Chris d’Eon sends a hell of an email. To the point, direct links to downloads of 3 releases, and an all too humble request that should you like his music, he’d be more than happy to send a cassette. The style runs the gamut from Jan Hammer and Chromeo pop, to more serene electro and finally a heavy Tibetan influence that Chris honed while studying Tibetan Dranyen while at a monastery recently. He’s got an impressive range and a depth of knowledge about melody, production, and something seemingly more spiritual.
I’d call Lemonade sun soaked, except that somewhere along the way to the beach they met a euro-junkie clubrat who introduced them to a world of addiction. They lived and died in a minute in a world of abandon, free of consequence. Like the financial system, their reckless lifestyle came at the expense of an unbearable load. And while we hate the banks because we can’t let them fail, Lemonade succeeds because they trade futility for finality. Their tracks live the lifestyle knowing full well there are no second chances. They cut all ties, destroy their own burden, and live on their own terms.
Excision’s grimy ass “Bear Trap” rmx gives me visions of soundbeams bouncing across dark sewer tunnels, forming endless pentagrams back into the abyss. When they fill the tunnels up, the beams march out into the streets, slow and merciless, like the Halabja poison gas attacks. The track is inescapable and unforgiving, pulled straight from the wintry underground Russian clubs of The Saint. Thanks to DS@STR for the heads up.
I’m pretty excited about this post. DS@STR set me over some vinyl only releases he had picked up here and there. He’s crazy, batshit crazy. He described the Starkey “A Millie” remix as “filthy, absolutely disgusting” and claims to have been made physically ill by the track on multiple occasions. I felt pretty solid, but maybe that’s just me. You decide, chew on this:
In what is the first of what will hopefully be a long string of intra-NOLA remixes, Boston transplant Swiss Chriss remixes G-Eazy’s subterranean VIP jam SB Dunks into a certified club banger. Ummm did that machine gun synth really just drop? WTF. I’ve also got some very special artwork for the single. That’s G and Chris on stage at Republic Throwback while Damion Yancy drops the remix for the very first time this past November.
What do I remember from December 5th? Bits and pieces. Flashing lights. Shots. Blunts. Bass. Pretty standard fare for a Saturday here I guess. Luckily I’ve got the photos to jog my memory. I made it to Frat House Uptown first for Swiss Chriss/Aquaforce/DS@STR set. Good crowd, everyone was having fun. DS@STR set the mood: fucking grimy. Aquaforce’s stage presence was undeniable, and their flow was tight despite their energy.
I left for Cafe Prytania during Swiss Chriss and managed to catch Power 102.9’s Mike Swift introducing G-Eazy. They shut that shit down. Shit, was shut down. Shut->DOWN. Shit. G’s flow was on point and the backing tracks sounded beast in the mix. Franco’s onstage guitar cameo was short but sweet. Everybody in the building was fucked up, and there was a visible cloud of weed smoke wafting along the ceiling tiles. I remember some things. I remember opening my tab. I do not remember closing my tab. At either club… Tight sets from all parties involved.
12/5/09 was a turning point not just for music, but for attitudes. Things are changing, and people are learning how to party again. 2010 is the year.
BTW check out “Wolves” from Aquaforce’s upcoming “The Burgundy Mixtape”.
The Metric/Band of Skulls show at Republic Nov 29 was pretty solid, despite my dismal expectations for turnout. Apparently my estimation skills went out window along with my pride, health, and sobriety when I showed up in this town a couple years ago. Metric really drew a solid crowd. 500+ maybe? Band of Skulls really wasn’t much to speak of. You could hear din of crowd chatter over the group, and the group was showing it. When Fleet Foxes recently described their new album as “pretty boring“, the image of BOS sulking around stage immediately popped into my head an as visual accompaniment to the term. Unfortunately for the group, this is an association I plan on making for a long, long time. Metric saved the show. Their energy extended into the crowd and the terrific mix in the club didn’t hurt. Photos were marginal, I am not satisfied.
This remix hits a sweet spot. The originalFlairs track really doesn’t do it for me, but Alex Gopher might as well be Dash Rendar. Tie-fighter synth and Ord Mantell steel drums bring this song back to life. Just an all around bangin’ remix.
My flannel clad roommate just finished commenting on the astonishment his father showed upon hearing I had just started listening to Big Country. I envy his dad on many levels. He and his son share an unwavering passion for fine hot dogs and well-cooked hamburgers, as well as the accompanying apparel. The roommate’s dad also spent the majority of the 80’s soaking up only the finest in pop and new wave. He’s got a full ten years of pop culture knowledge my dad missed out on while doing the ‘having kids’ thing. Some called Big Country the next U2 before the groups’ splintering and eventual implosion thanks in no small part to late singer Stuart Adamson’s chronic alcoholism. “In a Big Country” was their hit. “Look Away” is their classic, big and bold, and that strange sense of the purpose with no direction that plagued most pop hits(and humanitarian causes) throughout the decade.
My friends are nice enough as it is, but my buddy Graham T went above and beyond the call of duty this past week when he sent me a .zip full of songs I’d never heard. He pretty much hit the nail on the head as far as my current musical tastes go: Loggins > Beatles. This does seem to help explain my affinity for movies like Waterworld and Escape from New York, and Keith Haring’s big, bold imagery. Boldness pervades my sensibilities, obscuring any shortfalls in favor of each respective media’s biggest, sleekest qualities.
But when did this become about me. Check out a couple of the songs, and someone please tell my why that faux harp on the Ray Lynch song sounds so familiar.
Quality control for your music browsing experience.
DEFTJAMS posts the bomb jams in indie, pop, hip hop, electro and remixes.
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Contact me at dan@deftjams.com
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