Tame Impala – It’s Not Meant To Be

Our Jam of the Day by Tame Impala is actually kind of sad. The song is about a girl Kevin Parker fancies, but the feeling isn’t mutual. He sings, “And I boast that it is meant to be/ but in all honesty/ I don’t have a hope in hell.” How could anyone not love you Kevin Parker?? A live version of the song will soon be featured on ‘Live Recordings,’ a limited edition vinyl set to be released on Record Store Day. Take a listen to the song below, and don’t forget to head to your local record store on April 19th.

New Music Monday

Here are the week’s freshest tracks that have yet to reach the earholes of the masses!

Playlist by Stacey Karl

Sit or Spin 3/30/14

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We played a multitude of different genres on tonight’s version of Sit or Spin. From Cloud Nothings to The Black Keys and from Tune-Yards to The Hold Steady – a lot was going on tonight. One artist that definitely stuck out with the panel tonight was Mac DeMarco. His new album “Salad Days” is for sure one to check out if you haven’t already. ALSO, a huge thanks to Scotty Bell for being our guest panelist on the show this evening.

First In Line – Kevin Drew = sit

Things We Said – Warm Soda = sit

Let Her Go – Mac DeMarc = spin

Hard To Hold – RAC, Tegan & Sara = spin

Vox Tuned D.E.D = Liars

Impressed – Sleeper Agent = spin

Quieter Today – Cloud Nothings = spin

Twin Rivers – Big Scary = spin

An Ocean In Between The Waves = sit (but spin another song from this album)

Dumb Luck – We Are Scientists = spin

Big Cig – The Hold Steady = sit

Fever – The Black Keys = sit

Mr. Tembo  – Damon Albarn = spin

Water Fountain – Tune-Yards = spin

 

 

Asian Invasion 03/31/2014

Tonight on the Asian Invasion, hear from the winners of the 2014 Korean Music Awards, Taiwanese rock band Mayday, and much much more!

April is Asian Pacific American Heritage Month!  As a part of MSU’s year-long celebration of Project 60/50, APASO will present a special screening of Linsanity, the story of Jeremy Lin.  There will also be bboy performances, dinner, and a discussion.  The screening will take place on Saturday, April 12th at 5 PM, at the Brody Cafeteria and Auditorium.

Mayday – “离开地球表面 / (Leaving the Surface of the Earth) Jump!”
2NE1 – “Come Back Home”
Chen-Yue Chang – “思念是一種病 / Sick of Missing You” (by request)
JJ Lin – “一千年以後 / A Thousand Years Later”
Sodagreen – “御花園 / King’s Garden”
Girls Generation – “Motorcycle”
EXO – “으르렁 / Growl”
Read More…

Human Eye – Gettin’ Mean

Detroit punks Human Eye released their fourth album, 4: Into Unknown last year on Goner Records.
Our Jam of the Day includes the new video they just came out with for the title track, “Gettin’ Mean.” The five minute long burner gives a short tour of some of Detroit’s landmarks including the abandoned train station, and The Heidelberg Project.

Album Spotlight: patten – Estoile Naiant

Estoile Naiant is the dense and perplexing full-length release from elusive London based electronic producer patten (always lower-case). patten’s musical output can be traced back to 2006 beginning with various deeply experimental CDR’s and highly limited EPs leading up to 2011’s GLAQJO XAACSSO LP released through No Pain In Pop. Recently signed to Warp records, he contributed sound installations to the “Tate x Warp” exhibition at Tate Britain in London alongside label-mates Oneohtrix Point Never and Hudson Mohawke in an exhibition that celebrated the prestigious label’s outstanding contribution to electronic music.

Estoile Naiant is a disorientating trip of an album that rarely settles or rests to breathe before spontaneously imploding and reconfiguring its pulsating electronic soundscapes. The maximal beats come and go over layers of harlequin texture and sampling all simultaneously twisting, echoing and colliding. The sounds take all manner of undefined shapes and overlap like some twirling kaleidoscopic puzzle that never stays still long enough to discern them. The splattering cyclical sonic paintings that patten creates could be compared to the more beat driven moments from Flying Lotus’ latest Until The Quiet Comes LP, yet patten’s work appears to be far less concerned with melody and instead buries melody deep within the shimmering wall of sound to hypnotize the listener into submission. “Agen” builds up through intricate accelerated beats, echoing vocal samples and gentle vaporwave tones that alter repetitively to suggest the infinite cyclical repetitions within nature and space time that consistently evolve and degrade through entropy and chaos. Yet occasional deterrence from the disorientation allows for vivid focus on the tracks individual elements; during the final minute of “Key Embedded” the song begins to deconstruct itself and all the individual layers can be heard with intense clarity.

The album’s sound could be described as progressive and futuristic whilst occasionally suggesting the microscopic world through it’s macroscopic intricacy, jittering chaotic fidgeting and organic sampling. Occasionally the albums sound borders into the dystopian; the hollow glacial synths in “Gold Arc” and “Drift” draw direct comparison to the works of Boards of Canada and particularly last years Tomorrow’s Harvest full of boundless sonic space and menace. Yet the dystopian sound within Estoile Naiant contrasts Boards of Canada’s faded widescreen sonic vistas because the relentless sound shifting within Estoile Naiant induces the feeling of jarring confinement instead of vast open space. When all of patten’s glitching beats are meshed so conflictingly, his work appears to show intense fascination on the minute scale rather than the effect of the resulting collection. The cumulative impact of the 10 tracks in unison is no-where near as impressive as the individual flourishes that occur at random intervals within in each track often lasting mere seconds.

Yet pattens obsession with what is near and in clear sight makes for incredibly lucid compositions that sound fully three dimensional in a way that allows for comparison to the production within last year’s bizarre yet outstanding mixtape ‘&&&&&’ released to acclaim by Arca following his production credit on Yeezus. For all the technical mastery evident in the construction of Estoile Naiant’s labyrinthian electronic onslaught, it remains so dense and uncompromisingly experimental that it leaves little space left to feel anything from within.

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