Music Journal #011

The Underachievers are a duo from New York, one of the few rap artists signed to Brainfeeder. Their impressive single, The Mahdi, comes from the Indigoism mixtape which, with the support of a range of producers, showcases their affinity for fast-paced flowing. From the start, the two artists are going all in - perhaps resulting in the mixtape's greatest strength and also its greatest weakness: It explodes and explodes and explodes and is sluggish in terms of changing pace. It's a good job they're good rappers then. Carrying a cadence reminiscent of a young Mobb Deep, they boast and brag in a typically gritty Brooklyn manner, leaving trails of social commentary as food for thought in their wake. Consistency is key with the tape, first awing me on So Devilish and then half-way through on New New York. Later, there's a flurry of really strong tracks, with the enigmatic My Prism followed by a welcomed slower beat on Gold Soul Theory, which channels a Demon Days-era Gorillaz. Fellow city dwellers Pro Era are represented by Bruce Lee Kixxs on the mellow brood of Potion Number 25, which precedes the lead single. It's a mixtape with a steel spine, if not necessarily an outrageous statement of intent, but it more than does the job in proving that the Underachievers will become a formidable force in the years to come - especially under the nurture of Brainfeeder.



The beginning of DRKLNG, the mixtape from maverick lyricist Zebra Katz, is great because you can tell he's holding back despite the solid step forward - in his element of hazy, bassy and minimalistic beats. The balance is lost a little during the second track sounding like a cut from LiveLoveA$AP gone slightly wrong. After the first interval with a sample emphasising reading, I expected to hear the astonishing Ima Read, but instead was treated to an outrageous and all too fitting Busta Rhymes take on the single. Katz doesn't let the mixtape run away from him though, with Y I Do being the first track on the release that stands on its own and gives the artist some real, needed limelight exposure. The next skit touches on 'weirding the listener out', which is essentially what Katz sets out to do with his music that sets him apart from some of his contemporaries. His refined, clear-cut approach slices through the fuzzy distractions that other artists seem to thrive in, and his beat selection can do the talking too. He covers Tiffany's I Think We're Alone Now in a way that exposes the track's darker undertones, which I found delightfully refreshing. Bowing out on Last Name, Katz, Zebra Katz really comes into his own with single-ready material that forces an impression of the artist into the mind - "First name Zebra, last name Katz. Middle name Fucking, whatchu know about that?"

~~~This is the stage of my life where I just don't have the time or energy to write as much about each release as I've ended up doing recently, and start writing what is essentially a musical stream of consciousness. Oops.~~~

The promotional campaign for Random Access Memories pretty much stopped the world turning for a few moments - particularly when it leaked hours before its first broadcast to special guests at the Shard in London. I wasn't impressed by the new Daft Punk album, and left it somewhat disappointed, yet strangely on a high due to the outrageous, euphoric fun that is the final track. Still, things were iffy from the offset and the third track, Giorgio by Morodor, summed up the album's polarisation within itself. Unlike the album however, the track's flaunts and flaws make it memorable. The collaboration with Panda Bear also finds a sweet spot, but other promising pairings such as with Todd Edwards disappoint thanks to Daft Punk's adamant intent to make dance music soulful again - as if they were the judges of soul. The distinct lack of Todd Edwards production and trademark vocal cut-ups leaves a bitter taste. There is a lot of forgettable stuff on the album, which for the most part serves to make you reconsider how good Get Lucky actually is compared to tracks like Lose Yourself to Dance and Motherboard. I'm not quite sure when everyone all of a sudden became a devoted Nile Rogers fan but sure, this album is meant to be treated as a funk one, as opposed to dance. Which seems wrong to me, as I'd rather just take it for what it is; music. Music is universal, and be it a funk-hybrid or an 'EDM' game-changer, RAM falls short of the mark and I look forward to freeing up some space for the abundance of other new, soulful electronic music surfacing these days...


Which leads me to Mount Kimbie's sophomore release, Cold Spring Fault Less Youth. It takes a few tries to make sense of the title, though the music itself is far from inaccessible. The first track is quintessential Kimbie, perhaps with a Gold Panda tinge, that manages to reiterate where the duo are at, before the album showcases where they're going. King Krule is the sole guest on the LP, first announcing himself on You Took Your Time with, "Now did you see me? I killed a man. They all stayed down, but he chose to stand." His wisened croaks flow fittingly over what's first a simple beat. His rapping prowess isn't surprising, though when the song explodes as an emotional firework  half-way through is. Mournful melodies and grumblings lead into the positive, transcendent transition of Break Well. I mentioned on By Volume how I felt about Made To Stray, which may well be one of the greatest pieces of music I'll hear this year. The rolling drums of Lie Near make for a great instrumental while the sparkling Fall Out draws a highly charming second effort from the duo to a close. On Cold Spring Fault Less Youth, Mount Kimbie take a more restrained approach as they refuse to let each and every idea fizzle out everywhere, and I'd look forward to seeing the album performed live seeing as that was a key factor in the LP's production.

Yugen is Koreless' first extended play, so it's interesting to see how consistent it is compared to the quality of his 12"s. A typically atmospheric affair, all the songs hold plenty of texture and blend into each other masterfully, as with Ivana into Sun. I found the latter track slightly infuriating, as everything about it is luxurious, but for the one lead melody which is played on a grating synthesiser that feels dishonest and out of place on Koreless' effortlessly naturalistic productions. The same criticism goes for Nosun, which is to be expected as it's a mirroring reprieve of Sun. Last Remnants and Never are the better examples of Koreless' new focus - the EP sticks to a similar vibe and explores all the off-shooting peaks and troughs to be found there, instead of jumping around incoherently. The specialised direction the artist takes it in is impressive.

After hearing the beautiful Luxury Problems from Andy Stott, I made a mental note to pay attention to all things Modern Love. Miles put out his Unsecured EP on the label which I found to be a really good listen. The opener traverses the realms of the Industrial Nightmare Techno genre while its follow up was slightly bouncier, leaning more towards Chinstroker Tech House. Somewhat akin to Pete Swanson in the way the music uncontrollably bubbles up into devastation as does economic growth, Infinite Jest is a draining romp while the final track paints the mental picture of Dwarven smiths hammering away inside a church somewhere below ground level.



Django was one of the first jazz pieces I ever really listened to, and its infectious double bass isolations and flawless xylophone melodies make their appearance as the forth track on The Modern Jazz Quartet's Pyramid. After an exceptionally welcoming and creative first track, Vendome, the album seems to suffer from the law of diminishing returns making me weary after full play-throughs when solely focusing on the music. It's a really well-polished, classy and accessible release that remains interesting enough all the way through but some moments certainly outshine others. The songs gel together well though sometimes seem to just rely on the xylophone too much, in order to avoid becoming staple interlude music. The chemistry between the musicians is organic, yet maybe too safe at times. Still, I'd consider it a flawed masterpiece, or just outside of that realm, and undeniably a go-to point for anyone looking to explore jazz without being overwhelmed by aimless experimentalism.


It was high time I familiarised myself with Nina Kraviz' self-titled album, already aware of her mixing and producing ability to a decent extent. The release blew my expectation out of the water, as I didn't realise how deft and subtle she could be. The techno-ambient Walking in the Night, 4 Ben and The Needle act as wonderful cushions for the meat of the album, and its close, Fire, was a gentle comfort. Her vocal contributions complement her beats as well as any guest's could,  so her holistic production style works in her favour as she can take the music exactly where she wants to without the need to convey an understanding. Lead single Ghetto Kraviz is downright weird, a hip-hop-house oddity which entrances listeners due to its hypnotic unorthodox nature standing out from the rest of the album. The serene grooves on Taxi Talk and soulful bounce of Choices hit the highest of highs on an album filled with highlights all the way through.


oOoOO's self-titled EP is summed up really well in its cover art. Each track is a hazy flurry of strange noises draped with translucent sample layers and awkward percussion. The first track feels awfully isolating when you consider it's called Mumbai, abstracting vocal snippets into a paralysing experience. oOoOO works with vocalist Butterclock on a couple of tracks, such as Burnout Eyes, which proves to be a fruitful pairing that captures the luxurious textures both have to offer. Sedsumting's throwback 80s synth vibe is translated well with a newer, more dizzying and uneasy sound which eases up on Hearts.The final original track takes a trip for darker shores and the remix of Burnout Eyes comes across as delightfully club-friendly.

The main issue I had with Nosaj Thing's Drift is that for the most part, it was quite boring. I loved the spaced-out funk over a hip-hop beat on Coat Of Arms and Fog was enjoyably eerie though there simply wasn't enough happening for me in the thick of the album. It was delectable but not particularly memorable, good background music for other activities perhaps. The two-part Light came across as underdeveloped and things had fallen flat by Voices. The choir sample on Lords seemed basic and grating, and I was disenchanted by the end though I do look forward to future releases as I feel Nosaj Thing could do much better. Drift lacked texture and importantly, personality. No identity imprint was detectable, and that's something that could really bring the likes of Ioio to life.

Inga Copeland dropped her Higher Powers mixtape out of nowhere, such is the way of a higher power. The tracks seem to be demos from last year, though knowing her production style they could more or less be the final thing. Still, A&E went on to be redirected to Martyn for production and release on her latest EP, while the mixtape refers to it as the 'copeland audacity mix' on a razor-sharp, pensive affair. BMW is a gritty slow-burner and the faint, kinetic drum breaks on Light On make for an unusual experience. The majority of the opener involves screeching high-frequency droning and Inga's collaboration with Scratcha DVA feels natural indeed. Inga expresses the most emotion with her dubiously pleasant vocals on Obsession 2 on a mixtape that expectedly delivers the unexpected.


It's hard for me to come to any insightful conclusion with regards to Konono Nº1's Congotronics, seeing as I'm so new and probably misunderstanding of African music. The group come from Democratic Republic of the Congo, playing instruments improvised from junkyard scraps and kalimba-like instruments - the electric likembé. The first track is a frantic rollercoaster rhythm entailing funky percussion and folk chanting while its successor slips into more of a groove. On Kuke Kule, the group trade funk for clarity with a slower-paced melodies while Paradiso related to more traditional rock drumming. It's a highly danceable record that inspires and seeps with unavoidable joy, and I loved every second of it.

Jacques Greene recruits How To Dress Well for the title track of his On Your Side EP in a magical marriage of club beats and intense vocal contributions. Tom Krell's urgent, driving contributions transform it from a tune into a song, echoing mid-00's R'n'B while Greene blends together a perfect mix of bassy goodness. Unfortunately, Faithful is a considerably less impressive creation that feels like filler despite its clean-cut execution. Quicksand feels more fleshed out with character, with the main melody supported by strong hi-hat work, and the vocal sample is manipulated in a typically Greene manner that doesn't fall short of the mark in the slightest.

I'm pretty upset over Disclosure's Settle. One of the more salient gripes I have with it is that there's almost no reason at all for it to be an album - there's no drive, no cohesion, no real concept; It's as if they made it an album for the sake of making an album, and this rinsed the same formulaic ideas that worked well before over and over, until over half of the LP feels like it's essentially one or two tracks. That's a problem, when the album is fourteen tracks long. The numerous collaborations with guest vocalists feel like anyone could have contributed, namely You & Me with Eliza Doolittle, January with Jamie Woon and Jessie Ware's disappointing performance on Confess To Me (which is a decent song overall in fairness). White Noise with AlunaGeorge is good but misses the oomph that Hudson Mohawke provides on his remix, while Latch throws all the production skills we know Disclosure have right out the window. The record is filled to the brim with decent pop-garage that's sure to give DJs a few weapons on the decks but the lack of experimentation is what disappointed me. Disclosure's production quality is undeniable though they remind us again and again and again about it unnecessarily, to the point where you feel they're hiding a lack of versatility and imagination. None of the tracks sound bad, per sé, but they can leave a bad taste in the mouth occasionally. The collaboration with London Grammar that closes out the album is a bore, however all credit due to the amazing sample used throughout the intro and it's follow up.

Babel from Mumford & Sons was bland and generally uninspired. Their radio-friendly, cacophony of mid-range folk loses sincerity despite the pseudo-deepness of the main vocalist's lyrics.Songs such as I Will Wait and Holland Road have little character and struggle to remain in the foreground, The greatest moments come when the lead seems genuinely angered and lashes out, or when things become surprisingly subdued and slow down. There's not much else to say, it was a bit of a non-event for me.

Animal Collective's Merriweather Post Pavilion begins with a spark moving along a trail, gentle but with intent, until In The Flowers explodes with a flurry of instruments flying in all different directions like fireworks. The shock brought a smile to my face, which stayed put throughout the colourful My Girls. Summertime Clothes is probably one of the happiest singles I've ever heard. Despite all the glitter and fun on the record, Animal Collective keep things messy with psychedelic riffs and ramblings scrambled across the release. One of my favourite aspects is the percussion - on tracks such as Guys Eyes, drums hit in clicking and clacking bursts, like an off-kilter drum loop. The album is essentially the epitome of the phrase 'weird and wonderful', always moving, rarely disappointing. Half the fun is trying to keep up with wherever it is the band are going.

I was slightly worried prior to Gold Panda's second album, Half Of Where You Live, as his first album was uniformly brilliant and he followed it up with the shaky, forgettable Trust EP. The sophomore full-length benefits from a very strong start, with the shuffling odyssey Junk City II leading into knocking loops on English House and Brazil, which features an enchanting, chiming latter half. Like the first album, Gold Panda finds a nice place to bring together all the folds of exploration, authenticity and delicacy. Aside from the oriental-flavoured bounce of Flinton and Community, Gold Panda provides moments of respite on My Father In Hong Kong 1961 and S950, moments that are to be well-cherished, calm and rejuvenating. One of the greatest points on the album is the end of the penultimate track, The Most Liveable City. Light, rapid beat stabs are cushioned by waves of synths that call out longingly. The lead melody on Reprise closes out the loveable, above-average release fittingly.

For Years is the name of Airhead's debut album on R&S, as well as the length of time it took for him to create it. Airhead is the guitarist touring with James Blake's live band, and it shows. Much of the music feels like it could have been made at the same time Blake was releasing his pre-album EPs, though in fairness one of the more memorable tracks is named Wait. Released as a single in 2012, the track spins together dizzying guitar flourishes with dismembered vocal samples from Karen O, perhaps from the Yeah Yeah Yeahs song of the same name. Airhead explores experimental folk along with the stripped-back electronic elements, a combination that comes together on the heart-warming Autumn, while on Pyramid Lake he de-constructs the bridge between the music and the listener with a haunting, skittering yet dense jam that's sure to scare dancefloors. Milkola Bottle is superior to all other tracks on the album for me, in which Airhead caters towards the bass-minded with ballooning low-frequencies and a multi-textured lead loop. Had the album been released a few years sooner, we'd surely remember it as part of the the post-dubstep era with Blake and Mount Kimbie. Right now, the album declares it's disregard for the rest of the music world, and gaining an insight into the mind of Airhead proves to be a worthwhile experience.

Demdike Stare are a duo, one of whom happens to be Miles, producer of the aforementioned Unsecured EP. The pair put out Testpressing #003 on Modern Love, starting with a patient tribute to the techno and house of Detroit on Eulogy. The nostalgic sheen and natural grooves are ditched for Dyslogy, a no-holds-barred occasion where drums power on full steam ahead, wrecking all in their path, as soon as the droning intro comes to an end. Everything crashes during the outro, fuzzy and abrasive white noise leaving a trail of scorched marks behind.