New Orleans ambient drone duo Belong showed up out of nowhere with the 2009 vinyl re-pressing of October Language, an album recorded in 2004 and previously released in 2006. A followup album (Common Era) was released earlier this year. Not bad for a group that’s been around since 2002 and whose Allmusic bio refers to a followup album being due sometime in 2007.
Perhaps the glacial pace of Belong’s release schedule has something to do with the glacial pace of the music itself. “Late Night”, a Syd Barrett cover, coasts along at a beatless pace that redefines “languorous.” (No. Really.)
lan guour ous (adj.) – dreamy: lacking spirit or liveliness; “a lackadaisical attempt”; “a languid mood”; “a languid wave of the hand”; “a hot languorous afternoon”
1. See: Belong – Late Night
2. See also: These guys, whose 1995 album A Stable Reference defined languorous up until sometime between 2006 and 2009 (depending on which version of October Language you picked up), at which point Belong stole the definition away in broad dusklight under the cover of the space between the notes..
3. See also also: Low, whose pace is so languorous that time slows perceptibly during live appearances, rendering analog clocks unusable and a number of their fans late for work.
It’s a thing of gauzy, womblike beauty. The vocals fade in and out of the background (which is also the foreground, apparently). The track itself is something you experience more than you hear. It takes concentration to get everything out of it, but it’s well worth the effort, especially as it heads towards a muted roaring crescendo. (I realize that phrase seems to make no sense whatsoever, but LISTEN TO THE TRACK.)
Now, if your interest is peaked, head right over to Google and search up a storm. Thanks to a pile of writeups from some influential music blogs, Belong’s various pages have risen towards the top of the listings, resting comfortably between a stack of dictionaries. However, things haven’t improved much on the image side. Google doesn’t read minds (still in closed beta) so sorting by relevance is about as useful as sorting by dartboard.
Now, if you’ve decided to name your band after a common English word, you should know you’re engaging in a uphill battle for SEO hearts and minds. Of course, you could just go another direction and claim popular profanities for yourself, thus ensuring that every venue will now have to invest in asterisks in order to display your edited band name on the marquee. See also: Fuck Buttons, Holy Fuck, Fucked Up, Fukkk Offf, That Fucking Tank, The Fucking Eagles, etc.
Back before they took off, there was no better way to see if you’d forgotten to turn Safesearch back on than aquick image search for Fuck Buttons. Of course, now that they’ve become one of the more prominent Fuck groups, the natural progression of organic SEO has filled the search results with images off two guys assaulting a table full of electronics, rather than various orifices being assaulted by various appendages.
But what if you’re not as popular as the Fuck Buttons? What happens if your band name keeps unfortunate company, image-wise? Consider Nashville’s finest (only?) drag/witch house group, Party Trash. If you’re looking for some “relevance” from the image search, well… good luck. If you just needed an excuse to eyeballyoung party fiends in various states of disrepair/disrobement (now officially a word!), “Party Trash” is all you need to know. And that’s with Safesearch on.
Speaking of witch house, what if you’re knee deep in triangle cultists with names like GuMMy†Be▲R! andℑ⊇≥◊≤⊆ℜ and †‡† and other Unicode horrors? Bad news, surfers. Google has no idea what you’re looking for.
So between the witch housers who don’t want to be found, the drone rockers who like to hang with Merriam (and Webster –alternating Tuesdays) and the others who turn your office computer into an inadvertent Bacchanalian slide show, what’s Mr/Mrs/Ms Internet to do?
Go to a trusted source. [Insert self-promotional link to website here.]
Oh, but before you go, take a listen to this track from Belong’s latest LP, which shows the pair up to their old tricks, only faster, louder, harder and more melodic. If “Last Night” is a lullaby heard through a wall, “Perfect Life” is the daunting leap into a frigid, rushing river without ever escaping the noose.
English singer-songwriter Laura Marling returns with her third album A Creature I Don’t Know, the follow up to 2010’s critically-acclaimed I Speak Because I Can. “The album is like a slap and a stroke,” Ms. Marling described to The New York Times, where you can now stream the album. “It’s done the thing it wanted to.”
A Creature I Don’t Know is set to be released on September 13th via Ribbon Music/Domino. Tracklisting available after the break.
A Creature I Don’t Know Tracklist:
01. The Muse
02. I Was Just a Card
03. Don’t Ask Me Why
04. Salinas
05. The Beast
06. Night After Night
07. My Friends
08. Rest in the Bed
09. Sophia
10. All My Rage
“Beth/Rest” may just be this year’s most polarizing song. The closer to Bon Iver‘s sophomore album, the 80’s style soft-rock lullaby both stunned and wowed listeners. In his review, our own Darcy Morgan loved the unorthodox style and commented on how only Justin Vernon could pull off such a risky song. Vernon himself has repeatedly defended the “cheesiness” of the song in interviews.
Now, a few months after the song’s initial release, Vernon has given us even more to talk about. In his session for NPR World Cafe, the singer-songwriter performed a highly stripped-down version of the song on a piano bench. That’s right — no saxophones, no solos, no cheesiness. Just a performance of “Beth/Rest” in its most basic form, including some deep, nearly spoken vocals in the intro.
You can listen to the song here, as well as performances of “Holocene” and 2009’s “Blood Baby”. You can also stream/download the MP3 below.
MP3: Bon Iver – “Beth/Rest (Solo Piano Version)”
The obvious influence is DJ Screw and his promethazine-addled pitch shifting, which lowered the beat to the pulse rate of coma patients and turned swaggering MCs into cocksure demonic forces sent from hell to inform you of their extraordinary rhythmic skills/success with the opposite sex/early years as a drug dealer.
Nattymari takes this and adds his own touches. Slowing things way down is a start, but it’s not as simple as that. You can hear the tape loop befouling of Chrome and Throbbing Gristle ricocheting around the soundscape, slipping off the spindle now and then with a burst of Chipmunk speed or getting hung up in the gears and grinding to a halt.
For example, take “K1LL K1LL”.
French no-wavists The Feeling of Love serve up this clattering, droning cover of an old Stooges favorite. Depending on the ear of the beholder, it’s either a brilliant re-imagining of the Stooges ugly as sin proto-punk or a smart-arsed piss take. It’s a bit of a sonic wreck, despite the use of supposedly “flawless” electronics, but I’m sure Iggy wouldn’t have it any other way. Perfect mood music for those “tail end of summer “days when all you want to do is cover yourself in peanut butter, roll around lazily on some broken glass and then, I don’t know, age somewhat gracefully into a pint-sized rock icon with the physique of Mr. Universe runner-up and the face of a 75-year-old Russian peasant woman.
MP3: The Feeling of Love – “No Fun (The Stooges Cover)”
Find this and much more (for free!) on Beko Box 2 over at Beko DSL.
The Dean’s List have released a brand new song entitled “Kruptonite Sanity Room (K.S.R.)”. Emcee Sonny Shotz begins the song with a pained commentary on his life, talking about his need for a Kryptonite Sanity Room: something “that can kill you, but keep you sane at the same time…when you start having doubts.” Fantastic production from DJ Mendoza and Mik Beats, combined with some of Sonny’s best lines yet make this song a must listen. Running six minutes and twenty-five seconds, the track is a showcase of the group’s talent, ending with Sonny saying, “I’m just talking to the people, this isn’t even a song really.” Download or stream the MP3 below.
Two of Canada’s finest (or at least most popular) team up on this new remix of Drake‘s “Trust Issues”. Justin Bieberhops on the mic to record his take of Drake’s song. Bieber’s voice seems to be taking a hit as he matures and it looks like he more than just trust issues to deal with, hitting relatively lower registers on this song compared to that of his previous work. Check it out for yourself below.
There’s no denying that The xx‘s Jamie xx is an extremely talented solo producer. After producing The xx’s self-titled debut, the Mercury Prize Winner went on to remix the late Gil-Scott Heron on We’re New Here and then released a new single entitled “Far Nearer”. A few days ago, Jamie took over the DJ booth and spun a two-hour mix for the BBC Essential Mix series. You can listen to entire mix in full below, courtesy of Young Turks. There are some great songs included from such artists as Orbital, Wiley, James Blake, and ends with Jamie’s own mix of Radiohead‘s “Bloom”.
Full tracklisting for Jamie’s mix is available after the break.
If you’ve heard M83‘s new single “Midnight City”, there’s a good chance you’ve fallen in love with the song’s catchy synth production and mind-blowing sax solo. Even so, you may be in need of some new M83 to jam to, especially since the brand new double album, Hurry Up, We’re Dreaming, isn’t due for release until October 18.
To make the long wait a tiny bit easier for you, I’ve compiled a list of four “Midnight City” remixes, all different in style and vibe. Check them out below.
Midnight City by M83
Tokyo Police Club finished the second of ten 10-hour long studio sessions yesterday, recording a electric-infused cover of Jimmy Eat World‘s pop-punk hit “Sweetness”. Joined by Michael Angelakos of Passion Pit, the Ontario indie rock outfit don’t really make too many changes to the song aside from a brief electro interlude near the end. You can check out “Sweetness” below.
For the next part of the ten-song series, the band will be recording a cover of “Under Control” by The Strokes.
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