The second 12-inch release in advance of Spectral Sound’s upcoming label-defining Document features two tracks of dark, disorienting techno—the kind of tracks that act as both extra-dimensional portals and late-night anthems. Side A is Audion’s previously unreleased “Just Me”, which lopes along through the undergrowth like a panther in heat, as animalistic groans, moans, tweets, and purrs sound in the periphery. The flipside features Mike Parker’s “Protolanguage (Extended Version)”, whose frantically oscillating acid bass recalls a hyperactive cousin of Phuture’s seminal “Acid Tracks” while blackening the edges with a cloud of haunted-house atmosphere.
Introducing a new semi-weekly feature in which we post a pile of solid Ghostly-themed videos, called, appropriately, “Video Friday.” This week, we’re featuring our favorite remixes by Audion. Above, you’ll find the Audion remix of Hot Chip’s “No Fit State”; after the clickthrough below, you’ll find much more…
The paradoxical title of Aeroc’s debut makes perfect sense: sweetly oozing like a flood of maple syrup but anchored to a rock-hard jetty of rhythm, Viscous Solid is just that. Too melodic for hip-hop, too beat-heavy for ambient, Viscous Solid takes the best elements of both and carves out a bracingly beautiful, subtly jazzy corner of electronic music. It’s mid-decade Ghostly at its best—and now it’s only $5.
Mux Mool’s debut full-length exploration into lysergic beat freakery, Skulltaste, is out now. The man behind Mux Mool, Brian Lindgren, was determined to explore every corner of his beat-steeped psyche, and the resulting document is a masterpiece of eclectic cohesion: chunky instrumental hip-hop sits next to new-wave anthems and dubby dancefloor bangers, which abut skittery slices of D’nB and made-up video-game soundtracks.
For a preview, we’re happy to report that our friends at Spinner have taken to spreading the gospel of Mux Mool and are streaming the album in its entirety.
As Lusine, Jeff McIlwain has made a prodigious and lasting contribution to the world of techno with an ever-evolving but ever-pulsing sonic palate. Lucky Numbers: The Ghostly International EPs—out now—collects non-album releases, including 2003’s Push EP, unreleased archival material, new remixes, and more.
Impatient fans of Mux Mool’s teaser EP, Viking Funeral, can take heart, as the full-length fruits of his labors will be available for one and all at The Ghostly Store next week. But that 80-minute masterpiece of stylistically polyamorous beats, Skulltaste, is also available now as a special iTunes Preview offering.
For a gratis preview, head over to our goodly friends at RCRD LBL, who are streaming the entirety of Skulltaste now. And for a more varied assortment of Mux Mool material, the man will drop by East Village Radio on Thursday 3/18 on 10pm to unleash some goodies on DJ Still Life’s bass-loving “Worldwide Smash” show—catch Mux Mool’s set live or look for it in the archives.
As a continuation of last week’s FROM THE VAULTS feature (Dabrye’s leftfield hip-hop classic Two/Three), you can’t do any better than 2004’s The Dancing Box, the debut long-player from James T. Cotton. For the uninitiated: James T. Cotton is one of many aliases used by Detroit producer and Ghostly mainstay Tadd Mullinix, who, working under his own name and as Dabrye (among other aliases), covers a shocking amount of stylistic ground, for one man.
JTC is Mullinix’s techno-oriented alias, and The Dancing Box is his ultimate artistic statement, full of squelchy acid splendor, oddball distortion effects, and Detroit futurism. The Dancing Box, in other words, does what Dabrye does for hip-hop and what Tadd Mullinix does for abstraction: pulls together countless disparate threads, ties them up in knots, and gives them an artful, body-moving spin.
The third single from Choir of Young Believers ’ debut full-length This Is for the White in Your Eyes is a relatively minimal endeavor from the notoriously maximalist Danish collective—but when it comes to the Choir, big things usually come in small packages. A simple oom-pah thump on the bass drum, a cloud of ominous mellotron strings, and Jannis Noya Makrigiannis’ baleful moan is all ‘Claustrophobia’ needs to make its mark—that, and an eerily soaring hook that could turn blood to ice water. The single includes a remix from The Antlers (Frenchkiss) and a cover by Sian Alice Group (The Social Registry).
Choir of Young Believers are currently on tour in the US, with dates in LA, NYC, and in Austin for SXSW. Check all the dates here.
Well over a year after the release of Osborne ’s sublime self-titled album on Spectral Sound, and the music still sounds fresh—nostalgic without being overly reverential, accessible, creative dance music with a pervading sense of humor and wonderment. No wonder, then, that Osborne spawned a suite of remixes that rival the originals’ unadulterated creative moxie. Includes remixes from Bullion, Lukid, and Bogdan Raczynski.
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. This week: Dabrye’s masterpiece of forward-thinking hip-hop, Two/Three.
Tadd Mullinix’s follow-up to the game-changing One/Three (2001) pushes the Dabrye sound forward by several light-years. As Dabrye, Mullinix harnessed the liquid, low-slung beats of instrumental hip-hop, the glitchy, dirt-smudged textures of abstract electronic music, and an indescribable X-factor that, for the purposes of this post, we’ll call “batshit experimentalism”, and squished them all into a thoroughly listenable, immensely influential full-length. Two/Three’s slate of top-shelf guests—from MF Doom to Beans to Waajeed to the immortal Jay Dee—doesn’t hurt its replay value, either.
Birds & Souls ’ lead single ‘Birds & Souls’ (from the duo’s upcoming debut Birds & Souls 12” on Spectral Sound) is an exuberant track built more for rock shows than dancefloors, charting a journey from giddy, congas-and-claves house to synth-drenched space disco to ecstatic arpeggiated bliss and back again. At “Birds & Souls”’ apex, Birds & Souls member Sergio Giorgini intones “My soul, it weighs a thousand pounds / touch the mountain, touch the ground”—at that moment, the duo seem everywhere at once, their feet stomping out a primal 4-on-the-floor, their heads soaring through the clouds.