Click image to download full album

Let me take this opportunity to discuss my two favorite experimental artists with the Indie Shuffle community: Tycho & Lusine. Both artists create music under Ghostly International alongside those oh-so-sweet pop melodies of School of Seven Bells. Ghostly is a label that I feel focuses heavily on the quality of their releases as well as the innovation that comes with creating a piece of music. An art gallery as well as a design house, this once-coined “boutique label” has branched out to encompass all elements involved in creating a piece of art.

Scott Hansen, also known as Tycho or ISO50, is a musician, artist, and active member of the blogging community. Hansen’s blog, ISO50, has become the premier destination for new Ghostly releases and unique tunes to satisfy the avid electronic listener. But it doesn’t stop there. Hansen is also a designer, and the blog was originally created as a portfolio for his work. So expect to see some design-inspired posts incorporating elements like typography, photography, or even fashion.

After studying 20th-century electronic music and sound design for film at CalArts, Jeff McIlwain began creating music as Lusine. His ambient, uplifting, and abstract take on modern electronica has set him apart from the sea of artists that surround this broad category of music today. Each release features beautifully crafted melodic pieces intertwined with elements of glitch and downtempo that make for an original yet soothing listen.

Coastal Brake was released in late 2009 and features cover artwork designed by Hansen. Make sure to give the whole release a listen as each track has its own unique take on the original song, a rare occurrence in the world of remixes that we live in today.

myspace | myspace.com/tycho

Click image to download full album

Ladies and gentleman, buckle your proverbial seat belts and prepare to blast off to Planet Röyksopp. This experimental electronic Norwegian duo is set to release their fourth album, Senior, on September 13th… and yes, this is one of the essential instrumental albums I’d bring with me if I were to move to a different planet and start fresh (a girl can dream). Surprisingly enough, this album flows in chronological order of my imagined future journey to and on Planet Röyksopp. It goes like this:

Track 1: You’re feeling nostalgic yet hopeful as you pack your things to start your life on such an unknown, yet promising planet. Your mind is racing so fast you can’t keep up with it; it almost mimics the sound of soaring through space in a rocket with a loud hum. You’re passing fiery stars, galaxies, even an asteroid or two (which this track encapsulates quite well with it’s atmospheric, airy undertone and overlaying compliments of buzzing bass, dainty keyboard, and zipping synthesizers).

Track 2: You’re on the rocket and this song happens to be playing. You’re psyched — almost too psyched to be able to sit still for such a long flight — and you haven’t even taken off yet. You can’t resist tapping your feet and bobbing your head (in an almost seizure-like manner) to the fast beat and intertwining synth. Then, just when you thought it wasn’t possible, Röyksopp throws in more synth. Layer upon layer upon layer, this song just doesn’t quit.

Track 3: You’ve landed. You step out onto this extremely foreign land and this song is playing, warmly welcoming you as you take it all in. Much more mellow than Track 2, but still encompassing a great beat. The sweet-sounding soft synths, gentle guitar picking, and birds chirping represent the feeling of comfort and hospitality that you feel as you absorb your new home’s environment in awe.

Track 4: You’re settled in, you’re surrounded by your loved ones, and you even like your neighbors. You’ve got this great hammock on your deck that you’re using the moment and this song comes on. Slowly swaying back and forth, you feel breezy, calm, cool, collected… it’s refreshing, just like this song: a quiet beat, gentle bass, random wind chimes, that shiver-inducing synth, and even a few melodies from a choir. Ahh, this is the life.

Tracks 5 & 6: There’s no way you’re leaving Earth and moving to a different planet without throwing a celebratory party. That’s what these songs are for. Upbeat, introspective, and constantly surprising you with a new layer of bass and guitar — and then taking those layers away just as quickly, but never disappointing. It’s infectious, sober or not. Sometimes you might catch yourself wondering if an alien is trying to contact you, or if that’s just a sound effect in the song. (I’ll go with the alien. They do exist.)

As for the rest of the album (there are 9 tracks total), I don’t want to give it away. But I will tell you this: it continues to bring the ethereal funk, no doubt about it. Use your imagination and see how life on Planet Röyksopp pans out with their upcoming release, Senior!

myspace | myspace.com/royksopp

A few months later now, and Hoodie has relocated to Indie Shuffle’s home turf: San Francisco. I saw him open up for Wait What at the “This Is Real Life” release party, and found myself thoroughly entertained by his dynamic stage presence (which set the perfect platform from which Wait What could begin its set). For an up-and-coming new artist to relocate across the country and still draw the excitement that Hoodie did at that performance was pretty remarkable.

We here at Indie Shuffle are excited to see what Hoodie can bring in the future, and look forward to helping him bring attention to his new work! In the meanwhile, enjoy this bonus track featuring Two Door Cinema Club.

Click image to download full album

It’s rare to come across a talented and successful singer with mainstream appeal – let alone one who also happens to be entirely self-taught. Andreya Triana is just that. She’s a singer/songwriter from Brighton with a soulful, hauntingly beautiful voice developed after years of working on her passion. Growing up, she spent her years writing, developing her voice and teaching herself how to loop samples – eventually turning her talents into a one-woman act.

She lent her vocals to glitch-hop producer Flying Lotus on the track “Tea Leaf Dancers,” which in turn caught the attention of both music tastemakers and label heads alike. Finding a home at the British Ninja Tune label, her debut album Lost Where I Belong was produced by Bonobo with several songs written courtesy of Fink.

myspace | myspace.com/andreyatriana

Click image to download full album

Song: People Under The Stairs – Youth Explosion

What’s so good:
In contrast to our usual Song of the Day hip-hop features, here’s some quality underground hip-hop a la the artists featured in our Back to the Basics series. The two members of People Under the Stairs hail from L.A., and have released seven albums since their formation in 1997. Their sound has been compared to A Tribe called Quest, Jurassic 5 and The Pharcyde (who, coincidentally, have one of the best music videos of all time). The above song, “Youth Explosion”, was released in 2000 and can be found on the album “Question in the Form of an Answer”.

Bonus: People Under the Stairs – Hit The Top

Click image to download full album

In the spirit of tradition and impatience for the new Azure Ray release (Drawing Down the Moon, 9/14), I sifted through my inefficiently catalogued CD collection to locate Orenda Fink’s 2009 side adventure, O + S. The aptly titled O + S is the workings of Orenda Fink (Azure Ray, Art in Manila) and long time friend Cedric LeMoyne (Remy Zero), who currently operates under the nom de plume ”the Scalpelist.”

The origins of the band initiated when Fink was invited to the esteemed Bemis Center for Contemporary Arts in Omaha to engage in an art residency. Embracing her love of nature, Fink decided to approach her project by collecting field recordings from diverse locales, ultimately leading her from Omaha to Haiti. Scooping up the Scalepelist along the way, the two transformed Fink’s project into a withstanding musical endeavor.

It’s perhaps not surprising that O + S sounds like an extension of Azure Ray, which is good (depending on the album), but safe. I thoroughly enjoyed that they pursued the practiced tactic of Fink’s previous work and incorporated tinges of Portishead. But where that pleases, it also predisposes the album to marginalization. Regardless, the pair do a commendable job at creating encompassing sonic landscapes and amplified atmospheric texture. The real personality of the album derives from the eclectic loops implemented from Fink’s travels, ranging from random street clamor to coffee shop conversations (“We Do What We Want To” and “Toreador”).

Not ones to monopolize attention, O + S have dwelled in obscurity for the bigger part of the past year, save the Grey’s Anatomy and Dollhouse appearance. With hope, I see this album filling fashion-forward establishments all throughout the country. Generous, digestible, and best served with a stagnant and reflective afternoon, the self-titled O + S delivers.

myspace | myspace.com/opluss

Click image to download full album

Listening to Songs for the Ravens by Sea of Bees makes me feel like I’m part of something special. Maybe it’s that the music sounds quite large and experimental, especially when compared to other indie folk acts. It could be the way the wide array of instruments on this album fit together seamlessly. Perhaps it is the way singer/songwriter Julie Baenziger’s unique voice sits in the center of your brain, and after a while seems to become part of your own inner monologue. Or most likely, it is all these things combined that makes Songs for the Ravens a truly unexpected and wonderful gem

Songs for the Ravens has more than your typical indie folk record. Unlike other female folk singers, Baenziger plays most of the instruments on the album, some of which she had never played before. The overdub-heavy nature of this music gives it a large, deep sound that both satisfying and impressive. Jules (as her friends call her) has a voice that’s unlike anything I have heard before: it’s high (and not in an outrageous Joanna Newsom way), but completely under control; it’s also thin, but full enough to stand out among the many layers of instruments.

One of the highlights of the album is the poppy electronic tune “Willis.” The song features fast-paced and clicky electronic drums (courtesy Wes Steed of Hearts and Horses) reminiscent of The Postal Service. The rest is a wonderfully crafted song that features beautiful vocal harmonies, floating synthesizers, and painful lyrics about feeling hurt and used (“I trust another boy, he held me out to dry/and used me for a good time, and made me lose my mind”). Although the lyrics are sad, the music feels optimistic in a way that makes you hope everything works out for the singer.

And I do hope everything works out for Julie Baenziger; she deserves all the praise she receives. This album displays her intuition when it comes to playing many different instruments, her talent as a vocalist, and her amazing abilities as a songwriter. A lot of artists release a few albums before they find their sound, but it seems like Sea of Bees nailed it on the first try.

myspace | myspace.com/seaofbees

Click image to download full album

In the last week we’ve been ramping up Wait What’s new mixtape. As you may recall, he experienced breakout success on the blogosphere with a mashup of The Xx and Biggy. This time around Indie Shuffle is helping Charlie bring this album to the internet masses. There will also be a release party in SF on August 31 (tonight) featuring Wait What and Hoodie Allen. All profits from both the album and the show will be made on a pay-as-you-wish basis, with proceeds going to Dave Eggers’ youth writing non-profit, 826 Valencia.

What more could you want? Well how about a track listing and two more songs? The full album will soon be available for download here. Be sure to visit Wait What’s website for further details!

Track Listing:

1. An introduction to real life
2. Bad Boy in Rill Life (P Diddy & Black Rob vs Sleigh Bells)
3. I Gotcha Right Moves (Lupe Fiasco vs Onerepublic )
4. Stuntin Like my Dani (Lil Wayne & Birdman vs Red Hot Chili Peppers)
5. Lean Yourself Back (Mase, Eminem & Fat Joe vs LCD Soundsystem)
6. I Heart Running This Town (Jay-Z, Rihanna & Kanye West vs Samuel)
7. A Thing We Have Been Denied for Far Too Long (Interlude)
8. Die Forever Day (Drake, Kanye West, Lil Wayne, & Eminem vs Madonna)
9. Got Urself an Electric Gun (Nas vs MGMT)
10. Fly Like Deja, Get High Like Planes (Lord Tariq & Peter Gunz vs DFA & MIA)
11. Get At Me Animal (DMX vs Miike Snow)
12. Where’s The Lisztomania At? (Jagged Edge & Nelly vs Phoenix)
13. Love Dominos (Obie Trice, Eminem & 50 Cent vs The Big Pink)
14. Over Empathy (Drake vs Crystal Castles)
15. Shooter’s Concentration (Lil Wayne & Robin Thicke vs Red Hot Chili Peppers)
16. Doggles’ Voicemail
17. Just Don’t Give a Run About That Hill (Eminem vs Placebo)
18. Making Konstantine Cry (Jay-Z vs Something Corporate)
19. Down Laundry (Jay Sean & Lil Wayne vs Say Hi To Your Mom)
20. Consequences of a Gangsta Luv (The Dream & Snoop Dogg vs The Notwist)
21. Fallin Slowly (Jay-Z vs The Swell Season)

Bonus: Wait What – Over Empathy (Drake vs Crystal Castles)

myspace | myspace.com/waitwhatmusic

Click image to download full album

Respect to the dinosaurs.

Five years ago, I moved to Sweden from New York. They had 3G video phones (not only in WiFi… ahem, Apple), drop dead gorgeous blondes in skin-tight skinny jeans (not the USA trend of bell bottoms, blah), and what stands out the most (other than the delectable women) is that they played Robyn everywhere I went.

Turn on the TV, we had Robyn smashing mirrors bald in her “Be Mine” video; turn on the radio we had the vintage “Show Me Love.”  Well, I fell in love. Sweden is ahead in fashion, ahead in cool, and undoubtedly ahead with Robyn.

So, should I be surprised that in 2010 Robyn is still killing it with Body Talk Pt. 1? Nah, not really. The sassy little lady promises us three albums in this series, and as our lovely Ali G says, “Re-spect!” Robyn is a dinosaur in this complicated and corrupt music world, and Body Talk Pt. 1 proves that she knows how to stay alive through the ages.

Throw Diplo and Royksopp into the mix with eight refined tracks and you have magic. Nothing sounds the same, and that alone, my friends, is pure beauty. Starting off with a strong “Don’t Fucking Tell Me What To Do,” and you have an immediate blood rush and inner rebellion against friends, your parents, and ex or current lover. Tracks like “Dancehall Queen” and “None of Dem” reminds you that Robyn still connects with her urban side seamlessly. Also, “Cry When You Get Older” and “Jag vet en Dejlig Rosa” exposes  her inner girl, delicately vulnerable. Watch the “Hang With Me” video and you’ll understand it all!

Favorite: “Dancing On My Own” —  Boo: “Fembot”

myspace | myspace.com/robynmyspace

Click image to download full album

There was a time when hip-hop struck fear deep in the heart of Americana. When gangsta rap never turned into a feature film. When listening to hip-hop was about more than a beat and some rhymes — it appealed to the rebel inside all of us. Back then, an alternative rock sample would never make its way near a real emcee’s tape deck. When 2Pac couldn’t be seen wearing designer anything, let alone contributing a collection to Louis Vuitton (ahem, Kanye West). When jeans were as baggy as Robert Downy, Jr.’s eyes, and no right-minded rapper would wear the color pink.

This brand of original hip-hop would be played by self-proclaimed troublemakers at high volumes in suburbia — and inspire more bad looks than Tom Cruise in a communion queue. The lifestyle defined the music, not the other way around.

Needless to say, things have changed quite a bit. The music has lost some of its edge, and while the evolution and growth of the genre should be lauded, there must also be an appreciation for the harbingers of the hood. We have to remember where the music originated from, and pay tribute to the past.

Fresno, California’s Fashawn is doing his part.  Earlier this summer, the XXL Freshman released Ode To Illmatic (free download), a tribute to one of the all-time greats. Cognizant of the hallowed territory he was encroaching on, Fash was sure to make one thing clear: he wasn’t biting. By using every beat in its organic, original form, the young emcee made it clear that Ode To Illmatic was about NaS as much as it was about himself. And unlike the Billy Joel tribute band in Step Brothers, Fashawn chose to honor the legend’s greatest works.

Ode To Illmatic is a magnificent achievement. Fashawn succeeds in refreshing some of hip-hop’s classic tunes, and channels his own inner gangster in doing exactly what he set out to do: pay tribute to one of rap’s finest.

Download Ode To Illmatic for free here.

myspace | myspace.com/fashawn

Click image to download full album

Enough can’t be said about Sub Pop. What a label. Three years ago, I was fingering through a stack of CDs in hot search of The Grunge Years sampler they put out in ‘91. I can’t say I was aware of its significance then, but I absolutely loved that compilation when I discovered it.  After each listen I remember thinking, “Here’s personality!” Sub Pop issued a large shot of adrenaline then, and staying in tune with the label has led me to some incredibly noteworthy artists, more currently, Chad Vangaalen.

By current, I mean 2005.  This is when Chad Vangaalen first came onto the scene with his kaleidoscopic debut, Infiniheart. Inspired by his animations and illustrations, Chad intrinsically weaves strings of electronica and folk into one endearing pattern all by himself.  Artfully, he does so with the aid of numerous generic instruments and interestingly, a few handmade.

If we’re talking Sub Pop, it may be prudent to mention his origins. He hails from Calgary, Alberta, otherwise known as Western Canada.  This will become painfully obvious after listening to a majority of the album.  But he doesn’t hang squarely on the signature northwest sound. There’s plenty of cadaverous guitar work and hushed tones if that’s what you’re looking for, but if you’re hoping for a faster, more urbanized pace then you’ll be just as contented.

The Elliott Smith influence hovers at times, but only for a few songs — and even in those songs it doesn’t overpower the original concept. The change in direction comes during the electronica segments. Things get experimental, but appropriately pulled back before it deviates too far. The subject matter is non-linear, but relatable and presented so genuinely that you can’t help but move yourself into his mindset.

myspace | myspace.com/chadvangaalen

Click image to download full album

Song: Deadmau5 feat. Wolfgang Gartner – Animal Rights

What’s so good:
This new track from Deadmau5 and Wolfgang Gartner has led some people to compare the duo to a new Daft Punk. They’ve even gone so far as to say they’ll be better. I’ll clear the airwaves on this one: I don’t think that Daft Punk can be eclipsed. That said, I don’t think the combo of Deadmau5 and Wolfgang Gartner is necessarily a bad thing, either. If “Animal Rights” is an indication of their team-playing possibilities, then I hope to God there’s more of it coming!

Bonus: Wolfgang Gartner – Push Rise (LightsoverLA Re-Edit)

Click image to download full album

I grew up in a suburb of Minneapolis, but never got into Minneapolis’s music scene until I went out of state to college. Freshman year, a few friends got me into some of the local talent there, mostly artists from Rhymesayers, but I also explored a little deeper myself. In my search, I managed to find some of the most talented musicians I’ve heard in a long time. Here’s how I unearthed a few of ‘em:

A couple years back, I was skimming through some local Minneapolis groups on a forum when I discovered a group with a peculiar name — Mel Gibson and the Pants. I didn’t expect much from this oddly named group, but, to my surprise, their sound was like no other. I can best describe it as a mix of hip-hop, rock and drum & bass. Sadly, the group hasn’t done anything in a while, but when I heard Ryan Olson, mixer for the group, was starting up another project, I had to check it out.

Gayngs is a mega-group consisting of 24 members, according to Olson. I loved their soulful seduction right from the start, but not just because of Olson’s contribution. What really put me in awe, or rather who, was the stunning vocals of SOLID GOLD member, Zach Coulter.

As you can imagine, my next step was to check out SOLID GOLD’s solo work. At first, to my dissapointment, I wasn’t really feeling their album. Bodies of Water wasn’t what I expected, and took some time to fully engross myself in its awesomeness (my best descriptive word for it). But eventually I warmed up to their glam rock, synth pop sound – or however the hell you classify ‘em – and haven’t been so impressed with a rock group since.

All three groups may not hold a large portion of Minneapolis’s music fans, but they do represent a small gem, or gems, in one of the best underground music scenes today, the Twin Cities!

myspace | myspace.com/solidgold

Click image to download full album

Song: Cee Lo Green – Fuck You

You may not know him by name, but you definitely know Cee-Lo Green by his voice. One half of Gnarls Barkley and a member of the Goodie Mob, the lovably-sized Cee-Lo has made his angelic voice heard. He’s currently prepping a new solo album, The Lady Killer due for release in October. The lead single, titled “Fuck You” hit YouTube the other day, and it’s already being hailed as the late summer jam. Combining old-school soul licks with rap-scale vulgarity, Cee-Lo croons with intensity, sweetness and relevance. If the rest of The Lady Killer sounds like this, Cee-Lo might be able to afford that Ferrari very soon. – The Tape Is Not Sticky

Bonus: Bruno Mars – The Other Side (Feat. Cee Lo Green & B.O.B)

Click image to download full album

Its been a long time since I’ve been on a cruise. I remember lots of singing, dancing, music, drinking, and even the occasional limbo contest on the upper deck. Combine all of that with a journey around some of the most exotic locations and I think you have the perfect recipe for a great time.

What does this have to do with anything, you may ask? Well, my friend, close your eyes and play the Blood Diamonds Remix of Apache Beat’s new single, “Another Day,” and prepare to be taken on a trip of tropical proportions. See the palm trees sway as you dance your way off the ship into an island paradise full of excitement and adventure. Relax along the shoreline sipping Piña Coladas while you watch the sun glisten on the horizon. This is an experience that you will always remember, but before you know it, reality sets in and its time to go home.

For Apache Beat, home is in New York where the band has been working on their upcoming album, Last Chants. Singer and style connoisseur Ilirjana Alushaj describes the band’s sound as “melancholic, hallucinogenic, experimental pop, indie rock” in a recent interview with Australian magazine CLEO.

I think its safe to say we can expect to hear more about this band come October 5 when the album is set to release.

myspace | myspace.com/apachebeat

Click image to download full album

Alexander Manfredi, better known as Exile, has been working in hip hop for the past 15 years. Hailing from Southern California, he first started making beats with pause tapes before he had access to any kind of legitimate production equipment. He formed the underground group Emanon with Stones Throw’s Aloe Blacc early in both of their careers and made noise with a string of EPs they released before their debut LP The Waiting Room.

He released a solo compilation album that featured his productions alongside an array of MCs and singers entitled Dirty Science. Exile probably gained the most notoriety for his 2007 album with rapper Blu, Below The Heavens, which received tremendous amounts of praise both for the MC’s introspection and skill as for the producer’s ability to craft both beautiful and hard-hitting beats.

Early last year, he released the immensely creative instrumental album Radio. Composed from samples taken from public radio in Los Angeles, including everything from static noise to commercials, Exile incorporated his source material in ways far beyond expectations. Now, almost a year later, Exile debuts Radio AM/FM, a collection of remixed versions of some selections from the original Radio. The remixes include straight-up reinterpretations of the original tunes through a new producer, as well as vocal accompaniment to previously instrumental-only tracks.

The result is a mixture of sounds that makes this record become more of a compilation than a cohesive album. The Clutchy Hopkins remix of “In Love” is a mellowed out take on the original with added instrumentation. Take’s remix of the breezy “Summer Song” transforms it into a banger with elements of dubstep. The Samiyam remix of “Population Control” melts the original down to a trudging bass-line that drives the track forward. Grouch and Eligh of the Living Legends hop on the original version of the aforementioned track and infuse it with their distinct style of lyricism. Old pal Blu takes a crack at composing a romantic poem over “Love Line” while Evidence of Dilated Peoples and Alchemist trade bars over the spiritually-driven “It’s Coming Down.”

While it may be a bit long-winded for some (21 tracks in all), there is enough variety in these remixes for everyone to find something to like — and it’s also an excellent way for fans of Exile to get hip to some like-minded artists they may not have been aware of.

myspace | myspace.com/alexile

Click image to download full album

Song: The Xx – Stars (LAZRtag Remix)

What’s so good:
Just when you thought the list of The Xx remixes was exhausted, along come LAZRtag with a gem. The track starts off in a suspicious key, but quickly segues into a 7-minute-long extravaganza of droney, gothic remix beauty. Much like the slew of remixed The Xx tracks dominating the musical interwebs (including mash-ups done by Wait What and remixes by The Neon Lights), I find myself listening to this track on loop.

Lest we not forget the simplicity of The Xx, you might want to check out this bonus cover of Aaliyah.

Bonus: Wait What – Get At Me Animal (DMX vs. Miike Snow)

Click image to download full album

It’s hard to believe that Fossils and Other Phantoms is Peggy Sue’s first full-length album.  Last year, they released three stellar EPs (including Lover Gone and Body Parts & First Aid) that had the complexity of a band well established. The Brighton and London-based group actually began only three years ago when best friends and college roommates Rosa Rex and Katy Klaw decided they’d like to learn how to actually play some instruments. They added a drummer a year later, and Peggy Sue was born.

To say they sing love songs wouldn’t be quite accurate. Songs of love lost describes their music better. But even that phrase suggests a focus on depression or sadness. Rex and Klaw certainly discuss those themes, along with regret and longing, but the two also express a beautiful understanding of love; one that acknowledges the joy and comfort it can bring while also accepting the unpredictability and inevitability of its demise.

This lyrical storytelling coupled with the duo’s harmonizing vocals (the style brings to mind Azure Ray), and quirky musical arrangements (you’ll hear guitar, piano, accordions, and all manners of odd and clever percussion) has made this trio one of my favorite groups of the past couple years.

Fossils did not immediately grab me the way the other EPs did. It is certainly a record that grows on you, and like any great album, it needs to be heard in full. Between commercial radio, iTunes, and Pandora, it’s easy to become “single-obsessed,” and just browse through a record for that one catchy tune. But you will be missing something if you merely scan this album.

If you’re experiencing a dreary, San Francisco summer, I suggest you load this album onto your iPod and take a walk through the fog. I find this record so fitting for the cold because there is such a dark and eerie tone that runs throughout.  It’s as if the gals were holed up in some dusty and cavernous Brooklyn apartment for months while they recorded the album. Actually, that’s just how the album was made… and you can hear it in the echoing vocals and haunting percussion.

The band embraces the space they occupy, suggesting that Peggy Sue’s next project will be completely different than Phantoms. It may be sunnier, more upbeat, maybe hopeful. And yet it could be even darker (maybe they’ll record in the dead of winter in Minnesota). I’m secretly hoping for Tahiti.

myspace | myspace.com/peggywho

Click image to download full album

Hailing from Philadelphia, Bilal Oliver burst onto the contemporary soul scene almost 10 years ago with his debut, 1st Born Second. The eclectic disc featured production from luminaries like J Dilla, Dr. Dre and ?uestlove of The Roots. It was commercially and critically successful, and in a relatively short amount of time, Bilal found himself on the list of premier black vocalists of his generation; he began to work on a follow-up album titled Love For Sale.

The material showed tremendous growth from his debut, combining elements of blues, progressive rock and jazz. Unfortunately, production on the record stalled when Interscope, the major label Bilal was signed to at the time, saw little commercial potential in the material. Then, the music was mysteriously bootlegged onto the Internet.

Disheartened, Bilal retreated from the spotlight while, ironically, Love For Sale was gaining incredible notoriety online as a fantastic piece of music. Eventually Bilal began to tour and was immediately overwhelmed by the audience’s familiarity and affection towards his unreleased material. Bilal spent the following years touring the world while attempting to get out of various contractual obligations that were preventing him from releasing new music.

Finally, in late 2009, Bilal announced that he was free of all past contractual ties and was partnering with L.A.-based experimental label Plug Research to release Airtight’s Revenge, the official follow up to his 2001 debut. The album is a hodgepodge of influences Bilal has been keenly studying: from Zappa-esque rocked-out funk, to jazz tunes, to ballads and back. Bilal produced the majority of the album with bandmate Steve McKie, expressing an interest in compositions that weren’t tied down specifically to one genre, thus giving ample opportunity for experimentation in the live setting.

With an incredible vocal range and a deeply textured delivery, Bilal stands as a true original despite the storm he’s had to endure.

myspace | myspace.com/bilaloliver

Click image to download full album

It seems like it was only yesterday that Sufjan Stevens surprised the internet by releasing his EP “All Delighted People” on Bandcamp, so I was rather surprised to see a new single off his upcoming record “The Age of Adz” had already been released. The five minutes of “I Walked” is heavy on the percussion, a bit of a new approach to Sufjan’s typical folk-pop. To be honest, I’m pleasantly surprised. I believe wholeheartedly that band ought to evolve and adapt, and I was a little disappointed that his EP didn’t do too much of that. Here, however, we’re finding ourselves presented by something completely different.

What’s your take? You can head over to Sufjan’s Bandcamp to download “I Walked” by clicking the album artwork on this page.

myspace | myspace.com/sufjanstevens

Click image to download full album

Song: Wait What – Got Urself an Electric Gun (Nas vs. MGMT)

What’s so good:
As mentioned earlier this week, we’ve got two more singles off of Wait What’s upcoming August 31 release, “This is Real Life”. The first is a mashup of MGMT’s “Electric Feel” and Nas’ “Got Yourself a Gun”. I was definitely familiar with MGMT’s song beforehand, but this might be my first introduction to Nas. Conclusion? The MGMT probably helps his case. Overall, not the best lyricist I’ve heard, though it’s no surprise considering I have a hard time swallowing mainstream rap. The mashup is sonically pleasing regardless. It might have even peeled away a layer or two of my resistance toward gangsta rap.

The second single is a mashup of DMX and Miike Snow. Again, I was familiar with the Miike Snow track, “Animal”, but DMX’s “Get At Me Dog” was a bit of a foreign track. It’s a lot more mainstream than the Nas track used over MGMT, but once again the familiar enjoyment brought by the Miike Snow layer appears to counter my reluctance to listen to gangsta rap. I still can’t help but laugh and say, “wait what?! Did DMX really just say that?!”

Wait What will be releasing the album with a show in SF on August 31. Purchases will be made on pay-as-you-wish basis, with all proceeds going to Dave Eggers’ youth writing non-profit, 826 Valencia. Pretty sweet deal, right?

Bonus: Wait What – Get At Me Animal (DMX vs. Miike Snow)

Click image to download full album

“Folktronica” is a troublesome and somewhat cringe-worthy label frequently used to describe the music of UK artist James Yuill. First of all, Yuill’s music consists mainly of elements that are more acoustic/indie than traditional folk, and more house than electronica. Also… “folktronica”? That’s just a ridiculous word, period.

Technicalities and crazy labels aside, Yuill creates his own blend of danceable synth beats infused with singer-songwriter soulfulness, with gorgeous results. His 2008 release, Turning Down Water for Air, was driven by layers of airy vocals, acoustic guitar and dance-ready hooks that exuded a bubbling warmth.

I was completely enamored with “This Sweet Love” — it had the perfect mixture of tender lyrics and synthetic blips to melt my heart. “No Surprise” and “No Pins Allowed” were also in frequent rotation on my iPod.

Yuill’s newest album, Movement In A Storm, released in June earlier this year, trades in some of the poppy cuteness for a heavier tone and slightly more aggressive beats. It still has that trademark Yuill shimmer though — the song “On Your Own” glitters with light, tinkling synths that sound a little like wind chimes. I would say this and “Crying for Hollywood” — an upbeat dance track layered with guitar — are tied as my favorite songs of the album.

One thing that threw me about Movement In A Storm was the opening line of the first track, “Give You Away”, in which Yuill sings, “Nobody knows it, but it’s true / I hate myself and I hate you too.” I understand that part of the point here is to mix some melancholy with something fun and danceable, but in this case the angst just seems a bit over the top.

Movement In A Storm can be thought of as a kind of mix tape — you’ve got some mainly acoustic tunes, (“Foreign Shore”, “Wild Goose At Night”), some mainly electronic (“Give You Away”, “My Fears”), and some that are a mix of the two (“Sing Me A Song”, “Ray Gun”). The title of the album works well in describing the different genres explored within — it shifts between a thunderstorm of dance beats to a light patter of guitar strums, but all still falls under the general acoustic-electronic cloud we’ve come to know James Yuill for.

myspace | myspace.com/jamesyuill

Click image to download full album

Song: Miami Horror – I Look To You (Feat. Kimbra)

What others say:

Electro-house disco-pop throwback-heads rejoice…Melbourne’s Miami Horror [released] their debut album, Illlumination, on August 20 via Virgin. Long a staple of disc-spinners whence the Braxe/Falke production quota was at a feverish high two years ago, the Aussie foursome are now prepped and primed to unleash their original productions, and boy are we ever ready.

Alternately, this post was almost serviced as an introduction to the velvet-voiced Kimbra, who appears on the MH song, I Look To You, which serves as the album’s second official single. You’re getting it for freezies below, but definitely check out the solo work of the New Zealand singer too. Stellar! – Sheena Beaston

Bonus: Miami Horror – Make You Mine (Fred Falke Remix)

Click image to download full album

The Whig’s third album In the Dark mixes alternative rock and experimental grunge, yet remains pop-infused with catchy lyrics and upbeat rhythms. The Athens, Georgia trio spent the last couple years touring the country and drew inspiration from their experiences to produce this album.

Their previous release, Mission Control, was the first album with bassist Tim Deaux after their previous bassist left vocalist Parker Gispert and drummer Julian Dorio for MGMT.

Their rock n’ roll fused songs are perfect for a get-up-and-dance type of night. The lyrics are repetitive and easy to learn after only a few listens. As the album ran on repeat, the melodies and constant repetition of lyrics and beats turned from generic to hopeful.

The interlude-like “Dying” is a mainly instrumental intermission between their rock n’ roll songs starting and ending the album. The song is experimental and bass-heavy and the vocals echo through the rough, gritty and instrumentals. “I am for Real” has an alt-country feel to it. The vocals are wispy and don’t quite add up to the rigid, harsh guitar. This song had potential to be one of the best songs off the album but the lyrics and chorus brought it down to being nearly listenable. “Naked” begins with a rock-fused experimental set and turns into hard-hitting rock and then takes a turn for the worst in the chorus where all of the sudden, Gispert’s voice turns into a clone of Dave Matthew’s. What went wrong there?

The Whigs is “college rock” at its finest; nothing to write home to, but worth the listen. The predictable sound can be comforting, yet annoying. This album does have it all, a little bit of country and a little bit of alternative rock, and some experimental thrown in there too. All and all…it’s decent.

myspace | myspace.com/thewhigs

Click image to download full album

School of Seven Bells’s first album, Alpinisms, is known for its dreamy drone and noise elements. While that is carried over in their sophomore album, Disconnect From Desire is brighter and more accessible.

To be honest, the first time I heard it I was a bit turned off. When I first listened to Alpinisms, it stayed on heavy rotation for a while. This wasn’t the case with Disconnect From Desire, and I immediately attributed it to a sophomore slump. But after further listens, I’ve realized that the band’s second album is pulling from more influences than the first.

“Heart is Strange” is tinged with sounds of 80s synthpop and “ILU” is reminiscent of a ballad. This album is definitely more “pop” — it’s happier, the lyrics (in line with their first release) are also somewhat repetitive and melodic. If you are looking for something along the lines of their darker, moodier debut album, I’d check out the song “Babelonia,” which fits right in between the two albums. It is melodic with an Eastern influence, but also has the pop quality that is prominent in this release.

The second album has definitely shown growth as the band has taken their shoegaze/dream-pop music and fused it with a more polished pop sound without losing the fuzzy distorted noise splashed between the vocals. Using more traditional pop structures in their music, they’re able to open their work to fans who are drawn to anything they can dance or sing along to.

However, I wouldn’t count on them being too pop in their live shows. When I’ve seen them, they’ve been able to conjure up a huge noise wall, with beautiful melodic vocals (think of a throwback to My Bloody Valentine). I’m excited to see where this band goes next, as their last track on the album, “The Wait” (aptly named after the song “Bye Bye Bye”) is a melodic etherial ballad that could mean a totally new direction on their third album.

myspace | myspace.com/schoolofsevenbells