Artist of the Day: Kattoo

German electronic wizard Kattoo first caught my attention as one half of the incredibly brilliant and criminally ignored duo Beefcake, who's masterpiece, Drei, is just as good as it is hard to find in a physical format. Produced in the closing hours of the late 90's IDM circlejerk, Drei embodied much of the eclecticism and flamboyancy celebrated in that era: darting effortlessly between techno, glitch and classical with a keen eye on the celestial. Kattoo brought much of this into his solo work post-Beefcake, even bringing in more ambient elements; although these remained elements as a track was never allowed to stay still for long. While some of the magic was lost with the end of the duo, his work always managed to retain a remarkable amount of polish.

The recent unveiling of Motu - which I struggle to admit came as a bit of a surprise - is very welcome, then, but to see the tag of "dubstep" associated with the album was disheartening. In reality, this turned out not to be much of an issue. Kattoo plays around with the kind of industrial bass employed by the likes of Noisia in the foreground and often shifts the beat emphasis closer to what's conventionally considered as dubstep-esque, but he plays the rest incredibly safe. The space-y humm is more than present, as well as his tried-and-tested palette of percussion. It leaves an interesting taste, though I have to admit that maybe it might not quite be up to his previous work, but only just. Nevertheless, it's well worth checking out if only for the moments - if not tracks - of utter brilliance. I'll certainly keep this spinning for a few more days; it seems like a grower.

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Artist Of The Day: Munchi

Moombahton is one of those genres whose existence is highly disputed. Considered by many to be one of the ill effects of the "EDM revolution" in America, opinion on the name is split between people who accept it without question as a legitimate genre of music and people who would just as soon call it "electro house with reggaeton influences." While I'm not going to get into the whole argument for or against the genre (though personally I think it's a perfectly acceptable term - why use "electro house with reggaeton influences" when "moombahton" exists to describe that? Isn't that the point?), I can say one thing: the music within the disputed genre is really, really fun. Munchi is probably the foremost example of exactly how fun that music can be, and the success he's seen stems from his skill within a reggaeton beat. His remix of Skrillex's "Ruffneck (Full Flex)" is honestly incredible, and it's really anything anyone would want from a "dance" song like it is - it makes people dance. He's got quite a few other great songs - his remix of "Tommy's Theme" by Noisia, basically anything off his Moombahtonista EP, and more - and all of them show the power of the questionable genre of moombahton. Whether you love the term, hate the term, or have no opinion, you're sure to find Munchi a delight.

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Artist Of The Day: Big Awesome

The departure of Algernon Cadwallader left an enormous hole in the modern emo scene that has been growing more prominent by the day. I was at that show and can vouch that emotions were running high, especially as the band ended their set. Luckily, we have Big Awesome to fill the void left for us by Algernon. Their latest EP Birdfeeder both shows off their love for Algernon as well as the advances that they personally brought to that sound. Opener "Grey's Birthday" is the most obviously influenced track, from the dual vocalled shouts to the melodies that could have absolutely been on Parrot Flies. The biggest surprise that Big Awesome brings is the recording quality of the EP. The record just sounds very full, and in a genre that thrives on minimal production, it feels like a fresh sound. Download the EP for free on their Bandcamp page, and be sure to order the 7" right here.

Artist of the Day: And So I Watch You From Afar

Post-rock doesn't have to be predictable. Granted, I'm not too well-versed in the genre, but many of my experiences with Explosions in the Sky, Mogwai and other "top-tier" post-rock artists have led me feeling a little disenchanted with the genre. This is precisely why my time with And So I Watch You From Afar, as brief as it has been, has changed my perception of the genre as a whole.

Interview With Gifts From Enola (12/17/12)

Gifts From Enola isn't the relatively cookie-cutter post-rock band they used to be in their early years. The band has transformed with every album, peaking with their latest effort A Healthy Fear. The record uses vocals far more predominantly than before and you won't find any big crescendos, but you will find some fantastic musicianship and powerful, chaotic blasts of sound. The band sat down with us at MuzikDizcovery to discuss A Healthy Fear, the transformation from their early stage to their present form, their favorites of 2012, and much, much more that you can read below. 

Album Review: Frightened Rabbit - Pedestrian Verse

Album Rating: A-

Scott Hutchinson has earned his stripes as a candid, emotionally connected songwriter, and one need only read a handful of interviews to realise he scarcely differs away from the mic. Quizzed by my local freebie NARC concerning his band's relocation to major label Atlantic, the Frightened Rabbit mainman uttered a typically frank response, admitting "when you sign for a major label you do it for a reason; you want to further your career. We're not going to deny that." Commendable though they wore, those words were only eclipsed for fans by claims their imminent fourth album would evoke the bleak lyrical intensity of The Midnight Organ Fight, not to mention that it'd also mark their first foray into group-orientated songwriting - a significant development for an outfit which essentially began as its frontman's pet project.

Compilation Spotlight: Talents LP Vol. 1

I'm not entirely sure how to introduce the Talents LP Vol. 1. On a factual level, it's true the compilation is made up of 10 neurofunk drum & bass tracks from up-and-coming neurofunk producers, presented jointly by major neurofunk label Ammunition Recordings and major neurofunk YouTube promotion channel NeurofunkGrid. And, to be fair, I could just leave it at that, but that doesn't encompass the whole scope of a fantastic neurofunk compilation such as this one - it's more than just another 10 tracks of techy, spastic drums and the same damn modulated synth line every time. On a more opinionated front, I could also say it's one of the best releases in the genre in a while. Which is true - sure, none of the producers quite have the skill or experience of the absolute legends like Noisia or Ed Rush & Optical, but all ten tracks here are quite impressive. They're at least forward thinking, not falling into over-trodden territory like a lot of recent neurofunk has.

Artist of the Day: 10 Paces, Fire

Following up my 2012 top albums and EPs list, I wanted to make this post after I saw Twenty / Twelve come out last year; I didn't get around to it then, so I'm working on it now.

In 2010, 10 Paces, Fire shattered genre definition by releasing an album that was essentially progressive indie-rock fused with 90's emo, math rock, and post-rock, all with a solid vocal foundation. Released three years after their formation, Stop-Motion Recollections was a beautiful release that garnered them attention towards their sound, and helped them form their completely individualized niche in music. The album's sound was incredible - it struck deeper than emo on an emotional level, carried complexity matching up to any prog-rock band and sounded sincere and honest, much like any indie folk band would try to put forth on a record.

Album Review: Ra Ra Riot - Beta Love

Album Grade: C

The Tough Alliance’s album A New Chance opens with a call of “you were something special,” and it now seems as if the shout was directed at Ra Ra Riot. It’s nearly impossible for a band as neutral-sounding as Ra Ra Riot to jar the listener, but any fan will be shocked upon hearing Beta Love. The band had, for better or for worse, been known for its embrace of strings has all-but shed its chamber music influence. With a sound that was often more baroque than pop, Ra Ra Riot put a unique twist on otherwise traditional indie pop music. The band now uses Beta Love to transition away from their one trick pony status into a more keyboard driven group with the help of producer Dennis Herring, the same man who helped Modest Mouse transition into the mainstream back in 2004.

Artist Of The Day: Alasdair Roberts

A staple since going solo in 2001, Alasdair Roberts nevertheless remains a relative underdog of Scotland's extensive folk scene. In a sense, you could even say his career to date has been that of a classic nearly-man, having attracted all but perennial acclaim yet little in the way of widespread recognition - aside from his home nation, where he's quite rightly a hugely respected cult figure. The fact the man from Callander has always been so defiantly unhip has, of course, played a considerable role in this pattern. Indeed when he's not reworking old folk numbers as on excellent records such as No Earthly Man and Too Long In This Condition, he's seemingly crafting his own future standards; a process once more exemplified on latest LP A Wonder Working Stone. His first collection of originals in four years, it's a set which ticks practically every box one would associate with Roberts' music, being as it is both steeped in tradition and a pouring with passion - the 'friends' referenced on its cover as ever providing more than capable backing. It's not about to herald a belated breakthrough, though given he's so entrenched in his own fruitful niche you sense that was never really an objective.

Artist Of The Day: Crystal Castles

In a world where electro-pop has inundated the masses, you can always count on the gloomy electronic duo Crystal Castles to deliver something completely fresh and different. After forming in 2004 and releasing a handful of tracks which quickly became viral, Crystal Castles' debut self-titled album was released to rave reviews. In mid-2010, the band followed up with another self-titled album now known as Crystal Castles (II). The band has played hundreds of shows and festivals, showcasing their musical talents and accompanying them with absolutely chaotic live performances. Towards the end of 2012, their new album Crystal Castles (III) was released, featuring a more atmospheric sound complete with reverb and crooned vocals. Despite the emergence of mainstream electro-pop and indie artists in the past several years, Crystal Castles remains one of the most prominent and talented electronic projects today.

Album Review: The Joy Formidable - Wolf's Law

Album Rating: B-

I must admit, I feared for The Joy Formidable towards the end of the Big Roar cycle. It might have began with a sea of critical acclaim and a thoroughly impressive debut LP, but come the end of 2011 the Welsh trio were visibly and audibly floundering; their live shows grinding to stagnation as month upon month wringing the same 10 or so songs gradually took its toll. The enthusiasm remained, but it was patently obvious the band was approaching burnout, with the million dollar question being whether or not they could pick up the pieces ahead of their eagerly awaited comeback. Try though it does (oh, it really does try...), Wolf's Law is a record which fails to provide concrete answers - a curious document of an outfit who are thriving commercially but toiling in practically every other aspect.

Live Review: Kendrick Lamar, O2 Academy, Newcastle, 1/15/2013

Kendrick Lamar may be in the midst of his first ever U.K. tour, but for many it already seems as though the 25-year-old has nothing left to prove. His are of course exceptional circumstances - what with the stream of acclaim and accolades launched in his direction these past few months - so it was inevitable that expectations were high among those who packed the floor of Newcastle's sold out O2 Academy. It said a lot, then, that the Compton native's hour and a quarter onstage proved anything but an anti-climax; his performance catered to every section of his following and all but confirmed his status as hip-hop's hottest current property.

Artist of the Day: Lymbyc Systym

Yeah, I'm totally sorry. Today's Artist of the Day post is going to be more like 250 words of bragging. Because electronic-pop-rock hybrid Lymbyc Systym (it's a mouthful, but it's as close to an accurate description as you'll get in this write-up) is one of my favorite bands of all-time, and I got to go see them in Korea last Saturday. AND THEY WERE AWESOME.

But here we go.

Album Review: Venna - Third Generation Hymnal

Album Rating: B

"I am content with wanting."

So goes the refrain to "Married," which opens folk duo (and real-life married couple Heather and Marky Hladish) Venna's second release (and first in five years), Third Generation Hymnal. Yet as gloomy as that phrase may sound on paper, the mantra is a succinct summation of what makes this album so refreshing: the album's simple, intimate tunes may sound welcoming, but the delightfully complex sentiments within elevate this release from folk-by-the-numbers into a thoughtful and even liberating treatise on what it means to love.

Album Retrospective: Cardiacs - On Land And In The Sea

Album Rating: A-

Let's not beat around the bush: On Land and in the Sea is a weird album. It takes relatively normal musical elements - constant tempos, 4/4 time, keys that are defined firmly as major or minor - and essentially throws them out the window in favor of an art-rock style that's sure to ruffle a few feathers. Songs like "The Stench of Honey" and "Two Bites Of Cherry" employ rapid tempo and meter shifts with no warning, relying on staccato guitar chords to anchor the song rather than the drums. "Horsehead" is ominous with its alternating male-female vocals, both with an incredibly strong British accent, over a creaking, whirring beat and psychedelic piano line, an ordeal that lasts for less than a minute and a half but makes its presence felt over its entire runtime. "The Everso Closely Guarded Line," as the title might suggest, is an exceedingly odd song, mostly staying in 6/8 but changing up its tempo at unexpected times. What really makes it weird, though, is the cacophony of instruments that surround the song - organ, synth, strings, and some sort of percussive instrument like a xylophone, a baby's cry and other similar instruments surround the song's art-rock core.

Album Review: Lights & Motion - Reanimation

Album Rating: A

From fledgling startup Aerials to Deep Elm signed project Lights & Motion, Christoffer Franzén has been through a lot trying to release his music to the public. However, there's a certain satisfaction in having discovered the project when he was releasing demo tracks on his SoundCloud, and helping nurture and provide attention for the guy until he was finally noticed. And being noticed allowed Franzén to focus his sound and perfect exactly what he wanted to perfect, because L&M's debut is stunningly spectacular. Reanimation is the ultimate cinematic post-rock record, combining beautiful layers, powerful and meaningful melodic lines, and an ethereal feel that drives home the statement Lights & Motion has to offer: "I'm here, and I'm a musical force to contend with."

Artist of the Day: Four Tet

Despite the fate of many of his 90's-electronic-minded contemporaries, Four Tet has managed to hold onto both (a) a consistent release schedule and (b) a lot of the quality that he so devilishly displayed at the turn of the century. Nevertheless, the release of a new LP following the ever promising "I'm going to release an LP today" post to his Facebook page will bring back a lot of the creative joy not seen since his earlier releases. 0181 is a collection of tracks plucked from the 1997-2001 vault, so as such reflects style that he's since moved away from. What the listener yet uneducated in the world of Four Tet will find is quite a lot of jazz, or at least that mindset. Time signatures are played around with liberally, and it's not unusual to hear a bit of brass thrown in to the mix. Beyond this you'll hear a strong influence of that ever contentious brand of 90's braindance: an eternal signature of the veteran producer. Everything is coloured by a deeply playful vibe, even when the album chooses to give respite in its 40 minute duration to something more low-key. It really is a fantastic listen despite not previously considered for release.

The album can be streamed and downloaded (for free) on Soundcloud.
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Album Review: L. Pierre - The Island Come True

Album Rating: B+

Given he's best known for his time in Arab Strap and an acclaimed collaboration with Bill Wells, it's perhaps understandable that some casual observers mistake Aidan John Moffat for a one trick pony. That, of course, isn't to say he's not the master of his own little niche. Weathered and bedraggled, the Falkirk native's thick regional drawl has been all but ever present in the past two decades of Scottish music, his often peerless lyricism lending an insight into one of the most relatable and entertaining minds modern music has to offer. Whether he's fronting one of the aforementioned projects, lesser known guises or even mumbling over old Mogwai records, each and every broad utterance has contributed to a continuous trail of excellence, albeit one that's done little to dispel the odd dismissive rumble.

Album Review: A$AP Rocky- LongLiveA$AP

Grade: A-

After A$AP Rocky’s electrifying debut dropped in 2011, it seemed as though a sophomore slump was inevitable. The sheer quality of the first album combined with the massive failure that was A$AP Mob’s Lords Never Worry, which featured lazy verses from Rocky himself, seemed to only lend credence to the slump theory and the frequent delays in release (all the way from September 2012 to now) had fans questioning why the album was trapped in purgatory, and whether it would see the light of day at all. With the deadline issue now resolved the biggest question remaining is: can A$AP build off of his well-laid foundation, in a Kendrick Lamar-type manner? Or was Clams Casino- who only produced 2 songs on LongLiveA$AP- the true reason for LiveLoveA$AP’s success?