Gadi Mizrahi ’s first EP on Spectral Sound, I Can Never Get Enough, embodies the kind of musical promiscuity that informs the parties and label output generated as one half of NYC’s infamous Wolf+Lamb duo. The title track announces itself with a languorous, supple pulse, before introducing a surprising degree of musicality and complexity—the nominal disco of “She Don’t” doesn’t just reward frequent listens, it demands it—for such an effortlessly inviting work. Brisk, fluid funk, a little light jacking, a stellar remix from Lowtec, and endless replayability await.
Last year, Denmark’s Choir of Young Believers toured overseas with Mew and headlined their own US tour. In January, they headlined across the UK and continental Europe. This March, Jannis and Co. arrive in America for a brief string of dates (including appearances at SXSW) in a four-piece lineup. The dates are as follows:
3/10 New York, NY @ Union Hall
3/11 New York, NY @ Pianos
3/13 Los Angeles, CA @ Bootleg Theatre
3/17 Austin, TX @ Red 7 (Terrorbird Day Party)
3/17 Austin, TX @ The Galaxy Room Patio (KCRW Showcase)
Choir of Young Believer’s new single, ‘Claustrophobia’, arrives on March 9th. Download The Antler’s remix of the track over at our RCRD LBL blog.
“Daydreams, the spots you see moving around when your eyes are closed tight, and the shapes you see in the world,” says Phantogram’s Josh Carter, “those are the kinds of things we want to surface in your mind when you hear a Phantogram song.” Equal parts RZA, Blonde Redhead, and Serge Gainsbourg, Saratoga, NY’s Phantogram combine scratchy beats, breathy vocals, and airtight pop songs in ways that will make your head spin. Phantogram’s debut album, Eyelid Movies, is now out on Barsuk on CD, and on Ghostly International exclusively on vinyl.
Ghostly Essentials: Rarities One is a free compilation of rare, unreleased, and hard-to-find music from our vaults. Highlights include Matthew Dear’s “Don’t Go This Way”, a tasty leftover from the Asa Breed sessions; Michna’s “Quadruple Gold Dipped”, an alternate version of the Magic Monday album-opener; and The Sight Below’s “Blown”, another piece of perfect melancholia from the prolific producer.
Ghostly Essentials: Rarities One is completely free. Download it, listen to it, send it to your friends and loved ones.
In “From the Vaults”, we dust off a classic Ghostly release that’s particularly ripe for rediscovery, and feature it at a discounted price at The Ghostly Store. First up: Mobius Band’s sublime 2005 full-length debut The Loving Sounds of Static, one of our all-time favorites.
Mobius Band ’s full-length Ghostly debut wrapped computer-aided production and pop songwriting into an endlessly appealing package, one that sits comfortably alongside more well-known electronic-pop contemporaries. Peter Sax, Noam Schatz, and Ben Sterling were young men when they recorded The Loving Sounds of Static, and their weathered idealism brings a melancholy cast to the album’s sterling guitars ‘n blips.
It’s rare that a demo sent through old-fashioned mail—let alone one with no return address or information attached—catches our ears. But that’s just what happened with “Ritual Feeling”, the first single by the mysterious Childproof Man.
‘Ritual Feeling’ is a slow-motion fall down a rabbit hole, a whopping 17 minutes of dank, molasses-speed rhythms and barely perceptible textural shifts. No build, no release—”Ritual Feeling” is all tension and mood, and its effect is the very definition of hypnotic. B-side “Who’s Been Meaning To” ups the energy but not the sense of relentless, endless groove, chugging through a relatively tame 14 minutes of hairy thumps and flailing vocal samples.
At the heart of Lusine’s 2009 full-length A Certain Distance lies the song ‘Twilight’, a placid, vocal-led downtempo lullabye. If “Two Dots”, A Certain Distance’s luminous first single, was the album’s knockout blow, “Twilight” is its victory lap—similar in scope and instrumentation but calmer in execution, its gently chugging drum programming and billowing puffs of Rhodes providing a weightless base for Vilja Larjosto’s voice, clear and knowing as ever.
The hypnotic video for Syntaks ’ “Blue Sunshine”—a gorgeously lumbering standout from the Danish duo’s debut, Ylajali—is an all-to-appropriate analog to the pair’s approach to music-making: a wash of color, fleeting glimpses of half-remembered imagery both heavenly and apocalyptic, and vertiginous shifts in scale superimposed over its creators’ faces. Syntaks’ Jakob Skott directed the clip, and his clear love of its subject matter (his musical collaborator and romantic partner, Anna Cecilia) is apparent throughout.
Culled from Mux Mool’s EPs, mixtapes, and beat vaults, the Viking Funeral EP collects five choice Mux cuts into one concentrated blast of music, an introduction to Brian Lindgren’s dazzling take on homespun electro hip-hop and a preamble to his upcoming full-length opus, Skulltaste.