Last Week’s Jams (3.24 – 3.28)

In playing catch-up from Spring Break, we covered quite a bit of new music, though I may have run out of steam at week’s end. Still, we brought you some new music from Austin artists like Sophia Warren, Adrian Quesada, Will Johnson and Day Friend. Unfortunately, the Day Friend was your sneak peek before their show this Friday at 13th Floor, so we’ll include that in next week’s jams. We also got to premiere a brand new Why Bother jam, so be sure to give that one a listen. Some of my personal favorites from the week are down below, like a new Dumb Things single, as well as fresh Pachyman to boot. And as always, the sounds are all over the place, from the folk of Swedes Egentid to the crazy joyousness of Johnny Maraca‘s garage punk! Play it all below!

Quinquis Drops Dec’h Video

When pouring through my inbox, I always rush to open recognizable names, like Quinquis; today there’s a new single from the forthcoming Eor LP, which has already gotten some love on the site. On this new single, the electronica is used as a narrative voice, rather than some overly-propulsive dance groove; I love that it’s almost barely crawling along, with this intense pulse working just beneath the surface. Using that groove, there’s this natural tension that holds your attention throughout, with whispered vocal notes moving carefully while these sterile synapses fire off intermittently. It’s an entirely different approach, continuously building the visual and sonic arts; the new LP is out on May 9th via Mute.

Last Week’s Jams (2.3 – 2.7)

We covered a fair amount of ground last week, though perhaps not quite as much rolling out as the previous week of tunes. We did get a new Jad Fair/Samuel Locke Ward video premiere that can only be seen HERE. That being said, there were tons of other tunes we can run up our playlist flagpole, like the news tune from Sharp Pins, as part of Kai’s reissue of Radio DDR. Dean Wareham dropped another single from his new record, so that’s good news for all of us. Plus, the end of the week hit hard, with great new ditties from Exploding Flowers and Mythical Motors to round out a solid week of tunes. Stream them below.

Quinquis Announces EOR

Just the other evening I was lamenting the absence of cinematic electronica. Sure, I was totally talking about Holodeck Records, but when this Quinquis track arrived, it completely scratched that musical itch. Opening with a beat that sounds like a stuttering heart, the song begins to pulse and blossom beneath Emilie Quinquis angelic tones; we get to hang here, magically suspended in the space that’s left open in the song’s craft. That said, there’s a plot twist, as we’re then introduced to South African artist Desire Marea, who approaches the track in Zulu, capturing this essence of a sort of light that or wave that moves from a center out, spreading across the world. When the two wrap their voices around one another, it’s quite the musical spectacle, and all of it accompanied by the impressive video. This tune kicks off EOR, the new Quinquis LP, dropping on May 9th via Mute.

Last Week’s Jams (12.2 – 12.6)

In a world where folks are rushing to put out their year end lists, so you can debate their tastes, I’m just over here putting out songs with my bud RayRay. We covered a surprising 21 new songs last week, and 22 if you included a tune that’s not on any of the DSPs. Tons of rad Austin stuff like Strange Lot, Gus Baldwin, Lunar Gold…and of course the ATH Records’ own Fantastic Purple Spots. New music from FACS and Sprouts made my week complete, though I also found some soft spots in there you can dig through on the site. Don’t forget to also check out our Rock n’ Recipes with Sasha Bell of the Ladybug Transistor, just in time for their little tour and reissue! We also got to premiere a brand new Gaytheist tune worth your time!

QUINQUIS Shares Morwreg

This might be the final piece from my catch up game, and what a doozy! QUINQUIS is the project of Emilie Quinquis, and she’s combining her entrancing vocals with a deep love of pulsating electronica. She pulls out her voice first, selling you on its majesty, all as a subtle beat begins to build beneath the surface; it doesn’t cover the voice completely, careful not too overplay itself. But, there’s a moment around the 2 minute mark where the beat gets to shine on its own, heavy and thumping, with a blinking bit of percussive samples barking at you over the top of a budding synth line…and then the vocals drop back in to finish the job. All of this brought to us courtesy of Mute.

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