Asking me to pick my favorite track off Magic Monday is like asking me which child I love the most, or which food I love the most. Ask me on any particular day and I’ll have a favorite, sushi for instance, in fact I’ll be enjoying my favorite faux-sushi of all time, the Bungee Roll, this evening. Actually I wouldn’t do the same with my children. My favorite quote from Michna himself comes when his label’s owner asks him to list the samples he’ll need to clear, to which Michna responds, “What samples?” I’d like to hope Michna’s reply represents a new, knowing artistic naïvety in which a new generation moves past the plundering of hip-hop’s history and forges on with their own original beats and breaks (not that there’s anything wrong with samples!). He’s been paying his dues DJing parties in New York with tapes (yes!) and cutting remixes for Diplo (with his previous Secret Frequency Crew), Bonde Do Role, and surprisingly Jandek. Made playful by his trombone playing and use of found sounds (especially the answering machines, air hockey, and skateboards) his bass heavy pastiche work remind me of our old friend Alan Sutherland aka Land of the Loops (where ya at Al?). If you’re in the market for a good slow and steady, fun groove: Michna’s your man.
Boy Eats Drum Machine
It’s the day after Thanksgiving and I’m still thinking about eating. Even the music I’m listening to reminds me of eating. Enter Boy Eats Drum Machine. It’s somewhat of a misnomer because Jon Ragel the multi-instrumentalist behind the moniker is all grown up and no, he didn’t eat a drum machine. Instead, he joined forces with a who’s who line-up of Portland indie rock drummers via a local drum break series called Bridgetown Breaks. Drum credits go to the drummers of Viva Voce, Talkdemonic, and Menomena among others. Ragel adds everything else and it’s a plateful: turntables, synths, tenor sax, guitar, organ, and yes, bravely, vocals. RJd2 didn’t even step behind the mic until his second album. From record one (Booomboxxx is his third) Ragel’s armed with one turntable, one microphone and all the goodies mentioned above. The result is a scratchy, earnest pastiche of jazz, breaks, spaghetti western soundtracks, and soulful crooning. A delicious mix of sounds for the whole family to feast on this holiday season!
Skew
The opening track on Skew’s debut album is a bit of an understatement. Stadiums are more than just OK. Stadiums are where things first got skewed for Skew. I’m assuming as much. At six, a young Skew got turned onto the rock ‘n’ roll at an Iron Maiden concert. Afterwards, his grandfather financed guitar lessons, he ended up at Berklee College of music, and the rest is history. Skew sludges out ethereal rock riffs and then lays down hip hop beats to keep the party moving. The result is a grittier Ratatat with a raw, bone-rattling low-end. You can hear his progression on the baskets of tracks on his site. There are plenty of originals along with his under the radar remixes—Radiohead, M.I.A., Yeah Yeah Yeahs—and his mash ups of Nirvana and The Beatles against themselves. Get Skew today (the album’s fresh on sale) and expect plenty more from him in the future.
Lone
Bless Sean West’s (Dealmaker Studios in Nottingham) email earnestness and his consistant harping on us all summer, trying to open our eyes and ears to Lone. We’re listening! and loving it! Lone is one Matt Cutler, beat-maker, audio-cut-and-paster, and all-around sonic-magician. Cutler lays down hip-hop beats then layers the tracks with illusory flourishes, broken chords, and dream-inducing 8-bit melodies. This is the music I heard in my head when I read the Chronicles of Narnia (before current literature to screen trends began destroying young imaginations). This is the music I imagined the band of lizards playing in Daniel Pinkwater’s Lizard Music. Give it a try. Do your own mini mash-up of Pinkwater Vs. Lone to see what I mean. Youthful, imaginative, and sweetly psychedelic Lone will likely conjure up visions of rainbows, sparkly unicorns, Mozart playing lizards, magic wardrobes or any other mystical apparitions floating around in your subconscious.
Ruby Isle
Get ready to cut the rug, because this here is a bumping dose of pure dance energy from this indie supertrio. Dan Geller and Mark Mallman grew up together in Wisconsin playing chess and trading mixtapes. After graduation Geller, whose mixtapes often included The Smiths, The Cure and New Order, moved to Athens, GA, started up Kindercore Records, and began recording pop-tronic gems under the name I Am The World Trade Center. Mallman, who had contributed bands like Pink Floyd and Velvet Underground to their mixtapes, went the art school route and began recording over the top piano pop under his own name. The two reconnected and wanted to blend their styles of music. That’s when drummer Aaron Lemay stepped in. When he heard the demos he said, “I can’t let you two fools attempt this madness alone.” Then there were three fools making foolishly fun arena dance music. I can imagine a grafting of Daft Punk and Queen producing a sound a lot like this.
Girl Talk
At the risk of revealing myself as A) behind the times, and B) a complete tool, I’m going to share that I’ve recently gotten back into heavy exercise. At the gym, I usually listen to (here’s where the “complete tool†part comes in) This American Life or some other talky podcast where I don’t have to worry about (tool again) consistently high-energy beats. But praise be to Pittsburgh’s Greg Gillis, whose Night Ripper from 2006 is a (the behind the times part) mashup masterpiece that (tool) keeps my adrenaline PUMPED, man! For my money, Z-Trip is still the high-water mark of such guerrilla hip-hop-classic-rock-punk-pop-whatever mixing, but what Gillis does with the riffs from The Pixies, the Strokes and Weezer in “Hold Up†helps me burn 500 calories in two minutes. Girl Talk’s newest, Feed the Animals, is available here for whatever price you want to pay, which I’ve already done so that I can take my workout to anotha level of behind-the-times toolness. Join me and feel the burn!
Santogold
I know I’ve been taking the “summer hours” concept a little too seriously, but it’s hard to do anything but enjoy summer when you have something stuck in your iPod like Top Ranking, Diplo’s “mixtape” treatment of Santogold’s debut album. Diplo’s dub-bass-electro-hop concoction provides a textured playground for Santi White’s angelic and sassy brand of new wave. Unreleased mixes of Santi tracks bounce in and out between cuts from Three 6 Mafia, Benga, B-52s, Ratatat, and Sir Mix-a-Lot—there’s a smile around every corner. (If this sounds familiar, Diplo did the same for the last big indie “it” girl, M.I.A., on the eve of her debut album with the 2004 mixtape Piracy Funds Terrorism.)
Now, if you’re picturing me just swaying away in a shady hammock you’re only partly right. Top Ranking also got me off my butt and running every morning (five weeks and counting!). And it’s been the soundtrack to some spontaneous summer grill action… I don’t mean to overpromise but I guarantee it will make your life better—even if that means you forget to update your blog for over a month.
These tracks are some tasty Santogold remixes featured on Diplo’s Mad Decent label, though they’re not even on Top Ranking. For that, you’ll want to head over to turntablelab.com and drop $12 for the 75-minute mix.
Chromeo
Four years later (look how short our posts used to be back then…) and Chromeo are still making us feel touched for the very first time with their naughty ’80s dance funk. Their latest release offers their sophomore album, Fancy Footwork, plus a bonus disc of greatest hits, videos, and remixes (though there are at least twice as many still floating out there in clubland). Get your tight white pants on for this action.
Previous post (from 6/21/04):
A faithful homage to ’80s processed funk phenomena (Jesse Johnson’s Revue, Timex Social Club, Oran “Juice” Jones, et al), “Needy Girl” could be my not-so-guilty pleasure of the summer. (This post updated on 09.16.04 with a couple of swell “Me & My Man” remixes.)
Cannonball Jane
Whenever I hear the name Jane I can’t help thinking about a high school friend of mine (spelled “Jayne”). She was one of maybe three people from my school I hung out with my senior year. When I attended a reunion recently my wife asked me, not facetiously, “Are you even going to know anyone here?” The only person I could think of was Jayne, but I knew she wouldn’t be there. Like me, Jayne was slightly anti-social. As I expected, no Jayne. But you know how high school reunions put you in that nostalgic mood/mode? Thus affected, I did some internet sleuthing and actually tracked Jayne down, an entire continent away, hoping to say hello and catch up. I left two awkward voice messages (it’s impossible to sound casual, as if I hadn’t talked to her for a week when in fact it had been years). Did Jayne call back? Nope. Made me feel even more awkward, like I was some creepy internet stalker!
I think if Jayne’s personality were more like Cannonball Jane’s music we would’ve had a nice conversation, shared a few good laughs, and traded our latest listens and reads. See, Cannonball Jane is playful, colourful (Jayne was from England—she made me use British spellings), and obviously up for some fun. By day Cannonball Jane teaches elementary school. By night Jane, aka Sharon Hagopian, fires up the beatbox, guitars, synths and gadgets and records a groovin’ pastiche of hip hop, new wave, and sixties pop. A mix of Soul Coughing and Luscious Jackson, Mary Tyler Moore and Solex. This is the kind of woman I’d trust to educate my children and school me in the ways of beats and breaks and dance party extravaganzas. Hey, sounds a lot like Alisa, the woman I married. Who, by the way, tracked down one of her old high school friends during a reunion year. And he called her back! Who wouldn’t? She’s fun like that.
Ratatat
Since I first posted Ratatat four years ago all the original MP3s have been taken down. See, you gotta grab the goods while there are goods to grab (you can still download their second mixtape here). You’ll notice also my short and sweet review. I stand by it. Ratatat remains one of the tastiest instrumental groups groovin’ on U.S. shores. Their first two albums are in regular rotation in Alisa’s car as the beats and riffs of Mast and Stroud work magic soothing our three savage beasts. She’s gonna go giddy when I tell her about new Ratatat. Hey, the new album is out June 8th, the same week as her birthday. I’m gonna hold off on the news until I can wrap it up in fancy paper and bows. Shhhhh. Don’t say anything to her. No, I don’t need to worry about her reading this. She never does. 3hive to Alisa means her husband butt-planted in front of the computer for hours listening to music too loud while she’s trying to get some shut eye. Though, when I dig up gems like this for her 3hive’s a bed of roses…
Mirando [MP3, 5.5MB, 192kbps]