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“Let It Beep fuses two concepts: the electronic (thick synths and dance-y drum programming) and the pop/rock of the 1970s. Of the recording process, Schaefer says, “We were consulting a lot of 70s pop recordings for production ideas—Off The Wall-era Michael Jackson, the Bee Gees and Fleetwood Mac.” Schaefer also cites Bruce Springsteen, Thin Lizzy and the Blade Runner soundtrack as primary influences.” – their myspace
“The clattering synth chaos of We Breed Champions is still represented, especially on “1993” and “Gorilla King,” but the band’s sound has been refined and streamlined into shimmering, dance-oriented power pop. The group’s songwriting has developed into its most potent tool—“Poison Control,” “My Car Is Haunted,” and “Shit Xmas” all stand out as minor classics of bittersweet pop. It’s not wholly original, following in the footsteps of countless New Wave- and post-punk-inspired groups of the last seven or eight years, and incorporating some of the indie funk of TV on the Radio.” -thefirenote.blogspot.com
brain-melting, spaceship-powering tribal tr(d)ance jams from the future / adrenaline pumping, ear purging slab of towering, pristine noise / swirling atmospherics and percussive gunfire / ‘rarely have two men sounded so much like the end of the world’ / new wave of intelligent, literate British pop music / iridescent synths, psychedelic drone, distorted vocals and tribal rhythms
forceful tribal drumming + end-of-days guitar shredding : huge walls of guitar-and-drum noise / scorched landscape / androgynous vocals / intricate synth patterns / brutal freakouts / / everything is fucked so it’s best we just rage until the sun comes up… post-apocalyptic nihilistic sound
u guys wanna get high and listen to a sick tribal drumming group from baltimore? this is a recent question i find hard to say no to… i’ve been hooked on these guys for a ‘go-to’, trance-out, herbally-enhanced jamband ever since i saw them open for dan deacon… i was determined to crack into this bands’ genius, and knew it would be equally heady/psychedelic/revolutionary since they were dan deacons’ supporting ensemble/tourmates… anyways, it rules and has infinite replay value… they remind me of yeasayer -vocals, +drone… sort of eastern swirly psych-grooves that shake and shift and mutate to the collective’s improvisational whims… it has the power to mesmerize/sedate/hypnotize… perfect for reading/dreaming/beinghi/replacingsilence/…
” You’ve heard this one before: A group of young (and more than likely college-educated) white people get together, pile instruments in a heap, and share a one-track mind to home, sweet, Om. Teeth Mountain’s mixed-bag lineup doesn’t re-invent the drum circle, but its members–listed as Andrew Burt, Andrew Bernstein, Greg Fox, Greg St. Pierre, Max Eisenberg, Max Eilbacher, Kate Levitt, Grace Bedwell, and Owen Gardner here, not all of whom played on the recording–do it with a sincere appreciation for the woollier end of late-’60s radicalism. Think long-robed cults coming for your children…
…this LP bristles with the meandering abandon of fretful discovery… Teeth Mountain navigates a rhythmic journey through steady-pounding floor toms, space-travel cello drones, and some cosmic-dust dashes of guitars or woodwinds or noisemakers or some other hand-powered sound source. “Black Jerusalem” and “Keinsein” vibrate with reeds ghosts and goblins floating through the background, while “Soft Beast” sounds inspired from any moment off that levitating Velvet Underground bootleg 1966, the one that’s nothing but two side-long instrumental slabs…
…the ‘doing it because it feels good right now’ vibe may be what makes Teeth Mountain such a woozy intoxicant. This is the sort of music that makes people reach for words such as “tribal,” “primitive,” and whatever so-called “exotic” world music is in fashion that hour, but Teeth Mountain couldn’t be more urban and Western if it was making hip-hop. Amorphous, wordless instrumental stew is the basic stock for group disquietude. And while the Baltimore zeitgeist right now may have not formally organized Ausser-Parlamentarische Opposition arm just yet– something about Teeth Mountain’s out-of-body aspirations reek of shared disillusionment, and once the many brains camping out on this mountain begin to see where they want to take their mettle, once they decide to trade the skinny jeans for the leather jacket and start designing guerrilla insignias, watch out. ” -BaltimoreCityPaper
“Huoratron (“Whore-a-tron”) is the alias of up and coming Helsinki-based Finnish musician Aku Raski when making techno music live on stage by blending electroclash with 8-bit and a sturdy bass. He first gained attention in the autumn of 2007 when his track $$ Troopers gained some popularity mainly through the popular music blog Discodust” -wiki
“Busy with his latest EP release, “Huoratron: $$ Troopers“, Huoratron wants to ‘RULE THEM ALL’. With looks quite similiar to that of a Roman gladiator – bearded face, matching physique and music that pounds, he very well could rule them all. His commanding beats get into your system like the good drugs your Doc has prescribed and of course leave you yearning for more. If you’ve got an ounce of love for techno, you’ll find a fresh input from Huoratron.” -trashmenagerie.com
riyl – taking your senses to another dimension, fake blood, crystal castles, adventure
“Have you ever wondered what would happen if High Places and Dan Deacon had a love child?”
“We first heard Best Hits at a show on April at New York’s Cake Shop where they played alongside fellow freak, dance-electronic outfit dANA. A three-piece (two guys, one girl), Best Hits take the calypso-meets-jungle aesthetic of High Places and adds the increasingly popular 8-bit acid house glitch to create something that is equally at home in both the noise/avant continuum and a straight up glo-stick waving dance party.” -thetripwire.com
“And just for the record, Best Hits really are a band I am starting to expect to hear many more great things from. The album they’re currently working on promises to be an excellent blend of tape hiss, glitched-up electronics, and, uh, reggaeton. I’m very optimistic.” -Impose Magazine
Worldwild is the culmination of a long Pterodactyl adventure, an art-rock odyssey through lush pastures of layered vocal harmonies, mountainous rhythms and thick, dark forests of fuzzy, piercing guitars. -jagjaguwar
“…a heady psychedelic ride… of pulsing, pounding, flailing post-melodic rock.” – DISQUIET
“Flossin is a cosmic rock/noise/jazz/free improv band with rotating members. CHRISTOPHER WILLITS, ZACH HILL (Hella) have been at the helm of the Flossin ship since 2004. Flossin “Serpents” sees Willits and Hill joined by their friends MATMOS, NATE BOYCE, and CARSON MCWHIRTER (The Advantage). Flossin bring their collective talents to bear creating a warm and spontaneous sonic wash of masterful free improvisation. “Serpents” showcases the diverse musical cross-pollination from the San Francisco Bay Area.” -overlap.org
These Are Powers – All Aboard Future (2009)
“These Are Powers are known for the dissonance of their early recordings, a cacophony of rhythms, and industrial/electronic experiments… All Aboard Future contains exotic, abstract, hand crafted sounds – made, found, and electronically born.” -insound
“…orgasmic hollering to rival Lizzie Gang Gang Dance’s onstage possessions, but laid over wobbling bass, and an arpeggio of computer game sounds…” -drownedinsound
Micachu & the Shapes – Jewellery (2009)
“Despite her relative youth, Mica arrives as something of a Midas touched, Renaissance artist: equally at home writing and producing stunning, experimental pop with the likes of Matthew Herbert, as MCing with friends in various grime collectives and balancing this with her day time tutorage at the Guildhall School of Music and Drama where she’s studying composition.
…the real beauty of Mica’s talent is despite her prodigious musical ability she without fail keeps things rough around the edges: no polished beats when big fat dirty ones will do, obvious choruses eschewed for intricate yet subtle melodies that grow and grow…” -www.accidentalrecords.com
TuNe-YaRdS – BiRd-BrAiNs (2009)
“…was recorded on a digital voice recorder and assembled using shareware mixing software. Garbus’ primary instrument is ukulele, the tone of which is thin and trebly and lonesome… To this she adds her own field recordings– the sound outside her window, a child being asked about blueberries, indistinct creaks and clatter– along with occasional percussion that seems to consist of whatever nearby could be smacked or shaken. Some songs loop these elements into mini-epics…” -pitchfork
“Crocodiles is a two man band featuring Brandon Welchez (Plot to Blow Up the Eiffel Tower, the Prayers) and Charles Rowland (Some Girls, the Prayers). Welchez is the vocalist and programmer, while Rowland plays guitar, keys, and electronic drums. In December 2008, No Age listed a Crocodiles song among their favorite songs of the year, with writeup shortly to follow in Stereogum and thefader.com.” -San Diego Reader
“[Crocodiles are] a great new band from San Diego. This song is a real good kinda early eighties electro punk pop jam. It is super catchy.” – No Age via Stereogum Band to Watch
riyl: wavves, crystal stilts, spaceman3, feedback and distortion
Crocodiles – Summer of Hate (2009)
Some People Ride the Wave 