Sinkane is kind of a band. I say kind of, because Ahmed Gallab, the frontman, plays most of the instruments on the album, but needs some help when he’s not playing with himself: that’s when Jason Trammell, Mikey Freedom Hart and Mike Montgomery come into action. The result of some of that action is damn good music, if I may say so myself. Which is not that much of a surprise, since the man has played (drummed) for Of Montreal, Caribou, Born Ruffians, Yeasayer, and a few more, so he definitely knows what he’s doing.
Jeeper Creeper is one of those songs which evokes so many different genres that it’s hard to define, and that’s definitely part of the appeal here. Its hypnotic funky bass contrasts with the African beat and spacey synth effects – and the electric guitar on top of all of that adds the final psychedelic touch. As for the lyrics, you try to guess what they mean – if you think that’s even necessary.
Sinake‘s album, Mars, is out now, and it’s definitely on my neverending to-listen-playlist.
Hey, here’s a good song: Black Road by Pyramid, aka Etienne Copin, a French producer coming from Lyon who shows promise. You can definitely feel the influence of bands like Boards of Canada – for the dark yet uplifting sound – or Justice, for the groovy bassline.
The synth that comes on at around 0:55 followed by the bass (twenty seconds later) are when things really get heavy, so stick around until then before going back to watching porn – or whatever it is that you were doing before listening to this.
Find an interview of Pyramid on Rolling Tuff, along with a link to download the song – you can also get it from the French blog Stop the Noise.
You may have heard Jack White‘s first solo album, Blunderbuss, but what you probably missed was a track called Machine Gun Silhouette, which only appeared on the Japanese version of the album, for some reason – and the Love Interruption EP, which got much less publicity than the actual album. And guess what? The song’s great. The interaction of the fiddle, piano and electric guitar (I especially like the lick at 0:27) is what really sells the tune.
There have been a lot of remixes for Phoenix‘s great single Lisztomania, but one in particular has found a place close my heart: the one by Parlez-vous Anglais (Do You Speak English), a French band that somehow managed to make the original song sound ever cooler.
I also noticed they recently put out an EP called Sunglasses & Shirts and it’s pretty neat, so go and give it a listen on their Soundcloud if the song above pleases your ears.
Electronic music has brought us new genres, and one that I particularly dig is something I’d call Space music. Songs that, if (when) I one day have a spaceship, I’d just have to blast through the Noisnoise Enterprise’s speakers while speeding among the stars. Starcrash by Worship is one of those songs, and it smells like beautiful forgotten disco music.
Worship is based in Geneva, Switzerland, and if you want to listen to more of his material, his Soundcloud is probably a good place to start.
I first heard this song at the end of an episode of Bored to Death (Gumball!, s03e02), and I just had to go and get that track in order to listen to it for hours on end, because it’s so brilliant. The show, meanwhile, has been cancelled because the world is a cruel place – but hey, they’re making a movie, so that’s nice. The Bandana Splits are an all women trio from Brooklyn, but even though their name is a mix of the words Banana Split and Bandana, I haven’t spotted them wearing ice cream on their heads – yet. Their music, featuring a lot of harmonies, ukulele and soft electric guitar, is reminiscent of the fifties and sixties, and bands like The Andrews Sisters. Be careful however not to get too nostalgic about that time while you listen to their sweet music – remember, there was no internet back then. Also it was pretty racist.
Of the three women, Annie Nero, Lauren Balthrop and Dawn Landes, you may have stumbled upon songs from the latter, who’s a pretty great singer-songwriter definitely worth checking out.
Their first album, Mr. Sam Presents, was produced by Sam Cohen from the band Apollo Sunshine, who gave his name to the album, and it’s full of stuff like that. And if you’re still hungry for more after that, you can go and listen to their great cover of You Don’t Have To Be a Baby to Cry by The Caravelles (here’s the original).
The only other tab for Default by Django Django I could find online was rubbish, so I decided to write my own!
First things first, you’ll need to tune down your guitar one half step, to D#G#C#F#A#d#. The main riff is played with a power chord on the second fret, which makes it an F chord because we’re down half a step. Then lift off your index finger and put it back on three times to get the main idea of the riff (you can’t hear the last lift of the finger on the record very well, but he clearly does it in the live versions). You could also play the chord as a full barre chord (244322), it doesn’t change much since the emphasis must be put on the lowest strings.
You don’t necessarily have to play the two X’s I put in the tab (muted strings), but I found myself playing them to keep rythm. For the strumming, I wrote it above the tab (d = down and u = up). It’s kind of important to start the third chord with an up stroke, to keep the rythm of the song going. And if you want to play the riff perfectly right you’re gonna have to lift off your fingers for a very short time to stop the ringing of the chords on the first chord and the one before last.
Once you get the main riff down, the rest of the song should be easy to figure out: the first part of the song where they sing “Default” is simply the same F chord (first one of the riff, 2244322, don’t forget we’re half a step down) played six times off beat (that can be confusing); then same as the riff, end on the 577655 on the beat this time; then repeat the whole thing.
Finally, pretty much every time after the chorus (where he sings on the riff), he goes to a D# (played like your regular E : 022100) for a few bars, then a C (x46664) and then F (again, same as the riff, 2244322).
I hope that was clear enough, don’t hesitate to post a comment if you have any problems with it!
The British duo Lemon Jelly haven’t produced anything in years: technically, they’ve been on hiatus since 2008. But as a fan, you get by how you can, which sometimes means having to look in unexpected places for rare tracks. Hence why we’re talking today about Together, a song whose lyrics are originally written and read by William Shatner on his second album, Has Been, but whose real appeal is the background music, coming, you guessed it, from Lemon Jelly. To Shatner‘s credit, his voice really fits the music (or is it the other way around?), and the lyrics, co-written by his wife, are ambiguous enough to be qualified as poetry.
Interestingly enough, Shatner would later be featured on a Lemon Jelly song, Go, from their brilliant ’64-’95 album. On both songs, the same artists, but each time you’d never know if you didn’t make some sort of internet research.
It must be weird, to put out an EP with remixes of your song from other artists, and one of them is just better than yours. That doesn’t mean that your original track is necessarily bad, of course, but still, it problaby stings a little. In this case, we’re talking about the Bit Funk‘s remix of an Adulture & OCD Automatic collaboration, the song Paper Cat. It’s one of the grooviest remixes that I’ve heard in a while, and that bassline that comes in at around 0:19… well, you’ll know what I’m talking about it when you listen to the track below. Some brilliant human being has chosen their cat as the star of a homemade clip for the song on Youtube, and it’s so groundbreaking I just had to put it here.
The whole EP features remixes by The Phantom’s Revenge, Sammy Bananas and Free Magic and it’s worth a listen, if only to see what they’ve done to the original track.