The Darcys - Hymn For A Missing Girl
i The Hymn
ii For Struggle or Escape
iii Returning A Dead Dog To A Place He Can Finally Rest
iv The Suitor Speaks
v Inextricably Bound
vi To A Place Where The Light Can No Longer Find You
This project was originally inspired by pages 263-128 of Cormac McCarthy’s Cities of The Plain
Produced by Jason Couse & Wes Marskell
Mixed by Tom McFall & Jason Couse
Mastered by Noah Mintz
Engineered by Matt Durante
Hymn For A Missing Girl was written and performed by THE DARCYS
THE DARCYS are Jason Couse, Wes Marskell, David Hurlow & Michael le Riche
Limited Release of 500 LPs
Source: SoundCloud / THE DARCYS
This year four releases, a Brooklyn party and a festival announcement confirmed a music continuum and a sensibility whose allure refuses to fade.
Posting this because of how annoyed I am that techno has always been seen as a “white” phenomena in the US, and especially with the rise of shitty contemporary EDM.
DJ Spun - Breakin’ (Acid BBoy, the lost track)
"Here is one for all the ACID BBOY’s out there, an unreleased track from the mid 90’s that I recently found on an old DAT tape. 808, 303, turntable, a delay unit and Yamaha Digital mixer going straight to DAT."
Source: SoundCloud / DJ Spun
I BREAK HORSES - FAITH
Director, Magnus Härdner
Director of Photography, Simon Rudholm
Tonight (April 17, 2014), NYC: Mercury Lounge
Kitchens of Distinction - ‘Extravagance’
Premiere: Kitchens of Distinction debut video for Record Store Day single ‘Extravagance’ — via @slicingeyeballs:
Leon Vynehall: Music for the Uninvited (3024)
Leon Vynehall’s mini-album for Martyn’s 3024 is a really fantastic foray into deep house tunes that look to the past for inspiration. There’s a dusty cabinet element to Vynehall’s aesthetic that feels warm and familiar and almost stately, a reverence for the house music around the turn of the 90s. It should come as no surprise that one of its many solid tracks, “It’s Just (House of Dupree),” references Paris Is Burning in its sound byte samples.
Vynehall clearly has a deep respect for that music and its context, and it comes through in his handsome productions. Disclosure’s Settle was a surprise hit last year, touching on vintage acid house, rave, and early house sounds with an allegiance that was shocking spot-on (considering how young its members are), and Vynehall’s tracks here aren’t so far off that mark, either. But Vynehall’s tracks are deeper, more lush, less concerned with pop hooks or guest vocalists, less angling for the charts. And so there’s something refreshingly easy about playing through this whole thing again and again, feeling both familiar and exciting at once.
The best thing about Vynehall’s music, in my opinion, is his refusal to overly quantize everything with perfect precision. So beats and basslines hit slightly off from one another at times, sounding more handmade and human. That quality is reflected in the actual sound as well, with frequencies that might not be flawlessly mastered or mixed, but it sounds unconcerned with perfection (again, in a way that feels easy rather than sloppy) and more personal as a result. Adding a string quartet to the mix on the sly opener “Inside the Deku Tree” and the tail end of “It’s Just (House of Dupree)” only amplifies the human side of the music, with “Christ Air” offering a nice respite from the house sensibility of most other tracks in the final quarter of the release.
Its sound is closer to the spacious patience of Airhead, and it’s a nice complement to the more dancefloor-friendly sounds found elsewhere here. But the heart and soul of this release is in Vynehall’s lush arrangements and warm production, working just as vibrantly on a set of good headphones as it would on a nice system.
Dusty Springfield (16 April 1939 – 2 March 1999) - Quiet Please,There’s a Lady On Stage
"Britain’s greatest pop diva, Dusty Springfield was also the finest white soul singer of her era, a performer of remarkable emotional resonance whose body of work spans the decades and their attendant musical transformations with a consistency and purity unmatched by any of her contemporaries; though a camp icon of glamorous excess in her towering beehive hairdo and panda-eye black mascara, the sultry intimacy and heartbreaking urgency of Springfield's voice transcended image and fashion, embracing everything from lushly orchestrated pop to gritty R&B to disco with unparalleled sophistication and depth.” - http://www.allmusic.com/artist/dusty-springfield-mn0000159214/biography