Ryan Gosling and Carey Mulligan may be two of the most sought out actors in Hollywood right now, but it’s safe to say not all of their films are a hit, Drive proves you need a good story for people to like a movie, not only good actors. The only upside to this movie and the reason why we wanted to share it with you is because of the soundtrack. Cliff Martinez was in charge of the score and he proves to be not only a good drummer (he played with the Chili Peppers from 1984 to 1985) but also a very decent film composer (he was also in charge of the score for Contagion and in my humble opinion that score proved to be even worse than the movie). Check out some of the tracks from the movie and the track-list below.
1. Night Call – Kavinsky ft Lovefoxxx
2. Tick of the Clock – Chromatics
3. Rubber Head – Cliff Martinez
4. I Drive – Cliff Martinez
5. He Had a Good Time – Cliff Martinez
6. They Broke His Pelvis – Cliff Martinez
7. Kick Your Teeth – Cliff Martinez
8. Where’s The Deluxe Version? – Cliff Martinez
9. See You in Four – Cliff Martinez
10. After The Chase – Cliff Martinez
11. Hammer – Cliff Martinez
12. Wrong Floor – Cliff Martinez
13. Skull Crushing – Cliff Martinez
14. My Name on a Car – Cliff Martinez
15. On The Beach – Cliff Martinez
16. Oh My Love – Riziero Ortolani & Rina Ranieri
17. Under Your Spell – Desire
18. A Real Hero – College feat. Electric Youth
19. Bride of Deluxe – Cliff Martinez
The Black Keys are one of the few bands out there that are still betting on writing rock music. The last decade, we have been losing rock because of hip-hop, electronic music and folk revival. However, The Black Keys have been able to put new trends aside and continue with the original arena-rockband dream we all aspiring musicians had while growing up. The Black Keys have accomplished that dream in the most natural way. Their rock and roll compositions have evolved and have stayed fresh and innovative, but at the same time, have maintained the classic structure of including cool distorted “guitar riffs” and solos, powerful drums, palm-mute verses, catchy choruses and the most memorable melodies. Each song has its own personality and therefore, it’s easy to distinguish one from another. There’s no weak song in El Camino, every song by itself is grandiose and all of them put together are the best album by The Black Keys and one of the best albums of the year. Slowly, The Black Keys have permeated the mainstream but staying true to themselves, keeping their rock songs pure.
Cass McCombs put out two albums this year, Wit’s End and Humor Risk. However, both albums are very different, distant in style and mood. While Wit’s End is immersive, delicate, gloomy, dark, introspective, allegoric, down beat and piano-based with acoustic guitars; Humor Risk is the opposite. The latest release by genius McCombs is as straightforward and outgoing as he has ever been, simple, raw, with upbeat basic drums, electric guitars and a poppy mood in general. Although it’s easy to like Humor Risk as an album -which is meant to be understood as Humoresque- it doesn’t really feel like an album and that may or may not be part of the his attempt at laughter. Instead, it feels like a compilation of unreleased tracks that were made with different purposes and probably at different times in his career (“To Every Man His Chimera” sounds like Wit’s End), and that may or may not be true. Anyways, he made an inconsistent album with some very good songs, not a gem, not bad, but also not mediocre, it’s trapped in a place where it won’t be remembered but it’s still very much worth your time. As a fan of McCombs, this release becomes interesting, like his taking a deep breath of recovery for the follow-up, like he is having fun in being who he is and controlling who he wants to be as a person and as an artist.
“HUMOR RISK IS AN ATTEMPT AT LAUGHTER INSTEAD OF CONFUSION, CHAOS INSTEAD OF MORALITY, OR, AS FELLOW NORTHERN CALIFORNIAN JACK LONDON PUT IT: “I WOULD RATHER BE ASHES THAN DUST!” Taken from Cass McCombs website.
It’s amazing to see what Bradford Cox does with his music. He is obviously extremely prolific and doesn’t stop recording. However, some of his creations go to Deerhunter and some to Atlas Sound and some Atlas Sound songs are offered for free through his blog and some are put into a formal album. It’s hard to know how he decides to sort all of this out but it’s easy to tell that he has a clear idea of what he is doing and with every release this becomes more evident. Atlas Sound albums and demos don’t sound that much different and both maintain the same quality and style, and Atlas Sound and Deerhunter are not too far apart from each other in style or musically. However, Atlas Sound is far more personal and honest and that feel is transmitted throughout the albums. Parallax is his third studio release and it’s truly captivating. All the songs in it are on the same vein and therefore works beautifully from beginning to end. The Atlas Sound concept is becoming more and more defined with each record, Bradford Cox seems to be gaining more and more confidence as well and that is even represented in the album covers. As if he were more comfortable with himself, Cox has gradually gained more importance in his solo project’s artwork, like he was hiding and is slowly wanting to show more of who he really is; this happens with his music as well. His voice is more present, it’s easier to understand what he says, his music is impeccably produced, complex and experimental but more accesible, and all the elements that compose it sound clearer than ever, everything has gained more form and strength. Anyways, to explain a thing or two about Cox and his life, we’ll quote him.
“It’s all about parallax, man. Five years for one person is 20 for another, you know? It’s like, if a car is coming towards you down a highway and you’re going towards it, it’s like this distortion of how fast things go by. And I guess my time as a musician has gone by so fast that I realized that I have no personal life. The other guys in Deerhunter, they all found things. And I just have monomania.”
You can stream the album here.
Based out of Asheville, North Carolina, Sin Kitty is a fresh new act with a lot of potential that is definitely worth your time. So drugged-up and heavily psychedelic with hints of lo-fi punk that the short 12 mins of Wonder When suffice. However, it’s got some great songs and one that is particularly catchy as hell and the highlight of the EP, track #3, “Addie”. It echoes and whispers and walks you through a dreamy path and although the song is only 2.38min long it sticks with you for the rest of the day. The repetitive guitar riff (Tame Impalaish) is so addictive that you’ll find yourself wanting to listen to it over and over again, you’ll hum it while you shower and think about it while you inhale your cigarette and you may not truly realize what song you have looping in your mind. Other highlights are the opening song “Only When (I’m Lonely)” and “Dirty Rotten Kids”, but the truth is that if you like this kind of music, you’ll end up liking all of them and you’ll be addicted to them, they’re so short, they demand various listens. If you are the music lover of bands like James Ferraro, Wavves and Tame Impala and you like their cover art as much as I do, you’ll like this EP, if you don’t, then your ears may or may not be grateful, but I’m inclined to say they will. I’m really really looking forward to see how their sound evolves and for further releases, but meanwhile, download their debut EP for free and give it a couple listens, it’ll only take 24 mins of your day. I’m also posting 2 pretty cool videos of them, enjoy!
Hectic Zeniths‘ album is dense. Dense and multilayered, simultaneously peaceful, relaxing, organic and electronic. It took three years to make, which talks about the meticulousness of bedroom producer Adam Morgan Price. The album awakens strange feelings, a blend of comfort and uneasiness; a mix of bright and optimistic with obscure and insane, and that is exactly what we love about this album. Hectic Zeniths is an anagram of the German word “Zeitschtichten”, which translates as “Layers of Time”. The self-titled release does actually sound like you’re lost in layers of time, each song can expand and contract. Even though the album clocks in at 30mins, you may feel as if it lasted 1hr, and I say this in the best of ways, in the sense that it has the power to change the way we experience time and therefore their name makes perfect sense and ends up being beautiful. I highly recommend Hectic Zeniths, you’ll be delighted with the piano lead being followed by many many layers of arrangements including violin, vinyl samples and haunting vocals. Enjoy the three tracks they are sharing below.
I usually disregard albums that maintain the same mood and stye throughout, the monotonous, the careful, the albums that don’t take risks and instead float on a comfortable cloud. Those albums in which most songs sound nearly the same, with no peaks or lows; it easily gets boring and it shows the band’s lack of inventiveness. However, having said this, the new release titled Days by Real Estate breaks this law. This album is great, and although it sounds so similar all the time; it’s not easy to recognize the songs individually at first, Days flows wonderfully. The value it has is exactly that it doesn’t have any surprises, it doesn’t change much and that doesn’t really bother me as a listener. I’ve listened to this album at least 5 times and each time it gets more and more addictive. It builds this general state of comfort and stress-free imagery in which it’s easy to get lost in. The songs mostly follow a similar formula and it appears that Real Estate have perfected the ingredients in it and the way they are cooked. Now, they truly own their sound, the feelings expressed in the album belong to them more clearly than before. Thumbs up to Real Estate and I’m surely putting this record in my best albums of the year list.
Plus check out their new video for It’s Real: