Find out what the CL Music Team is jamming to rocket launch the work week. Click here to check out previous entries.
Deborah - Flume, Flume (2012,)
I'm loving how fantastically schizo this release on Future Classic is - several tracks are simultaneously glitchy and hip-hoppy, others filled with slinky R&B, and just a bit of ambient electronica thrown in to truly confuse. A plethora of contributing vocalists are distorted and chopped into oblivion, then reconstructed and layered over alternately creeping and danceable beats. Add in drops that drip with synths, spacey chipmunk-y effects, and occasional bursts of bass, and it's no wonder I'm having trouble picking a favorite track. Below, check out "Sleepless," a huge hit in this 21-year-old's native Australia.
Shae - The Blue Hit, Move In (2009)
A three-piece band from Austin consisting of acoustic guitar, cello and vocals, The Blue Hit play music that is part Americana, part jazz, part calliope. It's more driving than the average music-sans-drums and chanteuse Rose Park offers up lyrics so quirky they give Regina Spektor a run for her money. Video of their song "Africa" below.
Colin - Julia Brown, To Be Close to You (2013)
Over the past several years Baltimore's Sam Ray has quietly turned his bedroom into a prolific recording empire. Between the narcotized ambient excursions of Heroin Party and Ricky Eat Acid, he's made time for pop songs via the nihilo emo of Teen Suicide and now in the sunnier realms of his newest project, Julia Brown. Recorded around the time of Teen Suicide's dissolution on a boombox with former Teen Suicide bassist Alec Simke and new drummer John Toohey, the trio's debut record is an opiate-addled tapestry of early K Records sonics and the hooky indie pop instincts of bands like Someone Still Loves You Boris Yeltsin. While To Be Close To You's trashed sonics might be a turnoff for some, Ray and company have a knack for turning the tape hiss and warble into an instrument on itself. "I Was My Own Favorite TV Show The Summer My TV Broke" masks the voices of Ray and frequent collaborator Caroline White in a swath of noise before the acoustic guitar balladry gives way to a bleary haze of nauseatingly beautiful string parts. This song, and this little record, are a perfect reminder that songs that strip away the veil of studio trickery can even more easily and honestly reveal their warped and beautiful backbones. "How I Spent my Summer" below.