Slightly nervous, very danceable synth pop that’ll remind you of early-’80s OMD one moment, as lead vocalist Joseph White blesses the mic, and modern-day German indie electro (Morr, City Centre, et al) the next, as co-founder Channing Sargent gets chirpy with it.
Adam Pierce once again takes the bedroom dweller aesthetic more as a spiritual guide than a sonic one: skittish percussion bounces off the walls like random thoughts and warm vibes and synthesizers fill the background while his ever-gentle acoustic guitar seemingly plays for an audience of one.
This is what drum ‘n’ bass should be. Yet another offering from Mr. Teenbeat himself, Mark Robinson. Nothing new to the viewers of CNN’s “Anderson Cooper 360,” where “Floods” serves as the opening music. (Not to be confused with Flin Flon, the sixth largest city in the Canadian province of Manitoba.)
A taste of Rio served Manhattan supper-club style, Arto Lindsay’s sleepy vocals and seductive beats take David Byrne’s formula and run…er, saunter with it.
Distant vocals served over cool techno and coupled with solid funk basslines and snappy guitars bring an old-school (circa 1994?) vibe to today’s dancefloor.
Post-punk disco dub replete with bongos and sleigh bells. Nothing new about the concept, but the execution sure is fresh.
Bouncy, new wave stream-of-consciousness — as catchy as it is fleeting.
Collages of stuttering breaks and swirling samples, along with extended doses of “spoken word” culled from the underbelly of American pop culture. A potentially played-out formula turned downright entrancing.
I keep thinking CLOADM “donkey”…sorry. I actually played a Donkey Kong clone on my TRS-80, loaded from cassette. These tracks are much better than Donkey Kong; reminiscent of DJ Shadow’s work with UNKLE.
Halifax’s art-hop pioneer evolves his doomsday mic checks into full-blown audio armageddon (see “Storm Clouds & Silver Lining”) for his Ninja Tune debut.