Jam of the Day: Jamie Woon - "Sharpness"

Sleek and sexy new track from Jamie Woon.

Album Review: BANKS - London EP

BANKS
London EP
Rating: Grrrr

LA singer BANKS releases her second EP of the year, the 4 track stunner London, showcasing her sultry delivery and immaculate taste in collaborators, aligning herself with up and comers SOHN, Totally Enormous Extinct Dinosaurs, Lil Silva, and Jamie Woon. BANKS hangs in a sort of netherworld between pop, R&B, electronic, and indie-alternative, never really putting her foot firmly into any one camp, choosing to float loosely over them all, taking what works best to suit her sexy voice. Her voice is often compared to Lana Del Rey, whose voice is pretty, don't get me wrong, however, BANKS adds more emotional heft to her tracks instead of being mere window dressing.

London begins with the SOHN produced track "Waiting Game" which opens with BANKS' multi-tracked voice under stark piano chords and her main, smoky vocal line. Buzzy electronics push the song forward into a dense, sinister mesh.



"This Is What It Feels Like," produced by Lil Silva and Jamie Woon, takes the bass line from Ginuine's "Pony" and slows it down into a horror film crawl, BANKS' vocal turn more edgy and aggressive, toying with and playing against the fractured beats and army of samples. Her voice goes from a whisper to a growl on a dime, using silence as a weapon, turning this track in to a head spinning stunner.



The Totally Enormous Extinct Dinosaurs' produced track "Bedroom Wall" creates a gorgeous mix of intimate electronica and future R&B, BANKS' voice in delicate mode, showcasing her tender, emotional side.



Final track, "Change" took a long time for me to get a handle on, as it doesn't initially grab you like the first three tracks. It's insistent keyboard motif and skittering percussion keep luring you into the mix, as BANKS' dusky voice flutters up and down as the music gets denser and denser. It's the perfect way to end this almost flawless EP.



London is a nice snapshot of BANKS as a artist right now, offering a cohesive grouping of tracks that are each shaded differently enough where they work together yet stand apart from each other. BANKS' voice is flexible enough where she can go from subtle to strong in a heart beat, and better yet, knows when to show restraint or when to let go. Based on her limited output at the moment, we can only expect great things from this emerging talent.

Rating Scale:

Chilfos: masterpiece; coolest thing I've heard in ages.

Woof Daddy: excellent; just a hair away from being a masterpiece.

Grrrr: very good; will definitely be considered for my top releases of the year.

Yeah Daddy Make Me Want It: good; definitely invites further listens and piques one's interest for more material.

Meh: not horrible, but certainly not great; could have either been polished, trimmed, or re-thought.

Jeez Lady: what the hell happened? Just plain bad. They should hang their heads in shame and be forced to listen to Lady Gaga ad nauseam as penance.

Tragicistani: so bad, armed villagers with pitchforks and torches should run the artist out of the country for inflicting this abomination on the human race.

Jam of the Day: Banks - "This Is What It Feels Like"

Lil Silva and Jamie Woon produced this slick, slow jam from Banks. Her debut album is going to be phenomenal.

Album Review: Disclosure - Settle

Disclosure
Settle
Rating: Woof Daddy

UK production duo Disclosure, brothers Guy and Howard Lawrence, occupy a strange position in dance music. They aren't a straight up dance act, their strengths definitely lie more in the pop song area, however, they aren't necessarily solidly in the traditional pop song structure world either, letting things go on occasion with straight up house tracks. It's this tension and flirtation between the two areas that makes them so fascinating. Not to mention, they know how to come up with some killer hooks. Before the release of their debut album Settle, Disclosure release a torrent of hot singles, the slamming club track "White Noise" with AlunaGeorge, R&B leaning "Latch" with Sam Smith, and kooky UK garage referencing "You & Me" with Eliza Dolittle. My fear was that the album would be these singles plus a lot of filler, but Settle actually goes beyond that, revealing itself to be a surprisingly cohesive journey from the duo, flowing like a good DJ set, with lots of highs mixed in with different styles.

Of course, most of the highlights come in the form of more traditional song structures. "White Noise" is still as fresh and slamming as it was when it was first released, its liquid bassline and fierce vocal turn from AlunaGeorge catchy as hell.



"You & Me" grabs from the get-go with its two-step beat, frenetic keyboards, and lovely vocals from Eliza Doolittle.



But new vocal collaborations also feature as highlights. Probably the best track they have done yet, "Confess To Me" with the gorgeous voice of Jesse Ware, is a stunning bass heavy track that would be sure to get any dancefloor pumping.



Ed Macfarlane of Friendly Fires adds vocals to the lush mid-tempo track "Defeated No More," R&B/two-step practitioner Jamie Woon provides his velvety voice to the sleek jam "January," while up and coming UK buzz act London Grammar take things out on a heavenly note with the gorgeous album closing track "Help Me Lose My Mind."

The good thing about all these collaborations is that they all work seamlessly, with no one showboating or distracting from Disclosure's basic aesthetic. If the whole album had been all collaborations it might have grown tiresome, however, the duo seem aware of that and mixed in several more dance-oriented tracks. Fresh new single "When A Fire Starts To Burn" brings some tent-revival-esque samples to life with a thumping beat and funky house keyboards,




"F For U" powers forward on a J Dilla sample and infectious garage beat,



and the percolating "Grab Her" slams bouncy basslines around with crisp drum programming.

Settle is a remarkably assured debut from this very young production duo (Guy is the eldest at 21) and foretells major things from them going forward. After the relatively disappointing new record from Daft Punk, Disclosure sets the bar very high for any other dance-oriented act this year. Settle is by far the best dance record of the year to date.

Rating Scale:

Chilfos: masterpiece; coolest thing I've heard in ages.

Woof Daddy: excellent; just a hair away from being a masterpiece.

Grrrr: very good; will definitely be considered for my top releases of the year.

Yeah Daddy Make Me Want It: good; definitely invites further listens and piques one's interest for more material.

Meh: not horrible, but certainly not great; could have either been polished, trimmed, or re-thought.

Jeez Lady: what the hell happened? Just plain bad. They should hang their heads in shame and be forced to listen to Lady Gaga ad nauseam as penance.

Tragicistani: so bad, armed villagers with pitchforks and torches should run the artist out of the country for inflicting this abomination on the human race.

2011 Albums of the Year: 40-31

Continuing my countdown of my favorite albums of 2011, here are numbers 40-31:

40. Balam Acab - Wander/Wonder

Balam Acab's debut full length Wander/Wonder retains most of the witch house template exemplified by his EP See Birds (glacial BPMs, icy keyboards and textures, and a reliance on pitch-shifted vocal samples), however, Balam Acab is not as interested in creating a sense of dread as are most of his contemporaries. Instead, we see a studied variation of almost classical tones with Eno-esque ambient leanings. Most of the tracks are also steeped in a liquidy atmosphere, from the album cover art of an ocean fissure to the overall sound quality of the album, sounding like it were recorded deep in a diving bell. Wander/Wonder is an assured debut, and sets the bar high for his future releases.

39. Sully - Carrier

A dark trip through the underbelly of the UK garage scene, Sully's debut cd Carrier hits the highs right of the bat with such driving tracks like "It's Your Love," "2 Hearts," and the brilliant single "In Some Pattern." But just when you think you have the album figured out, it takes a sharp left turn into moodier territory. The back half featuring stark wanderings into grime territory, the synths getting harsher and bolder. Tracks like "Scram" and "I Know" seemingly made from despair. It is a strange album that never fails to get under your skin.

38. Tycho - Dive

Scott Hanson, aka Tycho, is an electronic producer whose obvious touchstones are Boards of Canada, Ulrich Schnauss, and shoegaze artists like Slowdive. His third album Dive is a downtempo gem, full of lush synths, clean beats, and hauntingly atmospheric guitars. Dive is akin to recent releases from M83, Active Child, Neon Indian, and Washed Out, taking the influences of Chillwave and morphing them into some fresh and new. While there is not a lot of dense complexity in these tracks, Hanson keeps the mix perfectly aligned, never stuffing the tracks with extraneous elements, nor making them too minimal. Each track is about the glistening synths and driving rhythm, with no room for dubstep aggression, or IDM moodiness. Dive is the aural equivalent to a blanket on a cool fall evening.

37. Explosions In The Sky - Take Care, Take Care, Take Care

It is virtual impossible to mention Austin, Texas quartet Explosions In The Sky without mentioning Mogwai. Both bands are in complete control of their quiet-loud-slow-fast dynamics, which make them both live show powerhouses. Since Young Team, however, Mogwai has broadened and expanded their sound, making it more pop accessible; shortening song lengths, adding some vocals, and sticking to more formal song structures. Explosions In The Sky have basically stuck with their same template over the years, honing and focusing their sound rather that trying to expand it. Unlike their second album, Those Who Tell the Truth Shall Die, Those Who Tell the Truth Shall Live Forever, later releases have been less balls to the wall. On that classic album, the songs veered from outright gorgeous to almost painful to listen to in their intensity. Here, Take Care, Take Care, Take Care, is almost hushed, each track slowly building to a catharsis, heightening the emotion and tension through carefully timed ebbs and flows and false endings. It is a collection of tracks whose sheer beauty is nothing short of transcendant.

36. PJ Harvey - Let England Shake

Let England Shake, is a major departure for PJ Harvey, at least lyrically. Instead of her biting and pointed observations of relationships and life of the interior mind, Let England Shake is a song cycle (or concept album, if you prefer) about how war, in the past, present and future, affects England and its people. It is a particularly difficult record to wrap one's heart and mind around, but once you let it in, it is a powerful listen. The lyrics are some of the most brutal and direct Harvey has ever written, frequently focusing on horrible images of war: "soldiers fall like lumps of meat," "flesh quivering in the heat," corpses lying in no-man's land are "unburied ghosts." While this description makes the record sound like a dour polemic, Harvey knows better than to make everything one note. She definitely brings some of her most interesting music to back up her ideas and lyrics; using non-standard instrumentation, off-kilter vocals, and odd time signatures.

35. Duran Duran - All You Need Is Now

After a rather misguided collaboration with Timbaland and Justin Timberlake on Red Carpet Massacre, Duran Duran has teamed up with producer Mark Ronson, who seems to have been a stern taskmaster with the band, forcing them to play to their strengths, the result being their best album since Rio. I was worried at first based on the advanced buzz of the album that the band was going to try and ape their previous sound, but instead of making a carbon copy, they have referenced Rio, but have created something fresh and new, and some of the best pop music of the year.

34. Radiohead - The King of Limbs

This is by far Radiohead's most divisive record. It is short (8 songs under 37 minutes), doesn't have a cohesive sound throughout, is their least "adventurous" album, and doesn't appear to have an overarching theme like most of their releases. Also, what really stands out, or in this case doesn't stand out, is that the album is not very immediate. I began listening to it in my car, and it just faded into the background most of the time. After hearing it a couple of times, I was completely unimpressed. It wasn't until I heard it on headphones that it began to grow on me. The album is a whisper, subtly insinuating itself into your body and soul. After the many listens I have given, has my opinion moved from being unimpressed to something more? Yes and no. I appreciate the album much more, but it is still a transitional record for me. Rumor is this album is the first part of two, which would make some sense, given its brevity and lack of cohesion. But because I don't have an additional part, I will have to judge it solely based on its own merit. As such, I don't love it like I love OK Computer or In Rainbows, but I can't ignore it. There are some lovely moments on The King of Limbs, and for me to listen to a record as much as I have listened to this, there is something more there. I have a feeling this record will make more sense later on; depending on what Radiohead does next, which could be anything.

33. Jamie Woon - Mirrorwriting

Jamie Woon occupies an interesting plot in the dubstep landscape; somewhere in the middle between the silence craving spaces of James Blake (who will be Woon's most obvious comparison) and the more pop leaning spectrum of artists like Katy B and Magnetic Man. Woon began his career as a soul singer, attending the BRIT School where he was a year behind Amy Winehouse, who he has opened for on tour. It was a meeting with UK dubstep/two step enigma Burial that changed Woon's path from traditional R&B, merging his velvety croon with more adventurous sonics. Burial produced his breakout track "Night Air," which made it into my top ten singles of last year, and lends his deft hand to two other tracks on Mirrorwriting. Even though he didn't produce the entire album, his influence seeps in and out of each track. Lots of ghostly samples, and haunting low end sounds push up against the more traditional elements. While not as experimental (and in my opinion lacking in soul) as James Blake's debut nor as willing to mine for pop stardom like Katy B, Woon's Mirrorwriting is a happy medium which, when playing to his strengths, is some of the finest music you will hear all year.

32. Other Lives - Tamer Animals

Channeling Ennio Morricone through a Radiohead filter, Oklahoma five-piece Other Lives creates futuristic dust bowl Americana, whose epic sweep is surprisingly intimate and emotional. Utilizing mostly traditional instrumentation, with the members shuffling between guitars, percussion, horns, and strings, Other Lives' sophomore album Tamer Animals is immediately familiar but also sounding not exactly of its time and place. Gone is the overly fussy production of their debut album, and in its stead, a more strategic focus. Not that Other Lives have gone minimal by any stretch of the imagination, the songs are stuffed with lush instrumentation and haunting harmonies.

31. The Antlers - Burst Apart

The Antlers' debut album Hospice was one of the most intimate, haunting records of 2009, a desperate song cycle about the journey through the illness of a child. The songs were simultaneously hushed and widescreen, the lyrics oblique and impressionistic, frequently blunt and always heartbreaking. It was a difficult album to listen to, but one that was impossible to ignore or forget. Hospice was such a fully formed, almost perfectly paced record, it was difficult to imagine where The Antlers could take their sound. Now a full-fledged trio, their sound still remains shockingly intimate, more due to Peter Silberman's evocative falsetto, however the music is far more urgent and less ambient. Unlike Hospice, here The Antlers aren't afraid for more volume and cacophony. The first song on the album is just a preview of where the band intends to go, featuring a strident beat and twilight guitars and twinkling synths seeking the clouds. "I Don't Want Love," is a shockingly direct song about a masochistic relationship, that sets the tone for this brutally frank record.

Videos of the Week

More of the videos that peaked my interest this week:



One of the standout tracks on the new Horrors album. Nice, trippy video.



New track from Jamie xx, with a very strange, arty accompanying video.

Drake ~ Headlines (Official Video) from OctobersVeryOwn on Vimeo.

Drake has basically teased almost all the songs off his upcoming album. Based on what I had heard so far, I assumed it was going to be a very dark affair, like the music from The Weeknd that he appreciates so much. Nice to see there are some more upbeat tracks to look forward to.



Though Lana Del Rey sort of fits in the Adele/Amy Winehouse mold, there is something about her that seems different. I love her smoky voice.



I also love this remix of the song from Jamie Woon.



I am loving the new Future Islands album. One of the great tracks on it.



Strange video from Apparat.

Non-Sequiturs

Finally got to see one of my music heroes live this week. Kurt and I went to the IDentity Festival here in Atlanta. The festival is a traveling electronic music festival with three stages. Most of the artists are DJs, however, there was a smattering of acts that performed somewhat live. The last artist we saw was DJ Shadow. Have loved his music ever since Endtroducing.... Was a real thrill to see him as every other time he has been in town, I have had a conflict.

He played inside this sphere that had all sorts of cool videos and images projected on it and a big screen behind. The visuals matched up perfectly with his music and was a great audio-visual experience. He's such a nice guy, and also very cute.

Another highlight was finally seeing Hercules and Love Affair. Andy Butler and crew performed a DJ set with their three vocalists who, despite the heat and dismal crowd support, put on an energetic set. Andy is absolute adorable.

Rusko also put on an amazingly high energy set. He was dancing like a Tazmanian devil the whole time, and the crowd (whose drugs must have kicked in) was really into it as well.

Overall the festival was fun, however, the crowd was full of typically obnoxious 20 somethings that were rude and high as kites, the concessions were ridiculously overpriced, and it was brutally hot and even worse on the second stage which was out on a blacktop parking lot. I was able to see a lot of people I haven't seen, including Nero, DJ Chuckie, and Crystal Method. For the price, it was a good deal.

Interesting shuffle segue on my iPod, Burial's "Southern Comfort" bleeding into Jamie Woon's "Night Air" which was produced by Burial. Just sounded like a natural transition. Sublime.

Lyrics Rattling Around My Brain

"You said only a back page
Will get as read as the first page
Now you're observing the corners
And showing the first signs of aging
I'm not trying to read you anymore
Just keep on turning me through the days
Until the latest chapter unfolds

You look aroused
You look awake
You are the light
Turned on"

Tom Vek
"Aroused"

"You got me so riled
How can I ever deny
You got me so high
So high I cannot feel the fire
And you keep telling me
Telling me that you'll be sweet
And you never want to leave my side
And long as I don't break these
Promises
And they still feel all so wasted on myself"

Nero
"Promises"

"Sleeping when the day breaks
Dreaming as the evening falls
He's got no more headaches
Leaving us with empty walls
The last of many efforts

I know it's not my place
But I don't even wonder why
What commitment
What grace
To just refuse to be alive"

The Radio Dept.
"Sleeping In"

"Got struck by the first volley
Of the war in the courts
Never held my serve
Send'em a wire, give'em my best
This ammunition never rests
No one serves coffee, no one wakes up

Stop breathin'
Stop breathin'
Breathin' for me now
Write it on a postcard
Dad, they broke me
Dad, they broke me"

Pavement
"Stop Breathing"

"I've got too much energy to switch off my mind
But not enough to get myself organized
My heart is heavy
My head is confused
And my aching little soul
Has started burning blue

I can't give you up, 'till I've got more than enough
So infect me with your love
Nurse me into sickness
Nurse me back to health
Endow me with the gifts of the man made world

When desire becomes an illness instead of a joy
And guilt a necessity that's gotta be destroyed"

The The
"Infected"

Appealing Things

Nero DJ set
Seeing cute little DJ Shadow come out and introduce his set
Rusko's energy
Tom Vek
Cut Off Your Hands
Coupons
Skimpeez

Annoying Things

People who are so un-self aware they continually put their foot in their mouth
Girls who wear those really stupid furry boots to concerts
$11 beers
People who don't say excuse me
People who reheat fish at the office

Jamie Woon: Mirrorwriting

Jamie Woon
Mirrorwriting
Rating: Grrrr

Jamie Woon occupies an interesting plot in the dubstep landscape; somewhere in the middle between the silence craving spaces of James Blake (who will be Woon's most obvious comparison) and the more pop leaning spectrum of artists like Katy B and Magnetic Man. Woon began his career as a soul singer, attending the BRIT School where he was a year behind Amy Winehouse, who he has opened for on tour. It was a meeting with UK dubstep/two step enigma Burial that changed Woon's path from traditional R&B, merging his velvety croon with more adventurous sonics. Burial produced his breakout track "Night Air," which made it into my top ten singles of last year, and lends his deft hand to two other tracks on Mirrorwriting. Even though he didn't produce the entire album, his influence seeps in and out of each track. Lots of ghostly samples, and haunting low end sounds push up against the more traditional elements. While not as experimental (and in my opinion lacking in soul) as James Blake's debut nor as willing to mine for pop stardom like Katy B, Woon's Mirrorwriting is a happy medium which, when playing to his strengths, is some of the finest music you will hear all year.

The album begins with a brilliant trifecta of tracks co-produced with Burial. The aforementioned "Night Air" leads off with dense, atmospheric electronics over a bed of instantly recognizable Burial percussion, warmed by Woon's luscious croon.



Things pick up with the insistent rush of "Street," the keyboards getting rougher and more staccato as the track progresses. Even when it seems like a track on Mirrorwriting is going to veer towards a standard sound, there is always something lurking in the background to surprise you, like the low rumbling bass and organ arpeggios.



"Lady Luck," the official first single from the album is one of the best tracks. Woon's voice getting more insistent as the track progresses, his vocals sampled and clipped, added as percussion throughout.



The album works best when he straddles the line perfectly between the traditional pop/R&B sound and more experimental dubstep leanings. "Shoulda" would be a perfect pop single, but is elevated to a higher place with the addition of more low end bass and haunting background electronics.



"Echoes" utilizes his falsetto well, the desperation increasing in the song, mirrored by jarring hits of snare drums and gurgling synths. "Middle" shows Woon's amazing range, the song a dubstep update of 50s R&B.



The album is less successful when it veers towards more traditional song structures. The back half of the album especially suffers with too many slow, singer-songwriter ballads that, while containing some interesting elements, just don't finish the album on an up note. "TMRW" plods along with no real melody. Woon's voice is lovely though. "Gravity" attempts to replicate Japan's great single "Ghosts" with haunting electronics, however, a promising beginning gets mired in MOR mawkishness. "Waterfront" ends the album with delicate guitar and organ, Woon's voice buttery and smooth, but the experimentation of the first half of the album is sorely missed.

Despite these minor missteps, Mirrorwriting is a very strong debut from Jamie Woon; consistently engaging the listener, and showcasing a brilliant collaborative partnership with Burial. Based on Burial's contributions, I would have liked to have seen a full on collaboration instead of just the few songs here. Woon definitely realizes that this is his strong suit, as many of the other songs follow and are influenced by that blueprint. Here's hoping he ditches the more traditional structures and continues with his dubstep explorations.

Rating Guide

Chilfos: masterpiece; coolest thing I've heard in ages.

Woof Daddy: excellent; just a hair away from being a masterpiece.

Grrrr: very good; will definitely be considered for my top releases of the year.

Yeah Daddy Make Me Want It: good; definitely invites further listens and peaks one's interest for more material.

Meh: not horrible, but certainly not great; could have either been polished, trimmed, or re-thought.

Jeez Lady: what the hell happened? Just plain bad. They should hang their heads in shame and be forced to listen to Lady Gaga ad nauseam as penance.

Tragicistani: so bad, armed villagers with pitchforks and torches should run the artist out of the country for inflicting this abomination on the human race.

Videos of the Week

Here is the latest roundup of videos that make me holla!



Apparently Titus Andronicus puts on a really wild live show. I am going to try and catch them if I can.



A horror movie about a telekinetic car tire. Really.



The Strokes performed this song on the Jimmy Fallon Show. Love it.



Though this song and type of music is not my usual cup of tea, I do think they have the best band name.



Katy B has such a fantastic voice.



The first single from the new Bibio album is fantastic. The album is not really gelling with me yet, so I am giving it some time.



More of the amazing Katy B singing with Magnetic Man.



Dubstep/singer-songwriter Jamie Woon performing a cover of Adele's song "Someone Like You."



The Drums' album has stayed in heavy rotation for the longest time.



While I don't really care much for her album as a whole, I do like this remix from Bassnectar.



Love the new album from Tinie Tempah.



Ariel Pink is a complete freak, and his live shows are apparently crazy. Looking forward to seeing if it is sublime or tragic.



HEALTH's albums are punishingly loud. Will hopefully be a highlight of Coachella for me.

Jamie Woon: "Someone Like You" (Adele Cover)

Although I am not a huge fan of Adele's new album (and have suffered the wrath of many an enraged gay man), I do love her voice and do love the song "Someone Like You." Jamie Woon, whose mix of R&B/Singer-Songwriter/Dubstep is intoxicating, has done an in-studio acoustic cover of the song, and puts his own unique stamp on the track. Adele's version is better, but there is something simple and direct about this version. Jamie Woon's debut album Mirrorwriting comes out on April 19. Below is one of my favorite tracks from last year, "Night Air."

Burial: Street Halo EP

Burial
Street Halo EP
Rating: Woof Daddy

It's been almost four years since the release of Burial's landmark album Untrue. Might as well be 4 decades in the electronic music world considering how fast trends and genres change and mutate. While there will likely always be imitators of his distinct sound, Burial will never be duplicated. In a flurry of activity over the past few months, Burial has released several new projects. Whether producing and advising material on Jamie Woon's debut cd Mirrorwriting, or collaborating with Thom Yorke and Four Tet on a single, he has whet people's appetite for the follow up to Untrue. There is no word whether this three track EP is a prelude or preview to a new release, but apparently, based on his label Hyperdub, he is working on new material.

If anything, these three tracks reveal that Burial is still working with the same minimal palate, but is pushing outside the framework. The songs are distinctly Burial tracks, however, there are subtle differences in approach. Still notable is how, even on three tracks, he can so easily evoke moods of isolation and darkness.



"Street Halo"

Probably the least Burial sounding of the three tracks, "Street Halo" practically sounds like the percussion was recorded from a train. There is a locomotive quality to the beats, propelling the song forward. There is a vaguely Middle Eastern synth melody hanging just underneath the framework of the track, with disembodied and mutated vocal samples floating above. The dark, two-step track is underpinned with menacing sub-bass, the vocal samples conjuring a world of late night journeys to some place dangerous and haunted. As the destination gets closer, the beats get more insistent, the tone denser; you can feel your heart catching in your chest.



"NYC"

By far my favorite track, "NYC," is trademark Burial: ghostly synth strings, choppy blocked two-step beats, and airy, pitch shifted vocal samples. The song is so sad and haunting, it is almost unbearable to hear; a cry for love and tenderness in an unforgiving city, feeling completely alone in a sea of millions. The refrain "NYC, nobody loves me" is so forlorn, it will stick with you like a scar.



"Stolen Dog"

This is the grower of the three tracks. Initially, I dismissed it as meandering and not in line with the first two songs. Using a simple beat, monochrome synth tone melody, and a variety of liquidy atmospherics, "Stolen Dog," unfolds leisurely, the slowly gains in paranoia and desperation, the vocal samples, almost unintelligible, becoming frantic and alarmed. The "Stolen Dog," of the title can be anything searched for in vain.

If these three tracks are any indication of what Burial's next full length is like, I think I will be a very happy fan. The songs retain the base of what is Burial and expands it ever so slightly; ramping up the emotion and depth. Burial is a master of creating a mood and taking you on long, dark trips through his imagination. Street Halo is endlessly fascinating, and a great appetizer for the next course he will offer.

Rating Guide

Chilfos: masterpiece; coolest thing I've heard in ages.

Woof Daddy: excellent; just a hair away from being a masterpiece.

Grrrr: very good; will definitely be considered for my top releases of the year.

Yeah Daddy Make Me Want It: good; definitely invites further listens and peaks one's interest for more material.

Meh: not horrible, but certainly not great; could have either been polished, trimmed, or re-thought.

Jeez Lady: what the hell happened? Just plain bad. They should hang their heads in shame and be forced to listen to Lady Gaga ad nauseam as penance.

Tragicistani: so bad, armed villagers with pitchforks and torches should run the artist out of the country for inflicting this abomination on the human race.

Burial: "Street Halo"

It has been over 4 years since the release of Burial's seminal album Untrue. Since then, he has kept a relatively low profile, remixing some artists, producing some tracks on Jamie Woon's upcoming album Mirrorwriting, and releasing some collaborative tracks with Four Tet and Thom Yorke. Then today, a mysterious press release came out from his label Hyperdub announcing the release of a new single "Street Halo," to be released on Monday, March 28. The single will also come with two additional songs: "NYC" and "Stolen Dog." There is no word whether this is a lead up to a new album, however, the rumor is that he has been working on it lately. Check back Monday and I will likely have a clip and review of the single.

Below is the amazing song "Archangel" from Untrue.

Videos of the Week

Once again is a lovely Friday. Here is the roundup of the latest videos that are so good you could sop them up with a biscuit:



Electro-dubstep track from Boys Noize, one of the many DJs playing Coachella.

Thom Yorke Live DJ Set @ Low End Theory LA 3.9.11 from Theo Jemison on Vimeo.

High quality film clip of Thom Yorke's surprise DJ set at Low End Theory.



Loving this chillwave meets two-step track from enigmatic London producer Vondelpark.



Silly, fun track from Teddybears, featuring Robyn on vocals.



Fun dance punk act from Brazil. Looking forward to seeing them at Coachella.

Jamie Woon - "Lady Luck" from stereogum on Vimeo.

Second video and single from Jamie Woon's upcoming album mirrorwriting.



One of many amazing singles on the new Strokes cd, Angles.



Sneak peak of the new Justice single "Civilization," appearing in an Adidas ad.





Two amazing tracks from Burial, Thom Yorke, and Four Tet.







The first three singles from Alex Clare's debut cd, Too Close. Probably my most anticipated cd of this year, next to Jamie Woon.



My favorite song from Animal Collective.



Interesting charity collaboration from Chris Taylor, Solange Knowles and Twin Shadow.



I never expected to like Kurt Vile, but his new album is completely captivating.



Another hot DJ playing Coachella.



Best song off the disappointing new R.E.M. album. Great video though.



Amazing song from the Barcelona dance/rock collective.



Another wonderful house/dubstep producer playing Coachella, that I am really excited about seeing.



Great song from FaltyDL's second album. Love the vocal a lot.



Frank Ocean is a singer loosely associated with the Odd Future hip hop collective. His album can be a bit hit or miss, but when he hits, as on this track, it can be brilliant.

Jamie Woon: "Lady Luck"

Jamie Woon, a dubstep influenced singer-songwriter, is set to release his debut album on 4/11, entitled mirrorwriting. The Burial-produced first single "Night Air" was one of my top singles of last year and whetted my appetite for the full album. The newest single is for "Lady Luck" and here is the video for it.

Jamie Woon - "Lady Luck" from stereogum on Vimeo.

In case you were interested in "Night Air," here is the video for it as well.

Videos of the Week

Ahhhh, Friday! Couldn't come soon enough. Here is a roundup of the videos this week that slap my ass and call me Judy:



49 days to go until Coachella! I'm really starting to get excited about the trip. Trentemoller is considered the Danish Moby. I don't really know much about him or his music, but, based on this live performance from the Roskilde Festival, it looks like he puts on a great show. I doubt the Coachella show will be this elaborate, but you never know.



Unofficial video for one of the best LCD Soundsystem songs. A re-imagining of the U2 video "Where The Streets Have No Name," featuring the muppets in Brighton. The video is a lot of fun and really fits the song well. I love the part where the drums kick in and the crowd starts cheering.



My anticipation for Jamie Woon's debut album is reaching a fever pitch. His track "Night Air" was in my top ten singles of last year. He has a gorgeous voice and his move into the dubstep realm is revelatory. This is the latest single, and it has a more Justin Timberlake/Timbaland meets dubstep sound to it. I really like it.



NSFW slasher video for the HEALTH song. I like the twist at the end.



Icy and haunting electronica from Lorn.



Before watching the extremely silly genre thriller Unknown last weekend, we saw the trailer for this movie. Looks kinda kick ass!



Video for the new single from Kanye West's brilliant cd. The video is just ok, but is watchable if only for the outfit Rihanna has on.



Love me some Robyn!



Although my Coachella compatriots hate this band, I am really loving the cd. Nice stoner, psych-rock.

Videos of Last Week

Ok ok, I got lazy last week with the holiday, so sue me. Here is a delayed posting of the videos from last week that made my turkey moist.



Live video from a past Combichrist show. I saw them with Kurt, Dan, Janis and Ian last week. Was a good show. Nice energy and fantastic light show.



Gorgeous song and video from singer Jamie Woon. He used to be a standard singer/songwriter until he fell in love with dubstep (of the Burial mold, not the wonky, wobbly sort that Kurt loves). Somehow he actually convinced Burial to work with him on his debut album that comes out in the Spring.



New single from Brit post punk band White Lies. The song really sounds like it could be straight off their first cd, but it is pleasant enough. Looks like they spent a fortune on this video though. ET as a candy bar.



Charming cover of the xx's "Crystalized," from Damon Albarn's Gorillaz.



Beautiful song and video from Iceland's Olof Arnalds, featuring Bjork on backing vocals.



So glad that Florence and the Machine are getting the recognition they deserve. Amazing performance from Saturday Night Live.



I got a new tattoo a couple of weeks ago and got incessant questions as to what it was. It is the Aphex Twin logo which is featuring throughout the video for his song "Windowlicker." The video is NSFW.