1. “Nu Erotic Ghost” – Stray Echo. Swinging sweetly high, then dipping into pools of sticky low, “Nu Erotic Ghost” is a bedroom track bound to set your Valentine’s night aflame in the most soulful way possible.
2. “Say A Prayer For Me” – RÜFÜS DU SOL. This reminds me of a track that would be played during a Bora Bora beach DJ set in Ibiza. With easygoing, chill-step soundscapes and relaxing vocals that simultaneously pump euphoria into the air, “Say A Prayer For Me” has positive vibes riding in each note.
3. “Perfect Ten” – NEWTIMERS. A minimal, seductive R&B/pop combo brought to you by a sizzling Swedish duo. With purposeful percussion and smooth vocals that take their time, NEWTIMERS spaces out each lovely element in this track so that listeners can appreciate every. single. detail.
4. “Midnight” – Lane 8. The next time you’re driving and feel the need to enter a trance of melody, calm, and pure spellbound stupification, pick this ambient electronic jam as your soundtrack. Hit play just as you’re rounding the corner and have a view of mountains, the ocean, or any vastness.
5. “Modern World” – Future Elevators. Whirling, trippy instrumentation and hollow vocals echoing fantasies of living in a modern world, this sexy track is distant, beautiful, at times sad, but mostly sounds like it was recorded in another galaxy.
6. “Needs ft. Andrew Ashong” – Submotion Orchestra. I always appreciate a song that is comfortable with its pacing and “Needs” is just that; it blossoms as you listen, from meditative guitar lines and stunning electronica into jazzy, festive piano and horn sections.
7. “Burn” – James Supercave. Walking a sharp line of psych pop and unmistakable groove, James Supercave has meticulously picked the ripest fruit from each genre, with Passion Pit-esque vocals, Cake funkiness, and a clean, light buzz.
8. “Harmony” – Joel Wells. Combining dizzying, 120-proof dancefloor rhythm with anise-flavored synth, “Harmony” is absinthe in song form.
10. “Run Like Hell” – Alex Bent + the Emptiness. Too spaced out to be a mash-up, but daring enough to combine Wu-Tang and Nine Inch Nails in a single track, “Run Like Hell” is dark, different, and captivating.
11. “Ratnapur” – At The Psychedelic Circus. “Ratnapur” sounds like the background music at an ayahuasca brewing ceremony.
12. “14” – Kilmanjaro. “14” flashes, shines, and sparkles like an astral lighthouse on a dark waterfront, if the lighthouse beamed streams of cobalt, lime-green, and purple; a lightshow on the ocean.
13. “Rayon” – Letherette. Crisp, chilled, classic house track that will hopefully be lobby music come 2020.
14. “Phone” – Tom Low. Fresh and bright, “Phone” merges modern-day electronic with vocals that sound like the Beatles are making an appearance on this Liverpool native’s title cut.
15. “Reminder” – Moderat. From Moderat’s upcoming EP Reminder, this title track is known to cause lucid dreaming, mysterious fires, sudden time lapses, and severe goosebumps. Proceed with caution.
16. “Maquinaria del Tiempo” – Whitney Winston. Labeled as LatinTronic, this track is experimental, ambient, and has enough Spanish vocals that “Maquinaria del Tiempo” is an example of how electronic can be manipulated and formed to meet any culture’s profile.
17. “Matadora” – Sofi Tukker. Tukker pushes the boundaries of electronic like she’s the Hierophant of the whole genre, slipping us tracks of pure mystic gold and letting her wise artistry show the world how magical electronic can be. Now that I know “LatinTronic” is a thing, we need that label slapped all over this hot, steaming, brimming-with-life track.
18. “New” – Fontine. “New” moves like thick sludge, wrapping itself around your waistline and steering you to dance. It is intense and heavy, an unstoppable dance pop force you’re hypnotized to give into. —Rachel Haney
I’m usually not a fan of videos that feature their principal musicians playing the song in question, as I vastly prefer to see music videos as their own medium capable of meaning-making. However, sometimes the song is just so good that it’s worth the performance vid.
If you’re going to name your band Tonstartssbandht, you’d better have some goods to back that up. Thankfully Tonstartssbandht totally does, as the duo plays a breakneck sort of indie-rock that incorporates wiry indie-rock, some metal bombast, folky groove, and even some blues. It’s like Two Gallants on steroids. Weird, weird steroids.
I don’t know what’s in the water there, but it seems that every time someone says, “We’re from Scotland,” I’m pretty stoked with their output. Meet Tango in the Attic, an artsy indie-rock band with some electro leanings. Looking forward to more from this band.
Dave McPherson’s deeply emotive acoustic guitarwork and vocals call up David Gray and Damien Rice comparisons, the latter of which is exciting because Rice works at a pace roughly known as glacial. “Kingdom” is is quite the engaging tune.
One of the joys of being around for almost a full seven years (secret: keep your eyes peeled for a 7-year birthday present soon!) is that I can follow artists through their careers. We’ve covered every single Felix Culpa release except for their debut three-way-split EP. We’ve covered half a dozen Fairmont releases. We’ve covered just about as many Marc with a C albums. Green Song is the fourth release that’s associated with musician E Deubner that we’ve covered – two solo albums and an album by his band Futants preceded this latest solo effort. This is his first under moniker The Hotel Chronicles.
One of the reasons it’s so fun to cover artists over the long range is that artists grow and change. It’s neat to see where an artist was, where an artist is, and where an artist is (maybe?) going. That’s what makes Green Song especially interesting to me. When I reviewed The Wasted Creatorin 2006, Deubner was cranking out heavy, industrial-influenced rock tracks that had almost zero pop influence. Over the years, Deubner’s aesthetic has refined and changed, although never losing the core of dark, distorted, truly alternative rock.
Green Song is the strongest effort that Deubner has put out yet, because like Grant Valdes, Deubner has put his focus squarely on composing and not on becoming a rock star. I’m not sure what the green song that he’s singing about is, but it’s referenced at the beginning, middle and end of the album. The decision to tie the album together thematically also causes Deubner to tie the album together musically, making one of his most ambitious but most cohesive collections of songs yet. Deubner stretches his musical boundaries by including burbling ’80s-style electronica (“Intermission”), Beck-style hip-hop (“My Baby’s Coming Home”), and modern beat-making production (“Love Me, Leave Me”) in his dark, vaguely apocalyptic rock this time around.
Green Song isn’t for the unadventurous. Deubner’s aesthetic, while honed on this album, is still not within the realms recognized as modern rock. If you approach this thinking it’s a Nine Inch Nails sound-a-like, there’s a good chance you will be disappointed. You might not; there is definitely industrial influence that an open-minded NIN fan could enjoy. Songs like “Just for Fun Fun Baby, Run Run Run” and “Green Song Part II” rock out in a way that calls to mind his work with Futants, and those are two tracks that could be enjoyed by many.
But for every accessible riff (like the great opener of “A Minute to Love”), there’s two or three things that would never see the light of radio (like the simultaneous weird falsettos, quaalude guitar tempo, and old-school hip-hop beat of “Love Me, Leave Me”). For every accessible tune like “A Minute to Love,” there’s the late-night basement experimentation of title track “Green Song” and “The Final Push.” This is the way E Deubner wants it, and while not every one of his ideas succeeds (“Reborn” has an awful vocal performance that dooms it instantaneously), he is hitting with a higher level of success than on previous releases.
E Deubner’s Green Song is a solid statement from an artistic with a unique aesthetic. The rock/industrial/other presented here is the work of an artist continually refining his sound. This is a big step forward, but not his final destination. There are a lot of new elements introduced to his sound on this album that will need to see refining in future albums, just as his guitar riffs have. I can’t wait to see where he goes next. Recommended for fans of industrial, experimental rock or experimental music in general.
Stephen Carradini and Lisa Whealy write reviews of instrumental, folk, and singer/songwriter music. We write about those trying to make the next step in their careers and established artists.