|Drones (Moog Sound Labs)||Moogfest 2012|| |
|Get Down (Moog Sound Labs)||Moogfest 2012|| |
|Civilian Stripes (Moog Sound Labs)||Moogfest 2012|| |
|Rougish Moogish (Moog Sound Labs)||Moogfest 2012|| |
Displeasure is El-P's speciality. Ever since his days with '90s indie-rap pioneers Company Flow, the rapper/producer has used his platform to rally against the ills of society. He's mad as hell and he's not going to take it anymore. With Cancer 4 Cure, his third solo album, he continues to refine Public Enemy's wall of noise model for the digital era, immaculately stacking a seemingly endless supply of distorted samples, synth wheezes and violent drum stabs. They shift and shatter quickly, while El's sardonic and single-minded raps shout down global conspiracies in strings of apocalyptic images. None of this is new ground for the rapper; in fact, he's mostly treading the same circles he always has. But at least he's doing so with a righteous stomp.
Andrew Nosnitsky, Google Play
No artist addresses techno's twinned allegiances to rapture and refinement as fully as Carl Craig, whose Sessions mix rewards both listening closely and dancing wildly. The Detroit-based DJ/producer pulls many of his own old classics and contemporary updates into the same orbit, with vintage tracks made under aliases like Paperclip People, 69, and Innerzone Orchestra sharing time with choice Craig remixes of Junior Boys, Rhythm & Sound, Theo Parrish, and more. Like any good DJ mix, Sessions serves different moods and moves through different speeds, and reveals how much range can be grouped under a "techno" tag that means many different things to many different people.
Andy Battaglia, Google Play
Any collaboration involving established musicians that is (un)lucky enough to be called a "supergroup" brings with it all kinds of expectations, both good and bad: either this meeting of musical minds is going to unite the best parts of all the members' previous projects into an amazing whole, or, more likely, it'll be a disappointing clash of musical egos, or a watered-down compromise. Divine Fits, the project of Spoon's Britt Daniel, Wolf Parade, and Handsome Furs' Dan Boeckner, and New Bomb Turks' Sam Brown defies all of these expectations, in large part because their debut album, A Thing Called Divine Fits, sounds far too natural, and not nearly showy enough, to be seen as the work of a supergroup. The trio's seamless blend of Boeckner's new wave-y synth pop and Daniel's precision-tuned rock was hinted at with A Thing Called Divine Fits' lead single "My Love Is Real," and that song's starkly, darkly catchy vibe contains the rest of the album's sound: throbbing, understated synths, insistent beats that jab listeners like a finger in the chest, and echoing vocals that sound like they were recorded in an alley in the middle of the night. Remarkably, this album manages to be even more spare and streamlined than Daniel's work with Spoon; while it's tempting to say that his aesthetic predominates in any of his collaborations, it may just be Brown who helps make A Thing Called Divine Fits so relentless from start to finish. He nails down every track, from his suitably frantic work on "What Gets You Alone" to the cracked-knuckles percussion that underscores the cocky strut of "Would That Not Be Nice." Indeed, the album's first half is so tight that it borders on suffocating; when the band finally opens up on the quasi-folky ballad "Civilian Stripes," it's a relief. Likewise, the subtler dynamics on the cover of "Shivers" and the quirky, looped backing vocals on the stand-out "Ice Cream" serve as welcome reminders of these artists' more nuanced approaches with their other projects. While A Thing Called Divine Fits might be a shade less eclectic than Boeckner, Brown, and Daniel's other projects, it's hard to find fault when the results are this consistently catchy.
Heather Phares, Rovi