Dice
The Orielles – It Makes You Forget (Itgehane) Peggy Gou Re-Work
Earleir this year The Orielles released their debut album Silver Dollar Moment, which they told us all about. Since then they’ve been touring pretty constantly, have added a new member and discovered a new mode of songwriting. Out of all of this, they’ve produced a new single called ‘Bobbi’s Second World’ that features a cover of Peggy Gou’s ‘It Makes You Forget (Itgehane)’ on the b-side. We’ll let them explain the route that’s brought them here:
Bobbi’s Second World, written with the addition of a new member on keys, exhibits an explosion of new sounds and ideas that came to fruition after a long summer of playing festivals and taking inspiration from music that made us dance. It centres around the story of a cat named Bobbi who, in order to become a lady, has to experience the extremities of two complex and differing realities- situated in her front and back gardens respectively. The eccentric instrumentation, influenced by northern soul, post-punk and funk music, matches the quirkiness of the lyrics to create a song that concerns a young cats maturity whilst displaying a certain maturity in the music itself. After noticing a passion for songs that make us emotional; want to dance and quite literally ‘forget’, we decided to cover one of Peggy Gou’s latest floor fillers, ‘Itgehane aka It Makes You Forget’ hoping that we could evoke the aforementioned qualities of music within other listeners!”
Even on their debut album The Orielles were keen to experiment with worldly instrumentation and production styles, so it’s not a surprise that they’ve continued to evolve as they’ve been out on the road through 2018. They already had some undoubted body-movers on Silver Dollar Moment, like ‘Blue Suitcase (Disco Wrist)’, but on this new single the groove is even more ingrained. Driven by the wiggling bass, ‘Bobbi’s Second World’ is also an opportunity for their new keyboardist to show off his disco stylings, interplaying with Henry’s playful guitar all of which underscores a fun-filled back-and-forth gang vocal. Their cover of ‘It Makes You Forget’ is faithful to Gou’s original, but bounces with the sprightly energy of 4 young people in a room playing the song live, giving it an idiosyncratic pep.
Read the rest of this article at The 405
Garage Class – I Got Standards (JD Twitch’s Say It Again) [Outer Reaches]
Post-punk has become a buzzword in electronic music, a genre almost every DJ and producer now dabbles with – apparently. It makes sense: the post-punk milieu were an essential influence on the pioneers of house and techno in Detroit, Chicago, and New York, an essential influence often ignored in favour of the rather simplistic equation of Kraftwerk + disco = dance music. From sci-fi obsessed kids in Sheffield to New York’s No Wave scene, it’s almost impossible to separate the many seeds sowed by punk from the electronic music we know today.
Less attention has been afforded has to the guitar music that came just after post-punk, or emerged alongside it while drawing from a slightly different set of influences. Bands that were as inspired by the Byrds and Syd Barrett as they were the Buzzcocks and the Banshees. Bands with a knack for hooks and harmonies that could have landed them on Top of the Pops week after week were they not so shambolic musically, so literary lyrically. While ‘indie’ may be a dirty word today, especially when suffixed with ‘-pop’, the DIY groups that laid the groundwork for the genre we may scorn today produced some of the most gorgeous music of the late ’70s and early ’80s.
It’s in this vein that the Ransom Note’s Outer Reaches sub-label launches, headed by Tim Wilson who has covered music of the esoteric and experimental variety for the parent site for a number of years, and who better to rope in on remix duties than Optimo’s JD Twitch, whose lifelong love of DIY and post-punk has been well documented. In Twitch’s hands, Garage Class‘ ‘I Got Standards’ becomes a geezin’ techno tool that would sound perfectly placed in the Powell / Silent Servant B2B set you’ve always dreamt about. Tim Shutt AKA the Subliminal Kid’s vocals become a vicious snarl, and the guitar lick sounds even dirtier against a beefed-up, syncopated beat, almost like the Skatt Brothers’ ‘Walk The Night’ reimagined by Northern polytechnic kids.
Read the rest of this article at If Only
Shit & Shine – Yeah I’m On Acid!
As another endless summer crawls toward a close with a string of oppressively humid days up and down the east coast of the United States, I find myself prone to despair. It’s a familiar mindset in these dog days, in which I am wholly consumed with the impending doom of climate catastrophe and more or less unable to remember a time when i wasn’t slicked in a thin-to-moderate layer of sweat. I went to Europe this summer for a few weeks, it turns out it’s hot there too.
It’s easy to get consumed by these end-of-summer doldrums, and find yourself laying half naked in front of a barely working fan, devoid of all hope. Junk-shop techno tracks, like those constructed of late by the Texas-based producer Shit & Shine for labels like Editions Mego and Diagonal have always made easy bedfellows for this sort of brain-cooking climate. And fortunately, just when I needed it the most, the man born Craig Clouse has re-emerged with a real brain-scrambler called “Yeah I’m on Acid!”
It’s easy to get consumed by these end-of-summer doldrums, and find yourself laying half naked in front of a barely working fan, devoid of all hope. Junk-shop techno tracks, like those constructed of late by the Texas-based producer Shit & Shine for labels like Editions Mego and Diagonal have always made easy bedfellows for this sort of brain-cooking climate. And fortunately, just when I needed it the most, the man born Craig Clouse has re-emerged with a real brain-scrambler called “Yeah I’m on Acid!”
Over a bassline that gurgles like boiling yogurt, Clouse takes samples from the immortal tailgate film Heavy Metal Parking Lot, fixating largely on hedonistic teens loudly shouting their drugs of choice. That’s where the title comes from, of course, but then there’s also a glitchy clip of a guy shouting “Get fuuuuucked up, drink a couple beers, alright,” along with other people just shouting “Cocaine!” and other attendant mantras. If it sounds like a party anthem, it is a little, but it’s stranger than that. Clouse slivers and fucks with the assorted vocal clips, turning the whole thing into this nauseating jam that feels in danger of giving out under its own weight and collapsing in a heap at any moment. In that sense, it feels relatable, an inversion of techno’s Energizer Bunny optimism—it just keeps going and going—for us flesh sacks liable to wilt in the extreme heat. That said, it does have a climactic guitar solo, which offers a sliver of hope that you might white-knuckle your way through the shit anyway.
Read the rest of this article at Noisey
