there is love in you

Four Tet found a subtle unfolding bliss in the angel echoes and layered loops of this folktronic love cry.  London born Kieran Hebden formed Fridge with classmates at the Elliott School in Putney and signed a deal with the Output Recordings label at the age of fifteen.   Within a year he was releasing material with Steve Reid as Four Tet.  Over four albums ( Dialogue , Pause , Rounds , and Everything Ecstatic )  they developed a sound that was completely unique. 

Hebden says  'There Is Love In You' was influenced by two years of playing the London club circuit:   “This album’s more about bliss!  It’s about being completely lost in music in some ways. To me, music’s like this sacred thing; it’s like my escape, the thing that helps me through life. When I started making this album, I wanted to make music that touched on those moments that make me feel on fire inside, make me feel sublime. I think that ties in the DJing a lot...When I started DJing at The End it was like being thrown in the deep end. I was scared again. It was new to me. And also around that time dance music was so uncool, this was in 2007: Justice or whatever was around but in general it was like the Kings Of Leon or something; rock bands were getting all the press. It felt like there was no one there because they’d read about it in ID Magazine.” 


 'There Is Love In You' reached one hundred and eighty nine in France, one hundred and fifty seven in the US, ninety-four in Belgium, and thirty-five in the UK.  







http://www.fourtet.net/







full album:

https://www.youtube.com/playlist?list=PL031F235198EC6CE7

http://grooveshark.com/#!/album/There+Is+Love+In+You/3929173

http://www.last.fm/music/Four+Tet/There+Is+Love+in+You



All tracks composed and arranged by Kieran Hebden.

1. "Angel Echoes"   4:00
2. "Love Cry"   9:13
3. "Circling"   5:18
4. "Pablo's Heart"   0:12
5. "Sing"   6:49
6. "This Unfolds"   7:55
7. "Reversing"   2:40
8. "Plastic People"   6:34
9. "She Just Likes to Fight"   4:34
Total length:          47:15








http://vimeo.com/10335834
There Is Love In You: Four Tet [Part 1 of 3] from Ray Concepcion on Vimeo.




http://vimeo.com/10336632
There Is Love In You: Four Tet [Part 2 of 3] from Ray Concepcion on Vimeo.




http://vimeo.com/10337530
There Is Love In You: Four Tet [Part 3 of 3] from Ray Concepcion on Vimeo.

lcd soundsystem

LCD Soundsystem transformed tired sucker tribulations into disco thrash thrills on repeat with the reappropriated eclectic beat movement of this liquid crystal display.     DFA (Death From Above) Records founders and production team James Murphy and Tim Goldsworthy started the group in New York City in 2001 and spent years building a following with house parties, singles, and remixes of songs like The Rapture's "House of Jealous Lovers" before releasing their eponymous double disk debut.  

'LCD Soundsystem' features James Murphy on vocals, bass guitar, percussion, synthesizer, programming, guitar, keyboards, and clavinet;   Pat Mahoney on drums, percussion, and synthesizer;   Nancy Whang on vocals;   Gavin Russom on synthesizer;   Tyler Pope on bass guitar;   and Michael Lapierre as engineer;   with   Tim Goldsworthy on bass guitar, bass synthesizer, and programming;   Mandy Coon on vocals;   and Eric Broucek on vocals, programming, percussion, guitar, and handclaps.   

'LCD Soundsystem' hit fifty-one in France, forty-one in Sweden, forty in Finland, twenty-eight in the Netherlands, twenty in the UK, and number six in Belgium and on the US Dance/Electronic album chart.  'LCD Soundsystem' received two nominations for Grammy awards in the Electronica category and one in the Dance category for "Daft Punk Is Playing at My House."    Still, the group drew criticism for it appropriation of lyrics and grooves from other bands.  Murphy would respond:    "I feel like I'm so hard on myself about what I can accept myself doing. And so vicious about what I'll allow myself to adjust to, that playing something that reminds someone of something else is so low on my worry list. It's so minimal of a concern that I'm not-- I bust my ass so hard to deal with other things. Gestures of rock in the vocals, the rock gesture in the production, the manipulation of sound, sound being the manipulator in terms of cool versus sound being a manipulator in terms of your body. This is the stuff that Tim [Goldsworthy of DFA] and I just fucking obsess about. So worrying about whether it sounds too much like this or sounds too much like that-- I'm doing something else so much. If you play jazz and you're a good jazz player and take what you're doing very seriously-- you play other people's songs all the time, it's what you do. And it's how you interpret them and how you deal with them-- you never think of yourself as a cover band. That criteria doesn't mean that much in that world. And I feel like I'm not a centralist.     I don't think that I'm a great songwriter, I don't believe I'm this wildly original individual. I don't believe that I'm astonishingly charismatic and really need to be heard as an individual voice. I do believe I take music very seriously. I do believe I am a very good manipulator of sound and I'm very interested in how sound affects my body and I do believe that that is relevant to how that affects other people's bodies.     And the way I look at music and musicians and the music business and how important music can be to people is at the moment not special but a little unusual. Partially because I got through a lot of stages of business and I'm re-engaging and trying to make something that gets to different kids in a different way instead of what someone else is doing very proud of themselves and is being written about or looking cool. My goals don't really-- I don't really care if I have a guitar solo that sounds like George Harrison. I do some of that on purpose as a way of playing with my own ideas or confronting myself. That's not the criteria for me. I'm not wandering under a banner of originality or a myth of no influences. There's no purity in what I'm doing. It's just not that relevant."






http://lcdsoundsystem.com/







Losing My Edge
https://www.youtube.com/watch?v=6xG4oFny2Pk


Yeah, I'm losing my edge. 
I'm losing my edge. 
The kids are coming up from behind. 
I'm losing my edge. 
I'm losing my edge to the kids from France and from London. 
But I was there. 

I was there in 1968. 
I was there at the first Can show in Cologne. 
I'm losing my edge. 
I'm losing my edge to the kids whose footsteps I hear when they get on the decks. 
I'm losing my edge to the Internet seekers who can tell me every member of every good group from 1962 to 1978. 
I'm losing my edge. 

To all the kids in Tokyo and Berlin. 
I'm losing my edge to the art-school Brooklynites in little jackets and borrowed nostalgia for the unremembered eighties. 

But I'm losing my edge. 
I'm losing my edge, but I was there. 
I was there. 
But I was there. 

I'm losing my edge. 
I'm losing my edge. 
I can hear the footsteps every night on the decks. 
But I was there. 
I was there in 1974 at the first Suicide practices in a loft in New York City. 
I was working on the organ sounds with much patience. 
I was there when Captain Beefheart started up his first band. 
I told him, "Don't do it that way. You'll never make a dime." 
I was there. 
I was the first guy playing Daft Punk to the rock kids. 
I played it at CBGB's. 
Everybody thought I was crazy. 
We all know. 
I was there. 
I was there. 
I've never been wrong. 

I used to work in the record store. 
I had everything before anyone. 
I was there in the Paradise Garage DJ booth with Larry Levan. 
I was there in Jamaica during the great sound clashes. 
I woke up naked on the beach in Ibiza in 1988. 

But I'm losing my edge to better-looking people with better ideas and more talent. 
And they're actually really, really nice. 

I'm losing my edge. 

I heard you have a compilation of every good song ever done by anybody. Every great song by the Beach Boys. All the underground hits. All the Modern Lovers tracks. I heard you have a vinyl of Every Niagra record on German import. I heard that you have a white label of every seminal Detroit Techno hit - 1985, '86, '87. I heard that you have a CD compilation of every good '60s cut and Another box set from the '70s. 

I hear you're buying a synthesizer and an arpeggiator and are throwing your computer out the window because you want to make something real. You want to make a Yaz record. 

I hear that you and your band have sold your guitars and bought turntables. 
I hear that you and your band have sold your turntables and bought guitars. 

I hear everybody that you know is more relevant than everybody that I know. 

But have you seen my records? This Heat, Pere Ubu, Outsiders, Nation of Ulysses, Mars, The Trojans, The Black Dice, Todd Terry, the Germs, Section 25, Althea and Donna, Sexual harassment, a-ha, Pere Ubu, Dorothy Ashby, PIL, the Fania All-Stars, the Bar-Kays, the Human League, the Normal, Lou Reed, Scott Walker, Monks, Niagra, 

Joy Division, Lower 48, the Association, Sun Ra, 
Scientists, Royal Trux, 10cc, 

Eric B. and Rakim, Index, Basic Channel, Soulsonic Force ("just hit me"!), Juan Atkins, David Axelrod, Electric Prunes, Gil! Scott! Heron!, the Slits, Faust, Mantronix, Pharaoh Sanders and the Fire Engines, the Swans, the Soft Cell, the Sonics, the Sonics, the Sonics, the Sonics. 

You don't know what you really want.

https://www.youtube.com/watch?v=mNA-4tnM_xY

Disco Infiltrator
"I hate music videos. Most of them anyway. I don't find them very interesting they seem really undignified. I love our new one - although I directed it. I wanted to make something that really showed what the band was like so I hired a documentary crew to follow us around for the whole day leading up to a gig. So we ride a subway, go to the bank and stuff like that. I love the mundane nature of it. It's confusing I guess but it's better than one with some guy who's got a tie and a haircut playing the guitar like he's really feeling it."










'LCD Soundsystem'
full album:






All songs written by James Murphy unless otherwise noted.

Disc 1
00:00 1) Daft Punk Is Playing At My House
05:17 2) Too Much Love
10:59 3) Tribulations
16:04 4) Movement
19:10 5) Never As Tired As When I'm Waking Up
23:59 6) On Repeat
32:02 7) Thrills
35:45 8) Disco Infiltrator
40:41 9) Great Release

Disc 2
47:16 10) Losing My Edge
55:09 11) Beat Connection  (Murphy, Tim Goldsworthy)
01:03:17 12) Give It Up
01:07:12 13) Tired   (Murphy, Pat Mahoney)
01:10:46 14) Yeah (Crass Version)  (Murphy, Goldsworthy) 
01:20:08 15) Yeah (Pretentious Version)    (Murphy, Goldsworthy) 

01:31:14 16) Yr City's A Sucker

tiger bay

Saint Etienne elevated their sampledelic sound with lush orchestration and acoustic strings to create the whistful dance ruminations and panoramic electronic folk of this emotional excursion.  Even with the critical and commercial success of 'Foxbase Alpha' and 'So Tough', the trio had had enough of the hassles that went into that sound:   "It was costing us more to clear samples than it was to actually record the album.  There was a lot of dialogue on 'S0 Tough' and it was very difficult to get the permissions. We then entered a phase of not using samples, partly to make things more interesting for ourselves...almost all of the melodies were based in traditional folk songs. Aside from bonecrunching techno we were listening to Pentangle and Fairport Convention at the time, and we wanted to create something like a latterday 'Liege And Lief'. We even rented a middle-of-nowhere cottage in the Forest 0f Dean to write it, checked the visitors' book, and discovered the last person who had stayed there was Bill Drummond."

 'Tiger Bay' features Sarah Cracknell on vocals, snowboard, and as scaremonger; Bob Stanley on keyboards, wulfren, and Scouse wit; Pete Wiggs on keyboards, space blue rinse, and as saucy git;  with Ian Catt on keyboards, guitar, bass guitar, and bodlondeb; David Whitaker on orchestral arrangements; Shara Nelson providing vocals for 'On the Shore'; Stephen Duffy on guest vocals on 'Western Wind'; Debsey on backing vocals on 'Former Lover' and 'Pale Movie'; Siobhan Brookes on backing vocals on 'Hug My Soul' and 'Pale Movie'; Mick Bund on guitar on 'Marble Lions'; Ian Davies on flamemco guitar on 'Pale Movie'; Mike Patton on guitar on 'Former Lover' and mandolin for 'On the Shore'; Kate St John on oboe for 'On the Shore'; Spencer Smith on drums on 'Hug My Soul'. 

Stanley says:   "'Tiger Bay' was supposed to be an album of modern folk songs done in twentieth century styles like techno and dub. So we wrote most of it in the Forest Of Dean. We went into the country to get our heads together. We wanted to do loads of songs about death, so we bought the local papers to get some real stories, and there was nothing. Then the week after we moved, they discovered the bodies in Cromwell Road!"

'Tiger Bay' charted at thirty-one in Sweden and eight in the UK.  It has been released in several different versions with different tracks and album covers. 










http://www.saintetienne.com/





http://www.youtube.com/user/SaintEtienneVEVO












"Urban Clearway"  
http://www.youtube.com/watch?v=mCVEXNW3pqA




"He's on the Phone"  
 It went to forty in Sweden, thirty-three on the US dance club play chart, and eleven in the UK.
http://www.youtube.com/watch?v=PmoZan0Qo6A








"I Buy American Records"  
http://www.youtube.com/watch?v=UYXPlxiOmwQ




"Hug My Soul"  
 It went to forty on the US dance club play chart and thirty-two in the UK.

http://www.youtube.com/watch?v=ovgaMmtfC0U




"Like a Motorway"  
Barely broke the UK top fifty. 
Bob: Number Forty-Seven with a bullet. The Americans tried to get us to change the title to Like A Freeway! Can you believe it? We said, Autobahn was a hit all around the world, fuck off.
 Pete: Yeah, [it was supposed to be a Shangri-Las style death song.] Or Ring A Ring O’ Roses. Folk songs about death and destruction.
http://www.youtube.com/watch?v=MP4Pxpu4W2k

http://www.youtube.com/watch?v=qFNPCsTN-Co




"Grovely Road"  
http://www.youtube.com/watch?v=3bIOSY467TI






"Pale Movie"  
 It went to twenty-eight in the UK.
http://www.youtube.com/watch?v=GIGPwFhfAlI

http://www.youtube.com/watch?v=V_cX7oIQAgQ





"Hate Your Drug"  
http://www.youtube.com/watch?v=2f2ramW_icI





"Marble Lions"  
http://www.youtube.com/watch?v=jdBbR-01rw8

http://www.youtube.com/watch?v=46FCicXL6eo







"Western Wind"/"Tankerville"/"Western Wind" (combined)





"The Boy Scouts of America"  
http://www.youtube.com/watch?v=-b7fA-np60Q





"I Was Born on Christmas Day"  
a duet between Sarah Cracknell and Tim Burgess, the lead singer of the Charlatans.  It went to thirty-one in the UK.
http://www.youtube.com/watch?v=NAMTq6rNivM










'Tiger Bay' 
full album:




All tracks written by Stanley and Wiggs; except where indicated.

1. "Urban Clearway"   3:58
2. "Former Lover"   3:49
3. "Hug My Soul" Batson, Cracknell, Male 4:15
4. "Like a Motorway"   5:42
5. "On the Shore"   4:06
6. "Marble Lions" Cracknell, Bund 4:35
7. "Pale Movie"   3:52
8. "Cool Kids of Death"   5:49
9. "Western Wind" Traditional, arranged by Stanley, Wiggs 1:33
10. "Tankerville"   4:01
11. "Western Wind" Traditional, arranged by Stanley, Wiggs 1:37
12. "The Boy Scouts of America"

merriweather post pavillion

Animal Collective found a new sound and a new audience with the minimalistic electronic miasma of this symphonic psychedelic swoon.  The group had formed in Baltimore, Maryland after childhood friends Avey Tare (David Portner), Panda Bear (Noah Lennox), Deakin (Josh Dibb), and Geologist (Brian Weitz) began recording together after putting out albums in various incarnations (which have since been rereleased under the name Animal Collective).  After releasing two albums with all four members ('Feels' and 'Strawberry Jam'), Deakin took a break from the band.  In between those two albums, Panda Bear released his acclaimed solo album 'Person Pitch'.  At the same time, they made a move to British independent Domino Records.  

'Merriweather Post Pavillion' was recorded at Sweet Tea Recording Studio in Oxford, Mississippi with Avey Tare on vocals, electronics, samples, keys, guitar, and percussion; Panda Bear on vocals, samples, electronics, and percussion; and Geologist on electronics and samples.  Ben Allen handled engineering and mixing.  It takes its title from the name of the outdoor concert venue in  Columbia, Maryland.   The album cover art features an optical illusion, where the image appears to move.  Due to its more accessible sound,  'Merriweather Post Pavillion' became their biggest success, going to eighty-six in Spain, sixty-three in Australia,fifty-eight in the Netherlands, forty-six in France, thirty-seven in Sweden, thirty-one in Belgium, twenty-six in the UK, twenty-five in Canada, twenty-one in Norway, thirteen on the US Billboard 200, and number two on the US independent album chart.   

Geologist: "It's hard for us to judge accessible or not but everybody seems to have a different opinion on all of our records. I feel like you get one opinion and then you get the complete opposite, y'know. Like we thought 'Strawberry Jam' was difficult and abrasive but people were like 'Oh, it's like the most poppy thing you guys have done and we're really shocked and loving it.' And it was the same with this one, we weren't certain. There were times when we thought it was maybe a bit too weird. We realise it's very melodic and it's the most melodious thing we've done in the terms of all of our parts together in a while but some people are now saying our vocals are clear and up front and other people are saying the vocals are kind of washed out and tucked in, so you know, it's kinda hard to say what the right view point is or what's right or wrong."

Avey Tare: "One thing we talked about was definitely trying to use a lot more acoustic sounds and samples for source material because especially for 'Strawberry Jam' the sound was a lot more crispy, or sharp which wanted it to be. And we hadn't done anything in a while that utilized a lot of acoustic sounds and field recordings and we wanted it to be a bit more natural and environmental than  'Strawberry Jam' was. I think using samplers as opposed to using two guitars or drums live forced us to record ourselves playing those instruments. A lot of the beats are . . . we say samples but they're really Noah playing the drums most of the time and then manipulated. So we experimented a lot in our practice space just recording a lot of drum tracks or guitar tracks or Brian collecting a lot of field recordings or acoustic instruments and trying to record that into a more symphonic kind of way of doing things. We were trying to orchestrate it...I think we're very fortunate in a way with recording. We're very conscious of how our music is produced and we pretty much are the producers and we have a hand in everything. But also the people we work with - right down to mastering and mixing - has an old school… I don't really want to say anti-internet way of approaching mastering a record but everybody is aware that our music has a lot of dynamics to it I guess. And we like to preserve that dynamic because we are primarily a live band, even though we appreciate and like to be in the studio in a way our music is created for us playing live ...  Yeah. I think it's a matter of what works with the song. When we were working on this record, we felt a little bit like the vocals on 'Strawberry Jam' were pretty high and kind of dry. For this one, we wanted to do something that was a little more blending in terms of the sounds and the vocals. But it's always a matter of what works the best. There were times when [producer] Ben [Allen] really wanted to mix the vocals a lot higher or a lot more than was comfortable for us. I think we found an equal level...it's just what sounds right."

Panda Bear:      "The balance you have to find. I certainly understand the argument, 'What's the point of writing lyrics about anything if no one can understand what you're saying?' But I've held that somehow the intention or the feeling of it comes across in the song. Also, there's a point-- like Dave was saying-- where if you mix them too high, it kind of loses the energy of the song...There are a lot of serendipitous little things that I feel mark this one out differently than the other ones. But besides that, it's kind of just another record. Working with Ben Allen-- we had never really met him before, we didn't know too much about the way he worked. We knew what he worked on and that was what drew us to him.  But the fact that we worked with him really well, and the sound was exactly the way we wanted it. The fact that the studio was really awesome and a really nice place to be for a month making music was another little thing. [That] the kind of songs that Dave and I wrote starting about two years ago would go together was kind of serendipitous. I feel like it was kind of a concentrated affair for the most part. It was one thing to the next; there wasn't a whole gap of time we were just touring or anything like that. The only thing that makes it feel really different to me is that things went really smoothly. There wasn't any big hang-up or big problem this time around."







http://myanimalhome.net/home/


http://animalcollective.org/







"My Girls"




"Bluish"




"Guys Eyes"





 'Merriweather Post Pavillion'
full album:



"In the Flowers" – 5:22
"My Girls" – 5:41
"Also Frightened" – 5:14
"Summertime Clothes" – 4:30
"Daily Routine" – 5:46
"Bluish" – 5:14
"Guys Eyes" – 4:31
"Taste" – 3:53
"Lion in a Coma" (Animal Collective, Lathozi Mpahleni Manquin Madosini) – 4:12
"No More Runnin" – 4:23
"Brother Sport" – 5:59

good humor

Saint Etienne found an organic new sound for the sophisticated retro dance grooves of this confessional pop confection.  After the commercial disappointment of 'Tiger Bay' the band felt the need to regroup.  Bob Stanley says:    "We got ahead of ourselves a bit. We should have done something more commercial...The only obvious thing we could've done was to release a follow-up to 'He's on the Phone'.   It was our biggest hit, and we didn't release another single for two and a half years. [Laughing] A bit stupid!"

'Good Humor' was recorded over two weeks at Tambourine Studios, Malmo, Sweden with the Cardigans' producer Tore Johansson.  The sessions featured Sarah Cracknell on vocals, cowbells, and Flying A; Bob Stanley on synthesisers, Rapmaster 2000, and Esquilax; and Pete Wiggs on synthesisers, and Tube Rotosphere; with Sven Andersson on saxophone; Ian Catt on pre-production; Debsey on backing vocals; Tore Johansson on production, bass guitar, string arrangements, harmonica, and klangspiel; Gerard Johnson on pre-production, piano, vibraphone, keyboards; Rasmus Kihlberg on drums; Mats Larsson on piano embellishments on 'Woodcabin'; Jens Lindgård on trombone; Petter Lindgård on trumpet; and Jez Williams on guitar.  

Cracknell says:   "We've always used computers and tapes in the past, but we've got a live band for this one. It's got a lot of soul. Quite upbeat, jazzy and funky. We're tired of people calling us 'kitsch' and 'twee' ...  You do get a different feeling from your atmosphere. When we record away [from home], we usually rent a flat and all live together and we're very focused ... When it came to 'Good Humor', that’s when we started working together. And we work really well as a team. 'Cause there’s no egos in our group. There’s no drummer, guitarist, bass player, blah blah, everyone just sticks in and out and plays different things. There’s no strict roles for each person. So with each song, I could write a bass line or I could write anything, really. It leaves a lot more scope for getting involved."

Stanley considers:   "We're conceptual in as much as we want each album to sound like a complete album, I suppose. I think, hopefully we managed that...I've always thought it was a positive for us that we aren't an organic group with five members, where the bassist wants to do his song on the album or whatever. We've been able to chop and change our sound whenever we wanted. You know, because we're not proper musicians. I read an interview with Justice the other day, and they were talking about, 'It's not about playing instruments, it's about having ideas', and I think that's obviously pretty much what we think as well. Having the right ideas is a different matter [laughs] ... A lot of it has to do with the production. The same reason we chose Tore is that we wanted to work with someone who was capable of making something that was quite minimal and clean-sounding yet expansive at the same time."

'Good Humor' went to seventy-five in Japan, fifty-one in Sweden, eighteen in the UK, and eleven in Norway.  








http://www.saintetienne.com/
http://www.saintetienne.com/music/good-humor/

http://www.saintetienne.com/music/good-humor-de/







"Wood Cabin" – 4:07
http://www.youtube.com/watch?v=9pBaIK3EIjk






"Sylvie" – 4:48
went to number twelve in the UK.  
http://www.youtube.com/watch?v=h0NZMUAxrpA









"Mr. Donut" – 3:34
http://www.youtube.com/watch?v=96SJakIIVEg







"Lose That Girl" – 4:03
http://www.youtube.com/watch?v=5OU09V5C-K0
http://www.youtube.com/watch?v=J5Y_mt6nsKA




"The Bad Photographer" – 4:14
hit number twenty-seven in the UK.
http://www.youtube.com/watch?v=9Akv82uAukg




"Postman" – 3:46
http://www.youtube.com/watch?v=gGfDtw2F1ag




"Erica America" – 4:02
http://www.youtube.com/watch?v=LayKtk-e1Z4








'Good Humor' 
full album:



01. Woodcabin - 00:00
02. Sylvie - 04:08
03. Split Screen - 08:57
04. Mr. Donut - 12:21
05. Goodnight Jack - 15:55
06. Lose That Girl - 20:32
07. The Bad Photographer - 24:36
08. Been So Long - 28:51
09. Postman - 32:24
10. Erica America - 36:11
11. Dutch TV - 40:13




'Fairfax High' was included as a bonus disk with early pressings of the album.