As you might remember from our very first ‘Blisspop Bonus Tracks’ round-up, the purpose of these is pretty simple: A gathering of all the music that may have slipped through the cracks from the weeks past. In this second round-up, we’ve got a bunch of cool stuff for you to discover and play, and hopefully download and take with you to soundtrack whatever it is you’re doing. Highlights of this one include the lead single “Give Up” from San Francisco based duo BLAUS’s debut EP, an epic debut single from a BLEITCH called “This Is Our Youth”, as well as one hell of a remix from Axmod that will just take you away. Enjoy everything below!
Anyone who actively uses SoundCloud knows that there is simply too much good music being produced and released every single day to be able to catch it all. And if you’re like me and follow over 1,000 different great artists, forget about it. And don’t even get me started on that “Repost” button…
The purpose of these ‘Blisspop Bonus Tracks’ round-ups is pretty simple: A gathering of all the music that may have slipped through the cracks.
In this first round-up, we’ve got a lot of different kinds of sounds to offer. Highlights include an awesome new one from Finnish duo TJH87 featuring Gamble & Burke, an airy electronic EP from Distant Cousin, and a magnificent number from Sol Rising off his new album ‘Mystical Awakening’. There’s much more goodness than that of course as you’ll find… Enjoy everything below!
If you don’t know the very, very, very, very (YES EACH VERY WAS NEEDED) talented Brooklyn based singer/songwriter Tei Shi, right now is your chance to correct that. Tei Shi is headed to U Street Music Hall on Tuesday July 8th to play with the UK’s very own Glass Animals. Her sound is classic R&B meets chill indie-synths & experimental vibes. Think Sade meets Devon Hynes/Blood Orange & James Blake. We sat down with Tei Shi and got to know her and how she makes her signature “mermaid music” sound, the importance of drink tickets, and collaborating with tour headliners Glass Animals for their track “The Holiest.”
So you call your sound “mermaid music,” what’s key to that sound?
-I first used the term when I was unsure of how to describe the music on my facebook page. I thought it was kind of funny and weird, and I love mermaids…in a way I think it also fits with the music. The “key”, I suppose, is the heavy emphasis on the vocals which creates a kind of siren-y sound with more ambient production. That’s at least true of Saudade for sure!
How did you develop the sound?
-I had been writing and working on the songs throughout a few years, and I teamed up with Luca Buccellati who has been producing everything with me and really helping me shape the sound. I brought the songs for the EP to him and we re-recorded them, developed the arrangements further together, added instrumentation, and really shaped it. I think the development of the sound is still happening, and it’s a combination of my own style of songwriting I guess, with growing experimentation and playing around with sounds and production. So it’s really still developing, but the basis is always the song and bringing Luca’s production skills into the mix.
Growing up in the Pacific Northwest and Bogata had to expose you to quite the spectrum of music, what has been your biggest musical influences? And the one we might find the most unexpected?
-I grew up all over the place, my family is spread out all over the world and I’ve definitely bounced around a lot, even in the past few years. So that kind of lifestyle and desire for change is something that’s really influential to me as a person. I was also exposed to a lot of different cultures and music as a result, and I think that played a big role in causing me to develop a really eclectic taste in music. I would cite everywhere from Queen, to Fleetwood Mac, to James Blake, to Mariah Carey as an influence. All of the artists and music that I consider to be influences on me musically you probably don’t hear at all in my music–I consider my musical influences more as artists who kind of opened my eyes and ears to different ways of being and expressing, rather than directly shaping my own sound. Recently I’ve been listening a lot to Ariana Grande and I love her, so that would probably be an unexpected one to some people…but I’d really love to write a song for her.
Your duet with Glass Animals, “The Holiest” is a simply stunning track. What or who inspired the track?
-Thank you! It’s still kind of funny and surprising to me how that track came about, it really just kind of happened and turned into something really cool without much planning or intention on either part. Dave from Glass Animals sent over some instrumental loops he had been working on (we were put in touch as they were looking to do collaborations and liked my music-for some odd reason). I remember listening through a few loops and when I came across the one that came to be Holiest, I was really drawn to it. I loved the clicky melodic thing at the beginning of the song, and that prompted me to just start writing this melody and lyrics over it, and the song just kind of came out. I wrote the melody and lyrics and recorded my vocals over the loop I think all in one sitting, and I sent it over to Dave. He really liked it and took it into his hands from there, played around with it, recorded his vocals on it, finished the track and got it mixed. It was all a really smooth and kind of surprisingly quick process. I’d like to think we kind of both inspired each other with what we brought to the track, and because of that we were both able to build on it really fast and easily. It was a really awesome way of working together.
Any remixer for any of your tracks. GO!
-James Blake remix of Adder(f)all. That would be my final wish.
Now that you have your first sold out show, supporting Glass Animals, do feel you have made the jump from online to real life?
-It’s really awesome to be playing a sold out show, especially alongside Glass Animals. They are so awesome and have been so supporting of me, and it feels really rewarding to be able to share the stage with them. In terms of making the jump from online to real life…I don’t know if I will ever really feel that jump haha. Things like playing these shows and having people be really responsive to my music still don’t feel real to me at all, and although I definitely think in a way that’s a symptom of the age we live in, and the fact that success measured in the digital realm is so intangible and hard to translate, I also think that any kind of ‘success’ or opportunity that has come my way is really surreal. A year ago I wasn’t even sure that I would put the EP out at all, and now I’m playing at these awesome venues and getting to collaborate with wonderful musicians and go on the road, and it’s all kind of surprising to me. I think the jump to reality will happen once I’ve put out a good amount of music and can actually hold an album in my hand and call it mine, and interact with people and their responses to the music personally.
What has been the most important part of that transition from having your first self made EP to touring?
-The most crucial part has been the coming together of the live band and the process of us kind of uniting and diving into touring and all that. It all happened really quickly, the band came together a couple of weeks before the very first show during CMJ, last October. Since then things have been happening pretty quickly and we’ve had to adapt to each other and learn to work together and bring the music to life on stage. Which has been really weird and a huge learning experience for me since I had never payed live before this project. The band has gone through a lot of change, and our live set up has changed a LOT since October. We’ve really bonded as a group too and have become really close as people, so that has been the biggest foundation in terms of making that transition. Without Gabe (who plays drums in the band) and Luca (who plays guitar and keyboard), I think I would feel really lost. They are incredible musicians with way more live experience than me, and they’ve really supported me and been the backbone for me in that transition.
What makes a venue not just a good one, but a great one for you as an artist?
-Two things: The sound (the quality of the sound system and whether the sound guy can put up with us), and second in line would probably be how many drink tickets we get. hahaha.
For your first trip to perform in DC, what are your must see sites off stage?
-This will actually be my first time in DC ever, I would love to stay and get to know the city a bit, do all of those obligatory touristy things like seeing the White House and all that. We’re having to leave and drive back to NY right after our show though, so the site seeing will unfortunately have to wait til next time!
PERFECT! Now we have even more excuses to get you back down to play for us again!
Honest Haloway have been churning out some of the hottest indie rock in the D.C. scene for the past year, and they’re about to make things alot hotter. They’ve just debuted lead single “Eyes On Me” from their sophomore EP Perigree, and the track is a fist pumping, synth driven piece of ear candy that captures the best of the band’s rock and electronic influences. Seriously, this track is hard to put down. Take a listen below and don’t miss out on their record release show with Tiny Victories and Pleasure Curses on June 13th!
2013 has been a tremendous year for electronic music to say the least. The Blisspop staff did its best to wrangle up its favorite things from the past 12 months–ranging from artists to albums to gigs. We hope you enjoy–see you all in 2014!
Caleb – Top 5 Favorite Things of 2013
DJ Koze – Amygdala
This LP was a nice surprise for me. It’s definitely super unique and each track differs vastly from the next, but DJ Koze managed to make probably the most colorful and creative album of the year. Everything from the sound design, goofy vocal croaks, Marvin Gaye samples and wandering song structures come together to form a trippy wonderland that congeals perfectly when absorbed from start to finish.
Daniel Avery – Drone Logic
Daniel Avery’s debut LP Drone Logic dominated the latter part of my year, especially following his killer DJ set at U Street Music Hall. It took everything I loved about his initial EPs, removed any fluff, and turned out to be one of my favorite records of the year hands down. It’s relentlessly analog feeling but manages to not be as rigid as most tracks that would fall under that descriptor. Daniel Avery’s songwriting and production are both at the top of their game, and tracks like “Water Jump” make for easy dance floor workouts while slower cuts like “Knowing We’ll Be Here” showcase his depth as a producer with dreamy synthscapes and gorgeous melodies.
The Juan Maclean – “Feel Like Movin’”
DFA had a fantastic year with releases like The Juan Maclean’s “You Are My Destiny,” Shit Robot’s “We Found A Love,” and Holy Ghost’s awesome sophomore LP Dynamics. The most memorable track (of the year and probably the label in general), though, was The Juan Maclean’s “Feel Like Movin’.” The song is a glorious 8 minute house wonderland with an infectious groove, meaty piano stabs, stomping kicks, and the iconic voice of Nancy Whang overtop it all. It ends up feeling like a culmination of everything awesome we’ve come to love about the label combined into one feel good track.
Lxury – “J.A.W.S.”
Having Disclosure ties from the get-go never hurts, but Lxury’s debut single carries itself entirely on its own. Infectious, bright UK house with a fairly unique approach to synth work makes for one of the year’s biggest tracks.
Todd Terje – “Strandbar (Samba)”
Todd Terje’s epic “Strandbar” is probably my favorite track of the year. It’s a 9 minute piano house journey complete with burbling synths, ephemeral textures and and an incredibly infectious samba beat behind it all. Todd Terje has built a reputation for making happy disco leaning tunes, and this is some of his finest works yet.
Charles – DC’s Best Gigs of 2013
Hotflush head honcho Paul Rose, better known as Scuba, descended upon Washington this past March alongside friend and label-mate South London Ordnance to deliver what was easily one of the finest performances of the club’s prolific three-year history. Alongside Blisspop resident Lxsx Frxnk, the three brought a night full of some of the deepest, darkest techno the city has ever experienced which committed itself to memory from the moment I walked into the club. Not only were each of their sets seemingly flawless, but they also showcased a style second to none. This one will go down as the night the UK took the nation’s capital.
George Fitzgerald has truly had the year of his life. With a steady stream of grade-A releases across multiple labels, one of which coming via London’s renowned Domino imprint, it’s safe to say that the Brit has solidified his place among the ranks of the world’s finest DJs and producers. Closing out his massive year with a North American tour, Fitzgerald stopped by U Street Music Hall with his highly sophisticated, inimitable style of house in tow. With the immensely talented DC locals behind the Silence in Metropolis label by his side, this night was one in which house music proved to be not only alive and well, but thriving in the face of its all too often humdrum contemporaries.
Where to begin with Mr. Blake? The one-time king of the “post-dubstep” revolution has, over the past four years or so, developed into one of our era’s most talented singer/songwriter/producers (a description which few can even attribute to themselves). After releasing his latest LP to widespread critical acclaim earlier this year (earning him a Mercury Prize along the way), it was readily apparent that the UK wunderkind has refined his sound to a T. Returning once again to the 9:30 club in early November, Blake proved to truly be at the top of his game–seamlessly blending tunes from his debut LP, his latest works, and even a track from his very first release via Hemlock (“Air & Lack Thereof,” a personal highlight for me). While there’s no doubt James Blake has transformed greatly as an artist, his live performances shine for their ability to demonstrate the linear approach and the cohesive manner in which the musician has grown.
David Kennedy returned to the District for the first time this past Spring under his Pearson Sound moniker for a night of some of electronic music’s most forward-thinking productions. One-third of the prolific Hessle Audio crew, Kennedy prophetically demonstrated via his set the sounds that would come to dominate 2013. Playing everything from experimental house to minimal, downtempo grime to old-school garage, all the while maintaining the tranquil ease the renowned producer/DJ has come to be renowned for. Pearson Sound confirmed that night his pivotal role in shaping electronic music’s tastes and trajectories. The man is truly in a league of his own and, to me at least, an inspiration.
The dynamic duo of Dominic Maker and Kai Campos, more familiarly known as Mount Kimbie, returned in epic fashion in 2013 to deliver one of the finest crafted LPs of the year (Cold Spring Fault Less Youth). On the heels of that release was the two’s first appearance in DC at the legendary Black Cat. The band, as it’s safe to call them–given their utilization of traditional instrumentation alongside analog equipment–has long been known and lauded for their live performances and this night was certainly no exception. Playing live renditions of originals as far back as their first release from 2009, Maker and Campos embody something which many other musicians spend their entire lives attempting to achieve–the ability to amalgamate both electronic and material sounds into a beautiful, harmonious synthesis. Even more impressive is their ability to translate this synthesis into a live setting. Perhaps most striking, however, is the feeling one gets that the two have yet to even reach the pinnacle of their artistic abilities. One thing is for certain, though, that Mount Kimbie represents in full form an optimistic future for the music world at large, one which was displayed in whole on an otherwise quiet night in the nation’s capital.
Chrystal – Favorite Artists of 2013
Emerging from the Gloucestershire countryside in the south-west of England, 25 year old Tahliah Barnett, better known as FKA Twigs, is tipped for big things after releasing her sophomore EP simply entitled 2. Her music feels like future trip-hop and very much similar to early Burial, Tricky and Massive Attack with elements of Portishead. This urban alternative beauty looks the part, is a former dancer, sings beautifully and purposefully, yet haunts the listener with her stark beats and intimate projection. Songs like “How’s That” from 2 and ‘Ache’ from EP 1 suggest nothing but total and utter brilliance. FKA Twigs makes the type of music which is begging to be remixed and should be a producer’s dream. After releasing her first EP on Bandcamp, FKA Twigs signed to indie record label Young Turks, and with new label mates such as SBTRKT and The XX, only good things can come of this pairing. Oh, and did I also mention she’s been named on the BBC’s Sound of 2014 list? Anyone who can bring back the genre of trip-hop–a genre I’ve never stopped listening to–is always welcome in my home.
Débruit is a genre-merging, boundary pushing genius from Paris who I only discovered (to my shame) this year whilst dancing wildly to his music at Worldwide Festival in Sete, France. Introduced to me by Gilles Peterson, Débruit, whose real name is Xavier Thomas, brings together Electronic music with Soul, Hip Hop, Garage and beats from all over Africa. With the release of his 2010 EP Spatio-Temporel, tunes such as “Nigeria What?” have made their mark on the European dance music circuit. His highly acclaimed debut LP released this year, From The Horizon, is also treat–the track “Ata” being a personal highlight.
Techno has never been my specialty. Although I’ve never had any problems moving to it, Daniel Avery has made me want to play it again. And again. And again. The DJ/producer’’s debut album Drone Logic, released by Erol Alkan’s Phantasy label, is remarkable, beautifully crafted techno at its best. Avery demonstrates a knack for old school vibes in tunes such as “All I Need” yet also proves he’s one of the most forward thinking producers in the game as witnessed in songs like “Drone Logic.” There are clear elements of the Chemical Brothers and twanging sounds worthy of The Prodigy, but what makes this album so special is its accessibility to many who know little to nothing about techno. At the same time, it’s an album techno connoisseurs should certainly love and respect.
Nominated for the UK’s prestigious Mercury Prize once again this year, Jon Hopkins has been around for a while working as a composer with the likes of Brian Eno. Foolishly, it wasn’t until Immunity was set free that I stood up and took notice. The London resident is now signed to Domino and released his fourth studio album to widespread critical acclaim. Electronic in its nature, it also offers spatial delicacies with flicks of techno. It’s safe to say that Jon Hopkins has a whole new fan base with this complex, highly refined delight of an album, myself included.. The title track truly touches the soul while “Open Eye Signal” takes you on a ravenous escapade. You can’t help but admire and respect Mr. Hopkins’s work as he has proved to be one of the most talented musicians of our time.
25 year-old Londoner Rikette released her debut EP this past November via Bandcamp and stunned the masses with her wondrously strong vocals and undeniable ear for melody, making this a brilliant debut release which spans multiple genres. Songs like “Next Question” are at home on the dancefloor, with its remix by Crownstone bringing together soul and chilled-out textures with nods to forward-thinking dubstep, while wonderfully arranged tunes such as the EP’s title track, “Miss Leading Happy,” feel very Winehouse-like with touches of Nina Simone and Ella Fitzgerald. Influenced by Jazz and Soul music, Rikette is also influenced by the London club scene which is felt in her charming and promising premier release, Miss Leading `Happy.
Elyse – Memorable Moments from Some of My Favorite Sets of 2013
Sepalcure – Boiler Room Vapor City Launch: (@ 17:30 – 21:50 )
Sepalcure is topping next year’s list for DJs who actually dance to dance music. Watching them dance and grin throughout this mix was refreshing and exciting. I particularly love the richness of the section starting at the 17:30 mark.
London Grammar Guest Mix for Annie Nightingale ( @ 3:27 – 8:05 )
Up-and-coming band London Grammar pleasantly surprised me with how well they complemented their own music with a myriad of electronic sounds. The section starting at the 3:27 mark shows this best: Bobby Tanks’ maximalist “The Way” sounds like it could be a proper remix for London Grammar’s “Metal & Dust.”
KiNK’s authentic, distinct and raw sound really shines throughout this set. Some of his new music is scattered throughout the mix and my intuition tells me that these two tracks in the marked sections are some of his unreleased material. The latter track is so special that I can remember exactly what I was doing when I first heard it.
Roman Flügel – Not So Silent (@ 17:40 – 28:40)
I generally enjoy Roman Flügel because he’s good at juggling a variety of sounds in his body of work while staying cohesive. I’m not sure what these songs are in this 11-minute section (please help me out, readers!) but I love how the abrasive noises are so well balanced with warm melodies, which is not always perfectly achieved in techno.
Four Tet Live in Tokyo
This whole set is stunning but it’s the extended intro of “Ba Teaches Yoga” that was most profound for me. The first six minutes of this live set feel like 20 minutes and I mean that as a compliment. It’s quite reminiscent of Orbital’s “Halcyon + On + On” in the sense that both tracks have a gentle depth in which you can lose yourself for days.
Some artists were upfront with the aliases they unveiled or popularized in 2013, such as Paul Woolford’s Special Request project and his fantastic Soul Music album on Houndstooth, while vocalist Ben Westbeech’s Breach project gained an immense amount of attention this year with several of his tunes reaching near mainstream attention. Some producers try to keep an air of mystery about them, however, such as Akkord; yet once their album on Houndstooth was being promoted it was confirmed to be the project of established producers Synkro and Indigo. Drum’n’bass and dubstep producer Icicle released a dark techno EP as Cadans, with promise of more material in 2014, dBridge explored techno tempos as Velvit, and Marcus Intalex had a banner year with techno and house releases as Trevino. The Multiverse producer once known as Baobinga made waves at 170 BPM as Sam Binga, and continued his slow house work as part of Behling & Simpson, while Behling paired up with Bristol artist Wedge to form Lrusse & Bleecker. Leon Vynehall and A1 Bassline launched the excellent Laszlo Dancehall project. Rebranding to signify a change in ethos saw Dave Spoon’s change from electro house to his more bass-oriented Shadow Child moniker, and DJG going from mostly dubstep to working as Grenier and exploring a much wider range of palettes and sounds were also fantastic examples of the benefits of working under an alias. And these are just the projects I can remember off the top of my head.
Will – Top 25 Tracks of the Year
Medlar “Knockard Pearl” (Detroit Swindle Mix)
Mind Against “Atlant”
Route 94 feat. Jess Glynne “My Love”
Tale of Us “Another Earth”
Phil Kieran “Saturdays” (Catz ‘n Dogz Remix)
Shadow Child feat. Takura “Friday” (MK Medicine Dub)
Jimmy Edgar “Strike”
Chvrches “The Mother We Share” (Moonboots Remix)
Ten Walls “Gotham”
Mano Le Tough “Everything You’ve Done Before” (Dixon Remix)
Tiga vs. Audion “Let’s Go Dancing”
Kardinal “Desperate Monday” (WHYT NOYZ Remix)
Waze & Odyssey “Feelin’ You”
KMFH “Dr. Crunch”
Jon Hopkins “Abandon Window”
Beautiful Swimmers “Running Over”
Walker & Royce feat. Louisahhh!!! “A Perfect Sound”
Nora En Pure “Come With Me”
Maxmillion Dunbar “Loving The Drift”
Daniel Avery “Water Jump”