After what seems to be an eternity, we're back with the 'Daily Downloads' segment, literally got lazy with it, but we're back with a killer new track from Editors. Scroll on below to check out their new track "No Harm", and you can get it for free just by clicking through the link below the image, enjoy.
Without any warning Tame Impala have just unveiled the first official single from new album. It's official release date is Tuesday via Fiction Records.
Their third album will be called Currents and we are told will be released later this year. New single Cause I'm A Man is a synth-laden number and perfect Easter treat. Enjoy.
The full name of the song is 'Monarchy - You Don't Want To Dance With Me (Feat; Britt Love), bit of a mouthful right, the song rather is more a crossover of genres, modern chart vocals mashed with the weird and wonderful side of the indie electro scene. This is due for release in October, after the undeniably catchy summer single 'Maybe I’m Crazy'.
You Don't Want To Dance With Me (Feat; Britt Love): Featuring guest vocals from Britt Love. The song’s pulsating bass line and hypnotic, layered synths provide the perfect backdrop to showcase Britt’s sultry sound as she duets with Monarchy’s Ra Black. This is a re-work of the track that made it to their highly acclaimed album, and with the re-working of this song, I must say they have done a great job to an already brilliant track! Out of 10: 8/10
You Don't Want To Dance With Me (Feat; Britt Love) Out of 10: 8/10
This is something that I struggle with. I worry that people might mistake it for a center of the road dance or classical album when its neither. Ive kind of settled with Modernist Classical Electronic Dance music.
What would be your major influences?
The album idea came to me when I was at Lollapalooza 2008. I was watching Booka Shade perform and what blew me away by their performance was the crowd. Each person was dancing to every kick drum beat and synth hit, I stood there watching in awe. I had never really listened to dance music let alone gone to a dance concert so seeing people responding to music like that was completely new to me. Just watching everyone dancing made me excited and made me want to dance. I wanted to be drawn into this communal dancing experience! I knew right then that I wanted to write music that would well up similar feelings in a crowd but I wanted to use classical instruments instead of synths. I worked pretty much on that seed of an idea for about 5 or 6 months and in that time I finished and early version of the title track and started on The Heisenberg Uncertainty Principle. Which is where I hit a wall and realized that I wasn't really getting to the heart of the music I wanted to create. I then started listening to cheesy dance music like Tiesto to understand what in the music makes crowds communally dance like they did at Booka Shade. This inspired me to write "The Antitelephone" and work more on the first two tracks but I still didn't feel great them. The breakthrough came when I wrote The Entanglement. The song was written in about a day or two and it made more sense than all of the other tracks. So I went back and rewrote the other three. Just to give you an idea about the length of the writing process: The Entanglement literally took a matter of hours to write, had only one version and no rewrites. The Ultraviolet Catastrophe and The Heisenberg Uncertainty Principle took about 10 months to write and had over 100 versions and as many rewrites. The Antitelephone took about 6 months had about 50 versions and about 30 rewrites.
The biggest influence in my mixing came from U2's "No Line On The Horizon" album. One of the first things that you will notice is Bono's crackly imperfect voice. And I realized that if there is any band in the world that has enough money to afford to make an album sound perfect, its U2. But they didn't make it perfect and all the vocal mistakes are there and unpolished. I wanted to do the same thing with the sound of my record. But since I am constrained to the perfect 1's and 0's of a computer I tried to mix the album with vintage effects to create acrackly analogue sound. Also I got it mastered on vintage equipment to add more analogue warmth and crackle. I absolutely hate the boring digital perfection of other electronic artists so I wanted to avoid that.
How long have you you been making music for?
Off and on since 2002 grade but not seriously until about 2007
What instruments or software do you use to create your work?
I use Logic 8 to write just about everything. I started out as a guitarist and sometimes Ill write things and transcribe them for other instruments. I have grown pretty tired of guitar and I really don't have any interest in playing it on a record. Hopefully that will change down the road!
And what is the creation process like? Do you lay down a beat and work from there or start off with playing around with instruments?
Usually I will choose a tempo and start laying down ideas. I put down as many short phrases as I can with out editing them. Once I have a couple down I will add about five layers of complimentary instrumentation. Then I choose my favorite and start building a song off of it. The Antitelephone and The Entanglement's idea seeds were written in the same day in the same Logic project. The Entanglement was a combination of two ideas put together. For The Heisenberg Uncertainty Principle I wanted to write a dance song with Gregorian chant. Somewhere in the 100 or so rewrites it be came an operatic duet. I got a vocal teacher at my college to sing a couple of lines in Latin for the song. The female vocal was a lady that I had heard sing a solo at my church. The Ultraviolet Catastrophe's various parts were put together fairly shortly after Lollapalooza, the only thing that really changed in the rewrites was the drums and bass.
Any plans for single releases?
I released a single version of The Entanglement which is being promoted in the UK and Europe. It is going to be played on BBC 3's Late Junction Show. I also animated a video for the single (which there is a link at the bottom of the page).
(if so), would there be any bsides or remixes surfacing with the new single release? I don't really produce any b-sides. I either work on something until it gets on the album or I throw it away pretty quickly. I am planning on releasing a remix album of The Ultraviolet Catastrophe in the late fall.
What has been your favourite artist from It's All Indie?
Although not very indie, Bloc Party/Kele would be my favorite. They caught my attention with Silent Alarm and oddly enough kind of followed my shifting musical interest over they years as they changed into an electronic band. That being said I do hope that they get back together and get back to their punk/rock roots.
(and finally), what would be your 'Track of the day'?
Lemon by U2. That song is so far ahead of its time. Impressionistic lyrics set against a synthy/gated guitar line and groovy dancy bass and drum combo. There is also a cello interlude which I love. If there is one song from any artist's cannon of songs I wish I could steal its Lemon. Zooropa, from which Lemon is taken, as an album 15 years ahead of its time. Radiohead gets so much credit with Kid A being the first great electronic rock crossover album. When U2 did it 10 years earlier and much better than they did (in my opinion).
Huunter are from the USA, Brooklyn New York to be accurate and they have released a brand spnaking new album 'The Ultraviolet Catastrophe'. It is many things, modern classical meets electronic dance. It’s easy dance to, and with 4 electronic tracks it is also 40 minutes of pure electro fun. Lloyd Bourne (the one member of Huunter) sent me the album and having listened to it, I have to admit, it is a brilliant listen!
The most interesting track on the album is 'The Entanglement.' This is where Bourne creates a most harmoniously infectious, layered sound you can’t help but move to. It is also the closer to the album and the piano accompanied by the drums reminds me of late 90's dance music, the synths also make this track into my pick from the album. Huunter - Ultraviolet Catastrophe Free download Via Bandcamp [OFFICIAL SITE] [FACEBOOK]
What do you get when you cross Delphic with Pendulum? This fantastic track called 'Fever Rising' by up and coming band Them:Youth. This London 4 piece is definitely going for big anthem tunes, as you can tell from this track!
Their songs have a melancholic edge, combined with an electro beat, and has some funky synths that sound like something a well known dance act should be doing, that somehow makes their songs sound more exciting every time you give it a listen.
Stop and Stare is the euphoric third single from British synth-pop newcomers Fenech-Soler, a three-piece hailing from Northamptonshire. Just in time for Summer, Fenech-Soler’s breezy, electronic pop is destined for the cars and Ipods of the Ray Ban wearing festival goers.
Stop and Stare’ starts with some quiet, nippy synths, slowly introducing some piano chords and a tumbling drum fill until the uplifting, all-out club anthem kicks in. The vocals are fitting and competent, but nothing extraordinary, and the resemblance to Calvin Harris is hard to ignore – the climax before the last chorus recalls the climax of Dizzee’s Calvin Harris-produced ‘Holiday’ – but the layered percussion, soaring chorus and perfect production make for a catchy and welcome pop song. At first you might decide you hate it, but it becomes increasingly hard to keep that smile repressed the more you listen to this summery single.
Stumbled across this dubstep remix of the latest Fenech-Soler single by a man called GZUS who kindly dropped it over to us about a week ago and we’re not going to waste any time so here it is.
Another big big big remix of Stop and Stare. This one is by Penny For The DJ. It starts off sounding almost like the original…and then it drops… and it makes us want to fight a lion!
