Beyond Beats Vol. 4
beyond-beats-vol-4
February 02, 2012
ready
5
# Beyond Beats Vol. 4
**2012** is still fairly young and strictly speaking, musically there
hasn't that much going on till now, the year is kicking off rather
slowly this time. However, the coming months will bring a lot of
exciting stuff and there already is enough mouth-watering material to
sift through.
First of all, allow me to make a probably bold prediction. After **Olde
English Spelling Bee** shaping 2010 and **Hippos In Tanks** and **Tri
Angle** conjointly dominating the last twelve months, 2012 is going to
be the year of **RVNG Intl**. At least it could become their year (in
that tiny niche of the universe we're examining here, that is), as it
seems the Brooklyn label has made quite a few right A&R decisions as
of late. First, there's **Oberlin** alumni **Zach Steinman** and **Sam
Haar** aka **Blondes**. The duo's long-awaited proper debut is set to
arrive with a breathtaking compilation of remixes, and the two discs
combined will surely be considered one of this year's most essential
efforts of experimental dance music. The self-titled LP will hit the
stores on February 6th.
But as I'm not exactly entitled to talk about beat-centred music here,
let's quickly move on to two other forthcoming RVNG records that really
excite me. First in line is the second proper album by **[Julia
Holter][1]{: target="_blank"}**, ***Ekstasis***, the follow-up to one of
2011's most stunning LPs, ***Tragedy***, the album for **Leaving
Records** that simply can't be appreciated enough for its breathtaking
complexity and flawless beauty. Now the classically trained (virtually
no one ever fails to mention that, so why should I?) artist has already
finished the successor, and you only need to listen a couple of seconds
into album opener "**Marienbad**" to be reassured that more likely than
not it's gonna be another masterpiece. The song itself is named after
the 1961 French movie **L'Année dernière à Marienbad**, which is famous
for its oneiric and enigmatic structure, more than a mere hint that
we're again dealing with heavily referential and deep topoi here --
after all, *Tragedy* was a take on Euripedes's epic Hippolytus from 428
BC. Listen closely: if "great art takes us to a place that is between
Earth and Utopia, between the 'real' and the 'unreal'", as Adam Harper
asserts in his monograph on John Maus, then Holter surely is a great
artist. But the most amazing thing about her utterly complex and
sophisticated work is that no matter how much profundity she puts into
it, the result invariably is pop music that sounds effortless and almost
weightless. *Ekstasis* will be out March 8th.
Finally, RVNG Intl will continue its terrific **FRKWYS** series which
pairs contemporary artists and their progenitors by way of remix,
reinterpretation, and original collaboration. The ninth instalment has
brought together our beloved **Cameron Stallone** aka **Sun Araw** and
his mate **M. Geddes Gengras** with **The Congos** in the latter's
hometown in Jamaica. The psych and dub-heavy result ***Icon Give
Thank*** won't be out before April 9th, but I thought the thrill of
anticipation wouldn't hurt, so here's "**Happy Song**":
Enough with RVNG Intl. for now and back to those labels whose output is
the default material for this column. Sometime next month, **Not Not
Fun** is going to drop the second full-length by Indiana's finest
synth-wizard **Dylan Ettinger**, ***Lifetime of Romance***. This highly
anticipated LP is however not New Age Outlaws Pt. 2, which might be a
disappointment for those who've been waiting for more thrilling stories
about the NYC ex-police officer [Gordon][2]{: target="_blank"}. On the
other hand, it's also not 2009/2010 anymore, and the hypnagogic diction
has lost its original momentum, so from an artistic standpoint it almost
feels inevitable to move on, or rather move back to actual songwriting,
as Ettinger recently told Tiny Mix Tapes. *Lifetime of Romance* now
marks a creative turn towards heavy and mind-blowing classic synth-pop,
something the exponents of early eighties cold wave would have been
proud of to accomplish. Ettinger's voice is mostly slightly distorted
and rather distant in the mix, giving way to lush, exuberant excursions
with his synthesizer of choice, the Moog Rogue, and highly propulsive
rhythms, as perfectly exemplified by the first single "**Wintermute**".
The record's true standout track however clearly is "**Maude**", an
eight-minute, crystal-clear wave banger that in a way blends the
artist's more song-based concept with the otherworldly,
soundtrack-informed synth meanderings of **New Age Outlaws**, all put on
a whole new level with the help of the stunning, eerie saxophone work by
a friend. A highly recommended record and a huge creative leap for Dylan
Ettinger.
There are also exciting things happening over at **Software
Recordings**, the **Mexican Summer** subdivision that we'd already dealt
with briefly [the other day][3]{: target="_blank"}. Brooklyn's **Bill
Gillim** used to be better known as one half of synth pop duo
**Tigercity**, together with Joel Ford (now one half of **Ford &
Lopatin**). Now I don't know what has happened with Tigercity, but it
honestly doesn't matter anymore since I've come across some of Gillim's
latest solo material under his **Megafortress** guise. His forthcoming
self-titled LP on **Software** is pure bliss, a slow and mesmerizing
listen that almost entirely relies on the artist's masterful
vocalization, a fragile falsetto in countless layers that is only
sparsely supported by restrained, gloomy instrumentation. The truly
astonishing record will be out January 31st.
[1]: http://www.electronicbeats.net/category/tags/julia-holter
[2]: http://getoffthecoast.blogspot.com/2011/01/guest-post-dylan-ettinger.html
[3]: http://www.electronicbeats.net/music/features/beyond-beats-vol-2
---
id: e0fee8b0-8233-4317-9cd8-aabc1b8499f8
blueprint: article
title: 'Beyond Beats Vol. 4'
date: 2012-02-02T16:41:30+01:00
wp_id: '11399'
slug: beyond-beats-vol-4
teaser_image: legacy/beyond-beats-vol-4/photo_henning_7.jpg
contents:
-
type: text
text: '<p> <strong>2012</strong> is still fairly young and strictly speaking, musically there hasn’t that much going on till now, the year is kicking off rather slowly this time. However, the coming months will bring a lot of exciting stuff and there already is enough mouth-watering material to sift through.</p><p>First of all, allow me to make a probably bold prediction. After <strong>Olde English Spelling Bee</strong> shaping 2010 and <strong>Hippos In Tanks</strong> and <strong>Tri Angle</strong> conjointly dominating the last twelve months, 2012 is going to be the year of <strong>RVNG Intl</strong>. At least it could become their year (in that tiny niche of the universe we’re examining here, that is), as it seems the Brooklyn label has made quite a few right A&R decisions as of late. First, there’s <strong>Oberlin</strong> alumni <strong>Zach Steinman</strong> and <strong>Sam Haar</strong> aka <strong>Blondes</strong>. The duo’s long-awaited proper debut is set to arrive with a breathtaking compilation of remixes, and the two discs combined will surely be considered one of this year’s most essential efforts of experimental dance music. The self-titled LP will hit the stores on February 6th.</p><p>But as I’m not exactly entitled to talk about beat-centred music here, let’s quickly move on to two other forthcoming RVNG records that really excite me. First in line is the second proper album by <strong><a href="http://www.electronicbeats.net/category/tags/julia-holter" target="_blank">Julia Holter</a></strong>, <strong><em>Ekstasis</em></strong>, the follow-up to one of 2011’s most stunning LPs, <strong><em>Tragedy</em></strong>, the album for <strong>Leaving Records</strong> that simply can’t be appreciated enough for its breathtaking complexity and flawless beauty. Now the classically trained (virtually no one ever fails to mention that, so why should I?) artist has already finished the successor, and you only need to listen a couple of seconds into album opener “<strong>Marienbad</strong>” to be reassured that more likely than not it’s gonna be another masterpiece. The song itself is named after the 1961 French movie <strong>L’Année dernière à Marienbad</strong>, which is famous for its oneiric and enigmatic structure, more than a mere hint that we’re again dealing with heavily referential and deep topoi here – after all, <em>Tragedy</em> was a take on Euripedes’s epic Hippolytus from 428 BC. Listen closely: if “great art takes us to a place that is between Earth and Utopia, between the ‘real’ and the ‘unreal’”, as Adam Harper asserts in his monograph on John Maus, then Holter surely is a great artist. But the most amazing thing about her utterly complex and sophisticated work is that no matter how much profundity she puts into it, the result invariably is pop music that sounds effortless and almost weightless. <em>Ekstasis</em> will be out March 8th.</p><p>Finally, RVNG Intl will continue its terrific <strong>FRKWYS</strong> series which pairs contemporary artists and their progenitors by way of remix, reinterpretation, and original collaboration. The ninth instalment has brought together our beloved <strong>Cameron Stallone</strong> aka <strong>Sun Araw</strong> and his mate <strong>M. Geddes Gengras</strong> with <strong>The Congos</strong> in the latter’s hometown in Jamaica. The psych and dub-heavy result <strong><em>Icon Give Thank</em></strong> won’t be out before April 9th, but I thought the thrill of anticipation wouldn’t hurt, so here’s “<strong>Happy Song</strong>”:</p><p>Enough with RVNG Intl. for now and back to those labels whose output is the default material for this column. Sometime next month, <strong>Not Not Fun</strong> is going to drop the second full-length by Indiana’s finest synth-wizard <strong>Dylan Ettinger</strong>, <strong><em>Lifetime of Romance</em></strong>. This highly anticipated LP is however not New Age Outlaws Pt. 2, which might be a disappointment for those who’ve been waiting for more thrilling stories about the NYC ex-police officer <a href="http://getoffthecoast.blogspot.com/2011/01/guest-post-dylan-ettinger.html" target="_blank">Gordon</a>. On the other hand, it’s also not 2009/2010 anymore, and the hypnagogic diction has lost its original momentum, so from an artistic standpoint it almost feels inevitable to move on, or rather move back to actual songwriting, as Ettinger recently told Tiny Mix Tapes. <em>Lifetime of Romance</em> now marks a creative turn towards heavy and mind-blowing classic synth-pop, something the exponents of early eighties cold wave would have been proud of to accomplish. Ettinger’s voice is mostly slightly distorted and rather distant in the mix, giving way to lush, exuberant excursions with his synthesizer of choice, the Moog Rogue, and highly propulsive rhythms, as perfectly exemplified by the first single “<strong>Wintermute</strong>”. The record’s true standout track however clearly is “<strong>Maude</strong>”, an eight-minute, crystal-clear wave banger that in a way blends the artist’s more song-based concept with the otherworldly, soundtrack-informed synth meanderings of <strong>New Age Outlaws</strong>, all put on a whole new level with the help of the stunning, eerie saxophone work by a friend. A highly recommended record and a huge creative leap for Dylan Ettinger.</p><p>There are also exciting things happening over at <strong>Software Recordings</strong>, the <strong>Mexican Summer</strong> subdivision that we’d already dealt with briefly <a href="http://www.electronicbeats.net/music/features/beyond-beats-vol-2" target="_blank">the other day</a>. Brooklyn’s <strong>Bill Gillim</strong> used to be better known as one half of synth pop duo <strong>Tigercity</strong>, together with Joel Ford (now one half of <strong>Ford & Lopatin</strong>). Now I don’t know what has happened with Tigercity, but it honestly doesn’t matter anymore since I’ve come across some of Gillim’s latest solo material under his <strong>Megafortress</strong> guise. His forthcoming self-titled LP on <strong>Software</strong> is pure bliss, a slow and mesmerizing listen that almost entirely relies on the artist’s masterful vocalization, a fragile falsetto in countless layers that is only sparsely supported by restrained, gloomy instrumentation. The truly astonishing record will be out January 31st.</p>'
---
Chunk #1 (Position: 0)
# Beyond Beats Vol. 4 **2012** is still fairly young and strictly speaking, musically there hasn't that much going on till now, the year is kicking off rather slowly this time. However, the coming months will bring a lot of exciting stuff and there already is enough mouth-watering material to si...
Chunk #2 (Position: 1)
The duo's long-awaited proper debut is set to arrive with a breathtaking compilation of remixes, and the two discs combined will surely be considered one of this year's most essential efforts of experimental dance music. The self-titled LP will hit the stores on February 6th. But as I'm not exact...
Chunk #3 (Position: 2)
But the most amazing thing about her utterly complex and sophisticated work is that no matter how much profundity she puts into it, the result invariably is pop music that sounds effortless and almost weightless. *Ekstasis* will be out March 8th. Finally, RVNG Intl will continue its terrific **FR...
Chunk #4 (Position: 3)
Geddes Gengras** with **The Congos** in the latter's hometown in Jamaica. The psych and dub-heavy result ***Icon Give Thank*** won't be out before April 9th, but I thought the thrill of anticipation wouldn't hurt, so here's "**Happy Song**": . Enough with RVNG Intl. for now and back to those lab...
Chunk #5 (Position: 4)
The record's true standout track however clearly is "**Maude**", an eight-minute, crystal-clear wave banger that in a way blends the artist's more song-based concept with the otherworldly, soundtrack-informed synth meanderings of **New Age Outlaws**, all put on a whole new level with the help of ...