Search results for LAST RESORT

G.S. Schray – Gabriel
Tuesday, January 24th, 2017 | Posted in Products | Comments Off on G.S. Schray – Gabriel

Image: 1608411 Gabriel S. Schray is a producer and musician living Stateside in Akron, Ohio, a city of 200,000 people. He’s been making and putting out music for years, though save for an LP on Bark & Hiss in 2012, most of his work has been self-released. For his latest album he’s partnered with Last Resort, a brand new London-based label born from the NTS Radio show of the same name. *Gabriel* is a sunny, mellow record, rich with light and emotion. None of its eight tracks are easily confined to any one genre, floating somewhere between ambient, new age and whatever style or sound you’d ascribe to The Durutti Column or Talk Talk. On a more modern tip, think Suzanne Kraft or Lord Of The Isles (minus the kick drums). Schray played all the various instruments himself, whittling down the final versions from their lengthy original recordings. The whole thing took him more than a year to complete-a labour of love assembled organically and with feeling.

1 All Featureless Corridors
2 Placeholder Areas
3 Some Baffled Stranger
4 The Unused Detail
5 Essential Punisher
6 One Sad Touch
7 Goblin Year
8 Duskers, After Dark Available from 10.02.2017

Woolfy Vs Projections
Monday, August 17th, 2015 | Tags: , ,
Posted in Features, Magazine | Comments Off on Woolfy Vs Projections

The third and (for now) final chapter of the big book of the Woolfy vs Projections (aka Simon James and Dan Hastie) saga has begun. “Stations” completes the trilogy, which started with the two previous albums: “The Astral Projections Of Starlight” from 2008 and “The Return Of Love” in 2012. The concept of the albums […]

The Saint
Wednesday, July 7th, 2004 | Tags:
Posted in Features, Magazine | Comments Off on The Saint

Steve “The Saint” Luthy was always a fan of hip-hop, he just didn’t know it until he was 11. This Long Island native fell hard at an early age for the Motown and Doo-Wop sound because of his father, who was an avid record collector. This sound, that was so full of integrity and soul, only led Steve deeper into music and eventually was the motivating force behind his first drum set in second grade. Around 1990, Steve heard a group called 3rd Bass and it was exactly what he wanted to hear. Hip-hop then was solely about creativity, no matter what way you looked at it. Every record that came out was something brand new: a new sound, a new approach to production, or a new group. Hip-hop was formless and ever changing. There was no area hip-hop wouldn’t venture into, turn out and then release on a white label promo. This was the time that nurtured The Saint …

Mild High Club – Skiptracing
Friday, July 15th, 2016 | Posted in Products | Comments Off on Mild High Club – Skiptracing

Image: 1604924 Mild High Club founder Alexander Brettin grew up playing flute in the school band and majoring in jazz studies in Chicago. In 2012, a visit to Los Angeles allowed him to connect with the Stones Throw crew. Within a year, after passing the early demos of what would become Timeline onto Peanut Butter Wolf, Brettin made the move out west.

“The difference between Timeline and Skiptracing is detail,” Brettin said. “I was stubborn with the process for Timeline, it took almost three years to let go of it.” On Timeline, Brettin resorted to vague lyrics so as to highlight the music itself. But for Skiptracing there’s both a heightened thematic aspect as well as more complex musical arrangements encasing it. In Brettin’s estimation, the album’s story arc is that of a “private investigator attempting to trace the steps of the sound and the spirit of American music.”

And in investigating the spirit of American music, Mild High Club re-imagine AM radio hits as blasting in from a parallel universe, the sound of early 70s LA in a smog of sativa. If Todd Rundgren was the primary touchstone for Timeline, Brettin and band now look to the wry, trenchant wit of Steely Dan, gazing deep into the dark underbelly of sun-bright L.A. and coming away with catchy songs underpinned by slippery jazz phrasings.

Dig deeper into the lyrics and imagery and that detective story slowly emerges. But it’s no simple whodunit? Instead, think The Long Goodbye, The Late Show, Chinatown, Night Moves or any early 70s inversion of the detective noir genre, where the gumshoe protagonist ultimately winds up investigating himself, navel-gazing so as to solve the ultimate mystery. Skiptracing is Philip Marlowe driving around LA listening to Caetano Veloso or that deleted scene in John Cassavetes’s The Killing of a Chinese Bookie where Cosmo Vitelli reads Cosmic Trigger.

In crafting Skiptracing, Mild High Club have made an album that strikes a balance between the known and unknown aspects of art and creation. While Brettin sought to have complete control over the creation of the previous album, in opening up and allowing these creative variables in, he learned a valuable lesson that lies at the heart of Skiptracing itself: “When you wish upon the unknown, you might be surprised by the rewards.” Available from 26.08.2016

James Hunter
Tuesday, January 26th, 2016 | Tags: , , ,
Posted in Artists, Magazine | Comments Off on James Hunter

It’s been 10 years since the Englishman James Hunter burst onto the scene with his U.S. debut People Gonna Talk (GO/Rounder 2006), topping the Billboard Blues chart, earning a Grammy-nomination, and attracting universal acclaim from critics and his fans – including Van Morrison, Sharon Jones, and Allen Toussaint. Over the last decade, he’s toured extensively […]

Proxima – Thermal Vision / Valve Wars
Sunday, June 23rd, 2013 | Posted in Products | Comments Off on Proxima – Thermal Vision / Valve Wars

Image: 1581824 “This is a whole new level of weird”, intones a disembodied voice on Proxima’s ‘Thermal Vision’ the lead track of his new 12″ for Tempa. It’s a perfect summary of its disorienting appeal: winding upwards through a tense opening, it abruptly explodes into a turbulent salvo of percussion. Its monstrous chunks of sound chop violently back and forth from speaker to speaker, assaulting dancers from all sides and broadsiding the senses, while sub-bass blasts upward from beneath. It’s both alien and astonishingly intense, poised to detonate on dancefloors without ever resorting to stereotypical ‘club banger’ tricks. It’s easy to hear why Proxima’s tracks have become regulars in dubstep scene figurehead Youngsta’s record bag.

Based in Holland, Proxima, who released his first Tempa 12″ Formal Junction in 2012 – originally started out making rough-edged, percussive drum & bass tracks. His move into dubstep has retained the latter’s restless momentum, but slowing the tempo has allowed him more space to establish an angular, compulsive sense of groove.

‘Valve Wars’ on the flip is harsher, all battery acid bass textures paired with woody percussive clicks and metallic snare taps. But there’s a subtle, dubby ear for melody running through the whole track, discovering moments of unexpected beauty within the fray. Available from 03.06.2013

KUTMASTA KURT get ready for the “Redneck Olympics” …
Friday, July 9th, 2004 | Posted in News | Comments Off on KUTMASTA KURT get ready for the “Redneck Olympics” …

Hip Hop

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