Deadbeat, aka Scott Monteith, is a dub techno artist from Montreal, perpetually approaching the genre with an outsider ear. Although he currently resides in frosty genre mecca Berlin, his music is still refreshingly focused, strange, warped fingerprints everywhere.
Andy Stott just announced his followup to best of 2014 album Faith In Strangers, and it’s coming super soon. Too Many Voices will drop April 22, not even four weeks from now. I was already excited at the news, but when I heard the first single, I lost my shit.
Here’s the video for Butterflies:
This week’s real world brought a deadly terrorist attack in Belgium, while the music world brought the premature death of a hip-hop hero. It was downers all around, and I struggled personally with some dark moments too. At least in my own case, I try to meditate, focus, and seek the healing power of art. This is how I keep perspective.
It’s also how I end up sharing music. Here we go:
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.
I’ve been on a weird nostalgia binge lately. Instead of wallowing in the shallow pleasure of reminiscence though, I’ve been trying to hear my old favorites with fresh ears. What’s new about it? How has my perception changed? Does it still hold up?
For a lot of my music choices past age 18 or so, the answer to that last question is yes more often than not. I present as evidence the first Gorillaz single, Tomorrow Comes Today:
Diamond Terrifier is the solo project created by saxophone destroyer Sam Hillmer, as a vehicle for the exploration of more nuanced territory than the blast furnace his day job in avant-jazz-noise group Zs embodies. He’s got a new album out which I’ll get to in a moment.
For now, check this:
Twenty seven minutes of otherworldly bliss. I’ve now listened three times in a row. Each set bringing something new to the fore, shifting around the sweet spots. Each time a novel element flashes brighter: the swarming Pharoah Sanders and Don Cherry echoes in the horn play, the primitively menacing percussion, the psychotic guitar threatening to derail everything at one point, even the familiar ghosts hissing between the cracks (hello, He Loved Him Madly). It begins in earnest with Hillmer laying out a lyrical solo somewhere between siren and whale song and progresses to a full band tsunami where we have a synthy bass pulse emerging at times like a ship refusing to sink, only to rise in full sail near the end in a sax-and-laser maelstrom.
This incredible piece is just a taste of what this man creates, something taken to a much more personal and direct place on the new album, Kill The Self That Wants To Kill Yourself. There’s a stream of one of the tracks on the Diamond Terrifier soundcloud, though I believe it works much better as part of the whole.
There it is. Get it at Northern Spy. They have great prices and (seriously) fast and helpful customer relations.
For fans of: John Coltrane, Terry Riley, Boredoms, Colin Stetson, Anthony Braxton, Ultralyd, adventures