Earth, the project of Seattle native Dylan Carlson, return with
the second part of 'Angels Of Darkness, Demons of Light'; a
mournful record inspired in part by Carlson's bout of near-fatal
illness. Both records were recorded in a two week stretch in 2010,
and are the follow up to the much acclaimed come-back records 'Hex'
and 'Bees Made Honey In The Lions Skull' that surfaced after a ten
year break from recording and playing live.
The 'Angels' records are sparser and colder, utilising the cello
of one-time Nirvana collaborator Lori Goldston. You can get the
full low down on the career of Carlson in the upcoming issue of Tank but for now you can
stream the album in its entirety below.
New York trio CCC (pronounced see-see-see) are wonderfully of
the twenty-first century; they shift between being a live band, a
remix outfit, a dj troupe and working in print media, having also
released a series of books, the latest of which 'On Acid' is
currently part of MoMA's print archive. The boundaries that would
normally demarcate how a group operate and even what a group 'is'
are blended in a strange fuzz of electronic beats, analogue warmth
and deep house grooves.
Their new 12" 'Sonic Underground' is a series of remixes that sits
somewhere between minimal house and sunrise-on-a-beach euphoria.
CCC's version of Mack Wintson's 'One You Want' subjugates a
pounding 4/4 beat with acoustic strums, which in the bands own
words, is in order to "to find a way to reflect the beauty of human
body in a space beyond the confines of the dancefloor."
Despite all the controversy that orbits MIA (last weekend's
Superbowl being a case in point) it feels so disingenuous to
talk just about that, especially when it all seems a little stage
managed and the outrage unjustified and used to fill column inches
(Pitchfork's reaction to last weekend's Superbowl being a case in
point), especially as the Sri Lankan born singer's been
responsible for some wonderful music over the past eight years.
From the neon-covered grime of debut album 'Arular', to it's follow
up Kaya's globalisation dancehall. After two incredible records,
her third, MAYA, felt like increasingly small returns on the same
format even though it contained a couple of great singles. Yet
what's defined MIA's career has always been how forward thinking
she's been; she used the internet to spread her music years before
the Arctic Monkey's did, and more recently has been using viral
videos, pitching the visual / musical together perfectly. Romain
Gavras's video for 'Born Free' off MAYA felt incredible when it was
released, both controversial and aesthetically stunning, it was
designed to get people talking and it did.It also showed MIA's
penchant for what some see as her slightly dodgy politics. Her new
video for 'Bad Girls' sees the pair reunite to water cooler effect
again with 4.3 million youtube views and counting.
What's great about MIA is that she's never relied on sex to sell
her music, and its genuinely heartening that she pisses people off
for talking about Sri Lankan politics, and doesn't get column
inches for wearing dresses made out of meat or having a shapely
bottom and a lovely pair. New song 'Bad Girls' is homage to, well,
bad girls; featuring girls racing cars in the arabian desert to a
bollywood beat whilst MIA files her nails on the roof of a moving
vehicle. Its perfectly MIA; a little bit cheesy, visually stunning,
aurally interesting and warrants many repeated listens.