HKE – Omnia

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This album changes everything for the Dream Catalogue mastermind.

With last month’s deep-dive into the Dream Catalogue roster, I became aware that label co-founders telepath テレパシ and Hong Kong Express had each released an incredible amount of material in the past year. Their output rivals that of every other artist on the label combined, and incredibly, most of it is top notch. Sure, a handful of them tread in the same ultra-drifting waters, but somehow there’s a fascinating diversity of styles between the pair, all lit with the signature cyberpunk glow of the burgeoning label.

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Kanye West “30 Hours”

I still haven’t heard Kanye West’s new album The Life Of Pablo, but he apparently just added a handful of tracks to it, in addition to the official list released yesterday. This is the first one I’ve heard and it’s incredible.

On 30 Hours, Kanye samples Arthur Russell, quotes Nelly, and completely reset my expectations for the album.

This is good.

To be honest, all I had to hear was “sampled Arthur Russell” and I was all over this. The tune comes together really well, and Kanye’s rhymes still appear to be in peak form. I’ve got high hopes for the album.

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Hopefully he changes the cover art too. I really like this faded photo.

Future – EVOL

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This isn’t a review because I’m just listening right now myself. I’m just letting everyone know that, despite all the Kanye hype this week, Future is the rapper you can actually listen to today.

I’m also publishing this because, as of one full listen, EVOL is fucking fire.

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Fishmans – Uchu Nippon Setagaya

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Have you ever heard of Fishmans? If not, that’s okay, because you’re here. I’m sharing their most incredible album. Uchu Nippon Setagaya is pure dub nirvana from Japan.

As a true believer in dub in all its permutations, I wholeheartedly consider this one of the best examples of the genre. Fishmans lit a constellation spanning the night sky from Kingston and Tokyo, mixing lush electronics, deep, wobbly bass lines, and the utterly distinct, androgynous vocals of lead singer Shinji Sato. Their final album may be the purest expression of this unmistakable sound.

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LCD Soundsystem – Yr City’s A Sucker

11 years ago, this song became one of my favorite things ever, for an entire summer and a little bit longer. Part of LCD Soundsystem‘s self titled debut, it ended the bonus disc collecting their massive dance singles. Yr City’s A Sucker is absolutely unfuckwithable.

Any one of the lengthy tunes on that disc could be held up as the vanguard of 00’s disco punk, from hipster lament Losing My Edge to ecstatic rave-up Yeah. Every single one is a club stomping classic, packed with more funky swing than entire albums’ worth of dance music. This one, though. Yr City’s A Sucker always stayed ringing in my head longest.

It wasn’t just the fact that it was the final track; it’s the point where the record’s sarcastic hedonism curdles into a nihilistic snarl. But a sense of humor creeps in, the whole endeavor played for laughs. It’s the band laughing at its own shtick while still kicking in high gear.

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Mark Van Hoen – Nightvision

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Every once in a while, a great album by a favorite artist slips right by me. Nightvision is a perfect example. Mark Van Hoen released the album in November of 2015, and I stumbled upon it only this week. Van Hoen’s work has appeared on my best of lists and his former band, Seefeel, created some of my favorite music of all time. This was a huge oversight, as it turns out.

After just a few listens, I really wish I’d heard the album a few months ago. I have no doubt that it would have appeared somewhere on my best of 2015 list. Nightvision is frankly incredible.

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Best of Dream Catalogue, 2814-2815

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Dream Catalogue has quickly become one of my favorite music labels. Their aesthetic is a utopian ideal for tomorrow’s world. The music they release is futuristic, wrapped in a warm emotional embrace, full of nostalgia and hope. Everything I’ve heard is, naturally, painted with a deeply dreamlike palette. Edges are blurred, time vanishes, and the listener becomes unmoored from tactile reality.

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