Wednesday, January 30, 2008

currently listening

1. Francisco Mora Catlett - 'Amazona (Carl Craig Edit)'.
Lovely, barely noticeable but beautifully intricate remix from the ever reliable Mr. Craig; the original is a delicious, warm concoction of jazz, funk and world music sounds. So's this version, really.

2. Vampire Weekend - 'One (Blake's Got A New Face)'.
There's something worryingly pastichey about the African-accented call-and-response backing vocals on this lovely slice of art-pop highlife. But y'know what, it bloody well works. All through Vampire Weekend's lovely debut, the guitars, drum rhythms and keyboards sparkle, as do the melodies. Ladies and gentlemen, the Paul Simon revival starts here.

3. Stephen Malkmus - 'Gardenia'.
Lovely, complex but tuneful fare from the new Malkmus LP, Real Emotional Trash, this is perhaps less likely to piss off those old fans who can't take the fact that Steve is now, to all intents and purposes, a hippy. Lots of prog noodling on the (wonderful) album, then - this one's a bit more straight-forward.

4. School of Language - Sea From The Shore LP.
I'm cautious about the fact that the totally genius Field Music's David Brewis is now pursuing other projects, and replacing the pristine constructions of his former band's perfect pop with a bit of noise, but early indications are that he's still absurdly talented. The School of Language debut is complicated, brilliant and poised to unfurl further treasures with repeated listens.

5. Holy Fuck - 'Lovely Allen'.
I like the way that Holy Fuck, who create organic, slightly Krautrocky dance music so lovingly re-create the build-ups and break-downs of contemporary electronica using live analogue instrumentation. Built around an amazing string sample, this is the best thing on their rudely self-titled LP.

6. Tetine - 'Slum Dunk'.
Part wistful electronica, part baile-funk, this awesome slice of Brazilian minimalism can be found on the excellent Soul Jazz Singles 2006-7 album; well worth a look.

7. Hot Chip - 'Ready For The Floor'.
I know this one is everywhere at the moment, but that's 'cos it's so good. What's particularly brilliant about it is the way it's gently calibrated to build and build as it progresses. It begins sounding vaguely mournful, and ends up damn euphoric. Ace.

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