"You, Me & Everyone" is the stunning new album from Pedro (James Rutledge), an ambitious attempt to widen the scope of cut and paste music. Receiving praise from pioneers such as Danger Mouse, Four Tet, and Thom Yorke, Pedro is seen as a producer's producer.
Since the release of his first EP in 1999, which marked the birth of Manchester's Melodic Records, Pedro has worked relentlessly to broaden the definition of instrumental hip-hop and cut n paste music. With layered references to the sound and compositional structure of modern orchestral work, hip-hop, free jazz and experimental rock music, Pedro has defined himself as a unique craftsman of collected sound.
Supermayer is Michael Mayer & Superpitcher -- easily Kompakt's most recognizable faces. Save The World places our two superheroes along the edges of the world of techno-bliss -- a trumpet, saxophone, acoustic guitar, melodica, flute, a vast array of percussive instruments and even a gong are just a handful of gizmos they used to defeat those electronic purists who would not dance. The dynamic duo also take a few death-defying risks by sonically experimenting with some indie-pop and laidback, lounge-y jams. Even in the familiar minimal banger territory of "Please Sunrise," a saxophone and spacey synth floating in and out of the mix add a layer of earthiness that leaves the track refreshingly warm.
"I trust Ryan Catbird with my ears. Ever since we first mentioned him and his indie (no, but seriously. Indie.) label a few months ago, I’ve been watching his music blog, Catbirdseat, like a stalker, and have panther-pounced a nice percentage of what he recommends. Therefore, while there may be debate as to whether I am worthy of telling you what to listen to, I feel totally comfortable telling you that you should listen to what he tells you to listen to… and the latest word from Catbird states that you need to stick your ears into the music of Clear Tigers. In fact, the man not only recommended we listen to them, he also “veered off towards hyperbole land” in saying that we will soon refer to them as our “new favorite band.”
"The Snake The Cross The Crown, a band that has proven not to take to Californian living, or the slick lifestyles of those trying to elbow their way to the front of the hipster lines, has already written and released two albums of perfection. The perfection lies not just in their individuality and vision of what a song must do in order to cut it, but in the band’s innate ability to know itself and breathe a life lacking all frivolities and needless banter, and instead make it the kind that is timelessly important and which should make them examples of exactly how to pen songs that spawn other imaginations and span more than mere minute hands. Cotton Teeth is a gripping disc that feels like a creaking porch, lit by the blueish glow of the electric bug zapper (the only bit of modernity allowed in this description) – a strong scent of freshly mown grass, the tear of blades lopping blades – and not another light to be seen in any direction, just stark silence that always makes you want to check behind you for something hunting."
- The Snake The Cross The Crown - "The Great American Smokeout"
- The Snake The Cross The Crown - "Gypsy Melodies"
Here is another obscure find from the psychedelic 60's, along the same lines as the Electric Prunes post I made not too long ago. This time around it's The Exotics, a little-known garage rock group who rose out of the Dallas music scene in the late 60's. I came across a handful of their tracks on a Texas Punk compilation that was ripped from vinyl, and then again on the Texas '60s garage anthology "Acid Visions." I've looked all over trying to find some information on the history of the band, but my search was almost entirely fruitless. If anyone out there knows anything more The Exotics, feel free to fill me in. Below are a couple of blurbs that I was able to find.
"Disc three (Acid Visions) is built principally around the sounds of the Exotics, whose range encompassed proto-heavy, metal-fuzz-laden guitars and folk-rock-type harmonies, as well as pop-psychedelia -- they sound absolutely elegant on the spaced-out, vaguely folkish "Morning Sun" and turn right around with a virtuoso electric guitar workout on the trippy, psychedelic lament "Hymn to Her." It's all fun and most interesting, although the annotation could use some work."
"The Exotics (Dallas) modified their 1967 song "Come With Me" (also covered by the Chesterfield Kings) to "Come With Me to Chevrolet" in order to plug Bill McKay Chevrolet (Dallas area?). This "commercial song" is also customized with aftermarket Slick-ish female vocals to give it that "Free Advice"/"Levi Jeans Commercial" feel. (The only active Bill McKay Chevy dealership, discovered through Google, is located in Fairfax, VA. So I guess, the song has lasted longer than the dealership and all those dashing '67 Camaros and Chevelles.) Both "Come With Me" and "Come With Me to Chevrolet" can be found on disc 3 of Collectables' "Acid Visions: Volume 2."