Cookie Dough is the debut from Wildcookie. Freddie Cruger provides the music and Anthony Mills provides the smooth vocals. The music is R&B with a heavy Lounge, Jazz, World Beat influence. The tracks are some of the smoothest I’ve heard in a long time and the lyrics are incredible as well. This is a great lounge album, perfect for chilling and mingling and sipping a cocktail.
12 Faces is the latest from Lanu a.k.a. LAnce Ferguson from The Bamboos. The album is a mix of Indie Pop and subtle Electro Pop. The album has a slow, leisurly feel to it with the Indie and Electro sound bouncing back and forth from track to track. Vocals from ARIA award winner Megan Washington adds a certain beauty to the tracks. There are some Lounge elements as well as hints of French and Latin intermixed throughout the album. Overall not a bad album but a little on the vanilla side.
Australian Synth rockers Cut Copy are back with their third album, Zonoscope. The album is all about 80’s Synth Pop. Upbeat with a warm feeling to it, this is a feel good album. A pretty straight forward album, the Synth Pop sound is distilled down to it’s purest form. The album ends with a 15 minute track “SUn God”. Listen and enjoy.
Into Bass And Tme is the second album from Ancient Astronauts. Heavy beats mixed with Hip Hop and Lounge elements along with a strong electronic component gives the album a dreamy yet energetic outer space feel. Throw in some Reggae and Funk and you have an album you can chill and party to on your long trip to the Andromeda Galaxy.
World renowned percussionist carlos Go Go Gomez, who has played with such musical greats as Tito Puente, Pharaoh Sanders, Gypsy Kings and Eartha Kitt, brings us his own sound on his latest album, New Paradigm Global Music. The music has a World Beat/Latin Ambient sound with a shamanic feel to it. This is very smooth, mellow music that inspires and elevates, guiding you to a higher level. Intermixed with the more mellow tracks, Gomez lights it up with his percussion skills. An excellent album to listen to while drifting away to the Astral Plane.
Uncut Diamond is the second album from Warm Ghost. This music sounds like it was composed by a warm ghost, like a spirit trying to communicate with us as it straddles between the world of the living and that of the dead. The music has a strong Coldwave vibe to it with melancholy synths backed by heavy reverb guitar, moody drum machines and somber lyrics. The album definitely has a retro 80’s gothic sound (and Gothic titles like “Let My Angst Unfold In The Water Like A Hounds Tongue”) but doesn’t feel stale or trite. Sounds like something you would hear on 120 Minutes back in the day. A good throw back album for those days when you’re not looking to get cheered up.
Previously unreleased tracks from the bands 2008 Chemical Chords, the last studio album before their “indefinite” haitus two years past. Still sounding as fresh and wacky as ever, Stereolab is a dish best served cold. It takes a few listens to appreciate its zaniness, but in the 2011 world of lo-fi pop rock, Stereolab is a sound for sore ears. Still as potent as ever, the mix of synth keyboard jams, lounge rock, psych, surrealism and post rock, jellyrolled into a peanut butter and pickle sandwich, on wheat bread. At once it’s disconcerting, salty and sweet, maybe even crunchy, and then the flavors blend and harmonize. The soothing vocals of Laetitia Sadier, resembling Aimee Mann in a trash compactor bump up and through the techno whurl and jangle pop jungle. The result is sweet satisfaction, and welcome “comeback” from some old friends.
PLAY: 2, 6, 4, 12, 7, 9
RIYD: “nothing but the sum total of its arcane reference points” (Peter Shapiro)
Dum Dum EP yippie! Open up the cd case and the fuzzy, bejeweled kaleidescope image shows you what’s to come. Just four songs long but with more punch than a lot of LPs, there is nothing superfluous here. Three gut-punching originals and a high octane cover of one of the greatest Smith’s songs, “There Is A Light That Never Goes Out” to wrap it all up. This is an all woman- lo-fi-garage-punk super group. What makes Dum Dum Girls stand out is their polish. Each song is perfectly balanced with powerful insurges of drums, powerchords and throaty, sonic vocals. Straight up knock you in the head girl crushin.
Tamaryn’s debut album sounds very much like something you have heard before. It’s haunting and dark but still carries itself effortlessly. It sounds as if the drums and guitars and a million miles away, and in many respects, it could be a new Beach House album, or an Enya revival cd, or from the 80’s, a lord of synth! It might just be because it is so beautiful, and I never tire of listening to the gooey echoes of the former, but this album grabs me as much as if I had never heard anything like it before. It may gaze at a sneaker or two but it shouldn’t be pigeon-holed as such. They are a lot of layers here, so peel her like you were poor Randy from a Christmas Story trying to get outta that gettup and put your arms down. Imagine the relief, that’s what this sounds like.
I can’t say it any better than this:
“Tamaryn’s vocals, husky and seductive, are as alluring as the guitars are blown-out and fractured, the two combining beautifully to create an aural haze, something akin to an early-morning mist floating serenely above a wind-whipped ocean. It’s not hard to see Tamaryn as the siren on the rocks, luring awestruck men to an early grave” (thequietus.com)