Bonobo – The Keeper featuring Andreya Triana from Ninja Tune on Vimeo.

Nocando feat. Busdriver – Two Track Mind from Fresh Coast on Vimeo.

Daedelus “Righteous Fists of Harmony” from DestroyRockMusic Inc. on Vimeo.

Ernest Gonzales- Etchasketch Trees from Air on Vimeo.

Ernest Gonzales – “Self Awakening” from CYNE on Vimeo.

The Sun Always Sets from Team on Vimeo.

Related posts:

1. Terrorbird Media Weekly Web Round-Up
2. Stream Ernest Gonzales’ “Been Meaning To Tell You” All Week Long At AOL Spinner
3. Ernest Gonzales Remixing and Remixed; Sophomore LP Due In February

MP3: Me Gustó by Mexicans With Guns ft. Chico Mann (Ghosts On Tape Remix) via XLR8R

Related posts:

1. Terrorbird Media and Force Field PR Announce 3rd Annual SXSW Day Show At Red 7

FRIENDLY FIRE & FRIENDS SXSW SHOWCASE!
Friday 3/19 at Lambert’s (402 West 2nd Street @ Guadalupe – less than a five minute walk from 6th St!)
free giveaways of Pomp & Circumstance magazine!

1am – SLOW CLUB (Moshi Moshi)
12am – OH NO ONO
11pm – A SUNNY DAY IN GLASGOW (Mis Ojos Discos)
10pm – ELK CITY
9pm – THE WHITSUNDAYS
8pm – TAPE DECK MOUNTAIN (Lefse)

Oh No Ono, Elk City, and the Whitsundays have some other shows throughout the course of the week to which you are all invited as well:

WEDNESDAY 3/17:
2:55pm – Oh No Ono @ Terrorbird day party, Red 7 (611 East 7th St.)

THURSDAY 3/18:
3:30pm – Oh No Ono @ Billions day party, Mohawk (912 Red River St.)
6pm – Oh No Ono @ Homeslice Pizza “Music by the Slice” party (1415 South Congress)

FRIDAY 3/19:
12:15pm – The Whitsundays @ Everlasting Records party, Design Within Reach (200 West 2nd St.)
1pm – Oh No Ono @ Mess With Texas party, Waterloo Park
5pm – Oh No Ono @ Danish day party, The Music Gym (815 East 6th St.)

SATURDAY 3/20:
4pm – Elk City @ Redhouse Pizza “Music for Listeners” party (1917 Manor Rd.)
5pm – Oh No Ono @ Filter/Dickes day party, Lustre Pearl (97 Rainey St.)

Related posts:

1. Terrorbird Media and Force Field PR Announce 3rd Annual SXSW Day Show At Red 7

Discography Sampler via XLR8R
MP3s: Gallop & A Lost Animal via My Old Kentucky Blog

“Roberto Lange’s latest album continues nicely along the aural pathway he has set for himself. “A Lost Animal” is indicative of this sound, featuring chattering vinyl samples, fuzzy syncopated synth lines, and complicated rhythms as influenced by hip-hop as they are by South American folk music.” – XLR8R

Today Asthmatic Kitty will be digitally releasing the new album by Epstein Y El Conjunto. Epstein is one of the many talented alter-egos of Roberto Lange, and El Conjunto the willing volunteer band to fill out the Epstein sound. The album’s title, When Man is Full He Falls Asleep, comes from a lyric by Facundo Cabral translated into english from the song: “No soy de aqui, Ni soy de alla”. The song and Facundo’s philosophy serves as inspiration for the album, positioning the musician as conscienscious objector to the succumbing of violence and misery in the world. Rather, a sense of joy and humor are embraced and music is used as a surrogate for words. The physical process of this record is a journey traveled to dusty closets of thrift stores in Crown Heights, to forward thinking record stores in Lynchburg, Virginia. The samples and synthesizers are the medium to complete the story that is a visual and ephemeral representation of the two worlds of hunger and sleep, both important daily routines. The resulting sound is a hazy dreamscape of bass, beats, and gloriously washed-out electronics.

To prepare for this release, we are celebrating 10 years of Epstein music making with the release of Epstein – Completed Mythologies (Back Catalog). The release is made up of his four back catalog titles (with cover art by La Mano Fria). These will be available through all of your fine digital music stores February 28th. This is the first time any of these titles have been available outside of Japan. And in support of this release, Epstein will be touring in Japan in March as part of the Beta Bodega Coalition alongside La Mano Fria.

Equally influenced by weirdo out-pioneer Moondog, Parliament, DJ culture, and Argentine folk-singer Facundo Cabral, this 14-track danceparty kicks off with “Arrival to New York,” an upbeat jam built from samplers and Lange’s woozed-out vocals. A warm, billowing electronic visionquest, the track is a solid set-up for what’s to come.

As When Man is Full He Falls Asleep reaches the end (aka, the point where you’ll want to hit Play again) one of its greatest tracks, “A Lost Animal,” a collaboration with School of Seven Bells, shows its pretty face. Anchored by Yeasayer member Jason Trammell’s live drumming and MPC sampler-built warbles of re-energizing, healing noise, “A Lost Animal,” is a definite highlight in a record of highlights.

In between his many musical costume changes, Roberto is also finding time to amaze the artworld with his collaborative work with David Ellis and Nene Humphrey. His work with Ellis was a big success at the Scope Art Fair in Miami during Art Basel, earning them a commission from none other than prominent art collector Charles Saatchi for one of their trash pieces. They also recently installed a piece in Times Square, you can see these pieces in action here.

This April, two musicians, Julianna Barwick and Roberto Lange, and visual artist Jonathan Dueck, will be engaging in a unique collaboration that blurs the divisions between studio, stage, touring and recording. Roberto will be performing under both of his monikers, Epstein (exploration into the digital debris and soul of experimental hip-hop influenced electronic music) and Helado Negro (the official band of the Latin Awareness Initiative). Julianna will be performing her ethereal and magical vocal layering. Using the framework of a traditional music venue tour, these three artists will create a new body of work that will reflect their time together and those they encounter. This ability to record anywhere and in any situation will serve as a catalyst for exploration into happy accidents and unexpected limitations and freedoms. It will also become an audio map of their journeys, drawing upon the local cultures and sounds of these various cities, places and spaces. The live performances will serve as a break from the recording process and let the artists perform and explore older material while allowing new ideas seep through. While the two musicians collaborate and produce new music, Jonathan Dueck will be documenting with drawings, video and photography which will later be incorporated into the packaging materials for the final product of this experience.

The live set will include projected video by Jonathan Dueck in between music sets. These visually and musically rich videos are a culmination of 4 years of work on 20 short films. Dueck scratched, painted on, stamped over, and projected old 16mm films to create this work. With the collaboration of I Heart Lung, Chad VanGaalen, Deneir, and Son Lux, he has created 20 short, but visual rich videos from these 16mm films.

LIVE DATES
as Epstein
March, 12th @ Level-5 – Kiryu, Japan
March, 13th @ Live & Lounge VIO – Nagoya, Japan
March, 19th @ Harmony – Tsuruoka, Japan
March, 20th @ Live Space Yonkai – Akita, Japan
March, 21st @ Junk Box Mini – Niigata, Japan
March, 22nd @ Super-Deluxe – Tokyo, Japan

as Helado Negro
March, 15th @ Echo – Shibuya, Japan
March, 16th @ Instore Live at Warszawa – with Nori Tanaka on drums

WE ALL OWE tour 2010
April, 2nd @ 92ndSTY Tribeca – (with art exhibition of Jonathan Dueck and Kristi Sword) – New York, NY
April, 3rd @ Vox Populi – Philadelphia, PA
April, 6th @ DAAC – Grand Rapids, MI
April, 7th @ Empty Bottle – Chicago, IL
April, 8th @ 21c Museum – Louisville, KY
April, 9th @ BIG CAR GALLERY/MT COMFORT – (with art exhibition by DM Stith, Ryan Irvin, John Berry and Jonathan Dueck) – Indianapolis, IN
April, 10th @ Country Club – Cincinnati, OH

No related posts.

WATCH: “Mysterious” video via The Fader
FEATURED: Riotous Grrls at SF Weekly

March, 17th @ Red 7 Austin, TX (Terrorbird/Forcefield SXSW day party) w/ Neon Indian, Matias Aguayo, Real Estate, Oh No Ono, and more.
March, 18th @ TBA Austin, TX (SXSW)
March, 19th @ Club 1808 Austin, TX (SXSW)
March, 20th @ Domy Books Austin, TX (KVRX SXSW day party)
March, 23rd @ Hideaway Lounge El Paso, TX *^
March, 25th @ Trunkspace Phoenix, AX *
March, 26th @ Origami Records in-store Echo Park, CA
March, 26th @ The Smell Los Angeles, CA *#
March, 27th @ Beauty Bar Las Vegas, CA *#
March, 28th @ Bar Pink San Diego, CA *#
March, 30th @ Biko House Santa Barbara, CA *#

*w/ Jeff The Brotherhood
^ w/ The Coathangers
# w/ Ty Segall

“The Splinters mix silliness, sincerity, and sarcasm so much that it can be hard to tell them apart.” – SF Weekly

“Girl-group sounds-meets-90s punk attitude.” – Gorilla Vs. Bear

“They perfectly channel the devil-may-care, DIY, girls-in-the-garage sense.” – The FADER

“Playing a Raincoats-esque brand of shambling post-punk, the four ladies from Oakland rocked a pretty bass-heavy sound that was interspersed with lots of cutely loud yelping.” – Portland Mercury

The Splinters may have only been a band since 2008, but the girls actually began palling around four years earlier as freshmen at UC Berkeley. In the waning months of their college careers, Ashley Thomas (guitar), Lauren Stern (tambourine), and Caroline Partamian (guitar) began messing around with music and cranked out a few silly, lo-fi garage-pop songs. Quickly realizing that a few of the songs were actually pretty good, they recruited their friend Courtney Gray (whom had previously played with Ashley in a short-lived Misfits cover band called The Skullfuckers) to round out the group on drums.

Within a few months, The Splinters found themselves playing a bevy of shows and writing one insanely catchy song after another, their ramshackle rock n’ roll sound and multipart vocal harmonies earning them comparisons to ’60s girl groups like the Shangri-Las, artsy post-punk outfits like the Raincoats and the lo-fi grrl-pop stylings of early ’90s K Records bands. The band tossed together a limited-edition, hand-decorated CD-R release, which quickly disappeared, and eventually followed that up with the Splintered Bridges 7″ on Double Negative. Splinters tracks are also set to appear on upcoming compilations from UK label Germs of Youth (alongside Frankie Rose, Cold Cave, and Veronica Falls) and the hotly tipped YETI magazine.

In the meantime, the girls have worked hard honing their craft-writing new songs, turning heads at SXSW, and playing shows with the likes of Mika Miko, The Mae Shi, The Coathangers, Explode Into Colors, Ty Segall, Nodzzz, Brilliant Colors, The Fresh & Onlys, The Strange Boys, Yellow Fever, Sleepy Sun, and countless others.

Now Double Negative is dropping the The Splinters’ first full-length, Kick, a 12-track collection of delectable indie-pop tunes recorded and mixed by Maus Haus frontman Jason Kick. Set for release in March, Kick is one of those infectious albums destined to be played again and again.

No related posts.

MP3: Orion’s Belt Buckle via LA Record

“LA’s Free the Robots has slowly been crafting one of the more unique sounds to come out of the West Coast beat scene, pairing futuristic basslines that could fit into a dubstep set with chunky, dusty beats that sound straight out of the mid-’80s.” – XLR8R

“Free the Robots doesn’t as much assert a new vision as much as add a different angle, one occasionally angular and overly stiff, but often sleek and punishing, closer to traditional dubstep but unorthodox enough to dig up some dirty Levantine psych to make a beat called “Turkish Voodoo.” I gave the weed dispensaries six weeks to add this sativa.” – Passion of the Weiss

“Alfaro is a savvy cratedigger who applies his vast knowledge to creative productions that stand out from the hordes of sampladelic beat scientists.” – The Stranger

Alpha Pup Records is proud to announce the release of Ctrl Alt Delete, the debut album from Free The Robots. A staggering work of mind-warping electronics, fuzzed-out psych and devastating hip-hop beats, the impending release of Ctrl Alt Delete will catapult Free The Robots to the forefront of the world renowned L.A. beat scene.

Initially started as a side project by Chris Alfaro in 2003, Free The Robots has quickly garnered a worldwide audience. Combining dusty swap-meet samples, futuristic synthesizers and live instrumentation, Free The Robots has created a unique harmony of past sounds and future ruminations. Much like his L.A. contemporaries Flying Lotus and Nosaj Thing, Free The Robots knows no genre boundaries.

Ctrl Alt Delete, which also features Ikey Owens of The Mars Volta, has been a long time coming. Originally signed to Alpha Pup over two years ago, Free The Robots has put his heart and soul into this album. Meticulously constructed, the album is a culmination of countless late nights at Low End Theory Club, combined with a spirit of fearless experimentation. The result rattles with grit and swagger — a firm proclamation of Free The Robot’s sonic arrival.

Ctrl Alt Delete

No related posts.

Terrorbird artists Those Darlins, Princeton, Phenomenal Handclap Band, Surfer Blood, Starfucker, These United States and Windmill will be heard during the Independent Spirit Awards live on Friday, March 5th at 8pm PST.

Additionally, actor Emile Hirsch is a fan and is featuring “Calypso Gold” by Princeton, “15 to 20″ by The Phenomenal Handclap Band, “Wild One” by Those Darlins, and “Hard Smart Beta” by Starfucker on his Independent Spirit Awards playlist, also featured on myspace. The Canadian metal band Anvil has selected Surfer Blood “Swim” to be featured on their playlist.

Stream it after the jump.

Related posts:

1. Better Know A Label: Kanine Records
2. Terrorbird Media and Force Field PR Announce 3rd Annual SXSW Day Show At Red 7

WATCH: “Mysterious” video via The Fader

TONIGHT March, 4th @ Amnesia San Francisco, CA (record release party) with Hunx and His Punkettes and Magic Bullets
March, 17th @ Red 7 Austin, TX (Terrorbird/Forcefield SXSW day party) w/ Neon Indian, Matias Aguayo, Real Estate, Oh No Ono, and more.
March, 18th @ TBA Austin, TX (SXSW)
March, 19th @ Club 1808 Austin, TX (SXSW)
March, 20th @ Domy Books Austin, TX (KVRX SXSW day party)
March, 23rd @ Hideaway Lounge El Paso, TX *^
March, 25th @ Trunkspace Phoenix, AX *
March, 26th @ Origami Records in-store Echo Park, CA
March, 26th @ The Smell Los Angeles, CA *#
March, 27th @ Beauty Bar Las Vegas, CA *#
March, 28th @ Bar Pink San Diego, CA *#
March, 30th @ Biko House Santa Barbara, CA *#

*w/ Jeff The Brotherhood
^ w/ The Coathangers
# w/ Ty Segall

The Splinters present Kick
Out March 9th, 2010 on Double Negative Records

“The Splinters mix silliness, sincerity, and sarcasm so much that it can be hard to tell them apart.” – SF Weekly

“Girl-group sounds-meets-90s punk attitude.” – Gorilla Vs. Bear

“They perfectly channel the devil-may-care, DIY, girls-in-the-garage sense.” – The FADER

“Playing a Raincoats-esque brand of shambling post-punk, the four ladies from Oakland rocked a pretty bass-heavy sound that was interspersed with lots of cutely loud yelping.” – Portland Mercury

The Splinters may have only been a band since 2008, but the girls actually began palling around four years earlier as freshmen at UC Berkeley. In the waning months of their college careers, Ashley Thomas (guitar), Lauren Stern (tambourine), and Caroline Partamian (guitar) began messing around with music and cranked out a few silly, lo-fi garage-pop songs. Quickly realizing that a few of the songs were actually pretty good, they recruited their friend Courtney Gray (whom had previously played with Ashley in a short-lived Misfits cover band called The Skullfuckers) to round out the group on drums.

Within a few months, The Splinters found themselves playing a bevy of shows and writing one insanely catchy song after another, their ramshackle rock n’ roll sound and multipart vocal harmonies earning them comparisons to ’60s girl groups like the Shangri-Las, artsy post-punk outfits like the Raincoats and the lo-fi grrl-pop stylings of early ’90s K Records bands. The band tossed together a limited-edition, hand-decorated CD-R release, which quickly disappeared, and eventually followed that up with the Splintered Bridges 7″ on Double Negative. Splinters tracks are also set to appear on upcoming compilations from UK label Germs of Youth (alongside Frankie Rose, Cold Cave, and Veronica Falls) and the hotly tipped YETI magazine.

In the meantime, the girls have worked hard honing their craft-writing new songs, turning heads at SXSW, and playing shows with the likes of Mika Miko, The Mae Shi, The Coathangers, Explode Into Colors, Ty Segall, Nodzzz, Brilliant Colors, The Fresh & Onlys, The Strange Boys, Yellow Fever, Sleepy Sun, and countless others.

Now Double Negative is dropping the The Splinters’ first full-length, Kick, a 12-track collection of delectable indie-pop tunes recorded and mixed by Maus Haus frontman Jason Kick. Set for release in March, Kick is one of those infectious albums destined to be played again and again.

Related posts:

1. The Splinters’ Debut Full-Length “Kick” Set For March Release On Double Negative
2. Birds & Batteries Plot Tour With Stops At SXSW, Daytrotter; Up To No Good EP Out Now
3. Terrorbird Media Weekly Web Round-Up

ALBUM DOWNLOAD: The Roots, The Remix via Circle Into Square

cars & trains released The Roots, The Leaves in late January, and now he brings our attention to the roots, the remix, a 13-track remix compilation including the likes of Boy In Static, Melodium, Universal Studios Florida, Lullatone, Polyphonic, Ernest Gonzales and several more.

The proper album The Roots, The Leaves is the sophomore effort of Portland, Oregon based multi-instrumentalist cars & trains (Tom Filepp), a more personal and emotive foray than his 2007 debut full-length, Rusty String. Tom deftly mixes out-of-the-box electronics and found sounds seamlessly with a myriad of instruments, woodwinds, banjos, acoustic guitars, strings and glockenspiel, walking a blurry line that makes one wonder where exactly the uncommonly organic drum programming ends and the instruments and lushly layered found sounds begin.

On his first Fake Four Inc. release, Tom does what he is best at, as in previous efforts, vividly creating microscopic ship-in-a-bottle worlds with circular themes that one can imagine crawling into, like a favorite childhood hiding place, while brooding nostalgically on a favorite time or place long since past. His distinctive and thickly layered vocals sit atop soft but steadily pulsing guitars, malfunctioning toys, twangy banjos, crooning woodwinds and dirge-like trumpets, weaving a nimbly produced record that tells a succinct and engaging story.

Lyrically The Roots… is much more vested in storytelling, painting vivid pictures of moss-laden decaying buildings, rusty old railroad tracks, and dusty urban settings, all tinged with hints of nature and melancholy. Drawing on inspiration both from his adopted hometown of Portland and from his native Hudson Valley in New York, Tom builds on reoccuring themes that make the listener feel like they are part of something special and intimate. The ten tracks are more staked in a carefully hewn songwriting sensibility, while focusing to a greater extent on Tom’s Singing and lush vocal harmonies than before.

Many guest artists contribute vocals and a diverse array of instruments to The Roots, The Leaves, including a handful of fellow labelmates on Fake Four Inc. (like Ceschi Ramos, Alexander Chen of Boy In Static), in addition to some Portland, Oregon locals. Carrying on the mantle of previous releases laden with toy instruments, distorted tape samples and banjos, The Roots… sits at a curious intersection between more folk-oriented electronic groups like Tunng and the distinctive Pacific Northwest experimental folk sound of K Records/The Microphones/Mt. Eerie renown.

The Roots, The Leaves is cars & trains’ most realized and expressive effort to date, full of energy and intimacy gleaned from Filepp’s intense, energetic, and intricate live looping show that he has steadily developed and gained notoriety for. From the intricate plucking of The Roots… cyclical opening and closing songs, and everything in between, cars & trains carefully journeys hand in hand with his influences, cajoling them into a world all his own.

cars & trains – i know someone who can’t recognize from cars & trains on Vimeo.

Related posts:

1. OUT TODAY: cars and trains “The Roots, The Leaves” On Fake Four Inc.
2. OUT NOW: Ernest Gonzales Presents Been Meaning To Tell You On FoF Music
3. OUT TODAY: Son Lux “Weapons” EP on Anticon

Tune in to NBC’s Mercy tonight 8/7c and listen for Laura Veirs “July Flame” at the very end of the episode! We’ve been fans of Laura for years and think her new album, July Flame, is her best yet. Check it out!

For a preview of how beautiful this song is, take a look at the painstakingly crafted stop-motion video that accompanies it:

Related posts:

1. Tune Into NBC’s “Mercy” TONIGHT and Listen For Thao with the Get Down Stay Down

MP3: Out In the Woods (Woodsarama Remix) via RCRD LBL
MP3: Out In the Woods via Pitchfork
MP3: Sneaky Times via The Fader

March 6 – San Diego, CA at Bar Pink w/ Writer
March 7 – Tucson, AZ at Plush
March 9 – Albuqurque, NM at Burt’s Tiki Lounge
March 10 – Lubbock, TX at Bash’s
March 11 – Fort Worth, TX at Lola’s
March 12 – Dallas, TX at City Tavern
March 14 – Denton, TX at NX35 Festival
March 18 – Austin, T at Beauty Bar w/ The Bay Area Takeover at SXSW
March 22 – Tulsa, OK at The Soundpony Lounge w/ Judgement Day
March 25 – St. Louis, MO at Cicero’s
March 26 – Indianapolis, IN at The Melody Inn
March 27 – Chicago, IL at Ronny’s Bar
March 29 – Rock Island, IL at Daytrotter Sessions
March 30 – Iowa City, IA at The Mill w/ The Cave Singers for the MCMF
April 2 – Colorado Springs, CO at The Rocket Room
April 3 – Santa Fe, NM at Corazon

Combining meticulously produced psych, synth-funk, Americana, aching electro, and unveiling more surprises upon closer listen SF’s Birds & Batteries return with their latest: the spooky, funky Up To No Good EP. Stacked with addicting aching-electro/boogie jams the EP manages to convey a degree of mystery/magic amidst post-modern wreckage, combining the fun of late 70’s freak funk with a detached, studio cool of 80’s r&b.

Still centered around the art of the song, redoubled by meticulous arrangements and rich atmospheres, B&B saw the EP format as an opportunity to dig deeper into one group of sounds, with synth bass, kick drum, percussion and voice at the forefront. The result is more focused than previous efforts, allowing for a unified statement and narrative to emerge as well as a nineteen minute dance party. This fusing of song craft and electronic music feels natural and easy, owing more to pioneering electro-funk than post-punk.

Birds & Batteries’ live show focuses on the more energetic and rocking parts of their repertoire. “As we’ve toured and played more and more shows, we’ve found ourselves choosing set lists from the material that is most enjoyable to play live and that gets people loose.”

They will be on the road this winter/spring to support Up To No Good and previewing songs from their upcoming full-length due in 2010.

“This is some freak-funk, alt-electro right here. Blast it in honkey-tonk dives and haunted houses alike.”
RCRD LBL

“They reminded him of early Brian Eno, which I can also hear in their fine melding of electronic bleats and slow simmering pop. I also pick up on a similarly playful aesthetic that aligns them with groups like Super Furry Animals.”
Pampelmoose

“It’s rare that a band can remind you of Neil Young, Sparklehorse and The Legend of Zelda at the same time, but San Francisco’s left-field electric-folk band, Birds & Batteries traffics in both the nerdy and beautiful.” Williamette Week

“When Neil Young discovered the synthesizer, he made Trans. San Francisco’s Birds & Batteries demonstrate another-dare we say better?-way that combination could have worked.” RollingStone.com

Related posts:

1. OUT NOW: Birds & Batteries “Up To No Good” EP

Up-and-coming label Lefse Records signing The Delta Mirror announces their month long residency at the Echo. Merging brooding songs with boom bap production, their debut Machines That Listen (out 3.16.2010) is a clever, haunting record full of ear-tickling electronics, psych layers, and foreboding storytelling. With plans to tour this spring along with a stop at SXSW, the songs of the Delta Mirror are poised to linger in the ears of new listeners well into 2010.

Listen to two tracks plus an Alias remix via Stereogum

All shows at The Echo:

March 1st
9PM – Healamonster & Tarsier
10PM – Nalepa
11PM – The Delta Mirror
12AM – Full Frontal

March 8th
9PM – Corridor
10PM – Alexandra Hope
11PM – The Delta Mirror
12AM – Sister Crayon

March 15th
9PM – Cannoneers
10PM – Pop Noir
11PM – The Delta Mirror
12AM – Divisible

March 29th
9PM – Borneo
10PM – Pity Party
11PM – The Delta Mirror
12AM – Spirit Vine

The Delta Mirror is a cocktail of all your past loves, the ones you wish had stuck around, and check up on from time to time even though you’ve moved on. They were made from the sprained fingers and broken records of mid 90’s hip hop. They were made from the bent circuits of electronica, dead IDM lap tops and broken shoegaze strings. They were made from the injured spirit of a folk singer’s broken heart. Alongside bands like The Big Pink and The Fuck Buttons, The Delta Mirror sees the things that made our past relationships work and brings them together creating the ideal love.

Craig Gordon and David Bolt started out as a hip hop two-piece years ago and they have been writing music in some form ever since. With the addition of Karrie K on bass, their sound has progressed to an ambient mix of shoegazy guitar and gothic vocals, but their production has held onto the same boom bap button pushing they started with. Machines That Listen is The Delta Mirror’s debut long play. Each song on this 9 track collection is a story that takes place in a different room of a hospital. Track 2 “and the radio played on” tells of a dying elderly man and his wife’s last moments together, while “hold me down just don’t let me go” is told from the perspective of an ER nurse treating a stab victim.

Listening to this record is like walking through the halls of Bellevue or Cedars Sinai listening to a score that is re-written daily. The Delta Mirror has shared the stage with bands like Sleepy Sun, VOICEs VOICEs, EGADZ!, Jogger, Odd Nosdam, Tape Deck Mountan, The Mathematicians, Oliver Future and Healamonster & Tarsier. Later this year Lefse will release a collection of remixes from Machines that Listen put together from an all star cast of bands and producers.

No related posts.

Tonight, tune in to CSI: Miami on CBS 10/9c for an episode directed by Rob Zombie, and listen for Timothy Brock’s “Opening Titles / Francis In The Garden”!

Released on K Records, this is the opening track from Brock’s score to the silent film The Cabinet of Dr. Caligari.

Known as both a conductor and as a composer of concert-hall works, it’s perhaps his scores of silent films for which he is best known. He and his works have been featured around the world.

For a preview of tonight’s awesomeness, here’s a peek at what the piece sounds like against the silent film for which it was composed:

Related posts:

1. Mirah’s “Gone Are All The Days” On Private Practice Tonight!

MP3: Order of the Golden Dawn ft. Laura Darlington [via XLR8R]

Daedelus‘ newest release, Righteous Fists of Harmony, will be coming out on Flying Lotus‘ outstanding Brainfeeder label. Bridging the demise of the magic-inspired martial arts fighters of the Boxer Rebellion to the post modern malady of technology and imagination, Daedelus constructs a soundtrack-of-sorts to the struggle of both 19th century China against colonialism and modern man’s inevitable hurl towards an unknown future.

After seventy years of China’s opium-related subjugation by Queen Victoria and her allies, a force of resistance fighters — termed “Boxers” by the British — rose to the challenge in 1898. Calling themselves “The Righteous Fists of Harmony,” this secret society of martial artists felt they held magical powers: they believed themselves bulletproof, able to fly, and capable of raising the dead (who would then fight alongside them). And so began the brief Boxer Rebellion; three years later 100,000 Boxers had fallen, their magic helpless against the cutting-edge machinery of war. The British prevailed only to face ultimate defeat, as their empire rapidly declined.

Daedelus endeavors to compose a requiem for the end — of beliefs, of lives, and of an era. This elegy for a bygone battle sheds light on our own contemporary conundrum: will our faith in modernity be our downfall? Are we blinded by this age of wonders, doomed to be destroyed by our ingenious inventions? Although Daedelus’ music has always juxtaposed organic and electronic elements, they war as never before on Righteous Fists of Harmony, a portrait of a tumultuous era that came crashing to a close.

Daedelus “Righteous Fists of Harmony” from DestroyRockMusic Inc. on Vimeo.

No related posts.

Stream Hendt / Lands & Bones here.
EPROM mixtape
Eskmo’s exclusive Brainfeeder mix

A taste of San Francisco’s finest, this double-A side 12″ is split between two of the west coast’s most-watched producers. Emerging from the reputably close-knit SF electronic music scene, EPROM and Eskmo are gaining international renown fostered by the likes of Mary Anne Hobbs and Flying Lotus. EPROM’s ‘Hendt’ is a dancefloor monster in his trademark ‘psyphy’ style – a lazer-tinged gangster-lean pulse that speaks to both the codeine-sipping and the all-night raver contingent alike. Eskmo’s ‘Land and Bones’ is a lurching, soulful dubstep clatter rich in lyrical melody and artfully crowned with Swan’s icy vocals; forward for the dancefloor, layered for the headphones – braincandy that moves feet.

EPROM hails from San Francisco, and has put his name on the map through his mind-bending live sets, and through a series of forward-thinking releases on both domestic and international labels. His style defines generic categories, but each track is suffused with a unique dancefloor action potential and a deep love of low-frequency soundsystem manipulation. He has played alongside artists like Flying Lotus, The Glitch Mob, Skream, Lazer Sword, Kode9, Mochipet, Rustie, and many others. EPROM has worked with internationally renowned MCs and has slated multiple vinyl releases in the coming year. DJ supporters include Starkey, Rusko, Jakes, The Glitch Mob, Rustie, Megasoid, Zombie Disco Squad, Riton, Basement Jaxx, and BBC Radio One’s Mary Anne Hobbs.

@EPROMbeats
EPROM on Facebook

Brendan Angelides is a San Francisco based electronic music producer who records and performs live as Eskmo. In the past five years he’s released over a dozen singles and EPs while touring throughout North America and Europe. Angelides also runs the Ancestor label, which issued his “Hypercolor” and “Angus Dei” singles in 2009 to positive reviews from numerous magazines, blogs and tastemakers. Ninja Tune recording artist and film composer Amon Tobin hailed his work as “some of the best production I’ve heard in recent times.”

@Eskmowelder
Eskmo on Facebook

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The Magical Properties tour has swept all over this great land, and we want to make sure our fine warriors Daedelus, Nosaj Thing & Jogger receive a hero’s welcome in the last cities of the tour.

Tomorrow the tour stops at the 90 Proof in Knoxville, TN. If you’ll be in Knoxville tomorrow night simply retweet this blog post using the Tweet button at the bottom of the post to enter. Or, if you’d prefer to use your own Twitter client, simply tweet “RT @TerrorbirdMedia: I want +1 to see the @MagicalProps tour in Knoxville!”

We will select and notify the winner by tomorrow afternoon. Best of luck!

There’s also still time to enter to win +1 to tonight’s show in Richmond! Simply substitute Knoxville with Richmond in your tweet to enter.

Magical Properties tour in Los Angeles reviewed by Resident Advisor
Magical Properties tour in New York reviewed by CMJ

Related posts:

1. Hey, Richmond, VA! Win +1 To the @MagicalProps Tour ft. Daedelus, Nosaj Thing, Jogger
2. CONTEST: Win free tix to We The People Festival!

Brooklyn via Chicago electronic producer and the man behind Bird & Whale releases EP on Tall Corn Music; LP in Spring engineered by John McEntyre of Tortoise!

MP3: Plasma Is For Lovers [via XLR8R premiere]

Lobisomem – Dhegiha Group from Brad Loving on Vimeo.

Lobisomem makes electronic music. His music, however, does not fall comfortably into the boxes that one normally uses to categorize electronic music. It is neither dance music, nor raw experimental noise. It is instead a hybrid of more subtle influences referencing African, South American, and Jamaican music as well as more native forces such as hip-hop and jazz. Lobisomem’s artistry has also been impacted by his immersion in Chicago’s improvisational music scene. The music on this recording, Lobisomem’s second release “Brightest Solids – EP,” began as laptop compositions, but upon arrival at the studio the music was migrated to tape, manually manipulated and mixed in an entirely analog studio set up, and mastered straight to vinyl lacquer. The results are a unique amalgam of sound and rhythm, digital and analog, precise angular turns and gentle organic sweeps. In Spring 2010, a full-length LP that will also be released on Tall Corn Music.

Lobisomem (a.k.a. Brad Loving) recently traded his long time base of Chicago for Brooklyn. He was born in a small rural town in Virginia, and spent formative years in Oklahoma, Texas, and Massachusetts. More recently he has set his sights further a field with extended stays in Brazil, France, Japan, and Mali. Each of these locations has penetrated Lobisomem’s music informing his musical sensibilities and acumen.

Brad deejays around New York and Chicago regularly and curates the music blog birdandwhale.com. Bird & Whale features carefully crafted DJ mixes from some thirty selectors including many local Chicago luminaries such as John McEntire, Jeff Parker, John Herndon, Dan Bitney (Tortoise), Wayne Montana, Damon Locks (The Eternals), and Rob Sevier (Numero Group). Bird & Whale has gained an international following due to the caliber and breadth of music showcased.

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The Magical Properties tour has swept all over this great land, and we want to make sure our fine warriors Daedelus, Nosaj Thing & Jogger receive a hero’s welcome in the last cities of the tour.

Tomorrow the tour stops at the Xscape Lounge in Richmond, VA. If you’ll be in Richmond tomorrow night simply retweet this blog post using the Tweet button at the bottom of the post to enter. Or, if you’d prefer to use your own Twitter client, simply tweet “RT @TerrorbirdMedia: I want +1 to see the @MagicalProps tour in Richmond!”

We will select and notify the winner by tomorrow afternoon. Best of luck!

Magical Properties tour in Los Angeles reviewed by Resident Advisor
Magical Properties tour in New York reviewed by CMJ

Daedelus, the Victorian-clad electronic maestro who has released with labels like Ninja Tune, Mush, Plug Research, Friends of Friends, Alpha Pup, and many more with one lined up for Flying Lotus’ Brainfeeder AND beginning his own Magical Properties label in 2010. Performing with his infamous Monome(unique electronic trigger), electronic music is rarely as invigerating and exciting, so don’t miss out!

Nosaj Thing is the 23 year old LA producer who took the world by storm with his stellar debut Drift on Alpha Pup. One of the most highly touted electronic acts of 2009, Nosaj has already remixed: The xx and Charlotte Gainsbourg in 2010 and looks to take his unique brand of dark, hard-hitting beats on the road!

Jogger’s experimental electronic sound is sometimes dangerous, sometimes poignant, and sometimes funny, but always captivating. This America singer songwriter duo consists of Amir Yaghmai on violin and guitar, and Jonathan Larroquette on laptop and controllers, with the vocal duties divided between them. After being named to URB’s Next 100 and releasing their debut album on Daedelus’ Magical Properties, Jogger is another LA act ready to come into their own…

Related posts:

1. Hey, Knoxville! Win +1 To See the @MagicalProps Tour ft. Daedelus, Jogger and Nosaj Thing
2. CONTEST: Win free tix to We The People Festival!
3. CONTEST: Win A Ninja Tune Prize Package

TOUR DATES
2.24 @ Bottom of the Hill – San Francisco, CA w/ Rogue Wave and Princeton
(Noise Pop)
3.17 @ SXSW – Austin, TX
3.18 @ Bay Area SXSW Takeover / Beauty Bar – Austin, TX
3.24 @ Tin Can Ale House – San Diego, CA
3.25 @ SLO Art Center – San Luis Obispo, CA w/ Titus Andronicus

“Its ten songs form one giddy wave of yelping vocals, skittering Afro-pop guitars, clattering drums, clapping hands, and group hollering. You know that moment in Stop Making Sense where David Byrne and Tina Weymouth start doing this goofy, high-stepping dance in tandem, grinning happily across the stage at each at how unguarded, how caught up in the moment, they feel? Every song on The Shape of Things feels just like that. It’s a distillation of the sheer joy of motion.” eMusic Selects

“”Hot Sprawl” grooves like Akron/Family on its ebbs, but come high tide, it’s (pleasantly) hollering madness. “Fun” will always follow these guys around. And it doesn’t really matter that you can’t understand a word frontman Dylan Travis is saying– the guy’s got a mean set of pipes, and in the surges here, it’s sweet balmy DeVotchka with an occasional Wilderness vibe.” Pitchfork Media

“The Shape of Things is an infectious collection of nervy songs recommended especially for fans of Talking Heads, The Feelies, and Clap Your Hands Say Yeah.” The Bay Bridged

It’s tempting to call MAN/MIRACLE a band, but they’re more than just guys with instruments: they’re four guys with musical instruments. Speaking precisely, they’re really more of a group of musicians who write and perform music together– a “band,” if you will. In this configuration, they create the sort of intricate, resplendent, wooly guitar pop to which many adjectives– including totally inapplicable ones, like “wooly”– might be applied.

The nucleus of the thing emerged from the inconsequential burg of Los Osos, CA, where singer/guitarist Dylan “Swimp” Travis and drummer Tyler Corelitz grew up. “We’ve been playing music since high school,” quoth Swimp. “There’s no music scene in Los Osos, but we played anyway.” After a long mystical sojourn during which both men found their spirit animals, the pair reconvened in Santa Cruz and teamed up with lead guitarist Ian Benedetti and bassist Brian Kennedy to form the lively beat collective we know today.

Soon, they had captivated a local following due to their naively ambitious performance schedule. “We didn’t know how to be in a band, really, so we were just playing as many shows as possible,” relates Swimp; I didn’t have the heart to tell him, but it turns out that’s basically what being in a band is.

But then, tragedy struck: Swimp broke his back, and the band was on hiatus for months because he had to wear this thing around his thorax that looked like a big plastic urinal. It was during his long, Vicodin-leaned recovery that Swimp and the boys recorded their first EP, which came out all spacey due to the pills. Swimp eventually pulled through, and his triumph over adversity is exactly the kind of heartwarming story you’d want to read about in a press kit.

Seeking a shittier living situation, the boys then left the pastoral splendor of Santa Cruz behind and moved to Oakland, where Ian and Swimp rented the sort of squalid shanty you also love to read about in press kits: “It was basically this terrible, cockroach-infested hellhole that was falling apart, but it had a basement and we could play down there… it was moldy and we were sick all the time,” Swimp reminisces, coughing a mist of tuberculous blood into his handkerchief.

Though the roaches eventually won and forced the boys out, the situation formed the aesthetic fundament that undergirds their new effort, The Shape of Things. “I think a lot of the album is about that experience– the cover is a picture of the Ryugyong Hotel, which is this building in North Korea that’s falling apart but has been under construction since 1987. It’s about living in this space that’s both crumbling and full of life.”

And that’s The Shape of Things– a hoarder’s hovel with treasure under the trash. A daydream of a better place, with photogenic guitar vistas. Grody messes of genius congealing in the sink. A little bit of hollering once in a while.

David Thorpe
The Boston Phoenix

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First of all, tell us about who’s in the picture.

Toby Rascal and Miss Hensley (H bear). She is a sweetheart, although she doesn’t look like it here. They are most definitely playing in the snow, but I like that she looks tough.

Was there a singular moment when you knew you had to start your own label?

Definitely not. I had the idea of putting out a friends record – and [co-owner] Lio had the idea of putting out a compilation of bands from New York and that was our first release of 20 bands. So I guess we sort of launched into a being a label without a long term plan. We just continued to put out records and it’s sort of still the same idea – we don’t have set number of releases a year or anything – we just find stuff we like and people who want to work with us and try to keep things simple.

Tell us about Kanine’s first release, your last release, and your next release.

Ok – well that compilation was our first release. Our last release was Dinowalrus debut full length %. The title is somewhat problematic for online services – but that’s all been worked out now. Our next release is The Depreciation Guild’s Spirit Youth set for an April/May release and it’s their sophomore record which we are about to announce any day now.

How do you find out about most of the acts you sign?

It used to be we signed bands from New York because that’s what was around and who we caught at shows. But we have started branching out – with bands from Florida (Blind Man’s Colour, Surfer Blood), Los Angeles (Princeton) – but mostly those bands came through New York at some point.

You feature pets available for adoption on your website; have you ever heard from any fans who have rescued an animal they saw on your site?

Unfortunately, I have not. Although Petfinder is how we got both our dogs and we think it’s a great tool for searching around for a rescue – without having to compromise on finding exactly what type of dog you want. You can find anything, even pure breeds, like Portuguese Water Dogs – and I’m saying that cause what Obama did was LAME.

What has the experience of working with Surfer Blood been like? The members are all so young, but there’s already a huge buzz surrounding them. What sort of challenges does this present for the band and label?

So far, so good. It’s so refreshing to get a band that is just going for it – even before we were involved. They were booking their own shows for a few months, which I think is the smartest thing a band can do – and as a side note, our most successful bands have all self-booked their own first nationwide tour- including Grizzly Bear, Oxford Collapse and Chairlift. As far as them being young, that’s just really fun – they are really smart and pick up on things very quickly. Eager to absorb, and not yet jaded. It’s really energizing and makes me want to work really hard for them.

Lastly, it’s hard to find a picture of Pete from Dinowalrus where he isn’t wearing his eagle shirt. How much consulting did he do with Kanine before landing on that particular fashion statement?

We have never hired a stylist for any of ours bands, as some big labels do – so Pete came up with that all by himself – and we love him for it!

Special thanks to Kay, Lio & everyone else at Kanine!

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