I have a couple confessions to make. First, I feel asleep during a U2 concert. I’ve never been a big fan. I respect the band tremendously, but their music, and that concert in particular, just don’t do it for me. My second confession: I cried at a David Sylvian concert. Not that I wept out loud or anything, but his voice, its rich timbre, literally brought tears to my eyes. He has a long musical history, beginning with the band Japan, then his solo work. The first track, “Mothlight,” is an ambient piece composed as an accompanyment to a group of photographs. The remaining tracks include vocals and give a better sense of David Sylvian’s well-honed craft.
Worm Is Green
We’re officially five days into winter so I thought it apropos to turn our attention to Iceland. I know it’s not winter there year round, but it should be! Worm Is Green’s debut album is almost a year old here in the States, but proper respect has yet to be paid. The band does a brilliant cover of Joy Division’s “Love Will Tear Us Apart,” and the rest of the album will put you in a cool chill with its warm synth tones and atmospheric vocals. These tracks are all demo versions and outtakes from Automagic. You’ll have to put down some cash for the final product.
Ulrich Schnauss
German, twenty-something with a veritable cornucopia of aliases. If you follow the reverse chronology of music represented here you’ll notice that Mr. Schnauss finally came into his own, name and music, after an early output of more than competent drum ‘n’ bass. On his latest work, A Strangely Isolated Place Schnauss composes lush, atmospheric tracks that’d fit like bricks into My Bloody Valentine’s or Chapterhouse’s wall of sound.
Giant Robot
Not to be confused with the Japanese pop culture ‘zine of the same name, Giant Robot are members of Nuspirit Helsinki and they run the gamut like Jesse freakin’ Owens. From cozy EBTG-ish ballads (“Best Match”) to lanky, dub-hop (“Konevitsa”). And then you’ve got the remixes, if you’re ready for even more curveballs. Best of all, Giant Robot’s site has a mile-long MP3 page with all of their commercially unavailable tracks, which includes their entire debut album and tons of said remixes. Set aside some download time.
Echostar
Martha Schwendener, of the late Bowery Electric, is the sole member of Echostar. Unlike the Dick Van Dyke One Man Band in Mary Poppins, this one woman band carries her instruments not on her person, but on her hard drive. While her beats are simpler and melodies “lusher” (Bowery fans should get that), Martha carries on where Bowery left off, with swirling sounds and her trademark whispering/breathy vocals making her debut solo album Sola sound as if it really is broadcast by a satellite.
The Aphrodisiacs
Scotland’s The Aphrodisiacs have a great story. They were friends just goofin’ around who recorded one demo and mailed it the late John Peel. A week later he called them up and asked if he could play it on the radio. So without ever playing a gig and having recorded only one song, they were invited down to London to record a Peel Session. Listen to their dark grooves and see why John Peel picked up the phone.
Air King Sound
San Francisco experimental sound posse who create very brilliant haunted soundscapes, perfect for moody film scores and a certain sense of isolation. Owing a lot to Brian Eno, but still managing to claim their own sound. Favorite track: “Gomez Gomez.”
Jon Sheffield
I’m kicking myself that I’m just discovering Sheffield, who’s already four albums deep into his recording career. His is quiet, playful electronic music wrapped in small pop-size packages. Sheffield frequently samples his son, Gabriel, which gives his music a sweet, innocent texture. There’s a quality here that rings my holiday bells as well. When I hear these songs I see snow. And when I see snow, I’m inevitably carving deep tracks into the freshly fallen. Which begs the question, when’s the 3hive snowboarding excursion going down?
Postal Service
Now that our beloved Postal Service appear destined to become a Harvard Business School case study, Sub Pop is scrambling to keep up with demand. Pending some new original material, that means releasing Give Up on vinyl with a bonus (if you don’t already own the CD singles, that is) 12-inch of B-side covers, like Iron & Wine’s tender rendition of “Such Great Heights,” and remixes, wherein dance music for bookworms gets transformed into, well, dance music. Included here is an example of the latter, and a couple for the uninitiated…what few of you are left.
Kaskade
Ryan Raddon, aka Kaskade, got his start by sneaking his tracks into the stacks of demos at Om Records during his employment tenure there. Raddon, teaming up with a regular and rotating cast of collaborators, with an emphasis on live instrumentation, refuses to slump during his sophomore season. Here he offers up a couple off-menu items, a downtempo hip-hop cut and a spacey, chilled-out, four-on-the-floor track.