Here’s a brief recap of The Raging Family’s bio: raised and home-schooled by bohemians in Upstate New York; lived in Eugene, Oregon until driven from their house by local authorities because of noise and behavior complaints; settled down in an enclave somewhere in the hills outside of town to focus on music and art. If you ask me it all sounds a little cultish, and at the risk of becoming Sharon Tate to their Manson Clan, I’m gonna throw my support behind The Raging Family’s latest “concept” album. Black Holes is ostensibly a journey through space and time, but how they get us there is through an eclectic collection of styles ranging from the knob-twisting and wax-scratching exploits of Land of the Loops and Prefuse 73, the found-sound rebelliousness of Negativland, the electro-clash abandon of Meat Beat Manifesto, the jazz exploration of Miles Davis and Sun Ra Arkestra, and even the psychedelic guitar masturbation of Carlos Santana’s Illuminations period. It’s a whole lot of styles to wrap your noodle around, but luckily the band has posted the entire album on their website for us to take it all in (the links below are just some highlights), and there are other entire albums there fully linked for the taking — but beware, the money you save on music today may go to pay for the cult deprogrammer you’ll need tomorrow.
Bitmap
Bitmap is the solo project of one Luke Barwell, formerly of the British band Salako (not to be confused with former Crystal Palace, Coventry, and Reading winger John Salako, now at Brentford, if you’ll pardon the English soccer reference). For all of you out there wondering what Revolver would have sounded like had Beck been fronting the Beatles, with Brian Wilson as sound engineer, Bitmap’s latest album Micro/Macro will satisfy that curiosity.
David Last
Is there such a thing as dumbed-down IDM? Not inferior, but approaching it from a slightly different angle is David Last, less brainiac and more booty-shaker, moving away from digital detritus and towards more organic dancehall rhythms. Perfect for intimate gatherings. Served to chill. I’m jonesin’ summer BBQs. Can you tell?
Someone Else
“An undying fear of commitment has fueled 24-year-old Sean O’Neal’s eclectic discography…” So began an interview I did with the Illadelph native, then of Flowchart, back in 1998 for URB. Seven years later, not much has changed — in that quite a lot has. Sean recently added netlabel unfoundsound to his stable of ventures (he also runs Fuzzy Box Records) while steering his music away from the richly layered drum ‘n’ bliss and quirky electronica of his Flowchart days toward wry, minimalist techno under the alias Someone Else. You gotta love a fool who can make your head bounce and put a smile on your face (just listen to those tweaked mouth noises on “Goofball”). These tracks make up the first of six unfoundsound releases to date; all are available as free, high-quality MP3s under a Creative Commons license (if anyone gets “sharing the sharing,” it’s Lawrence Lessig). There’s also an entire release of Philadelphia field sounds which unfoundsound invites you to mess around with and submit as a demo.
Quantazelle
I remember the 1984 Olympics here in Los Angeles. At least one of the bike races snaked around my friend Donald’s neighborhood in Laguna Hills. We went. Our view was a section of straightaway; it was as exciting as watching ice melt. When I was living in Salt Lake City, a couple of real nice fellows bribed the IOC into bringing the games to town. I set 2002 as my goal to leave Utah, a chance to move home and to avoid the hoopla that was sure to follow. I met my goal three years early… All of this as a preamble to say that “Braking (Hushed)” sounds like it could be the Olympic theme song if mankind is ever transformed into robots. That, or a really great remake of the Tron arcade game soundtrack. Speaking of arcade games, I swear there’s a Marble Madness sample in “Stereofoam.” I hope Quantazelle enjoys arcade games as much as I imagine she does.
The Cars Are the Stars
Kicking off like The Notwist’s “Pilot,” “Helikopter” starts with the sparse kit and then takes a deep breath. There is beauty in the silicon: mixing Mogwai, Boards of Canada, The Merkin Dream and even a pinch of Postal Service. This is one of those tracks I’ll listen to over and over and over and in three years when I hear it again, I will be reminded of this time in my life.
13 & God
Remember the old Reese’s commercials? A woman holding an open jar of peanut butter turns the corner and runs into a man with a chocolate bar. “You got your chocolate in my peanut butter!” Tragedy is avoided when the two taste their happy accident. 13 & God is just as happy an accident. Formed when German glitch-popsters, The Notwist, and No. Cal.’s avant hip-hop duo, Themselves, were stranded while touring Canada. With time to kill and a penchant for collaborating, well, they made beautiful music together. On this track The Notwist flavor is dominant, but I expect Doseone (Themselves) a bit more on the mic for the album. “Two great tastes that (surprisingly) go great together.”
Lismore
Briefly: Lismore skillfully mixes electronics and analog instruments for a sound that hits somewhere between The Postal Service and Portishead. On a side note, the guitar riff in “Tremelo” sounds like a sample from some schlocky pop tune that I can’t put my finger on…Anyone?
Elephonic
Not to be confused with the latest joint by Thai Elephant Orchestra (yes, exactly what the name suggests), Elephonic are four humans from LA who provide some quirky, orchestral chillout music of their own.
Album
Sean’s not the only one talking about South by Southwest. The New York Times — one of the hippest, most progressive indie-friendly rags out there — mentioned Album in its coverage of SXSW. What a score! On the Monterrey (Mexico) band’s website, everything they’ve ever recorded is available in MP3 form, and a lot of it is wildly fresh and inventive. The sampling below starts with a suggested listening sequence supplied by the band, as well as a few more selected tracks that aren’t half bad either. Enjoy!