Aparde debuts with acoustic "Glass"

From Berlin producer Aparde (real name Paul Camillo Rachel) comes a stunning debut in ten stains. On Glass, Aparde roots his sound in textured percussion (including literal sampled glass), thoughtful piano themes, and deliberate use of negative space. He provides his own warm vocals on many of the tracks and harmonizes with ANËKIN on lead single "Mouth" (download available via XLR8R).



The video, produced by Aparde himself (he's also a visual artist) and cinematographer Sandra Puchner, follows in the theme of shielded vulnerability, with its human subjects obscured by what appears to be fogged, increasingly dirt-covered, and/or otherwise-rendered translucent glass. And it, much like the rest of the album, is emotionally shattering: "Forget all that I've told you / I have nothing more to give" is the haunt this song ends on after a sparse, repeated verse.

From start to finish, the front-loaded Glass stays instrumentally adhesive, but certain elements like the entrance of a breakbeat leading to polyrhythms on "Sober" and the title track's confession that Aparde "sees [his] life through milky glass" offer the listener an object of focus and clarity in an airy landscape reminiscent of past works by atmospheric contemporaries Jon Hopkins and Max Cooper.

Glass is out today, October 13 via Ki Records, a label founded by producer Christian Löffler, whose Mare Reworks first introduced me to Aparde. From this year's heavy rotation list, here's "Youth":

17/10/07 weekend roundup: RΞZZ, k?d, ttwwrrss

First, a PSA courtesy of my Starbucks app: free pumpkin spice whip on any PSL this weekend but any intention of #basically commemorating Canadian Thanksgiving was probably coincidental given this promo ends Sunday, a day short of our entire long weekend.



More importantly (although this is subjective), rising Canadian DJ RΞZZ is in Toronto tonight at The Danforth with LA's No Mana, on a tour supporting RΞZZ's recent debut, Mass Manipulation. Up-and-coming producer k?d, who's been on the bill for other shows in the tour, is missing but scheduled at The Velvet later in the evening, leading some to believe that the two might appear at both venues.

Both work within the rather limitless bounds of the "future electronic" genre, a generation after the likes of Porter Robinson and Madeon. RΞZZ was picked up by OWSLA and subsequently mau5trap, fellow Niagara native deadmau5's label, in 2015. Here's k?d's latest cut, a joint track with Dallas youngster Medasin:



Meanwhile, a personal long-running favourite, ttwwrrss is due at Doors in Hamilton, ON tomorrow night, October 8th, on a bill featuring headliner CURTA. Ironically, I'm writing from Hamilton at the moment, but also from a brief coffee stop en route to Niagara Falls -- it figures I won't personally be sticking around north of the border for this packed weekend.

The following twwrrss pitch is from about a year ago, but in light of NHL opening weekend:

sort as: ritual / no escape out of time

English quartet R I T U A L -- Adam Midgley, Gerard O'Connell, Tommy Baxter, plus Mononoke -- released No Escape Out of Time last Friday and I cannot stop hearing it in the back of my head.

It's not unlike when I was first introduced to their music by Aaron Axelsen in San Francisco, before Club cheval's set at MEZZANINE last summer. I rarely give a second thought to songs I don't recognize when spun by a DJ or between sets, unless I'm triggered by a memory of the same song heard previously in another set or set change playlist (and then my first thought is, "oh I guess this song/beat is popular"), but I found "Josephine" and From the City to the Wilderness online three days later, by looking up its beat but melodically uplifting title lyric: "Josephine / I'll never be good enough."

The September 29 release is just as hauntingly relatable with a sort of noir sophistication meant for a slow motion capture. (Short film director Jackson Ducasse capitalizes on this viscousness.) It also introduces "Hotel Bars", the youngest and only track not released prior to the full collection, alongside a version of "Drown the Lovers" that features a verse and chorus vocals from Atlanta rapper 6LACK.

The English quartet ring in strong on lyrics and form, giving the PBR&B style popularized six years ago by The Weeknd and his contemporaries a welcome revamp. If you're all about sad songs in the club, vocal harmonies, and sombrely reflecting on the state of everything right now, there's no escaping this.

sfo: a playlist

poster scan from Wolfman Books
410 13th St, Oakland, CA 94612, USA

If there’s one thing I wish I’d indulged in more this last year, it’d be writing. Since coming home yesterday, I’ve uncovered a trove of creative projects, abandoned in a one-sided effort to be a better student, a better networker, a better employee: my third complete novel, musical motifs, outlined sketches. They’re a friendly sight, after a sleepless six-hour plane ride spent simultaneously celebrating and fearing a certain uncertainty. As I’ve mentioned to friends and strangers before, I struggle with linear motion—it’s easier to move and see things in imperfect concentric circles, each circle being a wider, undefined unit of time. Like trees, we grow not only upward but also outward, as a representation of experiences gained, interactions made, wisdom found, scars collected.

And yet each circle encloses the ones before it, travelling a similar curve at times closer and further from those nearby. I don’t think I could move back, to either city I lived in while there (though this doesn’t rule out other municipalities in the Bay). That’s why I was reluctant to move away in the first place after finding home in an unexpected locale and why I continue to view my current stay in Toronto as temporary. It feels, for the moment, like I’ve exited to some weird intermediary circle, smaller than the previous few, but one that’s stretching to contain them. A little melodramatic, perhaps? I am grateful, however, to have such vibrant and welcoming past abodes to take my next leap of faith from.

And since I don’t believe I’ll be reclaiming SFO as my home airport in the near future, I figured it was safe to finalize and share the following 20 tracks that framed every arrival.

Flight Facilities feat. Christine Hoberg – “Clair de lune”
I almost cut this track from the list after it started feeling more appropriate to play when leaving San Francisco indefinitely than when leaving anywhere else for San Francisco, where it originally fit. But the recurring “tell me it’ll stay the same / where we go, where we” lyric rang true in the summer of 2014 when I first committed (upon finishing my first year of college) to calling California “home.” Although the Bay Area and the GTA share many traits, unlike the more static suburbs of Toronto, much of the Bay upsets this with constant change.

Grimes feat. Blood Diamonds – “Go”
In a near-180 from the previous track, “Go” says “time won’t stay” and asks to tag along with the departed. Lately, events just beyond my control have been the best little shoves forward.

DOM – “Living in America”
Sorry, it was this kitschy track or “Party in the U.S.A.” and sorry, Miley, this one’s sexier. That being said, I first moved with low expectations which were easily blown away and exceeded by my time in California. I’m still not taken by the rest of the nation (perhaps less taken than before) and truly felt like I was living someone else’s American Dream.

ZHU – “Paradise Awaits (FKJ Remix)”
Three songs later, we finally made it to the Golden State with a Californian artist. #tyca

ODESZA – “How Did I Get Here?”
There’s a running joke among friends from California and B.C. (Before California) that I just woke up there one day. It’s a slightly long (and boring) story, but not entirely untrue. And because I avoid duplicating artists on the same playlist, I’ll reveal that this track did displace “Say My Name,” because although San Francisco’s “confidence looks good on me,” it’s a bit much honestly. I’ll probably keep falling for and dancing with it, though.

Phantogram – “Bill Murray”
“Are you lonely? / It feels like, when the day breaks, am I wanted inside? / Say goodbye / Do you feel liked?” I issue this disclaimer to most people I get close to: I’m terrible at keeping in touch. Like, you really have to initiate a conversation if we’re not within 25km of each other. I will actively miss you only when you’re nearby, otherwise I’m connecting locally—and it’s not personal, it’s just a side effect of remaining as present as possible. I find myself occasionally wondering “who do you really know here? who really knows you?” Although I guess that’s just a mutual understanding in someone else’s shoes.

The Cinematic Orchestra – “To Build a Home”
I picked up this track from a video of a time lapse of seasons changing on Upper Sproul, that’s all. (As uncomfortable as it was at times, I did ultimately feel loved and at home.)

Khotin – “Flight Theme”
… and when feelings happen, I inevitably choose the flight tactic to avoid confrontation.

Windsor for the Derby – “Queen of the Sun”
SRSLY IS IT EVER NOT SUNNY AT SOME POINT IN SOME PART OF THE BAY??

Vallis Alps – “Young”
This past year, similar-aged friends and acquaintances around me began dying. I mean, we’re all dying. All the time. But you’re not supposed to be dead already. Not this young. (I suppose this track isn’t as location-specific as the others, but a lot of the grief came from feeling helpless and/or geographically-removed.)

OneRepublic – “Counting Stars (Moseqar Remix)”
When we were bear cubs, the possibilities were endless and this track held a far simpler meaning. I just wish you’d the time to make more decisions, your hopes and dreams.

SAYCET – “Smiles from Thessaloniki”
Just a song that moves mountains and a tribute to Greek presence and resilience.

Dario Marianelli – “Attraversiamo”
I trust you’ll accept this as the cheesiest song on this list; Italian for “let’s cross over.”

Owen Pallett – “I Am Not Afraid”
Although Owen Pallett’s from my own backyard in Canada, I first saw him in concert at Swedish American Hall in San Francisco shortly; I also don’t know that I would’ve noticed the instrumental shift at 2:10 as acutely otherwise. I found more truth in his unconventional performance and lyrics… and arguably in that venue than its contemporaries.

COASTS – “Oceans”
Growing up, I always thought good and evil were two discernable things. But since then, I’ve only known them as inseparable counterparts. We live in a fractured world, fosho.

enoyak – “sea line”
The forward propulsion and stereo detail on this mysterious Japanese producer’s track became a recurring theme for every flight descent I took into the sea of Karl in the Bay.

Cherushii feat. Maria Minerva – “Thin Line (David Last Remix)”
One of my favourite undergrad classes at Cal was a Native American literature class I took as part of my minor. Cyclical time had always made more sense; I would spend too much time focussing on similarities and how familiar themes appeared in new places. It was a running joke that my primary trade was remixes. And that’s all we are. Remixes.

Sun Glitters – “Too Much to Lose (Niva Remix)”
As much as it made sense to move on, yesterday’s was the most difficult move (among many) I’d made in the past 20 years. The only other most difficult move was leaving my grandparents at age two. I joke about it often, but my abandonment issues do run deep.

Best Coast – “When the Sun Don’t Shine (Voyager Remix)”
Like everything, this quintessential first-year theme keeps remodelling itself and that’s fine.

Drake feat. Majid Jordan – “Hold On, We’re Going Home”
I know what you’re thinking. But remember that “duplicate artists on the same playlist” rule? I put “Hotline Bling” on my YYZ list. And ultimately, the most recent version of myself is much like another theme on this SFO list: artificially confident, bittersweet. I also don't think I could ever stop feeling a need to reinvent myself, but the Bay will always be home for that one me.

2016 in review: Je ne dis pas au revoir mais merci

I'm told time goes by faster as one gets older, but this year was a heavy decade. Heavier for at least me: we saw glimpses of its hope, its fear, and its wreckage from too close and afar.

Greats were reminded of their temporality, youth of their mortality, and cities of their destructibility. Once invisible communities became living, breathing flesh, bloodied, torn. Worn. Too often inside out, backwards, lost in translation. Lost in rage misdirected or worse, misguided. Burned trash and cut glass littered the pavement and the softer palms of our reaching hands... that casual crimes were done by connected victims was inconceivable.

The afterparties felt like an afterthought.

By contrast, this was the same year I got a job doing something relatively meaningful after graduating as a humanities major. It was a year in which gas convection ovens ruined more cookies than I'd care to admit and the year I moved to "the city" months after we mooned it from above. It was another year of helping strangers but not wanting to be helped. This was a year, or so it felt, of parallel motions that made me feel strangely like I'd started in circles.

The afterparties were often a 50/50 shot.

In keeping to those circles and in support, I spun, paused, and started spinning again more frantic and frequently for lack of a better way to communicate. My year in music as follows.

MUSIC TO FEEL WITH

The Chemical Brothers feat. Beck — “Wide Open” (Born in the Echoes, Virgin EMI)
Though the song is technically part of a 2015 release, its January video featuring Wayne McGregor choreo as performed by Sonoya Mizuno makes it worth revisiting.

DOOMSQUAD — Total Time (Bella Union)
Something about having a Blumas sister scream "YOU MOTHERFUCKER" ("It's the Nail that Counts, Not the Rope") live, up close, and personal was both beautiful and sobering.

MUSIC TO NOT FEEL WITH

Holy Fuck — "Shivering" (Congrats, Last Gang)
This song and the next are rhythmic traps just as dark and unsettling as one might expect from industrial icons such as Nine Inch Nails but so much greater in their earnestness.

Princess Century feat. Melatonini — "Safe Word" (My Precious!, Red Maze)
This year, longtime blog favourite Maya Postepski moved to Berlin and teamed up with Eleni Nasiou, a local there who goes by MELATONINI, to bring us this beauty.

MUSIC TO INSPIRE AND MOTIVATE WITH

Jamie xx — "Gosh" (In Colour, Young Turks)
Filmed in 天都城, this eerie and masterful recreation of the visuals for Jamie xx's "Gosh" made for an easy way to sneak one of last year's best albums into this year's round-up.

Kaytranada — 99.9% (XL Recordings)
Kaytra had his biggest year yet, with the drop of his debut full-length weeks after coming out to The FADER. 99.9%, being 99.9% flawless, was a 99.9% solid for the 2016 Polaris Prize.

MUSIC TO MOVE AND DANCE TO

Kanye West — "Fade" (The Life of Pablo, G.O.O.D. Music)
As distracting as half the tracks on Pablo were, several others confirmed Yeezy still had it.

Essaie pas — Demain est une autre nuit (DFA)
Essaie pas at the SF Eagle was a brilliant way to end an evening of St. Patrick's festivities.

MUSIC TO MOVE AND CRY TO

Cherushii feat. Maria Minerva — "Thin Line" (Memory of Water, 100% Silk)
This haunting video was released shortly after confirmation of Chelsea Faith Dolan's death in the Oakland Ghost Ship fire; I'd been unaware she and Minerva were close collaborators.

Bonobo feat. Rhye — "Break Apart" (Migration, Ninja Tune)
Since Woman, Milosh's run off solo with the Rhye handle, but this fragile song can have it.

MUSIC THAT GOT ME THROUGH IT ALL

Bon Iver — 22, A Million (JAGJAGUWAR)
I constantly found "22 (OVER S∞∞N)" on non-stop repeat for days these last few months.

Gold Panda — "Your Good Times Are Just Beginning" (Robbie Knox / City Slang)
Good Luck and Do Your Best bore a simple, trite message, but over time, this instrumental became a looping light in the darkness. (And my new ringtone). Hearing it live was a treat.

& MUSIC FOR FUCKING MUSIC'S SAKE

Junior Boys — Big Black Coat (City Slang)
I wonder what feature vocalists might do for these hometown musicians. Fellow local Dan Snaith describes Jeremy Greenspan as Hamilton's #1 music ambassador for good reason.

International Contemporary Ensemble — "On the Nature of Thingness" (Starkland)
From ICE's compilation of the same name / because everything is about striking a balance.

Motez infuses Sam Smith's "Leave Your Lover" with signature bass

Coffee aficionado Motez Obaidi -- with whom I talked origins, zanboors, and beards last October -- has been tearing it up these past months. Spinning 1015 Folsom in San Francisco as we speak, the Adelaide-based producer known for his deep house habits dropped an official "Leave Your Lover" retake this past Thursday.

"A song I instantly loved and wanted to remix, it's easy working with a voice as good as @SamSmithWorld," he shares on Soundcloud. Seriously, it's an alignment of stars. We're just now crawling out from under its influence. But only long enough to share it with you if, for some unfortunate cause, you haven't already heard it. Here it is:



Best moments? 1:04, when the piano chords come in; 1:37, when his signature warped bass arrives; and 2:23's handclap drop.

TORONTO: Tez is swinging your way on January 16 -- I'll be in San Francisco by then (a tragic crossing of his and my travels, to say the least) -- catch him at The Hoxton with DESTRUCTO and Anna Lunoe for their SHIP2SHIP tour.

It's An Endless World, according to Holobeams

Splitting time between Glasgow and Nagoya is a producer I haven't entertained for a while. My first (and at that point, last) encounter with Iain Foxwell's Holobeams moniker (formerly Holobeams and Broken Machines) was midsummer 2012, shortly after the warm and broad reception of two-track debut "Clouds/Sunrise": "Heads in the Clouds" a crunchy electronic ordeal slowly and gloriously infiltrated by sparkly smooth piano; "85 Sunrise" packing the same crunch, but with a more abrasive electronic melody.

All web searches seem to lead back to the hype of that time frame, but since then, Foxwell has released four more EPs, the most recent being January 4's It's An Endless World.

This latest effort arrives about a year after the chillier outer space synth of Chase the Horizon (2013), marking the longest gap between releases. And the difference is audible: in the cycling and layering of each track's motifs, the offensive zone skating remains seamless but the rippling cross-ice passes are now smooth too -- the audio effect equivalent to what looks like a freshly zamboni'd neutral zone. And I'm not just pulling the hockey references because I can; if Chase the Horizon was a cool evening fog, It's An Endless World is absolutely crystalline, ice cold with warm reflections.

You should really just play through the entire thing -- these EPs are never long enough once through -- but "Breaking Wave" is (appropriately so) the height of the sparkle.

2014 Favourites

song of the summer from Calvin Harris (choice remix by Diplo x Grandtheft)

POP

Taiga by Zola Jesus
(Mute)
looks like / what I wrote before / what I wrote after / live review

"Beggin for Thread" by BANKS (Harvest) remixed
In the Lonely Hour by Sam Smith (Capitol)
"Go" by Grimes (Arbutus) watch
"Hideaway" by Kiesza (Island) watch

INDIE

"Heartbeat Overdrive" by Ballet School (Bella Union) watch
The Tone by BLAUS (Tricycle) what I wrote
"Malachite" by Lydia Ainsworth (Arbutus) watch

ALTERNATIVE

"They Don't Know" by White Sea (Crush) what I wrote

Neuroplasticity by Cold Specks (Mute) what I wrote

ROCK

Familiars by The Antlers (ANTI-)
looks like / what I wrote

FUNK

"Jealous (I Ain't With It)" by Chromeo (Last Gang) live review
"Walking With Elephants" by Ten Walls (Phonica) stream

PUNK

For Those Who Stay by PS I Love You (Paper Bag)
what I wrote before / what I wrote after

Feel Something by The History of Apple Pie (Marshall Teller) what I wrote

ELECTRONIC

"Horus" by SLUMBERJACK (onelove)

Alone for the First Time by Ryan Hemsworth (Last Gang) what I wrote
"Seeya" by deadmau5 feat. Colleen D'Agostino (Ultra) stream
How to Run Away by Slow Magic (Downtown) what I wrote
"Bill Murray" by Phantogram (Republic)
Our Love by Caribou what I wrote

FOLK

"Looking Too Closely" by Fink (Ninja Tune) what I wrote

"Glacier" by James Vincent McMorrow (EMI)

HIP HOP

"Fancy (Motez Edit)" by Iggy Azalea feat. Charli XCX (Island) interview

"0 to 100 / The Catch Up" by Drake (OVO) stream / remixed

POST-ROCK

Rave Tapes by Mogwai (Rock Action) live review
Awake by Tycho (Ghostly International) what I wrote

SCORE

Palo Alto by Devonté Hynes

time melts like snow off the porch

2014's been a game changer. The last time this occurred was in 2011; coincidentally, I haven't felt quite this way about a year in music since then.

2014 was a year that finally put this blog title to use, with the arrival of producers such as Porter Robinson and SLUMBERJACK alongside electronic pop and alternative artists Black Atlass, Tove Lo, Lydia Ainsworth, Vaults, and YOUNG & SICK. It was Last Gang Records' 10th year anniversary; it saw the rise of Fool's Gold, Mad Decent, and the revival of DFA, Mute. There was the surge of English and Australian electronic, French club bangers and tropical house. Everything was remixed... again and again. We went to mass raves.

But beneath this EDM bubble, and if you looked for it, stayed the reassuring presence of sound indie rock, tasteful pop, experimental minimalism, PBRNB / new soul, and skate punk shenanigans. To 2015 we go.

Ocean Avenue lends some tropical house vibes to Whitney on his latest, "Wake Me"

Another Frenchman with his sights set on the internationally bubbling tropical house kick, Ocean Avenue has been officially active for two months. During this span, he's cleanly (and tastefully) remixed JJ Goldman, Indochine, and Jaymes Young, accruing upwards of 100,000 Soundcloud plays and over 600 followers. This early in the game, he may consider rethinking his performing moniker due to competition from a dozen small town bands.

Or he might rise above them, especially so with his first original release, a shimmery, cowbell-blessed jam which prominently samples the title lyric from Whitney Houston's "How Will I Know." It reminds me of Naxxons' "New Orleans," from last summer, which was an instant hit. Keep an eye on this track and pick it up early below, you hipster.

VIDEO: "Attak" by Rustie feat. Danny Brown

Here's Scottish EDM-saurus Rustie (real name Russell Whyte) absolutely killing it on his latest collab and Danny Brown having a pillow-less pillow fight while spitting god knows what and non-stop, too. Luckily, they've provided the lyrics. The video's nothing brilliant, but that particular shade of aqua and those audio sirens are. Green Language drops August 25th via Warp Records.

14/08/10 REMIXES: Nelsaan, Manila Killa, AObeats

Day in, day out.

BEACH

Anonymous Norwegian producer Nelsaan tried to slip this Sam Smith remix in under the radar. At first, it's unassuming amongst the other pretty "Stay With Me"s in the crowd. And then it's absolutely arresting, and absolutely prone to be one of those "missed connections" if you don't act on it now. So... um, stay with it; it's not love, it's all you need.

DUSK

Manila Killa is 21 since releasing this Dawn Golden remix, has 12000 Facebook fans, and hails from the selfie capital of the world. And like the selfie, I can't tell if the D.C. Filipino's edit of "All I Want" is introspective or extraverted. It blends aspects of both personalities -- a bubbly demeanour and friendly steel drums, but a dreamy haze and soft shaker. There's a tropical getaway if I ever saw one.

CITY

Another very accessible, very diverse futuristic house remix comes at the hands of AObeats, who happens to be a friend and collaborator of Manila Killa and another Moving Castle member. This version of "Sprezzatura" from Testudo's latest EP unwinds on a syncopated club beat with a seriously magical case of the wobblies.

Populous channels Afrobeat and krautrock in "Vu"

Lecce, Italy's Andrea Mangia produces electronic world (yes, I went there) music as Populous and considers himself a "white b-boy." THUMP, where the lead single from his upcoming Night Safari premiered, reports: "It's a blend of African chants mixed with samples captured from a famous kraut-rock band," says Mangia. In terms of the safari, "It should represent Africa, but I'm pretty sure someone would say London."

Mangia gives a good explanation for the rhythmic frenzy and melodic zen present on "Vu." Frankly, the track reminds us of this other Afro-inspired gem from three years ago, a piece titled "GOLD" by a mysterious little band called TEACHERS. But while "GOLD" was an anthem, "Vu"'s excitement comes in waves of tolling bells, tribal chants, metallic rustling, and incessant kick drum. Although the casual listener might skim over it; I stand by this obscure addition to my repertoire -- it is a most cherished one.

Night Safari is due September 29th via Bad Panda Records; here's "Vu."

Arkells spin a wild one with third album, High Noon

Back two months early for their third triennial full-length, Hamilton, ON’s Arkells have proved themselves a well-crafted draught. High Noon, out August 5th via Dine Alone Records, is a driven album any fan can cheer along to; it's seriously the best thing Arkells have done thus far, and one has to wonder exactly what role new (temporary?) keyboardist Anthony Carrone (illScarlett) played in this.

Every component of the band is perfectly tucked into the others on the album, with synchronized bursts of sound reminiscent of hip-hop isolations but for musical instruments, and the piano sticks out like a green thumb. In that it’s sparkly, clean, fresh, and steals Max Kerman’s otherwise well-deserved spotlight.

Back to vocalist Max Kerman: he delivers High Noon like as hard rock diva, with that very subtly expressive voice distinct to “the post-grunge style.” Most of the album’s tracks are juxtaposed in this way, a contrast most prominent on “Cynical Bastards,” with trilling keys next to Tim Oxford’s pounding toms and Mike DeAngelis’s stiff guitar.

Of the three existing singles, “Never Thought That This Would Happen,” packs the most punch – I had actually unknowingly nailed it for a single when I first heard the full album, then found out it had been the lead single. Its relatable lyrics detail a friendship turned something more with lines such as “when you’re playing for no strings sometimes you find yourself tied up” and “sometimes you make out with an old friend.” Furthermore, the elongation of pre-destined syllables (“sometiiiiiiiiiimes”) and gang vocals mid-chorus (“AND IIIIIIIIIIII / AND YOUUUUU”) are a recipe for instant catchiness and plentiful airtime. By the distorted guitar cadenza and “ooh ooh ooh,” the feeling is equivocal to Judd Nelson’s victory pump at the end of The Breakfast Club. (I never thought this analogy would happen either.) Nick Dika’s bass is perfectly turned up a few more notches, also; it’s not complex, but it makes an audible difference. The track’s single demerit point is its cliffhanger ending, created by a missing resolution chord to a jazz piano cadence. It’s too strong of a song to end underwhelmingly.



The above is not to discount singles two and three entirely, “Come to Light” and “11:11;” the former is a classic, fast-paced head bobbing piano rock piece that does Crash Kings better than Crash Kings. Meanwhile, the latter pop song's redemption is its xylophone foundation a la The XX’s “Islands." But quite frankly, I can’t tell lyrically if "11:11" is about one night or love at first sight. (Listen: “You were glowing in the dark / You made a wish at 11:11 / I had your hips at 12:54.”)



After a strong start to High Noon set up by the accusatory “Fake Money,” the album is informally split by four consecutive tracks: “Dirty Blonde,” which sounds like a college fling and lyrical sour note despite flawless piano; “What Are You Holding On To?” where the acronym “WAYHOT” is too distracting to actually focus on the classic rock throwback; “Bennie and the Jets”-inspired “Hey Kids!” and a song waywardly dedicated to a party girl in a “Leather Jacket”... fans will either appreciate these or they won’t.

But High Noon reveals itself to be a front-loaded album with an electric finish in the form of power ballad, “Crawling Through the Window,” and big-city-night-traffic strings (a descriptor that makes more sense exampled) on “Systematic.” Overall, any local would be mad proud of the five-piece unit who are currently touring in European. Arkells are back in North America August 22nd, and having seen their live show during their Jackson Square era, I do strongly recommend. Dates here.

Living Days' "Thrill Anybody" from upcoming debut receives a dark rework from MNDR

New York's cutesy-indie-turned-dark-wave trio Living Days is due to release their debut full-length, and from the sounds of its first single, Dance Not Dead will be several styles removed from the debut EP the online indie community refuses to forget: Make Out Room, Vol. 1 (2010). Either way, led by the perfectly punk-yet-romantic vocalist Stephonik Youth, this band's bringing back the right kind of New Wave.

MNDR's recent atmospheric remix of the single is a delicious step in that direction.

Treasure Fingers and BOSCO hash out "Names"

With a name like Treasure Fingers, Atlanta's Ashley Jones was simply asking for quizzically-raised brows, even with undying support from Fool's Gold and the label's spotless record. Since 2008, he's been "ready to take over the world," but even his latest single with fellow Georgian BOSCO feels like a hidden gem.

Channeling a definitive A-Trak influence and a jungle chime eerily similar to this Flinch track from earlier this summer, Jones paves the deep-house base for BOSCO's airy verses and "Vogue"-esque choruses. Cue cowbell. Then, without warning, "Names" evolves into something dreamier and blues-ier at 3:45, but this final segment seems more like a brief teaser for the next track or TF x BOSCO collab.

While it segues nicely into the club remix of the same track on their three-song EP, I don't imagine they'd be listened to in order on the regular. So if the inconclusiveness of track no. 1 unsettles you, the brisker and bolder Taste Tester rework rounds itself (and the record) out with a pretty satisfactory ending. Comparison below; I like this for summer... still not sure about world takeover.

Kygo signs to Sony, then "pops" a Weeknd remix

22-year-old Kyrre Gørvell-Dahll sold out his Toronto debut last month. At our swanky Hoxton nightclub. Without having ever released any original material. Eight days ago, Kygo revealed via Facebook that this was about to change and that he had signed a contract with Sony Music, to which disenchanted fans responded: "death of Kygo," calling the boy a sell-out.

Frankly, I'm not sure this even applies to Kygo, who has been recreating chart-toppers for over a year now. As of fan of his "Let Her Go" remix, which pretty much encompasses his typical mixing style, I'm mostly waiting for Kygo to either blow us out of the tropical chimes he's been riding or severely disappoint with something wholly his creation. If a record deal with Sony does the trick, all the power to him. If my understanding of "selling out" as a term akin to "commercialization," Kygo sold out to start like many of his contemporaries.



But I digress. 2014 has been a huge year for the youngster and today's premiere of his latest edit, commissioned by Abel Tesfaye himself, sees Kygo skipping some of his signature tricks for an already stripped-down song. In many ways, this is better than the original, which quickly grew monotonous. It's also a promising indicator that Kygo has more up his sleeve than a dayclub vibe. Fall tour dates will be announced this Wednesday here.

14/07/27 WEEKLY ROUNDUP: The Tallest Tree, Young Summer, and Simian Mobile Disco

Running on the beach this morning / I found out that shells come in plastic bags... this week is the "hi, I'm cute and domestic" edition. Because no matter how punk or ratchet or math metal you are, there's something magical about sparkly synth and simplified rhythms.

THE TALLEST TREE

The owners of an indie-rock outfit and another picturesque love story, Dawn Larsh met Armanda Vega when his band from Mexico City was touring. Now based in Dundas, ON, The Tallest Tree has released "Boat" and its playful, DIY-looking music video. (No word on who their possible third member is.) It's playful, catchy, and its vocal harmonies are spot on... sort of like HIGHS but more twee.

(PS. The intro lyric is from this one.)

YOUNG SUMMER

Capitol Hill flower Young Summer (real name Bobbie Allen) is due to release a glowing debut on August 26th. Here's the title track from said record, a sweet piano-centred piece atop simple, yet formulaically syncopated drumbeat; it's pretty smooth driving from the start -- something you don't forget about a person. This is the same singer responsible for earlier Hype Machine hit, "Waves That Rolled You Under."

SIMIAN MOBILE DISCO

I'm going to be honest, I think much of North America disregarded Unpatterns (2009) and in doing so, forgot about this smashing British analogue duo. (Yes, "smashing" will occur more often and naturally when discussing anything English.)

When Simian Mobile Disco reappeared on the scene with "Tangents," and a fourth full-length, Whorl, I was confused by its optimism and warmth. Name you, it is still their cold, impersonal-sounding Attack Decay Sustain Release (2007) that has found the most success in Canada. Next to this debut, "Tangents" is downright dreamy / a sparkly, distracted score to a brilliant meteor shower. It comes in peace.

THUGLI x Mad Decent mix for Mad Decent Block Party

Ugh. In two short years, local boys THUGLI are all grown-up and packing official Mad Decent mixes. The duo played Digital Dreams several weeks ago and have just dropped this killer 33-track tape, essentially a celebration of Block Party growth since its inception in 2008, Mad Decent growth, and electronic music growth in general. I never felt too strongly about Onslaught (2013), but this tag-team of Pat Drastik and Tom Wrecks has my newfound respect and peripheral vision from here on. Put simply, the mix is that fucking good.

Leave it to this duo to select some of the best reworks of the season; highlights include the intro ("It's [soooooooo] You," TastyTreat); the Nadus x RL Grime "Nxwxrk" transition at 4:30; the reset at 15:10 (just before "Hadouken"); the five minutes starting at 21:00 dedicated to Keys N Krates and Grandtheft ("Keep It 100," that hometown glory)... and the downplayed drop at 31:55 in the midst of "Turn It Up."



In case you're wondering, the Mad Decent Block Party tour comes to Toronto August 15th.

City and the Sea rock out with new single, "Venture"

City and the Sea, or CATS as the band has dubbed themselves, play some mean rock 'n' roll. Aside from slightly young, pop-punk sounding vocals that will certainly mature over time, the Hamilton-based unit has its key features locked down: toughly-conceived guitars, an unapologetic percussionist, a solid bass line, and the right attitude. They're "hell bent" on bringing back the glory of classic rock and they're making a good case for it.

After three locally-absorbed and nationally-acknowledged EPs, CATS has released "Venture" to bridge the gap between Action Figures (2013) and whatever is coming next. It'll be immediately followed by the B-side of the single come September, that's for sure, but is a debut full-length in the works? One can speculate, given the band's appreciable success four years in-the-making. View the video below and download the single, at your price.

Jon Hopkins, Kaytranada, St. Lucia play TIME Festival

After braving the torrential downpour at Fort York Garrison Common yesterday, I left one of the most disorganized mini festivals I'd ever been to.

(After a three-year hiatus, TIME Festival had returned to the city and it would appear they were a little rusty: security was inconsistent, especially regarding umbrellas; food trucks were a scarce resource; and rain shelters weren't brought in until late in the afternoon, forcing the crowd towards the treeline at the back of the grounds.)

No rap on the performers of course, who made the best of the unfortunate weather. Jon Hopkins put on an electric one-hour set, Kaytranada pleasantly surprised his fans with an unpredictable mix of Kaytra Todo cuts and impromptu edits, and St. Lucia put the crowd into a cheerier mood.

Most attendees bolted shortly after St. Lucia, when the weather took a turn for the worst, but I hear Action Bronson turned up the survivors pretty well for headliners Flume and Grimes.