In its review of Dean Blunt’s The Redeemer – which they later named their top album of 2013 - FACT called Blunt “the premier art prankster of our time,” while acknowledging his earnestness; Tiny Mix Tapes, who would give the album the #2 spot in their best of the year rankings, praise the work for its liberating “short-circuiting of the boundaries of taste and instilled critical response,” while speaking to the album’s near-paradoxical emotional depth. Blunt’s newest odyssey, Black Metal, rides this tension between critical detachment and mainlined human feeling, and in fact he climbs ever-steeper theoretical heights just as his emotionally stark songs become, at times, startlingly intimate. A true multi-media vanguard, Blunt employs original instrumentation along with elements of pastiche and his unique vocal performances to create songs and recordings that are not only beautiful, but also tie into his larger project that incorporates music, visual art, and the written word to play with identity, cultural signifiers, and artistic agency. But Black Metal is above all a brilliant, majestic collection of songs, encompassing everything from hypnotic long-form experiments to ballads almost disarming in their sweet simplicity, swirling equally with fascinating sounds and fascinating ideas. Blunt’s influences are wide-ranging, from rock’s underground pioneers (he quotes Sonic Youth in interviews; the album leads with a Big Star sample), to neo-classical composers, to early indie pop (another track samples The Pastels), to classic rock, hip-hop, and R&B. But rather than coldly compiling them, Blunt brings the works and genres he draws from into a new musical and cultural conversation. With his newest, most accomplished, and most vexing album, Black Metal, Dean Blunt invites us to draw our own conclusions in his expansive and fascinating world.
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Jenny Lee Lindberg of Warpaint announces her solo debut album as jennylee, after hinting to fans with studio photos via social media. Joining Jenny on the album are: Norm Block (Plexi, Mark Langegan), Dan Elkan (Them Hills, Broken Bells) and Warpaint’s Stella Mozgawa. Additional players include Tony Bevilacqua, Kris Byerly, Katie Burden, Kirk Hellie, Jonathan Hishcke and Cedric LeMoyne. While right on! retains some of Jenny’s signature Warpaint groove, she incorporates New Wave and Goth elements into her solo work. Her breathy voice and her meticulous bass playing create a new aura that is hazy and dreamy, and essentially all jennylee.
Since his first 12” as Pantha Du Prince in 2002, Hendrik Weber has steadily built himself a career as a progenitor of the organic, humanistic branch of minimal techno that has helped the genre – and experimental electronic music more broadly – earn itself the place at the cultural table that it now has. And with his first proper solo Pantha Du Prince LP in 6 years, coming after 2010’s beloved, now-canonical Black Noise (and his acclaimed 2013 collaboration with The Bell Laboratory, Elements Of Light), Weber has further refined and advanced his uniquely naturalistic style into a sweeping and grand, but detailed and absorbing album, whose tracks evoke the tides’ crashings as much as the orchestra’s chamber, a cool night in a damp, mossy forest as much as the thrum of the dancefloor. A brilliant addition to an already spectacular career, The Triad is Pantha Du Prince’s most far-reaching statement yet, and a testament to the deeply human, enchanting potential in electronic music.
We are thrilled to announce the first new music from Hendrik Weber – a.k.a Pantha Du Prince - since his 2013 collaboration with The Bell Laboratory, and the first proper Pantha Du Prince release in six years. Pantha Du Prince’s 2010 masterpiece, long-player Black Noise, is well acknowledged to have expanded both the sonic and emotional possibilities of minimal techno; the songs’ warmth, intricacy, and creative boundary-pushing, have earned him a seat in the Pantheon of modern electronic music, alongside contemporaries like Burial, Four Tet, or The Field. With his wildly-anticipated new music, Weber expands his scope: the crystalline delicacy of “The Winter Hymn” is deeply evocative of the track’s namesake season; “Post human palisades” finds him merging electronic and organic instrumentation into a delicate narrative of alienation and other, bolstered by a pulsing dance floor heartbeat; and “Dream Yourself Awake” is filmic and transfixing.
Rough Trade re-release Exquisite Corpse EP, the L.A. band's playful dynamism the band is notorious for creating live. Warpaint weave majestic, haiku-like guitars, hypnotic vocals and driving post-punk rhythms into gorgeous, sprawling songs that skirt the line between the soundscapes of Psychedelia / Shoegaze, the haunting intimacy of Folk and Rock's primal heaviness. Includes the seminal track "Billie Holiday".
‘Heads Up’ was recorded after the band spent 2015 apart working on solo projects. Reuniting in January this year, the band started to work with producer Jacob Bercovici, whom they had worked on their debut EP ‘Exquisite Corpse’ – into the studio to begin work on the new LP. The album was recorded in House on The Hill studio in downtown LA, their home studios and Papap’s Palace and for the first time ever, recorded in pairs and alone rather than as a full band. ‘The doors were a little more open in terms of what was accepted and what wasn’t, because we were sharing ideas so rapidly between us” says the band drummer Stella Mozgawa of the recording process. “ “Everybody was allowed to have their space, time and creative freedom with songs and figure out, ‘I wonder what the best notes would be? I wonder what the best would be to play?” says bassist Jenny Lee Linberg “Everybody got to sit and go, “What do I want to do to this? What’s my part? What’s My Role? How can I make it the best?”
Warpaint is a Los Angeles based quartet comprised of Emily Kokal (vocals/guitar), Jenny Lee Lindberg (bass/vocals), Theresa Wayman (guitar/vocals), and Stella Mozgawa (drums). To say that this follow-up is “highly anticipated” is an understatement, considering the reception that their debut received when it was released at the end of 2010, and the excitement at their recent sold-out shows in New York and LA. They are currently also featured in a Calvin Klein jeans campaign which has received 2 million views via the YouTube ad alone. Warpaint was recorded and mixed by Flood, aside from two songs that were mixed by Nigel Godrich. The album was conceived after some truly inspirational writing and recording sessions that took place in The Joshua Tree late last year. The band was joined there by visionary director Chris Cunningham, who has partnered with them for many of the album visuals including the cover. He spent two years filming and photographing the band as they made new music. Warpaint is a well-oiled machine. They weave intricate guitar lines, hypnotic vocals and driving post punk rhythms into gorgeous, sprawling songs that skirt the line between psychedelia and intimacy. Both live and on record, Warpaint sound like they’re channeling something truly otherworldly, and mystical. They are also a band that truly enjoys playing together. Emily and Theresa have been friends since they were kids, and the bond that the four of them have is truly special.
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Joseph Abajian (DJ Jab) founded Fat Beats in 1994 with nothing more than a shoestring budget and an earnest obsession with the music, the culture, and the brotherhood of New York’s burgeoning rap scene. What began as a simple vinyl shop in Manhattan’s Lower East Side quickly became an integral hub for artists, both aspiring and established, to convene and collaborate on new projects. Joseph’s timing couldn’t have been more impeccable. When the 90’s cultural zeitgeist – and, in turn, the music industry establishment – chose hip-hop as its new arbiter of cool.
International tourists and touring artists alike flocked to Fat Beats for rare vinyl, kindred spirits, and exclusive in-store performances from Jay Z, Eminem, Gang Starr, Outkast, Slum Village, Mos Def, and more. One thing was clear: the Fat Beats phenomenon could no longer be contained in a single basement shop.
In the late nineties, Abajian proceeded to open new stores in Amsterdam, Tokyo, Los Angeles, and Atlanta. He further expanded the company’s profile to include global distribution and record label branches. Distribution has since proven to be the company’s strongest and most enduring enterprise. Today Fat Beats Distribution stands poised as one of the country’s pre-eminent distributors of vinyl & specialty item records: a proud survivor in an industry now famous for its mortality rate. Despite market fluctuations, technology innovations, and stylistic revolutions, Fat Beats has remained steadfast in its commitment to the timeless vinyl format and to the loyal community who keeps it spinning.
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