Fresh Fish: Burial – Street Halo EP (2011)

28 03 2011

Not one, but Two Burial releases in the last week! not bad considering he was pretty much silent (outside of some Choice Collaborations) since 2007’s Untrue LP. Street Halo sports some of the longer tracks  of his work, but it’s still the same Foggy 2 step with Spliced RnB vocals just out of reach- that dub-step fans have learned to Love. This New EP is Out Today. Check it.

 

 

Stone Dog

Street Halo

http://www.myspace.com/burialuk





Fresh Fish: Burial, Four Tet, & Thom Yorke- Ego/Mirror (2011)

25 03 2011

Need I say more?  It’s everything you could want from such a collaboration. Bringing in Burial‘s Murky Dub-stepping, Four Tet eccentric noodling, and Thom Yorke‘s Ghostly Vocals. check out this electronic Dream Team NOWW! or you know, later, or whatever..

Let’s Collectively cross our fingers for a full length album





The Squeezebox: James Blake – James Blake (2011)

5 03 2011

How ’bout that dubstep?  Popular with British clubheads since the late 90s, dubstep’s head-nodding, syncopated beats and complex percussive arrangements have provided a very chill, cerebral alternative to the house/techno standards common in British club for quite some time.  But its spacey nature, instrumental focus and fixation on the club environment have limited dubstep’s popularity to its own small niche market, just waiting for someone to break it open into the mainstream psyche.  Last year, James Blake began that process with his series of EPs, The Bells Sketch, CYMK, and Klavierwerke, a collection of some of the most innovative dubstep to be released last year.  The title track off CYMK, a groovy slice of dubstep-pie featuring heady vocal samples, sliced, diced and pushed through effects boxes like a garlic press, received plenty of acclaim and airplay, ranking highly on several “songs of the year” lists and helping the 3-EP set reach #8 on Pitchfork’s top albums of the year.  But even with all this critical acclaim, it was still just dubstep, and as cool as it was, as pumped as the electronic music scene was about it, it was still a niche sound, not quite ready for the mainstream.

But then, in November, James Blake dropped a bombshell with his single “Limit to Your Love,” a cover originally recorded by Feist off her 2007 album The Reminder.  The song starts with an immediate surprise to those who were expecting more dubstep: no effects, no samples, nothing but a piano and Blake’s voice, crooning like he was born for it.  As the song develops, it picks up some barebones percussive instrumentation and some great supportive vocal harmonics, but through the whole thing it retains that slow, swaying, narcotic vibe, shocking anyone who expected more beats and bumps and adding a whole new facet to Blake’s cache of musical skills.  Critics were left dumbfounded, wondering how he would use this previously cloaked vocal prowess in his upcoming album.

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